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 Black Gold - The lost archives of Jimi Hendrix (Steven Roby) [2002]

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MessageSujet: Black Gold - The lost archives of Jimi Hendrix (Steven Roby) [2002]   Dim 11 Juil 2010 - 14:56

Black Gold - The lost archives of Jimi Hendrix (Steven Roby) [2002]



Steven Roby fut l'éditeur de "Straight Ahead: The International Jimi Hendrix Magazine" de 1989 à 1996. Il a ensuite travaillé un moment avec Experience Hendrix en tant qu'éditeur de la revue de EH et a contribué au site officiel. La préface de son livre est signée Noel Redding, qui allait décéder peu de temps après.

Le livre de Steven Roby n'est pas une biographie, même s'il revient sur certains aspects biographiques (il parle ainsi de Leon Hendrix comme étant le demi-frère de Jimi... peut-être qu'avoir travaillé pour EH a joué en ce sens !).

C'est un livre destiné aux passionnés, qui fait le tour des principaux pirates existants, de ceux pouvant exister... et de ceux qu'on ne risque bien de ne jamais trouver (il semble par exemple que le pirate Jimi Hendrix/Roland Kirk soit-disant trouvé par le biographe de ce dernier soit en fait... la jam du Tinker street cinema).

Le livre comporte deux parties : la première consacrée à l'audio, la seconde aux vidéos.

Steven Roby n'a peut-être pas les talents d'auteur de McDermott (avec ce dernier, on a l'impression d'assister aux jams par moment !), mais son livre est riche en renseignements, et il répond point par point à la plupart des grandes questions hendrixiennes en la matière (la jam avec McLaughlin, le cas Miles Davis, le cas Gil Evans etc...).

Ses notes sur l'ultime album studio de Jimi sont très intéressantes (il revient sur la liste manuscrite de Jimi où les trois premières faces sont bouclées...). Il y a de nombreux témoignages de témoins de premier ordre (Mitch Mitchell, Billy Cox, Juma Sultan...)... et il y a le détail de l'intégralité des 7 cassettes remis par Jimi à Mitch lorsque ce dernier est arrivé à Maui pour le film "Rainbow Bridge".
Nous avons donc le contenu de la suite "Black Gold"*, ainsi que de nombreux works in progress tous inédits à ce jour.
Ceux qui sont assez jeunes auront peut-être la chance d'écouter ça un jour ?
J'ai noté quelques petites approximations (Billy Preston ne travaillait pas au concert pour le Bangladesh en mars 1969 !), mais le travail de Roby est sérieux, et ses prises de position critiques sont cohérentes (pour lui, le JHE est au sommet de sa créativité au RAH !).

Bref, un livre déconseillé aux néophytes, mais qui ravira les passionnés.

* Les notes de Tony Brown consacrée au fameux projet "Black Gold" :
http://members.tripod.com/~Wallyrus/blackgold.html
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MessageSujet: Re: Black Gold - The lost archives of Jimi Hendrix (Steven Roby) [2002]   Dim 11 Juil 2010 - 14:56

Les mises à jour prévues pour la prochaine édition :

A future edition of Black Gold will have the following updates and corrections. If you see an error or an update, please email me.

Chapter One
Page 14: In an interview given before his death, Al Hendrix said his son's two run-ins with law did not force Jimi to join the Army. Al Hendrix: “I don't know if the car was stolen or what the deal was, but nothing came of it. He didn't serve no time. I went in there and they got it all straightened up. The judge never told him to ‘go in the service or spend time in jail.’ Jimi, had already been classified as 1-A and talked to enlistment sergeants about volunteering. He sure wanted that screaming eagle patch bad. To get that, he had to be in the paratroopers, The 101st Airborne division.”

Chapter Two
Page 20: In an article for Harp magazine (9/5/07): Long before Tommy Chong became the world’s most famous pothead, he bought Vancouver’s Elegant Parlor nightclub, where he played guitar and sang for the house band, Bobby Taylor & the Vancouvers, who eventually signed to Motown and scored a Top 30 hit in 1968 with “Does Your Mama Know About Me.” Although Chong admits he was the least talented member of the band, he says he was “the unofficial leader” because he cut the checks.

