---
product_id: 9837577
title: "German Recordings 1952-1955 - Lost Tapes"
price: "€ 2.71"
currency: EUR
in_stock: false
reviews_count: 10
url: https://www.desertcart.gr/products/9837577-german-recordings-1952-1955-lost-tapes
store_origin: GR
region: Greece
---

# German Recordings 1952-1955 - Lost Tapes

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## Description

Product Description A redhead with striking good looks, hypersensitive and outrageously talented - Jutta Hipp quickly became an object of attention in the early 1950s. She got to know all the jazz pioneers of the day: Emil and Albert Mangelsdorff, Joki Freund - and above all Hans Koller, whose admiration of Lester Young had a profound influence on her own performance style. Review Lost Tapes is a major new find that adds some valuable and previouslyunreleased live and studio performances to Jutta Hipp's relativelyslim discography. The first 13 titles, dating from 1952-53, are herearliest recordings. The opener, 'Blues After Hours,' is a realsurprise for Hipp reveals herself to be a superior swing/bluespianist. On 'Erroll's Bounce' she does a fine imitation of ErrollGarner. Hans Koller's light-toned tenor, which sounds a bit like WarneMarsh, is featured on the next five selections with the quartet. Withthe addition of trombonist Albert Mangelsdorff, on six more numbers asa quintet, these are solid examples of 1950s cool jazz. While Hipp splaying hints in some spots at Tristano, she is more laidback andalready had her own fresh musical personality. The final four numbersare from 1955 with Hipp in the spotlight. Two of the songs alsofeature guitarist Attila Zoller and Joki Freund on tenor.While it will never really be known why Jutta Hipp decided to becomethe Greta Garbo of jazz, Lost Tapes reminds listeners how vital apianist she was in the 1950s. --JazzMessengersBlog.com, Scott YanowHipp is often a florid player, thougheconomical, and packs a lot of ideas into the short solithese three-minute tunes offer (moreso on the few trionumbers). While at first the music of the quintet seemsaligned with 'Cool Jazz', the group is certifiablyexuberant and signifies steps toward freedom (in thebroad sense) across these fascinating bebop nuggets. --New York City Jazz Reocrd, April 2013Up to now, Jutta Hipp's entire recorded output totaled four and halfLPs worth of material; with this new release likely clearing theunreleased archives for good an important addition to both hercatalog and that of jazz in general has been made. --Musoscribe.com, March 2013

Review: The Lost is Thankfully Found - If you are an aficionado of piano jazz of the Brubeck era, the release of the Julia Hipp album "German Recordings 1952-1955 - Lost Tapes" by Jazzhaus will come as a complete surprise, and make you wonder why the name of this artist is unfamiliar. The fact that the album was recorded in Germany might be a clue, but the years of the original recordings listed, and the name "Lost Tapes" (as these pieces are seeing a first release some 61 years later) is a better reason and adds to the mystery. Julia Hipp's story is at once interesting and eccentric: she held a degree in art, was clearly an extraordinary pianist, but lacked self-confidence as a jazz pianist, and left her piano and talent behind in the late 1950s to become a dress-maker. She died in obscurity, in New York City, in 2003 (without a piano in her apartment), in such obscurity that Blue Note, the label which released some of her original albums, found her shortly before her death enabling the label to pay her a significant sum of money it had been holding from record sales since the 1950s. You will hear, right from the first cut recorded live in a German club, "Blues After Hours," a style evocative of and clearly influenced by Brubeck. The album continues with more live piano-bass-drum trio cuts in a myriad of styles, ending with German session cuts of both quartet and quintet ensembles, featuring German reed players who, at least to this reviewer, are equally obscure. I have listened to the album twice, once to prepare this review, and once for pure pleasure, which the CD gives in spades. None of the cuts are lacking in interest. Be prepared to be transported back to an era when jazz was going through a change which has informed the genre ever since. And a final nod to the engineering and sound of these recordings, made on early tape machines, in mono, with no tricks or manipulation: music at its best, recorded with a transparency and balance which makes one forget that it is in mono, not stereo. I did, and I'll be purchasing more of Julia Hipp's recordings this week.
Review: A little pricey, but 'worth it! - Very nice LP, And the free download of the same recording was a nice surprise, and a great bonus! Much of it was inspired by the Lennie Tristano recordings. It was also very interesting to listen to the early playing of Attila Zoller and Albert Mangelsdorff in comparison to the innovators they later became.

