Londres (Ronnie Scott's) : 16 septembre 1970

Londres (Ronnie Scott's) : 16 septembre 1970

Titres :

1. Mother Earth
2. Tobacco Road

Source : "The Last Archives" (Boot LP : "Can You Please Crawl Out Your Window").

C'est enregistrement "audience", de qualité moyenne, mais très bien équilibré.

Le personnel est le suivant :
Eric Burdon - chant ;
Howard Scott - guitare ;
Lonnie Jordan - orgue ;
Charles Miller - saxophone & flûte ;
Lee Oskar - harmonica ;
B.B.Dickerson - basse ;
"Papa Dee" Allen - percussions ;
Harold Brown - batterie.

16 septembre 1970 : Jimi rejoint War, le nouveau groupe d'Eric Burdon, au Ronnie Scott's et joue sur deux titres de leur premier album, "Eric Burdon Declares "War"".


Mon enregistrement de "Mother Earth" débute par un fondu en ouverture. C'est un blues lent où l'harmonica de Lee Oskar répond au chant d'Eric Burdon.
"Joue le blues pour moi !" Eric Burdon demande-t-il à Jimi dès le début des 12 mesures suivantes.
Le premier cycle est joué dans un style très laid back, avec certains traits jazzy, et beaucoup de respiration.
La rythmique s'emballe un peu lors du deuxième cycle de 12 mesures. Jimi continue dans une veine très blues, où il alterne silences et tirés.
L'intensité monte lors des quatre premières mesures du troisième cycle. Jimi rate ses tirés visant l'unisson avec la corde supérieure, mais sur l'ensemble des 3 cycles, c'est un solo plutôt réussi, d'autant que Jimi ne joue pas forcément avec son matériel. Un vrai solo de bluesman.
Il passe à la rythmique lors du cycle suivant, laissant à Howard Scott le soin de prendre le solo de guitare suivant. Jimi lui procure un accompagnement très personnel, typique de ses blues.
Lors du troisième cycle, Jimi souligne certains traits Howard Scott en les reprenant.
Charles Miller prend un solo de saxophone lors du cycle suivant.

"Tobacco Road" débute sur un riff de guitare explosif, propulsé par les percussions de "Papa Dee" Allen. La rythmique de War groove à mort. La voix d'Eric Burdon est mixée un peu en retrait, mais sans que ce soit trop gênant.
Le groupe fait monter la pression lors de la deuxième minute et revient au riff d'introduction avant ce qui sera l'ultime solo de guitare enregistré du plus grand virtuose du siècle passé.
Jimi débute son solo par des traits en octaves dont il a le secret (un peu dans le style de ce qu'il fait sur "Old Times, Good Times" sur le premier Stephen Stills), mais dont l'exécution n'est pas parfaite : dommage, les idées sont là.
La suite du solo est assez inégale, et pas toujours facile à bien distinguer. Jimi joue certains traits inspirés, quelques "moulinets" bien placés et des tirés efficaces... mais ne semble pas toujours rigoureux dans son exécution. Cela dit, Jimi joue ici sans effet, avec un son à peine crunchy (et sur un matériel qui n'est peut-être pas le sien) : c'est ce qui explique sans doute qu'il revienne ensuite à un jeu en octaves et même en accords, essayant ainsi de combler le manque de puissance dont il aurait besoin sur ce type de rythmique.


Au final ? Compte-tenu du contexte, c'est une ultime prestation honnête que Jimi nous livre ici.

Commentaire de Lonnie Jordan à propos de Jimi lors de cette jam : "he was in great form".

Source : http://hub.lsj.com/apps/pbcs.dll/article?AID=/20070830/THINGS0104/708300321/1104/HUB

Dans un entretien assez récent, Lonnie Jordan précise que "Jimi avait apporté une guitare et un petit ampli. On a joué une version de 45 minutes de Mother Earth de Memphis Slim."

Source : http://www.cyberpresse.ca/arts/musique/200809/19/01-672494-war-en-guerre-depuis-40-ans.php

Le concert (presque) complet circule depuis deux ans... avec une meilleure qualité audio et une performance plus complète :

This is the complete existing recording of Eric Burdon & War's concert at Ronnie Scott's Club in London september 16th, 1970.

The Show consisted of 2 sets. The taper however unfortunately only had a C-90 cassette, so he flipped the cassette over, and recorded the last part of the concert over the first, thereby forever losing the start of the recording.

Although lossy, as it's sourced from a wma-transfer of the master tape, this version of the recording is still vastly superior to other currently circulating versions.[/g] It's also considerably longer, and includes notably more music. The Old version clocked in at a little under 42 minutes. Here's that - plus an additional 50+ minutes (!). [g]As for the 2 tracks that feature Hendrix, "Blues For Memphis Slim" (incl."Mother Earth") is now 8 minutes longer than before, and "Tobacco Road" is more than 9 minutes longer. Apart from a few (presumably) minor cuts, this recording features Hendrix's last public performance in it entirety. Untill a lossless version of the master tape becomes available, this will stand as the definitive document of that event.

ERIC BURDON & WAR featuring JIMI HENDRIX
RONNIE SCOTT'S CLUB, LONDON 1970-09-16

DISC 1 - 1st Set
1 Gun - 3:01
2 Paint It Black medley - 15:30
3 Spill The Wine - 8:22
4 Mystery Train - 6:13

DISC 2 - 2nd Set
1 Gun - 7:40
2 Paint It Black medley - 15:37
[g]3 Blues For Memphis Slim (incl.Mother Earth) * - 20:31
4 Tobacco Road * - 15:37

* featuring Jimi Hendrix[/g]

Audience recording
Master Cassette > wma > wav > flac
Digitally restored

And just to avoid any confusion: The reason for why this wma-sourced recording is being uploaded, is that it's the only version available. This is as good as it gets, and in light of the historic importance of this recording - and the major upgrade it represents - I think a little "bending of the rules" is in order. (Hopefully ....)

