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    August 1969


    On the naming of the town: ‘. . .and Noah sent out a Dove from the Ark and when the waters subsided she returned with an Olive leaf in her mouth.’ “Let us call it the Town of Olive.“

    12 June 1969
    TIMES HERALD RECORD (page?) ‘Walkill to Get Rock Fete - - 20,000 Expected’:
    A rock and folk festival drew it’s SRO crowd Thursday night, two months before the big event is expected to pull 20,000 people into Scotchtown.
    But Thursday’s crowd apparently were not music lovers and in their fears over what the entertainment [...]
    Supervisor Jack A. Schlenesser said the board was ‘planning to pass an ordinance regarding public assemblies larger than 1,000 persons’ after consultations with the town attorney. It was not clear whether this law woukd effectively ban the festival.
    But Thursday’s crowd apparently [...]
    ban the festival
    A petition was [...] of Scotchtown to [...] it’s more than $5 [...] ‘violently objected [...] public assemblies [...] Scotchtown.

    John Storyk, winter of 1968/1969. Hired by Jeffery and Hendrix as a designer fresh out of college, and had done a single club design at that point - Cerebrum:
    “[Jimi was shy, soft-spoken, and not interested in design details.] Michael Jeffery was a little rougher. But I didn’t deal with him much. He lived around the corner from Albert.
    [I don’t recall anything about a kidnapping, I was up in the area a lot during the summer of 1969, both for the festival and to start on another design for Grossman… what would eventually become Bearsville Studios (Studio B.)]”

    Paul Smart: “Mike Jeffery rented, or owned a house on Lower Byrdcliffe Road in Woodstock,” [only seven and a half miles away from Jimi’s house at Boiceville.]
    He tells us it was, “Just around the corner,” from Bob Dylan’s manager Albert Grossman’s house. Grossman had recently completed or had almost finished constructing his nearby Bearsville studio. Jeffery appears to have been on good terms with Grossman and hung out with him on occasion. They attended Woodstock together and notably, reportedly, joined in pushing Jimi’s pick-up out of the mud, getting themselves plastered in the process. It has been asserted thatit was Grossman who rented the house in Boiceville to Hendrix?
    “I remembered a local writer, Michael Ephron, who used to work with me when I edited another regional newspaper. His son, Fima, lived around the area for a while and was a noted bassist. Mike, himself, regaled everyone with stories about his time with Hendrix while at a few dinner parties in my home. I decided to find him after a dozen years…and located him online on Facebook, from whence he wrote me with what seemed to be a different angle on the case.

    Mike Ephron (allegedly, almost immediately erased, internet entry): “[I had been playing with Jimi that autumn, following Woodstock, as a keyboardist. My wife at the time, Bette Mitchell, was a former fiancée of the Rolling Stones guitarist Brian Jones, who had just died that summer. She had had a premonition about her ex’s death, and was getting a similar feeling about Hendrix. So, she says, she got to talking with him and some others around Woodstock that summer about kidnapping the rock star for his own good…to save his life. But nothing ever happened.”
    “Bette Mitchell had a superlative plan, and a place set up and the means to keep him there. Juma remembers well the heavies at the house; who could forget them? They were minders hired by Jeffery to keep the pressure on Jimi, to make sure he did what he was told [patent nonsense as Jimi obviously did what he wanted at this time, ie basically f’all, not to mention the time wasted on shit jams with you[IMG]file:///C:\DOCUME~1\ren\LOCALS~1\Temp\msohtml1\01\clip_ima ge002.gif[/IMG]… But they had no plan to kidnap him. Why should they? He was the cash cow.”

    Linda Gray, whose father Glen Marlatt owned the house (so she says) Morrison found (he claimed) for Hendrix and his entourage in late spring of 1969:
    “Yes, Jimi Hendrix and his entourage stayed at my father’s place on Traver Hollow Road. Some articles I have seen over the years don’t get the facts straight,” she e-mailed, while referencing both Hopkins’ book, and a photo it has of the house, as well as David Henderson’s ‘Scuse Me While I Kiss The Sky: The Life of Jimi Hendrix. [ie she had read all there was on the place and could make up any pish about who she was. Ed.] “I wouldn’t allow any of the younger generation in my family read my copy because of the stuff in the book…Jimi lived a pretty sordid life as far as I am concerned. I heard he participated in orgies while living there. I do know my father rented it furnished and got paid for damages done. I remember someone drew a flying saucer coming over the mountain in a painting of the place. The place smelled, I assume of marijuana. Curtains, etc. were dyed purple, there was wax from candles lots of places.”

