You Can’t Use My Name (The RSVP PPX Sessions) [23 mars 2015]

Yazid a écrit:

Jimilabête a écrit:

Je trouve pas malin d'Experience Hendrix de ne pas inscrire "Hendrix" sur la pochette. Certains consommateurs, qui ne reconnaîtront pas Hendrix avec cette coiffure inhabituelle, vont penser que cet album se trouve par erreur sous "Jimi Hendrix" et passeront à côté.

Je trouve justement ce choix excellentissime ! Est-ce une perte immense pour ceux qui passeront à côté du disque ??!!! Et puis il est avant tout destiné aux fans donc impossible pour eux de le louper !!

YM

D'accord avec toi Yaz. 40 ans de sorties non officielles (encore facilement trouvables...) de ce matériel avec Hendrix en gros sur la pochette sont bien plus néfastes...

Purple Jim a écrit:

Je suis sûr qu'il y aura des autocollants pourpre/or dessus comme d'habitude, avec une descriptif du contenu.

C'est vrai, j'oubliais ces étiquettes. Mais vu qu'elles sont collées en bas des boîtes, elles peuvent assez facilement échapper au regard dans un bac à CDs.

Yazid a écrit:

Est-ce une perte immense pour ceux qui passeront à côté du disque ??!!!

L'intérêt musical de cet album sera limité, on est bien d'accord. Je partais du principe qu'Experience Hendrix voulait faire un profit maximum avec cette sortie... Mais peut-être que pour une fois, cela n'est pas leur objectif premier?

Je dirais qu'il fallait faire ce disque une bonne fois pour toute. Enfin, après presque 50 ans entre les mains d'un con ces bandes vont être présenté dans des bonnes conditions et de façon honnête.
Il reste à voir ce qu'ils vont faire avec les bandes live (Dagger ?) et les confettis de '67.

Purple Jim a écrit:

..... et les confettis de '67.

Il n'y a guère que le titre Hush Now qui tire son épingle du jeux dans ces sessions

mouais et "Gloomy Monday" aussi

C'est bizarre, "Gloomy Monday" est une chanson assez aboutie. Je paris que Knight avait le titre bien avancé et que Jimi avait simplement offert d'ajouter sa guitare (for old times' sake). A part ça, ils avaient simplement jammé autour d'un ou deux grooves pendant que Jimi explorait sa nouvelle pédale wah-wah..

"gloomy monday" est un titre que j'aimerais bien reprendre en concert, ça ne ferait pas tache

Tontonjimi a écrit:

"gloomy monday" est un titre que j'aimerais bien reprendre en concert, ça ne ferait pas tache

Est-ce qu'on peut utiliser ton nom ?

Je viens de trouvé par hasard la retranscription il semblerait du procès PPX/Capitol Yameta pour la sortie non autorisé du disque Get That Feeling en 1968

Thursday 07 March 1968
New York City, Halperin, Morris, Granett & Cowan (offices), 1350 Avenue of the Americas,
New York, USA
From 10:15 until 13:45, on the last day of a four day break during their first American tour.
Jimi (as a co-plaintiff with Yameta Co. Ltd) was ‘deposed’ (legally interviewed before a trial) with his councel: Henry W. Steingarten (of ‘Steingarten, Wedeen & Weiss’) by the defendants attornies: Elliot Hoffman* (representing Ed Chalpin’s PPX Enterprises Inc.,) and Solomon Granett (representing Capitol Records Inc. the label on which ‘Get That Feeling’ was released in December of 1967, they were the US/Canada counterpart, to the UK’s British ‘Decca’ label, whose ‘London’ label released these recordings in the UK. And whose Dick Rowe had not only rejected the Beatles when he was offered them first by Epstein, but had compounded this massive failure by later rejecting the Jimi Hendrix Experience when Chas first approached them with ‘Hey Joe’. He was suspiciously present in the studio when the 1967 PPX recordings were made) “Mr. Edward Chalpin”1 attended [noted on page 2] but did not take part. Henry Steingarten, occasionally objects to a question, or intervenes to help Jimi. It is interesting how the original Sue Records or Copa contracts - purchased by Jeffery - have never appeared as surely they would negate the later PPX one.

*[Is interviewed in the Live At The Fillmore East video & is interviewed in the book ‘Setting The Record
 Straight’ etc although this adds nothing of much interest]
1[Is interviewed in the (dreadful) ‘Flashback.’ Video, although this adds nothing of any interest]

The three hour interview was taped and later transcribed by ‘David M. Horn, a ‘Notary Public of the State of New York,’ (p. 170) for the ‘United States District Court, Southern District of New York’
As Yameta and Hendrix are the plaintiffs, rather than the defendants, it implies that this deposition was taken as part of a countersuit by Yameta. No other details of this suit have surfaced before; due possibly to this countersuit being dropped as part of the terms of the settlement with Capitol, PPX, and Knight.

The copy of the transcript that Univibes apparently still own, and is the only known one, survives as a 170-page document, with 25 lines of double-spaced text per page. It is missing five pages (pp. 80, 85, 98, 100, and 117); [In the margins of pages 25, 46, 76, 119, 138, and 159 there are notations identifying the precise spots where tapes 2, 3, 4, 6, 7, and 8 begin; presumably, tape 5 must have begun on one of the missing pages, probably on p. 98.]
Joel Brattin examined and (severely) edited this as “the highlights” of that transcription for Univibes and that is all that has been seen of it so far. Hopefully a full scan of this existing transcript will be made available at some time in the near future. And of course if the missing pages, or even better the tape turn up, so much the better. I have taken the liberty of recasting the interview in it’s original form (see page 103, the only scan available as yet). Due to the usual, unfortunate “Hendrix writer”’ style of turning as much of an interview into their own words as possible and leaving it unclear as to how much of what has been written is just added information “for the reader’s benefit”, which could easily have been added as notes. All this has unfortunately necessitated much [paraphrasing]. I, and I’m sure most others would have much prefered to have the original recorded words used even if they needed to be abridged for space reasons.
It is notable how evasive Jimi is in this examination and how he consistently and seriously underestimates his amount of recorded work and time spent in studios etc. And that he claims to have read no contracts or even to have one at all with Mike Jeffery, and that he has no idea of how much money he earns, and is not curious at all about how much money he has, or indeed about any other aspect of his business. – “I know nothing your honour. what? you mean I’m a World famous pop star gosh I didn’t realise, well, well!”. Jimi is just doing a “Ronald Reagan”, obviously along with Steingarten’s advice. Jimi uses the expression "I'm not sure" 27 times, "I can't remember" 65 times, and "I don't know" 101 times

UNION MEMBERSHIP & MUSICAL TRAINING

The interview starts with Elliot Hoffman, asking questions; David Horn misspells Jimi's correct London pronunciation of Berkeley as “Barklay” and Chas as “Chaz” etc.

