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Thread: Jesse Ed Davis Remembers Jimi 1975

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    Re: Jesse Ed Davis Remembers Jimi 1975

    Tappy Wright cannot be taken seriously....in his autobiography, he tells us that Jimi's manager arranged for Jimi to be murdered--and that Mike Jeffery actually was physically involved in said murder....the thing is, Jeffery was proven to be in Spain when Jimi died....Univibes covered this bogus claim very thoroughly.

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    Re: Jesse Ed Davis Remembers Jimi 1975

    Harvey Brooks 2009

    Its four in the afternoon, the sun is blazing, and Brooks is overcome with memories. “I really miss Jimi Hendrix. Women loved him, and not only women. He knew how to drive his audience crazy. I met him at his first festival, we were in the same hotel for a few days, some of the most beautiful women in the world were there and they all wanted him.

    Before our last shows I was making mixes in the studio and Hendrix was in the next room. We talked about doing something together with Miles Davis, and Jimi was complaining about his managers. ‘Harvey, they are just killing me, they want me to do a bunch of shows, and I just don’t want to. I want to sit quietly and write music, and not work so hard, but my manager says I have to go do tours for the money,’ he said to me. So I told him ‘Jimi, you don’t owe them anything, you just look out for yourself.’ But he said ‘Harvey, too many people are dependent on me and my music,’ and he went out on tour. He was a human being but they treated him like a machine. I certainly blame his managers for his death.

    PF- I read that you and Brian Jones and Jimi Hendrix talked a lot. What did you guys talk about?
    HB- It was funny. Brian Jones was the English version of blues, we were talking about the blues and he was talking about how all the English musicians really loved American blues and Jimi was saying that he found the English version of the blues kinda funny. He said he thought it was honest, but he thought they played pretty funny.
    PF- How many live gigs did you play with Hendrix?
    HB- I played a bunch of gigs on the same bill with him at the Cafe a Go Go, just jamming at the club.
    PF- What was the crowd's reaction to Jimi when he was playing?
    HB- People always loved Jimi, he was always a crowd pleaser, even when he was wearing his multi-colored mohair suits he'd do that stuff and you couldn't help but like it.

    BDE: How did you get to jam with Jimi Hendrix?

    HB: Cafe Au Go Go and Steve Paul's The Scene were the two hot spots. Jimi and I became good friends. We would start at the Au Go Go and then go uptown to The Scene. At the Go Go, one jam was with Duane Allman, Paul Butterfield, Elvin Bishop & Jimi, and then we went uptown and jammed with Jimi, Buddy Miles, Jim Morrison & Johnny Winter. The Jimi Hendrix Experience and Electric Flag shared many bills and Jimi, Buddy and I once had a killer jam at the Fillmore East.

    What’s the best jam you ever played in?

    One was at the Café Au Go Go. I was in town with the Electric flag, Jimi Hendrix with The Experience, Duane Allman with the Allman Brothers and Elvin Bishop with the Butterfield Blues Band. I do believe we played the first version of Little Wing that night. After that I went uptown to Steve Paul’s “The Scene” and jammed with Jimi, Johnny Winter, Buddy Miles and Jim Morrison.

    Had you ever met Jimi Hendrix?

    Yeah! When I was living in the Village, in the early ‘60s, Jimi was playing as Jimmy James and we used to jam a lot at the Café Au Go Go. In fact, there is a tape with Jimi, myself, I think Paul Butterfield, Johnny Winter, Buddy Miles, I think I was with Jim Morrison on it in some jazz stuff we did.

    Harvey - I think it was at The Scene club.

    Yes, at The Scene also. There were two of these recordings (ed: “Woke Up This Morning and Found Myself Dead” the name of one of these bootlegs). Also, I had a record deal for Jimi with Jerry Schoenbaum from Verve Forecast Records and when I talked to him about it, he had just signed with Chas Chandler (ed: The Animals bass player, Hendrix’ manager and producer). He got in England

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    Re: Jesse Ed Davis Remembers Jimi 1975

    Andy Summers Of The Police - Rolling Stone Magazine March 2015

    Your career began with you playing some of the same gigs as Jimi Hendrix. What was that like?

