Jimi Hendrix / The Best Of Woodstock Rehearsals 1969 / 1CD+2Bonus CDR

Jimi Hendrix / The Best Of Woodstock Rehearsals 1969 / 1CD+2Bonus CDR / Non label

Jimi’s rented house (Shokan), Traver Hollow Road, Boiceville, Ulster County, New York, USA, Recorded during July 1969
Recorder : Jimi and/or Eddie Kramer on 2-track and/or 4-track, Plus Limited Bonus 2CDR “More Woodstock Rehearsals”

Play sample :

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 Jimi and Gipsy Sun & Rainbows The legendary Woodstock also has rehearsals from before the show. This is a capture of the reminiscences of the lessons repeated in the villa “Schokan House” where Jimi formed a new band in summer 1969. Jimi recorded the rehearsal from the new band that was formed after the experience that had been active for almost three years, and I confirmed the condition from there. The recording was done using a 4-track recorder, but the installation of the equipment at Shokan House was done by Eddie Kramer.
 If you’ve ever been in a band, you might have recorded rehearsals at rehearsal studios, but this sound source was also recorded from that situation. It is what set four microphones like a floor microphone from 4 tracks, and the unique sound quality like the middle between the sound board and the audience recording is attractive. The Rolling Stones’ 1972 Dallas Rehearsal is a similar sound source, and it will be attractive that the presence and spread of the studio can be transmitted. The stereo feeling is also excellent because I used the 4-track recorder there. Therefore, although it is a recording that tastes different from a pure sound board, it still guarantees that it is a sound quality that is very easy to hear.
 Woodstock Rehearsal has a track record of CD release in the past because such sound quality is also excellent enough, it will be one of the famous sound source among mania. Jimi sound source circle ATM has released the definitive edition three-disc set which summarized the low gene version under the title “SHOKAN” on the net now, and this limited press CD release is also the original Yes. His clear noise and hiss noise floating in nature make it a low generation.

 However, after all rehearsals. Even if you release all three sound sources, it would be a difficult task to listen to the end. So this time, it is released as a literal Essential Collection that has been narrowed down to a single press CD.
 In putting together in one piece, I have largely eliminated the instrumental jam that is often found in any artist’s rehearsal sound source. Although it is the fate of studio rehearsal sound source, it is rare to hear jam as music many times after all. This disc is the only one recorded at the end of the jam is adopted from the mitch drum Jimi plays the riff mainly on the form of the music, and the recording state close to the shape of the music and the well-balanced recording state, and it is easy to hear from it. It was in line with the Everything else, it was surprisingly easy to listen to all the songs, and also the songs played by Woodstock, organized in the order of their productions.
 The first song will be “Message To Love”. The performance is quite simmering here and it is enough to hear, but it is still rehearsals that are being played loosely. The characteristic of this sound source is that it hardly mentions the classic number of the experience. The only experience number “Spanish Castle Magic” left in the sound source is that the percussion of Juma Sultan and Jerry Belet can be heard more than the actual recording, and the point that this bandness can be seen in a glimpse would be valuable.
 The rehearsal seems to be a place where the sense of speed is still insufficient for the two-take “Lover Man”, but it is noteworthy that it has already made Larry Lee play a solo. Speaking of Lee, there are no two rehearsals that he sang in the production, but he sings with the two Lee-based songs that are recorded instead, and both are very much played without Jimi I recorded from the fact that it is heated. “Ain’t Got Nobody” is an ad-libish performance that just repeats the song name, but Lee’s shout is full of power, and the riff he’s played is likely to evolve into a song. On the other hand, “Why I Sing The Blues” is a BB King’s cover, and there is a fierce performance that is unbelievably rehearsed, and this is enough to answer. It’s black except for Mitch Mitchell and Belet, so it’s wonderful to be able to create amazing persuasive power if you play blues.
 The instrumental “Jam Back At The House” where the mitch showed the drum solo in the production is also able to be understood that the performance will be clearly put together in two takes. At first, I play straight without setting Mitch solo, but Mitch shows solo while being short in Take 2. At the same time, it is reminiscent of the production from the high degree of completion of the performance.

