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Music : Rock : Lossless
Jimi Hendrix &
Lonnie Youngblood

"Lonnie Youngblood Featuring Jimi Hendrix ? Two Great Experiences"
(BMG ?
82876 51686 2, Empire Musicwerks ? 82876 51686 2, EU 2003, 1CD)

- Lineage:
Original CD -> EAC -
>WAV -> Flac

- Artwork included

Track list:
01. Mother, Mother 	
02. Under The
Table (Take 1) 	
03. Under The Table (Take 2) 	
04. Wipe The Sweat (Take 1) 	
05. Wipe The Sweat (Take 2)
	
06. Wipe The Sweat (Take 3) 	
07. Go Go Shoes 	
08. Go Go Place 	
09. Soul Food 	
10. Goodbye
Bessie Mae 	
11. Sweet Thing 	
12. Groove Maker (Take 1) 	
13. Groove Maker (Take 2) 	
14. She's A
Fox 	
15. Go Go Shoes (Fairmount 45) 	
16. Go Go Place (Fairmount 45) 	
17. Soul Food (Fairmount 45) 	
18. Goodbye Bessie Mae (Fairmount 45)

Written-By:
Lonnie Youngblood: tracks: 1 to 18
A. Hall -
tracks: 7 & 15
M. Thomas: tracks: 7 & 15	

Guitar ? Jimi Hendrix
Saxophone ? Lonnie
Youngblood
Tambourine ? Lonnie Youngblood
Vocals ? Lonnie Youngblood
Bass ? Ace Hall, Hank Anderson
Drums ? Jimmy Mays
Organ ? John Winfield

Producer of the original session ? Lonnie Youngblood
Engineer of the original session ? Abe Steinberg
Mastered (digital restoration) ? Spike
Producer of the
compilation ? Paul Klein
Design ? Aldo Venturacci, Sean Weeks
Liner Notes ? Gail Mitchell
Coordinator of
the project ? Roger Kash

--------------------------------------------------------------------

LONNIE YOUNGBLOOD: THE VOICE OF EXPERIENCE

by Frank Moriarty

 There isn't much doubt that Jimi
Hendrix will be recorded 
in history as a great musical genius, one whose influence is 
far-reaching. I've
often imagined that classical music historians 
would love to be able to interview associates of Beethoven; 
right now, while Jimi's friends and colleagues are still with us, 
we have the chance to record facts about Jimi
from such 
firsthand interviews. Jimi's very first recorded sessions took 
place with saxophonist/vocalist
Lonnie Youngblood, but in the 
mid-1990s not much was known for certain about the sessions. 
Speculation was
that the sessions took place in Philadelphia in 
1963, but no one was sure beyond a doubt. The Youngblood 
sessions remained shrouded in mystery, released and recycled 
on countless releases (like the "Two Great
Experiences Together" 
album, with a photo of Jimi and Lonnie jamming in 1969 in 
New York). Then, in
1996, a lengthy search paid off when I was 
able to track down Lonnie in Harlem. Over the following weeks 
of
conversation Lonnie filled in details of his own career and 
offered his recollections of the historic Hendrix
sessions.

Here is the story of Lonnie and his friendship with Jimi, from 
an article I wrote for
UniVibes: The International Jimi Hendrix 
Magazine.

            Fans of Jimi Hendrix are no doubt
familiar with the name 
Lonnie Youngblood. In fact, the odds are good that most of Jimi's 
followers have
several albums or CDs in their collections 
containing material from Hendrix's first professional recording 
sessions - sessions spent backing sax player/vocalist Youngblood 
in the recording of thirteen rhythm and blues
tracks.

            The fact that the sessions took place late in 1963 is 
generally accepted, but
beyond that little else has been revealed 
about Jimi's time with Youngblood or the professional career of 
Lonnie himself. The fact that Youngblood has not been interviewed 
in depth about this period has doubtlessly
contributed to the haze 
of mystery that cloaks one of the significant events in the history 
of rock - Jimi
Hendrix's recorded debut.

            In the summer of 1996, I had the opportunity to speak 
at length
with Lonnie Youngblood. Youngblood was performing 
at a restaurant - the well-known soul food establishment 
Sylvia's - at 126th and Lennox Avenues in Harlem. After 
I traveled to Harlem for an initial meeting, Lonnie was
kind 
enough to meet with me in person and speak on the telephone 
several times during August, September, and
October.

