"Baggys, what baggys, officer? ...Oh those, I use 'em for my lunch sandwiches. Keeps 'em fresh." Is this what Baggys are all about? Not really.
Baggys was a rehearsal hall (converted warehouse), in New York City, where artists could hone their craft before going public with it. Jimi and his friends, Buddy Miles and Billy Cox formed a trio to perform concerts to be recorded to get Jimi out of a contractual dispute he had lost in court. The group took the name Band Of Gypsys and started rehearsals, at Baggys, in late November 1969. The concerts were to be New Years Eve and New Years Night at Bill Graham's Fillmore East on the Lower East Side of New York. Two concerts per night were scheduled and all four were to be professionally recorded.
The Baggys Rehearsal Sessions documents that time period like a time capsule. Included in this Dagger release are Burning Desire and Hoochie Coochie Man, originally released on the forgotten import album, LOOSE ENDS. Early run-thrus of Earth Blues and Ezy Ryder are included in this cd. The quality is sub-standard for a recording studio but just fine for what Jimi needed. Practice did help and the official studio releases of these song validates the usage of Baggys as a working lab for the Band Of Gypsys.
An album that shows Jimi having fun and working towards a specific goal, this album is a triple in my book.
Monday, September 27, 2010
Thursday, September 9, 2010
When All Else Fails...Failure Become An Option
Don't know why I used that for the title. Time for some minor reflections. When Jimi's family ( later to be called Experience Hendrix LLC or for short I'll use LLC ) regained the full and complete rights to his music the decision was made to stay with MCA ( Universal Music Group ), for duplication and marketing.
This was the 1995-96 era and by adjusting their deal were able to seamlessly transform the hodge-podge of product MCA had released with Alan Douglas and his production team into a cohesive package which mirrored the original Reprise Records of the late 1960s and early 1970s. Some changes would be made but they were subtle in nature and, for once in a long, long time, Jimi's albums were treated with the respect they deserved.
But, some albums were cut out of the loop all together. THE CRY OF LOVE, RAINBOW BRIDGE, HENDRIX IN THE WEST and WAR HEROES, just to name a few, were split up into several other albums.
FIRST RAYS OF THE NEW RISING SUN incorporated the entire line-up of THE CRY OF LOVE plus pieces from RAINBOW BRIDGE { never released in cd format } and WAR HEROES. Some complained that they wanted their favorites albums back in the original order but LLC said they knew best. I agree whole heartedly that LLC's decision was the right one and the basic structure of Jimi's posthumous releases were preserved while eliminating the morbid history Mike Jeffery had created, following Jimi's death.
Jeffery had debts to pay off and since Jimi was gone, he could control the catalog. Problem was, Jeffery was near-sighted in his actions and caused more problems than anyone had expected. Going back, the problems started about the time Chas Chandler left as Jimi's producer in 1968.
More to follow.
This was the 1995-96 era and by adjusting their deal were able to seamlessly transform the hodge-podge of product MCA had released with Alan Douglas and his production team into a cohesive package which mirrored the original Reprise Records of the late 1960s and early 1970s. Some changes would be made but they were subtle in nature and, for once in a long, long time, Jimi's albums were treated with the respect they deserved.
But, some albums were cut out of the loop all together. THE CRY OF LOVE, RAINBOW BRIDGE, HENDRIX IN THE WEST and WAR HEROES, just to name a few, were split up into several other albums.
FIRST RAYS OF THE NEW RISING SUN incorporated the entire line-up of THE CRY OF LOVE plus pieces from RAINBOW BRIDGE { never released in cd format } and WAR HEROES. Some complained that they wanted their favorites albums back in the original order but LLC said they knew best. I agree whole heartedly that LLC's decision was the right one and the basic structure of Jimi's posthumous releases were preserved while eliminating the morbid history Mike Jeffery had created, following Jimi's death.