 And the most valuable scene in this rehearsal would be “Machine Gun / If 6 Was 9”. There, when Jimi played the riff it came up with, the seed of the phrase that developed to “Machine Gun” later was planted. Soon the riff will move to “If 6 Was 9”, which is very valuable. It’s a song that Jimi has never shown in a live show, so it’s exciting to see the band fit together as it is while rehearsing. And interestingly, Jimi says that he plays the melody of the song part on the guitar. Certainly I do not think that this song will be played on a large stage like Woodstock, but this is a precious scene unique to rehearsals.
 The performance was heard in Midnight Beat’s “WOODSTOCK REHEARSALS 1969” and Scolupio’s box “SESSIONS-AND YOU’LL NEVER HEAR … SURF MUSIC AGAIN” (it may be less now. …) Mania, etc., the sound quality is surprisingly natural, yet the pitch should be surprised at this upper add. Even more than that, it is extremely unlikely that this sound source will see the light of day officially, and rehearsal sound source which became easy to hear at a stretch by editing that got close to the contents of the Woodstock production, excluding the sloppy jam even if anything. Please enjoy the difference with the simultaneous release production!

★ Sound quality is the perfect stereo line recording of official level.


となると一曲目は「Message To Love」になる。ここではかなり演奏が煮詰まっていて聞き応えも十分ですが、それでもまだゆったりと演奏されているのがリハーサルらしいところ。この音源の特徴として、エクスペリエンスのクラシック・ナンバーをほとんど取り上げていないことが挙げられます。音源に残された唯一のエクスペリエンス・ナンバー「Spanish Castle Magic」では本番の録音以上にジューマ・サルタンとジェリー・ベレツのパーカッションがよく聞こえ、このバンドらしさが垣間見られる点は貴重でしょう。
二テイク続く「Lover Man」もまだスピード感が足りないところがリハーサルらしいのですが、既にラリー・リーにソロを弾かせている点は注目に値します。リーと言えば彼が本番で歌った二曲のリハーサルは残されていないのですが、代わりに録音されているリー主体な二曲でも彼が歌っており、どちらもジミ不在ながら演奏が非常に白熱していることから収録しました。「Ain’t Got Nobody」はその曲名を繰り返すだけの、いかにもアドリブ的な演奏なのですが、リーのシャウトは迫力たっぷり、しかも彼が弾いたリフは曲へと進展しそうな完成度。もう一方「Why I Sing The Blues」はBB・キングのカバーで、こちらはリハと思えないほど激しい演奏が繰り広げられていてこれまた聞き応え十分。何しろミッチ・ミッチェルとベレツ以外は黒人ですので、ブルースを弾かせると凄まじい説得力が生まれるのがお見事。
そのミッチが本番ではドラム・ソロを披露したインストゥルメンタル「Jam Back At The House」も二つのテイクではっきり演奏がまとまっていく様子が解って楽しめます。最初はミッチのソロを設けずストレートに演奏していますが、テイク2で短いながらミッチがソロを披露。それと同時に演奏の完成度も高いことから本番を彷彿とさせてくれます。

そしてこのリハにおいてもっとも貴重な場面は「Machine Gun / If 6 Was 9」でしょう。そこではジミが思い付いたリフを弾いたところ、それが後の「Machine Gun」へと発展するフレーズの種が撒かれたのです。間もなくそのリフは「If 6 Was 9」へと移りますが、これがとても貴重。何しろジミが一度もライブで披露しなかった曲ですので、リハーサルながらもそれなりにバンドが合わせてまとまった演奏にはワクワクさせられます。しかも面白いことに、ジミは歌パートのメロディをギターで奏でるという。確かにこの曲がウッドストックのような大舞台で演奏されるとはとても思えませんが、これぞリハならではの貴重な場面。
その演奏をミッドナイト・ビートの「WOODSTOCK REHEARSALS 1969」やスコルピオのボックス「SESSIONS – AND YOU’LL NEVER HEAR … SURF MUSIC AGAIN」などで聞かれていた(今となっては少ないかもしれませんが…)マニアなどには、音質が俄然ナチュラル、なおかつピッチも正確な今回のアッパーさ加減に驚かれるはず。それにも増して本音源がオフィシャルに日の目を見る可能性は極めて低く、何と言ってもグダグダなジャムを排し、ウッドストック本番の内容に近づけた編集によって一気に聞きやすくなったリハーサル音源。ぜひ同時リリースの本番との違いを楽しんでください!