            Personable and a very youthful 55 years of age, Lonnie 
Youngblood looked back on
his days with Jimi Hendrix - then 
known as Jimmy James - and on his own fascinating rhythm 
and blues career
that has spanned over four decades.

            Youngblood was born on August 3, 1941, in southern 
Georgia. As he grew up, Lonnie soon realized he had an attraction 
to the saxophone - thanks to the music of the
one of the greatest 
stars of the 1940's.

            ?My mother was a serious fan of Louis Jordan, and

she just loved that man so much!? Youngblood says. ?And I 
loved her so much, so whatever I thought would be
pleasing 
to her was what I was trying to do. She really loved Louis 
Jordan, so I told her I wanted to get a
saxophone and be like 
Louis Jordan, which I really did. For some reason, watching 
her just made me want to
be a saxophone player.

?It took a long time to get that horn - that was the hardest 
thing I ever tried
to do in my life! It took me over a year. 
I got an alto like Louis Jordan had, and an alto was a hundred 
twenty dollars and thirty-six cents. And boy, my father really 
didn?t want to go that route!? Lonnie laughs. ?He
didn?t want 
that because he thought I was going to change my mind, you 
know? And plus it was like, my father
made about twelve 
dollars a week. You know, it wasn?t easy, and that was one of 
the hardest things I?ve had
to accomplish in my life, that was. 
But we got it, and I started taking lessons. I played in the high 
school
band, and I had my own little band.?

            The investment in the saxophone soon paid off 
professionally, as the young Lonnie moved to the Newark 
area in 1959 to join the Paul Farano Trio and singer 
Pearl Reeves.

            ?My mother came up north, and she came to New Jersey
to my aunt?s house,?
Youngblood recalls. ?My aunt went to this 
club every Sunday night called Woody?s Corner in Newark, and 
my
mother had the privilege of meeting this lady who had a band. 
Her name was Pearl Reeves. The Pearl Reeves and Paul
Farano 
Trio - Paul Farano was the drummer and he was Pearl?s husband. 
He was in charge of the band.

?So they were having trouble with the saxophone player 
- he was leaving and they were trying to replace him,?
Lonnie 
continues. ?My aunt had introduced Pearl to my mother, because 
my aunt and Pearl were good friends.
Pearl said, ?Oh, we?re 
having so much trouble with our saxophone player.? And my 
mother said, ?Well, why
don?t you hire my son?? You know 
how mothers can do that? Mothers can get you in more trouble!

?But
anyway, when she talked to my mother, she said, ?I?m 
going to send for your son.? My mother told her how good 
I was, that I played with many bands, that I was in talent shows, 
and that I?d won first place - my mother went
on for I don?t 
know how long! But she convinced her.?

            Youngblood?s mother had a harder time
convincing 
Lonnie that Pearl Reeves would really call on him to travel 
north from Georgia to join her
popular band.

?My mother came back home, and she said, ?Guess what? 
You?re going to New Jersey!??
Lonnie says. ?I said, ?Oh, 
please! That lady isn?t going to call me! She?s got thousands 
of saxophone
players and she?s going to call all the way to 
Georgia for me?!?? And she said, ?You watch - you?re 
going to
New Jersey.?

?And would you believe that two minutes later this woman 
called me! It was Pearl Reeves
from New Jersey, and she 
wanted to send me money to take the train up to New Jersey. 
Then I said to myself,
?Well, it?s either fear or I?m going to 
New Jersey.? So I got rid of the fear and I came up. And I 
started
playing and I started making $15.00 a night.?

            Youngblood learned about the competitive world of

r&b showmanship while backing Reeves, paying his dues in 
the North at the same time that Jimi Hendrix
was doing the 
same down South.

            ?I was with Pearl for a while, and I was becoming 
the
hottest thing in Newark, New Jersey,? Youngblood says. 
?See, people were already coming to see Pearl - they were

the number one band. And then when they put me in the band 
- oh, we used to walk the bar, do everything! It
was an exciting 
show, and it was only a four piece band. She played guitar and 
sang, and she was really fine
- she really looked great.?

