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Thread: 1969-01-10 Falkoner Centret, Copenhagen, Zealand, Denmark

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    1969-01-10 Falkoner Centret, Copenhagen, Zealand, Denmark

    Friday, January 10th, 1969

    1. Fire
    2. Foxy Lady
    3. Tax Free
    4. Spanish Castle Magic
    5. Red House
    6. Sunshine Of Your Love
    7. I Don't Live Today/Star Spangled Banner/I Don't Live Today
    8. Purple Haze
    9. Interview with Jimi by Niels Olaf Gudme.
    10. Fire
    11. Voodoo Child (slight return)
    12. Foxy Lady
    13. Spanish Castle Magic
    14. Hear My Train A Comin'

    Attachment 6100
    Last edited by Gypsy Eyes; 03-03-11 at 11:45 AM.

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    Re: 1969-01-10 Falkoner Centret, Copenhagen, Zealand, Denmark

    There were 2 shows on this night

    Early show
    Foxey Lady
    Tax Free
    Spanish Castle Magic
    Red House
    Sunshine Of Your Love
    I Don't Live Today **
    Purple Haze

    ** With Star Spangled Banner and Tomorrow Never Knows teases

    Late Show
    Voodoo Child (Slight Return)
    Foxey Lady
    Spanish Castle Magic
    Hear My Train A' Comin'

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    crazy_cat Guest

    Re: 1969-01-10 Falkoner Centret, Copenhagen, Zealand, Denmark

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    Re: 1969-01-10 Falkoner Centret, Copenhagen, Zealand, Denmark

    The running order of the 2nd show is:

    Johnny B. Goode
    Sunshine Of Your Love
    Red House
    Voodoo Child (Slight Return)
    Foxy Lady
    Spanish Castle Magic
    Hear My Train A' Comin'

    and maybe others...

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    Re: 1969-01-10 Falkoner Centret, Copenhagen, Zealand, Denmark

    Friday 10 January 1969
    København, Falkoner Centret, 9 Falkoner Allé, Denmark
    Two shows by The JHE at 18:30 and 21:00
    Interview between shows by Nils Gume
    Support: Jethro Tull (both shows)
    Promoter: SBA
    Audience: 2,151 each show, both sold out
    Songs 1st show:

    Fire (45)
    Foxy Lady (51)
    Tax Free (12) (Bo Hansson & Janne Carlsson)
    Spanish Castle Magic (24)
    Red House (39)
    Sunshine Of Your Love (19) (Jack Bruce, Pete Brown & Eric Clapton)
    I Don’t Live Today (27)>
    <Star Spangled Banner (15) (instrumental, so John Stafford Smith)
    Purple Haze (61)

    Songs 2nd show:

    Johnny B. Goode (5i) (Chuck Berry) fragment
    Sunshine Of Your Love (50i) (Jack Bruce, Pete Brown & Eric Clapton) fragment
    Red House (110i) fragment
    Fire (46)
    Voodoo Child (Slight Return) (40)
    Foxy Lady (52)
    Spanish Castle Magic (25)
    Getting My Heart Back Together Again (56i)
    and others unknown

    Karsten Laybourn & Caesar Glebbeek: “Jimi came, saw, and conquered Copenhagen completely. There were at least three people in the audience. . . who recorded the JHE first set... A soundboard recording is rumoured to have been made on a 1” Revox recorder.