Jeffery had debts to pay off and since Jimi was gone, he could control the catalog. Problem was, Jeffery was near-sighted in his actions and caused more problems than anyone had expected. Going back, the problems started about the time Chas Chandler left as Jimi's producer in 1968.
More to follow.
Wednesday, September 8, 2010
Dagger Records---Official "Bootleg" Recordings--Live In Ottawa
A couple of reviews back was LIVE AT CLARK UNIVERSITY. Recorded March 15, 1968, it is five musical tracks of The Experience at work during their 1968 tour and interviews of the group. Flash forward four days, to March 19 and you'll find the band, across the border, in Ottawa, Canada, continuing what was a tour that ended as 60 concerts in 60 days.
LIVE IN OTTAWA features some fine material, including a 10 minute plus ' Tax Free ' from the second show that night. Again the recording is not the greatest, but what maybe lost in the lack of high-fidelity is over come by the performances heard. This album is a wonderful treat for the ears and the mind. The only problem comes after Jimi's intro to ' Wild Thing ' when the tape runs out on the rest of the performance. But most everyone knows how that song ended anyway. Recommended as a solid triple, down the line.
In late 2009, Dagger added three tunes from the first Ottawa show ( never before bootlegged ) and placed them on their LIVE 1968 PARIS / OTTAWA release. I'll talk about them when we reach that review.
LIVE IN OTTAWA features some fine material, including a 10 minute plus ' Tax Free ' from the second show that night. Again the recording is not the greatest, but what maybe lost in the lack of high-fidelity is over come by the performances heard. This album is a wonderful treat for the ears and the mind. The only problem comes after Jimi's intro to ' Wild Thing ' when the tape runs out on the rest of the performance. But most everyone knows how that song ended anyway. Recommended as a solid triple, down the line.
In late 2009, Dagger added three tunes from the first Ottawa show ( never before bootlegged ) and placed them on their LIVE 1968 PARIS / OTTAWA release. I'll talk about them when we reach that review.
Monday, September 6, 2010
Dagger Records---Official "Bootleg" Recordings--MORNING SYMPHONY IDEAS
The first two releases from Dagger Records were both Live albums but by the time of the third release the shift was on. MORNING SYMPHONY IDEAS is mostly a studio album of musical ideas, riffs and patterns Jimi kept pursuing during his life.
Several of the tunes had been on unauthorized bootlegs for years and were familiar to many a fan. They pre-told of Jimi's future. But the quality and the fidelity are commercial in their range. Jamming to Jimi was like you or me watching TV, just a normal part of our lives. Many recognizable musical phrases are heard on this album which later played out to their fullest on his later releases. Centered around Jimi's late 1969 jam sessions, these show the master at work, honing his artistry to even greater heights.
Ah, but the difference shows in the appealing, unheard ( as of 2000 ) "Scorpio Woman", a solo tape made personally for Melinda Merryweather, an actress Jimi befriended in Hawaii during the filming of the Michael Jeffery film RAINBOW BRIDGE. It shows Jimi as a vulnerable human soul with tender feelings not heard on other recordings. Melinda had kept the tape, for almost 40 years, as a keepsake of her time in Hawaii with Jimi.
If the first two albums were a home run and a bunt single, this is a triple, almost up to the standard of new listener acceptance. This puts most every unauthorized bootleg to shame for it's quality standard.
Several of the tunes had been on unauthorized bootlegs for years and were familiar to many a fan. They pre-told of Jimi's future. But the quality and the fidelity are commercial in their range. Jamming to Jimi was like you or me watching TV, just a normal part of our lives. Many recognizable musical phrases are heard on this album which later played out to their fullest on his later releases. Centered around Jimi's late 1969 jam sessions, these show the master at work, honing his artistry to even greater heights.
