Hot Ptah

I have found the post from a past jazz online forum discussion. It comes from AAJ, a thread entitled "Who Is Jutta Hipp?" from 2006. On September 24, 2006, JazzFan393, in his or her first post on AAJ, contributed the following: "Have read many a stories online about Jutta that simply are not true. I worked alongside Jutta, in a clothing alteration section of a major clothing store. ( now defunct ) This was a Union operation ( no sweat shop ) After retirement Jutta collected a small Union pension along with S.S benefits . Until her death, she lived in a rent controlled Apartment near by. We never knew about Juttas earlier fame, and now in retrospect I realize she wanted it that way, for whatever reason. I understand some of her recordings were remastered in Japan. But I was never able to obtain a copy." So I remembered it wrong, in some respects.

There have been threads on Jutta Hipp before. I don't remember whether they were here or on other online forums. There was a received conventional wisdom about her that she received a significant royalty check in the late 1990s for her 1950s recordings, which saved her from a life of dire poverty, as she had been working as a sweatshop tailor. However, on one of the online forums (again, I can't remember which one), a woman responded, said that she worked with Jutta into the 1990s, and that they both worked in unionized positions in the garment industry, making pretty good money. She said that Jutta was in no means in poverty. She also said that Jutta refused to discuss her prior musical career.

I wondered if Sam agreed to appear in Topeka at a reduced fee because it fell on an open date between two gigs, in cities for which Topeka would be a decent stopping point in between. Then to accomodate his travel needs, they put him on early so that he could get to the next city comfortably. Just a theory, but apparently not correct if Spontooneous' last post is any indication.

Barry Goldwater Oliver Lake Sam Rivers

Bud Parusha Hot Ptah Nickname Damur

I saw Bozzio in November, 1975, with Frank Zappa, in a curious unit of the Zappa band. This edition could barely get through the vocals. Most of the members played extended improvisational solos. Bozzio's drumming was tasteful in this context, at this relatively early stage of his career. The Zappa band in question included Andre Lewis on electric piano and other keyboards, Norma Jean Bell on soprano sax (she was a timid singer but played a surprisingly good long solo on soprano sax), Napolean Murphy Brock on tenor sax, Roy Estrada on bass, Zappa and Bozzio. The concert ended with a very long "Chunga's Revenge" on which everyone but Estrada played long solos. I remember that Zappa's solo was the most beautiful I ever heard him play, and that Bozzio played an interesting drum solo. Zappa introduced his solo section as "now featuring your favorite, John McLaughlin on guitar!" and introduced Bozzio's solo with "your new Alphonse Mouzon, it's Terry Bozzio!"

Happy belated birthday!

Calt's book on Skip James stands as one of the most unrelenting negative rants I have ever read. After many pages of his bleak world view, I may have been punch drunk, but I found the following anecdote strange and humorous: Skip James was invited by a group of adoring young hippie fans to a boat ride. He declined, as he believed that the hippies intended to take him out on the water, throw him overboard and drown him.

Does anyone know why the Sam Rivers/Dave Holland/Barry Altschul trio of the 1970s broke up? I remember reading at the time in one of the jazz magazines that "something" had happened between Rivers and Altschul which forced an immediate breakup. It was hinted that the "something" was so dramatic and terrible that there was no way for the group to continue, or for Altschul and Rivers to ever work together again.

Among the albums featuring Rivers which I play the most often are Barry Alschul's "You Can't Name Your Own Tune" (with Rivers, George Lewis, Muhal Richard Abrams and David Holland), and Steven Bernstein's "Diaspora Blues" (featuring Sam and his group).

I do. I like most of what I have heard from Mose Allison in the 1950s and 1960s.

It appears that both of the adults involved were mentally challenged, and that the woman had suffered from physical abuse early in her life, from comments by a sheriff. This is possibly newsworthy in that it shows the tragic results of the underfunded state of public services for the disabled in the U.S. People who are not really able to care for themselves have few or no good options, in many communities in the U.S. I am sensitive to this as the father of a severely disabled son, who would have very insufficient services available for his literal survival if my wife and I were to simultaneously die.

MG, For you to have even conceived of that idea, the news media in Great Britain must be astonishingly different than the media in the United States.

Anthony Braxton Toni Braxton Tony Taylor

I have the following for trade: John Carter--Dance of the Love Ghosts John Carter--Castles of Ghana John Zorn--Naked City These albums are presented in a format which is a feat of engineering genius. In this technological breakthrough, a large reel to reel tape has been, as if by magic, miniaturized, and encased in a sturdy plastic casing protecting the reel of tape from the outside elements. The reel of tape is visible through a tiny "window" in the middle of the casing. Right on the casing itself, invaluable information is listed about the album and song titles, in a particularly innovative type of printing process, so that the ink does not come off when touched by human hands! In short, these are cassettes. I will take virtually anything of any value in trade, which I don't already have.

She must be mentally and/or emotionally disturbed. What he was thinking all this time is what I can't imagine. You would think that just about anyone would call for help if someone spent a second day on the seat.

Sun Ra--Hidden Fire

Marcello, Did you ever identify the mystery saxophonist in your photos, who played with Hannibal?

A couple of versions I like, which have not been mentioned yet: City Lights Orchestra, from their "Raised Spirits" LP (mid-1980s) Benny Goodman, on the "On The Air 1937-38" 2 CD set

This is definitely how they would look if they moved to the Kansas City area. A few months of barbecue and spending their lives driving on highways, and they would all gain that much weight.

Hen Gates Attilla The Hen Rooster Ties Foghorn Leghorn Phog Allen James Naismith

We have been discussing the different ways that a musician and an enthusiast listen to jazz in another thread. As a pure enthusiast, not a musician, I am not that fond of Gayle. In my limited fashion, I hear ideas which interest me in the solos of Albert Ayler, for example, even when the album sounds like "irritating racket" to my wife. But with Gayle, there is much intensity of sound, but I don't hear the interesting ideas very much, as I try to follow his playing very closely. Gayle is one of those artists who make me wish I had a musician's background, so that I could really tell what the difference is between his approach and that of Frank Lowe or other saxophonists.

It is described at page 175 of Bill Crow's "Jazz Anecdotes" book. According to Crow, Gene Lees, while editor of Down Beat in 1959, received a notice from Louisville correspondent Don DeMicheal about a legendary blues singer performing there, Blind Orange Adams. At first Lees did not understand the wordplay or the joke. After it was described to him, De Micheal and Lees dropped references to the activities and appearances of Blind Orange Adams into several issues, creating a fictional career for the non-existent bluesman. According to Crow, the owner of a small folk music record label contacted them and wanted to record Adams. They decided to tell him that Adams was a recluse and would only record in their presence. They were going to line up Eddie Harris to sing some blues to continue the joke. But the label owner insisted on meeting Adams in person, which ended the entire creation. It is much more humorous when Crow tells it, of course.

From my experience, you will be sleeping in 1 to 2 hour blocks, whenever you can grab it. But you will be happy!

I wonder if those who read Down Beat magazine at the time would comment on whether the Blind Orange Adams hoax seemed funny or not, as it was happening It sounds like a mildly humorous idea, to hear it described decades later.