    It was like a nightmare, actually. I was playing with this psychedelic, acid-rock band called Dantalian's Chariot at a small London club called the Speakeasy, when Jimi Hendrix had arrived and was already burning the world completely. He sat with two girls at a little table as close as you are to me now, and I'm playing this whole show in front of Jimi Hendrix. Could you imagine? It was, like, give me a break, man. Can you move back a bit? You're sitting right in front of me, in front of the guitarist. He's very sweet. I played with him later. I had a little session with him in L.A. one time; he played bass, and I played lead.

    Jimi Hendrix accompanied you on bass? How did that happen?

    We were all in the same scene, the same managers, and a year later we got the word one night that Jimi was going to be playing at TTG Studios, a studio in Hollywood. Jimi was leaning against the studio window with his hat with a feather on it and a cigarette hanging out of his mouth, and his Strat at absolute roaring volume, just wailing. It was incredible, like, surrealistic.

    Once he stopped playing, he came into me and we talked a little bit. He was very soft and shy, actually, and then I walked out of the studio and Mitch [Mitchell, Hendrix's drummer] was there, and there was a guitar but for some reason, there was a right-handed guitar. Of course, he played the other way. So I pick up the guitar and I'm starting to jam with Mitchell, and Jimi came out and picked up the bass and started playing along with us, and we played for about 10 minutes. Like, fuck, it's Jimi Hendrix playing bass with me. It was a great moment, and after we did about 10 minutes, he said, "Hey, man. Do you mind if I played the guitar for a little bit?" It was a bit intimidating, because everybody in the world worshipped him. All the guitarists did at that point. Anyway, that was the last time I saw him.

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    Re: Jesse Ed Davis Remembers Jimi 1975

    ALBERT KING

    AP: I’ve heard stories of people who tried to copy your sound but didn’t know that you were playing upside down.

    KING: [Laughs] Yeah, I’ve heard that, too. And people who try to restring their guitars to get my sound, and everything else you can imagine. Jimi Hendrix used to take pictures of my fingers to try and see what I was doing. He never quite figured it out, but Jimi was a hell of guitar player, the fastest dude around – at the time. There’s some kids who are coming around now… Whew! Forget about it. They burn up the fretboard.

    AP: Obviously, Hendrix was a great guitarist. But what do you think of him as a blues player?

    KING: Well, to me, he was overplaying to play the blues. He’d hit two or three good licks here and there and then speed them up and hit them over and over until he’d drown out all the good ones. The kids loved it and I liked his playing, tooæthat was his style. But don’t call him a great bluesman. I think he was going more in that direction, but we’ll never know. He didn’t take care of himself.

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    Re: Jesse Ed Davis Remembers Jimi 1975

    ERIC CLAPTON

    Today I found out Eric Clapton was to meet up with Jimi Hendrix on the night Hendrix died. He was also with Stevie Ray Vaughan on the night he died.

    Clapton was good friends with Jimi Hendrix and was supposed to meet him on the night of Hendrix’ death at a Sly and the Family Stone concert. Clapton had bought him a guitar which was made for a lefty (Hendrix usually just played right handed guitars upside down). However, Hendrix never got that guitar, having not show up to meet Clapton that night. Clapton later stated:

    The next day, I heard that he had died. He had passed out, stoned on a mixture of booze and drugs, and choked on his own vomit. It was the first time the death of another musician really affected me. We had all felt obliterated when Buddy Holly died, but this was much more personal. I was incredibly upset and very angry, and was filled with a feeling of terrible loneliness… I went out in the garden and cried all day because he’d left me behind. Not because he’d gone, but because he hadn’t taken me with him. It just made me so fucking angry. I wasn’t sad, I was just pissed off.”

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    Re: Jesse Ed Davis Remembers Jimi 1975

    JIMMIE VAUGHAN talks on opening for Jimi Hendrix 2011

    In a recent telephone interview, he spoke to The State Journal-Register in Springfield, Ill., about opening for Jimi Hendrix and his “freaky” desire to play every day.

    In 1969, Jimmie Vaughan's group opened for The Jimi Hendrix Experience in Fort Worth, Texas. It was at this show that Vaughan lent Jimi Hendrix his Vox Wah-wah pedal which Hendrix ended up breaking. In return, Hendrix gave Vaughan his own touring Wah-wah pedal.