Ah, but the difference shows in the appealing, unheard ( as of 2000 ) "Scorpio Woman", a solo tape made personally for Melinda Merryweather, an actress Jimi befriended in Hawaii during the filming of the Michael Jeffery film RAINBOW BRIDGE. It shows Jimi as a vulnerable human soul with tender feelings not heard on other recordings. Melinda had kept the tape, for almost 40 years, as a keepsake of her time in Hawaii with Jimi.
If the first two albums were a home run and a bunt single, this is a triple, almost up to the standard of new listener acceptance. This puts most every unauthorized bootleg to shame for it's quality standard.
Sunday, September 5, 2010
Dagger Records---Official 'Bootleg' Recordings--LIVE AT CLARK UNIVERSITY
This is harder to write than I thought it would be. Simply speaking, Dagger did not put enough of Jimi's music on this CD to call it an 'Album'. A mini-CD would be a better description as there is 30 minutes of music and 40 minutes of interviews with Jimi, Mitch & Noel. Listening to Jimi speak is interesting but no where near as much as listening to his music do the talking.
The music, in decent mono and fidelity, none the less, is flawed, like a fine piece of leather and it's natural defects. For the serious collector or rabid fan: Do not let the novice Jimi fan hear this as they would not understand what happened and might feel a little bit off kilter.
Where LIVE AT THE OAKLAND COLISEUM was a home run, this is, at best, a bunt single. It'll get you on base but is not a memorable at bat.
The music, in decent mono and fidelity, none the less, is flawed, like a fine piece of leather and it's natural defects. For the serious collector or rabid fan: Do not let the novice Jimi fan hear this as they would not understand what happened and might feel a little bit off kilter.
Where LIVE AT THE OAKLAND COLISEUM was a home run, this is, at best, a bunt single. It'll get you on base but is not a memorable at bat.
Tuesday, August 31, 2010
Dagger Records---Official 'Bootleg' Recordings--LIVE AT THE OAKLAND COLISEUM
When Jimi's family regained control of Jimi's catalog and legacy, creation of a separate label for his previously issued albums was key. But with a huge amount of bootlegged albums in the market , the quality was more important than the amount in circulation. So Experience Hendrix LLC made a wise decision, eliminate the bootleggers by attacking them at their own game.
Create a sub-label featuring recordings which were not up to the standards of the commercially released product, but were worthy of release in some form. Dagger Records is the specialty name for such recordings. Product needed to be found but bootleggers couldn't do any thing to protect what they had illegally issued, so why not take the best bootlegs, submit them to the professional audio engineers, and re-introduce these recordings to the world, the way they should be. Like a fine piece of leather with minor flaws, Dagger did just that and more.
Another piece to the puzzle is to find the owners of live recordings made during concerts ( audience recordings, sound board tape, whatever was in storage, forgotten for years ). Such was the case of Dagger Records first release, a double CD, LIVE AT THE OAKLAND COLISEUM. Recorded the day after the legendary LIFELINES Disc IV ( The Los Angeles Forum Concert 04/26/1969 )
The 'master' tape was an audience recording of the Bay-Area return of the Experience following six performances in October 1968 at Winterland. The quality of tape, which had sat for many years, was fairly good for an audience recording and with some work from the aforementioned engineers and audio technicians, Dagger unwrapped the album in March 1998.
It shows The Jimi Hendrix Experience two months prior to their break-up in Denver, June 1969. Nothing short of an excellent show, it sounds as if it was well worth the price of admission. Remembering that we're talking of a three piece group known for their loud volume playing, the album reflects well on all, the audience, the guest bass player ( Jack Casady of the Jefferson Airplane ) who sat in on Voodoo Child (Slight Return) and the entire Jimi Hendrix Experience.
Overall, Experience Hendrix LLC/Dagger Records hit one out of the park in this first release. Not for the new Jimi fan, let them first learn from the masterpieces of AYE, AXIS: BOLD AS LOVE, ELECTRIC LADYLAND and FIRST RAYS OF THE NEW RISING SUN and work their way to this very special album.