    Michael Lang describing the few visits he made up to the house while Hendrix was there:
    “It was a pretty big mess [it seemed natural, at the time, for a rock artist of Hendrix’ stature to end up in Woodstock. But I never heard anything about a kidnapping]. He was also at my home [on Chestnut Hill Road (Woodstock)] a number of times. The last I saw him was the following year at Electric Lady Studios.”

    Gerrardo Velez: “Jimi and I got together in Manhattan at Steve Paul’s in ’68. We were jamming and writing and continued to do this up in Woodstock, where I’d been going since my sister Martha moved there with her husband, Keith Johnson, who was Paul Butterfield’s band leader at the time.
    Hendrix didn’t have his own apartment at the time. When not touring, he lived at the Navarro Hotel on Central Park South.
    I was the first to move into the house out there near Phoenicia [ie Boiceville]. I think it
    must have been May or something like that. I took one of the two big bedrooms upstairs
    that shared a bathroom, making sure Jimi had the bigger one. I remember how big it
    seemed at the time, with two sinks back in a day when that was really rare. They had two
    horses on the property which I loved to ride… There were a lot of comings and goings all
    summer, with a lot of limo trips into town and other spots around the area wherever people
    were playing and there was a chance to jam.
    [We took to calling Traver Hollow home. Claire Moreice would make big batches of
    soup, cornbread, and chocolate chip cookies. There were loads of drugs around and girls,
    which Jimi and I would sometimes share].”
    Kidnapping? [repeated question]. “I heard about it but never put any credence in it.”
    Gerardo “Jerry” Velez, the 21-year old percussionist who was the first into the rented house in Traver Hollow that summer, seemed as focused on the general drug mayhem of those days as any actual or threatened criminal activity. He said that, “If there was anything resembling a kidnapping, it would have been tied to the bigger drug wars of the time, when there seemed to be a more direct relationship between organized crime and the music industry…or at least portions of it.
    Everyone said Michael Jeffery was tied in with British Intelligence and the mob. He was a very dark individual. When he and his crew’d walk into a room it was like the temperature would drop 20 degrees. He’d start off with a ‘What the fuck?!’ and then start talking about money. There’d be this negative energy around, with Jimi wanting to duck out.
    Of course, we were all barely out of our teens and they were wearing suits and stuff. I was the first to move into the house up there and I remember Mike Jeffery coming in and asking Jimi who the hell is this kid and Jimi saying, ‘He’s with me.’”

    (Date?) “Juma Sultan” (Edwards)
    “I had been in Woodstock off and on since about ’66. I started off over at Group 212, [the old avant garde artist’s colony located between Saugerties and Woodstock] for a few years in the late 1960s. I started jamming with Jimi at Mike Jeffery’s place, in the studio there above the garage. He was trying to put a new sound together…”
    “[Jerry Morrison was in charge of finding a rental house where some music could be made.]
    He looked all over, including Johnny Winter’s place over near Rhinebeck, which was huge, a manor house. Finally we settled on this pretty nice-sized stone house with four bedrooms, caretakers on the property, horses and cows.
    [Various folks stopped by in Traver Hollow, and girls and drugs…and a sense of menace that overtook the relaxed vibe every time Jeffery and his entourage came up for a visit.
    Everything seemed to be moving fast over the three months or so everyone was in residence in Olive.]
    “We were all up at the house one day, but Jimi didn’t want to play. Larry was there, Billy (Cox). But not Mitch (Mitchell). This limousine showed up and out comes Mike Jeffery, who heads upstairs with Jimi. The chauffeur, he takes out this target and puts it on a tree and starts shooting at it with a pistol. Bam. Bam.
    That was two weeks before we played The Salvation. Two weeks after The Salvation Jimi came back one evening talking about how he’d been kidnapped and taken away to somewhere in Brooklyn. But he was laughing about it, describing how Jeffery and Jerry Morrison, who had worked with Papa Doc down in Haiti at one point, made out like they were saving him. Jeffery had two Mafia sorts come and offer me a contract around then… but only if I agreed NOT to play with Jimi…The scene got heavy and skeevy.”
    “They didn’t like all the black folks Jimi had around and would rather he was still playing with two Englishmen in the Experience,” he said. “There was always a lot of that mob stuff around Woodstock and the area back then…There were a lot of drugs moving through town.”
    [In regards to Ephron’s story, I vaguely recall Bette Mitchell’s “dream thing” but I don’t want to back up anything Ehpron might be saying. The last I heard, Bette Mitchell was a doctor in Brooklyn.] There’s a whole lot of stories around that time. But that’s all they are.”

