4 427 résultats
12689Used; Like New/Used; Like New. An extraordinary collection of five Japanese pressed LPs each signed by the primary artist while on tour in Japan 1973-78 and including an especially rare signed copy of Miles Davis' "Kind of Blue." <br style="">The support for jazz in Japan has long been immense and also remarkably consistent. Even during a slump in the United States in the 70's that threatened to put many American jazz labels and musicians out of business American jazz artists flocked to Japan to perform with many releasing "Live in Japan" albums including Miles Davis Bill Evans and Sarah Vaughan. ''Japan almost singlehandedly kept the jazz record business going during the late 1970's'' said a producer with Blue Note Records Michael Cuscuna. ''Without the Japanese market a lot of independent jazz labels probably would have folded or at least stopped releasing new material.'' NY Times "In Japan Jazz Resurges As a National Passion" 1/7/88  <br>Each album includes the original obi strip spine card the piece of paper wrapped around the spine of Japanese LPs the term obi designating the sash around a kimono Kimono no obi. Japanese pressings generally feature very high quality vinyl and the present examples are all in fine condition rated individually below. Four of them are dated by the obtainer of the signature or by the artist Simone. <br style="">BILL EVANS - NEW CONVERSATIONS.  Label: WARNER P-10516<br style="">Cover : EW/ Record : E<br style="">Obi stripe: E<br style="">Obtained 13 September 1978 signed dated and inscribed in black ink on the front cover. <br style=""><br style="">SARAH VAUGHAN WITH CLIFFORD BROWN<br style="">Label: MERCURY BT-1324<br style="">Cover : EW/ Record : EDJ<br style="">Obi stripe: E<br style="">Obtained 26 April 1975 signed in black ink on the front cover.  <br style="">NINA SIMONE - SPELL ON YOU<br style="">Label: PHILIPS SFX-7167<br style="">Cover : EW/ Record : E-W<br style="">Obi stripe: E<br style="">Obtained 1973 signed and dated in black ink on the record label and to an interior page of the album booklet<br style=""><br style="">DEXTER GORDON - APARTMENT<br style="">Label: STEEPLECHASE RJ-7101<br style="">Cover : EW/ Record : E<br style="">Obi stripe: E<br style="">Obtained 25 September 1975 signed in black ink on the front cover by Dexter Gordon Kenny Drew Niels-Henning Orsted Pedersen and Albert "Tootsie" Heath<br style=""><br style="">MILES DAVIS - KIND OF BLUE<br style="">Label: CBS/SONY SOPL-155Cover : EW/ Record : EObi stripe: EObtained 1975 signed in silver ink "Miles Davis" on the front cover. <br style=""><br style=""><br style="">The present collection includes several remarkable rarities but the highlight is surely the exceedingly rare signed copy of what is widely regarded to be the greatest jazz album of all time Miles Davis' "Kind of Blue." Davis was notoriously prickly and a generally reluctant autograph signer. Though authentic autograph signatures are certainly obtainable we are aware of only one other extant authentically signed copy also sold by Schubertiade of Davis's greatest masterpiece. Of the previous example sold by Schubertiade noted jazz collector and dealer Larry Rafferty noted that in his 40 years of collecting jazz autographs this is "absolutely the only copy I have ever seen -- or heard of" and our research further confirms that no signed copies have appeared at auction or in trade catalogues.  <br style="">The best-selling jazz record of all time is universally acknowledged as a masterpiece revered as much by rock and classical music fans as by jazz lovers. Kind of Blue brought together seven now-legendary musicians in the prime of their careers: tenor saxophonist John Coltrane alto saxophonist Julian "Cannonball" Adderley pianists Bill Evans and Wynton Kelly bassist Paul Chambers drummer Jimmy Cobb and of course trumpeter Miles Davis. To the musicians who recorded it Kind of Blue was just another session when it was released in August 1959. But the disc was quickly recognized by the jazz community as a classic. Jazz musicians were startled by the truly different sound on an album that laid out a clear roadmap for further modal explorations. "So What" became the tune the one that every musician -- not just the practitioners of jazz -- simply had to know. The other tracks also quickly became standards and the individual solos throughout the record continue to inspire musicians to this day. Drummer Jimmy Cobb puts it all down to simplicity -- the reason Kind of Blue has remained so successful for so long. And because of its inherent balance historian Dan Morgenstern adds the album never wears out its welcome.<br style=""> unknown books