The rumor is that the Vancouvers featured Jimi Hendrix for a stint, but Chong is quick to dismiss this fabrication. “First of all, Hendrix was never in the band. That was a big Bobby Taylor lie. You gotta remember Bobby Taylor exaggerates to the point of distraction; I think he even had the Beatles opening for us or some bullshit. Bobby is a professional liar: I love him to death and he can sing, but Hendrix was never in the band,” says Chong. “We only played with Hendrix one time [in London] and it was probably the most profound musical experience I’ve ever had.”

In Black Gold, Chong agrees that Hendrix was never in the Vancouvers, but did sit in. Chong has never given a specific date or venue about the London jam he had with Hendrix, or if a recording exists.

Page 17: "Shortly after his twenty-sixth jump parachute, Hendrix broke his right ankle, which got him discharged from the Army."*

*On August 3, 2005, the Smoking Gun website posted 18 pages of Hendrix's 98-page military records: The documents track Hendrix's messy 13 months in the Army, beginning with his May 1961 three-year enlistment, which came with his assurance that he wasn't a Commie and a handwritten explanation about a juvenile burglary arrest. Hendrix, records show, was a terrible marksman and a recidivist truant. Weeks after ordering a physical and psychiatric examination of Hendrix (who was attached to the 101st Airborne Support Group in Fort Campbell, Kentucky), Capt. Batchman sought to discharge a soldier who was an "extreme introvert" and whose many problems were not treatable by "hospitalization and or counseling." Included in the Army's discharge request were various statements from fellow soldiers, all of whom thought Hendrix deserved to be bounced. James Mattox, for example, recalled an April 1961 incident in which he, Hendrix, and four other soldiers were assigned to wash a ceiling. When Hendrix, who occasionally napped during the cleaning assignment, disappeared at one point, Mattox went looking for him. He quickly found Hendrix in the latrine, where he was "sitting in the last commode. I thought he was sitting there sleeping so I stood on the stool in the commode next to his and...there sat Hendrix masturbating himself." For his part, Hendrix--who apparently hated life as an enlisted man--did not challenge the discharge request, according to a signed statement. At the time of his expulsion, Hendrix was allowed to leave the military with some parting gifts, including some Army-issued clothing. He also benefited from frequent dental care at Fort Campbell and California's Fort Ord, which probably made it easier for him to subsequently play that black Stratocaster with his teeth.

Also in 2005, Charles Cross' Hendrix biography Room Full Of Mirrors was published. On page 93, Cross says that in an attempt to get out of the army early, Hendrix visited the base psychiatrist and admitted that he was a homosexual, and "lost fifteen pounds because of his love sickness over his squad mate." According to Cross, The army "gave in" and discharged him because of his "homosexual tendencies" (page 94). Hendrix apparently kept "the secret" from friends and family.

The "gay lie" story gathered much publicity for the book. When Cross was on his book tour in San Francisco, a town known for its open homosexuality, I asked Cross at his Booksmith presentation what his source was. He said that he couldn't reveal it, but when the book was published in paperback, the document would be printed. The paperback edition never included this, nor do the documents found on the Smoking Gun website.

In 2007 I ordered and received Hendrix's Army documents (98 pages) from the National Personnel Records in St Louis. About the same time, Rolling Stone ran "The Almost-Impossible Rock & Roll Quiz."

I went over all the Army documents and did NOT find anything that said Hendrix was discharged because of "homosexual tendencies" or even seen the word homosexual mentioned anywhere. The National Personnel Records later informed that they turned over every item in Hendrix's Army file.

The "Request for Discharge" document from Captain Gilbert R. Batchman, dated May 31, 1962, notes Hendrix's: "behavior problems, (he) requires excessive supervision while on duty, (has) little regard for regulations, and was apprehended masturbating in platoon area while supposed to be on detail," however, the Request for Discharge to the Commanding Officer of the 101st Support Group does not mention homosexual tendencies.

A signed document from Capt. John T. Halbert (Medical Officer) concludes in Hendrix's final medical exam: "there are no disqualifying mental or physical defects sufficient to warrant disposition through medical channels." Lt. Colonel Lanford H. DeGeneres repeats the above finding on the same page.

Medical Officer Halbert never held the proper rank to send a Request for Discharge to the CO anyway; only able to offer his findings to Capt. Batchman. Batchman's twelve enclosures to the CO included six statements, previous convictions, record of time lost, and a unit punishment record. These all made a case for discharge, and in Batchman's words, Hendrix was "undesirable."

