This shot was taken during a sound check at the Monterey Pop Festival, 1967. Hendrix was playing to an empty arena - or, more accurately, to himself. I was one of the official photographers and, for some reason, everyone was at dinner except for Al Kooper, Jimi's band and crew, and some other stagehands. I approached Jimi and told him that my name was Jim Marshall - that I was one of the photographers. He made some comment like, "Far out, man, maybe this shit is supposed to be," and I asked him what he meant. He said that the dude who made his amps was named Jim Marshall, and smart-ass me says, "Yeah, I know that." But then he said, "What you don't know is that my middle name is Marshall." We were all pretty stoned (the amp Marshall wasn't there), but there were three Marshalls onstage at once. - Jim Marshall
Regarded by many as "THE rock and roll photographer," Jim Marshall's career has always been focused on the documentation of people, especially musicians. Unlimited access to the musicians coupled with an inviolate sense of trust between subject and photographer allowed Marshall special opportunities: he was chief photographer at Woodstock and was the only photographer allowed backstage at the Beatles final concert. Since he demanded total access, Marshall lived 24-7 with his subjects, and his pictures reflect affection for the artists as they describe the musicians' character. Marshall has said that it's no accident if his pictures seem musical because, "I see the music."