1. Message To Love
2. Hear My Train A Comin’
3. Spanish Castle Magic
4. Ain’t Got Nobody (sung by Larry Lee)
5. Lover Man #1
6. Lover Man #2
7. Jam Back At The House #1
8. Jam Back At The House #2
9. Izabella
10. Why I Sing The Blues (sung by Larry Lee)
11. Machine Gun / If 6 Was 9
12. Instrumental Jam

Gypsy Sun And Rainbows

Jimi Hendrix – lead guitar, vocals
Mitch Mitchell – drums
Billy Cox – bass
Larry Lee – rhythm guitar, vocals
Juma Sultan – percussion
Jerry Velez – congas


Jimi Hendrix / More Woodstock Rehearsals / 2CDR / Non Label

Recorded at Jimi’s rented house (Shokan), Traver Hollow Road, Boiceville, Ulster County, New York, USA in July 1969
Recorder: Jimi and/or Eddie Kramer on 2-track and/or 4-track

Click Image To Enlarge

 ”THE BEST OF WOODSTOCK REHEARSALS 1969″ comes with the bonus CD-R “MORE WOODSTOCK REHEARSALS” only for the first week of release. This release eliminates the redundancies that are common to rehearsal sound sources, but it was a literally best-of-the-world compilation of editing that enjoys the difference with the production, but it is also a rehearsal performance that was not recorded if it was a mania It is natural that you want to hear or want to have it. So we released the bonus CD-R for parts that were not recorded, but only for the first week of release.
 What does this mean? However, although it is Jimi’s much, instrumental jam that continues endlessly is difficult. Jams such as “The Dance” and “Sundance” stored on past Woodstock Rehearsal CDs are developed from Jimi, or Billy Cox’s riff, but Jam is still Jam. And both of them have been playing for 10 minutes. Certainly it is valuable as a document, but there are not a few people who heard them flying with past items. Lol

 If they are alone, the instrumental jam of nearly 30 minutes is stored in the “SHOKAN” made by ATM that was the basis of this release. This is also valuable, but do you hear it over and over again? Speaking of the answer is that most mania is not. If you hear these, why do you understand why we omitted them in the release of “THE BEST OF WOODSTOCK REHEARSALS 1969”?
 Or there is a scene where Jimi sings “Mannish Boy” of Muddy Waters, but there is no restriction on the performance because Mitch Mitchell is not here, and black members alone play voluntarily on the terrace of Shokan House. It will appear as it would have been. This is also an interesting performance, but still the degree of perfection as music is not high.

 It is natural that even if it is a mania, the part that has been recorded in “THE BEST OF” will be anxious. Therefore, this CD-R is summarized. Again, redundant jams make up the majority. Under such circumstances, it was surprising that the jam played by Juma Sultan was a little helpless instrumental, even though it was a bit weak instrumental. In addition, “Izabella” of the stage before the one recorded in “THE BEST OF …” clearly lacks in unity and momentum, and this is also a rehearsal.
 Although it is the contents which put together such loose performance, as “THE BEST OF …”, since the sound quality is clearly improved from the past release as well as “THE BEST OF …”, it can be said that it is a bonus CD-R necessary for Core Mania I will. I wonder if some of you may miss the previous “Sundance” jam. “SHOKAN” also had a mix of jam mix, but it is an omit. You don’t usually hear jam mix differences, right? LOL Like 
this, although it is a content for mania to the end, it is also a fact that it is an important two-disc set for those who want to complete as a material. If you’re aiming for such a useful first week’s bonus for the mania and you’re aiming for a compliment, don’t miss it!