Chapter Three
Page 24: Change Barnevilles (original source: Electric Gypsy) to Bonnevilles. In 2003, Robert W. Fisher published My Jimi Hendrix Experience (Vantage Press). In the fall of 1963, Hendrix joined The Bonnevilles, a band out of Parsons, Tennessee. The group’s guitar player, Larry Lee, and their occasional bass player, Billy Cox, felt the group could use a second guitarist. They took Hendrix down to meet The Bonnevilles leader, Bob Fisher, who was reluctant to take on another guitar player. Fisher had just taken over the band, and was trying to make improvements. According to Fisher, the band’s entire repertoire consisted of four or five songs when he came along.

Page 36: Add early 1965 info - In Harlem of the West - The San Francisco Fillmore Jazz Era, (Chronicle Books - 2006) there is a photo of Little Richard and Hendrix at the Fillmore Auditorium (1805 Geary Street), taken by John Goddard, former owner of Village Music in Mill Valley, California. Goddard recalls, “I was a huge Little Richard fan, and I was right up front, taking tons of pictures. It was only years later that I found out that the guitar player, who kept getting in the way, was Jimi Hendrix. I remembered him because he was playing guitar with his teeth, and behind his neck, but to me that night, he was just this guitar player who kept getting in the way of me taking taking pictures of Little Richard.” The photo caption says it's from the October 1964 Little Richard concert at the Fillmore Auditorium, however, Goddard's photo shows Hendrix playing a sunburst Fender Jazzmaster, a guitar Hendrix first started using in 1965. On page 128 of this book there are concert posters for an October 4, 1964 Little Richard show and a February 2 (1966) Ike & Tina Turner show. Hendrix did not perform at this Ike & Tina concert.

Pages 55/56: Singer/guitarist Ellen McIlwaine did not use the stage name Judy Roderick: "I was opening the show every night for about six months," said McIlwaine in an email to Steven Roby. "At that time, Jimi and I became friends and he played on some of my sets just to sit in. I was never a headliner at that time . . . just the lowest paid unknown who opened the show every night!" Judy Roderick was a folk/blues singer (12/1942 - 01/28/1992).

Chapter Four
Page 56: According music journalist Keith Altham and singer Eric Burdon, Chas Chandler had met Hendrix prior to August 3, 1966 - at the Cafe Wha?. On September 4, 1964, The Animals began a 10-night stand at the Paramount Theater in New York. It was their U.S. debut, and "House of the Rising Sun" was a big hit. The Paramount was closing, and The Animals were part of a long series of final shows spread over a couple of weeks. If a show ran late, the theater was fined $10,000 by the city.

Eric Burdon: "Our agency booked us into the Paramount Theater in Times Square, which was about to be closed. We would be part of it's grand farewell, a long series of shows spread over a couple of weeks. The bill was filled with an incredible array of talent, but it was a bit disconnecting to find our that our "House of the Rising Sun" success meant we were headlining over... Chuck Berry! Other artists "supporting" us were Dionne Warwick, Dee Dee Sharp, The Dixie Cups, and Little Richard. One night I was riding up the elevator with [Little] Richard, having watched him from the wings while he performed... Richard had gone ten minutes overtime. [The stage manager] warned him if he did that again he'd be fired. Richard exploded and he flew into a rage. With his high-pitched voice he sounded like an old woman gone berserk... the young black kid trying to hold him back... was Jimi Hendrix." (pages 24/25, Don't Let Me Be Misunderstood)

Keith Altham continues the story: “The lift stopped a few levels below where they were supposed to get out, and Chas got out with Jimi, only he didn't’t know who he was, right? And they got out together just to avoid the furor that was going on in the lift. Chas and Jimi, on their own, just sat on a window seat together having a cigarette, I think it was a cigarette, and talked about what just happened. Jimi was saying how he was hoping he would come to England at someday, and get out and see what was going on. Chas asked him what he was doing, and he said he was playing in Little Richard’s band. Chas at that point looked at him in absolute amazement. 'That was you?,' Chas said. It was before his great frizzed-out hairdo. Jimi was looking like Sammy Davis Jr., with the hair all gummed back and in a suit with a nice sort of tie. Things that Little Richard liked his backing band to wear at the time. Chas remembered the encounter, but had no idea that it was actually Hendrix." (source: EMP interview)

