Fact #118330
When:
Short story:
Jimi Hendrix jams in the afternoon with Mike Bloomfield, David Crosby, Harvey Brooks and Buddy Miles. In the evening, The Jimi Hendrix Experience play at The Shrine Auditorium, Los Angeles, California, USA, supported by Soft Machine, Electric Flag and Blue Cheer, followed by a party at Peter Tork of The Monkees' house. Full article:
Mike Bloomfield : He was taking the toggle switch of the guitar (during the afternoon jam), tapping the back of the neck and using vibrato, and it came out sounding like a sirocco, a wind coming up from the desert. I have never heard a sound on a Hendrix record that I have not seen him create in front of my eyes.
Hugh Hopper (Soft Machine) : The next gig was back in L.A., the following night. When Neville and I arrived at the theatre after the usual battle of getting the equipment to the airport for the midnight flight, grabbing three by hours' sleep, flying to L.A., renting another truck, driving back to the airport, collecting various misrouted musical instruments and claiming compensation for smashed items, we were greeted by a deferential technician from Sunn who said he'd already had the stagehands put up the new gear on stage, hoped we didn't mind? We staggered into the darkened auditorium to see a wall of gleaming amps and speakers with smug looks on their faces, waiting to blast that night's audience into joyful oblivion. All we had to do was set up the PA and drums. A roadie's dream. We didn't mind. (Source : Hugh Hopper, September 19, 1980, Melody Maker]
Buck Munger (PR man, Sunn amplification) : As soon as Jimi got all his (Sunn) equipment (at The Shrine) he went directly to the volume and turned it all the way up to 10. We assumed that maybe a third or two thirds of the power is the maximum ever gonna be required. But, because of the approach Jimi had to this thing, I'm in the middle, talking to an engineer on the phone who's saying 'Nobody does that! Tell him not to do that!' And I'm saying 'You tell him not to do that!'
Hugh Hopper (Soft Machine) : Jimi was happy and it showed in the music. After a storming set there were grins and relieved feelings in the dressing room and onstage where Neville and I packed up with the assistance of the Sunn man, whose hands, I noticed, were shaking considerably.
The Sunn gear was booked for the rest of the tour and the Fender amps were demoted to second place, i.e. Soft Machine used them. This made both bands happier ... till now both bands had used the Fenders, which could have been awkward if an amp had exploded during Soft Machine's set. (Source : Hugh Hopper, September 19, 1980, Melody Maker]
Gene Youngblood (L.A. Free Press) : There is only one word for Hendrix - inspiring. He's an electric religion. We all stood when he came on and after he hurled his guitar at the screen in a cataclysmic-volcanic-orgasmic finale, we fell back limp in our seats, stunned and numbed.
Jackson Browne : Jimi Hendrix was up there (at Peter Tork's house), jamming with Buddy Miles in the pool house, and Peter's girlfriend was playing the drums - naked. She was gorgeous, like a Varga girl is gorgeous, this physically flawless creature … I don't think she was as good a drummer as she was an object of desire, but she was something.
Mike Bloomfield : For years, all the Negroes who'd make it into the white market made it through servility, like Fats Domino, a lovable, jolly, fat image, or they had been spades who had been picked up by the white market. Now here's this cat you know - "I am a super spade, man. I am, like, black and tough."
(Source : Rolling Stone, April 27, 1968, interview by Jann S. Wenner)
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Hugh Hopper (Soft Machine) : The next gig was back in L.A., the following night. When Neville and I arrived at the theatre after the usual battle of getting the equipment to the airport for the midnight flight, grabbing three by hours' sleep, flying to L.A., renting another truck, driving back to the airport, collecting various misrouted musical instruments and claiming compensation for smashed items, we were greeted by a deferential technician from Sunn who said he'd already had the stagehands put up the new gear on stage, hoped we didn't mind? We staggered into the darkened auditorium to see a wall of gleaming amps and speakers with smug looks on their faces, waiting to blast that night's audience into joyful oblivion. All we had to do was set up the PA and drums. A roadie's dream. We didn't mind. (Source : Hugh Hopper, September 19, 1980, Melody Maker]
Buck Munger (PR man, Sunn amplification) : As soon as Jimi got all his (Sunn) equipment (at The Shrine) he went directly to the volume and turned it all the way up to 10. We assumed that maybe a third or two thirds of the power is the maximum ever gonna be required. But, because of the approach Jimi had to this thing, I'm in the middle, talking to an engineer on the phone who's saying 'Nobody does that! Tell him not to do that!' And I'm saying 'You tell him not to do that!'
Hugh Hopper (Soft Machine) : Jimi was happy and it showed in the music. After a storming set there were grins and relieved feelings in the dressing room and onstage where Neville and I packed up with the assistance of the Sunn man, whose hands, I noticed, were shaking considerably.
The Sunn gear was booked for the rest of the tour and the Fender amps were demoted to second place, i.e. Soft Machine used them. This made both bands happier ... till now both bands had used the Fenders, which could have been awkward if an amp had exploded during Soft Machine's set. (Source : Hugh Hopper, September 19, 1980, Melody Maker]
Gene Youngblood (L.A. Free Press) : There is only one word for Hendrix - inspiring. He's an electric religion. We all stood when he came on and after he hurled his guitar at the screen in a cataclysmic-volcanic-orgasmic finale, we fell back limp in our seats, stunned and numbed.
Jackson Browne : Jimi Hendrix was up there (at Peter Tork's house), jamming with Buddy Miles in the pool house, and Peter's girlfriend was playing the drums - naked. She was gorgeous, like a Varga girl is gorgeous, this physically flawless creature … I don't think she was as good a drummer as she was an object of desire, but she was something.
Mike Bloomfield : For years, all the Negroes who'd make it into the white market made it through servility, like Fats Domino, a lovable, jolly, fat image, or they had been spades who had been picked up by the white market. Now here's this cat you know - "I am a super spade, man. I am, like, black and tough."
(Source : Rolling Stone, April 27, 1968, interview by Jann S. Wenner)