    Claire Moriece: “I remember going to Michael Jeffery’s house with Jimi and leaving kind of chuckling. We were left there to wait for Michael and Jimi went to play music.
    Michael had a record collection like from one end of the wall to the other, and Jimi couldn’t find anything to play, it was just like all kiddy-pop, bad rock and roll. You know, no real music, and it was something that just disgusted Jimi [....]
    [I always assumed Jimi was talking about a dream he’d had when describing his kidnapping. After all, there were a lot of drugs around the man, and he had a habit of describing his dreams to me and anyone else who would listen.]”
    Jimi and I used to sit it the room with the fireplace attached to his bedroom — he used to try out tunes like Izabella and mostly played 12 string acoustic. He asked me questions about the war and my thoughts. I had never met anyone who served in the army except people my dad’s age and couldn’t imagine how Jimi had done this… We had a great rapport except when management came into the picture.
    Jimi was unquestionably afraid. I recall him telling me about being kidnapped and blindfolded and threatened and the story must have been so preposterous to me that it is me who thought it must have been a dream he was telling me about. For some reason I recall a warehouse or loft in the city where this took place, not an apartment or the office on East 38th…”

    [She has stories about how cash-less Hendrix was at the times, and other stories she heard about Jeffery and Morrison that she wanted to check further on.]

    Conrad Loreto “I worked for Head Limousines and drove for Jimi. I was based in Woodstock and New York,” [I split time in ’69 between Hendrix’s Traver Hollow house (Boiceville), Jeffery’s Lower Byrdcliffe estate (7.5 miles from Boiceville), and Jerry Morrison’s home outside of Phoenicia (7 miles from Boiceville)]. We were commissioned to drive the groups down to the stage in Bethel that summer and afterwards everyone considered us geniuses. We got offered jobs in the music industry, where I did very well.
    [Life at Jimi’s house had a warm and friendly feel about it…big dinners around a table, music late into the evening hours. Claire Moriece’s cooking was excellent].
    I give no credence to any kidnapping stories. I would have heard of it. I was in Jeffery’s office every day and would have known.
    Jerry Morrison [was the person who drew me up to the area. He was] an older man with long hair and a beard, who had come out of the jazz scene and had great stories…including quite a few from his time working with Papa Doc Duvalier in Haiti. There was even one about Morrison having sold his soul to the devil [ie he was a bullshitter, a raconteur. Ed.].
    He was a piece of work. Later, he and Tim Hardin got busted and he left the country, disappeared…I would have to agree that HE was always a little creepy.
    Jeffery [was simply] a great businessman [and a demonstration of] the difference between being controlling and being in control. [I’m saving my own theories about Jimi and Jeffery’s deaths being tied to Voodoo [ha-ha-ha Ed.]. For my own book.]” [Currently being pitched by his agent.]

    FLUTE JAM (separated)

    Jimi: I don’t have to do… Nah, nah, nah… You want to mix it?... Whooo! Oh, man… […?]
    ? : What?
    Jimi: To hell with it
    ? : Pullin’ this together, you know
    ? : [‘Eqwana’?]
    [Something get’s knocked over]
    ? : Oh, Jim

    [Drumming tuning etc.]