    Q: What was it like opening for the Jimi Hendrix Experience?

    A: I was in a band called the Chessmen, and we opened the show at McFarland Auditorium in Dallas, Texas. It was Jimi Hendrix, so everybody was completely excited, and I think maybe I was the most excited. I was an absolute crazy fan.

    His roadie said that Jimi had busted his pedal, and it was on Saturday or Sunday, so he couldn’t go buy a new one because the stores were closed.

    He said he had this extra one, which was not a good one — they didn’t like it — so they said we’ll give you this one and $50 and you give us yours. And they only cost $29 or something like that at the time. They basically gave me double and a broken one for a souvenir.

    Q: Do you still have it?

    A: I do, yes.

    Q: Did he influence your approach to the guitar?

    A: Absolutely. When I first started hearing him play, on records, it was blues. It sounded like a young Muddy Waters on LSD, for lack of a better way to describe it.

    I thought it was blues, I didn’t know. I heard “Purple Haze,” and if I’ve ever heard blues, that’s blues.

    It was kind of hard to figure out exactly what he was doing, but there was a lot of feedback and noises, and he brought everything together.

    Q: In the era before you could look up YouTube videos of great guitarists to see what they’re doing, how did you learn from people like Hendrix?

    A: Mainly you would try to copy off the records, and it was on the radio, too. You just walk around your house and play the radio, and try to play along with the radio. That’s really how I learned how to play. You just play all the time.

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    Re: Jesse Ed Davis Remembers Jimi 1975

    JACK BRUCE

    Jim Clash: What’s your favorite Cream song?

    Jack Bruce: Probably White Room. The inspiration for the music came from meeting Jimi Hendrix and his approach to playing. In fact, he came to the recording session of that in New York and said to me, “I wish I could write something like that.” I said, “But it comes from you!”

    I remember Eric saying after we met Jimi [Hendrix] that one of us had to have that kind of afro. I said, “It ain’t going to be me, mate.” So Eric got the perm. Things happened in that band by default.

    JC: Really, what else?
    ------------------------------------------------------------------------------------------
    Ray Shasho: Jack, I’m really going to put you on the spot now …Do you think Jimi Hendrix or Eric Clapton was the better blues guitarist?
    Jack Bruce: “That’s a hard one, but I would say Eric. Simply because Jimi was this force of nature, and I don’t even think of him as a great blues guitarist, he was something else, like from another planet. Just this amazing force and he was a friend of mine. But it’s very difficult to say whose better. Eric had such a great knowledge of the blues; he knows the blues inside out, like a musicologist. So I would have to say Eric, but that’s probably out of loyalties love.”
    On January 29, 1967, Bruce, then a member — alongside Eric Clapton and Ginger Baker — of the original “supergroup” Cream, attended a performance at London’s Saville Theatre featuring The Who and the Jimi Hendrix Experience. After the performance, Bruce — thoroughly impressed by Hendrix’s musicianship — found himself fooling around at home with his double bass, the electric majesty of Hendrix still in his ear. The “Sunshine” riff emerged that night and was later given song form through the contributions of lyricist Peter Brown, with Clapton writing the music and words for the chorus.

    Ray Shasho: Jack, here’s a question that I ask everyone that I interview. If you had a ‘Field of Dreams’ wish like the movie, to play, sing or collaborate with anyone from the past or present, who would that be?

    Jack Bruce: “It’s a tricky one for me. We nearly had a band with Jimi Hendrix and Tony Williams. We were talking to each other about forming a band with those guys and I would have loved to see what would have happened if the three of us had got together. So I would say Jimi and Tony Williams.”

    We did some mini festivals; he’d open one and we’d open the other, sharing the billing. It was always interesting to watch his facility, the fact that he was really playing the electric guitar more than anybody had at that time. My impression was that he was in the tradition of Delta blues people like Skip James, who was recognised as the technician taking the guitar in a new direction. Toward the end he was developing in a more jazz direction – Tony Williams and myself talked to Jimi about putting a band together when he died. He was very supportive of me. When we were recording in New York, for instance, he came down to the sessions at Atlantic and was very encouraging about White Room, saying “Oh, I wish I could write something like that!” He was certainly not egotistical. He was really the opposite of his stage persona, as everybody has always said, but it happens to be true. Very quiet, a bit of a raver on the quiet, but a very gentle person. He didn’t go around setting fire to things a lot! Not like, say, Ginger Baker, who’d play paradiddles on everything, including your head.
    ----------------------------------------------------------------------------------------------

