Jimi Hendrix & Traffic - Lover Man Oil Well 123 CD

Jimi Hendrix & Traffic  - Lover Man
Oil Well 123 CD

01. Jam Thing (19.39)
02. Guitar Thing (5:15)
03. Session Thing (35.27)

Note:
All songs by Jimi Hendrix
Live in Seattle, WA  - June 3, 1968 

Track 1 recorded at Electric Lady Studios, New York, NY, 15th July 1970
Track 2 recorded at Record Plant, 14th November 1969
Track 3 recorded at Studio B, TTG Studios, Los Angeles, Tuesday 29 October 1968.

Lineup:
Jimi Hendrix (vocals, guitars),
Steve Winwood (piano on track 1, drums on track 3?)

Chris Wood (flute on track 1)

Noel Redding (bass on track 3)
Mitch Mitchell (drums on track 3)
Dave Palmer (drums on track 1)
Buddy Miles (drums on track 2)
Noel Redding (bass on track 3?)
Jack Casady (bass on track 3)
Billy Cox (bass on track 1)
Graham Bond (organ on track 3)
Jim Horn (flute on track 3)
Lee Michaels (organ on track 3?)

This album is a digital clone of: Jimi Hendrix & Traffic: A Session (CD, Oh Boy 1-9027).
This is the often talked session that Jimi recorded with some members  of Traffic, Steve Winwood's band at the time. A tape of jams billed as Hendrix and Traffic has circulated among collectors for years.
This album is a compilation made of three songs from three different studio sessions: one at Electric Lady Studio on 15.06.1970; one at Record Plant on 14th November 1969 and one at TTG Studios, 1441 N.McCadden Street, Hollywood  on 29 October 1968.
Due to its rarity and good quality, this disc is recommended. The picture of the front cover is from Zurich May 30th 1968 with: Jimi Hendrix, John Mayall, Eric Burdon, Steve Winwood, Carl Wayne. Of these people only Steve Winwood and of course Hendrix appear on this bootleg as performers.
Excellent quality recording.

Jam Thing: Jimi Hendrix (guitar), Steve Winwood (piano and drums?), Chris Wood (flute), Billy Cox (bass) - source  Jimi's Private Reels Vol. 2 : The Generation Club Reels & Jamming With Friends; Dave Palmer (drums);
Guitar Thing: Jimi Hendrix (guitar), Buddy Miles (drums)
Session Thing: Noel Redding (bass), Mitch Mitchell (drums), Graham Bond or Lee Michaels (organ), Jim Horn (flute)

The insert states that the session "was recorded at an unknown place in the late 60's".
In this bootleg release from Oh Boy Record the lineup is listed as Jimi Hendrix (guitar), Steve Winwood (piano), Chris Wood (flute), Rick Grech (bass), and Jim Capaldi (drums), but this is wrong. Only Hendrix is identifiable with certainty in every track.

This album is a purely instrumental affair.  The music on the tape consists of some jams that, in contrast to Traffic's usual melodic sensibilities, range from minor key to almost atonal structure. Some of the magic of the "Voodoo Chile" session is also evident on this recording. The jams sound basically spontaneous, organized around particular keys with shifting tempos, and lack a distinct song structure. None of them sound like they were even intended to have vocal parts. For the most part, the piano and drums drive the rhythms while the guitar and flute solo. The extraordinary aspect of the recording is the complementary interplay between Jimi Hendrix and the flautist. While Jimi builds upon driving vamps that eventually erupt into molten solos, Chris Wood (?) counterbalances with his usual delicate, mellowing flute. The result of this collaboration is at least interesting, and sometimes magical. Unlike other Hendrix jam sessions, Jimi seems to have a lot of respect for Traffic and doesn't fully dominate the proceedings, which makes the session perhaps unique to both entities.

Audio quality: 
Quality content: 
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"Jam Thing" Electric Lady Studio, New York City, NY 15.06.1970
This track was recorded during a studio session on  June 15, 1970, in New York City.  Jimi holds his first recording session in the new Electric Lady Studios at 52 West 8th Street in the heart of Greenwich Village. Hendrix invites his friends Steve Winwood and Chris Wood from Traffic into the studio where they quickly break into a jam session. With Mitch Mitchell unavailable Eddie Kramer volunteered Dave Palmer to sit in behind the drums for the session. 

Jimi does snippets of a few of the songs he was working on around this time, but most of this is just jamming. As the night progressed, Jimi was able to coax Wood and Winwood into providing some backing vocals on ”Ezy Rider” which Jimi was carrying over from his stints at the Record Plant. Also put to tape on this night were renditions of Traffic’s own “Pearl Queen” and Winwood’s own “Rhythm Ace.” Work soon progressed to Jimi’s composition, “Valleys Of Neptune” before segueing into a loose untitled jazz-focused jam and later a track titled “Slow Blues.” Jenny Dean, a mutual friend of Jimi and Winwood, offered backing vocals on the later recording. This lineup also performed: JS26, Session Thing (that includes Sunshine of your love, Tomorrow never knows), Jam Thing (inclused Gypsy Boy), All God's Children.

"Jam Thing" is also known as "Instrumental Jam" and has been released on: Jimi's Private Reels Vol. 2 : The Generation Club Reels & Jamming With Friends - Dandelion ‎– DL 103.
This last album has got three tracks from the 1970s sessions with the two members of Traffic: Instrumental Jam 5:20 (a shorter version of Jam Thing); Hey Baby (The Land Of The New Rising Sun) 14:45; Villanova Junction Blues 10:51. Credits for these three last songs are: Billy Cox on bass. Chris Wood on saxophone and Stevie Winwood on piano and drums and not Dave Palmer (whom maybe played on the other tracks from the session).

