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Thread: 1969-09-05 'Harlem Benefit', 139 Street/Lenox Avenue, New York, USA

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    1969-09-05 'Harlem Benefit', 139 Street/Lenox Avenue, New York, USA

    Friday, September 5th, 1969

    1. Voodoo Child (Slight Return)
    2. Machine Gun



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    Re: 1969-09-05 'Harlem Benefit', 139 Street/Lenox Avenue, New York, USA


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    Re: 1969-09-05 'Harlem Benefit', 139 Street/Lenox Avenue, New York, USA

    1969-09-05 "United Block Association Benefit", 139 Street/Lenox Avenue, Harlem, New York, USA
    Support: Sam & Dave Band, Big Maybelle, J.D. Bryant, Chuck-a-luck and Maxine Brown
    1 show, after midnight
    Fire
    Foxy Lady
    Star Splangled Banner
    Purple Haze
    Red House
    Voodoo Child/Machine Gun
    (from Eye Witness by Ben Valkhoff)

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    Re: 1969-09-05 'Harlem Benefit', 139 Street/Lenox Avenue, New York, USA


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    Re: 1969-09-05 'Harlem Benefit', 139 Street/Lenox Avenue, New York, USA


    and the next Funkydrummer clean-up candidate is....

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    Re: 1969-09-05 'Harlem Benefit', 139 Street/Lenox Avenue, New York, USA

    Quote Originally Posted by jhendrixfanatic View Post

    and the next Funkydrummer clean-up candidate is....
    Actually I have had a few goes at Harlem over the years, but the final result is not really worth it, that said, I have a noise reduced and speed corrected (rough not perfect - I couldn't be bothered, as the tape changes speed a lot) but should be close in most parts - although I speed corrected to Eb, and I think that it should be E cause it sounds a little too slow...
    Although Machine Gun speed corrected is actually much slower than BoG version...I haven't bothered to torrent though...

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    Re: 1969-09-05 'Harlem Benefit', 139 Street/Lenox Avenue, New York, USA

    Quote Originally Posted by funkydrummer View Post
    Actually I have had a few goes at Harlem over the years, but the final result is not really worth it, that said, I have a noise reduced and speed corrected (rough not perfect - I couldn't be bothered, as the tape changes speed a lot) but should be close in most parts - although I speed corrected to Eb, and I think that it should be E cause it sounds a little too slow...
    Although Machine Gun speed corrected is actually much slower than BoG version...I haven't bothered to torrent though...



    Habra un audio mas limpio y de mejor calidad.

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    Re: 1969-09-05 'Harlem Benefit', 139 Street/Lenox Avenue, New York, USA

    Friday 5 September 1969
    New York City, 139th Street/Lennox Avenue, Harlem, New York, USA
    Gypsy Sun And Rainbows (A Band Of Gypsies): Jimi – guitar & vocal, Larry Lee - guitar & vocal, Billy Cox – bass, Mitch Mitchell – drums, Juma Sultan – percussion, Jerry Velez - congas
    Concert – ‘Mystique of Harlem’ (United Block Association benefit) –
    Jimi get’s ‘Gypsy Sun & Rainbows’ to play a benefit, that included Big Maybelle, for the Harlem charity ‘UBA’, organised by both Allen twins. This was only 12 days after the last ‘Harlem Cultural Festival’ (aka ‘Black Woodstock’) Sunday show. It can be seen as an adjunct to that, although held in the street, as a benefit for the UBA, rather than in the park. He originally wanted to play the Harlem Apollo on 11 July but his ‘Sky Church’ wasn’t ready, It was also planned to feature Big Maybelle, as well as Buddy Miles Express and was to have been organised by Albert Allen as a benefit for the Harlem charity ‘Biafra Calls’
    Before they played the band were booed a bit and an egg was thrown, no doubt pissed off that, the very popular headliner, Big Maybelle had left the stage for them – they were supposed to go on earlier, but arrived late. Billy Cox says that they won them over by playing ‘San-Ho-Zay’, with Jimi, Billy & Larry doing dance steps and other, unamed, R&B songs from their Nashville days, before they got into Jimi’s songs.
    Taped songs are of unlistenably bad quality
    With: Big Maybelle; J.D. Bryant; Chuck-a-luck; Jimmy Brooks; Love Men Ltd; Maxine Brown; La Roque Bay Dancers, 128th and 129th Streets Block Association Steel Bands; DJ: Eddie O’Jay.
    Songs:

    San-Ho-Zay (Freddie King & (Alphonso) ‘Sonny’ Thompson)
    & unamed ‘R&B’ songs
    Foxy Lady
    Red House
    Purple Haze
    The Star Spangled Banner (music: John Stafford Smith)
    Voodoo Child (Slight Return) (89) >
    <Machine Gun (8)>
    <Voodoo Child (Slight Return) (reprise)

    JET 4 September. (Page 62) ‘New York Beat’ by Bobbie Barbee: . . . Now one of the highest paid entertainers on the scene, acid rock star Jimi Hendrix consented to do a benefit Mystique of Harlemfor the United Block Assn. on Sept 5. Also appearing will be Maxine Brown, Big Maybelle, Chuck-A-Luck, J.D. Bryant, and the Sam & Dave band. . .