            Lonnie?s first recording was an instrumental 
version of the
r&b song ?Heartbreak.? It became a 
regional hit when it was released on a small record 
label called
Earth Records, and the success encouraged 
Lonnie to leave Pearl Reeves? band behind.

           
Youngblood began to land prestigious spots as a 
band leader. His first such gig was with legendary singer 
Faye ?Atomic? Adams, whose songs ?Shake a Hand,? 
?I?ll Be True,? and ?Hurts Me to My Heart? had all been 
number one r&b hits. From Adams, Youngblood moved 
on to lead the band of another r&b legend, Buster
Brown.

            ?Buster Brown was an older man, and a blues 
singer,? Lonnie notes. ?He recorded a
song called 
?Fannie Mae.? Man, now I was really getting to the big 
time because this guy had the number one
r&b record 
in the country. So he had a big orchestra - Buster Brown 
and His Fannie Mae Orchestra. We
were going all over 
the South, and you never saw so many people lined up at 
the door and going crazy over an
artist like this. And this 
guy, he was phenomenal.

?Anyway, with Buster Brown I traveled all over the

country, and then I joined up with Baby Washington,? 
Youngblood continues. Washington was well known 
for her r&b hit ?The Time? in 1959. ?I became her 
band leader, and I traveled all over the country with her.

But my next big break came when I came back and 
started up my own band all over again and became really 
big in the Ivy League colleges.?

Lonnie Youngblood became so popular doing college 
dates throughout
the Northeast that he was christened 
?The Ivy League King.?

            ?I became the number one rhythm
and blues 
band working these places,? Youngblood notes. 
?I mean, I was working three or four nights of the

week and on the weekends I was doing doubles on 
Saturdays, doubles on Sundays. And they would take 
me
any time they could get me.

?I used to go into the town of Dartmouth, and they 
would have a sign across
the road, ?Welcome to 
Dartmouth Lonnie Youngblood and the Bloodhounds? 
or ?Lonnie Youngblood and the Red
Jackets,?? Lonnie 
says with a laugh. ?Oh, we had so many names for this 
band back in those days!?

            While Jimi Hendrix worked with Little Richard, 
Youngblood?s growing success put him in position to

be teamed with another rock and roll pioneer - one 
who taught him a valuable lesson in humility.


           ?They needed a band to back up Chuck Berry,? 
Lonnie remembers. ?So I said, ?I?ll back up Chuck 
Berry!? And I was excited, because I love Chuck.?

Youngblood?s portion of the show was going great 
-
until Chuck decided he wasn?t about to be 
upstaged by his opening act.

?I was turning the place out,?
Lonnie says. 
?So Chuck got sick of that. The people were 
screaming, and then they were screaming real 
loud, then they went crazy - I mean they went 
really crazy! So they were screaming and I was 
saying to
myself, ?I?m killing them! I?m killing them!?

?But you know what happened? Chuck Berry had 
come out of
the dressing room and was on the 
stage behind me, hooking up his guitar into 
the amplifier!

?I?ll
never forget that as long as I live!? 
Youngblood says with a laugh. ?And Chuck 
turned them out. I thought I
was throwing it 
out there - killing them, really burning the 
house. Well, when Chuck finished with them, 
I knew the difference. Because Chuck Berry 
turned them to ashes - smoldering ashes. 
You could just forget
about it. It was all over.?

            But the success that Lonnie had as 
?The Ivy League King? soon
played out to the 
saddest of refrains for a musician - he was being 
?robbed blind? by his agent, a man he
trusted fully. 
So Youngblood traded in his college name for 
a new title - ?The Prince of Harlem.?

            ?I worked every club that ever existed in 
Harlem,? Lonnie says. ?At one time I had over 
35
clubs in Harlem! I wouldn?t go out of Harlem 
- I loved Harlem. I still love Harlem.?

            Lonnie
worked every gig he could find in 
the famed New York community en route to 
earning the ?Prince of Harlem?
title.

            ?Now what caused that to be was that I worked 
every conceivable type of situation in
Harlem,? 
Youngblood explains. ?I?m talking about funerals - 
I can?t count the number of funerals I?ve
worked! 
As a solo act I?d play either ?Precious Lord,? or 
?My Way,? or ?Amazing Grace.? And I started
working 
block parties. I can?t tell you to this day - if I had to 
tell you today - how many block parties I
worked. 
I could not tell you - I couldn?t even try. I couldn?t 
tell you how many birthday parties I have
worked. 
I can?t really tell you how many clubs I?ve worked, 
because they go and come. I?ve worked at one
club 
maybe ten times and it?s always been under 
a different name!?