"Guitar Thing" Record Plant - 14.11.1969 
This tracks is from a studio session at Record Plant, in New York form November 14, 1969. Hendrix and Buddy Miles continue with another day of jamming by themselves. Billy Cox is not in these sessions.

Guitar Thing is part of the Medley:  Lonely Avenue / Power Of Soul / Burning Desire / Send My Love To Linda / Gypsy Boy (New Rising Sun) / Cherokee Mist / Stepping Stone / Villanova Junction / Ezy Rider / South Saturn Delta released on: ATM 009: Band of Gypsys: Lonely Avenue and then in better quality on: ATM 092: Fall 1969 Record Plant Jams [aka. Woodstock].
This track is also known as: JS21, Guitar Improvvisation and as Lonely Avenue Part 1 [Untitled Guitar Improv] [BR1, #6-7] and has been released in the 16cds unofficial box Studio '69 (WJ 101-115).

Some tracks from this studio session with Buddy Miles (Jungle, Keep On Groovin') have been released officially in 2000 on Morning Symphony Ideas by Dagger Records.

“Session Thing”  TTG Studios, Hollywood, CA 29.10.1968
“Session Thing” was initially believed to be part of the Jam with Stevie Winwood and Chris Wood from Traffic at Electric  Lady Studios 15.06.70 but has later been determined to come from TTG Studios 29.10.68.

Around this song there is a bit of confusion because the title "Session Thing" refers to two different songs recorded in two different moments. The track in this bootleg is taken from  a studio session recorded on 29-10-1968. The other"Session Thing [Valley Of Neptune]" is of 31:16 minutes: actually recorded with some members of Traffic on 15.06.1970 and released on the bootleg collection: "Every Way To Paradise" CD2 - Tintagel ‎– TIBX 0021/22/23/24

Jimi Hendrix and The Experience had just completed 6 shows in 3 days at the historic Winterland Ballroom in San Fracnsico, CA a few weeks prior to booking time at TTG Studios, the most advanced studio set up of its time, having the only 16 track recorder around! Jimi, Mitch and Noel settled into a rented house in Benedict Canyon where they resided and had lavish parties, one of which almost killed Hendrix as he was stopped by a boulder before going off the side of a cliff in one of his many Corvettes. Jimi and his band were becoming more disconected.

The amount of material pulled from just the trio of Mitch, Noel and Jimi was very little and the amount of musicians who would join Hendrix during his stay at TTG is a direct reflection of how the band had come to operate as a unit. The Experience had just finished their masterpiece, Electric Ladyland and would eventually release it during their time at TTG Studios. This would prove to be the bands first attempts on recordings for new songs to be included on the bands 4th LP. Little did the band know, Hendrix and The Experience would split up before an album of new material could be realized and released.
Guest appearances in this session by Jack Casady on bass, Graham Bond on keyboards and maybe Lowell George on flute. It was initially believed Lee Michaels played keyboards on the 29.10.68 sessions, but new information seems to suggests it was really Graham Bond.

About Casady on "Session Thing," I have always been amazed that no one comments on that fact that the bassist can be clearly heard.  Given that Traffic had no regular bassist at this point, the question arises as to who this bassist might be. Jack Casady of the Airplane was in the studio (and of the Voodoo Chile session on ELL with Windwood and Hendrix) and that at 17:43 of the track the bassist starts playing the bass line from the Airplane's "Bear Melt."

On 29 October 1968  was performed also: Lover Man (Intro), Lover Man (aka Here He Comes) Session Thing (here released), Gloria (released officially on The Essential Jimi Hendrix Volume Two for Reprise in July 1979), Red House (released on Raw Blues and released as Electric Church-Red House in Blues 1994). Engineer of the session was Angel Balestier, Second engineer - Mark Kauffman. The stunning "Electric Church-Red House" features both Mitchell on drums, Redding on Bass, and Lee Michaels on organ.

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Jimi Hendrix - Midnight Lightning Oil Well RSC 122 CD

Jimi Hendrix - Midnight Lightning
Oil Well RSC 122 CD

1 Message From Nine To The Universe 8:43
2 Jimi / Jimmy Jam 7:58
3 Young / Hendrix 10:22
4 Easy Blues 4:17
5 Drone Blues 6:16
6 Midnight Lightning Jam 6:15
7 Highway Of Broken Dreams 14:13
8 Lonely Avenue Jam 9 2:48
9 Lover Man 3:54
10 Trying To Be 7:18
Play time; 78 mins.

Note:
All songs by Jimi Hendrix
Live in Atlanta, GA - February 8, 1969 - Vol.3 

Track 1: Record Plant Studios, New York City, New York, USA May 22, 1969
Track 2: Record Plant Studios, New York City, New York, USA March 25, 1969
Track 3: Record Plant Studios, New York City, New York, USA April 14, 1969
Track 4: The Hit Factory in New York City on August 28, 1969
Track 5: Record Plant Studios, New York City, New York, USA on April 24, 1969
Track 6: Record Plant Studios, New York City, New York, USA on April 17, 1969
Track 7: Record Plant, New York City, New York, USA on Friday 23 January 1970
Track 8: Record Plant Studios, New York City, New York, USA on November 10 1969
Track 9: The Hit Factory in New York City on September 6,1969.
Track 10: Record Plant Studios, New York City, New York, USA on September 15 1969

Lineup:
Jimi Hendrix – lead and rhythm guitar all tracks, lead vocals
Billy Cox – bass guitar on tracks 1,4,5,8,9,10
Dave Holland – bass on tracks 3,7
Roland Robinson – bass on track 2
Mitch Mitchell – drums on tracks 2, 4, 7, 5 (ref. Hear My Music credits - unedited version)
Buddy Miles – drums on tracks 1,3,9, 10 (ref. Message From Nine To The Universe credits)
Rocky Isaacs – drums on track 5 (ref. Nine To The Universe credits)
Al Marks – percussion on track 5
Juma Sultan - persuccion on tracks 4 and 10