    Billy: “The gig in Harlem did not get off to a good start. We were booed. But then Jimi walked over to me and said 'let’s take’em home and give them some of the stuff we played at the Del Morocco.' He motioned to Larry Lee. Now, don't forget that Jimi, Larry Lee and I had spent a lot of time in Nashville together, friends and musicians, who knew each other. We then went into Freddie King’s ‘San-Ho-Zay’. The three of us threw in some steps just like a lot of the chitilin circuit groups would do. We had been initiated back down south on what it took to put on a show. And a show we put on!!! The crowd went crazy. We had them where we wanted them—in our hands. After that, we mixed it up with some chitlin circuit to remind them we could play, so they would listen to Hendrix material and we could take them to the next dimension of music.”

    New York Times (06 September) interview by unknown: “Jimi Hendrix introduced his expanded revue, ‘Gypsy, Sun and Rainbow’ at a benefit performance last night for the United Block Association. Neighbourhood residents and a handful of young white rock fans stood for hours on 139th Street near Lennox Avenue to hear the singer and others including the Sam and Dave band, Big Maybelle and J.D. Brown, perform for the Block Association, a poverty program unit that runs day care centers and tutorial programs for it’s member associations. Mr. Hendrix in white horse-hair slacks, a cream-coloured fringed buckskin jacket and a pink headband said before the show that he had come to Harlem for personal reasons as well as to support the block association.”

    Jimi: “Sometimes when I come up here, people say I play white rock for white people.”
    NYT: “What are you doing up here?”
    Jimi: “Well I want to show that music is universal - that there is no white rock or black rock. Some of these kids haven’t got the $6 to go to Madison Square Garden - besides I used to play up here myself at Small’s over 135th and Seventh.”

    Disc (20 September) ‘Hendrix In Hip Harlem’ – review by Richard Robinson: ”As I said, about 5,000 people showed up to see him. Maxine Brown and Big Maybelle appeared before Jimi and by the time Hendrix came on, which was after midnight, the crowd had dwindled to about 500 and by the time he had finished playing the estimated crowd figure was 200 with about 50 white hippies among them.”

