Hot Ptah

I have heard this album. There is a truly offensive racist song on it, as I recall. While I think that they were trying to be offensive to be humorous, this may have crossed the line.

I received my set today, two days after you mailed it out. Now the fun begins this weekend.

That sounds like a lot of fun! I hope The Magnificent Goldberg gets to Kansas City the next time he visits the United States--the several Org members here would stuff him full of something or other.

That is a good album, surprisingly intense and energetic compared to the rest of his solo output.

The Harkleroad and French books, and my emails with Bill Harkleroad, all described much the same thing. The band members were in their late teens or early 20s, all without funds or other gigs. They lived in a house with Beefheart, who was much older. He kept them going through marathon rehearsal sessions day and night, mostly non-productive due to Beefheart's disorganization and lack of musical training. He kept them near starvation for extended periods. He verbally abused them continuously, in loud, powerful talks which went on for hours. These screaming sessions were manipulative and pushed just the right buttons with each person, for maximum torment. The verbal abuse would be triggered by a tiny or slight matter, or by nothing at all. They lived in constant uncertainty about when the next extended nasty speech would come. He also egged them on to physically fight each other over slight or non-existent problems, which they did, and at times he beat them physically himself. They were worn down after a time, both physically and emotionally, to the point where they could barely function. Some of them left the house for periods of time but all felt compelled to go back. They describe themselves as feeling powerless, and like victims of a cult. French and other band members relate in his book that decades later, while engaged in day to day activities, each of them often stops and worries about whether Beefheart would approve of what they were doing, or what Beefheart would say about what they were doing. Bill Harkleroad's emails to me, about five years ago (which would be about 35 years after the abuse) clearly indicated that he is still dominated by the abuse, in a very sad, powerful way. I found his communications heartbreaking. I have experienced a little bit of what he described in my business, but I (and the others in my office) were not living day and night with our leader, an older abuser. James "Motorhead" Sherwood, of the early Mothers, describes in a French book interview that he witnessed a small amount of Beefheart's abuse and was stunned. He had known Beefheart since childhood and could not believe what he was hearing. Gail Zappa told French in the 1990s that neither she nor Frank were aware of the abuse because Beefheart would put on a totally charming act whenever outsiders came to the house. Only after the outsiders left would the marathon pain sessions start up again. French and other musicians describe how they independently, years later, were told by various professionals that they had been the victims of witchcraft. French and others in his book describe how a few years before the abusive conduct, Beefheart was taking ten hits of acid at a time, often. Friends confronted him about it, and he said that he was hardly doing it anymore, "only 17 or 18 times a month." Ry Cooder left his band in disgust about that time. The French book is long, with many quotes from interviews from many musicians and others around Beefheart at the time, and contains a wealth of detail about the abuse which I have tried to briefly summarize. Harkleroad's book is not as detailed, and is more a cry of pain.

I have not read Cosson's book, only Harkelroad's and French's. French's book contains interview quotes from many people around Beefheart at the time. I find it interesting that James "Motorhead" Sherwood, of the early Mothers of Invention, comes across in the French book interviews as one of the most articulate people in this musical community.

French's 800+ page book describes, in extensive detail, and from several different sources, truly terrible abuse by Beefheart over his musicians, which had lasting, hurtful impacts on them, even decades later. I have to say that combined with similar information in Harkelroad's book, I find this disturbing and am having difficulty separating that information from the music, at least for now.

I think that Flaming Pie, Tug Of War, Chaos and Creation are pretty good albums, not as good as Beatles albums but pretty good. Otherwise to me, he has about 20-30 songs that are decent, from his singles and a variety of otherwise forgettable albums. He has a lot of filler on his albums.

I'll call you and raise. Is there any good McCartney music other than what he made with The Beatles? You can read more about this subject than you could ever imagine was possible, on literally hundreds of threads on the Steve Hoffman forum. The members are passionate about it there, and differ widely in their opinions.

I loved the depiction of people from Madison, Wisconsin in the second episode. I grew up in Wisconsin and went to college in Madison. Someone in the writing and production area of the show must know some Madison people. It was a spot on depiction of Madison, Wisconsin, people in the big city--the naive, wide eyed vocal enthusiasm; blind orthodoxy to "progressive" causes; belief in oneself as "hip" while frequently betraying the limits of one's knowledge and experience in a cringe-inducing way; and the unparalleled ability to drink heartily and party all night without any noticeable wear and tear.

Thanks. I really appreciate your comment.