Gerardo Velez – percussion on track 4 (mixed down)

Larry Young – organ on track 3

Larry Lee – rhythm and lead guitar on tracks 4, 10
Jim McCarty – lead & rhythm guitar on track 2
Devon Wilson – backing vocals on track 1 (wiped) and 6
Paul Caruso - harmonica on track 6
Don: harmonica on track 7

This album is a digital clone of the original disc Message From Nine To The Universe (1993)
Bootleg Vinyl-to-CD-transfer of "Nine to the Universe" with additional material.
This Oil Well version has a fine cover, fine quality. Limited to 200 copies only.
Due to its rarity and good quality, this disc is recommended.

This bootleg is a compilation of: Jams & Outtakes from The Record Plant & Hit Factory Studios recorded between 1969 and 1970 in different moments and with different lineups.
This album is made up of studio jams and it is an indication of where Hendrix was trying to head with his music. No longer happy with 3 and a half minute singles, Jimi wanted to explore the limits of what was possible. These tracks, show Jimi and various people just jamming, seeing where ideas went, exploring new ideas that came up, or just jamming for fun.
Originally put out as a 5 song official release (Nine to the Universe in 1980), this bootleg version from Oil Well is an ROIO, the first 5 tracks coming from the original release, along with 5 other tracks, including a couple from the Band Of Gypsy rehearsal sessions.
Tracks 6-10 are more improvisationally-oriented studio jams, also apparently from the original master tapes. Sound quality is very good, though the songs are rough. But that was exactly the point of this release, to try and show just how Jimi came up with his music.

"Message from Nine to the Universe" is the only track from the original album that has yet to be officially re-released in unedited form. However, a complete, almost 19-minute version of "Message from Nine to the Universe" featuring Devon Wilson on call and response vocals appears on the bootleg album The Electric Church.
Please note that this CD is one of the most rare from this italian bootleg label!

Audio quality: 
Quality content: 

 © Official released material:
Tracks 1 to 5 have been released in 1980 on Nine To The Universe 
Tracks 2-5: The complete and remixed versions of "Jimi/Jimmy Jam"and "Drone Blues" were featured on the 2004 Dagger Records release Hear My Music.
Track 3: A complete, almost 21-minute version of "Young/Hendrix" was released on the 2010 box set West Coast Seattle Boy: The Jimi Hendrix Anthology,
Track 4:"Easy Blues" was issued on the 2013 album People, Hell and Angels
Track 8 Lonely Avenue Jam is also known as Cat Talking to me and has been released officially on: the 2010 box set West Coast Seattle Boy: The Jimi Hendrix Anthology.

__________________________________________________________________

Nine to the Universe
Nine to the Universe is an album of studio jams by American guitarist Jimi Hendrix with a variety of musicians. It was released in March 1980 in the US and in June 1980 in the UK. It was the third album of Hendrix recordings to be produced by Alan Douglas. The album contains five jam sessions, edited by Douglas. Various versions of the jams on the LP had previously circulated on bootlegs. Alan Douglas had previously wiped almost all of the backing musicians from the original recordings and replaced them with session musicians on Crash Landing and Midnight Lightning and heavily edited (even significantly changing the tempo in some cases), overdubbing extended rhythm guitar, female backing singers, etc. on occasion.

It was recorded during a later part of the session on March 25, that also featured Dave Holland (an English jazz musician who was then mostly known as Miles Davis' regular acoustic and electric bass player and his contribution to Davis' seminal post-bop/fusion albums between 1968 and 1970, such as Filles de Kilimanjaro, In a Silent Way and Bitches' Brew) and Buddy Miles on drums. Instead, Douglas heavily edited, and released a number of disparate jam sessions recorded between March and August 1969 (mostly) retaining the original backing tracks and musicians.[4] Douglas removed over 50% from each jam, apart from "Drone Blues" – which only lost a third – one of Hendrix' very first new recordings with Billy Cox, who hadn't played with Jimi in three years and some young "pop" musicians recruited from a club.

Musicians on this album besides Hendrix include: Jim McCarty from Buddy Miles Express on guitar, Larry Lee on guitar (his solo was edited out by Douglas. He was one of Hendrix' close early friends in Nashville and member of two of Hendrix' early R&B groups - the 'King Kasuals' and 'The Bonevilles', latterly Al Green's guitarist and musical director), Larry Young on organ (famous R&B & jazz organist, early contributor to "crossover" "jazz fusion"). Billy Cox (Jimi's early army buddy, musical partner and co-founder of their Nashville band the 'King Kasuals' - the band continued after Jimi left. Cox played many R&B sessions in Nashville and was a songwriter as well as the bassist in the house band of the pioneering R&B TV show (in colour) The!!! Beat), Dave Holland (famous jazz bassist, who played with Miles Davis amongst others), and Roland Robinson (not so well known, he played on several of Buddy Miles' later projects ) on bass, Hendrix regular Mitch Mitchell, Buddy Miles from Buddy Miles Express, and Rocky Isaacs, of the pop group the Cherry People (as was Al Marks - percussion), on drums, backing vocals by Devon Wilson on "Message from Nine to the Universe" were wiped from the original recordings. Percussionists Juma Sultan and Gerrardo Velez are featured on "Easy Blues" but have been turned down in the mix until almost inaudible and an unknown tambourine player was dubbed on. Verified guitar effects include the Octavia pedal and Univibe.