    ERIC CLAPTON

    Then, shortly after Cream started, The Jimi Hendrix Experience came along…
    We were playing at the London Polytechnic the day Jimi arrived in England and Chas Chandler brought him to see us. He said he’d like to play. And he got up and played Howlin’ Wolf’s “Killing Floor”. Even today I don’t know many people who can play that. It’s a very, very tough piece of music. But Jimi did it and then he put the guitar behind his back and I thought, “My god, this is like Buddy Guy on acid.”

    Did you feel threatened by him?

    I fell in love with him. I think Ginger and Jack felt threatened because they could see he was going to corner the market, for sure. But I felt an incredible sense of relief that there was somebody else on the planet who was as devoted to that music as I was. Of course, he was a showman. But he knew what the blues was about. I was really keen to get to know him and spend time with him. But he was an elusive guy and he wasn’t that available for friendship. I still don’t know what the real deal was with him or what his motives were or what the long-term plan was, or even if he had one. He definitely pulled the rug out from under Cream, though. I told people like Pete Townshend about him and we’d go and see him at different clubs and I wondered how he was going to make what he did work on record. Then we went off to America to record Disraeli Gears, which I thought was an incredibly good album. And when we got back no one was interested because Are You Experienced had come out and wiped everybody else out, including us. Jimi had it sewn ⌦up. He’d taken the blues and made it incredibly cutting-edge. I was in awe of him.

    Was there anything you couldn’t get him to talk about that you wish you could have?
    ----------------------------------------------------------------------------------------------------------------

    JAY BULGER On Ginger Baker - Filmaker: Beware Of Mr. Baker

    Was there anything you couldn’t get him to talk about that you wish you could have?

    I got him to talk about the night Jimi Hendrix died, but it was the one story that didn’t work as far as the progression of the film. It just didn’t fit.

    What was the story?

    Well, the night Jimi Hendrix died, they were together, and [Ginger] went to get coke, and when he got back, he couldn’t find Jimi. So he took all the coke himself and overdosed, and when he woke up, the doctor was like, “Well, you’re not dead but Jimi is.” So he was like, “Screw this I have to get out of here. Otherwise, I’m going to die.”


    Bert Jansch

    At the Royal Festival Hall there were classical players and Paco Peña and Jimi and myself. It was like a guitar showcase. I thought he was great. It really opened my ears up to the electric guitar, which I’d never had any interest in until Jimi came along. He had a bank of speakers at the back, Marshalls or whatever, and for his soundcheck he came in and plugged into a couple of pedals on the floor, turned his guitar up full volume and smashed the guitar – one chord – and then unplugged it. That was the soundcheck! His band came on a while after that and did a proper soundcheck, but it was dramatic to watch him in an empty hall; we were just sitting there.

    Prior to that I’d been doing that famous number of his, Hey Joe – but it had been on the folk scene for quite some time. I’d actually worked out a version of it long before I’d heard of him. When I met him he was very nice, didn’t say much, but that was his style. I shook his hand and I’m very proud that I did.

    Steve Howe
    Tomorrow / Yes

    Backstage at the Saville Theatre one night I witnessed his reckless guitar throwing. I knew one of his road managers and he used to stand behind the stacks of Marshalls and wait, and literally this white Strat would come over the amps. Of course, the idea was that he caught it. And usually he did.

    Tomorrow used to play at the UFO quite regularly, and in the mayhem of one of the guitar/sitar jams, droning away, Twink was thundering along on the drums, Keith [West] was waiting to start singing again, and the bass player laid his bass on the floor to do some erotic dancing with a girl. Suddenly Jimi Hendrix walked up on stage, picked up the bass and I don’t know what happened for 10 minutes – it was too uncanny to remember. I carried on jamming and he broke into a freak-out bass part. Then he walked off, we were knocked out. As a human being he was amicable, reachable. He smiled.

    Steve Winwood
    Traffic

    I met Jimi at somebody’s house before I saw him play. After that we’d run into each other a lot, we’d share bills and I became good friends with him and the band. First time I saw him was probably in Birmingham, in a small club like the Whiskey A Go Go.