    Go Magazine (03 October) ‘Experience Break-Up: Noel Splits and Jimi Moves Uptown’ – review by Chris Hodenfield: “Jimi Hendrix is going back to his roots. He hasn’t played a real Black club since the old roustabout days when he was Jimmy James, backing up the likes of the Isley Brothers, Little Richard, and Wilson Pickett. Earlier this summer, he asked to play Harlem’s number one nightspot, the Apollo, but backed off at the standard demand of playing a one-week stand. Instead, he went one step grittier, and played right out on 18th Street, right off Lennox Avenue in Harlem. Bro’, that’s IN it. What brought this all about is not for us to decide. (New nationalism? Athidkethnic campaign? Shirking off the honky plastic kingdom over which he used to be the major golden calf?) The show was, whatever Jimi’s intentions, a soul fest. The stage was a wooden platform four feet above the ground, and members of the Sam & Dave band were there to back up a succession of local talent. Screaming, joking disk jockey Eddie O’Jay was a-panting, and bringing in Big Maybelle, J. D. Bryant, Chuck-aluck, and Maxine Brown. And then the sky went dark. The stage looked ominous with the back completely filled with six seven-foot high Marshall amplifiers. Voices passed around all goshed. ‘Hey... you mean the Jimi Hendrix Essperience gon’ be here?’ ‘Yeah man, look at all that equipment, why sheet.’ Eddie O’Jay made the introduction four times, repeating it because the equipment kept snapping and crackling apart. (You couldn’t get away with crap like that at the Apollo; you’d get booed off the stage). O’Jay kept explaining how, even though he never got to play any of Hendrix’s records on his true soul show, this man was concerned with the young musician, and Brotherhood of all mankind, and things. I was hoping Jimi would come out in a blue tuxedo and break right into ‘Midnight Hour’ or ‘Land of a Thousand Dances. ‘But true to form (call him psychedelic, you may call him ‘far out,’ but whatever he’s YOURS), he came out in white silk pants, fringes down to the ground, silk shirts and pink scarf wrapped around his head. He was slow at the beginning, starting with a ripped version of ‘Fire.’ He said, ‘this music might sound loud and funky, but that’s what’s in the air right now, isn’t it?’ And then ‘Foxey Lady,’ which charred the first six rows of packed standing fans. Then the ‘Star Spangled Banner,’ which sounded like feedback violins shot through with dissonance. Which broke into ‘Purple Haze,’ (which didn’t take too much philosophical meat to understand). He was joking with the crowd, dedicating songs to girls in the crowd with yellow underwear and embarrassed smiles. He wasn’t coming off with his Madison Square Garden image of a huge-loined desperado whumping and jacking-off his axe tiredly, and then retiring to his den of lions, while the pimply boys and girls in the crowd leave with their images working overtime, but almost feeling cheated. No…in Harlem, he was right down in it there, honest and true blue/black. ‘Red House’ never sounded bluesier. To finish it all off, he announced the Harlem National Anthem, and wah-wahed off into ‘Voodoo Child, (Slight Return).’ (All new meanings arriving, chopping it all down with the edge of a hand.) Billy Cox, supposedly an old Army buddy of Hendrix’s, plays bass, and I must confess, even as much as I like Noel, Cox is a much more present bassist. Larry Lee plays rhythm guitar, and is given time to take solos at times. These two cats seem to add that final dimension that was missing before in Hendrix’s live music. At the concert, Larry Lee sounded good enough to play lead for his own band. Also meandering around on the sidelines are Juma, in a floor- length dashiki, playing bongos with kettle drum sounds, and Jerry Velez, unconcernedly popping and pumping on a bongo. With all this new addition to the group, the sound still remains Well Done Hendrix. (Jimi eating out the guitar; Jimi playing with his elbow; Jimi swinging the Stratocaster around back so the neck comes out through his crotch; Jimi picking and grinning with his teeth snapping the strings. The hot Harlem fans going wild. Walking home, one guy shouted out in his excitement, ‘Man, I’m going home right now and practice on my guitar!’ He sank to his knees in a spasm, clutching an imaginary guitar in front of him. His friends jeering at him, but digging it)”

    Circus (November) review – by unknown: “[…] The Harlem concert was the greatest I’d ever seen him do. He had enthusiasm and willingness to boogie. For the finale he played a warped, hi-screech version of the ‘Star Spangled Banner,’ which went dripping and screaming into dissonancy. Coming back from that, he said, ‘Now we’re gonna play the Harlem National Anthem,’ and stepped on his trusty wah-wah pedal for a dynamite version of ‘Voodoo Child (Slight Return).’ Towards the end he turned and flew into the amplifier, chipping off a corner, but he came bouncing back with a big smile and a peace- sign as if to say, ‘yeah, but don’t forget He did this again, much to the cheers of the street. He shot everyone a black power wrist, which got some reaction, and then a peace sign, which got even more of a gelasmus. And then, to top it all off, he flipped everyone another sign, which sort of brought the sky down. He is a master performer when he wants to be one, and this concert gave him the necessary inspiration.”
    Last edited by stplsd; 09-14-17 at 01:40 AM.
    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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    Re: 1969-09-05 'Harlem Benefit', 139 Street/Lenox Avenue, New York, USA


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    Re: 1969-09-05 'Harlem Benefit', 139 Street/Lenox Avenue, New York, USA

    Billy Cox Facebook post:

    "The gig in Harlem did not get off to a good start. We were booed. But then Jimi walked over to me and said 'let’s take’em home and give them some of the stuff we played at the Del Morocco.' He motioned to Larry Lee. Now, don't forget that Jimi, Larry Lee and I had spent a lot of time in Nashville together, friends and musicians, who knew each other. We then went into Freddie King’s SAN HO ZAY. The three of us threw in some steps just like a lot of the chitilin circuit groups would do. We had been initiated back down south on what it took to put on a show. And a show we put on!!! The crowd went crazy. We had them where we wanted them--in our hands. After that, we mixed it up with some chitlin circuit to remind them we could play, so they would listen to Hendrix material and we could take them to the next dimension of music"…The Last Gypsy, Billy Cox

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    Re: 1969-09-05 'Harlem Benefit', 139 Street/Lenox Avenue, New York, USA

    Quote Originally Posted by Ezy Rider View Post
    Billy Cox Facebook post:"The gig in Harlem.........
    Thanks Ezy R, very interesting, reminded me Jimi was jamming with BB King on San Ho Zay in 1968. But a pity Billy doesn't mention what other songs were played?
    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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