Interesting for the characters interviewed if nothing else.
Interesting for the characters interviewed if nothing else.
Velez: "Kidnapping? I heard about it but never put any credence in it.”
Good enough for me
Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."
" Coz i'm a million miles away, and at the same time, i'm right here, in your picture frame "
Interesting read definitely. I am surprised there was no interview with the twins. I remember reading their "opinion" on what happened, which ties into some of the others refuting any kidnapping. Especially if Jimi did indeed,"laugh about it"? That was rather ironic at the end it mentions Prince and asks the big question. Now that time has dated that article I guess we have the answer? Prince basically did the same thing!
I actually have a possible counter narrative in regard the "kidnapping" - it involves Mike Ephron (as discussed in article - as we know from the audio that guy was not a keyboardist - he couldn't seemingly even play in key) and the release of the This Flyer bootleg which had the stuff he took part in - which was apparently a mob release, and the mob controlled the block that ELL was on which was being worked on at the time - and I think the story has been overblown somewhat, but I do think there was mob involvement - in order to move in ELL downtown Hendrix was shaken down and part of the payoff was the tapes that This Flyer came from (the first Hendrix boot around 1970)...
Last edited by funkydrummer; 09-11-16 at 08:13 AM.
Sounds intriguing but I am not so sure. Hendrix was playing all the time, everywhere. They could easily tape one of his jams and release it as a bootleg. Why force him (by kidnapping?) to play with Ephron? But interesting to note that the EL Studios was in a block controled by the mob (I knew the music cafe it formerly was and bought by Mike Jefferey was). Most of the places Hendrix played in in NY were controled by the mob, if we have to believe the various sources.
According to the stories related by those that were there that I have read over the years Mike Jeffrey had to call in a few favors, and pacify the mob that controlled the Generation club prior to him buying it. That usually equates to untraceable payoffs.
Didn't Mitch say of the Shokan sessions that the players invited to them were so terrible he wanted to leave? I think BIlly said something similar. Probably Ephron was one of them. I still find it difficult to see any connection between Eprhon, the mafia and the kidnapping. Probably it was just a chaotic time for Jimi: band in tatters, looking for a new bassist, perhaps drummer as well, more drugs, mafia, costs for the building of a studio, a Chalpin deal etc.
Ephron is a shady guy, and was apparently behind the This Flyer boot. But the same could be said for Juma Sultan and a host of other characters hanging around Shokan like James Scott.
As for the Ephron jam, he obviously could play to some degree and appeared on some ESP records, but it's hard to tell if he is just being awkward and "avant garde" or having a hard time mastering the clavinet. Certainly a strange time for Jimi.
http://musiclove.co/michael-ephron/ [I'd read between the lines with a lot of that]
So thanks for the tip-off - I think you have probably hit on the possible reasons for his seeming ineptitude. I guess a listen to Villanova Junction Jam [briefly! ] etc would show some musical ability, and yes I was perhaps a little dismissive. As you say it was probably an attempt to be "avant garde" - and perhaps there were some substances added to the mix which makes him seem so overbearing in those jams.
I hadn't really questioned Juma though - I thought he was just a local muso etc. But again, I concur - very strange up there.
Via RobbieRadio in another post:
Salvation, at 1 Sheridan Square in Greenwich Village in Manhattan, was once the gathering place of a whole other generation of beautiful people. The bar, which was smaller and dingier than it looked from the outside, called itself a “club”, but a bar is what it was; with a different clientele it would have been no different from any other hole-in-the-wall bar with a dancefloor in Greenwich Village.
There was a small, dark, cramped, circular dancefloor, so people often referred to it as a disco, in the 60’s sense of the word. There were seats configured in a circle around the dancefloor, so you could get wasted and just watch the dancers. The place was all painted red inside; everything was red: the walls, the countertops, the seats, the floors. Nobody quite remembers when the place was renamed Salvation, or why, but a lot of patrons assumed it was some kind of drug joke, which it probably wasn’t. It had the feel of a Roman amphitheater, but in claustrophobic miniature. Sometimes a band would set up on the dancefloor, where they were literally bumped and jostled by the dancers.
JF: Do you remember [the club] Salvation?
DF: One Sheridan Square.
JF: ...Which later on became where Charles Ludlam did his theater company... They tried to sort of be [Steve Paul's midtown club] The Scene meets Max's in this tiny club. Jimi Hendrix used to hang out there.
DF: ...It was okay. It was not memorable, but I remember that much about it.
JF: But the owner that ran that club, Bradley?
DF: Bradley Pierce, who invented Ondine's, which was a club on E. 59th St. His idea was to bring Whiskey A Go Go, Sunset Strip bands to New York. So he brought Buffalo Springfield and the Doors there in '66. That was their New York debut.
Bradley Pierce: I didn’t hear from Jimi for some time, not until I was in California looking for a group to play at the opening of [New York nightclub] Salvation. I asked Jimi what he had been doing and he told me about his new group, the Experience, which I had never heard of because, although he was already big in Europe, he hadn’t broken America yet. He said I should come and see them at Monterey Pop. I knew that wherever Jimi was, that it would be exciting, however good the other two guys were. So I asked him there and then if he was free to play at Salvation when I opened. In the end, right after Monterey, he came and played two weeks at Salvation for nothing. I literally passed the hat in the club to get some money for them.
Jimi Hendrix, a regular, met a cocaine connection there, none other than Bobby Woods, part owner of Salvation. When Woods wound up with five mafia bullets in his head in late 1969, the mob decided they had better see what Hendrix knew about it. Some goons muscled him off the street one day, literally kidnapping him for a few hours, before releasing the stoned musician after determining that he had only the haziest recollection of who Woods was.
After that, things got much less groovy at Salvation. The mafia decided that Bradley Pierce, another owner, had to follow Bobby Woods gangland-style, and Pierce took the hint and shuttered the place in 1970, after three years of operation. He kicked around for some time, opening smaller profile joints and then closing them, his beef with the mob apparently worked out.