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| At home with Jimi Hendrix: art nouveau, Ena Sharples and John Lewis curtains | At home with Jimi Hendrix: art nouveau, Ena Sharples and John Lewis curtains |
| (7 months later) | |
| Upstairs, past the bedroom where Handel slept, and through what will be the main entrance to a new exhibition space, a huge photograph of Jimi Hendrix has been hung: on stage at the Albert Hall in 1969, bursting into something between a smile and laugh-out-loud. | Upstairs, past the bedroom where Handel slept, and through what will be the main entrance to a new exhibition space, a huge photograph of Jimi Hendrix has been hung: on stage at the Albert Hall in 1969, bursting into something between a smile and laugh-out-loud. |
| It’s something that his former girlfriend, Kathy Etchingham, with whom he lived in this building, remembers when he was at home, practising. “People often saw Jimi on stage looking incredibly intense and serious. And suddenly this smile would come across his face, almost a laugh, for no apparent reason,” she said. “I remember that very well, sitting on the bed or the floor. Sometimes he would play a riff for hours, until he had it just right. Then this great smile would creep across his face or he’d throw his head back and laugh. Those were the moments he had got it right for himself, not anyone else”. | It’s something that his former girlfriend, Kathy Etchingham, with whom he lived in this building, remembers when he was at home, practising. “People often saw Jimi on stage looking incredibly intense and serious. And suddenly this smile would come across his face, almost a laugh, for no apparent reason,” she said. “I remember that very well, sitting on the bed or the floor. Sometimes he would play a riff for hours, until he had it just right. Then this great smile would creep across his face or he’d throw his head back and laugh. Those were the moments he had got it right for himself, not anyone else”. |
| Handel and Hendrix in the same building – Messiah to Machine Gun – two centuries apart: it’s one of the great stories in music. For years now, the Handel half of the premises in Brook Street, London W1, has been a museum and recital space. And from next month the third floor, occupied by Hendrix in 1969, will be opened for the first time as a permanent exhibit – not a museum so much as a “historic home”, insists the director of the Handel & Hendrix in London project, Michelle Aland. | Handel and Hendrix in the same building – Messiah to Machine Gun – two centuries apart: it’s one of the great stories in music. For years now, the Handel half of the premises in Brook Street, London W1, has been a museum and recital space. And from next month the third floor, occupied by Hendrix in 1969, will be opened for the first time as a permanent exhibit – not a museum so much as a “historic home”, insists the director of the Handel & Hendrix in London project, Michelle Aland. |
| The Observer was granted an exclusive preview of the work in progress – wonderful work, done with thoroughgoing care and manifest love by Aland’s team in conjunction with Etchingham and others from Hendrix’s inner circle. I declare my interest to them: a devoted fan born in the street on which Hendrix died 18 days after I’d seen him play at the Isle of Wight festival in 1970. | The Observer was granted an exclusive preview of the work in progress – wonderful work, done with thoroughgoing care and manifest love by Aland’s team in conjunction with Etchingham and others from Hendrix’s inner circle. I declare my interest to them: a devoted fan born in the street on which Hendrix died 18 days after I’d seen him play at the Isle of Wight festival in 1970. |
| On the opposite wall to the Albert Hall photo, another, glorious picture of him sitting on his bed, beneath a textile canopy with tassles. And in between the two pictures, engineers install a glass cabinet in which Hendrix’s acoustic Epiphone FT79 guitar will be – there is film of him playing Hound Dog on it, in the bedroom next door. | On the opposite wall to the Albert Hall photo, another, glorious picture of him sitting on his bed, beneath a textile canopy with tassles. And in between the two pictures, engineers install a glass cabinet in which Hendrix’s acoustic Epiphone FT79 guitar will be – there is film of him playing Hound Dog on it, in the bedroom next door. |