EH: [What is your name and address?]
JH: “James Marshall Hendrix, 43 Upper ‘Barklay’ [sic] Street, London, W1, Flat no. 9."
EH: [Have you had any previous address in London?]
JH: “The Hyde Park Towers Hotel [note he doesn’t mention 34 Montagu Square] “[from]
about the very end of September [1966], [until] the middle of 1967”.
EH: [Where did you live before this?]
JH: [I lived in Greenwich Village before I came to London]
EH: [What was your address in New York]
JH: “If you wanted to get in touch with me then it was the Cafe Wha?, which was, I think,
located on MacDougal Street.”
EH: [What is your permanent legal residence]
JH: [I consider London my legal residence]
EH: [Are you a member of a union?]
JH: [I am a member of the American Federation of Musicians, Local 802
EH: [Do you have your union card?]
JH: “No, not that I carry with me because I always lose wallets”
EH: [What is your address in your passport?]
JH: “200 West 57th Street"
EH: [Whose address is that?]
JH: "It's - I'm not sure, but it has something to do with the office"
EH: [Have you ever been there?]
JH: "Yes, I've been there about twice"
EH: [When did you start playing music professionally?]
JH: "It must have been when I was about seventeen, sixteen or seventeen; semi-
professionally, but for pennies"
EH: [What instruments do  you play?]
JH: “Guitar [is my] main instrument, [but I can also play] drums; a little bit organ, piano"
EH: [Have you been to music school and can you read music?]
JH: [I have no music training, and can’t read music at all]
EH: [How do you compose, without reading music?]
JH: "It's mostly by memory; and if something is in your mind good enough and strong
enough you remember... I write down the words and keep the music in my mind, that's all. I just keep the music in my mind and write down the words and I'll remember it in my head – the music"

CONTRACTS

EH: [Do you have your own publishing company?]
JH: [No]
EH: [Who is your manager?]
JH: “Mike Jeffries”
EH: [Do you have a contract?]
JH: [Yes, I have a contract with “Jeffries” for management, but] "It's a verbal contract; a
verbal agreement" [I talked with Mike in the United States, without a lawyer, and
agreed to his compensation]
EH: [What would that compensation be?]
JH: "I don't remember the numbers at all, but it was a mutual agreement, whatever it came
to, like. I was interested in - like I wanted to see what England was like, you know. And plus the things that he told me, I really believed, like they would spend money on me, the promotion plus the expenses, plus equipment. And I had a salary a week. It was like hotel bills were paid, clothes, you know. And this indicated to me that, you know, I had a very good thing, a good chance. And it gave me belief in them, like"
[Mike and Chas Chandler paid my fare over to England and my hotel bill, and they] "bought so much equipment," [and they paid some] "personal debts" [amounting to] "a few hundred dollars". "Anytime I asked for money they gave it to me because I would say I want something; and they gave it to me"
EH: [When did you first meet Mike Jeffery?]
JH: [I first met Mike Jeffries "at the Cafe Wha? in the Village," [He was interested in] "the
group," [he made made frequent visits and we discussed matters].
EH: [What did you discuss?}
JH: “Mike asked me like did I have any contracts or did I sign any contracts or
anything, [and I said] I did have a contract with Sue Records, I told him I was managed by a company that works with Sue [that is, Copa]"
EH: [Did you tell him about any other contracts?]
JH: [I didn’t tell about other management or recording contracts].
EH: [Then persistently questions Jimi about other contracts}
JH: [I had] "signed agreements with PPX [ October 1965] [and] a group contract
with RSVP” [June 1966].
EH: [So] "the Sue Records contract which was dated July 27, 1965 was the first recording
contract that you signed in your entire life?".
JH: [Yes, but I’m uncertain about the date.]
EH: [Did you read the contract?]
JH: [I did not read the contract when I signed it]; "it was explained to me [by] Juggy
Murray [who] runs Sue Records": "he explained to me like I would be a regular artist in my own right as Jimi Hendrix; like he would manage me, you know. And he said - and he explained the money situation to me which I can't remember now; I'm sorry. And he explained the term[s] of the contract. He said – I believe it was something like two years - yes, I think it was two years' option, with three options of one year a piece. In other words, it came to September 1970. I don't know too much about the options and all that; but it came up to 1970". [Murray never recorded me, but I] "might have borrowed a dollar or two from him. I tried to write my songs so I could present them to him, you know, sing them to him, [and brought him] a demo. It's like you make a little rough thing, and I did.
[Hoffman doesn’t make any enquiries about this missing demo]
EH: [How did you meet PPX producer Ed Chalpin?]
JH: [I met Ed Chalpin through Curtis Knight]
EH: [When did you first meet Curtis Knight?]
JH: "I'm not sure. I'm sorry. It must have been – I know it was in '66. Maybe, say, the later
half of '66."
HS: [Jimi’s councel:] "You mean 1965"
JH: [Yes… I knew Knight only one day before he introduced me to Chalpin] "I believe it
was the next morning after I met Curtis Knight that we went to the studio".
EH: [Did you read either of the Sue Records and Copa Management contracts?]
JH: [I read neither one]
EH: "What was your understanding, after you signed those contracts, of what Juggy
Murray was going to do for you? To tell the truth, I really didn't ask him too many questions, because it was a record company that was very big during the time because, you know, they had a lot of my favorite artists. It's hard to explain, but, like, 'Oh, good. I'm going to be on that label,' you know. So I'm sitting up there in a daze, you know; I got a contract. And he was explaining it to me. And I'm sorry, but I just can't remember. But I believe it was a satisfactory explanation, or else it must have been a satisfactory explanation, [or] else I probably wouldn't have agreed to it". [I never read the contract]
EH: [Did you ask a lawyer to read it for you?]
JH: [I didn’t ask a lawyer to read it for me]
EH: [Did you go back to look at it the next day?]
JH: "No, I didn't. It was my fault, you know, I must have slept too late or something".
EH: [Did you ask for a copy?]
JH: "I said no, because all I'll do is lose it again, and there's no reason for it".
EH: [Do you recall the percentage Copa was to take for management services?]
JH: [No]
EH: [What were the terms of the agreement?]
JH: [I don’t know, I] "thought it might run the same time as the recording contract".
EH: [Did you ever ask Murray for any management services, or to book a studio for you?]
JH: [No,] "I just said - well, I figured that since he was supposed to be my manager, and he
was going to book a studio, he might be in the studio listening to me. And that makes me-you know I just can't get it to go like that. So I said, 'No. As soon as I get my songs together I'll let you know'"
EH: [Did you keep in touch?]
JH: [I had difficulty keeping in touch with Murray, I heard that he was sick; eventually]
"there was a later period, you know, when I couldn't get in touch with him at all", [but I would still communicate with him through his secretary "around the beginning of '66". [I never saw Murray after this period].