    ? : Can’t find a chair
    ? : Now get a chair over there
    ? : What?
    ? : We need a chair
    ? : Yeah
    ? : Ha-ha-ha
    Jimi: Over there, over there, there you go
    ? : From New Orleans
    ? : That’s what I said
    ? : Yeah

    GETTING MY HEART BACK TOGETHER AGAIN (33) [posthumously aka “Hear My Train A Comin’”]

    I wait around the train station
    Waitin’ for that train
    To take me
    Take me awa-ay
    From this lonesome town
    Hey, baby
    Too bad you don’t love me no more, lil’ girl
    Too bad your people put me dow-own

    Tears burnin’ me
    Tears burnin’ me in my hea-a-art
    Way down in my heart
    Way down in my soul
    Tears burnin’ me in my so-oul

    Hey, baby
    Too bad you don’t love me no more
    Too bad you and me had to go
    Yea-eah, he-ey, hey-y-yeah

    I hear my train a comin’
    Hear my train a comin’
    Hear my train a comin’
    Hear my train comin’


    I’m gonna leave this town
    Gonna be a Voodoo chile
    Try to be a magic boy
    Come back and buy this town
    Come back and buy this town
    And put it all in my shoe

    If you make love to me one more time girl
    Lord, I’m gonna give a piece to you-ou-ou
    Yeah, baby

    Well I
    Hear my train a comin’
    I hear my train a comin’
    Hear my train a comin’
    Hear my train a comin’
    Hear my train a comin’

    Hear my train a comin’!

    Jam 1

    Mitch?: Well, oh yeah!
    ? : Get into it
    ? : [Bass solo]
    ? : Fuck off
    ? : I’m not sayin’ it…
    Jimi? : I can’t just… relax
    ? : [Loud coughing]
    ? : What was that!
    Man : [Laughter]
    Girl? : [Laughter]
    ? : Di-i-g Lisa
    ? : [Laughter]
    ? : Be my guest, come an’ hit it
    ? : Mmhmm

    Jam 2

    Jam 3

    Jam 4
    [Hall of the Mountain King]

    ? : How come
    Jimi? : Johnny’s good on progress [tuning]. . . Unless we turn [tuning. . .
    Good on gas that’s what I’m sayin’ [tuning. . .
    Mitch?: I-I-I know!
    ? : Oh, no!
    ? : ….?
    ? : Ah?
    Mitch?: Mick’s had a guitar stolen
    ? : Hey, eh, Joey? [ie Jimi] Where’d you get your pants, man? You’ve got real nice
    lookin’ pants
    ? : Hey, is there anywhere I can get some earplugs, you know?
    Jimi : They were made for me
    ? : Made for you?
    Jimi : Yeah, man, it’s African
    ? : Are they, eh, from New York City, aye?
    Jimi : No, man
    ? : I’d like to know, man
    ? : Where’re they from?
    Jimi : Morocco
    [Organ playing]
    ? : Oh, no, kidding, man.
    [Organ playing]
    ? : All the way from there huh?
    ? : Watch out for Juma young man
    ? : It’s one of those, man
    ? : Poomf!
    Jimi?: Do not punch-ha-ha-me now, will yah
    [Flute playing]
    ? : You know I wouldn’t hurt you
    Mitch?: Oh, I can hear it all now
    [Flute playing]

    I’M A MAN / MANISH BOY (46) (Bo Diddley/Muddy Waters)
    (Bo Diddley’s ‘I’m A Man’ with some lyrics from Muddy Waters’ version)

    Now, when I was a little boy
    At the age of five
    I had a somethin' in my pocket
    Keep whole lot of folks alive
    Now I'm a man, aged twenty one
    You know, baby, havin’ a whole lot of fun

    All you pretty woman
    Stand in line
    I’ll make love to you, baby
    In a hours time
    The line I shoot-uh
    Will never miss
    The way I make love to you, baby
    You can’t resist
    ‘Cause I'm a man
    Spelled ‘M’, ‘A’, ‘A’, child, ‘N’ boy
    Back to the ‘B’, ‘O’, ‘Y’
    ‘Y’, ‘Y’
    Manish boy