| Then through a little door is the room Hendrix described as the “only home I ever had”, being recreated as it was. There’s the canopy, exactly copied, and on the bed a sample of the cotton-silk maroon and orange bedspread that will be reproduced; exotic cushions identical to those behind Hendrix in the photo. Crucially, a huge teddy “bear-dog” given to Hendrix by a fan – “there’ll be duplicates for sale in the shop”, promises Aland. | Then through a little door is the room Hendrix described as the “only home I ever had”, being recreated as it was. There’s the canopy, exactly copied, and on the bed a sample of the cotton-silk maroon and orange bedspread that will be reproduced; exotic cushions identical to those behind Hendrix in the photo. Crucially, a huge teddy “bear-dog” given to Hendrix by a fan – “there’ll be duplicates for sale in the shop”, promises Aland. |
| “We’re lucky there are so many photographic records,” says Aland. “Jimi usually gave interviews here, on his bed, and with them photographs were taken. But it was also his home and this feels almost like peeking into someone’s private life, it’s very intimate.” | “We’re lucky there are so many photographic records,” says Aland. “Jimi usually gave interviews here, on his bed, and with them photographs were taken. But it was also his home and this feels almost like peeking into someone’s private life, it’s very intimate.” |
| Across the window: electric-turquoise velvet curtains, as ordered by Jimi and Kathy from John Lewis – three-quarters drawn; “they hardly ever opened them more than this,” says the exhibition designer Catherine Halcrow. Beneath the window, on a table: The Bob Dylan Songbook. | Across the window: electric-turquoise velvet curtains, as ordered by Jimi and Kathy from John Lewis – three-quarters drawn; “they hardly ever opened them more than this,” says the exhibition designer Catherine Halcrow. Beneath the window, on a table: The Bob Dylan Songbook. |
| On the floor by the bed, a BOAC airline bag containing Hendrix’s guitar repair kit, a period TV and a pair of specially made replica Chelsea boots. On a low bedside table: an ashtray and lamp, all reproduced as per the photos. Also a half-bottle of Mateus Rosé – “they drank that – there are pictures of him swigging from the bottle – and whisky,” says Aland. Atop a glass-fronted Victorian cupboard stands an art nouveau Grecian statue, probably Aphrodite, and a spherical papier-maché lamp in bright colours – there are colours everywhere, “many of them reflecting his Native American blood,” posits Aland. | On the floor by the bed, a BOAC airline bag containing Hendrix’s guitar repair kit, a period TV and a pair of specially made replica Chelsea boots. On a low bedside table: an ashtray and lamp, all reproduced as per the photos. Also a half-bottle of Mateus Rosé – “they drank that – there are pictures of him swigging from the bottle – and whisky,” says Aland. Atop a glass-fronted Victorian cupboard stands an art nouveau Grecian statue, probably Aphrodite, and a spherical papier-maché lamp in bright colours – there are colours everywhere, “many of them reflecting his Native American blood,” posits Aland. |
| Etchingham recalls shopping for furniture with Hendrix in Portobello Road, and an antique oak chair is a specially made duplicate. And above all, two large Lowther speakers rise from the floor, and in a box ready for installation, a vintage Bang and Olufsen turntable – for the music, which included records by Handel which Hendrix bought when he learned about his predecessor. | Etchingham recalls shopping for furniture with Hendrix in Portobello Road, and an antique oak chair is a specially made duplicate. And above all, two large Lowther speakers rise from the floor, and in a box ready for installation, a vintage Bang and Olufsen turntable – for the music, which included records by Handel which Hendrix bought when he learned about his predecessor. |
| Etchingham remembers him “sitting on the bed jamming along” to what the collection tells us would have been either the Messiah or the oratorio Belshazzar. Atop one of the speakers: that famous fedora hat. | Etchingham remembers him “sitting on the bed jamming along” to what the collection tells us would have been either the Messiah or the oratorio Belshazzar. Atop one of the speakers: that famous fedora hat. |
| “They used to blow the speaker cones regularly,” says Halcrow. “They were forever taking a taxi to Bromley, where Lowther had their workshop and knew them well – ‘ah, here they come again for replacement cones, Kathy and that Jimi Hendrix.’” | “They used to blow the speaker cones regularly,” says Halcrow. “They were forever taking a taxi to Bromley, where Lowther had their workshop and knew them well – ‘ah, here they come again for replacement cones, Kathy and that Jimi Hendrix.’” |