These jams were recorded at a time when Hendrix had become acquainted with Miles Davis (Hendrix' girlfriend Devon Wilson had a close friendship with Miles' wife Betty Davis a funk, rock and soul artist), who had begun to cross over to jazz fusion with In A Silent Way (recorded February 18, 1969), which featured the English electric jazz guitar player John McLaughlin as well as bassist Dave Holland.  Hendrix and Davis had discussed music and, it is claimed by Alan Douglas that he, eventually, attempted arranging recording sessions with Davis and Tony Williams, with a view to a possible album. But this came to naught, again according to Douglas, through exorbitant demands for upfront cash from both Davis and Williams. Davis, from 1969, hired John McLaughlin, and latterly others who have been described as "sharing Hendrix's fascination with noise."

Hendrix and Larry Young

Hendrix recorded only once with Davis' sidemen Dave Holland and McLaughlin, and Larry Young, who was playing in Lifetime (as had McLaughlin, recently), but this was just an informal jam session on 25 March. Young was soon to record one track with Davis for 1970's Bitches Brew and four years later played with Carlos Santana and John McLaughlin on Love Devotion Surrender.These three are the only artists involved in the recordings that are recognized as jazz artists, and only two of them are featured here, on one jam "Young/Hendrix". Buddy Miles along with ex-Buddy Miles Express bassist Billy Rich and Larry Young, later played on John McLaughlin's 1970 fusion LP Devotion produced by Alan Douglas and Stephan Bright.

Alan Douglas and Bright were attempting to produce Hendrix' Band of Gypsies from early October until November 28 when Douglas (and therefore his employee Bright) resigned as producer, "citing his own busy schedule, constant pressure from Jimi's manager Michael Jeffery and Hendrix' own indifference." During his & Bright's month and half as Hendrix' producers, the only thing Hendrix considered "finished" was the basic backing track of "Room Full of Mirrors", Billy Cox had voted with his feet, walking out of the sessions and going back to Nashville after a furious row with Bright, he was only coaxed back two weeks later. He said: "We were just goofing around during those sessions at Juggy, the atmosphere at Juggy's didn't allow Jimi to create. It was a lousy deal with a lot of bad vibes around. I had words with Alan's partner, Stephan Bright. I hated that guy with a passion. Jimi sensed it and nothing we did there ever worked out. I didn't think they were necessary. I didn't think they were on Jimi's level. They weren't needed for the production, Jimi was well equipped to do that."

Hendrix recorded many jam sessions over his career which were only loosely organized, often started late and even went on into the late morning. He also recorded several jams in clubs on his portable Teac deck, a notable one being with a very "out of it" Jim Morrison ranting obscenities, Jimi encouraging him to "sing" into the correct mic'. The jams that ended up on Nine to the Universe were not written, played, or recorded as individually named songs; with the exception of "Message ['from Nine' - there is no record of this part in the original title] to the Universe" (an early version of what would become "Message of Love," and which also contains the seeds of "Earth Blues",both songs he would record later that year with the same line-up, who had by then become the Band of Gypsys). All song titles were made up during the production of the final album.

"Easy Blues" was recorded during the aborted August sessions at the Hit Factory with his short lived band that played at Woodstock (variously titled: Gypsy Sun & Rainbows, Band of Gypsies, and Sky Church) and originally featured a guitar solo by Larry Lee. McLaughlin's recollection of the session, many years later (he only played for a short part of the session due to his semi-acoustic guitar's faulty pick up, which made a loud distorted buzzing and the volume of Jimi's guitar which almost drowned him out anyway): "We played one night, just a jam session. And we [the various other musicians that played] played from 2 until 8, in the morning. I thought it was a wonderful experience! I was playing an acoustic guitar with a pick-up. Um, flat-top guitar, and Jimi was playing an electric. Yeah, what a lovely time! Had he lived today, you'd find that he would be employing everything he could get his hands on, and I mean acoustic guitar, synthesizers, orchestras, voices, anything he could get his hands on he'd use! ... The music wasn't all that great, I'm sorry to say. I love Jimi, but the music wasn't that great. We played some good things. Just because it was my name and Jimi Hendrix' name is no excuse. Only since Mahavishinu came out was it transformed into something other."

Larry Young on the session: "I'm not quite sure why I was called, but I was real happy to do it. It was a lot of fun and very informal. Nothing was really planned. It was real loose" Jim McCarty's comment on the LP: "None of that stuff was ever intended to be released. To me it was embarrassing. I'm sure that Jimi would have said, "You're out of your f...ing mind and never let it happen [i.e., the recordings being released, not the actual jams happening]. It was all about people trying to make a buck out of Hendrix." (i.e., Douglas and Warners who employed him and released the LP.)

Lineup
Nine To The Universe : Jimi Hendrix – lead and rhythm guitar, lead vocals; Devon Wilson – backing vocals (wiped), Buddy Miles – drums , Billy Cox – bass guitar Jimi-Jimmy Jam: Roland Robinson – bass , Jim McCarty – lead & rhythm guitar, Mitch Mitchell – drums - Jimi Hendrix – lead and rhythm guitar, lead vocals Young-Hendrix Jam: Larry Young – organ, Buddy Miles – drums , Dave Holland - bass guitar, Jimi Hendrix – lead and rhythm guitar, lead vocals; Easy blues: Larry Lee – rhythm and lead guitar , Juma Sultan – percussion (mixed down),Gerardo Velez – percussion (mixed down), Mitch Mitchell – drums, Billy Cox – bass guitar, Jimi Hendrix – lead and rhythm guitar, lead vocals 

Drone blues: Billy Cox – bass guitar, Mitch Mitchell – drums (ref. Hear My Music credits), Jimi Hendrix – lead and rhythm guitar, lead vocals, Rocky Isaacs – drums (?), Al Marks – percussion Midnight Lightning Jam: Jimi Hendrix - guitars and vocals, Paul Caruso - harmonica, Devon Wilson - vocals  Highway Of Desire / Seven Dollars In My Pocket Dreams :Mitch Mitchell – drums. Dave Holland – bass, Jimi Hendrix – lead and rhythm guitar, lead vocals, Don - harmonica Lonely Avenue Jam : Buddy Miles – drums, Billy Cox - bass Lover Man: Buddy Miles – drums, Billy Cox - bass, Jimi Hendrix – lead and rhythm guitar, lead vocals Trying to be: Larry Lee – rhythm and lead guitar, Juma Sultan – percussion (mixed down), Buddy Miles - drums (?), Billy Cox - bass, Juma Sultan – percussion (ref. Nine To The Universe credits), Jimi Hendrix – lead and rhythm guitar, lead vocals.