            Stylistically
Youngblood patterned himself after 
one the greatest sax players ever, and a man who hired 
Jimi Hendrix to
play in his band in 1966.

?I used to do the King Curtis licks, that was my thing,? 
Youngblood notes. ?I
loved King Curtis, too - we became 
the best of friends. We were rivals, but we were great 
friends. I feel
like today that I have not even gotten to 
the point where he was when he died.?

            With his
reputation cemented in the Harlem 
community, a brief period in the army after being 
drafted came to an end
with Lonnie being welcomed 
back into Harlem?s musical community in 1963. 
And there he found Jimi Hendrix,
who had finished 
his own military service the summer before.

            ?After I came back I met Jimi
Hendrix. 
He came on into New York, and he was working 
with a group,? Lonnie explains. ?I had been drafted

into the Army; I came out of the Army and I was 
looking for something. So I met these guys who 
I knew
before I went into the Army. They said, 
?Come on and join us, Lonnie - we?ve got this great 
guitar player.?
So, I said, ?OK, man, I?ll come and 
hear you,? to see what I liked or what I could do 
about it, you know?
And I went, and that?s where 
Jimi Hendrix was, playing with this band.?

            And who was leading
this band?
?At the time, it was Curtis Knight,? Lonnie 
answers. ?Curtis was the band leader, and he was 
playing rhythm guitar. But he couldn?t really? 
He wasn?t a very good musician at the time. 
He was more or
less a hindrance to the band. 
After a while he sort of split the scene, so it 
was an opportunity for me to
front my situation. 
So I just enticed the guys to go on with me.?

            The possibility of an
early, brief association 
between Curtis Knight and Jimi Hendrix late in 1963 
has not been raised before,
although Knight did write 
in his 1974 biography Jimi: An Intimate Biography of 
Jimi Hendrix that Knight
arrived in New York early in 
1963 and immediately began working at breaking into 
the music scene. Although
Knight has claimed that he 
first met Hendrix in 1964 outside a recording studio 
in a New York hotel lobby,
if an early Knight band was 
taken over by Youngblood in 1963 perhaps Knight 
would not be enthusiastic about
bringing up 
unpleasant memories.

?That band had problems - and you know how bands have 
problems,?
Lonnie continues. ?So they didn?t want to 
break up, but they wanted somebody to lead them. 
And I said,
?Well, I ain?t got no money so I can?t lead 
no band.? Jimi said, ?Man, I don?t care, I just want to play.? 
So I said, ?Well, OK then?? So I got us a couple of jobs. 
A couple of jobs, and that became the Lonnie
Youngblood 
thing all over again.?

        Now leading the band, Youngblood was accompanied 
by
Jimi at gigs on the r&b circuit in New York and 
Philadelphia.

            ?We used to work the
Cheetah (in New York), and 
we used to work Philadelphia down there on South Street. 
And the Uptown Theater,?
Lonnie recalls, referring to 
Philadelphia?s equivalent to New York?s famed Apollo 
Theater. But next on the
Youngblood/Hendrix agenda were 
the famed recording sessions that resulted in sales of over 
two million
copies of the handful of songs in all their 
varied release formats.

            Lonnie Youngblood had
signed a record deal with 
Fairmount Records, a subsidiary of Philadelphia?s 
Cameo-Parkway label. A
friendship with Philadelphia club 
owner Buddy Caldwell led to Youngblood signing with label 
boss Bernie
Lowe?s company, a company that had scored 
with big pop hits like Chubby Checker?s ?The Twist? and 
Dee Dee
Sharp?s ?Mashed Potato Time.?

The natural assumption, based on the strong Philadelphia 
connection that
Youngblood had, would be that these first 
ever recording sessions played on by Jimi Hendrix took 
place in
Philadelphia.

            ?No, see, that isn?t true,? Lonnie corrects. ?It was 
in New York, and it was
done on eight track at Abtone, 
Abtone Studio. It was on Broadway, between 55th and 
56th, on the second
floor.