    Niels Hansen: ‘My equipment was the best you could buy at that time, a Uher reel-to-reel recorder with a good microphone. It was just that Hendrix played so terribly loud that I could not get a better recording’

    Anders Stefansen (of SBA - Scandiavian Booking Agency): “ [I measured the volume at the very back of the hall - the reading was 130 db!] It was impossible for me to stay in there. I walked over to the foyer but it was almost as loud out there as in the hall. I can’t believe how the young kids could bear to be in there.”
    [Jimi In Denmark CD liner notes, p. 18]

    Berlingske Tidende (11 January) ‘Guitargiganten Hendrix’ - ‘Guitar giant Hendrix’, review by Jørgen Kristiansen (1st show): “Four thousand people heard Hendrix at the Falkoner Centret. Even though Jethro Tull did not play on their own equipment they got a lot of their own songs out, Sunday Feeling and A Sound [sic] For Jeffery. The new guitarist Martin Barre has found his place in the group amazingly quickly. Together with the humour bomb Ian Andersson he got the blues drums to fly in a true rhythm and blues song, with metallic mouth harp and all that reminds you of the old Rolling Stones. It was effective and good.Right after the concert Jethro Tull went back to London where they had some engagements, before a two-month USA tour. This tour will include the recording of a new LP record. The main attraction, of course, was the guitar-playing giant Jimi Hendrix. With an amazing virtuoso treatment of his instrument he got hold of his audience, which on occasion gaped in admiration and applauded wildly when he went from one great improvisation into the next. It all looks very easy to do. But do not be fooled by Hendrix. Behind the slightly self- confident display of power on the highest notes of his guitar there is hidden a whole lot of good technique and considerable practice, Also the other two of the Experience, Mitch Mitchell on drums and Noel Redding on electric bass, know how to keep up. They play very well together with the curly-headed wonder child. That is why the sound is so “together,” giving a good idea of what the group is all about; the impressive capabilities of these three musicians do not, as one might fear, get in the way of a joint achievement. The 4,000 people who managed to get tickets in time for the first Hendrix concert in Denmark in a year, got quite an experience to take home with them. Even though there was no time to do an extensive performance, as Jethro Tull and Jimi Hendrix had to play twice to handle the large København beat-audience, the concerts gave a good picture of where the two groups stand today and why their respective albums are on the Danish charts. Hendrix played songs like “Fire,” “Foxy Lady,” “Purple Haze,” and “Tax Free” (from the Swedish Hansson & Karlsson, including some heavy improvisation). The rest of the songs that were played, including an instrumental version of “Sunshine Of Your Love,” were created in such a spontaneous manner that Hendrix must be considered the most important creator of electric music today. When he takes a ride, the hall takes flight.”

    Berlingske Tidende (11 January) ‘Bluestroldmanden Jimi Hendrix’ – review by unknown: ”More than 4,000 attended two sold out concerts with The Jimi Hendrix Experience at the Falkoner Centret. It turned out to be a tremendous meeting with experimental blues-magic, which is expected from The World’s best beat-musician.”

    BT (11? January) review by Keith Keller: “Happy and rested (he used a broken leg to drop a Dutch show) Jimi Hendrix last night stood in the Falkoner Centret and gave what everyone of the new music’s trophies has aspired to in this place - the total sound in the total music: The Jimi Hendrix Experience.
    Hendrix is 23 years old now [sic] and is probably the greatest solo talent in beat music. As a singer he is of the American city black’s solid tradition (he is from Seattle up North). As a guitarist he is on the level of a genius, all by himself, not even his two ‘Experience’ partners seem to make any more than the most monotonous rhythm behind him.

    Old gimmicks.
    It will be interesting when Jimi Hendrix some day will drop the usual beat-claim and meet up with a rhythm section which can follow him in his solo trips. But everything is interesting under all circumstances, when just Jimi Hendrix is Jimi Hendrix, a flamboyant artist, a light to look into the future.
    His old gimmicks with burning of the guitar he has fortunately dropped. He still takes the guitar to the mouth and plays a passage with his teeth, but this seems to be all natural, when the effect is part of the super sound Hendrix want to, and can, make. The guitar gets new dimensions in the hands of Hendrix - and under his teeth. He uses the flow in all drifting as a part of the melody. He knocks the rhythm behind the fingerboard with three of his five fingerings. He steps stop-go rhythms out with the break on the foot pedal. He uses jet screams, so that they sound connected and sounds like natures sound, and finally he gets the purest parts, by treating the guitar in a way which old master Segovia would appreciate.