1950190253London: 1950s. Vivid images of jazz greats by one of the "obscure guys" of British jazz photography - from the collection of Charlie Watts From the collection of Rolling Stones drummer and jazz aficionado Charlie Watts: a delightful and absorbing archive of largely unpublished photographs by Jamie Hodgson an unsung hero of British jazz photography capturing both the exuberance and inwardness of the music. Among the jazz greats pictured are Dizzy Gillespie Ella Fitzgerald Duke Ellington Billy Strayhorn and Louis Armstrong. Perhaps the stand out photographs here are two superb studio images of Strayhorn one a memorable image showing him observing a goldfish in its bowl used on the cover of David Hajdu's 1996 biography Lush Life but unattributed another a delightful and unforgettable portrait of "Strays" lying on the studio floor cigarette in hand legs crossed wine glass within reach working on a score marked in 12/8 time with a quill pen and ink stand. A sequence of eight images focus on Louis Armstrong and date from 1956 through to 1970: one a particularly exuberant portrait of Pops sharing the limelight with Trummy Young Barrett Deems at the kit. These were nearly all taken in concert the exception being one marked "solo visit. Rehearsing with Norman del Mar conductor of the Royal Philharmonic Orchestra at the Royal Festival Hall for a concert in aid of the Hungarian Releif sic Fund. December 10th 1956". There are two fine shots of Dizzy Gillespie both in tux in his dressing room looking thoughtful and another of his up-tilted horn in its case the tag from his recent visit to France still attached to the handle. There is a witty bleached-out studio shot of Jimmy Rushing leaning into the horn of a gramophone and further images of the great singer one a boisterous backstage portrait of Rushing with Harry Carney and Jimmy Hamilton sitting in Rushing's capacious lap! smiling and laughing gathered on the stairs leading up to the gents' toilets and holding a gamut of reed instruments; plus a terrific image of "Mr. Five by Five" raising a pint behind the bar of a pub recalling Basie's reminiscence that "Me and old Rush. We were some pair. We just wanted to have a good time" Basie p. 37. Other portraits include a petulant Ella Fitzgerald Duke Ellington and individual images of Ellington alumni Paul Gonsalves Johnny Hodges Ray Nance Harry Carney Barrett Deems and Sam Woodyard; a chuckling Oscar Peterson; Lionel Hampton with Humphrey Lyttelton; Bud Freeman; a humorous shot of Eddie Condon sitting at a bar and scowling playfully; a tight close-up of a beaming Lionel Hampton; drummer Gus Johnson accompanying bassist Bob Haggart; and Ray Charles performing at the Capital Radio Jazz Festival in 1982. A full listing is available on request. For Hodgson 1930-2006 jazz was a private passion and these remarkable photographs did not see the light of day until a 2006 exhibition Masters of Jazz: Unseen Portraits held in the foyer of the National Theatre. In 2007 Jazz Improv magazine described him as one of the "obscure guys" of British jazz photography. His Guardian obituary noted that he "became known for his hobby rather than his profession. The man who owned the Kinnerton Street studio in London's Knightsbridge for many years earned his living in fashion and family photography. But it was the recent exhibition of 50 of his pictures in the National Theatre foyer that attracted more attention than anything previously shown by the largely anonymous Hodgson. Few knew of his work within the music world and fewer still knew of these unguarded often intimate images which were Hodgson's personal homage to the stars he observed and worshipped. All were taken during British tours many in the privacy of dressing rooms across London or in Hodgson's studio The Guardian jazz critic John Fordham regards these images as 'wonderful pictures'. 'They catch the mood on the night of jazz on and offstage' he said 'and they are very expressive of the big personalities of a lot of those old guys who started touring here in the 1950s and 60s after there had been a dearth of live US jazz in Britain'. Hodgson was a Londoner who took up photography after completing his national service in 1950. Starting out as a freelance he began by taking whatever commissions came his way - news and features aerial and architectural photography or commercial and children's pictures. A stint with the Mayflower Studios brought him into contact with advertising and various television personalities including Frankie Howerd Harry Secombe the Crazy Gang and the Ted Heath Band. In 1956 he set up his own studio where he did fashion shoots with Tania Mallet Jean Shrimpton and Sandra Paul He caught the change in mood from the snooty static haute couture fashion shoots of the 1950s to the more playful popular looks of swinging London in the 1960s. And at night he sneaked out to shoot his favourite jazz and blues bands playing across the capital". An important and captivating collection of jazz images imbued with the photographer's deep affection for the musicians the spontaneity of the portraits matching that of the music itself. Together 95 black and white photographs 46 measuring 223 x 170 mm; 49 measuring 402 x 305 mm each with identifying caption on verso by the photographer some with studio wet stamps or labels a number signed by Hodgson. Preserved in the photographer's own commercial boxes. Three prints Duke Ellington Billy Sytrayhorn Louis Armstrong framed and glazed by auction house overall measuring 445 x 620 mm. In excellent condition. Count Basie Good Morning Blues: The Autobiography of Count Basie 1987. unknown