As always: Thanks to the taper, who has given his permission to let this recording be shared, and thanks to those involved in making the most out of it.

Hans-Peter Johnsen

La version plus complète et de meilleure qualité de cet enregistrement m'oblige à rectifier quelque peu la vision que j'avais de cette ultime jam de Jimi. Lonnie Jordan avait en effet tout à fait raison de souligner la qualité de la prestation de Jimi... qui est excellente !
On peut remercier la générosité des personnes qui ont contribué à faire circuler cet enregistrement : sa qualité audio est désormais excellente pour un enregistrement audience. Il y a certes un peu de distorsion à certains moments, quelques cuts… mais la balance est pour un amateur de Jimi parfaite – seule la voix d’Eric Burdon est trop en retrait. Pour le reste, il faut souligner le fait que tous les instruments soient audibles, ce qui donne à la prestation une couleur autrement plus agréable que ce que nous connaissions auparavant.
En terme de durée, les titres sont désormais présentés dans des versions deux fois plus longues, ce qui nous permet d’entendre d’autres passages lead intéressants de Jimi (même si ses deux solos en tant que tels était déjà documentés auparavant).

Sur "Blues For Memphis Slim (incl. Mother Earth)", le solo blues de Jimi gagne vraiment en clarté, les nuances de son jeu étant désormais audibles. Il importe aussi de noter que ses interventions en fin de morceau étaient inédites.

Quant à "Tobacco Road", c’est une révélation : le solo de Jimi est nettement meilleur que ce que je pensais auparavant. Très bien construit, soutenu par un groupe en top forme, il est d’autant plus intéressant qu’il présente un Hendrix évoluant avec une formation élargie qui fonctionne – ce qui n’était pas exactement le cas du Gypsy Sun & Rainbows. S’il ne reprend pas de solo au sens strict par la suite, il intervient régulièrement tant en rythmique qu’à l’occasion de traits lead inspirés – les derniers qu’il jouera devant un public.

Pour être franc, si ces deux titres avaient constitué l’essentiel du nouveau Dagger Records, j’aurais applaudi des deux mains. Au-delà de la seule performance musicale, comment ne pas aussi sensible à l’aspect incroyablement émouvant de cette ultime performance ?

From JimPress Magazine #87 Spring 2009

Ronnie Scott's Jazz Club, London, 17 September 1970

Doug Bell and Joel J. Brattin unravel the amazing tale of Jimi's last time on stage

The guest appearance of Jimi Hendrix with Eric Burdon and War at Ronnie Scott's Jazz Club occupies a special place in the recorded Hendrix legacy. Occurring only a little over a day before Hendrix's untimely death, the jam represents his last public performance. Considering that very few of Jimi's club appearances were recorded (other than those that Jimi recorded himself in the spring of 1968), the fact that this final performance would be recorded must be considered extremely unlikely. But in fact it was recorded, and parts of this recording have circulated for about 30 years. Until now it has never been known exactly how much of this performance was committed to tape, or by whom. Some guessed that a member of War had made this recording; others thought that the taper was Jerry Goldstein, War's manager at the time. But very recently the whole recording has appeared, and the man that recorded it, Bill Baker, has also stepped forward.

The first appearance of this material was on a bootleg LP, Can You Please Crawl out Your Window?, that was produced sometime in the mid to late 1970s. That LP included two tracks from the Ronnie Scott's Club performance, "Mother Earth" (9:22) and "Tobacco Road" (5:50), which closed sides one and two respectively. Of reasonable quality, these recordings represented the only portions of the concert available until a 40-minute tape of the jam came into circulation some years later. This tape contained slightly longer versions of "Mother Earth" and "Tobacco Road," and also included several songs on which Jimi didn't play: "Paint It Black," "Spill the Wine," and "Mystery Train." All of these songs were incomplete to varying degrees, and the entire tape was of poor audio quality, substantially worse than the quality of the two tracks on the bootleg LP. It was not known whether other songs were played during the show, and if so whether Jimi had played on them.

This remained the state of affairs until several months ago, when the taper of this concert came forward with his story and a complete copy of his master tape. The fan that taped this recording is Bill Baker, a resident of West London. He never intentionally kept this recording back; in fact, he gave copies to numerous people throughout the years. One of these was the source for the poor-quality tape copy that came into circulation. However, somehow the complete recording in master quality had never made it into general circulation within the collecting community.

Bill was 20 years old in 1970, and had recently become a big fan of Eric Burdon and War. He tells the story of how he came to attend and record the show that night at Ronnie Scott's Club.

"I first heard 'Spill the Wine' while on an extended holiday in Italy. When I heard it, it completely blew me away," he says. "I couldn't believe how good it was. I also heard about the Isle of Wight festival but unfortunately returned to England a week late for that. After I got back I went to a QPR [Queens Park Rangers] football game with an old friend and he told me about a free show by Eric Burdon and War in Hyde Park coming up on Saturday the 12th of September. So I went to that with a few mates. I recall that John Sebastian was also on the bill. During the concert, Burdon told the audience to make sure to go to the shows they were playing at Ronnie Scott's during the upcoming week, and to 'freak all those jazz freaks out of the place.' So I decided I'd have to be at one of the shows. I ended up deciding to go on Wednesday night, the 16th.

"I invited my younger brother to go with me, but he had to work the next day and decided not to go. I was out of work at the time. So I ended up going alone. I got there early and was just about the first into the club, so I was able to be in the very first row. Front row seat, about two feet away from the drum kit. I talked with the members of the group a bit before the room filled up. I had brought my Sony cassette recorder with me, and one Philips C-90 cassette. I set the microphone on my table right there at the edge of the stage.

