Simply put, Jimi Hendrix is the most important instrumentalist in the history of rock music.
Widely acclaimed as the most exhilarating, inventive and influential guitarist the medium has produced, his mid-60s arrival on a scene already brimming with guitar players of astounding talent was immediate and profound. The lasting influence of an extraordinary body of work shows no signs of waning even as the fiftieth anniversary of his death, at the age of 27 in September 1970, draws ever closer.
His status as a true original also remains undiminished, but unlike say Dylan or Bowie, whose careers have or did span decades, Hendrix spent less than four years in the spotlight. During this relatively brief period he redrew the boundaries of popular music – a journey of musical experimentation that encompassed rock and jazz, Hendrix instigated a powerful form of psychedelic blues over which his vocal drawl was instantly recognisable.
As a songwriter, in the early days at least, he merged Dylan-influenced lyrics with playing at a level of virtuosity never heard before – his talents so audacious Rolling Stone magazine described him as:
‘The first black performer to take on white rock ‘n’ roll and win.’
These fledgling years are the focus of the biopic JIMI: All is by My Side (Director John Ridley 118 mins, 2014), that was shown on television for the first time last week.
The story traces the 15 months from an unknown Hendrix performing a small New York club gig, playing in the backing band of soul singer Curtis Knight, to an appearance at the Saville Theatre, London on June 4th 1967 – Beatles Pal McCartney, George Harrison and manager Brian Epstein among a wildly partisan audience.
The film sets itself the tough task of chronicling how Hendrix came from obscurity to securing his place at the top of the guitarists totem pole, his place as the number one guitar-slinger in London already assured when taking the Saville stage. Less than a fortnight later, America would become of this burgeoning phenomenon, an incendiary performance, literally and metaphorically speaking, at the Monterey Pop Festival in California making him a worldwide star.
For the most part ‘All is by My Side‘ succeeds in putting the story across – the period detail of 66-67 London well drawn with Andre Benjamin excellent as Hendrix, his performance capturing the nuances of the man and musician.
Benjamin receives fine support from Hayley Atwell (who plays his London girlfriend Kathy Ethchingham) while Andrew Buckley delivers a fine performance as Chas Chandler, bass player of The Animals, who discovers Seattle-born Hendrix at the Café Wha in Greenwich Village – his open-mouthed reaction to hearing Jimi for the first time, the undoubted high-point of the opening twenty minutes.
After the show Chandler, on the verge of leaving The Animals to have a crack at group management, sets about persuading Hendrix to go with him to London where he promises gigs and a record deal await. As for going to England, the priorities for Jimi lay elsewhere:
‘Do you know Eric Clapton?’ he asks. ‘Sure I know Eric he’s a mate,’ replies Chandler in his broad Geordie accent. ‘Can you fix it for me to meet him?’ enquires Hendrix. ‘Aye – I can introduce you to Eric,’ Chandler asserts, ‘and to any of the top guys, Beck, Townshend. But none of them have got what you have.‘
He lands at Heathrow on September 24th 1966 and less than a month later attends an early Cream gig at the Regent Street Polytechnic College. Chandler makes good his promise which comes with the added bonus of being invited on stage to jam. Hendrix plugs in and before an astonished audience leads drummer Ginger Baker and bassist Jack Bruce into an blistering version of ‘Mannish Boy‘ – Clapton leaving the scene only seconds into the song.
Realising Clapton is offended at being so up-staged, Chandler hurries backstage to placate him, finding Clapton alone in the dressing room. ‘Is he really that good?’ says Eric in a mournful tone, suggesting he knows his reign as the six-string king is over.
While that scene is superbly played, a number of others have a tendency to meander so overall the film lacks cohesion – and although a couple of episodes challenge existing perceptions of the Hendrix story, they court controversy for either being untrue or taken out of context.
It came as something as a shock to see Hendrix resort to a fearful bout of domestic violence in which he assaults Etchingham with a telephone receiver, striking her a number of times on the head. None of the Hendrix biographies I have read refer to this incident, which was also refuted by Etchingham when interviewed about the film. (In her experience she thought him a ‘gentle man.‘)
Suspicion has also been cast on his meeting in London with civil rights activist Michael X, not in doubting the two men met, but in claims it happened later than the film suggests.
What the piece cannot convey is the sheer power and excitement of performances that announced Hendrix had arrived (his estate denied use of the original recordings) but even for the lapses it is a worthwhile attempt to depict a fascinating chapter in rock history – a period when brilliance was commonplace, Hendrix leading the gallop into previously uncharted territory.
It does a good job in recounting how the Jimi Hendrix Experience were formed, bass player Noel Redding (Oliver Bennett) interviewed for the job by Hendrix and Etchingham while stoned, Redding under the impression he is auditioning for The Animals – while drummer Mitch Mitchell (Tom Dunlea) is chosen ahead of other candidates on the toss of a coin.
The film opens and virtually ends with a recreation of the interview Hendrix gave to the TV programme ‘Ready Steady Go‘ – his first on British television and filmed 48 hours before the Saville Theatre appearance.
In keeping with the original it is shot in black and white and displays again how well Benjamin captures many Hendrix mannerisms. The interviewer asks how he feels about competing with groups such as Cream and The Who. With a smile Jimi replies: ‘I wouldn’t say I’m in competition with anyone – its not about being better, its about showing something in a new way. It’s about art and being inspired.’
JIMI: All is by My Side may only be a partial success, but for the man himself it was already mission accomplished.
This article was first published on 3/4/2018;
NEIL SAMBROOK is the author of MONTY’S DOUBLE – an outstanding new thriller now available as an Amazon Kindle Book.