Highly Recommended, Mono Recording
DMZ
Create a sub-label featuring recordings which were not up to the standards of the commercially released product, but were worthy of release in some form. Dagger Records is the specialty name for such recordings. Product needed to be found but bootleggers couldn't do any thing to protect what they had illegally issued, so why not take the best bootlegs, submit them to the professional audio engineers, and re-introduce these recordings to the world, the way they should be. Like a fine piece of leather with minor flaws, Dagger did just that and more.
Another piece to the puzzle is to find the owners of live recordings made during concerts ( audience recordings, sound board tape, whatever was in storage, forgotten for years ). Such was the case of Dagger Records first release, a double CD, LIVE AT THE OAKLAND COLISEUM. Recorded the day after the legendary LIFELINES Disc IV ( The Los Angeles Forum Concert 04/26/1969 )
The 'master' tape was an audience recording of the Bay-Area return of the Experience following six performances in October 1968 at Winterland. The quality of tape, which had sat for many years, was fairly good for an audience recording and with some work from the aforementioned engineers and audio technicians, Dagger unwrapped the album in March 1998.
It shows The Jimi Hendrix Experience two months prior to their break-up in Denver, June 1969. Nothing short of an excellent show, it sounds as if it was well worth the price of admission. Remembering that we're talking of a three piece group known for their loud volume playing, the album reflects well on all, the audience, the guest bass player ( Jack Casady of the Jefferson Airplane ) who sat in on Voodoo Child (Slight Return) and the entire Jimi Hendrix Experience.
Overall, Experience Hendrix LLC/Dagger Records hit one out of the park in this first release. Not for the new Jimi fan, let them first learn from the masterpieces of AYE, AXIS: BOLD AS LOVE, ELECTRIC LADYLAND and FIRST RAYS OF THE NEW RISING SUN and work their way to this very special album.
Highly Recommended, Mono Recording
DMZ
Monday, August 30, 2010
At Last The Beginning
This is the first of what I hope will be many postings about Jimi Hendrix. His music runs counter to what many, in the "recording industry", think is marketable. Immediately after his death, many had the notion to wave him off as nothing but a 'flash in the pan', you know, here today, gone tomorrow. Even his management team, (corrupt in so many ways) milked his music, his image, his very essence and could not see past their own noses that Jimi Hendrix was a true legendary individual with talent that reached far beyond those, that followed his path, forty years into the future
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A guide post, a messenger, a spiritual leader, and dare I utter these words, a prophet, in musical history. I became aware of this gift of his when in 1969, my father went out of his way to purchase a vinyl copy of JIMI HENDRIX SMASH HITS, the US version, but still a great compilation album. My father was a professional musician in Nebraska and had seen musical talent since the 1930s, having been on the road traveling with big bands of that era. Guitarists were not extremely well regarded in his world. He played piano and with a bass and a drummer and could do his thing just fine. It goes to show he knew talent when it showed itself.
I've titled this post 'At Last The Beginning' because it was the working title to the opening song on the highly regarded Electric Ladyland album. Retitled as '. . . and the Gods Made Love' , it is a most creative way to open an album as rich and fulfilling as has been noted for years.
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A guide post, a messenger, a spiritual leader, and dare I utter these words, a prophet, in musical history. I became aware of this gift of his when in 1969, my father went out of his way to purchase a vinyl copy of JIMI HENDRIX SMASH HITS, the US version, but still a great compilation album. My father was a professional musician in Nebraska and had seen musical talent since the 1930s, having been on the road traveling with big bands of that era. Guitarists were not extremely well regarded in his world. He played piano and with a bass and a drummer and could do his thing just fine. It goes to show he knew talent when it showed itself.
I've titled this post 'At Last The Beginning' because it was the working title to the opening song on the highly regarded Electric Ladyland album. Retitled as '. . . and the Gods Made Love' , it is a most creative way to open an album as rich and fulfilling as has been noted for years.
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