    I did package tours with Spencer Davis. We did one with The Who, we did a theatre tour with the Stones in ’65, I think. Odeons and things like that. The equipment was primitive. I tend to bang on to young musicians about this. We didn’t mike the drums. The moment they started to mike the drums it changed the whole way, economically, that playing music worked. We’d used guitar amplifiers and microphones to actually get the voice and guitars up to the level of the drums, that was the original idea of guitar amplification. We played all these theatres, as did the Stones and The Beatles, to possibly two or 3,000 people and the drums were never miked. And now you go into a room above a pub and everyone’s got monitors and all the drums are miked. So then what happens is the band have to have three or four crew to set all that up and it prices them out of the market. It alters the whole economic balance of live playing. When we did early stuff we didn’t have any crew. Eventually we had one man, he’d drive and we’d help him set everything up.

    To stay in overnight there were places like George’s in Newcastle, which was a theatrical digs, and a lot of old-fashioned British Railways hotels – which were lovely, actually, but they’ve all gone. And often little out of the way country hotels. Cheap, not smart. And the promoters? To tell the truth, I never had much to do with them!

    Jimi never played at Traffic’s cottage, but we had a flat in the corner of Cromwell Road and Earl’s Court Road and he would come up there and jam. But mostly I played when he called us and asked us to come down. Whenever he asked it was always to officially play – it was jamming, but tape machines were rolling, which was the difference, rather than just hanging out.

    Playing with him was tremendous. Instantaneous. He asked me to play organ on Voodoo Chile on Electric Ladyland. There were four or five other guitarists out in the hall – the great jazz guitarist Larry Coryell, Jack Casady played bass. We did two takes of Voodoo Chile, I think take 2 was on the record. There wasn’t a lot of rehearsing, it was all about interaction. He was not at all egotistical. I never sensed that about him, except perhaps when I saw him on talk shows, when he seemed a bit different. But I think he just didn’t want to conform to what their idea of a rock star should be. But his playing was receptive.

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    Re: Jesse Ed Davis Remembers Jimi 1975

    SCREAMING LORD SUTCH


    When he arrived on the scene, Jeff Beck and Jimmy page. Eric Clapton
    and Ritchie Blackmore were all aware. They had a meeting and said, “This
    is the guy. This is the way it’s going to go on in music.” He put the
    fear of Christ up everyone.


    I used to go in the limousines with him and Mitch and Noel. It was
    funny, they’d go to top hotels but none of them had any money.
    Everything was on account, but when it came to clubbing they had no
    money. When I asked for money the subject was changed, I had to buy
    their drinks. Mitch and Noel had both come out of the Savages so that’s
    how I knew them. I met Jimi when Noel first got the job. Once I met him
    in the dressing room, I had all my loony gear on, my leopard-skin
    outfit, top hat and everything. He said, “Christ, oh man, I’m too high
    to handle that outfit.” It was too way out with what he was on. Ha ha! I
    had the wild man image with long hair, 18 inches – way before the
    Stones – two foot at one stage, running around with leopard-skins and a
    club, the Alice Cooper when Alice Cooper was still in nappies. But when I
    met Hendrix he was wild, mean and moody. He had this charisma, spoke in
    a whisper, very polite, but he still had this aura of greatness about
    him.


    KATHY ETCHINGHAM

    Jimi’s girlfriend from 1966 to 1969


    I met Jimi at the Scotch of St James. I went down to the basement and
    everyone was silent – there was just this guy playing in the corner.
    There was an atmosphere almost like shock, and Chas was sitting there
    with a grin on his face. He came from out of the blue. Nobody had ever
    heard a thing about him. Chas had found him in New York via Linda Keith,
    who was Keith Richard’s girlfriend. Jimi was playing clubs in New York
    and he met Linda when The Rolling Stones were on tour – and they became
    “good friends”, as they euphemistically say. Then she bumped into Chas
    and said, “Hey, you’ve got to hear this guy.” He went down to the Café
    Wha? to listen, and said, “Great, do you want to come back to England?”


