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Thread: 1966-10-07 Aberbach Ltd., London

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    1966-10-07 Aberbach Ltd., London

    Thursday 7 October 1966
    Aberbach Ltd, London. JHE

    Amplification was probably either the Vox AC 30 ‘Top Boosts’ and a Vox ‘Foundation’ 18 inch bass cabinet with an AC 50 amp – or as Mitch seems to have remembered the new Burns 30 [40, more like. Ed.] watt gear had already arrived and they were beginning to wreck it, “It took about three days.”
    Noel was probably using the six-string Danelectro Longhorn bass – Paris was only 5 days away.
    Noel: “Went to the office [Anim] in the morning, and this time was given a meal. Then went to ‘Birdland’ and had a blow with Eric [Burdon], and later went to rehearsals.” [Burdon was still holding auditions – for a guitar player Ed.]
    Noel: “Rehearsal (14:00 until 17:30)”
    Producer: Chas Chandler


    Songs: unknown.


    Mitch: “The second or third time that we played, things started to stretch out considerably. That's when I started to feel it was a real chance, having come from such a structured unit as The Blue Flames, with horns and very tight arrangements, to come to something as loose as Hendrix. To have that much freedom was like being released from prison, and to have another musician prepared to give you that freedom was a most fortunate thing. I'd been lucky to play in The Blue Flames who had other, older musicians like Cliff Barton and Glen Hughes, who turned me on to people like Coltrane and Mingus. Maybe that background gave me the idea to attempt to play some of the things I'd heard.
    Hendrix had a definite feel for how a bass part should be, but really he was as easy-going with Noel as he was with me. We had no real songs as such. On that subject, Hendrix and I actually ended up in nose-to-nose confrontation on about the third rehearsal.
    Jimi said, 'Well, we've got some gigs coming up, let's do ... . "Midnight Hour".'
    I, being a cocky little bastard at the time, said, 'Oh fuck! Not this again. I've just come from doing "Midnight Hour" for two years. We've got a new band, can't we do better than this? Please?' I had nothing against the song, great, a classic, but that was my attitude.
    Because of this confrontation and the fact that I'd only agreed to the twenty quid for two weeks, I was branded by the management as 'The Troublemaker. This Boy is no good for us.' Words were had behind my back — not by Hendrix — after the second or third rehearsal, you know, 'Maybe he's not the right choice for us!'


    [Chas: “I don’t like Mitch Mitchell, he was going to get thrown out of that band every week.”]


    Mitch: “From what I understand they did actually try Aynsley Dunbar again, I'm not sure. Noel went with the flow, had to, long as he got his train fare, but I think that, because I spoke my mind, Jimi rooted for me, he thought we would work well together.”
    [maybe Mitch is here (40 years later) mixing up when, later, after Mitch missed a second rehearsal, they had a session with John Banks (ie ‘you can be replaced’) and docked him a day’s wage]


    Chas: “Jimi loved Mitch’s drumming, but he didn’t love Mitch. Mitch used to bug him.”


    Noel: “The only hang-ups were that Jimi tried to tell me what to play. I could learn the tempo and breaks, but I didn’t want to be told what notes to play. I used to get really up-tight. But Jimi and I had good communication.”


    “We rehearsed casually, never resorting to, ‘This riff goes like this’, or ‘Play these notes.’ [See above. Ed.] When Jimi had a new idea, he gave the basic chord structure and tempo and within that framework we each found our own parts and a song and arrangement emerged. Luckily our concepts meshed. What a relief from copy-learning songs I sometimes hated just because they were in the charts.”


    “Basically very free. There’d be occasional riffs here and there [bass pattern dictated by Jimi - & drums too sometimes Ed.], but then I’d throw in riffs and Mitchell would do stuff. We all worked pretty well together.” [ie you & Mitch were Jimi’s rhythm section, but you fancied yourself as a ‘star’ co-composer, if only]


    Chas: “Jimi got on well with Noel but used to criticize his playing. It was a love-hate relationship.”


    Friday 7 October 1966
    UK
    DISC & MUSIC ECHO, (page?) ‘Georgie’s last date with Flames’ by [unknown]: GEORGIE FAME, up to 16 in this week's chart and proving a close rival to Bobby Hebb with "Sunny", made his last appearance with the Blue Flames in Amsterdam last weekend.
    Georgie was appearing at the Grand Gala Du Disc in Holland where he met Tony Bennett and Dionne Warwick. Georgie's last numbers with the group were "Sunny" and "Getaway.”
    On October 20 his tour with Chris Farlowe, Geno Washington, the Paul Butterfield Blues Band and Eric Burdon and the Animals opens at the Astoria, Finsbury Park, London.


    Saturday 8 October [?]
    Jim Marshall: "Mitch brought Hendrix along to see me, and Hendrix said he wanted to use Marshall equipment. I thought he was just another one who wanted to have something for nothing. But he seemed to read what I was thinking and he said, almost in his next breath, 'Well I don't want it for nothing, I wanna pay full price, but I want good service.' And that's what we gave him..."


    “He said to Mitch, ‘I’ve got to meet this Jim Marshall because I’m Jim Marshall as well.’ So he came along to the shop. This lanky, coloured American said to me, ‘I’m gonna be the greatest, man.’ And I thought, ‘Oh, crikey—another one who wants something for nothing.’ But within his next two or three breaths, he said to me, ‘I don’t want anything given to me. I want to pay the going rate. But what I want is backup.”
    Last edited by stplsd; 12-01-16 at 03:00 PM.
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

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