    I’M A MAN / MANISH BOY (47) (Bo Diddley/Muddy Waters)

    (Bo Diddley’s ‘I’m A Man’ with some lyrics from Muddy Waters’ version)

    Whoa-oh-oh, ye-e-eah
    Whoa, oh, oh, oh, yeah, yeah, yeah, ye-eah
    Everything's gonna be all right this morni-i-in'


    Now, when I was a little boy
    At the age of five
    I had somethin' in my pocket
    Keep a whole lot of girls alive
    Now I'm a man, made twenty one
    You know, baby, we got a whole lot o’ fun
    ‘Cause I’m a man
    Spelled ‘M’, ‘N’, chile, ‘A’, boy

    [Jimi mixes up the spelling]


    Hey, hey, hey, yeah, wah, wah …(etc.)

    All you pretty woman
    Stand in li-i-ine
    Lord, I’ll make love to you
    In a hours time
    The line I shoot-uh
    Will never miss
    The way I make love to you, baby
    You can’t resist

    Hey, hey, hey, yeah, wah, wah …(etc.)

    The line I shoot, baby
    Will never miss
    I‘ll make love to you
    You can’t resist

    IZABELLA (19)

    Hey-ey Izabella
    Girl, I sing about you in my dreams every ni-i-ight
    Hey Izabella-a
    Girl, I sing about you every night in my drea-eams

    IZABELLA (15)

    Lord, I’m holding you so close in my dreams every night
    Lord, but sweet darlin’
    You know we got this war to fi-ight, yeah
    So, I’m sendin’ you these words under fire
    An’ I hope an’ pray you’ll recieve me all right

    I’m fightin’ this war for you
    Hey-ey, hey-hey girl
    It’s all for the children and The World and for you
    Then if you’d show your love for me
    Then I know we’ll be fightin’ for tru-ue


    Yeah, here comes the rays of the risin’ sun
    Hey, this war against hatred-a-huh
    I have a feelin’ it’s just begu-u-un, yeah
    Hey, so, keep those dreams comin’ strong
    Maybe one day I’ll squeeze you
    Instead of this machine gun, yeah

    Hey, Izabella

    Hey, Izabella-a

    IZABELLA (16)

    Girl, I’m holdin’ you so close in my dreams every night
    Hey, hey now
    Oh, but sweet darlin’
    Hey, you know, good an’ well, we got this war to fight
    That’s why I’m sendin’ you these words to you under fire
    So, I pray you’re recievin’ me all right

    Hey, I’m fightin’ this war for the children and you
    Oh, my sweet darlin’, darlin’
    You know it’s all for the children and The World and you
    And if you’d show your love for me is real
    Then I know we’ll be fightin’ for tru-ue


    Here come the rays of the risin’ sun
    He-ey-ey, little girl
    You know, this war gets heavier
    I think it’s just begun-uh
    So, keep those dreams comin’ on strong
    Maybe one day I’ll be holding you
    Instead of this old machine gun, yeah

    Hey, Izabella

    ?: That’s just a gimmick for Jimi

    IZABELLA (18)

    Lord, I’m holding you so close in my dreams every night
    Hey, but, sweet darli-in’
    You know we got this war to fi-i-ight, yeah
    Lord, I’m sendin’ you these words under fire
    So, I’m prayin’ you’re recievin’ me ri-ight

    Lord, I’m fightin’ this war for you
    Woah, my sweet darli-in’ now
    It’s all for the children and The World and for you
    Then if you’d show your love for me
    Then I know we’re fightin’ tru-ue
    Hey, baby


    Here comes the rays of the risin’ sun
    Hey, by the looks of those bullets flyin’ around your head
    Yeah, this war has just begun
    An’ I’ve got a feelin’
    Keep those dreams comin’ in stro-o-ong

    That’s what I’ve learned from life
    You’ve got to have some fun


    Jimi: Does that look easy

    LOVER MAN (21) *

    Here he comes, Lord
    Here comes your lover ma-an
    Hey, here he-e comes your love-er man
    Lord, I see him out your window
    I better get out o’ here as fast as I can