    The word got around very quickly. It was a small scene, not like now.
    Everything was rather incestuous, one girlfriend moved from one person
    to the next. It was word of mouth, but more to do with the way he looked
    than his music. The big shock came when they actually heard him and
    they nearly died. Chas relates a tale about him playing at the London
    Polytechnic, Chas went up to the stage and said to Eric [Clapton], “Can
    Jimi play?” Eric said yes and so he played. Then Eric said to Chas
    Chandler. “Jesus Christ! I’m finished! Does he do more than one song?”
    Chas was very proud of his find.


    Jimi was especially good in those early days because he was fresh, he
    hadn’t been exploited and worked into the ground. Not everybody felt
    bad about Jimi coming along and being better than them. I can’t remember
    Jeff Beck ever being resentful – in fact I remember them jamming
    together at the Speakeasy. But the atmosphere was not good between him
    and Eric Clapton, no matter what Eric might say. We went round to Eric’s
    one night in the early days, at the top of Gloucester Road, and I
    remember the conversation was so difficult and strained. They had
    nothing to talk about, they just talked a bit about guitars and who they
    liked, and when we walked out in the early hours of the morning, Jimi
    said to me, “That was hard work!” Jimi was quite gregarious and chatty,
    but he didn't want to talk about guitars all the time. He had other
    interests in life, girls being one of them. I’ve read accounts that say:
    “Strange looks came across his face, and he sat down and wrote songs
    with great intensity.” He didn’t. He used to scribble them on the back
    of serviettes and things. They’d get stuck in the cupboard. Then he’d
    find them a month later and add a few lines.


    But he did write The Wind Cries Mary overnight. Because that was the
    result of one of the rows we had. All the incidents in it were what
    happened: I smashed plates on the floor, he swept them up, and I had red
    hair and was in a red dress. I went back after I’d cooled down and he’d
    already written it. It was one hell of a barney.


    He’d tour around working men’s clubs. We ended up in a place in
    Darlington, nobody took a blind bit of notice of him. I think there was
    bingo before and after. And when we got outside the bloody van had
    broken down, we had to push it in the snow. Another time on tour he
    heard Wild Thing, we were in the blue van and it came over the radio and
    Jimi said, “Wow! I gotta do that! The Troggs? Ha ha, what a name!” In
    the group’s van, Jimi and I got places of honour in the front seat and
    Mitch and Noel used to have to sit on the equipment at the back.


    He was at his peak in 1967, at his most creative. In the early days
    he had a lot of fun, but towards the end of his life the mind boggles at
    the deterioration. The freeloaders were part of his downfall, the girls
    chasing after him. He had no peace, nowhere to hide. Yet he was
    essentially lonely. He needed company but all he had were these
    hanger-on types. When we lived in Brook Street he was quite safe from
    those people because I controlled things, I wouldn’t let them in. There
    was no bell on the door, we were three floors up and in a busy street
    like Brook Street you couldn’t shout up because of the noise of the
    traffic. I used to take the phone off the hook. At least that way people
    couldn’t get to him. He had time to recuperate. He was vulnerable
    because of his affability, he didn’t know how to tell them to sod off.




    NOEL REDDING

    Bassist with the Jimi Hendrix Experience


    They used to be called theatre tours. It was strange because you did
    two shows a night but only played for 35 minutes. There was some mixing
    on that first tour. The Walker Brothers were stars and kept themselves
    to themselves. Humperdinck’s guitar player left after the first night so
    I played guitar for him on that tour, behind the curtain. I’d play bass
    with Hendrix then walk across the stage and there would be a guitar and
    a chair for me. I knew Engelbert from earlier, I used to do demos with
    him when I was signed to his manager Gordon Mills. We were a bit more
    extrovert than they were, but they were stars. And Cat Stevens  – Steve –
    was very good, on the bus he tried to keep up with our “intake” on
    various situations – and he couldn’t! Ha ha!


    There was no PA system, you’d just go and play. There was no fiddling
    about like these days – soundchecks, whatever that means. We’d turn up,
    Hendrix and I would go to the pub, we’d do the set, sit around, so the
    second set. All this paraphernalia around rock bands is stupid. We had
    no sound-man, just a road manager, normal house lighting, very basic but
    very nice. On that first package tour they said that Hendrix was to
    “explicit” in his actions, but it was all PR. He was told to cool it.