"There were other groups on the bill that night; I remember a gospel group, and the Alan Haven Trio, who I liked quite a lot. There was a disco above the main room; I went up there between live acts. I recall there was lively salsa music with lots of people dancing. The live music started around 8 o'clock and ended around 2 or 3 AM Thursday morning. So War was late getting on stage, maybe around midnight, and most or all of the War performance was actually during the early hours of the 17th. I taped the first set, got a good recording of that, although the first side of the tape ran out before the end. I wanted to save the other side for the second set.

"At intermission I went back to the dressing room and talked with the group between sets. I told them I had taped the set, and they said that was fine with them. I got them to autograph my copy of "Spill the Wine" that I had brought with me. When I went out for the second set, my seat was taken so I went to the upper level. A young lady, an American, was there with a guy, and she invited me to join them at their table. So I sat with them there, right at the front and to the left of the stage, right above Lonnie Jordan, the organist for War. So the second set was taped from a different seat. The girl saw I was taping the gig, and asked me to make a copy for her, which unfortunately I never did.

"During the set the girl I was sitting with said, 'Look, Jimi Hendrix and Eric's wife!' I didn't see him enter, but Hendrix had appeared, and I saw him sit with Angie Burdon, at a table to the left of the stage. Jimi had his guitar with him. You can hear Eric invite Jimi up onto the stage for "Mother Earth." He got up and played on the song with the band, using his white strat. Near the end of that song, Hendrix left the stage to go back and sit with his girlfriend. Burdon asked him to come back, which is also on the tape. He did rejoin the band for the end of the song and also played on "Tobacco Road." The tape side ran out shortly after this song started, but I flipped it over and re-recorded over the start
of the first set on side one.

"After the show was over, Hendrix hung around for a bit and I went over to talk with him. He was sitting there with a pint in front of him, but white wine rather than beer; he offered some to me and I accepted. So we "spilled the wine" together on that night. He was polite and friendly, and happy to chat. I asked if I could record the conversation, but he said that probably wasn't a good idea. So we just talked. I borrowed a pen and asked if he would sign the sleeve that I had with me for War to sign.

He said sure, 'but take the record out so it doesn't fuck up the grooves. " I had an apple and he asked if he could have a bite, and I said sure, so he took one; in fact, I think he kept the apple and finished it. Finally Jimi got up to leave with his girlfriend and said to me, 'Hope to see you soon, man.' I left the club in the early morning hours and took a cab back home.

"I remember that there was a U.S. photographer at the show, from New York City if I recall correctly. He took pictures throughout the evening. I have no idea what became of him, or of the photographs.

"I got back home and later that day (Thursday) I made a dub of the cassette onto a 5" reel tape, since I wanted to give a copy to the group, who were staying in a hotel in London for several days. On Friday (the 18th) I went to the hotel, and found Jerry Goldstein (War's manager), Eric Burdon and his parents, Zoot Money, and some others in the upper-floor lobby. I gave Goldstein the tape dub, and talked with them and with some other people for awhile. Jerry recalls that he gave me 20 pounds sterling for the tape. When I left I took the lift down to the ground floor, and when I got out I saw a group of people standing there. Some of the girls were crying, and I recognized them from the group that had been with Eric earlier. I asked them what was wrong but they didn't answer, they just got in the lift crying. I took the tube home. It was only later that day that I read in the evening paper that Jimi was dead."

In the mid-70s, Bill approached an employee at the BBC to investigate the possibility of releasing his recording from Ronnie Scott's. He wasn't able to arrange this, but he did make copies of the tape onto 7" reels. Bill took these to a record shop owner in Hammersmith, who agreed to have LPs made. Butafter a short while he told Bill that he had decided to pull the plug on the deal, so Bill retrieved the reels from the man. However, as we know an LP did appear. What eventually came from this was the well known bootleg LP Can You Please Crawl out Your Window? This LP was a hodge-podge of material, combining material from a 1976 BBC radio show with the Reprise Christmas promo single. The LP also included nearly complete versions of three BBC recordings (the original radio show only contained incomplete versions). But the real gems on the LP were the two Hendrix tracks from the War recording. Bill never made a penny from this release, although he received some LPs from the deal. But the unpleasant episode discouraged him from ever trying again to release this in any formal way, either officially or unofficially.

Source : http://crosstowntorrents.org/showthread.php?t=1415

Thursday 17 September 1970 (Early morning hours)
London, Ronnie Scott’s Club, England

Concert by War, Jimi Hendrix jammed on guitar on two songs. He was with with Angie Burdon (King)
Songs: 1. Blues For Memphis Slim (Eric Burdon?) / Mother Earth (Peter ‘Memphis Slim’
Chatmon), 2. Tobacco Road (John D. Loudermilk)
Support: the Alan Haven Trio, another [unknown] group, and a disco upstairs that played
some Latino music
For full details see Jimpress 87

Given what happened in the early hours of the next morning, could there be a more ominous choice than ‘Mother Earth’, very spooky. ‘Tobbacco Road’ could have been written about Jimi’s upbringing in Seattle

Terry McVay [road manager for War, ex Animals]: When he came back [September 16], he was alone, looking clean and sharp. With a smile, Jimi asked, 'Can I play now? I've even brought my own cord!' I told him I would consider it a pleasure. He plugged into Howard Scott's [War's guitarist] Yamaha GE 12 and those two went at it all night1. Hendrix played well, and that was one of Scott's best nights ever."