I love how an out of print Dave Bartholomew box set is an important part of the show. It seems very hip to me that someone associated with the show would know about that rather obscure set. I purchased that very set at the Tower Records near my hotel during a 1995 visit to Washington, D.C. I have never seen another copy in a store. That set has, among other gems, the two part "Stackolee" by pianist/vocalist Archibald, which is not otherwise on CD, to my knowledge.

I was going to exercise self-discipline and put this on my birthday gift list in June, but oh well, what the hell. I have to get it now. Paypal payment on the way. Now where did I hide those cookies I wasn't going to eat?

I played the Bill Evans Riverside recording of "Nardis" and then Track 2 back to back, and Track 2 sounded like the same song to me. But maybe it's not--maybe that explains why I can't find any reference to it in any discographies, as I am looking under "Nardis."

Here are my general impressions of this most excellent Blindfold Test 1. I see that this is Maceo Parker and the Rebirth Brass Band doing "Mercy Mercy Mercy". I love stuff like this. This is a real treat. 2. This one really has me scratching my head. A 1970s fusion version of "Nardis". It sounds like a CTI album. The trumpet player sounds like Freddie Hubbard. But there is no version of "Nardis" in the CTI or Hubbard discographies, that I can find. I love the sound of this piece. "Nardis" is too often done as a bop standard. This version brings out the mystery and "Middle East" quality of the piece. I just can't figure out who it is! When I find out, I have to buy this album. 3. Summertime, a nice saxophone/organ version. I have no idea who it is. 4. Ain't Misbehavin'. I really like this guitar/clarinet version. Again, I don't know who it is. 5. I like this one a lot, but have no idea who it could be. 6. I see that Tab Smith has been identified here. I did not know. 7. I love this! Who would mix Hendrix-like guitar, funky organ, big band, and a hot trumpet solo? Whoever it is, I want to buy this! Very exciting, very interesting to me. 8. Moonlight Serenade, but I have no idea who it is. Very tasty solos! 9. I see that this has been identified, and I could not have identified it. Fascinating. I did not know that the steel guitar had been used in a context like this, so early on--or ever for that matter. 10. I MUST have this album! African vocals on a swinging version of "Night Train." Who is this? What is this? I love it! I hope that this is generally available for purchase and not a 78 single you bought in Senegal from a pressing of 200 copies or something like that. 11. This sounds like South African jazz. There is a characteristic Abdullah Ibrahim lick toward the end, although I am not sure that it is him. I like this one a lot, and am looking forward to learning who it is. 12. A faster version of Maiden Voyage. It sounds like the organ player's date. The first tenor sax player is particularly hot--I thought of Billy Harper for a moment as he was soloing. The second sax soloist has a softer tone but is also very compelling. 13. I do not know who is performing this version of "I Found a New Baby." 14. Very interesting. I have no idea, but want to know who it is. Your Reveal will be very illuminating. 15. Another excellent cut that has me stumped, with some possible involvement of Africa. BONUS CUTS 1. This one has me really frustrated. I know that I know this voice, but I just can't place it. What an interesting lyric--is he saying "route man"? If so, I wonder what a "route man" was, at that time. 2. I have identified this one as Ruth Brown. 3. I have thrown a guess out there in an earlier post, as Irene Reid. 4. I see that this has been identified. I did not know it. Overall, a great BFT, both interesting and fun to listen to! I genuinely enjoy each and every song here.

The third bonus song is Irene Reid, singing Jimmy Webb's composition "Didn't We", from her "Million Dollar Secret" album. With Irene are Charles Earland (organ), Eric Alexander (tenor sax), Jim Rotundi (trumpet), Bob DeVos (guitar), Greg Rockingham (drums). I love the spoken intro!

Glad to hear you like it. You've got one right. I told you you wouldn't be stumped by them all. Wanna mention the band? MG Ruth Brown (vocals); Rodney Jones (guitar, banjo); Hank Crawford (alto saxophone); Red Holloway (tenor saxophone); Spanky Davis (trumpet); Britt Woodman (trombone); Bobby Forrester (piano, organ); Al McKibbon (acoustic bass); Grady Tate (drums).

I am enjoying this BFT a great deal. It is a lot of fun to play in the car. I think that the second bonus song is Ruth Brown, "If I Can't Sell It" from the "Blues on Broadway" album. I am working on some of the others!

Happy Birthday!

In his day he was one of the top pitchers in the American League.

I think that some of the cuts on that album hint at the power of their live shows. Of course, when you were in the room, the volume was higher and the experience was more powerfully in your face. Back then, many jazz shows were loud, powerful, and wild. Live jazz wasn't so genteel and tasteful like it often is now.