CURTIS KNIGHT SESSIONS

EH: [When did you first meet Curtis Knight?]
JH: [I first met him] "in the hotel lobby of the America Hotel: I was standing in the
lobby, and a girl came up and said, 'This is Curtis Knight.' So great. And then I got his name mixed up with another person [King Curtis? Jimi played and recorded with him in early 1966] and I thought it might have been him. So I went up and started a conversation with him".
EH: [When did you first record with him?]
JH: [I] "did a session the next day, at PPX studios [aka ‘Studio 76’ &
‘Dimensional Studios’ at 1650  Broadway, in New York City].
EH: [Can you recall the names of the other musicians at the session?]
JH: [I can’t remember].
EH: [Did Curtis Knight play an instrument?]
JH: "Well - yes. He is considered as playing the guitar. He plays the guitar".
EH: "Has he ever been recorded playing the guitar?"
JH: "He's - as far as I know he's a singer."
EH: [Were there any other guitarists at the PPX session?]
JH: "No, I don't believe so, because I believe the first session we did was one that I played
all the instruments except the drums".
EH: "About how many tracks do you think you overdubbed?"
JH: "I guess about four including the bass [The tune was] ‘How Would You Feel’?
[Curtis] Sang the lyrics to me, you know, and gave me a rough idea how the lyrics went, the melody went," [but didn’t show me the chord changes; I worked those out] "according to his melody" [basically Bob Dylan’s “Like A Rolling Stone”].
EH: [Was this on] "October 6, 1965?"
JH: "I really don't know for sure. We played - I made a few sections [sic - sessions]
with Curtis Knight and PPX. I don't know how many times we went there. In the month of October '65 I don't remember how many times I went back. But the times altogether I would say was maybe six, seven, eight times, you know".
EH: [What about the other songs at this] "first bundle of sessions?"
JH: "I think I did one named ‘Don't Accuse Me’. The way they do it, like you write a song
and all that; and then you have a certain name to call it by. And then, maybe during the time when it's getting ready to be released, the final thing, then you make a change, or you give it a permanent name. So therefore the names might change; so I would rather not say, you know, but it was a few tunes". [Curtis usually added vocals later, though] "there's a few times that he sang along as we played".
EH: [What about the other musicians at this first group of sessions?]
JH: “[I can’t remember] because I'm very bad on remembering names". [Ed was present]
"at least most of the time. One time I was doing a demo, I wrote a song one night; and the next morning, you know, I wanted to record it; I wanted to make a demo of it"

HEY PRETTY BABY & PPX CONTRACT

EH: [What was the title?]
JH: "I don't know. It was something like ‘Hey, Pretty Baby’, or something like that".
[Chalpin was present, and] "while we was packing up equipment, he comes back, you know, and calls me into his office. And we was talking in his office very light, and so forth. And then he asked, did I have any contracts with anybody? So I said, 'Yes I have a recording contract with Sue.' And he said - well, like, 'How would you like -' - I don't know the exact words, but it came down to; how would you like to sign a contract as a backing musician, or producing things, maybe songs, or arranging them? And the way he explained it to me was that it had nothing at all to do with – I wouldn't hurt Sue, or interfere with the Sue contract whatsoever. [Chalpin] laid it on the desk, you know. And since I took it as an insurance of getting paid for sessions, I signed it".
EH: [Did you read it?]
JH: [I didn't read it] "because I don't know nothing about contracts. I just wanted to sign it
for insurance that I would get paid for the sessions, and stuff.
EH: [Had you recorded before?]
JH: [Yes, I had recorded earlier, before meeting Knight and Chalpin, as a] "backing
musician [for] Little Richard and Isley Brothers and various other people [Rosa Lee Brooks etc]. I can't remember now, about five or six" [records, before meeting with Juggy Murray in July of 1965; I don’t remember getting royalties for any of these earlier recordings.

KING CURTIS, PPX etc

EH: [Do royalties only go to] "a featured artist?"
JH: "Like it's paid - as far as I know it's like it all depends, like if I was part of a group -
you know I don't know too much about this anyway - for instance, you know, like when I was playing [with] King Curtis, like I was part of his group, he said things about royalty. I never got nothing from that, though. But royalties, and all those things I don't know too much about it anyway, especially not then".
EH: [Did Chalpin pay you?]
JH: [He didn't pay me any money when I signed the contract, but I remember] “that
when I was recording with Curtis [Knight] at PPX studios, I remember there was several times, a few times that I got paid by checks with his name on it, or somebody's name from the PPX"
EH: [How much?]
JH: "I'm not sure. I think it was about either one third or one half of how much I was
supposed to get, you know, that I was supposed to get later on".
EH: [Did you make any PPX recordings in December of 1965?]
JH: [I] "couldn't be sure of the exact month", [but I remember recording] "Simon
Says: The dates, and the names of the songs themselves are completely mixed. You know, when we recorded them, we didn't know what the name of the song really was going to be. We might use a different working title. As far as the title of the song I'm completely confused now, because some titles are different than others". [I remember] "when everybody was in the studio on my own money, like, to make a demo"  
[Hoffman is not interested in this mysterious recording]
EH: [Were other guitarists recorded with you at this time?]
JH: "Sometimes I would do all the parts myself.”.
EH: [Was it] "for the most part Curtis, yourself, and a drummer?"
JH: “We had an organ like, and sometimes an electric piano on some of those tracks."
EH: [Did you pay for any of these sessions, or for the rental of instruments and amplifiers.
JH: [No]
EH: [Would you consider yourself as a backing musician on these sessions?]
JH: “Definitely".
EH: [How did you meet Mr. Simon the head of RSVP records?]
JH: [Curtis Knight introduced me to him]
EH: [Did you tell him about the Sue Records contract?]
JH: [I talked to him about it, but maybe not about the PPX one]
EH: [When you signed the RSVP contract with the other members of The Squires did you
read it?]
JH: [I signed it but didn’t read it]
EH: [Who else was in the group?]
JH: "One name was Marion Booker." [I also remember] "Napoleon."
EH: "Napoleon Anderson?"
JH: "I'm not sure"
EH: "Nate Edmonds?"
JH: [Yes, he was a member]
EH: [Did you sign the contract] "on or about June 10, 1966".
JH: [Yes]
EH: [do you remember the release of] "How Would You Feel?"
JH: [Yes,] "Curtis told me, you know. He told me the dates on the releases"
EH: [When was this recorded?]
JH: [It was from the October 1965 session. I think I was paid] "less than scale".

MUSICIANS

EH: [Did you make] "any new recordings for RSVP at any time?"
JH: "There was one time, I think - they had a studio downstairs in the same building which
was represented by RSVP, I think; I'm not sure. And we did some tunes there"
JH: "I think we recorded a song down there called ‘Knock Yourself Out’. And I think we
recorded one called ‘Hornet's Nest’. I played guitar, and they changed bass players around, so I'm not sure of the bass player's name... I think it was a guy named Nathaniel [Nate Edmonds] that played the organ. They had a guy named [Marion] Booker playing drums. Like I doubled, and sometimes you just keep in rhythm with the voices; if it needs it".
EH: [Was there a  second guitarist for these sessions?],
JH: [No.] "They had a drum solo in some of them, and they had a guitar solo and they had
organ solos. Everybody was featured, because everyone in the group was very, very good capable musicians". [it may have been recorded] "the same month" [I signed with RSVP, but] "I don't remember too well"
EH: [Did you make other recordings before going to London
JH: [These were my last recordings before I left].