1Two songs only


Eric Burdon: ‘We wanted to treat him like any other musician and inwardly he wanted the same, so there weren ‘t many words spoken at the start. He starred off badly as Jimi the Sound Freak, did one solo which died and was very bad. Later he became better, real loose, but when the break came he wasn‘t in such a good mood. in the dressing room he said he wouldn‘t go back on, but after a bit of talking he did, and after some good playing he really got into the last number ‘Tobacco Road. ‘He wasn‘t sound freaking, he was just gelling nicely with the band. I had one wish in my mind then - that he would come down the next night. When he didn‘t show, I knew there had been some heavy changes.’
[Melody Maker ()]


[Aud =Audience]


BLUES FOR MEMPHIS SLIM (Eric Burdon)

Mo-o-o-other all ri-i-i-i-i-i-i-i-I a-am wasted
We-e-e-e want to la-a-a-ast
Keep on dow-w-w-wn to the back alley-y-y
Beyond the back alley-y
I’ll be on the settee
To where the earth is fresh and clea-ean
You can stampede Mother Earth beneath your feet trai-ail
I-hi-I

This is the blues I’ve a…
Some of our friends over there want to jam with you…
While I’m aware Jim.
Plug on in Jimi
Aud: [Applause & cheers] freaky now!

[Organ solo]

You know when you’re born
You first see light of day
Through a hole in your mother’s legs
Girl: What?
It’s the truth
And from that minute on
Most of us guys
And some of you girls
Girl: Ooh!
Spend the rest of your life
Trying to crawl back into that warm
Inevitable suction furry hole

If you make it, all right
[Aud: [as they see Hendrix] Oh fantastic! [Applause]
If you don’t make it don’t get uptight
[Bill Baker: It’s Jimi Hendrix just come on the stage!]
Just go home and lock your bedroom door

[Tape cut]

……..planet!
It’s gonna go out into the sea
And it’s gonna float around in the ocean for a while
And then this, this fish will come along an’ eat it up
And then another fish will come along an’ eat up the baby fish - gulp
And then one day, off the North East coast of England
This little old fisherman will be sittin’ there
And he will catch this big fat cod
Jimi: [plays bit of ’English Country Garden’ (English folk song)]
And he will put it in a box of ice
And they will ship it to Manchester
And then on the false Sunday?
….? here a minister and his wife will say sorry
And eat you in a fish and chip restaurant
[Aud: We hate you guys!]
And his wide boys…

[Tape cut]

…you waitin’ for now?

Well, perhaps he’s waitin’ for the blues, Yes Jimi
…?
O-oh!
She’s lookin’ at you Brown
In this whirl-pool way down the line

You may not be happy all the time
You may never be that ho-o-yee
Mother Earth is waitin’ for you
For some dues you’ve got to pa-a-ay
Don’t care how big you are
(Don’t care how big you are)
I don’t care what you we-e-ere
(I don’t care what you we-e-ere)
All the tests you earned

When it all ends up
You’ve got to go back to Mother E-e-earth
Mother E-e-earth
Mother Earth been a jail to me

Blow the blues for me
Play the blues for me
Blow the blue-ue-ues
Blow us out now

Everybody who don’t have somebody
Play it for me Jimi

[Solo: Jimi plays some jazzy licks]

Girl: Oh, Jimi!

Aud: [Applause]

Man: James!

Man: Get strong now, come on
Man: Jimi!

[Sax solo]

[Jimi plays riff from ‘Dooji Wooji’ (Duke Ellington)]

Man: Come in just Eddie… Come in Jimi
Girl: Get it on Charles

[Sax solo]

Aud: [Applause]

[Jimi: Solo]

O-oh yes you know she’s waitin’ in the park
She dare not let you walk
Whe-en all is lo-o-ost
? : Goodbye Jimi
Aud: [Applause]
Where you goin’, man?
Aud: [Applause]
Where you goin’, man?
Go back to Mother E-e-e-earth, yeah, all right
Come on up, she’s over here ha-ha-ha

Come on over here Jim
Come on, play some more
Where you goin’

Play it! right here, right enough
You will know she’s with Jones bar
You know it’s lake red fire
When the acid’s drippin’ down
You’ve got to crawl ba-ack
Come on back to Mother E-e-e-earth
Come on back to Mother E-e-e-earth
Yeah, she’d want you badly
When it all ends u-up!
Mmm-m-mm
Come on, come on, come on back
Come on down
She will not hurt you, no
Aaaaaaah-ooh

Aud: [Applause]


TOBACCO ROAD (John D. Loudermilk; vocal Eric Burdon)

Jimi

Doing that

All right
All right

I was born in a filthy dump
My mother died
And my daddy got drunk
Playin’ that piano
Two dollars a blow
Your hero
He got the ro-oach
I knew it was him
He died beneath a shack
When I was a honky, goons?
They’re gonna hold me back
Hey-ey
Though I don’t know
I’m comin’ hello
You know, babe, I’m home
Tobbacco Road honey
Talkin’ ‘bout no-road
I’m talkin’ ‘bout my road
I’m talkin’ ‘bout Tobacco Road
I’m talkin’ ‘bout a low run
Talkin’ ‘bout I kno-ow
An’ then I’m talkin’ bout my road
Talkin’ ‘bout Tobbacco Road
Talkin’ bout a no… home

Yeah
The only life I’ve ever
I’ve ever known
Oh no
No problem Jimi
‘cause I’ve got you

Tobbacco Ro-ro-ro-ro-road
(Ro-ro-road)
I’m talkin’ ‘bout your road
(Ro-ro-road)
I’m talkin’ ‘bout my road
(Ro-ro-road)
She’s the only strong rust?
(Ro-ro-road)
Snakin’ the lights bloody town
(Ro-ro-road)
Do you know that you can call me gates?
(Ro-ro-road)
Down by the people who call
(Ro-ro-road)

[Tape cut]

I’m gonna leave an’ I’ll get a jo-ob
And with the help and the gra-ace o-of God
I’ll make me some money at the Whiskey
Come back here I know
Ship it on
Ship it on
Ship it on back to Tobbacco Road
Then I’ll get some dynamite
An’ get me a crane
I don’t wanna up tear it down
Try to hold it together
An’ I’ll build me a town on the river
I’ll be happy to show you the river
I’ll be glad to show that I really love you
Deep down maybe
But I’ll never forget
Never forget that you’re first on my mind
…….?
……..?