            As detailed in the Caesar Glebbeek/Harry Shapiro 
"Electric Gypsy"
discography - and not taking into account 
the mono/stereo mix variations, overdubs, and length 
discrepancies
that characterize the multitude of releases 
that contain the Hendrix-Youngblood material - the two 
musicians
collaborated on thirteen tracks over the course 
of a handful of sessions: ?Go Go Shoes,? its continuation, 
?Go Go Place,? ?Soul Food (That?s What I Like),? 
?Goodbye Bessie Mae,? ?Sweet Thang,? ?Groovemaker,? 
?Fox,? and three takes each of ?Wipe the Sweat? and 
?Under the Table.?'Go Go Shoes' DJ copy.

        
   About the recording sessions that yielded the 
famed tracks, Lonnie recalls, ?It was a blast. But that 
was
all it was going to be because we weren?t making 
any money! But I always paid Jimi, even if it was 
only $25
or $30.?

            As we have seen in the years since those 
sessions, a multitude of people were well
aware 
that the name ?Hendrix? could be cashed in on 
using the tapes of the Youngblood sessions. 
But
how did the tapes get into distribution?

?You see, Fairmount just had a distribution deal - 
they never
had the tapes,? Youngblood reveals. 
?The tapes were at the studio. Once I?d mixed 
them down and mastered
them, I always left my 
tapes at the studio because at that time that was 
the thing to do. When everybody
recorded, 
they left the mother tape at the studio.

?These people, they knew where the tapes I had 
recorded were,? Lonnie continues. ?Johnny Brantley 
was a producer out of New York, and he had a lot of 
access to a lot of different companies. Like if you 
cut something and wanted to get it in the door 
somewhere, maybe Johnny could take it in for you. 
But he?s a liar and a? What?s the lowest name you 
can
call somebody? The reason I feel this way is 
because when they took this tape, Johnny Brantley 
and Joe
Robinson, they made a deal with this big 
company in Chicago, GRP. They went and bribed 
the guy who owned the
studio, and actually went 
and took my tapes away. And they gave them about 
$100,000 for this tape. And they
took all the 
money and didn?t give me any of the money. 
That was my stuff!

?And then these
companies started to put the shit 
out and didn?t even put my name on it. They would 
say it was Jimi Hendrix
singing, without my name 
on it - so many lies, man. The stuff that came out 
on that album called Two Great
Experiences 
Together! - what happened with that, one company 
took that and tried to doctor it up to make it
have 
more Hendrix activity. See Hendrix is more or less 
just backing me up. The companies wanted to say 
they had a little more activity by Hendrix, so they 
found some Hendrix wannabees and they put them 
on the
tracks. And what they really did was they 
messed the tracks up with the overdubs.

?The stuff I went
through, I wouldn?t wish it on 
nobody,? Youngblood says. ?I was a strange kind 
of guy - I didn?t think
anybody would do that kind 
of thing to somebody. Which is the dumbest way 
to be looking at anything, because
people will do 
anything in the world for the sake of a buck. That?s 
the thing that shocked me more than
anything, 
when I came to the reality of what I was dealing 
with. It may sound strange to you, but when you

talk about the type of people that they were - they 
were of that caliber, and they were only deceiving 
the public.?

            Early in 1964, Youngblood and Hendrix 
officially parted musical company, but
remained 
friends. Jimi went on to spend much of the year 
with the Isley Brothers, and then joined up with

Little Richard before returning to New York in 
1965 and working with Curtis Knight.

           
Meanwhile Lonnie Youngblood was back on 
the road, opening shows or playing with some of the 
top manes in
soul music. Joe Simon, Sam and Dave, 
James Brown, Jackie Wilson, Joe Tex, Ben E. King 
- Youngblood worked
with more great acts than he 
can remember.

            But the paths of Hendrix and Youngblood 
continued to cross in the tight New York/Harlem 
musician scene of the mid-1960s.

?When I started
recording again, and Jimi Hendrix 
was on those recordings, he was my guitar player,? 
Youngblood explains.
?But see at the time it wasn?t 
like that - it may have appeared to be that, because 
it was my sessions, so I
was paying him, and it was 
my stuff, and the gigs was my jobs and I was 
paying him.