| In another corner of the entrance hall is a section called Hendrix’s Gear, to explain the science behind the way he changed the sound of sound, and a photograph of him with the alchemist of that sound, Roger Mayer. Mayer was working as a sub-aqua sonic engineer with the Admiralty when they met, and dramatically changed environments after each man was mutually compelled by the other. He invented the Octavia guitar effect with its unique “doubling” – an echo, an octave up. “I’d shown it to Jimmy Page,” remembers Mayer, “but he thought it was too far out. Jimi, though, said the moment we met: ‘Yeah, I’d like to try that stuff.’” A contemporary Octavia machine will be on display. | In another corner of the entrance hall is a section called Hendrix’s Gear, to explain the science behind the way he changed the sound of sound, and a photograph of him with the alchemist of that sound, Roger Mayer. Mayer was working as a sub-aqua sonic engineer with the Admiralty when they met, and dramatically changed environments after each man was mutually compelled by the other. He invented the Octavia guitar effect with its unique “doubling” – an echo, an octave up. “I’d shown it to Jimmy Page,” remembers Mayer, “but he thought it was too far out. Jimi, though, said the moment we met: ‘Yeah, I’d like to try that stuff.’” A contemporary Octavia machine will be on display. |
| One room on the floor below the bedroom has been turned into a soundproof studio, with plans for Hendrix-related events and school visits. Harpsichordist Jane Chapman will join electric guitarist Mark Wingfield for a Handel Meets Hendrix concert. The Hendrix exhibit will be open seven days a week but – importantly and wisely – will admit no more than 20 people per hour, with expansions planned to the Handel side of the property. | One room on the floor below the bedroom has been turned into a soundproof studio, with plans for Hendrix-related events and school visits. Harpsichordist Jane Chapman will join electric guitarist Mark Wingfield for a Handel Meets Hendrix concert. The Hendrix exhibit will be open seven days a week but – importantly and wisely – will admit no more than 20 people per hour, with expansions planned to the Handel side of the property. |
| The Hendrix flat did open its doors in 2010, for a one-off exhibition, when the director of Handel House, as it was called, was Sarah Bardwell. “This is something completely different,” she says. “That was the whole story, and temporary – this is a permanent exhibit, and a real analysis and record, day by day, of those three months in London. The flat was at the centre of things: six or seven very important interviews; a domestic life, and a lot of hard work. | The Hendrix flat did open its doors in 2010, for a one-off exhibition, when the director of Handel House, as it was called, was Sarah Bardwell. “This is something completely different,” she says. “That was the whole story, and temporary – this is a permanent exhibit, and a real analysis and record, day by day, of those three months in London. The flat was at the centre of things: six or seven very important interviews; a domestic life, and a lot of hard work. |
| “It’s too easy to focus on the stardom, drugs and sex. There was all that, of course, but they were not the most important or interesting things. This is about Hendrix at work and Hendrix at home, trying to figure out what to do next with his extraordinary talent.” | “It’s too easy to focus on the stardom, drugs and sex. There was all that, of course, but they were not the most important or interesting things. This is about Hendrix at work and Hendrix at home, trying to figure out what to do next with his extraordinary talent.” |
| A book to accompany the opening has been written by Christian Lloyd, after painstaking research on precisely Bardwell’s notion: the vernacular detail of those three months. Although he didn’t watch much TV, Hendrix, it emerges, was a loyal fan of Coronation Street. “He was especially keen on Ena Sharples, I think because she may have reminded him of the matriarchal battleaxe figure in African-American humour,” says Lloyd. He was keen too on Spike Milligan, although the feeling wasn’t mutual and Milligan refused a request to compere the 1969 Albert Hall gigs. | A book to accompany the opening has been written by Christian Lloyd, after painstaking research on precisely Bardwell’s notion: the vernacular detail of those three months. Although he didn’t watch much TV, Hendrix, it emerges, was a loyal fan of Coronation Street. “He was especially keen on Ena Sharples, I think because she may have reminded him of the matriarchal battleaxe figure in African-American humour,” says Lloyd. He was keen too on Spike Milligan, although the feeling wasn’t mutual and Milligan refused a request to compere the 1969 Albert Hall gigs. |