FIRST JHE SESSIONS.

EH: [When did you first record in London?]
JH:  [I think I began recording] "about four or five months after we got there," [I believe that
would be in early 1967. [actually November 1966]
EH: [What was the first studio you recorded in there?]
JH: "De Lane Lee [sic]".
EH: [Did you sign a writer's contract at the same as the PPX?]
JH: "I don't remember signing but one contract" [he signed a writer's
contract with Jerry Simon of RSVP in June 1966 for 'No Such Animal': his first
recorded composition].
EH: [Who else was involved in that first session?]
JH: "We had another group, like, that was hanging around in the studio, you know. They
were supposed to record the same day. And it was some people there that we knew [‘The Breakaways’]. And like they sang vocals, backing vocals, on one of our songs [‘Hey Joe’]". [We didn’t have a name for the group at this time, but Mitch Mitchell and Noel  Redding were the other members of the group].
EH: [Did you sing on these sessions?]
JH: "The first sessions were like really instrument[al.] I don't mean instrumental songs, but
they were like what you call backing tracks."
EH: [Were you backing musician, then?]
JH: "No, not backing musicians but like as soon as your confidence comes up, you know,
you put the voice on..." [This was my first time singing lead, Mitch and Noel sang] "background parts".
EH: [What were the song titles from] "the first sessions in 1967?"
JH: "I think we did Hey Joe. I think we did one named ‘Let Me Stand Next To Your Fire’;
and various other songs. You know, there's millions of songs".
EH: [Did you sing on any of the PPX tracks?]
JH: "There was one on ‘How Would You Feel’. I sang the background with about three
other guys or two other guys, or one or two; I can't remember". [I can't remember any other tracks] "I didn't have the confidence to sing, you know". [He actually sang lead on several recordings a this time]
EH: [Who set up these sessions?]
JH: [Mike] “Jeffries”
EH: [Were the sessions due to a written contract?]
JH: "We were doing it because I had the songs, and I had new ideas, being around the
other guys that I was with". [I had a verbal agreement with “Jeffries”]
EH: [What do you understand that to mean?]
JH: "Like we're talking, say, and 'We can do this song.' And he would say, 'Yes, okay. I go
for that,' or 'I don't go for it.' One or two". [Chas and Mike found me] "jobs," [and
paid for my hotel, clothes, and transportation]; [they introduced me to important people, and to groups I knew].
EH: [How many London recording sessions can you recall making before your first return
to the States?]
JH: "I guess about six - about five or six, approximately [an accurate count of the songs on
       the first three singles.],  I think we [also?] recorded enough to make an LP with a few
tracks left over. And an LP consists of eleven tracks [exact number of tracks on the 1st release of ‘Are You Experienced’]', and maybe say about two or three or four were left over". [Here He Comes; La Poupee Qui Fait Non; Title #3; First Look Around the Corner (?), Teddy Bears Live Forever (?)]

CONTRACTS WITH MIKE JEFFERY

EH: [Who thought up the name ‘Jimi Hendrix Experience’ for the group?]
JH: "I'm not sure, but I think it was Mike ‘Jeffries’ [sic]".
EH: [Did either Mitch Mitchell or Noel Redding enter into enter into any
`kind of contract with Michael Jeffery?]
JH: [I don't know. I can't remember them discussing any contract with Yameta, but] "they
do get royalties as far as I know".
EH: [What is your share of the royalties?]
JH: [I probably get more royalties than Mitch and Noel], "because I'm writing some of the
songs".
EH: [Do you get] "a leader's double scale" [for the sessions].
JH: "I don't know about that, because like Mike Jeffries [sic] and Chaz [sic] Chandler, they
are the ones that took care of the sessions. And as far as all that scale, and all that,
you know, we was recording for ourselves. So we never did go into that; or read
anything about it" [Jimi actually got at least double].
EH: [Asks questions about accounting]
JH: "We can see [written statements of account from Yameta or from Mike Jeffery] any
time we want... That's what we have managers for, you know, to take care of that. And if I want to see it, I just call him up"
EH: [How often do you see financial statements?]
JH: "Well, they are made out to be -I think it's - what is it? – once every month, or maybe
twice - I mean maybe once every two months, or some regular time like this, you know".
EH: [Do you get a check with the statements?].
JH: "If I ask for one, if I want a check for any amount of money, I get it. I'd rather have it
like that, because any other kind of way I would probably spend it all up".
EH: [Obviously asks here what I feel would be an interesting question, or either the
one/s previously are longer but it isn’t included by Joel]
JH: “We don't handle none of the business. I don't know nothing about the business itself.”
EH: [Have you signed contracts with Track Records or Polydor?]
JH: [As far as I know, I have not signed contracts with Track records, or Polydor]
EH: [Does Jeffery have signed contracts with Track or Polydor?]  
JH: [I don’t know]
[The potentially very interesting section above has been far too heavily abridged/ paraphrased by Joel]

MONTEREY

EH: What was the first place you played after returning to the U.S.A.?]
JH: "I think the first place was Monterey, The International Park [sic] Festival... I think it
was in the summer".
EH: [Who writes the material for the group?]
JH: "I wrote all the songs except the two… I rearranged Hey Joe... And - let me see - yes.
Noel Redding, the bass player of our group wrote a song that came out on one of our LPs named ‘She's So Fine’".
EH: [Do you have a publishing agreement?]
JH: I think I have a writing or publishing contract with Jeffery and Chandler, but I don't
remember signing any written agreement] (p. 79)
[Page 80 is interestingly missing from the transcript, as it probably has more questions about finances, as the first question on the following page does]
EH: "Do Michael Jeffery or Bryon [Chas] Chandler have their names on this account to
withdraw or deposit in this account?"
JH: [I have an account that is strictly my own].

[They take a recess]

EH: [More questions about the first JHE tour of the U.S.A, but Joel doesn’t give us any]
JH: [After Monterey; I remember playing at the Fillmore for] "about four days" [actually,
six]. "I think we went to L.A.; and we played there, maybe, Santa Barbara or San Bernardino, this was odd gigs. Then we went back to L.A., and joined the tour of
the Monkees, and went to different places, like Florida," [coming back to New York] "in the summer time", [and staying] "at the Warwick [hotel]".
EH: [While you were in New York, did you see Ed Chalpin?]
JH: [I saw him] "during the time when I went up to the studio, it might have been",
the day after the final "Monkees" show in New York City [17 July 1967]
EH: [Do you recall the musicians names?]
JH: [I remember "Bugs” Gregory on bass. Ray Lucas on drums, and] "a guitar player"
EH: "Who was that?"
[We still don’t know as Jimi’s answer would have been on page 85, is interestingly
now missing.]