## Technical Specifications

| Specification | Value |
|---------------|-------|
| ASIN  | B00C2VGC6G |
| Customer Reviews | 4.5 4.5 out of 5 stars (14) |
| Date First Available  | April 5, 2013 |
| Label  | Jazzhaus |
| Manufacturer  | Jazzhaus |
| Number of discs  | 1 |
| Product Dimensions  | 0.32 x 5.78 x 4.93 inches; 2.4 ounces |

## Images

![German Recordings 1952-1955 - Lost Tapes - Image 1](https://m.media-amazon.com/images/I/61EA0gPkauL.jpg)

## Customer Reviews

### ⭐⭐⭐⭐⭐ The Lost is Thankfully Found
*by S***E on June 25, 2013*

If you are an aficionado of piano jazz of the Brubeck era, the release of the Julia Hipp album "German Recordings 1952-1955 - Lost Tapes" by Jazzhaus will come as a complete surprise, and make you wonder why the name of this artist is unfamiliar. The fact that the album was recorded in Germany might be a clue, but the years of the original recordings listed, and the name "Lost Tapes" (as these pieces are seeing a first release some 61 years later) is a better reason and adds to the mystery. Julia Hipp's story is at once interesting and eccentric: she held a degree in art, was clearly an extraordinary pianist, but lacked self-confidence as a jazz pianist, and left her piano and talent behind in the late 1950s to become a dress-maker. She died in obscurity, in New York City, in 2003 (without a piano in her apartment), in such obscurity that Blue Note, the label which released some of her original albums, found her shortly before her death enabling the label to pay her a significant sum of money it had been holding from record sales since the 1950s. You will hear, right from the first cut recorded live in a German club, "Blues After Hours," a style evocative of and clearly influenced by Brubeck. The album continues with more live piano-bass-drum trio cuts in a myriad of styles, ending with German session cuts of both quartet and quintet ensembles, featuring German reed players who, at least to this reviewer, are equally obscure. I have listened to the album twice, once to prepare this review, and once for pure pleasure, which the CD gives in spades. None of the cuts are lacking in interest. Be prepared to be transported back to an era when jazz was going through a change which has informed the genre ever since. And a final nod to the engineering and sound of these recordings, made on early tape machines, in mono, with no tricks or manipulation: music at its best, recorded with a transparency and balance which makes one forget that it is in mono, not stereo. I did, and I'll be purchasing more of Julia Hipp's recordings this week.

### ⭐⭐⭐⭐ A little pricey, but 'worth it!
*by Z***O on April 15, 2013*

Very nice LP, And the free download of the same recording was a nice surprise, and a great bonus! Much of it was inspired by the Lennie Tristano recordings. It was also very interesting to listen to the early playing of Attila Zoller and Albert Mangelsdorff in comparison to the innovators they later became.

### ⭐⭐⭐⭐⭐ Too Hipp
*by D***S on February 15, 2013*

What a tremendous discovery -- rare recordings of pianist Jutta Hipp in her native Germany, made before she went to New York and cut a handful of influential albums for Blue Note Records in the mid-1950s. Culled from sessions in Koblenz, Baden-Baden and Stuttgart, this vinyl release finds Hipp in the company of stellar German musicians Albert Mangelsdorff (trombone), Hans Koller and Joki Freund (both on tenor sax), as well as Hungarian guitarist Attila Zoller. Most of the tunes are familiar standards given fresh life through Hipp's distinctive touch and the forward-looking approach of her musical playmates. Even at this early stage of her career Hipp displays formidable technical proficiency, a fluid sense of swing and an unerring knack for revealing the emotional heart of each tune. No wonder she was a sensation when she arrived in New York in 1955. Her star burned brightly but unfortunately all too briefly. She withdrew from the music scene in the late '50s, lending even more historical as well as musical value to these sublime performances.

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*Product available on Desertcart Greece*
*Store origin: GR*
*Last updated: 2026-06-01*