           
?But, see, everybody was having sessions. 
As a matter of fact, we were all session musicians. 
So it wasn?t
like recording with a band. Even while 
I was recording for myself, I was recording solos 
for other
people.?

            Comments such as this at least bring up the 
possibility that the lines marking
phases of Jimi?s 
very early New York career may not be as clearly 
defined as has been accepted. Youngblood
even 
confirms that he himself did some sessions at this 
time with Curtis Knight for PPX Enterprises at 
Studio 76 at 1650 Broadway.

            By June of 1966, though, Jimi had started his 
own band -
Jimmy James and the Blue Flames - and 
was deeply immersed in the Greenwich Village scene. 
As the Village was
an alien environment compared to 
the relatively conservative Harlem, it should be no 
surprise that Lonnie
quickly noticed big changes in 
Jimi when Hendrix paid him a visit.

      ?Jimi knew he wanted to do
something different,? 
Lonnie states emphatically. ?He could see where he 
wanted to go with a new kind of
music. He tried to 
explain it to me and get me to come with him but I 
couldn?t see what he meant.

?See, Jimi had taken and met some friends, and so 
they were like hippies and stuff, and they liked Jimi,? 
Lonnie continues. ?And Jimi loved to be loved - that 
was a thing about Jimi. Jimi loved to be loved for 
being Jimi - he didn?t want you to love him and 
change him. Because Jimi wasn?t about to change 
- Jimi
wanted to be himself. That?s the way he
 always was. He may have made a few adjustments 
from then, but that?s
what Jimi was all about.

?See, what had happened was that Jimi had tried LSD. 
Now if he hadn?t done
that I might have went with him. 
He said, ?Man, we got to try this tab of LSD.? I said, 
?Damn?? I was
petrified of LSD. I mean, not scared 
- petrified! Because I heard that LSD would come 
back on you. So I was
scared to death of that stuff, 
but he was cool.

?But he started getting weird, he started talking about

different kinds of crazy songs,? Youngblood recalls. 
?Like ?The Wind Called Mary? - he had some other 
titles at the time, not that one, but they came out on 
his first or second album. ?Third Stone From the Sun.?

Anyway, I didn?t go down to the Village with Jimi. 
Jimi went to the Village and from that Eric Burdon 
and the Animals flew into the States and were walking 
around in the Village - because the Village was famous 
- so they saw Jimi and they were amazed. Because Jimi 
was awesome - Jimi played a right handed guitar upside 
down and didn?t miss a note. This guy was unbelievable. 
So they took Jimi to England. And this guy was 
adventurous enough to go to England and play - he 
didn?t give a damn! He was a free spirit, and that?s 
what I loved about him.?

            While Lonnie Youngblood labored away at a 
respectable career,
further establishing his reputation 
in the Harlem scene, Jimi Hendrix began his ascent 
to stardom. One day
in 1967, Lonnie made 
a shocking discovery.

            ?Jimi was on the charts, and somebody saw 
his record and came to me and said, ?That?s your guy!?? 
Lonnie remembers. He saw the spelling of the name 
J-I-M-I and didn?t believe it - until he saw the cover of 
Are You Experienced? Then Youngblood knew it was 
true. The guitarist who had once backed him was well 
on his way to revolutionizing rock music and the 
realm of the electric guitar.

            But Jimi stayed in contact with Lonnie, 
occasionally
visiting him in Harlem whenever he 
was in New York. In fact, it?s quite possible that it 
was one of those
visits that Jimi?s friend, Arthur 
Allen, was referring to when he was quoted in 
Electric Gypsy saying the
following:

            ?Some band was playing and Jimi sat in, but the 
way he sat in, like he was
afraid, like he was wondering 
if his hat was alright. He really wanted to make a good 
impression in front of
this audience of no more than 
forty people. But Jimi was very, very self-conscious. 
And he came in and said,
?How?s my hat, man, how does 
my hat look?? So we said, ?Your hat looks alright, man.? 
?Do you think they?ll
mind if??? Always wondering 
what we, what other black people thought about his 
music and him? so he wound up
jamming and blowing 
everybody?s freaking mind out? every time I seen him 
play uptown, he played better than
I have ever seen 
him play in my life.?