TALKING OVER OLD TIMES

EH: [What can you remember about the session?]
JH: [I arrived at PPX studios] "in the evening, I sat down on the couch, and we
started talking. And I believe I started talking to Ed Chalpin. We was talking over old times, and all that. you know. And during this time like they were taking a break, or something, but Bugs was still in the studios, messing around with his bass. So I went in there; and plus I had my - I happened to carry this eight string [Hagstrom] bass along that I had with me that was a completely new type of guitar you see, a new type of bass guitar. And I was going to go around in his house, because he had some stuff around that we can plug it into. And I wanted him to hear what it sounds like. So there wasn't opportunity for me to try it there in the studios. So we was messing around on the instruments. So then it turned into a jam, like free-playing musicians, you know"
EH: [Did Chalpin introduce you to anyone from the British label Decca?]
JH: “Yes”
EH: [Was it Richard Rowe?]
JH: "I think I heard that name before".

JIMI KNEW HE WAS BEING RECORDED, 1st SESSION

EH: [Can you tell us more about the session?}
JH: [I played the eight-string bass, with] "the drummer and somebody else, and like Bugs,
we was just all jamming together". [I noticed] "microphones all over the place,
like we was playing and I got - you know, I started thinking after a while that we was being recorded. But I didn't think nothing of it because - you know what I mean - it was a jam session, and I hadn't seen my friend - the person Bugs - I haven't seen him in a long time".
EH: [How did you know you were being recorded?]
JH: "I can't remember. Like I think Rosalind [Morris] came in and told me - she says, 'You
know, you're being recorded.' And that's all. But I didn't really get scared, because like I was feeling very nice. And you do this all over the country, you know, any place and time you get a chance, you just play with other musicians"
EH: [Did you record anywhere else at this time?]
JH: [I recorded at another studio] "somewhere around 42nd Street. [Mayfair, at 701 7th
Avenue] We made it for ourselves, the next single in England [‘The
Burning Of The Midnight Lamp’]; the next single record in England".
Eh: [Getting back to the July 1967 PPX session. Might you have played along with the
tapes as they were played back to you?]
JH: "Maybe in the thing of jamming. But as far as, you know, actually playing them back,
playing over on top of them, no. I don't remember doing that intentionally, no. There was one time that Curtis started playing this song - I think it was ‘No Business’
- and like he was playing an old version of it, some demo version or something. I don’t know. And we were playing with it. But that old version was made like, you know, a while back".
EH: [Are you definate you did no singing that day?]
JH: “They tried to make me sing, but I just couldn't make it because I didn't feel like
singing. I remember being asked to overdub constantly by either Curtis or Chalpin, one of the two".
EH: [How many sides?]
JH: "I recorded, counting the over-dub, like it was three sides"
EH: [How long were you in the studio?]
JH: "Approximately two, two and a half hours".


BREAKFAST & THAT LETTER

EH: [What happened after this?]
JH: [I remember] "that they invited us for breakfast, or something".
EH: [What did you and Ed Chalpin talk about?]
JH: "Just almost anything; plus, you know, he was asking me different questions. He said
first of all, like he said, 'You want to do very good over in England,' saying like we were doing very good over in England. I said, 'Yes, we're doing all right, you know.' And then he said - wait a minute, there's one more thing. Oh, yes, I asked him - I said, 'What is all this -' I thought about the letter [regarding Chalpin's legal action?]. There was a certain letter I got a long time ago, and I never did give it any thought. I said, 'What's this thing about,' you know, because I was hearing about things, you know. The were trying to get the record played in England, you know, the record How Would You Feel. I believe it was, I think, a record named How Would You Feel. So that was about all, you know".
EH: [What was this this mysterious letter about?]
JH: "As soon as I seen the headlines, you know, I thought, this is something to give to my
manager. And right away I gave it to him".
EH: [Did you know, before leaving England, that PPX had started a lawsuit over the
recording contract?]
JH: [I was aware of] "some kind of trouble" [about] "a record named ‘How Would You Feel’;
the release of it, you know".
EH: [Did you know about this in England, before visiting PPX in July?]
JH: [I did hear] "something about it, but I didn't know too much about it. I didn't even know
it was a lawsuit. I didn't know anything about it".

2nd 1967 SESSION

EH: [Did you go back to PPX on 8 August 1967?]
JH: [I don't remember the exact date. I went with] "Curtis and somebody else. It was very
late, because we played at this club [Salvation]. And as soon as we got out of the cab to go to the place that we was playing at, you know, Curtis -I think it was Curtis or somebody - approached me, kept asking me, you know, to come up to this session and, 'We'll give $200.' He said something about making $200. 'Would you like to make $200?' I said, 'Doing what?' He said, 'Like recording.' So I didn't want no $200[,] to get paid $200
for no reason at all; plus I had other things to do. I was very busy, and I wanted to do other things, because we was going to leave the next morning, and I would be very tired. [He would play in Washington DC from 9-13 August.] So finally, at the end of the job that we...".
EH: [unknown questions, page 98 is interestingly missing from the transcript, as this deals
with the 8 August session in more detail, this session was where several of the released songs originated . Hendrix is obviously still talking about this same session on page 99]
JH: "...session, during the session, you know, at the end of it, I said, 'All right, yes,'
you know it was recorded, had been recorded. But it was in a jam session, and I really don't care, because a jam session, you know, you don't really take it serious. You're just playing along with friends. And I just said, 'Since it's like that, you know, I don't want my name to be mentioned anywhere on these tapes.' First of all I said I don't want them to use the tapes, you know. And then later on, I said, 'Yes, you can use it if you want, but you know, without my name', everybody heard it. I said it about ten times; I kept saying it over and over again". [A bootleg recording of this convesation is available. The next page (100) is interestingly missing from the transcript, as this also deals with the 8 August  session in more detail. The next page (101) Joel apparently feels has nothing of interest in it for us]
EH: [Can you tell us the names of the musicians that were at this session?]
JH: [I think the drummer was Ray Lucas, and Bugs, Curtis Knight, and Ed Chalpin were all
there]
EH: [Did you know you were being recorded?]
JH: "Let me think. Yes. I think - you know, I'm getting think this was the time when
Rosalind came up, and somebody came in and told me, you know"
Hendrix suggests he allowed them to use the tape, "just so long as they don't use my name, because I don't give them the right to use my name. Because like all over the
world these people like the Beatles might come in with a song, and you might get together, like, because it's a friendly thing". "First of all, I said, 'Whatever you do, don't use these tapes regarding my name.' I said, 'You can use them, but don't use my name with these things'"

Page 103 (The only scan so far available):

EH: “Do you remember the names of any of the tunes you recorded that night, the second
       time?”
JH: “The second time?”
EH: “Yes. the August session.”
JH: “No.”
EH: “Do you remember how many sides you recorded that night?”
JH:  “Let's see; let me think. If I can remember I think we attempted to record one song
that Curtis brought up, you know, an old song [Ballad of Jimmy?]
EH: Do you know what it was called in its old version?
JH:  No. I'm not sure. And it was so funny and so diabolical in my mind, that I just laughed.
And I said, “What am I doing here anyway?"
EH: “What do you mean "funny and diabolical"?
JH: “In my opinion. I mean everybody has different tastes in music, right? so in my opinion
it was very funny. And we started laughing as we was playing along with it. And then I
said to myself, I mean. "What am I doing here?" I just realized that I got to make it
home,….