1940169491United States: c.1940-60. A visual record of a rarely seen and poorly documented world - an accidental history An unusually extensive group of these evocative "table photographs" striking records of largely African-American audiences in the glamorous sociable and intentionally inclusive world of mid-century nightclubs. Shot by in-house photographers developed on site and sold for a dollar at the end of the evening these quick souvenirs now amount to a rare visual history of a poorly documented milieu. As Gold notes they "turn the camera round": instead of performers we see the audiences - a critical part of what Jason Moran calls the jazz "ecosystem." The collection offers a nationwide survey of venues from the extravagant to the resolutely down-home. At New York's Café Zanzibar with its spectacular floor shows and "Zanzibeauts" the audience was integrated but largely white prompting Langston Hughes's caustic observation about the seating hierarchy - an impression borne out by the image here. Detroit's Gay Bar Lounge another "black and tan" joint catered to a mostly Black clientele and offered a rougher edge: in 1947 the barkeep famously shot two stick-up artists with the.38s kept beneath the cash register. Equally compelling are the histories of Black enterprise that surface. Oakland's Athens Elks Cocktail Lounge home to Lodge 70 of the Improved Benevolent and Protective Order of Elks of the World stood at the centre of West Oakland's vibrant musical scene hosting countless jam sessions and serving as the informal checkpoint for touring African-American musicians. In Los Angeles Dootsie Williams's Dooto Music Center founded by the trumpeter-turned-entrepreneur provided one of the city's foremost Black cultural venues praised by the Los Angeles Sentinel as "the most-needed cultural and recreation center in Southern California." The photographers themselves remain surprisingly elusive though a few can be traced. In Columbus George Pierce ran a record shop and studio in Bronzeville and supplied images to the Ohio Sentinel and other regional papers; in Detroit Earl Fowler's Top Hat Photo developed into a significant presence in the Black Press with Fowler later serving as chief of the Los Angeles bureau of Now! magazine. Beyond these contexts the photographs' enduring appeal lies in the human dramas unfolding across their tabletops: the conviviality style and fleeting alliances captured in a moment of collective ease. A scene from Gamby's in Baltimore is emblematic - six convivial hat-tipping men and two young women smiling through a forest of shot glasses presided over by a portrait of Fats Waller. It is warmly enigmatic yet inviting an offhand welcome extended across time. A more detailed description and full listing is available on request. Together 66 black and white gelatin silver print photographs 62 c.127 x 178 mm; 3 approximately 178 x 254 mm around 50 are in their original plain or printed souvenir folders the balance loose. Loose photos and folders with occasional wear and mild damp-staining some annotations verso of prints and to folders prints occasionally stapled into folders overall the group remains about very good. Ronald Auther "The Oakland Larks" The Shadow Ball Express: African American Baseball Renderings and other Facts of Life online; Clora Bryant et al Central Avenue Sounds; Jazz in Los Angeles 1930s-1950s 1998; Jeff Gold Sittin' In: Jazz Clubs of the 1940s and 1950s 2020; Robert Petersen "Before Motown: L.A.'s Black-owned Music Empire" PBS SoCal online. unknown
11100Used; Like New/Used; Like New. Original black and white poster ca. 1960 with hand gouache coloring by the unidentified artist signed in blue ink by Louis Armstrong probably one of the largest signatures he ever signed and almost certainly the largest signed portrait of the great Satchmo in existence! Apparently obtained at the Morris Civic Theatre in South Bend IN in 1963. In a large recent wood frame under UV-plexiglass. Some creases to the poster but really in great shape overall. About 36 x 30 inches without the frame!<br><br><br />The artwork is very likely the work of celebrated jazz illustrator David Stone Martin. His work graced many of the Verve Mercury Clef etc. covers of the 1950s and the present example though apparently not from a published album is highly reminiscent of those Martin designed for Lionel Hampton Billie Holiday Count Basie. unknown books
1947133392Prague: 1947-48 & 1952. Jazz in Cold War Czechoslovakia First and only editions of both of these short-lived fugitive publications. The complete run of Jazz offers a fascinating view of the times. A well-produced illustrated magazine that features reviews pen pictures and features on American and other western jazz performers the editorial direction changed radically following the coup d'état of 1948. The contrast between the final issue before the February 1948 putsch and the first issue afterwards reveals a complete reinterpretation of jazz Czech critic Ján Dalecký remarking that "In the introduction alone which was full of ideological terms we could see that the magazine had taken a 180 degree turn" reviews of Soviet performers began to proliferate. WorldCat locates a single run at the University of Delaware. It is doubtful that more than a handful of each issue of the 1952 journal would have been produced. Extremely uncommon no other copies traced it is impossible to say whether any more was ever produced. Highly risky samizdat published at a time when in Czechoslovakia merely singing jazz lyrics in English was against the law. Both issues heavily