On 22 May at Record Plant, NY  Jimi Hendrix with Cox and Miles played Message From Nine To The Universe with Devon Wilson rap (here released) on 25 Mar at  Record Plant, NY Hendrix jams with Mitchell, Jim McCarty, John McLaughlin, Dave Holland, Buddy Miles; from this sessions we have Jimi-Jimmy Jam here released. on 28 Aug at Hit Factory, NY Hendrix played Message To The Universe, Lover Man, Izabella, Jam Back At The House and Easy blues (here released) on 24 Apr - Record Plant, NY - jam with Cox and The Cherry People - Bleeding Heart, Hey Country Boy, Message To Love, Crash Landing Jam, Drone Blues (here released), Night Messenger (Ships Passing Through The Night); on 17 Apr - Record Plant, NY - Lullaby For The Summer, Jam with harmonica b Keep On Groovin' (with Devon Wilson and Paul Caruso) On Friday, January 23, 1970 at Record Plant, NY 1st engineer Bob Hughes 2nd engineer Dave Ragno.

Ezy Rider/MLK Jam - Villanova Junction  - Record Plant 2X  - Slow Time Blues - Burning Desire - Blue Suede Shoes - Highways of Desire - Seven Dollars In My Pocket - Midnight Lightning (Keep On Groovin') - Freedom - Once I Had A Woman - Country Blues - Astro Man (From “Ultimate Hendrix” book by John McDermott) on 10 Nov at Record Plant, NY Hendrix and Miles only played Lonely Avenue (here released) on 15 Sep at Record Plant, NY Jimi Hendrix played Sky Blues Today, Villanova Junction, Burning Desire (Larry Lee quits) and Trying to be (here released)

http://hendrix.guide.pagesperso-orange.fr/timeline.htm

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Jimi Hendrix - Power Of Soul - Oil Well RSC 121 CD

Jimi Hendrix - Power Of Soul
Oil Well RSC 121 CD

1. Ezy Rider #1    5:26
2. Power Of Soul   7:36
3. Changes    5:26
4. Lover Man    2:43
5. Message To Love #1    4:51
6. Earth Blues 5:15
7. Ezy Rider #2    7:51
8. Message To Love #2  4:54
9. Who Knows      18:16
10. Message To Love #3    10:18
Total duration: 72:36

Note
All songs by Jimi Hendrix
Live in Atlanta February 8, 1969 Vol 2. 

Tracks 1 to 5 recorded live at Baggies, New York - 18th December 1969
Tracks 6 to 10 recorded live at Record Plant Studios, New York - 19th December 1969

Lineup:
Bass, Vocals – Billy Cox
Drums, Vocals – Buddy Miles
Guitar, Vocals – Jimi Hendrix

This album is identical to Band of Gypsy's Rehearsals (Kopy Kat KK 003) - 1994
It's a very good but incomplete studio source of Band Of Gypsy's rehearsals with some distortion on vocals.
This rehearsal are also released on: Band Of Gypsys - The Rehearsal Sessions (ATM 205-206) that is complete more than other bootlegs.
Please note that track 7 is "Ezy Rider" (6); Track 9 is made of several takes of "Who Knows" (1-7); Track 10 in made with two tracks of "Message of love" (08-09 practice and 10).
Oil Well version has a fine cover, fine quality.  Limited to 200 copies only. Due to its rarity and good quality, this disc is recommended.
All songs by Jimi Hendrix unless Changes written by Buddy Miles.
On the front cover Jimi Hendrix performing live at Boston Garden, Boston, MA, USA on June 27, 1970 from the Cry of Love Tour - U.S. Leg Tour .

Audio quality: 
Quality content: 

 © Official released material:
Tracks 1,2,3,4,5 have been released officially on: The Baggy's Rehearsal Sessions.
Track 6 has been released officially on: People, Hell and Angels 
_____________________________________________________________________

The Baggy's Rehearsal Sessions
Jimi Hendrix: The Baggy’s Rehearsal Sessions represents the fifth release by Dagger Records, the official bootleg label created by Experience Hendrix. Released on June 25, 2002 by Dagger Records the album contains recordings from two rehearsal sessions (on December 18 and 19, 1969) for the Band of Gypsys' performances at the Fillmore East on December 31, 1969 and January 1, 1970. Hendrix had just returned from Toronto, Canada where he had been acquitted in a jury trial for narcotic possession. The verdict had lifted an enormous burden from the guitarist’s shoulders. With the court case and all of its possible ramifications now behind him, Hendrix redirected his energy toward preparations for the recording of a live album at the Fillmore East with bassist Billy Cox and drummer Buddy Miles.