    The hotels in Britain in ’67 weren’t too bad. We liked to travel
    ahead. We didn’t want to hang out in Bolton so we got a train to
    Blackpool. But we weren’t allowed into that hotel. They said, and this
    happened a lot to us, “You aren’t booked here. Clear off.” This is three
    in the morning. I vividly remember wandering around Blackpool with
    Mitch [Mitchell]. We’d lost Jimi. We checked into this B&B. Same
    thing happened to everyone on the tour, because of our appearance.


    We were always kept busy. We didn’t go to sleep for about two years!
    The schedule was terrible. You’d get out of bed for a photo call then
    Hendrix or I might do an interview, then drive to Manchester to do a
    gig, and sometimes drive back that night to go into the studio and work
    for a couple of hours. Then next day the same thing. I think we worked
    too hard. It’s probably what destroyed the group in the end.


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    Re: Jesse Ed Davis & Many Others Remember Jimi

    When Englebert tells the story it was JIMI playing guitar behind the curtain.

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    Re: Jesse Ed Davis & Many Others Remember Jimi

    STING (The Police): "I must've been 14 and Jimi Hendrix played at the Club A-Go-Go in Newcastle. I'd never seen a black man before, let alone a black man who was 6 feet tall with an Afro haircut and a sort of 17th century military costume. I'd never seen anyone play left-handed guitar or destroy his amplifier and his guitar during a song. I'd never seen anybody play like that. It was terrifying, traumatic, an epiphany! I said, ‘This is what I want to aspire to. I'll never be Jimi Hendrix, but I can do something'.”

    ETTA JAMES: "Jimi and one of my background singers, Faye, used to live with me in New York in the early '60s, when he was working as a roadie for the Isley Brothers. She was his old lady, and they would both sleep in the bathtub in my one-room apartment. We named him `Egg Foo Young' because he loved to eat egg foo young so much! Believe me, at that time Jimi couldn't play; all he could do was turn the guitar up real loud. As a matter of fact, he was playing that two-stringed blues stuff. We knew he had the potential, but music hadn't gotten to that psychedelic, tie-dyed point yet. He just took the blues and intensified it. People think he was a master, but he was just `Egg Foo Young' to us.”

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    Re: Jesse Ed Davis & Many Others Remember Jimi

    LARRY CORYELL - (Gary Burton Quartet, the Eleventh House): I first heard Jimi Hendrix when I was in the Gary Burton Quartet in 1967. We were in the band van crossing over the Golden Gate Bridge and there came on the radio a blues called “Red House” – I thought it was Harvey Mandel on a good day, but I found out later it was Hendrix. He was back over from England for Monterey Pop. What impressed me most was the jazz-like ability to utilize the pentatonic scale and string-bending reminiscent of Ravi Shankar on a level that had never been achieved.

    The next time I saw him was at somebody’s apartment on the West Side in New York and he had stuck pins in his trousers. Somehow it didn’t seem to hurt him … but it was strange. We struck up a conversation about our mutual association with Seattle and I suggested he record “Come On” by Earl King. One or two albums later, it was on there.

    When I saw Hendrix at The Scene a short time later I was blown away by his musicality – it was still rock and roll and blues, but he played with more command of his instrument than anyone else. He was loud, but the volume he concocted didn’t hurt for some reason. Plus he put on a show, playing with his teeth, at the same time. And the underlying element in the music was sex – quite appropriate for the sixties.

    During one particularly explosive section – it might have been “Foxy Lady” – Jimi broke a string and he went to work changing that string on stage. Meanwhile, Mitch Mitchell and Noel Redding soldiered on and they sounded so good, bass and drums together, you didn’t really miss the guitar. It reminded me of what Miles [Davis] had said about Hendrix: “He could make two white guys play their asses off!” A great memory of a great player, and a great admirer in Miles.

    My experience “playing” with Jimi was nothing to write home about. We were, again, at The Scene and he grabbed a right-handed bass and played it left-handed. I had my Super-4 and we had a drummer – can’t recall who – and we just jammed on a blues. More importantly at that session, before we started I warmed up with a rather rapid major-seventh arpeggio that covers three octaves that I learned from Johnny Smith; Jimi liked that – he said, “Yeah.”