promote the AFN American Forces Network radio station providing the jazz schedule for upcoming week including the AFN Hit Parade programme and other western European broadcasts featuring jazz. Also includes a short story about a Czechoslovak family whose lives are utterly transformed by listening to AFN; reviews of current American jazz releases; interviews with Czech jazz musicians and reviews of local jazz-related concerts. First named 15 issues in 13 c.16 pages per issue all published quarto wire-stitched in the original medium paper pictorial wrappers; the second 2 issues octavo all published - issue 1 19 April 1952 19 pages; issue 2 3 May 1952 17 pages - carbon copy typescript the first issue wire-stitched in glossy paper wrappers with illustration to the front panel the second wire-stitched laid loosely into plain blue card wrappers. First named with illustrations to the text. Housed in a plain black cloth solander box. Both with some external wear the wrappers a little rubbed first issue of the first with light vertical crease from folding for mailing "ukazkove cislo" sample issue ink stamp to the front panel; both with pale toning to the text but overall very good. hardcover
1930168557N.p.: N.p. 1930. Large personal archive of nearly 150 photographs of various jazz blues and popular music performers nearly 50 of which are inscribed as well as a handful of personal and family photographs all belonging to jazz drummer and bandleader Nathaniel Jack Nat "Monk" McFay with the majority of photographs dating from the 1930s to the 1950s in jazz clubs in Texas Oklahoma Los Angeles San Francisco St. Louis and Hawaii.<br /> <br /> An impressive archive that is a literal survey of African-American jazz blues and popular music in the first half of the twentieth century all associated with and many inscribed to a notably loved and respected musician and bandleader<br /> <br /> Included among the nearly 150 photographs in the archive are press photographs of African-American jazz blues and popular music performers including: Louis Armstrong Louis Armstrong with Roy Eldridge and Art Tatum at Stuff's Back Stage Club Warren Bracken Buddy Banks Earl Bostic Kirtland Kirk Bradford "Stuffy" Bryant "Sister" Wynona Carr performing with McFay and Art Foxall Sidney "Big Sid" Catlett "Little" Harry Caesar The Eddie Christian Band Marie Dickerson Coker Gene Coy Tina Tixon Dorothy Donegan The Dorsey Brothers Orchestra Lorenzo Flennoy aka Flournox Troy Flloyd Viviane Greene George Jenkins Betty Hall Jones Luke Jones Lorenzo "The Hat" Manley Oscar McLollie wrestler Jim "Black Panther" Mitchell James Moody Esvan Mosby Gladys Palmer Cleo Pierce William "Frosty" Pyles Nina Russell Leslie Sheffield Fred Skinner Effie Smith Fletcher Smith C.B. Stroud Rabon Tarrant and Aaron Thibeaux "T-Bone" Walker among many others.<br /> <br /> As well as the aforementioned musicians and performers the archive also includes various photographs of McFay performing and socializing with various musicians bands and orchestras throughout his career. Also present are: a circa 1915 group schoolhouse photograph presumably including McFay or family members a 1931 photograph of the Salem Baptist Church congregation a 1949 Certificate of Award to McFay from the Bay Area Negro Business Men a "Clef Club" by-laws booklet dated 1957 and a 1986 pencil portrait of McFay artist unknown.<br /> <br /> Nathaniel Jack Nat "Monk" McFay born in Wichita Falls Texas in 1908 began his storied musical career in the early 1930s playing drums for Roderick Thomas' territory band Red Williams and Joe Brantley's Spotlight Entertainer Orchestra in Texas and Oklahoma before moving to Los Angeles in 1935. It was in Los Angeles that McFay joined Bernard Banks' ensembles Bernard Banks and His 5 Clouds of Rhythm and the Bernard Banks Sextet and with whom he made his first of many tours of Hawaii playing the Casino Ballroom in Honolulu. In 1936 McFay lead his own band at the Casa Loma Ballroom in St. Louis with which he toured Honolulu again in 1937. From 1938 to 1944 McFay played along side with among many others Leslie Sheffield Henry Coker and Harlan Leonard before rejoining Buddy Banks again in 1945. It was in 1945 that McFay made his first recordings with the Buddy Banks Sextet Marion "The Blues Woman" Abernathy and Howard McGhee and His Combo which included Charles Mingus. McFay's career continued through the 1950s and into the 1960s playing in and leading various ensembles largely in Los Angeles and Honolulu.<br /> <br /> Photographs: 11 x 14 inches 1 8 x 10 inches 97 5 x 7 to 10 x 7 inches 20 1.5 x 2 inches to 4 x 5 inches 31. Very Good to Very Good plus overall many with creasing and chipping. Eight of the above photographs mounted onto cardboard as maintained by McFay.<br /> <br /> Other materials: Very Good plus overall. N.p. unknown
28408Magnifique photographie originale argentique, en noir et blanc, de Frank Sinatra au format 26 x 21 cm. La photographie fut offerte à une fan de l'artiste et expédiée sous enveloppe d'origine, portant le tampon : Sinatra Enterprise. 4000 Warner Blvd / Burbank, California, avec cachet postal en date du 12 février 1970. Photographie enrichie d'une très belle dédicace originale autographe, au feutre bleu, de Frank Sinatra. Rarissime exemplaire en superbe état général.