            In UniVibes Issue 12 Allen further elaborated 
Hendrix on that same night by stating, ?We went to 
Small?s one night and he had just bought this guitar, 
the Flying V??

The club that Allen was speaking of was Small?s Paradise, 
in Harlem at 138th Street.
Small?s was one of Lonnie 
Youngblood?s main haunts - ?It was my headquarters,? 
he says - and there is a well
known photograph of Jimi 
wearing a hat while playing a Gibson Flying V 
with Lonnie in 1968.

     
      ?That?s how we had that very famous picture 
of me and him on stage together at Small?s Paradise,? 
Lonnie states. ?That?s where I was working.?

Based on Jimi?s hat, the presence of the Flying V, 
and
the venue, it?s quite likely that this photo was 
taken on the very night that Arthur Allen recalled 
so
well.

            But Jimi?s continuing musical relationship 
with Youngblood wasn?t limited to jams in
clubs.

            ?We hung around for three days down at the 
Record Plant,? Youngblood recalls. ?We
recorded for 
three days - we did not go out of the studio for three 
days! We were sending out for food, we
did everything. 
We cut enough material for at least two albums.?

            So what happened to the
tapes of this second 
Hendrix/Youngblood collaboration?

            ?Who knows?? Lonnie reflects. ?First
of all, he 
didn?t label the tapes ?Lonnie Youngblood? or anything 
like that. But it was there. And if
anybody hears it, I?m 
doing the singing.?

            Just before he left America for the last time,

Hendrix paid his old friend a final visit - and confided 
in him the troubles that were on his mind so much
of 1970.

            ?He said, ?Youngblood, there?s a lot of trouble 
going on. There?s a lot of
problems going on and there?s 
going to be a lot of heads rolling. So when I come back?? 
He was getting ready
to start a gospel, pop, blues, and jazz 
band as a side thing for him that would reach into my 
situation. He
came back for me.

?I told him, ?Jimi, man, if something?s not being done to 
your own vision, maybe you
shouldn?t be too vocal about 
that until you build up your case and have some legitimacy 
legally.? And he
said, ?Man, I?m going to straighten it out.? 
And I never saw him again - never saw him alive again.?

  
         After Jimi?s death, Lonnie went on doing what he 
had always done - backing other musicians and leading
his 
own band. And there were new recording sessions such as 
the ones that yielded single titles like ?Super
Cool? b/w 
?Black Is So Bad? and his 1981 Radio/Atlantic Records 
release Lonnie Youngblood, an album that
featured a 
number of songs written by George Kerr - a name often 
seen on the myriad of Hendrix/Youngblood
releases.

            Those releases have been a source of mixed 
feelings for Youngblood. Naturally he
is proud of the 
fact that he was in on the beginning of Hendrix?s historic 
professional career, but Lonnie
also knows that he was 
taken advantage of financially during a time when it was 
common for musicians to lose
the rights to their own 
material.

            ?A lot of people that put out that album,? 
Youngblood reflects. ?It came out as Jimi Hendrix and 
they had Jimi Hendrix on there as the vocalist and some

of those albums never exposed me completely, and it 
was all my stuff! CBS did a big story on that about how

they exploited me, and I sued Columbia, and I sued 
a lot of people.

            ?But they all
took advantage of me,? Lonnie 
continues. ?All of them. Nobody paid me. Ohhhh, that?s 
a whole ?nother story.
That?s heavy. That will bring your 
anger up because of the way they treated me. You see, 
I was just a victim
of the system and the way things work 
sometimes, and that?s what happened with that. I don?t run 
around
saying I?m angry about that or anything else, really, 
because I?m grateful to be alive.?

           
That Youngblood has such an attitude is partially 
due to the fact that he survived a difficult period of drug 
abuse. But unlike many musicians who become crippled 
by their problems, Youngblood became determined to 
straighten himself out.

?I had a problem for about ten years,? Youngblood 
states frankly. ?I got so
screwed around with the industry 
- and I?m not making an excuse for it - that I didn?t give a 
damn one way
or the other. I drugged, man - the only time 
I felt good was when I drugged, man, because then I didn?t 
think about it no more.

?So about eight or nine years ago I went into Bergen 
Pines Hospital on
rehab,? Lonnie continues. ?I got 
myself together and I never looked back. But that 
doesn?t mean that just
because I?m sober everything?s 
supposed to just fall into place. Life still goes on - 
ups and downs and
problems and stuff.