It is Miles who suggests running through “Ezy Ryder” and off they go. In this case, this tune really benefits from the direct one-guitar/bass/drums format. It has an extra punch that the take on the “First Rays” album lacks and the back up vocals are more prominent. “Ezy Ryder”is a high-speed funk-rock masterpiece if there was ever one, where Jimi’s mastery of lead and rhythm is on full display
Hendrix unleashes a few psychedelic Furies on “Power of Soul”, an intense funk-rock workout, almost bordering on heavy metal in places. And while I’m sure that hearing this on drugs would be amazing, I’m almost tripping out just listening to it straight! “Power Of Soul” and this version is noticeably longer than the Band of Gypsys live take clocking at over seven minutes. Vocally speaking, Hendrix is in better form here than on the live album in my opinion and the soloing is as good if not better. Miles even added a short ‘ooh’ of back up vocals for one second during the first verse. They should have expanded on that idea and add the back up vocals throughout the song! Very nice version but I still prefer the studio take from “South Saturn Delta” with the killer wah wah soloing! Still any version of this tune always does the trick for me…such great riffs throughout.

The Miles written “Changes” starts with its ear catching melodic intro and this version is very close to the Band of Gypsys live take with Miles’ vocals taking main role and Hendrix guitar prowess taking a noticeable back seat. That issue aside, I’ve always enjoyed this R&B song and the chorus riff is killer! However, track number eight is a real treat: this is so far the only chance to hear the Band Of Gypsies tearing through the rocker “Lover Man” in a studio setting. The lead guitar playing is simply fantastic and matches his lead work from the Experience take featured on the “South Saturn Delta” album. This song would have made a nice single A side in my opinion.

Message to Love

“Message to Love” was a tune Hendrix had been working on for several months, but it was only until he brought in Buddy Miles and Billy Cox that it seemed to all fall together and really work. The trio would record a more polished studio rendition in the months ahead, but it’s fascinating nonetheless to get a glimpse into what is quite possibly the very instant when the whole thing actually fell into place.  it does not sound too different from the classic live take on the album but of course Hendrix always manages to deliver an interesting solo that radically differs from the familiar one heard on the live LP. The middle eight with the lyrics ‘I am what I am’ is my favorite part. This recording also demonstrates that the band was definitely in high spirits during this recording session as you can hear them joking around at the end. According to the liner notes, they are imitating two comedians that they enjoyed: Moms Mabley and Pigmeat Markham!

For the version of “Earth Blues" of this album the emphasis is put on the vocal sections as opposed to the jamming improvisation. Hendrix keeps the wah wah solo short and they quickly go into a third verse. This is one of my favorite compositions from the Gypsies period because it seems to bring together a gospel influence with funk and the intro/chorus rhythm guitar motif is unusual! Also of note is the cool ending where Hendrix seemingly deconstructs the main riff to finish off with an ascending dissonant riff! A superb coda idea that Hendrix used on other songs such as “Freedom” and “In From The Storm”.

Band Of Gypsies testament
What this compilation proves is that Hendrix was far more disciplined in his approach to making music than some others have claimed. Instead of the drug-addled and artistically adrift musician who’d lost his way, The Baggy’s Rehearsal Sessions remains as clear evidence that while his immediate ambitions may have been incomplete (from Jupiter to the very “Pillars of Creation”) , the man could still put in a hard day of work (or night) when called upon. And while the sound may be somewhat sub-par when compared to most of his other recordings, it nevertheless provides an essential insight into the living organism that was The Band Gypsys, and a testament to their power and glory, no matter how brief that moment was.

In brief, this official bootleg release is essential listening for die hard fans of Jimi Hendrix, especially if you are big into his Band Of Gypsies phase and appreciate Hendrix’s effort to bring his R&B/soul/funk heritage to the fore with the ultimate end of producing a combination of said styles and rock!

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Jimi Hendrix - Cherokee Mist Oil Well - 120 RSC CD

Jimi Hendrix - Cherokee Mist
Oil Well - 120 RSC CD

1. 1983... (A Merman I Should Turn To Be) 7:33
2. Angel 3:21
3. Cherokee Mist 3:17
4. Hear My Train A Comin' 1:10
5. Voodoo Chile #1 6:19
6. Cherokee Mist 3:36
7. Gypsy Eyes 6:38
8. Long Hot Summer Night 4:27
9. Have You Ever Been To Electric Ladyland) #1 5:29
10. All Along The Watchtower 3:46
11. Voodoo Chile #2 9:20
12. Rainy Day, Dream Away 1:47
13. 1983... (A Merman I Should Turn To Be) 4:24
14. Have You Ever Been (To Electric Ladyland) #2 4:45
15. Little Miss Strange 3:38
16. Somewhere 3:47
17. 1983... (A Merman I Should Turn To Be) 1:02
Total duration: 74:19

Note:
All songs by Jimi Hendrix unless noted.
Live in Atlanta, GA - February 8, 1969 - Vol.1 

Tracks 1 to 8 Drake Hotel, New York (NY), April 8, 1968
Track 9 Record Plant, New York, NY, June 14, 1968
Track 10 Olympic Sound Studios, London, UK, January 21 1968
Tracks 11 Record Plant, New York (NY), United States. 2nd May 1968
Track 12 Record Plant, New York, NY, June 10, 1968
Track 13 Sound Center Studios (247 West 46th Street) in New York City - March 13, 1968
Track 14 Record Plant, New York, NY, May-June 1968, mixed at Record Plant on July 7 1968
Track 15 Record Plant, New York, NY, April 20 1968
Track 16 Sound Center Studios, New York (NY), United States. 13th March 1968:
Track 17 Record Plant, New York, NY, April 20 1968

Lineup:
Jimi Hendrix: vocals and guitar, bass on tracks 10,14
Noel Redding: bass, backing vocals
Mitch Mitchell: drums, backing vocals