1937124905Moscow: Upravlenie tsirkov V.K.I. Circus Administration 1937. Uncommon print run of just 8000 copies. An advertisement for the Soviet Little peoples' circus group the "Musical and Eccentric Group of Lilliputians" founded in late 1920s under direction of Mikhail Kachuriner 1896-1976 and continued until shortly after his death. The main accent was always on musical talent the performers having musical instruments specially made for them although the group did include performers of "normal" height. "Lilliputian Jazz"was probably the most popular of similar circus groups of the time their first programme "Cinema Jazz" was a parody of some the great stars of the silver screen; Mary Pickford Charlie Chaplin Douglas Fairbanks and the like. A striking example of the work of Mikhail Dlugach 1893-1988 prolific graphic designer and poster artist whose early career centred on the film industry joining Reklam Film the dvertising department of the Soviet film agency. A member of AKhRR The Association of the Artists of the Revolution and ORRP The Association of Revolutionary Poster Artists in the 30s he continued to work in film but diversified into agitprop and exhibition design. In 1940 he helped to design the exhibition pavilion at the All-Union Agricultural Exhibition in Moscow. During the Second World War Dlugach he was was evacuated to Ufa and worked for Okna TASS creating war propaganda. After the war he continued working as a poster designer in politics and the arts including circus promotions. In 1958 he was one of the team involved in the design and building of the Soviet pavilion at the International Exhibition in Brussels. An attractive and unusual piece much enhanced by the presence of the pictorial programme. Lithographically printed colour poster 905 x 580 mm; together with Kino-dzhaz. Odessa: 1935. 4-page "broadsheet" promotional brochure graphics and images printed in sepia letterpress in black. A few minor chips and splits professionally repaired light creases from old folds consequent whitening of the print surface but remains very good. Presented in a black wooden frame with conservation acrylic glazing; the brochure lightly browned creases from folds some edge-slits but overall very good. unknown
awd-1157Important tirage photographique en couleurs monté dans un encadrement carré en bois, ajouré en cercle au centre. Très rare épreuve, peut-être tirée pour un essai de couleurs lors de la commercialisation d’une affiche en 1969. Mentions Mati Klarwein, Grain of Sand, Robert Crandall Assoc., 1968 sur le côté avec échelles chromatiques, petits manques de pigmentation dans la partie basse (111,5/117,2 cm dans un cadre de 122/122 cm).
687145Au Siège - Pierre Nourry Paris 1935-1967 TETE DE COLLECTION "JAZZ HOT". 264 numéros de cette revue in-4 ( 270 X 210 mm ) d'environ 24 pages par numéro. Très importante collection de cette revue doyenne mondiale des revues de Jazz encore en activité. Innombrables illustrations. Nous proposons l'INTEGRALITE DES NUMEROS D'AVANT GUERRE du numéro 1 de 1935 au numéro 32 de 1939. Première série rarissime. + la nouvelle série du numéro 1 de 1945 au numéro 237 de 1967. Il manque à cette collection les années 1960 et 1961 ( soit 8 numéros ) et le numéro 200. Les numéros spéciaux sont présents ( voir détail à la suite ). A noter de nombreuses contributions ( articles et revues de presse ) de Boris VIAN. A part quelques numéros abimés ( voir détail à la suite ), cette collection est en bonne condition.************************************************************- 32 premiers numéros de 1935 à 1939. - 1935 N° 1 à n° 6. ( Duke Ellington, Lucky Millinder, Léon Vauchant, Benni Goodman ). Couvertures effrangées avec petits manques, papier collant sur les dos. Le numéro 1 a des coupures de presse collées sur les 2 premiers feuillets.- 1936 n° 7 à n° 13 ( Amstrong, Redman, Ekyan, Milton Mezz Mesinow ). Le numéro 9 a les plats détachés ( mais présents ) papier collant sur le dos du N°12, second plat absent. - 1937 n° 14 à 21 ( Earl Hines, Philippe Brun, Teagarden Sullivan, Hill, Reinhardt, Wells, Lunceford ). Papier collant sur le dos du N°20.- 1938 n° 22 à 28 ( Newton, Combelle, Mary Lou Williams, Grappelly, Webb, Coleman, Bechet ). Petits trous de brochage du numéro 23 au numéro 28.- 1939 n° 29 à 32 ( Jess Stacy, Basie, Stewart, Ladnier ). Petits trous de brochage sur les numéros 29 à 32 papier collant au dos du numéro 32.Cette première série est publiée bilingue français-anglais. ************************************************************- Nouvelle série 1945 à 1967. - 1945 n° 1 à 3 ( Ellington, Reinhardt, Amstrong ). - 1946 n° 4 à 11 ( Grappelly, Hodges, Brun, Basie, Ekyan, Combelle, Stewart, Gillepsie ). - 1947 n° 12 à 18 ( Hubert Rostaing, Michel Warlop ). - 1948 n° 19 à 28 ( Festival Nice . ) - 1949 n° 29 à 39. - 1950 n° 40 à 50 ( Spécial 1935-1950, Ellington, Salon international ). - 1951 n° 51 à 61. - 1952 n° 62 à 72. - 1953 n° 73 à 83. - 1954 n° 84 à 94 ( Salons. ) - 1955 n° 95 à 105 ( Amstrong, Roy Eldridge ). - 1956 n° 106 à 116 ( Dizzi Gillepsie. ). - 1957 n° 117 à 127 ( Miles Davis, Mitt Jackson, Erroll Garner, Coleman Hawkins, J.J. Johnson, Ellington, etc. ). - 1958 n° 128 à 138 ( Don Byes, Festival de Cannes et Knokke, Sarah Vaughan, Ellington ). - 1959 n° 139 à 142 ( Lee Morgan, Sonny Rollins, Silver, Lester Young ). - 1962 n° 172 à 182 ( Coltran, Freddie Hubbard, Curts Fuller, Nouvelle Orléans, Jazz et Siné, Ray Charles, Festival Juan, Comblain, Rollins, Coltrane, King Oliver ). - 1963 n° 183 à 193 ( Cannon Ball Adderley, Thelonious Monk, Jaspar, Jeanking, Miles et Gréco, Smith, Kirk ). - 1964 n° 194 à 204 ( Lucien Nelson, Boris Vian, Mister T, Charlie Mingus, Fitzgerald, Mimi Perrin, Dave Brubeck, Arvanitas, Johny Griffin ). Manque n° 200. - 1965 n° 205 à 215 ( John Lee Hocker, Amstrong, Evans, Montgomery, Thomas ) Attention Manque n° 207. - 1966 n° 216 à 226 ( Cecil Taylor, Mc Coy Tyner, Don Cherry, James Brown, Ravi Shankar, Earl Hines, Ellington, MJR, Harlem ). - 1967 n° 227 à 237 ( S. Rollins et Sartre, Taylor, Don Cherry à Notre Dame, Max Roach, Abbey Lincoln, Coltrane, Spécial Boris Vian ). - + Numéro spécial Nouvel an 1948 / Numéro spécial 1949 / Numéro spécial 1950 / 1 double Juillet-Août 1958.