Baby
Come on
Come on
Come on, baby

Come on
Come on
Come on, baby

Come on
Come on
Come on, baby

[Jimi: jazzy solo]

Shoot your shotgu-un
Yeah
The only life, the lonely road
I’ve ever known now
And the real strokes
How much I kno-ow
Tobbacco Ro-ro-ro-ro-road
(Ro-ro-road)
Talkin’ ‘bout a yellow road
(Ro-ro-road)
Talkin’ ‘bout a new road
(Ro-ro-road)
You kno-ow, baby
(Ro-ro-road)
Everybody has a road
(Ro-ro-road)
Everybody has a road
(Ro-ro-road)
Everybody’s got something
(Ro-ro-road)
Everybody’s got something
(Ro-ro-road)
That they wanna forget
(Ro-ro-road)
That they wanna forget
Oh, don’t you ever forget it
Oh, don’t you ever forget it
No
How could you ever forget it
It’s in your mind
It’s in your mind
It’s in your head now
It’s in your memory
It’ll never get out now darlin’
It’s in my mind
I got a few New Year’s, baby
I got a ten dollar old one
I got a few million new ones
You got the whole wide rotten deal
And the old money Sue had
You got the old wide rotten deal
An’ a whore wouldn’t like me
Of fillin’ your heads

I have been
I have been excited about it
That old rogue has got her laughin’
‘Bout a few million roads that I’ve been through
Fire ‘em now
Fire ‘em now
Because I feel
Because you see
Because I believe
Because I believe
That I am
A shadow utterly tired
And I’ve been burned
I’ll commit this

[Tape cut]

…got changes to embrace
See, baby, now you know you can chase the poli’
The zion priest
The zion priest won’t even know
Deep down, baby, I know you
You realise he is a bore
That you’ve been hittin’ on

Afraid to spe-eak
Afraid to spe-eak
Afraid to spe-erak
You are afraid to spe-eak
Don’t be afraid to spe-eak
Don’t be afraid to speak your mind
Don’t be afraid to talk it over with somebody
Don’t be afraid to coo-mun-no-cate with me
Communicate with yourself
Communicate with yourself
Forget about music
What it is
What it was
Or what it was supposed to be-e

Get into the funky gibbon
Do the sexy gibbon to the dirty
Do the funky gibbon
To the mirror in the stall, yeah
Fly-y (priest)
Hold on
Fly-y (priest)
Come on
Come on
Fly-y (priest)
Come on
Come on
Fly-y (priest)
I wanna hear you
Come on
Come on

Come on
Come on

Come on
Come on

Come on
Come on

Come on
Come on

It’s all right mama
You’ve got it down, babe

Ooh!
I’m gonna walk that road, defend my baby
Walk that road together children
Hand in hand children, yeah
We-ell, when I rolled the show
There’s no room for nobody else
There’s no room for nobody else
I’ll say that
When I rolled the show
There’s no room for nobody else
No!
I wanna …? each day
New gold-plated now
I want that power leap right u-u-up
Been away too long
Been away too long
Been away too long
Been away too long
Been away too long
Been away too long
Been away too long

You know this
This, this here is an American song
[Aud: [slight applause]
It was written by a hillbilly called John D Loudermilk
An’ when he wrote it
He understood that everybody
Has a Tobbacco Road somewhere
In your head
Someplace you left when you were a child
Someplace you’re trapped in
He realised that
America
Is full of Tobbacco Roads
The World is
Full of Tobbacco Roads

And you know that
Tobbacco is no good
Tobbacco is no good
Tobbacco is no good
Tobbacco is no good
If you wanna smoke
If you wanna smoke
Then make yourself be a hawk-wee-eed
May as well be a
Good Lord’s
Good weed

Come on
Come on
Come on

Come on
Come on
Come on
Come on

We gotta run now
We gotta run now
Gotta run now
Gotta run now

[Jimi break]

Hey-ey!
Hey, we gotta run now
Hey, yeah
We gotta run now

Hey

Jimi
Jimi
Jimi
Jimi
Jimi
Talkin’ ‘bout Jimi
Talkin’ ‘bout Jimi
We got Jimi
Talkin’ ‘bout Jimi
Talkin’ ‘bout Jimi
Talkin’ ‘bout Jimi
Talkin’ ‘bout Jimi
Talkin’ ‘bout
Talkin’ ‘bout now

Jimi Hendrix
Jimi
Jimi Hendrix
Jimi Hendrix
Jimi Hendrix

Talkin’ ‘bout jammin’
I’m talkin’ ‘bout jammin’

Jimi
Gonna move back
Gonna move back
Gonna move back
Gonna move back
Talkin’ ‘bout my woman
Gonna move back
Comin’ on back
Movin’ on back
Comin’ on to you now
Movin’ on, baby
I’ve been away too long

[Tape cut]

You’re gonna have to wait two minutes
‘Til I finish this home-cooked, good lovin’ with you
‘Til you break up
I understand
I like Hongkong babies did you know
Sitting on a roller-coaster
I wanna do it to you , no-no, baby

You’re a hoot

That won’t do it

Do it

But when she takes me by the hand
And l follow her down that long corridor
Which leads to our bedroom

Then she climbs down between those crisp black sheets
And when we’re both stand up on it
Means I’ve been happy, simply happy

…?
…?
…?