?But I?ll tell you right now, I?ve had a great career. I?ve 
worked with every
conceivable name, I?ve been to Japan 
- I?ve gone to Japan twice a year, I?ve worked in Italy, 
Germany, all
of these places I?ve been to on my own. 
And when I travel with another artist like Ben E. King, 
we go to
different places as well.?

            Aside from playing with his good friend King 
- the man whose
?Stand By Me? is one of the enduring 
pop hits of all time - Lonnie Youngblood continues to 
work hard to take
his own career even further. For now, 
that means recording a blues CD - one track at a time, 
as finances
permit.

            ?There?s so much that?s part of my career,? 
Lonnie notes. ?My career is 45 years -
four and one 
half decades! And you want to hear something funny 
- it?s still going strong! My blues band is
six pieces, 
the one I?m putting together now. We?re recording 
and putting the band together - we?re in
business.

?And naturally there?s financial problems - we?re cutting 
it piece by piece,? Youngblood
explains. ?You take a 
dollar from here and steal a dollar from there. We?ve 
got about three songs we?ve got
now, but it?s long and 
painstaking.?

Youngblood is well aware of the differences between 
the
recording industry of the past and the modern day 
entertainment media machinery.

?Back then all they
knew was the finished product,
? Youngblood says of the 1960?s. ?This is a new day. 
The rude awakening for me
was the fact that you?re 
not marketable over thirty in the new market. But see, 
then I discovered that there
is a market, and my market 
is jazz and blues. So I said let me go over to do the 
jazz and blues thing, so
that?s where I?m at.

?The blues band is going to be my salvation - you 
watch and see what I tell you,?
Youngblood insists. 
?See, I should have gone and jumped on the blues 
before but I didn?t want to be one
dimensional. I 
wanted to do the whole damn thing, I wanted to do 
pop, I wanted to work on everything. But
the blues 
band is going to bring me into where I?m trying to 
go. And I know it, because everything?s
happening 
right. Everything is positive and things are happening.
?Lonnie Youngblood at Slyvia's, Harlem,
1996

            While waiting to complete his blues 
project, Youngblood plays in clubs and at 
private functions. Backed by a drummer and 
keyboard player, Youngblood plays standards 
like ?Take the A
Train? and ?Mack the Knife? 
during his sets at Sylvia?s. Standing outside the 
Harlem landmark, Lonnie notes,
?What I?m doing 
in there I?m doing with just two pieces, and I?m 
doing it at minimal volume, and I still got
to rock 
them and I got to get their attention.?

            And ?The Prince of Harlem? still has his

subjects, as a number of people come up to say 
hello during a brief photo session on Lennox 
Avenue
outside Sylvia?s.

            Looking back after more than thirty years 
have passed, Lonnie remembers
fondly the experience 
of working with Hendrix.

            ?I bought Jimi his amplifier, I bought him
one of 
his first amplifiers in New York,? Youngblood reveals. 
?Me and my wife spent that money and bought
him a 
Fender amp. He wouldn?t buy an amp - he didn?t give a 
damn! If you wanted to play with him, you had to
buy 
him an amp! He was that good. Jimi was a light traveler. 
He didn?t give a damn about no amp - he might
have 
been here today and gone tomorrow! He was like??

Lonnie pauses and laughs, remembering the name
Jimi 
Hendrix worked under in his early New York days.

?Jimmy James - he was like a vagabond, man. He
was one 
of the greatest guys I ever had the pleasure of working with.?

            The legend of Jimi
Hendrix will be forever linked 
with the name Lonnie Youngblood - and with those historic 
recording sessions
in New York in 1963, when the guitar 
artistry of Jimi Hendrix was first recorded and released 
on record.

 With a smile, Lonnie Youngblood sums up his feelings 
about it all. ?I?ve sold over two million copies of
that 
Jimi Hendrix album. So, I didn?t get any finances from 
it - but I?m always known.?

--------------------------------------------------------------- 
With thanks to Mitchell Mercurio for joining me
on the 
first trip to Harlem, and Caesar Glebbeek for his input 
and research materials.

Emilovius
Demonoid, March 2015.


                                                             

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