    Reach up baby
    Hand me down my runnin’ shoe-oe-oes, ba-a-abe
    Reach up baby
    Hand me down my runn-iin’ shoe-oes
    See your ol’ man comin’
    I ain’t got no time to lose


    Rock me, hey baby
    Rockin’ me, baby, hey, hey
    I wanna love you’s longer
    Lord, I wanna love you stronge-e-e-er now
    Honey rock your man over yonder
    Here comes your man over yonder

    LOVER MAN (22) *

    Here he comes, baby
    Here comes your lover man
    Here he comes, now
    Here comes your lover man
    Lord, I got to get out o’ here
    Get out o’ here as fast as I can

    Reach up baby
    Hand me down my runnin’ shoes, runnin’ shoes
    Reach u-up baby now
    Hand me down my runnin’ shoe-oes
    See your man comin’
    I ain’t got no time to lose


    Rock me baby, hey, hey, hey
    Hey-hey, hey-hey, hey-hey hey-hey
    I wanna love you longer, baby
    Lord, I wanna love you stronger, hey, yeah
    Yeah, I wanna love you longer, baby, but
    Your o-old man he’s over yonder, baby

    *Hendrix played on the Chitlin’ Circuit’ with BB on the bill and also jammed with him later several times. ‘BB’s song ‘Rock Me Baby’ was the musical basis for this later song ‘Lover Man’*.‘Lyrics are a mix of Elmore James’s ‘Look On Yonder Wall’ (Bill ‘Jazz’ Gillum) which song was the basis of Howlin’ Wolf’s ‘Meet Me In The Bottom’ (Willie Dixon), last verse is Jimi’s. Jimi related this song to the Vietnam war veterans returning, as Elmo’s version of ‘Look On Yonder Wall’ did to those of World War 2, the missing verse being: “Your husband went to the war, I know it was tough, I don’t know how many men’s he killed, but I know he done killed enough.” Interesting that ‘Down In The Bottom’, aka ‘Meet Me In The Bottom’ was covered by John Hammond in 1965 on his ground breaking electric blues LP, So Many Roads.

    Jimi: Is it, is it runnin’ out, is that it, okay, start at the beginning…


    I’m travellin’ at speed unknown to man
    So, I bring you a message from the mirror of my hand1
    I said a message of love, before your day
    Look at the mirrors of your mi-ind2, face the truth today

    Well, I am what I am, thank Go-od
    Some people just don’t understa-and
    Help them God
    Find yourself first and then your tool
    Find yourself first, don’t you be no fool

    That’s when my love come alive

    You’ve got to find yourselves to survi-ive

    Doo-doo-doo… (etc.)

    Here comes a woman comin’
    I see you’re on your back
    If for birth or pleasure
    I see you’re on the right track
    But for bein’ free-ee
    You ain’t supposed to plead
    And don’t rely on no man
    To try to understand-uh
    I said-uh find yourself first and then your talent
    Work hard in your mind now, for it to come alive
    Then-uh prove to the man, you’re as strong as him
    In the eyes of God, you’re both children to him

    Yeah, hey, yeah, hey…(etc.)

    Everybody come alive
    Everybody come alive
    Everybody come alive
    Everybody hear my message

    Yeah, you can do what you wan’ to
    Nobody don’t know your business but you-ou
    But to do what you wanna
    Ain’t no one gonna put emotion but you

    1His hands paying his guitar are reflecting what’s in his mind?
    2Reflect on your true self? This is one of only two versions with ‘Mind’
    the others use ‘Heart’.


    It’s very far away
    It takes about a half a day to get there
    If we travel by my-ah, dragonfly
    No it’s not in Spain ha-ha
    But all the same you know it’s a groovy name
    And the wind's just right

    Hang on if you wanna go-o-o
    Yeah, used to, a whole lot o’ fun
    But don’t get too much of
    Talkin’ about Spanish Castle magi-ha-ic


    [Twin lead guitars]


    Oh, you make me feel-l
    You make me feel now-yuh
    Comin’ home and forget about all these people, yeah.
    Last edited by stplsd; 05-22-18 at 05:40 PM.
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

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