Colette Mimram avec Jimi en juillet 1969 dans l'appartement d' Alan Douglas à Manhattan




Crying Blue Rain

01 juillet 1969 - Jimi arrive à NYC et loge à l'hôtel Navarro.








02 juillet 1969 - NYC, Café à Gogo, Jimi participe à une jam-session avec Bill Lordan (batterie) et Willie Weeks (basse)

Le Café à Go Go:

Le Café Au Go Go était une boîte de nuit dans le Greenwich Village située dans le sous-sol du New Andy Warhol Garrick Theatre à la fin des années 1960, et située au 152 Bleecker Street à Manhattan,
à New York. Le club comptait de nombreux groupes musicaux, chanteurs populaires et comédies bien connus entre l'ouverture en février 1964 et la fermeture en octobre 1969. Le club appartenait à
l'origine à Howard Solomon qui le vendit en juin 1969 à Moses Baruch. Baruch ferma le club en octobre 1969. Howard Solomon devint le manager du chanteur Fred Neil.

Bill Lordan se souvient:

“Willie Weeks and I met Joey Davis Southern, who was a friend of Buddy Miles and through him, Joey knew Jimi Hendrix. One day Willie and I on kind of a bet or a dare said to
Joey that we were tired of what we were doing and can he get us a jam with Jimi Hendrix because we were big fans. Joey didn't say much but came back a week or so later and pulled up in
a limousine and said we were going to New York. Willie, Joey and I flew to New York and stayed at the Penn Garden Hotel across from Madison Square Garden.
We proceeded to the Café Au-Go-Go in Greenwich Village where it was all set up through Joey and Jimi for us to come down and jam. It was a jam audition.
Jimi was looking for members to be in his dream band Gypsy Suns and Rainbows that he told us about after dinner the first night. Jimi wanted musicians on his level who could hear what he was
doing and compliment it without him having to tell them what to play. We jammed three days in a row with Willie on bass and myself on drums. The sessions were in the mid-afternoon and lasted
until evening. The music we were jamming on were songs that Jimi had for his next album which was The Cry of Love. Jimi played his guitar through Elliot Randall's Fender Amps.
Elliot was with Sea Train who were playing at the club that weekend. After the sessions we went across the street to a restaurant to eat with his entourage. I met Floyd Rose
(who was inventing special effects pedals for Jimi at the time and invented the first locking guitar system) There were lots of women coming by the table introducing themselves who were all interested
in meeting the star. On another night, Buddy Miles and Billy Cox were there as well as well as a large group of people who always seemed to be around Jimi. After the evening dinner we drove in
Jimi's limousine and went back to Jimi's hotel to hang out and talk for a while before returning to our hotel. One evening, we went down to the club called The Scene.
We saw a relatively unknown band at the time: The band was Sha Na Na! At the end of most evenings Jimi would go back to one of his places as he had more than one place to get away from
everyone and find some peace and have some space. On the third night we were at the dinner table and Jimi turned to me and said, "I want you to play drums."

- Le Rolling Stone: Brian Jones meurt à son domicile du Sussex. La mort de Brian Jones a affecté Jimi.

07 juillet 1969 - Enregistrements de l'émission de télévision The Dick Cavett Show - ABC-TV studio, NYC, Hear My Train A Comin.





Lors de cette interview, Hendrix minimise modestement ses capacités et affiche son sens de l'humour.

Peut-être plus important encore, il révèle certains de ses idéaux esthétiques et le but de sa musique comme il la considérait alors quand il a parlé de son concept de "Electric Church"



[Music] is getting to be more spiritual than anything now. Pretty soon I believe that they are going to have to rely on music to get some kind of peace of mind or satisfaction—direction, actually
more so than politics, because politics is really on an ego scene… [Politics] is the art of words, which means nothing. So, therefore you have to rely one more of an earthier substance like music or
the arts, theater, acting, painting, whatever… [The Electric Church] is a belief that I have. We do use electric guitars. Everything is electrified nowadays. So, therefore the belief comes through
electricity to people. That’s why we play so loud. Because it doesn’t actually hit through the eardrums like most groups do nowadays. They say ‘Well, we’re going to play loud too, because they’re
playing loud.’ And they’ve got this real shrill sound that’s really hard. We plan for our sound to go inside the soul of the person… and see if they can awaken some sort of thing in their minds,
because there are so many sleeping people.

10 juillet 1969 - Billy Cox téléphone à Larry Lee à Memphis et Jimi l'invite à re joindre à sa formation. Jimi apparait dans le Johnny Carson Tonight Show sur NBC TV, présenté par Flip Wilson.







Jimi commence à jouer Lover Man qu'il dédicace à Brian Jones, (décédé le 3 juillet 1969) avec Billy Cox et Mitch Mitchell. Mais après quelques mesures, un ampli explose. Il continuera à jouer
jusqu'à ce que l'ampli soit réparé. A ce moment-là les Blacks Panthers interviennent et Johnny Carson refuse de continuer à assurer l'interview de Jimi. C'est Flip Wilson qui le remplacera,
l'interview est donc assuré par Flip Wilson et Jimi interprète de nouveau Lover Man. C'est la première apparition publique avec Billy Cox qui devient le nouveau bassiste du groupe de Jimi,
ED Shaughnessey, Severinsen, était à la batterie.



Rolling Stone 12-07-1969