Jack Casady – bass on "Voodoo Chile #2"
Brian Jones – percussion on "All Along the Watchtower"
Dave Mason – twelve-string guitar on "All Along the Watchtower",
Steve Winwood – Hammond organ on "Voodoo Chile #2"
Chris Wood – flute on "1983... (A Merman I Should Turn to Be)"
Larry Faucette – congas on "Rainy Day, Dream Away"
Mike Finnigan – organ on "Rainy Day, Dream Away"
Buddy Miles – drums on "Have You Ever Been To Electric Ladyland) #1","Rainy Day, Dream Away"
Freddie Smith – tenor saxophone on "Rainy Day, Dream Away"

This album is a digital clone of: "1968 AD Part two" - Whoopy Cat C WKP-0013
This Oil Well version has a fine cover, fine quality and limited to 200 copies only.
Due to its rarity and good quality, this disc is recommended.
All songs by Jimi Hendrix unless track 10 written by Bob Dylan and track 15 written by Noel Redding.
Please note that track 6 is the outro of Voodoo Chile credited as Cherokee Mist in the tracklist.
The first seven tracks are original demos from Drake Hotel in March of 1968 (credits of the official album) but some sources say that Hendrix recorded 36-minutes of demos in his room on April 8th 1968. On the front cover Jimi Hendrix photographed by Terence Donovan for the Observer Magazine at his flat in London, August 1967 - other pics from the set here. 

This rare bootleg is an interesting compilation of Electric Ladyland's outtakes, basic tracks and demos in which you can find two versions of Have You Ever Been To Electric Ladyland as track 9 and 14.
Track 9 has been released also on the bootleg Sotheby's Private Reels CD1 and it is listed as "Electric Ladyland #2". This  complete take is from 14th June 1968 with Jimi Hendrix on guitar, Buddy Miles on drums and an unknown bass player.

An alternative instrumental version of  Have You Ever Been To Electric Ladyland) #1 dubbed as "Electric Lady Land" was also recorded (one of seven takes of the song) at the Record Plant on 14 June 1968 by Hendrix and Band of Gypsys drummer Buddy Miles (although his track was later removed from the recording). This rendition was released by Polydor Records in 1974 as part of the posthumous studio album Loose Ends, produced by John Jansen and released also on: The Jimi Hendrix Experience Box in 2000.

Track 13 is released as Angel Caterina
Track 14 has been released also on the bootleg Sotheby's Private Reels CD1 and it is listed as "Electric Ladyland #1". This last take is maybe the master recording produced at the Record Plant studio in New York City in May or June 1968, with Hendrix providing the guitar, bass and vocal tracks. Mitch Mitchell is on drums and tambourine.  The song was mixed at the Record Plant on July 7th 1968.

Track 11 is Voodoo Chile (Take 2) recorded at Record Plant, New York (NY), United States. 2nd May 1968. Please note that a song called "Voodoo Chile Blues" released on the collection "Blues"in 1994 is an interesting creation of Alan Douglas, recorded during the sessions that produced the finished track, "Voodoo Chile". This "creation" is made up of two different takes of the song that were edited and joined together in order to come up with one consistent track.

Audio quality: 
Quality content: 

© Official released material:
Tracks 1 to 7, 12,13 have been released officially in 2018 on: "Electric Ladyland 50th Edition".
Track 10 has been released officially on: South Saturn Delta 
Track 16 has been released officially and with a different mix on: The Jimi Hendrix Experience Box

___________________________________________________________________

‘Electric Ladyland’ Gets Massive Reissue for 50th Anniversary
Half a century ago, when Jimi Hendrix began work on what would become his the final album to come out in his lifetime, Electric Ladyland, he was finding inspiration everywhere. “Jimi was very much in the realm of experimentation,” says one of the album’s recording engineers, Eddie Kramer. Kramer is seated in the control room of Electric Lady Studios, the New York studio Hendrix opened shortly before his death in 1970. “When I first started working with him, [Hendrix manager] Chas Chandler told me, ‘The rules are, “There are no rules.’ We could just kick down the doors to convention and experiment with wild things and Jimi’s sound.”

The results of their experimentation are all over Electric Ladyland, from an otherworldly phasing sound effect (“We were all freaked out by it,” Kramer recalls) to the different combos of musicians he brought in to jam with, such as members of Traffic and the Rolling Stones’ Brian Jones.

The volume of outtakes, Electric Ladyland: The Early Takes, contains audio pulled from reel-to-reel tapes Hendrix recorded himself on his personal Teac machine in March 1968 while staying at Manhattan’s Drake Hotel. These include early versions of “Voodoo Chile” and “Gypsy Eyes” as well as two songs that didn’t make the Ladyland track list – “Angel” and “My Friend”– and an early version of “… And the Gods Made Love” titled “At Last … the Beginning.”  “He did these incredibly quietly,” Kramer says with a laugh. “You can hear the atmosphere of the hotel room. He’s almost whispering. Why? He doesn’t want to wake up the neighbors. He’d go, ‘Here’s “Electric Ladyland”‘ and he’d whisper, ‘Have you ever been? … ‘ It’s so warm and so intimate, and all of a sudden you hear a phone ringing and that’s the front desk calling and you can just hear in his voice he’s getting really pissed off. It’s great.”

Recording Voodoo Chile
"Voodoo Chile" was recorded at the Record Plant in New York City, after a late night jam session with Hendrix, Experience drummer Mitch Mitchell, organist Steve Winwood, and bassist Jack Casady. The song became the basis for "Voodoo Child (Slight Return)", recorded by the Experience the next day and one of Hendrix's best-known songs.

"Voodoo Chile" evolved from "Catfish Blues", a song which Hendrix performed regularly during 1967 and early 1968. "Catfish Blues" was a homage to Muddy Waters, made up of a medley of verses based on Waters' songs, including "Rollin' Stone", "Still a Fool", and "Rollin' and Tumblin'".In April 1968, Hendrix recorded a number of solo demos in a New York hotel, including an early "Voodoo Chile", which he had been developing for some time. It used elements of "Catfish Blues" with new lyrics by Hendrix and included a vocal and guitar unison line.