    No breaks.
    The repertoire at the concert yesterday was old and new, fx. a couple of songs from Electric Ladyland, but as Hendrix himself said, they mainly did some jamming, improvisations, and experiments to get new standards. With this in mind there were no breaks. The frequently demanded revolution with definite rules and meanings became usable future by Hendrix last night. Usable? Not possible to miss. Shame for those cozy English blues men, Jethro Tull, who where supposed to warm up. After the concert, one only remembers that they never found the switch. They did some scratching on their stomach while playing some loveable music. Today they can scratch their head and try to sort out what it was, which came and blew them off the stage and out of the memory. It was The Jimi Hendrix Experience. Jimi Hendrix makes a couple of lines of an explosive melody with teeth (or tongue) against the strings. It does look weird, but there was musically sense in this also
    … interesting to see when Jimi Hendrix, some day, will meet up with a rhythm section which can follow him. But until then Jimi Hendrix is Jimi Hendrix, a artist, a light into the future... Shame about those nice English bluesmen, Jethro Tull, who where supposed to warm up. After the concert, one only remembers that they never found the switch...”

    Jyllands-Posten (12 January) Elektriske følelsesudladninger [‘Electric feelings’], review by ‘T.T.’:
    An expectant audience greeted the Jimi Hendrix Experience with enormous applause, which was immediately returned with an ear splitting roar from the loudspeakers - it was Jimi, who started with the rock ‘n’ roll classic “Johnny B. Goode.” It was a direct assault, which unfortunately lost some of its impact due to technical problems during the next two songs. One a Cream composition and the other “Red House” from their first album. The problems were [temporarily] solved and Jimi Hendrix seemed immediately relaxed when he said that they would turn up the volume - so that the people with weak ears had to leave. Nobody did, but several lifted their hands to their ears when “Fire” was played at a volume close to the pain tolerance level.

    Electric Body cleaning
    The intensity which was missing earlier, was now established and when the very powerful song “Woo Doo Chile” [sic] was played, everything was perfect. Bass and drums combined in a massive wall of sound which entered your body, and cleaned out every inch completely. “Foxy Lady,” followed next which pressed you into your chair, and you were sure this was a successful trip, for it would lead you far into the other world. It was the sophisticated song “Spanish Castle Magic” which carried you away. One forgot time and place completely, gliding into Jimi Hendrix Experience’s pleasant world of sounds. The concert ended with another version of “Woo Doo Chile” [actually ‘Hear My Train A Coming’], and with a blessed smile on your lips you could leave the Falkoner Centret half dancing, half flying, and with a feeling that you had certainly seen one of the beat generation’s super groups for sure.”

    Aggressive group
    Before this climax of the night, one had been witness to the English blues-group Jethro Tull keeping the audience spell bound, with a mixture of modern blues music and a wild and freaked stage performance, which made their music very aggressive. It is a shame that the blues purists will not accept this splendid music. The force in the group is absolutely Ian Anderson... Jethro Tull review ...