Back to Joel’s edited version:

….[I refused the $200] "They even had a check, and everything; and they tried. As a matter of fact, the next day or soon after that, I was across the street, you know, buying some records in a store. And like Curtis and Ed was there and they was trying to give me a check. And I said, 'Man, I don't want it'".
EH: [Why not?]
JH: "Because I had fun in doing what I did, like playing and all that. Like I said before. The
Beatles - like for instance The Beatles don't ask The Stones for money when they're
jamming around like that".

JIMI IS SERVED A SUMMONS

EH: [Was Michael Jeffery or Bryon Chandler in New York at this time?]
JH: [I think Mike was in town during the August session, and Chas during the July one]
EH: [Did you tell them about the sessions?]
JH: [I told Mike about the recordings after the second session]
EH: [Were you served any kind of summons between the two PPX sessions?]
JH: "Not personally, but I found one. I don't know what day it was. If it was before or after
or between. But this was not sent to me personally. There was one in my room... Somebody told me about it. They said somebody came around and left an envelope on the bed. So I picked it up and I looked at it. I just took one quick glance on the inside, you know... I seen some kind of official business, you know. So I didn't read it at all. I gave it to the road manager for him to give to our managers".
EH: [Do you have any other lawsuits pending against you in the United States?]
JH: [I believe this is the only one]
EH: [Do you recall being served with papers in front of the Salvation Club in Greenwich
Village?]
JH: [I can't remember, but it is] "possible".
EH: [Did you know Chalpin was suing you when you attended the August 1967 PPX
session?]
JH: "I didn't exactly know what was happening. Like I said before, I thought he was trying
to - the way he explained it to me, I thought that he was trying to just get a release on a certain record, you know, in England; but with a strange billing, you know... With
a billing of Jimi Hendrix and Curtis Knight".
EH: [Returning to the matter of personnel at the summer 1967 sessions, can you
remember the names of the other guitarist?]
JH: "I don't know his name. I think it was Shears; I think the last name was Shears, I'm not
sure." [Ha-ha it wasn’t Billy by any chance? Jimi being cheeky?]
EH: [Which guitar part’s did you play?]
JH: "I played sometimes lead and I played sometimes melody and twelve string, I think,
sometimes".

At this point, Solomon Granett, counsel for Capitol Records, takes over the questioning

SG: [How many times did you meet Mr Murray?]
JH: [I can’t remember?]
SG: [Was it ] “more than, say, twice?"
JH: [Yes]
SG: [Was there any one else present when you signed Murray's contract on 27 July 1965
JH: [No]
SG: [Did you discuss the contract?]
JH: [I told Juggy] "I want to do my own songs. I wanted to do my own sound or style
together"
SG: [Why did your relationship with with Murray peter out?]
JH: "It was like I wanted to call him, and I wanted to have something to offer him. But I
didn't feel like my songs were together enough to bring on, especially to sing these songs in front of him standing there without any instrument, or anything"
SG: [Had you heard that Sue Records was in financial trouble?]
JH: "No, not that I know of, because I wasn't - like I didn't know too much about the thing
itself. I just knew that I liked the label - that I was on the label. And I was trying to get my songs together, because I wanted to see myself on a record"
[The next page (117) is the last of the missing pages]
SG: [Did you express dissatisfaction with Sue Records to Jeffery?]
JH: "No, I didn't tell him that, because I wasn't really dissatisfied. It was my own fault. Like
I'm the one that I said I want to do my own songs. And he said he had his own songs and he asked me, 'Do you want to do some songs that we have?' You know. And then I did turn him down. I said, 'Well, I would like to try and wait a while and try to get my own songs together'"

JEFFERY GETS THE SUE CONTRACT

SG: [What did Jefferey say about your Sue contract?]
JH: "He said, 'Well, maybe we can get it legally - ' I don't know nothing about business, or
anything, the words were like that. But he said something pertaining - that he can finally get the contract, you know... I mean he said that he could try to work it out where the contract could be under the control of them; but still, you know, the same"
SG: [When you say “them”, do you mean ‘Yameta’?]
JH: [Yes]
SG: [Did you hear any more about the Sue contract?]
JH: "I heard different things about it, like, 'We're in the process of negotiating a deal with
Sue so we can - where we can have your contract, you know, working under the same principles'".
SG: [When did you hear that this deal was finalized?]
JH: [When I was in England]
SG: [Did you sign any papers approving a deal between Jeffery and/or Yameta and Sue
Records?]
JH: "I don't know. All I know is like I haven't signed anything with Michael Jeffery; like we
was working off the Sue contract, like - I mean not necessarily working off, but you know - I can't explain it, it's like - like the contract was in our hands, but it was still the Sue contract"
SG: [Did you sign anything approving Yameta or Jeffery having control of the Sue
contract?]
JH: "I signed so many papers I don't know for sure. I might have, I might not. I don't
remember [the Sue contract]. I really don't know, because anything that I did receive, as far as business, I would give it to Mike and Chaz [sic]. I don't know nothing about
this contract scene at all"

CURRENT FINANCIAL MATTERS

SG: [What do you understand to be your arrangements with Yameta?]
JH: "Like the money, as far as I know, goes into Yameta, and like we have an account
- whatever you call it, you know the same thing - like bank insurance or whatever it
might be, showing how much we might have like periodically"
SG: {Do you ever check to see whether you’re getting what you’re entitled to?]
JH: "Yes, I can, anytime I want"
SG: [Have you actually seen a financial statement, and do you know where the statements
are?]
JH: "I don't know exactly where the statements are. But I understand that I can see them
anytime I want"
SG: [Do you know how much money is standing to your credit?]
JH: "No, not exactly. But that's what [Mike and Chas] are for. I really trust my managers"
SG: [How much royalty per record are you due?]
JH: "I don't know. I would have to look at the contract".
SG: [Which contract?]
JH: "The Sue contract, the one we have under control of Yameta now"
SG: "Now, are you saying that the credits that the company is supposed to give you as
performer's royalty for records is based on whatever is set forth in the Sue contract?"
JH: "As far as I know. Yes, as far as royalties go"
SG: [Have you seen any documents pertaining to the sums of money you are to receive?]
JH: [No]
SG: [Have you seen any documents pertaining to the sums of money Jeffery or Yameta is
to receive for managing you?]
JH: [No]
SG: [How much money have you received from either Jeffery or Yameta since meeting
Jeffery in August of 1966.
JH: "I would say - oh, well, I would be scared to say. I really don't know. Say – I guess
about fifteen thousand, ten or fifteen thousand [pounds] I think"
SG: [Asks fore a more accurate assesment]
JH: [Jimi (with councel?) admits to $28-30,000]
SG: [How much did Jeffery and Chandler spend on clearing your debts?]
JH: "It wasn't very much. It was maybe, say, about a few hundred dollars, maybe; or so"