    Hendrix was nothing short of phenomenal and he remains the absolute master of that virtuoso-rock-blues style. But I have to add that Clapton, who is ever humble, came right up to Hendrix’s level in his own way when the Gary Burton Quartet played opposite Cream at the Fillmore West – long collective improvisations with Jack [Bruce] and Ginger – louder than all get out but musically innovative in terms of working with the blues. This was a seminal time in music. These innovative approaches set the bar for many years to come.

    Those were the days, I guess. I will never forget, around 1968, being in Hendrix’s limo in heavy, really heavy New York City traffic, listening to “Hey Jude” on the radio. Jimi took out his pencil and scribbled something on a piece of paper and “Crosstown Traffic” was born.

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    Re: Jesse Ed Davis & Many Others Remember Jimi

    DAVE DAVIES - The Kinks

    In real life, Hendrix was nothing like the wild guy that he portrayed on stage. He was a quiet, introverted guy, like Ray was. He was explosive on stage, but very softly spoken off it. I’d see him from time to time at the Scotch of St James or at parties. We used to exchange the odd word to each other, but it was never like we were close. I remember once sitting next to him on a plane bound for Stockholm. After a while we got talking a little and he suddenly said to me: “Y’know, that guitar riff you did on You Really Got Me was a real landmark.” You can imagine how I felt. To be endorsed by Hendrix was really something. It was a great compliment.

    DAVE EDMUNDS

    In about 1968 I had been doing pretty well with a band in Cardiff, and I was a motor mechanic. I decided to hand in my notice and to seek my fame and fortune in London. So I moved up and got a little poky flat somewhere.

    The places to go then were Giovanni’s in Denmark Street, where all the musos would hang out, and The Ship, a pub in Wardour Street. I went to The Ship one night, and it just so happened that Jimi Hendrix was playing at the Marquee down the road. All I knew about him was that I’d heard the record Hey Joe and that there was a buzz going round. So I was in The Ship with a friend from Cardiff, and Jimi walked in with a couple of guys and stood next to me at the bar, and we got talking.

    He asked me if I liked Eric Clapton and I said: “Oh yeah. But I’m into Steve Cropper and the MGs.” Which he seemed quite impressed with because that Stax thing was still a bit underground. We had a pint, and what struck me was that I’d never met anyone so opposite to their image; he was charming, polite and quite a gentleman. And that impression stuck with me.

    MICK FLEETWOOD - Fleetwood Mac

    Jimi actually came to one of Fleetwood Mac’s first rehearsals in London, because I’m sure he’d heard about Peter Green. He came down with producer Mike Vernon to the funny little club where we rehearsed, and I remember he was very shy, a lot like Brian Jones in many ways. Shy but suddenly bigger than life. Which is often the way with shy people. Here was this guy who’d been saying ‘yes sir, no sir’ to us, and then you’d see him on stage and he’s eating half a Marshall amplifier..

    MARIANNE FAITHFUL

    I went to see him at his first show in a club in London called The Bag O’Nails. I was the only person there, apart from the roadies and Chas Chandler [Hendrix’s manager].Obviously he saw me there, and he did this whole show to me. It was magical. I met him a quite a few times, and he always came on to me a bit strong and I couldn’t do anything, I was with Mick. I would’ve have loved to. Actually, quite frankly, if I hadn’t been with Mick I would’ve gone off with him. Jimi is my biggest regret.

    RONNIE WOOD - The Rolling Stones

    We shared a house in Holland Park – Pat [PP] Arnold’s house – and he gave me a basset hound called Snoopy that used to shit everywhere. Pat said: “Either the dog goes or you two go”. So Jimi said: “Why don’t I go and you keep my dog? I’ve got to move on anyway”. He was quite quiet as a flatmate: Quaaluded-up all the time. And spliffed. Very laid back. He’d just sit back and play right-handed or left-handed guitar – that ambidextrousness blew my mind. If I try to play left-handed it’s like giving a child a guitar.

    We used to get out the acoustics and swap blues licks, sometimes for him to warm-up before a show. He always said: “I don’t like my voice”. And I’d say: “Don’t worry, your guitar playing takes care of that.” He was a very sweet man. I remember him walking out of Ronnie Scott’s on the night he died. He had his arm around a girl and I shouted after him: “Oi, Jimi, say goodnight!” I was in tears when I found out the next day. I couldn’t believe it

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