There was also another show with Little Richard and Hendrix at the Paramount Theater on April 17, 1965*. Comedian Soupy Sales was booked into the Paramount Theater for The Soupy Sales Easter Show. Along with a movie, the musical bill for The Soupy Sales Easter Show included: the Hollies (with Graham Nash), Shirley Ellis (“The Name Game”), The Exciters (“Tell Him”), The Detergents (“Leader of the Laundromat”), The Hullabaloos (“I’m Gonna Love You Too”), the King Curtis Orchestra, the Hullabaloo dancers, and Little Richard and his obscure guitar player, Jimi Hendrix. From the autobiography Soupy Sez: “The show lasted more than three hours, and we were doing five shows a day, which was insane. So, the promoter of the show said to us…’cut down your act to ten minutes, because we’ve got so many acts in the show.’ And then he turned to me and said ‘Soupy, you can do fifteen, eighteen minutes, whatever you like.’” The promoter knew what kids knew—that the big draw was seeing Soupy Sales perform live. Little Richard took issue with the cut in his time, and left the lineup saying “I’ll get even with Soupy.” Page 87, from the book Electric Gypsy, shows a photo from this show with Hendrix only a few feet away from Little Richard's spotlight. *Source: TV Comic, Aided by Rock 'n' Roll, Opens Week of Shows, NY Times, page 21, April 17, 1965.

New date: May 5, 1966. Prelude Club, New York City, New York. Record release party for the Percy Sledge LP, When A Man Loves A Woman. Jimi appeared as a member of King Curtis & the Kingpins, the house band at the release party. They can be seen backing Percy Sledge performing solo and singing a together with Esther Phillips and Wilson Pickett.

The liner notes for Percy Sledge LP Warm And Tender Soul (Atlantic SD 8132 ~ released in 1966): Percy Sledge('s) first trip to the Big City came shortly after his first hit. We met him when Atlantic Records threw a "welcome" bash at the famed Prelude Supper Club on New York's upper Broadway. Percy was as dazzled by the bright lights as the critics and radio people were dazzled by his performance. As part of the "fun-and-games" that night, he and Esther Phillips sang a duet version of "When A Man Loves A Woman" while King Curtis and his band backed them up. Percy and Esther sang nineteen choruses of the song before they finally quit . You can see photos of the performance here.

Page 57:Bruce Gary (former Are You Experienced? Ltd. producer) via email: "Randy California never had any tapes of his days with The Blue Flames. I know this for a fact. I went through Randy's entire tape cartel and found nothing of that kind. I also remember Randy telling me how much he wished he had a record of those times. David Lee Roth's uncle (Manny Roth) has been rumored to have all the tapes that were recorded at his club (The Cafe Wha?) during that period. I remember Alan Douglas trying to contact Mr. Roth and got nowhere. I recall that Alan contacted and commiserated with Manny. Nothing happened. Finally, Alan (and myself) didn't believe that there were any Cafe Wha? Blue Flames recordings. I know that he (Alan) would have paid substantially for them." (R.I.P. Bruce Gary)

Chapter Six
Page 98: Some of these recordings can now be found on Noel Redding: The Experience Sessions, a collection of rare and previously unreleased studio recordings made by Noel Redding during his tenure with The Jimi Hendrix Experience. The CD also contains the master takes of his two stand-out original compositions "Little Miss Strange" and "She's So Fine." Previously unreleased alternate recordings of these two essential tracks are included, offering fascinating insight into the inner-workings of the group in the studio. Featuring 12 tracks in total all of which feature Mitch Mitchell and Jimi Hendrix in supporting roles with Redding both in the studio and live on stage. Of particular interest to fans are the nine previously unreleased recordings including "There Ain't Nothing Wrong," "Walking Through The Garden," "Little, Little Girl," "How Can I Live?" "Noel's Tune [Take 1] & [Take 2]," and "Dream." The disc is rounded out by the long out of print "Red House" (originally issued as part of Stages) recorded live on stage January 29, 1968 at L'Olympia Theater in Paris, France.

Photo caption page 103: correct caption: Woburn Music Festival, Bedfordshire, England, July 6, 1968.

Page 105: In 2003, Dagger Records released PARIS 1967/SAN FRANCISCO 1968. This release featured a two-track recording of Jimi's second show on February 4th, the eighth and final performance of his four-night stand. This amateur stereo recording, drawn from the stage monitor soundboard, was previously owned by Bill Graham and given away to a soft drink vendor as a thank you gift.