TOUR MONEY

SG: [How is the money for tours by Jimi Hendrix Experience paid, specifically, who gets
money?]
JH: "Well, like the people who are booking us, they might send half of it into the office; plus
we have a road manager [Gerry Stickells], and he might come up and collect the rest of it since there might be a percentage there over, you know, the guarantee"
SG: [Who pays hotel and travel expenses?]
JH: "Whoever has the money. We don't touch the money. We walk in the hotel, sleep, walk
out, and that's all. We don't touch nothing of the money; no business whatsoever"

Mike Jeffery’s affidavit:

SG: [After providing Jimi with a copy, he reads from an affidavit Michael Jeffery filed in this
case, pertaining to Hendrix's earnings] “[Warner Brothers Records says that] through December 1967 approximately 280,000 Hendrix albums and 125/150,000 copies of the single records issued by them have been sold," [based upon my experience this is] a phenomenal record," [which Mo Ostin, general manager of Wamer Brothers Reprise, confirms. I estimate that these sales figures will generate royalties through December 1967 of ] "at least $250,000 in the United States and Canada, and approximately $100,000 throughout the rest of the world"; [When do you expect to receive your share of that $350,000?
JH: "When I need it"
SG: [How might you determine how much of that sum is yours, and how much is
Yameta's?]
JH: "It seems to me like I would look at the recording contract; or better still, the best thing
to do is to ask the managers. It seems to me that that's the best way, because I don't
know anything about these contracts, anyway"
SG: [Did you ever read the 15 October 1965 contract with Chalpin and PPX?]
JH: [No]
SG: [Did you ever have a copy of it?]
JH: [No]
SG: [Was anyone else present when you signed this contract?]
JH: [No]
SG: [When did you finish school?]
JH: "I dropped out in the 11th grade"

SOUNDS VERY SILLY TO ME...

SG: [Takes Hendrix through various clauses of the 15 October 1965 contract, trying to
establish that Jimi understands them] [I would direct your attention to paragraphs one, three, and six; paragraph six states] "that Jimi Hendrix will play instruments for PPX... at no cost to PPX Enterprises, Inc." [Do you understand that language?]
JH: "That whole sentence sounds very silly to me. In other words, I have to go and play for
them, 'right, at no cost to PPX? Who would I play the instruments for?"
SG: [I insist that you do not wander off the question. Do you know what the word
"exclusive" means?]
JH: "No; I don't know what it means at all" – [though I guess that it might mean] "for only
one or something like that"
SG: [Asks him similar or the same question again]
JH: "You're asking me the same questions over and over again and I keep saying no, I
don't know"
SG: [I repeat, do you know what the word "exclusive" means? (or similar)]
JH: "I would probably - then I would think that means that I probably couldn't record for
anybody else as a single artist"

At this point, Granett finishes, and Hoffman takes over the questioning again.

EH: [Were you] "living at Room 710 of the America Hotel" [at the time you signed the PPX
agreement?]
JH: [Yes. I think it was the America]
EH: [Did you inform Chalpin when you moved to the Columbia Hotel?]
JH: "I think I must have told him right before I moved, because like I was getting ready, I
was in the process of getting ready to move"
EH: [Where were you living when you made your last recordings for PPX  (excluding the
ones from July and August of 1967)?]
JH: "Let's see. I don't know. There was about three or four places I could have been
living... I could have been living at this hotel - I forget the name of it - on 77th and Broadway, or I could have been living at the Columbia. And I could still have been
living at the America, or else I could still have been living at the hotel - I forget the name of it - on 52nd and Broadway. There's millions of them. I couldn't remember the names. [Ed] knew where I was living. I kept him informed, except I didn't call him up, because I could find out from Curtis anytime I wanted, because I was still playing with Curtis, and Curtis, as far as I know, was like very close; and they was in connection with each other"'
EH: [When was the last time you played with Curtis Knight, prior to the summer 1967
sessions?]
JH: [It was at] "the Chita [Cheetah] or Ondine's Club"

CHANGE OF ADDRESS

EH: [Did you notify Chalpin about your change of address when you left the America
Hotel?]
JH: [Yes]
[Steingarten (Jimi’s councel) and Granett then argue about which record companies Hendrix may or may not have informed about his change of address]
EH: [Did you notify Sue Records about your change of address?]
JH: “I left word there about three different time[s]. And they had different secretaries there,
but there was always somebody I left word with. They had about four or five people, or maybe six in the office; and I always left word. I told them; to make sure, you
know, that you leave it in Juggy Murray's office because they didn't know, all the secretaries didn't know, you know"
EH: [Did you notify RSVP?]
JH: "I don't think I did. I'm not sure, but I don't think I did notify them personally, because
during this time I was still playing with Curtis Knight who was still connected up - I mean still was seeing or talking to Ed Chalpin and Jerry Simon"
EH: [Where are you presently staying?]
JH: “At the Wellington"
EH: [If the RSVP recording of "How Would You Feel?" had been a hit, would you have
expected royalties?]
JH: "No, because I got a session fee, as far as I remember. In my opinion - well, I don't
know, but in my opinion I wouldn't expect anything like that. They would have to come up to me and say, 'Well, you got money coming, you know. Did you know that?' Or something like that. So great, you know"
EH: [Have you ever sang "co-lead" with Curtis Knight?]
JH: "In my book either you have lead or you have background. I don't know nothing about
co-lead, and all that. I never seen that nor heard of it" [He can be heard singing co-lead with Curtis on some earlier songs ‘’]
E H: [Have you ever harmonized with Knight?]
JH: "Not standing there next to him and harmonizing except in the background, I was with
two other people singing in the background on that one"
EH: [Have you ever given a power of attorney to anyone at Yameta?]
JH: "Not that I know of”

JIMI’S AFFIDAVIT

EH: [Are you bringing suit in the ‘United States District Court in New York’?]
JH:  [I am]
EH: [Here is an affidavit sworn to] "on January 2, 1968,"]
JH: "I think I did sign this"
EH: "Did you read it before you signed it?"
JH: "Let's see. Well, like where he wrote it up - I can't remember exactly what happened...
I don't think I got a chance to read the whole thing after I signed. I think I did"
EH: [Did you prepare the affidavit?]
JH: "Like I was really tired and everything when I was doing this..."
EH: [Did Jeffery prepare it?]
JH: "No, no. I said all this here, but I mean, like I said, and then somebody wrote it down;
was writing what I was saying" (p. 160). [I read the statement before he signed it]
EH: [Why did you read this particular one?]
JH: "For the simple reason that Mike, the manager, thought it was about time to - like, you
know, to get into things. He told me to make sure I did get it straight or read it over, or
something, because it's very important; it got to be very important, you know"