Happy
Happy
Happy
Happy
Happy

Get it, baby
Get it, babe
Get it, babe
Get it, babe
Get it, baby

All right!

Get it

(Un-cut!)

Yea-ea-eah

(Stop)

Eric2: All right, thank you. ‘George Ellis’? [‘You’re jealous’?] [percussion?(congas)]. Charles Miller [sax & flute], B. B. Dickerson [bass], Howard Brown [drums], Lee Oskar [Harmonica], Lonnie Jordan [organ] and Howard Scott [guitar].
?: Eric Burdon [vocal] Here tomorrow: Eric Burdon and War….

2 No mention of Dee Allan [percussion (congas)] who is listed as playing here in JP 87, is this a mistake for ‘George Ellis?’

Source : JimiPassItOn

_________________________________________________________________________________________

Bon téléchargement !
http://crosstowntorrents.org/showthread.php?t=4004

L'enregistrement des derniers sons de Jimi Hendrix ...un document exceptionnel à cet égard ...
C'est la version définitive (copie numérique du master), on avait auparavant une copie dégradée en wma.

Pour se faire une idée du groupe War interprétant en 1970 (avant ou après la jam avec Hendrix ?) "Tobacco Road".

https://www.youtube.com/watch?v=Ig4jQrofnBI

Le guitariste de War se souvient ...
https://www.youtube.com/watch?v=vvkRXkb4Cvc

On trouve cet enregistrement aussi par là:

https://www.youtube.com/watch?v=bXV6HsTkeiM

Publiée le 13 juin 2013

Thus end the last recorded sounds of Jimi Hendrix, may he rest in peace.

The start times are approximate ~

00:00 - Gun 3:01
03:01 - Paint It Black medley 15:36
18:37 - Spill The Wine 8:48
27:25 - Mystery Train 5:40
33:05 - Gun 7:39
40:44 - Paint It Black medley 15:35
56:19 - Blues For Memphis Slim (incl.Mother Earth) - with Jimi Hendrix 20:33
1:16:52 Tobacco Road - with Jimi Hendrix 15:37

16 September, 2012 marks the 42th anniversary of Jimi's last recorded sounds, sitting in at a performance by Eric Burdon and War at Ronnie Scott's Club in London (by the time Jimi appeared it could've technically been the early morning hours of the 17th). This of course took on much added significance after Jimi passed on a little over 24 hours later, but it's really just a brief casual jam on two songs and the parts that truly feature Jimi total only a few minutes.

The tape of the evening is low-fi in terms of tonal balance and recording quality but the mix is pretty good. It was supposedly recorded by Howard Scott from War, who made a big publicity splash about a year and a half ago about releasing the tapes, but nothing has yet come of it. He also claimed that Jimi left his favorite guitar with the band because he had so much fun, but that seems unlikely. It's doubtful that he has additional songs with Jimi but he could have more complete or higher quality tapes. I think this copy is less complete than some circulating, but I'll run down what I have.

(Setlist with Jimi): Mother Earth; Tobacco Road

This tape fades in during a chorus of 'Mother Earth', during which we hear the odd lick that sounds like Jimi (there are 2 guitarists). They start another verse and Burdon sings a couple of lines which are answered by Jimi, then Burdon turns it over to Jimi for a solo. Jimi is at home in the medium tempo blues and we hear some tasty playing with some adventuresome single- and double-string bends. He's got a pretty clean tone, and it doesn't quite sound like the Strat to my ears but hard to say for sure. He does another 12 bars with the band taking a double time feel, including a strange pull-off to open strings at 3:00. Another 12 bars sees Jimi going to some faster riffs and at 3:45 the band stops except for drums and Jimi goes back to some more laid back bends. He turns it around to the next 12 bars with some climbing chords and some understated rhythm work, giving it over to the second guitarist for a solo that starts a few bars into the verse. Jimi continues some light rhythm work underneath, then the two guitars do a little call n' response before another stop to drums only with the second guitar still soloing. At 7:50 it sounds like an edit followed by a sax solo which fades on my tape at about 9:20. Just as it fades out I hear a choppier rhythm being established and what sounds like the riff from Jimi's 'Jam 292', so longer tapes may well feature a bit of that. 'Tobacco Road' starts with a driving riff that coincidentally sounds a bit like a speeded up 'Power of Soul' variation (picture that song crossed with 'Drivin South')! An organ drone gives way to some harmonica/sax riffing and Burdon starts the classic "I was born..." lyrics at :45 over the one chord vamp. The voice seems a little lower in the mix here than on the previous song, but maybe the band is just playing louder. They go to the '4' chord for a chorus at 1:45 and there's a stop (and possible edit) to a drums and vocals section, the whole band slowly building the riff back up to 3:15. At 3:30 we hear Jimi enter with some slightly tentative octave runs, then he gets into some faster soloing with the band hitting some showband-style 'Cool Jerk' accents behind him. He continues with some fast riffing and bends until 5:15 when he returns to a few more octave runs. At 5:35 the other guitar enters, followed by Burdon's voice as the tape (mine, anyway) fades out.

Lee Oskar revient sur cette soirée dans un entretien avec Dave Degal :

Dave Degal - Is it true that you jammed with Jimi Hendrix the night before he died?

Lee Oskar - Yeah, unfortunately. Hendrix came to the…we were at the Ronnie Scott’s Jazz Club…we were the first “rock” bands, if you will (I mean, we play jazz as far as a lot of people are concerned), they ever allowed in Ronnie Scott’s. It was always bands like Coltrane or Roland Kirk, and the Melody Maker newspaper in London had [on the] front page “the best live band I’ve ever heard.”