「THE BEST OF WOODSTOCK REHEARSALS 1969」には、リリース第一週のみボーナスCD-R「MORE WOODSTOCK REHEARSALS」が付属します。今回のリリースはリハーサル音源にありがちな冗長さを排し、それでいて本番との違いが楽しめる編集でまとめられた文字通りのベスト・オブだったのですが、マニアであれば収録されなかったリハの演奏も聞いてみたい、あるいは持っていたいと思うのは当然のこと。そこでリリース第一週のみではありますが、収録されなかったパートをボーナスCD-Rとしてまとめました。
こう言っては何ですが、いくらジミによるものとはいえ延々と続くインストゥルメンタル・ジャムはしんどい。過去のウッドストック・リハーサルCDに収められていた「The Dance」や「Sundance」といったジャムはジミ、あるいはビリー・コックスが弾いたリフから発展した演奏ですが、やはりジャムはジャム。それでいてどちらも演奏が10分にも及んでいる。確かに資料としては貴重ですが、過去のアイテムでそれらを飛ばして聞いた人、少なくないでしょう?笑

それらだけならまだしも、今回のリリースの元になったATM製「SHOKAN」にはさらに30分近い長さのインストゥルメンタル・ジャムまで収められている。これもまた貴重ではあるものの、では何度も繰り返し聞くか?といえば答えは否というマニアがほとんどなのでは。これらを聞いてもらえれば、何故「THE BEST OF WOODSTOCK REHEARSALS 1969」のリリースに当たり、それらを省いた理由が理解してもらえるかと。
あるいはジミがマディ・ウォーターズの「Mannish Boy」を歌っている場面がありますが、ここではミッチ・ミッチェルが不在なことから演奏に締まりがなく、ショーカン・ハウスのテラスで黒人メンバーだけで気ままに演奏していたであろう様子が浮かび上がります。これもまた興味深い演奏ではありますが、やはり音楽としての完成度は高くない。

ここまで挙げ連ねてもなお、マニアなら「THE BEST OF~」に収録されなったパートが気になるのも当然でしょう。そこでまとめられたのが本CD-R。繰り返しますが冗長なジャムが大半を占めます。そんな中でジューマ・サルタンがフルートを吹いたジャムなどはちょっとした脱力系インストゥルメンタルだとも言え、意外と面白い演奏でした。また「THE BEST OF~」に収録されたものよりも前の段階の「Izabella」などは明らかにまとまりと勢いを欠いており、これもまたリハーサルならでは。
こうしたルーズな演奏をまとめた内容ではありますが、それでも「THE BEST OF~」と同様、過去のリリースよりも明らかに音質がアップしていますので、コアマニアには必要なボーナスCD-Rだと言えるでしょう。先の「Sundance」ジャムなどを懐かしく感じられる方もおられるかと。「SHOKAN」にはさらにジャムのミックス違いも収録されていましたが、さすがにそれはオミット。ジャムのミックス違いなんて、普通聞かないですよね?笑

Disc 1 (60:03)
1. The Dance
2. Freeform Jam
3. Izabella / Machine Gun Jam
4. Mannish Boy
5. Mannish Boy / Izabella / You Make Me Feel
6. Message To Love
7. Sundance
8. Univibe Jam

Disc 2(50:04)
1. Izabella #1
2. Izabella #2
3. Jam in E
4. Flute Instrumental #1
5. Flute Instrumental #2
6. Jams with Mitch incl. Villanova Junction

Gypsy Sun And Rainbows

Jimi Hendrix – lead guitar, vocals
Mitch Mitchell – drums
Billy Cox – bass
Larry Lee – rhythm guitar, vocals
Juma Sultan – percussion
Jerry Velez – congas

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