ROYALTIES

EH: [Did you get paid for the sessions you recorded for Yameta in the summer of 1967?]
JH: [No.]: "It's like the sessions were for yourself, representing yourself. And the way I
figured out, when you release a record, that's when you get royalties. That's the way you might get paid for it... Royalties come in at strange times. They have to do so much adding; it takes time" [I knew I was entitled to royalties under the Sue contract, but not under the PPX one]: "I didn't really know. I didn’t know because, as I said before. I figured, as a background musician getting paid - especially if I'm getting paid a certain amount, you know, during certain times, how am I going to expect royalties? That's the way I figured it"
EH: [If I can direct your attention to paragraph five of the PPX contract, do you see that
you were entitled to royalties?]
JH: [I now understand]. I figured that the group was entitled to royalties under the RSVP
contract] - "unless the royalties might have went to Curtis and he would pay us maybe. I don't know. Plus, again, we got paid for the session, during the session, out of somebody's pocket"
EH: [Does your contract with Track Records specify a greater or smaller royalty than that
from the] "so-called Sue Records contract"
JH: "I know nothing about it. As far as I know it could be the same thing. I don't know
nothing about it at all" [I don't know the royalty Yameta pays, nor the royalty paid by Warner Brothers to Yameta. I understood] "I was recording for Chaz [sic] and for Mike, and whatever the company might be"
EH: [Who was the producer for the London sessions?]
JH: "Like Chaz [sic] would keep everything under control, like he would make suggestions
here and there, like things were good and were bad he would say. And so he was producer"
EH: [How did the London sessions differ from the "How Would You Feel?" session?]
JH: "I would say it was about twenty times more expensive, and took about say twenty or
thirty times more time to do. Everything was planned out. The whole thing was completely different; plus we was recording for ourselves, and our own personality, you know, our own sound was together"
EH: [I have no more questions] (the time was noted as 1:45 PM)

mandrake a écrit:

Je viens de trouvé par hasard la retranscription il semblerait du procès PPX/Capitol Yameta

Merci

YM

ça fait 13 pages de lecture

La présentation officielle EH:

You Can't Use My Name (The RSVP PPX Sessions)

(...)
"Original Jimi Hendrix Experience recording engineer Eddie Kramer recently went to pain-staking lengths to maximize the audio quality on the collection. “We’ve taken every single performance as far back as we could go in terms of source and we came up with the best original performances, stripped them back and re-mixed them and made what we feel is the best representation of those recordings,” says Kramer. “It’s a continuing archeological sound dig which is to say you sweep away the dirt with a fine brush and find the gem hidden therein. It’s what I call ‘forensic audio’ where we use every available piece of outboard gear and plug-ins and whatever tools are available to us. It’s been hours and hours of intensive work but it’s truly been fun to find the best performances and to make sense out of them."
(...)

Au final, ça risque d'être une sortie intéressante et moins opportuniste que prévu.
Peut-être aurait-ce été mieux contextualisé couplé avec le cd1 de West Coast Seattle Boy ? (qui à la longue se révèle être une super petite compil soul même si je me demande si Kramer n'a pas eu un peu la main lourde sur les morceaux des Isley Brothers qui souffrent d'effets un peu anachroniques).

clement a écrit:

Au final, ça risque d'être une sortie intéressante et moins opportuniste que prévu.
Peut-être aurait-ce  été mieux contextualisé couplé avec le cd1 de West Coast Seattle Boy ? (qui à la longue se révèle être une super petite compil soul même si je me demande si Kramer n'a pas eu un peu la main lourde sur les morceaux des Isley Brothers qui souffrent d'effets un peu anachroniques).

Sur "WCSB", certains morceaux n'étaient pas des versions originales !
"Instant Groove" est une verson retravaillée par King Curtis en 1969 et les morceaux des Isley Brothers sont des remixes des années 70.

clement a écrit:

Au final, ça risque d'être une sortie intéressante et moins opportuniste que prévu.

Le problème est que Curtis Knight est vraiment un interprète de 3ème zone. Voire de 4ème... Rien à voir avec des talents tels Don Covay, les Isley Brothers, Little Richard et autres King Curtis. C'est moins gênant avec les instrumentaux bien sûr.

Je trouve le placement du morceau ringue "Gotta Have A New Dress" en Track 2 très maladroit. Même "How Would You Feel" aurait été mieux placé plus loin.

En parlant de ce morceau, je ne savait pas que Knight avait fait un 45T de la chanson mais ce n'est pas la version avec Jimi :

Purple Jim a écrit:

Je trouve le placement du morceau ringue "Gotta Have A New Dress" en Track 2 très maladroit. Même "How Would You Feel" aurait été mieux placé plus loin.

Je pense que les choix des titres pour ce 1er volume ne pourront évidemment pas satisfaire tout le monde mais nous sommes bien obligés de faire avec. Chacun a ses petits préférés pour ces enregsitrements. Par exemple moi je déplorais l’absence de "Hush Now" mais j'aime bien "Gotta Have A New Dress" bref, c'est Experience Hendrix qui décide et nous faisons avec. De même que nous faisons avec les qualités du chanteur... On ne peut refaire l'histoire.

Je suis content qu'au final ce disque suscite de l'intérêt même s'il est très loin de combler nos attentes !

J'ai écouté brièvement "Station Break", c'est anecdotique. Je me demande si y'en a d'autres comme ça parmi les 88 titres ou si c'est le seul inédit ! Passons...

YM

[quote="Yazid"]

Purple Jim a écrit:

Par exemple moi je déplorais l’absence de "Hush Now"

Je trouve la décision d'inclure "Gloomy Monday" de 1967 justifiée car la chanson colle avec le reste (chanson R'n'B) mais "Hush Now" n'était qu'un exploration wah-wah pendant un jam détendu. Ils vont sûrement l'inclure dans une compilation future.

Purple Jim a écrit:

mais "Hush Now" n'était qu'un exploration wah-wah pendant un jam détendu. Ils vont sûrement l'inclure dans une compilation future.

Oui, d'ici moins de 3 ans, nous aurons l'intégralité, je sais bien.

Y

A 5h18, les chroniqueurs de Bourdin Direct sur RMC ont consacré lundi 23 février deux minutes sur le nouvel album d'inédits (sic) de Jimi Hendrix.

YM

Bon ...   je dois vous dire que je suis  content de la sortie officiel des "RSVP PPX" car maintenant c'est knight et Chalpin qui vont être sujet à exploitation, Jimi lui n'étant qu'un "Squire".
Nous aurons peut-être droit a un bon travail de son et une mise en perspective enfin cohérente pour c'est vieilles bandes.Lorsque j'étais gamin je faisais  la razzia dans  les quelques disques de mon grand frère ,il y avait Rainbow bridge et un" jimi Hendrix featuring Curtis Knight" alors j'ai aimé les deux!
et puis il y avait une énergie un coté intrigant dans Simon says , des plans guitares plus intéressants dans "How would you feel que chez Dylan et les jams Wha wha love love hush now avec un écho de cathédrale underground,quel pied! c'est mal foutu, mais c'est fun , idéal pour Dj ... Daft punk ferai un carton supérieur à "Get Lucky" en samplant les fameux confettis et  maintenant avec le recul j'ai compris que les Squires avec leur chanteur de troisième zone étaient déjà au sens propre le premier vrai " BAND OF GYPSIES!  "            Humminbird

Welcome Humminbird !

yeah !