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View Full Version : 1969-10-XX4. Juggy Sound, New York City. "BOG"



stplsd
08-31-17, 11:30 AM
[Dates?] October 1969
Juggy Sound, New York City.
Jimi, Billy, Buddy with unknown - piano
This was where the initial sessions of what would become BOG were held, we are told.
The studio was built by Sue Records owner Juggy Murray. Hendrix had signed a three year contract with Sue, and his Copa management in July 1965. Mike Jeffery bought his contract in 1966.
Producers: Alan Douglas & Stefan Bright
Engineers: Steve Katz & Richie Cicero

Night Bird Flying (11 takes) unreleased.
JMcD: “Work on the song then stopped, so that Hendrix could offer instructions to the pianist and Miles regarding the song’s tempo.
Astro Man (instrumental) unreleased. “Impromptu”.
Night Bird Flying (7 takes) unreleased.

BM [through rose tinted?]: "Like, I had met Billy Cox, you know, and I didn’t really know him before and-ah – Jimi introduced him to me – and-ah, I remember one night that-ah, he had an all night session at Record Plant [?] and so we went down and so everybody was just havin’ a good time. So Jimi stops the session and so we went down to a place called Baggies Studios [sic. Juggy Studios? Baggies was surely much later?]. Ah-heh-nd-ah, they had some drums down there and he had all of his amplifiers and then we was just jammin’...”

Stephan Bright: “There was a real adjustment period that went on with that band, because when they first started, they weren't that good. Hendrix was looking for something that I don't think he eventually found. There was just too much pressure on him to make the next big step forward [too much pressure from what? Ed.]. As far as I was concerned, his best music had come before these sessions.
Because Alan has always worked with packages after the fact, he has had to defend everything he's done. But the one thing the Douglas-Bright association did do for Jimi Hendrix was to make him feel comfortable. Hendrix was so totally fucked up by that time that I think it put a damper on his creativity. He seemed consumed by insecurity and paranoia, not knowing what Jeffery was doing for him or to him [all this Jeffery crap again. He was his partner in a “dream” studio that was in mid construction, money was coming in from ELL & Smash Hits etc. Jeffery was doing nothing for him because that wasn’t part of the deal, he obviously only came into the picture if there were concert dates, or product to market –there weren’t any and hadn’t been for some time, and the planned April tour was quite a way off. Ed.]
It was his company and I did what he asked, but I knew Jeffery was a formidable opponent to try and go against [There was nothing to go “against Jeffery”, he was just a business manager, Jimi didn’t want a “creative” manager, Douglas was merely a “producer” – though he & Bright produced almost nothing of any worth in the nearly three months they were connected with Jimi! – and was either hiring Douglas or Douglas was doing it for free. Ed.], they were. I had a long conversation with Douglas about this, specifically saying, 'We are going to get in trouble here,' but he said that he had had a long talk with Hendrix before this had all started. That was fine, but we still had no paper on the guy. Douglas said, 'I don't care what happens, I like Hendrix and I want to help him out.'" [Yeah. Sure;). Ed.]

BC: "We were just goofing around during those sessions at Juggy. It was a lousy deal with a lot of bad vibes around. There was a spiritual side to the music we were creating, and the atmosphere at Juggy didn't allow Jimi to create. He sensed it and nothing we ever did there worked out. I had words with Alan's partner, Stefan Bright. I hated that guy with a passion. You couldn't create music un*der those circumstances. Those guys distracted my focus away from making music and I couldn't get it together. People forgot what the recording studio is all about. The studio was for creative ventures, not social gatherings. We weren't the type of musicians who had music on a music stand in front of us. We played by ear, feel, and spirit. If there is anything negative surrounding that effort, it stopped any creativity from occurring. There were times when Jimi would just shoot me a look and I would know what to do. I don't know if you would call that being telepathic, but those cues would come from him without words, and you had to be looking at him and concentrating on what you were playing —not on what was going on the control room.
Bright and Douglas knew that I didn't think they were necessary, I wasn't in their corner because I didn't think they were on Jimi's level. They weren't needed for the production of the music. Jimi was well equipped to do that. These songs were his creations and he was entitled to produce his own stuff. He didn't need any outside person to produce music for him. But because of that, Bright would do things like tell Jimi and Buddy that they didn't need me. But Jimi was determined to have me play with him. Regardless of whatever Alan or Stefan wanted, I played on most of those sessions anyway [That would appear to be on all the tapes that are available. Ed.]"