    Ekstra Bladet (11 January) ’Jeg elsker dig mens du sover’ [‘I love you while you sleep’], ‘
    Jimi Hendrix and Jethro Tull at the Falkoner Centret’ - review by Carsten Grolin: “It is always the others who give an artist an image. It is those who translate what he does or plays into words. So and so many words about those and those ideas, and so he is classified. I think the music speaks better for itself than what the label says. That is why the short and value-laden portraits are both wrong and dangerous. In this way some reviewer characterized the stage act of Jimi Hendrix the other day, as immature sexuality gimmicks. This would demand that the reviewer is very sure, that the gimmick of the artist is not purely liberal, but liberality with connection to the content of the show. The reviewer accuses the artist of being dishonest. I think Jimi Hendrix is honest. I think he is one of the most honest people in the world. To be honest you have to see things from many sides, as many as possible. And in the music of Jimi the things are seen from as many sides as possible. In Jimi’s music there is an endlessness of thoughts and feelings, but no loose ends.
    Another label connected to Hendrix is aggressiveness and violence. If he should classify himself he would more likely use words like soft, romantic, and dreaming. Here we are with he honesty again. Being more honest, one will explore more new thing. There can easily be so many, and they can be so beautiful, that people who have seen less would fall back for the strength and intensity.
    Actually I think that Jimi Hendrix’s only problem is that he has to fight against these two very hard and confounded thoughts. Everything else he has experienced. He has tried the total expulsion; he has fused together two completely different cultures, the white brain culture and the colored heart culture into a future synthesis. He has been on the stage hundreds of times and he has made love to hundred thousands of girls through his guitar, so that they at last will open up and have the sound waves tickle wildly. He knows he can. We know he can. But can he also show us his big soft heart? Can his audience follow him, can anybody follow him, or should he be left alone? There was obvious a difference on the audiences pleasure to follow out and see the purple haze at the two concerts yesterday in Falkoner Centret. The audience of the concert seemed frightened and self-protective, while the more freaked out part did recognize the major part and said ohh! so loud that one could hear it... Jethro Tull review...

    Jimi Hendrix: - When you have given it all it can take

    Politiken? (11 January) Beat med brækket ben [‘Beat with a broken leg’] review by [unknown]
    “A broken leg did not keep the American beat musician Jimi Hendrix from showing up and making the audience wild in the crowded Falkoner Center yesterday evening. His guitar play and advanced blues feeling has influenced many beat groups, and the concert yesterday evening indicated that he still will be a pioneer. A very nice start to the beat year 1969.”

    Politiken (11? January) Ro og vildskab [‘Peace And Wildness’] review by Ole John: “He just stands on the stage and is quiet until the curtain goes up. One second later, with the sound of his amplifiers behind him, he is out in his electric universe. From peace to wildness, when he touches his guitar and sends a stream of feedback and transistor noise out against his body. But it is no shock to see, because Hendrix moves tenderly and relaxed from one dimension to another. ‘I don‘t know if this is loud enough’ he says and turns up the volume on the amplifier and disappears into his supersonic world, where his emotions are registered at top speed in all shades. Not as much the melody or the text because he often plays the same chord, the same theme, for a long time, where variations are decided by which buttons he turns up and down. A dimension of vibrations, as if electrodes were connected directly to his nerves. He cries with his guitar, he hits it, he treats it tender against the microphone stand. He lets the guitar play by itself, press his feedback buttons and let the sound be itself, thrown around by the drums. His peace and wildness is that he controls this sound chaos. He turns the sound waves around him in certain directions, in different movements. He directs them after his immediate emotions, after the moment and is ready, almost classical in every movement. His clothes (colours, colours) jewellery, his hair, and his head movements are all synchronized with his hands in a similar visual experience. His music can hardly be compared with any other pop music. Okay, there are melodies and songs, and some of it is heard on records, but Jimi Hendrix is completely himself in the land of technique. “Electric Church Music” he called a song, but no similarities could be found with any known church music. It was the hall which was the church for a moment. The room changed in the blast of another world. A superior figure, Jimi Hendrix, who gets the music and the picture fused together in one big connection, where time is infinite.”