Chapter Seven
Page 120: In 2004, Dagger Records released Hear My Music, an 11-song CD that featured "Slow Version," "Ezy Ryder/Star Spangled Banner," "Jam 292," "Trash Man," "Message To Love," "Gypsy Blood," two versions of "Valleys Of Neptune" including a solo electric guitar rendition and a piano solo, "Blues Jam At Olympic," plus the original unedited versions of "Drone Blue" and "Jimi/Jimmy Jam" from the long out-of-print 1980 release Nine To The Universe. Hear My Music marked the first time these recordings have ever been released in their original unedited format.

Chapter Eight
Page 136: The Mike Ephron jams with Hendrix took place on September 13.

Page 138: first paragraph, first sentence (delete September 30, 1969): Correction - One of the first Douglas productions involving Hendrix took place in May 1969, at the Record Plant with sessions for LSD guru Timothy Leary. Second sentence, remove: based on Joni Mitchell's newly penned song "Woodstock."

Page 160: Add: In 2002, Dagger Records release The Baggy's Rehearsal Sessions.These Band of Gypsys rehearsals were recorded over the course of two long December 1969 sessions at Baggy's Studios in New York City. The recordings were made as the trio prepared for their four unforgettable Fillmore East concerts.

Page 166: Add: Jimi Hendrix: Burning Desire was released in 2006 by Dagger Records. Burning Desire featured examples of Jimi's creative studio explorations from 1969 and early 1970.

Chapter Ten
Page 177: On jimihendrix.com, a previously unreleased tape of the Honolulu concert (8/1/70) is available for listening. This recording provides an insightful look at what became the final US Concert performed by Hendrix, Cox and Mitchell. Although this recording is incomplete, tapers Jim and Bill Worthley managed to preserve "Straight Ahead," "Ezy Ryder," "Hey Baby (New Rising Sun)," "Spanish Castle Magic," and the majority of "Red House" before the tape runs out.

Page 186: Fehmarn (September 6) entry. Change to: In December 2005, Dagger Records released Live at the Isle of Fehmarn. This CD features a newly discovered recording made by the festival's promoters. Unbeknownst to Hendrix, the promoters captured the group's entire performance by feeding two overhead stage microphones into a consumer grade Revox reel-to-reel tape machine located off to the side of the stage.

Page 195, third paragraph, third sentence, NEW: The same type of overdubbing was applied to another instrumental by the Experience. Mitchell added a vocal track and the song is now titled "Cat Talkin' To You."

Chapter Eleven
Page 212: Buddy & Stacy were Buddy Travis (born Travis Johnson III) and Leroy “Stacy” Johnson Jr. Buddy Travis is now a minister and sings gospel.

Page 218: May 18 entry: Correct location: Offenbach, Germany - not Stadthalle, Germany.

Page 230: April 7, 1968 entry: The personnel for the Generation club jam is:
Jimi Hendrix - guitar
Dave Woods - guitar (NOT Roy Buchanan)
Ed "Bugs" Gregory - bass
Glenway McTeer? - drums

Page 244: Update Woodstock DVD release. On September 13, 2005, Experience Hendrix released an upgraded two-disc version of Jimi Hendrix: Live at Woodstock (1999). As one Amazon reviewer noted: "...Experience Hendrix claimed that the unused (Woodstock) footage was thrown out. I said at the time that it was untrue, as that wasn't the type of thing that anyone would have thrown out... The BEST PART about this new 2-DVD release is the second disc. Entitled 'A Second Look,' this incorporates black-and-white video footage shot by then 22 year-old Albert Goodman, who had used one of the very first SONY CV open-reel 1/2-inch videotape units."

Page 249: May 4 entry: Change date to May 11.

Source : http://www.steveroby.com/Jimi_Hendrix_Archives/Welcome.html
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MessageSujet: Re: Black Gold - The lost archives of Jimi Hendrix (Steven Roby) [2002]   Dim 11 Juil 2010 - 14:58

Michael Fairchild accuse Roby de plagiat : http://www.rockprophecy.com/robbery.html
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MessageSujet: Re: Black Gold - The lost archives of Jimi Hendrix (Steven Roby) [2002]   Aujourd'hui à 20:15

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