A year before I met Hendrix with Eric [Burdon] at Devonshire Downs, he played an alto concert as Eric Burdon and War, and I sat in with Jimi Hendrix and all that. And so, I was a fly on the wall, basically. I got to see things without having the pressure of being the center of attention. And the unfortunate thing about Jimi Hendrix was, and I think the same thing that happened to Prince, but I can bet it was the same thing that happened to Jim Morrison, that happened to Hendrix, is that they’re bigger than life. The expectations that are on artists like that, from the public, is huge. And when you’re an artist and you wanna maybe kind of change things, and you’re constantly being creative (I know I am, and I know any artist who’s true to their art is constantly moving and creating), they get pigeon-holed, and when they get held to a place where everyone expects them to do the same thing, like with Hendrix, it was like burning the guitar and all that.

Unfortunately, the people that were huge fans of Jimi Hendrix weren’t maybe in sync from moment to moment as he’s being creative. Because maybe his manager, Mike Jeffery, all the stuff around him that he was upset about…I knew he was upset about, that he and Eric had in common, because Eric was ripped off by the same guy, Mike Jeffery, when he managed the Animals. And they would talk about, you know, the music, and maybe putting a radio station on the moon so the world can hear our music. They both got ripped off in a lot of ways. I think Hendrix died of a broken heart.

I know Hendrix wanted to be associated with Miles Davis; he was an incredible player. I know that when we played Ronnie Scott’s Jazz Club, we were just getting a deal signed…Eric Burdon was getting a deal signed with Liberty Records in Europe, and the people that were sitting in front of us were from the record company. When they saw Jimi Hendrix get onstage—and he wasn’t in the best shape, to be honest with you—but when he played… to me it was amazing. And there was a guy [who] actually recorded (the tape that he recorded was confiscated). But the people with Liberty Records... it was sabotage, because Howard Scott was playing an amazing solo, and the fact that he was playing an amazing solo, maybe Jimi Hendrix wasn’t at the top of his game and what people expect; it was just rivalry, like they would…and that rivalry has nothing to do with music. So if those days can paint you a picture, it’s not a nice world when the industries don’t give a shit about the music; it’s all about numbers and expectations.

And then Jimi Hendrix was staying at Monique’s, which was his girlfriend, a German chick, who had a pad in London, and he came to see us at this show, and the next day he came and sat in with [Eric Burdon and War]. And the next day he was supposed to come back, and Monique called Ronnie Scott’s while we were playing, and Terry McVeigh, who was a roadie, who’d been a roadie since the Animals, intercepted a call and, I guess, told Monique, “call an ambulance,” which she did, and then when we finished our set, Eric Burdon jumped offstage, and he obviously went over to the hospital, and I was walking around London in an area with a friend of mine, Judy Wong, and we were all friends. The whole clique and Hendrix’s clique in New York; we knew a lot of different people. But, yeah.


Source : Ex-War Member Lee Oskar Talks Harps, Eric Burdon, Deacon Jones, Jimi Hendrix's Last Gig, and More by Dave Segal

Merci!

Très intéressant merci Ayler.
Toujours eu un avis partagé sur Burdon...ce jour restera maudit.

Un forum Jimi Hendrix en français ?

Pourquoi s'il vous plaît, vous diffusez en anglais l' entretien de Lee Oskar avec Dave Degal dont vous faites référence ce 16 septembre 1970, alors que nous sommes censé nous trouver sur un forum en langue française sur Jimi Hendrix ??

[Lee Oskar (harmoniciste) qui a participé à la Jam-session du 22 juin 1969 avec Hendrix à Newport et qui a duré 2 h00]

brume_pourpre a écrit:

                                             Un forum Jimi Hendrix  en  français ?

Pourquoi  s'il vous plaît,  vous  diffusez en anglais  l' entretien de  Lee Oskar  avec Dave Degal dont vous faites référence  ce 16 septembre 1970, alors que nous sommes censé  nous trouver sur un forum en langue française  sur Jimi  Hendrix ??

[Lee Oskar (harmoniciste) qui a participé à la Jam-session du 22 juin 1969 avec Hendrix  à Newport et  qui a duré 2 h00]

Un petit copié-collé dans un traducteur (ici: Deep L) en accès libre et tout s'éclaire!

Dave Degal - Est-il vrai que vous avez jammé avec Jimi Hendrix la nuit précédant sa mort ?

Lee Oskar - Oui, malheureusement. Hendrix est venu au... nous étions au Ronnie Scott's Jazz Club... nous étions les premiers groupes de "rock", si vous voulez (je veux dire, nous jouons du jazz pour beaucoup de gens), ils n'ont jamais été autorisés à entrer au Ronnie Scott's. C'était toujours des groupes comme Coltrane ou Roland Kirk, et le journal Melody Maker à Londres avait [en] première page "le meilleur groupe de scène que j'ai jamais entendu".

Un an avant que je rencontre Hendrix avec Eric [Burdon] à Devonshire Downs, il avait joué un concert d'alto sous le nom d'Eric Burdon and War, et j'avais assisté à un concert avec Jimi Hendrix et tout ça. Et donc, j'étais une mouche sur le mur, en gros. J'ai pu voir des choses sans avoir la pression d'être le centre d'attention. Et la chose malheureuse à propos de Jimi Hendrix était, et je pense la même chose que ce qui est arrivé à Prince, mais je peux parier que c'est la même chose qui est arrivée à Jim Morrison, qui est arrivée à Hendrix, c'est qu'ils sont plus grands que la vie. Les attentes du public à l'égard de ce genre d'artistes sont énormes. Et quand tu es un artiste et que tu veux peut-être changer les choses, et que tu es constamment créatif (je sais que je le suis, et je sais que tout artiste fidèle à son art est constamment en mouvement et en création), ils se font cataloguer, et quand ils sont retenus dans un endroit où tout le monde s'attend à ce qu'ils fassent la même chose, comme avec Hendrix, c'est comme si on brûlait la guitare et tout ça.

