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GW Did the experience of playing together at Woodstock fuel the desire to shift back to the trio format? MITCHELL It was something that was never said, but it didn’t need to be said. In February of ’70, after Jimi and I decided we wanted to play with Billy instead of Noel, a few other musicians were discussed as possible fourth additions, but the primary focus was to go back to the trio format. The Band of Gypsys was something Jimi wanted to see through to fruition; it was brilliant, he did it, enjoyed it, and then it was time to move on. I had just moved into a wonderful giant house in England with loads of expenses—“ It’s been a wonderful year, hasn’t it, dear?”—and I waited to see what would happen next. Jimi, Billy and I rehearsed in Los Angeles in the spring and immediately started the next tour. GW After all Jimi had been through in the previous year, and all of the managerial hassles, what was the feeling in the trio like at that time? COX It was great. Jimi knew where we wanted to go, and we knew how we were going to get there. We had some great shows, and a lot of fun onstage, and the studio material speaks for itself. MITCHELL From my side, I was much more comfortable playingwise than I had been for a long time. Billy provided a great anchor, a solid bottom end, and he didn’t use a plectrum! I hate the sound of the electric bass played with a plectrum! Billy’s presence insured a much steadier and more reliable band sound, which made everything easier, and we were tighter. My only regret was that, before what turned out to be our last tour, we went about four weeks without playing, and some of those shows are not as together as I would have liked. GW One of the highlights, musically, of the spring tour was the composition, “Hey Baby (The Land of the New Rising Sun).” How did this masterpiece come together? COX In creating that song, Jimi and I starting talking about our connections with classical music. My mother played classical music on the piano, and I developed a love for Beethoven, Bach and Chopin. Jimi had a love for this music too. If you listen to the way “Hey Baby” develops, it is like progressive movements in a classical piece. We had planned to further develop that song and to write more music along those lines. If we had another 10 years, there’s no telling where our music would have gone. MITCHELL The truth is, I don’t think Jimi, Billy and I, as a band, ever got to see what we could really do in the studio, because, unfortunately, Jimi passed away. Right after Jimi’s death, I attempted to put The Cry of Love together with Eddie Kramer, and that was really difficult and disconcerting. I just wish we three had had the chance to really play and record together in Electric Lady Studios much more than we had, in pursuit of what the vision for the future was. COX That’s right. GW Do you two have any plans to play together again in the near future? MITCHELL I would really love to play more with Billy, especially if we look back at our material with Jimi and create some interesting new arrangements. Billy’s got it right when he says that we have a license to play this music, and I am excited about the prospect of our future collaborations. I’m lucky in that I am able to pick up a pair of drumsticks and play, and working with Billy is like sitting in your favorite comfortable couch. The word “tribute” makes me uncomfortable, but I do love the music, and the idea of creating some new interpretations of the music we played together is enticing. It’s our music; no one can ever take it away from us. It’s a spiritual thing. I am so privileged to have been able to play with Jimi, and to have played with—and to continue to play with—Billy Cox. COX I have always enjoyed playing with Mitch. We have been friends for over 35 years, and I think we’ll still be friends for a long time to come.

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