    Hej! (02 March) report by unknown: “In between the two show he threw himself on a sofa together with Noel, Mitch and a Danish blonde [Susan Fonsby, who married Noel Redding on 6 November], the only alert one of the four. Maybe Jimi has been pushed around too much…”

    Ian Anderson (singer/flautist, Jethro Tull): “Watching from the wings, what intrigued me was that when Hendrix was on form, he was absolutely brilliant, but when things went wrong, he completely crumbled... He seemed to be either all the way up or all the way down. Offstage though, he was very considerate and approachable, always with a big grin. I learned much later that we subsequently got a tour in Germany because Jimi had personally gone to the trouble to tell the top German promoter Fritz Rau that we were a great band and that he should book us’
    [Eyewitness Hendrix by Johnny Black, p. 176]

    IN (11 January) Elektrisk Hendrixland [‘Electric Hendrixland’] review by [unknown]: “Maybe he has realised that those people who buy his records attend the concerts to hear his music. Maybe he‘s just been too busy playing to find time for those gimmicks which, compared to his music, seem out of place. In any case there were only very few attempts to fuss and show of sexually, and each time it was like he thought better of it and concentrated even more on his music. With good reason. Because it was really important what he was doing: both very traditional (like the blues ‘Red House’) and also the independent exploration of electronics as a medium for rhythmic music. To hear the second, last part of the concert which I think was named ‘Electric Church Music’ and was an almost indescribable tonal switchback with squeals, slips and brakings was to explore an unknown land of music. No wonder that Hendrix most of the time was wrapped up in his discoveries.”

    Electric Hendrixland
    The other day I said that Jimi Hendrix’s two previous concerts in Denmark, were not the best publicity for his records. It is also my impression that most Hendrix fans until now have preferred to hear him on vinyl, where one has not been disturbed by gimmicks, which disfigured his first concerts. But in the Falkoner Centre yesterday evening it was different (at least the first show, which I’m writing about). Maybe Hendrix has realized that when he can get sold out concerts without any advertising, it is not necessary to use these types of gimmicks to attract people. Maybe he has realized that those people, who buy his records, attend the concerts to hear his music. Maybe he’s just been to busy playing, that he can’t find the time for those gimmicks, which compared to his music, seem to be out of place. In any case there were only a very few attempts to fuss and show-off sexually, and each time it was like he thought better of it, and concentrated even more on his music. With good reason, because what he was doing is really important, both the very traditional (like the blues “Red House”) and also his independent explorations of electronics as a medium for rhythmic music.
    There is a fundamental difference between the kind of electronic amplifying of guitar music, which was introduced into jazz thirty years ago, and which was used to bring the guitar up to the same volume level as the horn instruments - and Hendrix’s use of the instrument which more or less makes it a combination of a sound generator and an amplifier, which depends on the tone of electric amplification t. He is not the only person who works in that direction (eg. Eric Clapton and Larry Coryell), but he is without comparison, the one who does it with most consistency, fantasy, and virtuosity. To hear the second part of the concert - which I think was named “Electric Church Music” was an almost indescribable tonal switchback with squeals, slips, and brakings - was to explore an unknown land of music. No wonder that Hendrix most of the time was completely wrapped up in his discoveries.
    Although it is probably assumed that for the sound effects to work that the loudspeakers have to be turned up so loud, that Hendrix’s two very good partners, the bass player Noel Redding and the drummer Mitch Mitchell, are almost drowned out, and the audience almost get their ear drums blown out (how can the musicians themselves stand the noise?). Not only in consideration of ones future ability to hear, but also for musical reasons, one looks forward to the day when Hendrix turns his volume down.
    His music already seems to be the most instrumentally interesting on the beat scene at the moment, and maybe not only there. That is why it felt right, that his vocals only had a minor role, and so low that one hardly could hear him.
    With Hendrix ringing in the head it is almost impossible to turn back to the first section of the concert, with Jethro Tull...Jethro Tull...The thing one wonders about when writing these last lines, is something completely different: whether another year has to pass before we can see a concert with Jimi Hendrix again. After yesterday’s concert, it would be hard to accept.

    Caesar Glebeek: “The next day in Copenhagen, Denmark, Jimi refused to attend the press reception, but when I saw him in Germany a few days later things were ‘back to normal’ again.”
    Last edited by stplsd; 04-06-16 at 12:59 PM.

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    Re: 1969-01-10 Falkoner Centret, Copenhagen, Zealand, Denmark

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