| “Mayfair was not the smart place it is now,” says Lloyd, “it was quite louche – I’ve even heard rumours of a brothel in Horseshoe Yard behind the house. And there was a strong presence of the rock music scene – Apple HQ nearby, the clubs too.” “Just as Handel needed to be near the Haymarket opera,” Aland has said, “so Hendrix liked to be able to walk to the Speakeasy, or where he might be playing.” | “Mayfair was not the smart place it is now,” says Lloyd, “it was quite louche – I’ve even heard rumours of a brothel in Horseshoe Yard behind the house. And there was a strong presence of the rock music scene – Apple HQ nearby, the clubs too.” “Just as Handel needed to be near the Haymarket opera,” Aland has said, “so Hendrix liked to be able to walk to the Speakeasy, or where he might be playing.” |
| Lloyd also had the chance to do a forensic examination of Hendrix’s records at the EMP museum in Seattle. The damage to the labels and scratches on these discs show Bob Dylan was the artist he most often played. The collection also contains a good deal by bluesman Howlin’ Wolf, and jazz virtuoso Roland Kirk, of whom Hendrix was in awe, says Lloyd, and who came to the flat to jam “all day” with Hendrix after performing at Ronnie Scott’s. Hendrix was “scared to play a wrong note in the presence of Kirk,”, says Lloyd. | Lloyd also had the chance to do a forensic examination of Hendrix’s records at the EMP museum in Seattle. The damage to the labels and scratches on these discs show Bob Dylan was the artist he most often played. The collection also contains a good deal by bluesman Howlin’ Wolf, and jazz virtuoso Roland Kirk, of whom Hendrix was in awe, says Lloyd, and who came to the flat to jam “all day” with Hendrix after performing at Ronnie Scott’s. Hendrix was “scared to play a wrong note in the presence of Kirk,”, says Lloyd. |
| Hendrix cites Handel, Bach and Mahler among his influences and the classical collection contains two editions of the Messiah (one on period instruments, one with the English Chamber Orchestra) and music by Holst and Bach. | Hendrix cites Handel, Bach and Mahler among his influences and the classical collection contains two editions of the Messiah (one on period instruments, one with the English Chamber Orchestra) and music by Holst and Bach. |
| What strikes Lloyd most are two things: “The close eye his management were keeping on him, forcing him to perform constantly, including shows he didn’t really want to do. This was a time when Hendrix realised he was short of money – he’d either spent it, or it had been stolen.” | What strikes Lloyd most are two things: “The close eye his management were keeping on him, forcing him to perform constantly, including shows he didn’t really want to do. This was a time when Hendrix realised he was short of money – he’d either spent it, or it had been stolen.” |
| And the way that during his time in Brook Street, “how little Hendrix mixed with the underground scene. Instead people came to see him: George Harrison and Graham Nash were visitors to the flat, Ginger Baker too – he parked illegally on the pavement. But apart from the Speakeasy, he wasn’t often out at concerts or clubs. He watched Top of the Pops but was scathing about commercial pop acts, only concentrating when it was one of his major rivals. He had little to do with the counterculture; there’s every indication that he didn’t want to be a hippy icon or leader, he just wanted to be himself.” | And the way that during his time in Brook Street, “how little Hendrix mixed with the underground scene. Instead people came to see him: George Harrison and Graham Nash were visitors to the flat, Ginger Baker too – he parked illegally on the pavement. But apart from the Speakeasy, he wasn’t often out at concerts or clubs. He watched Top of the Pops but was scathing about commercial pop acts, only concentrating when it was one of his major rivals. He had little to do with the counterculture; there’s every indication that he didn’t want to be a hippy icon or leader, he just wanted to be himself.” |
| Handel & Hendrix in London opens on 10 February ; Hendrix At Home by Christian Lloyd will be available shortly afterwards | Handel & Hendrix in London opens on 10 February ; Hendrix At Home by Christian Lloyd will be available shortly afterwards |
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