Music critic Charles Shaar Murray describes "Voodoo Chile" as "virtually a chronological guided tour of blues styles" ranging from early Delta blues, through the electric blues of Muddy Waters and John Lee Hooker, to the more sophisticated style of B.B. King, and the "cosmic blurt" of John Coltrane. Lyrically, he adds, the song is "part of a long, long line of supernatural brag songs"

During the Electric Ladyland recording sessions at the Record Plant, Hendrix and the band often explored the New York City club scene and frequently jammed with the performers. After one such jam at the nearby the Scene club, Hendrix brought a group of twenty or so back to the studio (his practice of inviting large groups to the studio led Noel Redding to storm out of the Record Plant earlier that evening and he was not present during the recording of "Voodoo Chile"). Organist Steve Winwood from Traffic, bassist Jack Casady from Jefferson Airplane, and jazz guitarist Larry Coryell were among those present. Although Coryell was invited to play, he declined and Hendrix proceeded to record "Voodoo Chile" with Mitchell, Winwood, and Casady. The remainder were on hand to provide the ambient crowd noise.

Winwood recalled, "There were no chord sheets, no nothing. He [Hendrix] just started playing. It was a one-take job, with him singing and playing at the same time. He just had such mastery of the instrument and he knew what he was and knew his abilities". Despite the appearance of spontaneity, engineer Eddie Kramer notes: "The idea that these jam sessions were informal is something that I completely disagree with. They may have seemed casual to the outside observer, but Jimi plotted and planned out nearly all of them. He'd reason that if he had his songs together, if he really wanted to pull out what he heard in his head, he needed the right people ... and that's what he did".During the recording session, Hendrix is heard advising Winwood on his organ part.

Recording began about 7:30 am and three takes were recorded, according to biographer John McDermott and Kramer. During the first take, Hendrix showed the others the song while the recording equipment was adjusted. During the second take, Hendrix broke a string (these two takes were later edited together and released as "Voodoo Chile Blues" on the posthumous Hendrix compilation album Blues). The third take provided the master that was used on Electric Ladyland. Music writer John Perry claims there were at least six takes recorded, but several were incomplete.

"Voodoo Chile" opens with a series of hammer-on notes, similar to Albert Collins' intro to his "Collins Shuffle". Hendrix played through a Fender Bassman top, providing a "very warm" amp sound with his guitar tuned down a whole tone. Although Hendrix's vocal and guitar are featured, the other musicians make contributions, taking it beyond the blues. McDermott describes Winwood's mid-song organ part as "a very English, hornpipe-like dance that was very Traffic-like".
However, Perry calls it a "modal, raga-like phrase", which Hendrix responds to by "improvising a mixed blues/eastern scale".  Mitchell anticipates changes in direction and Casady provides a pulsing, solid foundation.

Hendrix wanted to create the atmosphere of an informal club jam, but the recording did not capture sufficient background noise. So the onlookers provided additional crowd sounds, which were recorded from 9:00 am to 9:45 am. Hendrix and Eddie Kramer later mixed the track, adding tape delay and other treatments.

Although many live recordings of "Voodoo Child (Slight Return)" have been issued, only the three takes of the original studio jam, "Voodoo Chile", are known to exist. A composite of the first two takes is included on the 1994 Blues album

Recording All Along the Watchtower
The Jimi Hendrix Experience began to record their version of Dylan's "All Along the Watchtower" on January 21, 1968, at Olympic Studios in London. According to engineer Andy Johns, Jimi Hendrix had been given a tape of Dylan’s recording by publicist Michael Goldstein, who worked for Dylan’s manager Albert Grossman. "(Hendrix) came in with these Dylan tapes and we all heard them for the first time in the studio", recalled Johns.

According to Hendrix’s regular engineer Eddie Kramer, the guitarist cut a large number of takes on the first day, shouting chord changes at Dave Mason who had appeared at the session and played twelve-string guitar. Halfway through the session, bass player Noel Redding became dissatisfied with the proceedings and left. Mason then took over on bass. According to Kramer, the final bass part was played by Hendrix himself.[19] Hendrix's friend and Rolling Stones multi-instrumentalist Brian Jones played the various percussion instruments on the track. "That’s him playing the thwack you hear at the end of each bar in the intro, on an instrument called a vibraslap."
Jones originally recorded a piano part that was later mixed out in place of the percussion instruments.

Kramer and Chas Chandler mixed the first version of "All Along the Watchtower" on January 26, but Hendrix was quickly dissatisfied with the result and went on re-recording and overdubbing guitar parts during June, July, and August at the Record Plant studio in New York.
Engineer Tony Bongiovi has described Hendrix becoming increasingly dissatisfied as the song progressed, overdubbing more and more guitar parts, moving the master tape from a four-track to a twelve-track to a sixteen-track machine. Bongiovi recalled, "Recording these new ideas meant he would have to erase something. In the weeks prior to the mixing, we had already recorded a number of overdubs, wiping track after track. [Hendrix] kept saying, 'I think I hear it a little bit differently.

Dylan has described his reaction to hearing Hendrix's version: "It overwhelmed me, really. He had such talent, he could find things inside a song and vigorously develop them. He found things that other people wouldn't think of finding in there. He probably improved upon it by the spaces he was using. I took license with the song from his version, actually, and continue to do it to this day."
In the booklet accompanying his Biograph album, Dylan said: "I liked Jimi Hendrix's record of this and ever since he died I've been doing it that way... Strange how when I sing it, I always feel it's a tribute to him in some kind of way."

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