Malheureusement, les gens qui étaient de grands fans de Jimi Hendrix n'étaient peut-être pas synchrones d'un moment à l'autre alors qu'il est créatif. Parce que peut-être que son manager, Mike Jeffery, tous ces trucs autour de lui qui le contrariaient... Je savais qu'il était contrarié, que lui et Eric avaient en commun, parce qu'Eric s'était fait arnaquer par le même gars, Mike Jeffery, quand il gérait les Animals. Et ils parlaient de, vous savez, la musique, et peut-être de mettre une station de radio sur la lune pour que le monde puisse entendre notre musique. Ils se sont tous les deux fait arnaquer de bien des façons. Je pense qu'Hendrix est mort d'un coeur brisé.

Je sais qu'Hendrix voulait être associé à Miles Davis ; c'était un joueur incroyable. Je sais que lorsque nous avons joué au Jazz Club de Ronnie Scott, nous venions de signer un contrat... Eric Burdon venait de signer un contrat avec Liberty Records en Europe, et les gens qui étaient assis devant nous venaient de la maison de disques. Quand ils ont vu Jimi Hendrix monter sur scène - et il n'était pas dans la meilleure forme, pour être honnête avec vous - mais quand il a joué... pour moi, c'était incroyable. Et il y avait un type [qui] enregistrait vraiment (la cassette qu'il avait enregistrée a été confisquée). Mais les gens de Liberty Records... c'était du sabotage, parce qu'Howard Scott jouait un solo incroyable, et le fait qu'il jouait un solo incroyable, peut-être que Jimi Hendrix n'était pas au top de son jeu et de ce que les gens attendent ; c'était juste de la rivalité, comme ils le feraient... et cette rivalité n'a rien à voir avec la musique. Donc si cette époque peut vous peindre un tableau, ce n'est pas un monde agréable quand les industries n'en ont rien à foutre de la musique ; tout est une question de chiffres et d'attentes.

Et puis Jimi Hendrix était chez Monique, qui était sa petite amie, une Allemande, qui avait une piaule à Londres, et il est venu nous voir à ce concert, et le lendemain il est venu s'asseoir avec [Eric Burdon and War]. Et le lendemain, il devait revenir, et Monique a appelé Ronnie Scott pendant que nous jouions, et Terry McVeigh, qui était un roadie, qui était un roadie depuis les Animals, a intercepté un appel et, je suppose, a dit à Monique, " appelez une ambulance ", ce qu'elle a fait, et puis quand nous avons fini notre set, Eric Burdon a sauté hors de la scène, et il est évidemment allé à l'hôpital, et je me promenais dans Londres dans un quartier avec une amie à moi, Judy Wong, et nous étions tous amis. Toute la clique et la clique d'Hendrix à New York ; nous connaissions beaucoup de gens différents. Mais, oui.

Merci beaucoup pour cette traduction.
J'espère que les prochains articles seront tous diffusés en français car nous sommes sur un forum français.
Sinon pourquoi s'être donner tant de mal à le construire, en français ?
Des amis français voir même de l'autre côté de l'atlantique fidèles suivent l'actualité Hendrixienne au travers de ce forum.
[Yazid écrit en français! Bien qu'il soit anglophile.]
Merci de votre compréhension.

brume_pourpre a écrit:

J'espère que les prochains articles seront tous diffusés en français car nous sommes sur un forum français.
Sinon pourquoi s'être donner tant de mal à le construire, en français ?

Les chroniques des membres sont toutes écrites en français.
Pour ce qui est des articles, bien sûr qu'il serait souhaitable de les proposer en français - mais je n'ai absolument pas le temps de les traduire. Et il me semble préférable de vous livrer le texte brut en anglais... plutôt que de garder pour moi ces infos.
Chaque membre peut ensuite, à l'image de ce qu'a fait upfromtheskies, utiliser l'un des nombreux traducteurs en ligne. Si un point d'un article n'est pas clair, je suis certain que les membres qui parlent anglais tenteront de préciser son sens au mieux à la communauté.

autograph to Bill Baker interview after show

Ayler a écrit:

Le groupe fait monter la pression lors de la deuxième minute et revient au riff d'introduction avant ce qui sera l'ultime solo de guitare enregistré du plus grand virtuose du siècle passé.

solo on Tobacco Road playin Goward Scott, not Jimi
Eric Burdon: "Howard drove Jimi into the background and Jimi played a rhythm guitar part during Tobacco Road. Flames erupted, and I heard Howard play a solo like I had never heard from him before. Jimmy made Howard shine that night"

Alors solo de Jimi ou de Howard Scott ?
Le type est toujours vivant, il faut lui demander !

Je suis en train de réécouter cet enregistrement et j’observe les éléments suivants :
Il y a deux guitaristes avec des sons assez différents : le premier joue le riff d’introduction et n’a pas de problème de volume. C’est Howard Scott; le second joue des traits lead et le solo principal, il a le même son que le soliste du morceau précédent (« Mother Earth » qui est sans doute Hendrix . Ce deuxième guitariste semble rencontrer des problèmes de volume. C’est très probablement Jimi Hendrix.
J’observe aussi que l’enregistrement n’est pas complet (Eric Burdon en fait des tonnes). Donc, il se peut que le solo extraordinaire qu’évoque Burdon (dont les souvenirs ne sont pas connus pour leur précision) n’ait pas été enregistré.