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Jimi Hendrix Encyclopedia

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Recording

May 14th, 1969

Record Plant, New York
Studio Recording

1) Freedom
2) Jam 292
3) Untitled Jam
4) Horn & Piano Jam

Backed by Mitch Mitchell, bassist Billy Cox, and organist Sharon Layne, Jimi recorded “Jam 292”, which was later posthumously issued as part of Jimi Hendrix :Blues. Later that evening, the group was joined by an unnamed trumpet player who contributed to series of untitled instrumental jams before the session concluded.

Recording

February 16th, 1970

Juggy Sound, New York
Studio Recording

Record Plant, New York
Studio Recording

On this evening, Hendrix traveled to the Record Plant after mixing sessions at Juggy Sound had concluded. Upon his arrival, an informal jam session with Buddy Miles ensued. Two instrumental attempts at “Blue Suede Shoes” were put to tape. Later, Hendrix put forward an early version of what would become to “Hey Baby (New Rising Sun).” Singing live and supported only by drums and percussion, Hendrix wove gorgeous touches of Spanish flamenco styling within the arrangement. An impish stab at Eddie Cochran’s “Summertime Blues”—a favorite of the guitarist’s when he was a teenager in Seattle—was followed by a funky original work reminiscent of “Day Tripper.”

Soon thereafter Billy Cox and Mitch Mitchell arrived. Buddy Miles departed and work began on “Freedom”. This recording, issued on The Jimi Hendrix Experience box set, is dramatically different than the version now included as part of First Rays Of The New Rising Sun. Most notably, Jimi devised an inventive, extended introduction and, in contrast to his efforts the previous summer with Gypsys Sun & Rainbows, skillfully integrated the percussion effort of Juma Sultan.

Recording

June 17th, 1970

Returning once again to Electric Lady, Hendrix enthusiastically kicked off the session right where the prior night’s left off. In visiting “Straight Ahead” Hendrix, Billy Cox, and Mitch Mitchell concentrated on forming a new master take of the song. The trio then moves to recordings for “Astro Man.”
Feeling playful, Jimi brings the session to a quick halt before yelling for tape machine to start recording. Assured that the tapes are rolling Jimi breaks into a high octave vocal take of “Drifter’s Escape.”