19584535Editions Le Livre Contemporain 1958. In-12 broché de 216 pages au format 18,5 x 12 cm. Superbe couverture illustrée par Piem. Dos carré insolé avec deux légères traces de pliure. Plats légèrement brunis avec infimes frottis aux coins. Intérieur frais. Exemplaire non coupé, imprimé sur beau papier ( alfa d'édition ). Complet de la rare et amusante bande annonce, ainsi que de la double feuille avec esquisse d’une classification des chansons. Edition originale en superbe état. Peu courant. Précieux et rarissime exemplaire enrichi d'une dédicace autographe, signée, de Boris Vian au peintre Surréaliste Maurice Rapin. Provenance idéale.
12210Bruxelles: Sélection, 1921. In-4, 45-(3) pp., broché (couverture restaurée). 4to, 45-(3) p., softcover (restored cover).
19533267Paris, Pierre Lecuire éditeur, 1953. Un volume in-8 (25,2 x 16,5 cm) en feuilles, 108 p., couverture rempliée illustrée d'une lithographie. - Édition originale du premier livre de Pierre Lecuire, né de la collaboration du poète avec Nicolas de STAËL (1914-1955) qui composa pour l’occasion : - UNE GRANDE LITHOGRAPHIE EN COULEURS SUR UN FEUILLET REMPLIÉ SERVANT DE COUVERTURE. - DEUX BURINS ORIGINAUX À PLEINE PAGE, l'un introduisant la lecture de l'ouvrage et l'autre le refermant. - L'exemplaire est enrichi et personnalisé par une belle lettre de Lecuire et un envoi autographe signé au justificatif à Raymond Schawb. - Note historique et bibliographique : à sa parution l'ouvrage constituait le texte le plus important qui ait été écrit sur la peinture de Nicolas de Staël. - Tirage à 210 exemplaires signés par l’auteur à la justification, celui-ci faisant partie des 190 sur vélin d’Arches (n°139, dédicacé). - ENGLISH (Short description): In-8 (25.2 x 16.5 cm.), in loose sheets as published, printed wrappers with an original colour lithograph and two original burins by Nicolas de Staël. No.129, one of 190 copies on Vélin d'Arches from a total edition of 200, here with an ink autograph dedication and an autograph letter by the author. Mint condition, perfect, very scarce condition.
1928173491Austria: 1928-33. Girljazzband" wows 1920s Austria A delightful Jazz Age scrapbook that doubles as liber amicorum and guest book assembled by the pianist and singer Anny Gloss recording in part her career with the Ninon Fleuron Jazz Ladies opening a window into the experiences of European women in jazz during the music's formative years. The first set of newspaper clippings record that in 1928 Gloss was teamed with the American "Jazz Queen" Elsie Teele at the "charming and elegant" Viennese bar the Bonbonnière with Teele billed as "the female Whiteman" - she gave the Austrian premier of Gershwin's Rhapsody in Blue in 1927. Much of the album is then devoted to Gloss's experiences at Hotel Radetzky in Hinterbrühl Lower Austria where she performed as part of the Ninon Fleuron Jazz Ladies. At the time the other members of the band were the eponymous Ninon Fleuron drums pseudonym of Rosa Sophie Radio 1899-1974 Mariska Gerö violin and Gretl Heller piano. One advert mentions them "Singing the Latest American Song-hits" while a newspaper clipping praises their "rendering of classical music". The album contains numerous messages sometimes addressed to her directly from friends audience members and well-wishers. While most of these are in German some are in English "Your music makes me feel 10 years younger". The Ninon Fleuron Jazz Ladies which had various personnel came to an abrupt end with Hitler's invasion of Austria in 1938. Gloss also performed under the name Anni Hölzl as demonstrated by the cast list for a 1931 performance of Der Kärntner Totentanz and the programme for a concert in which she had a soprano solo 1933. Octavo 241 x 190 mm ff. 60 final 20 ff. blank. Contents generally on rectos only numerous items of ephemera pasted in including c.20 newspaper clippings 15 original silver gelatin photographs of which two are signed by Ninon Fleuron messages and autographs in various hands one watercolour sketch of the Karlskirche Vienna one concert programme loosely enclosed. Original patterned cloth covers light orange endpapers. Binding just slightly shaken otherwise in excellent condition. hardcover
1960172596Paris: Michel Salou 1960. Superb images of the Messengers live in Paris An outstanding series of "in the moment" images showing one of the great Messengers lineups captured in Paris probably at the Olympia in 1960. The lineup comprises Blakey drums Wayne Shorter tenor sax Lee Morgan trumpet Bobby Timmons piano and Jymie Merrit bass. Blakey 1919-1920 was a master percussionist and the Jazz Messengers which he led for over 30 years was "the most famous academy in jazz" Cook & Morton. Wayne Shorter was relatively new to the band and his playing lent a "dark corrosive edge" to the front line while on ballads his tone became "softly beseeching". Lee Morgan "arguably the defining figure of hard bop" had been with Blakey since 1958. The photographer Michel Salou worked as a music executive producing albums by among others Sun Ra Live in Paris: At the "Gibus" 1973 the Mal Waldron Trio Ursula 1978 and the French pianists George Arvanitas and Rene Urtreger. He also appears in the annals of the Art Ensemble of Chicago as their "first booking agent. who helped them secure concert dates across France and elsewhere in Europe" Steinbeck p. 130. His excellent work as a lensman appears to have gone virtually unnoticed except that the National Portrait Gallery holds a single print of Ray Charles in performance. Eight original carbon print photographs 240 x 180 mm 6 landscape 2 portrait printed on heavy stock paper verso with Salou's identifying note in pencil. In excellent condition. Richard Cook & Brian Morton The Penguin Guide to Jazz Recordings eighth ed. 2006; Paul Steinbeck Message to Our Folks: The Art Ensemble of Chicago 2017. unknown
1950137205Late 1950s - early 70s. Excellent group of UK tour programmes for a constellation of jazz greats: Armstrong 2 Basie 8 Bechet Brubeck 2 Nat King Cole Eddie Condon Sammy Davis Jr. 2 Tommy Dorsey Ellington 4 Errol Garner 3 Lionel Hampton Ella Fitzgerald and Oscar Peterson Woody Herman Harry James JATP 4 Newport Jazz Festival Glen Miller Earl Hines and Jack Teagarden Bal du Moulin Rouge. 36 programmes quarto. Illustrated throughout. Original pictorial wrappers wire-stitched as issued. Overall in excellent condition. unknown
1927144081927 P., 1927-1929, 25 revues reliées en 1 vol. in-4° (315 x 240 mm) 1/2 basane beige, dos à 5 nerfs, titre et fleurons dorés, plats de papier marbré.Petite épidermure au dos due à une ancienne étiquette, manque certaines 4e de couvertures, très bel exemplaire par ailleurs.
Signed and inscribed by Oscar Peterson upon front free endpaper.. 294 pages. "For the millions who know and love the music of Oscar Peterson, here's the definitive biography by his friend and former Down Beat editor, Gene Lees." - from dust jacket. Black and white photographic plates. Clean and bright with negligible wear. Occasional underlining in blue ink. Dust jacket preserved in brodart. A lovely copy signed by the hand of one of the greatest pianists the world has ever known. Book
1962172605Paris: Michel Salou 1962. The band's expanded voicings added orchestral sonority to rhythmic power An evocative sequence: one focusing on Blakey at the kit a particularly luminous shot another showing the front men playing percussion two of Freddie Hubbard soloing one of Curtis Fuller and another of Cedar Walton. Blakey 1919-1920 was a master percussionist and the Jazz Messengers which he led for over 30 years was "the most famous academy in jazz" Cook & Morton. The lineup here is Blakey drums Wayne Shorter tenor sax Freddie Hubbard trumpet Curtis Fuller trombone Cedar Walton piano and Jymie Merritt bass. When Lee Morgan left the band Blakey brought in Hubbard and Fuller with Cedar Walton coming in for Bobby Timmons. The new agglomeration formed perhaps "the most adventurous of Messenger lineups. The band's expanded voicings added orchestral sonority to rhythmic power". The photographer Michel Salou worked as a music executive producing albums by among others Sun Ra Live in Paris at the "Gibus" 1973 the Mal Waldron Trio Ursula 1978 and the French pianists George Arvanitas and Rene Urtreger. He also appears in the annals of the Art Ensemble of Chicago as their "first booking agent. who helped them secure concert dates across France and elsewhere in Europe" Steinbeck p. 130. His excellent work as a lensman appears to have gone virtually unnoticed except that the National Portrait Gallery holds a single print of Ray Charles in performance. Six original carbon print photographs 240 x 180 mm printed on heavy stock paper inscribed on versos in blue ballpoint: "clichés Michel Salou". In excellent condition. Paul Steinbeck Message to Our Folks: The Art Ensemble of Chicago 2017. unknown
1960149122Chicago: Hugh Hefner c.1960s. Lay back and think of Ellington A trio of discs cut specially for Playboy founder Hugh Hefner comprising two recordings by Duke Ellington "Mood Indigo" and "Sophisticated Lady" and one by Artie Shaw "Begin the Beguine". Each label printed in pink: "Custom Pressed by Jukeboxes Unlimited for Hugh M. Hefner" and bearing Playboy's rabbit logo and typed identification. "Hugh Hefner's initial exposure to music and especially to jazz like that of most people was through vinyl recordings and he's always been a record collector" Farmer p. 71. He was also the owner of a magnificent 1946 Wurlitzer 1015 jukebox see his sale at Julien's Auctions 30 November 2018. That lot was offered with 24 "original" 78rpm recordings by a group of artists including Artie Shaw Frank Sinatra Lena Horne and Harry James. Whether these discs were specially cut as here we have not been able to ascertain. What is certain however is the Playboy kingpin's love of jazz. "In this invented lifestyle for the modern age Hef decided that jazz was the go-to soundtrack. Jazz was the hippest music around and had been for decades. Playboy championed jazz at a time when most music critics were looking in all the wrong places for a truly American art form. Even the most forward-thinking composers of the era the Aaron Coplands and their ilk were still just building upon the European tradition. Jazz was bursting at the seams of the staid and academic classical world ripe with musical development rivalling the greatest of the old European masters. In 1957 Playboy produced a two-record set of their Jazz All-Star series featuring performers from Pops to Frank Sinatra to Dave Brubeck. They produced a second edition in 1958 and a third in 1959. Hefner then held the first Playboy Jazz Festival at Chicago Stadium in 1959" Jeff Fitzgerald at allaboutjazz website 28 September 2017. As a coda the jazz-soaked "Playboy's Theme" written and performed by Cy Coleman was the signature tune of the regular late night TV show Playboy's Penthouse. 3 aluminium-cored one-sided 10 inch acetate discs each with original label both Ellington discs with additional drive-pin hole; original plain paper sleeves annotated in ink possibly in Hefner's hand. Sleeves rather brittle torn and chipped with some loss but just about intact; a few abrasions and finger marks to discs. Patty Farmer and Will Friedwald Playboy Swings!: How Hugh Hefner and Playboy Changed the Face of Music 2015. unknown
1937171091Paris: c.1937. Jazz à la parisienne From the collection of Rolling Stones drummer and jazz aficionado Charlie Watts with his posthumous bookplate: a delightful and highly unusual illustrated "prospectus" of the requisites for running a successful bar in Paris in the late 1930s. First and foremost you'll need "un très bon pianiste nêgre" along with "2 barmaids" and of course "2 ou 3 nêgresses à laisser vagabonder dans le bar". There then follow three pages that offer pen portraits of various artists that you might like to include on the bill along with their contact details. These include "acteurs animant la soirée ou la nuit": character actor and singer Yves Deniaud 1901-1959 Neapolitan sinti jazz guitarist Henri Crolla 1920-1960 "a travaillé avec Djingo Rainart sic du Hot-club de France" "Trois Jeunes - chanteurs s'accompagnant à la guitare et à la flute" including another well-known actor Guy Decomble 1910-1964 and the photographer Pierre Jamet 1910-2000 a close friend of Robert Doisneau and Willy Ronis. The flamboyant impresario Henri Leduc winds up the volume described as a "personnage comique indispensable à l'atmosphere d'un bar". After the Liberation Leduc a native of Montmartre set up Le Bar Vert on the rue Jacob "the first café-restaurant to play American music" Cowan & Steward p. 234. Our unidentified artist concludes by remarking "We can find for you absolutely everything that you could possibly need elephants - naked ladies - non naked ladies - a 'bus - &c. &c. - whales". Quarto. Five pages of original artwork in pencil crayon and pastel with accompanying text. Commercial sketchbook by L. Bourdillon original blue card wrappers. Variably sunning to wrappers which show lght signs of handling contents toned pale tidemark to edges of leaves front blank professionally restored at the corners but overall very good. Alexander Cowan & Jill Steward eds. The City and the Senses: Urban Culture Since 1500 2007. unknown
192062329Portland OR Spokane WA San Francisco CA & Seaside OR: Lyle E. Lewis Dance Orchestra ca. 1920-1944. Eight vols. 1st - 4to. 48 pp unpaginated. on thick black paper w/ 100’s of pieces of ephemera mounted and laid-in including 7 silver gelatin photographs sized from 5 x 7 in. up to 8 x 10 in. many different TLS and ALS most on stationery letterhead for assorted hotels KGW Radio and others many newspaper clippings tickets promotional brochures advertising cards dance tickets along with a spoof printed “Wanted†notice for Ted Mullen alias Sourdough Sullen with $ 500 million reward offered and large double-page advertising broadside on yellow-gold tinged thick paper stock at rear for gig in Astoria OR under the auspices of the Co. L 186th Infantry Oregon National Guard. Contemporary pebbled black boards punch-sewn at gutter margin chipping edgewear still VG- exemplar; 2nd - 4to. 92 pp unpaginated w/ majority of leaves on ruled paper including 18 leaves of mylar sleeves featuring the majority of the 23 silver gelatin photographs most sized 8 x 10 in. photographer’s imprints on versos remainder w/ clippings promotional announcements tickets broadsides ALS & TLS documents throughout along with a long radio program script. Contemporary 2-ring blue cloth binder rounded corners some edgewear rubbing still VG; 3rd-7th - 16mo. Five daily diaries Approx. 700 pp unpaginated. w/ approx. 4000 words manuscript annotations in ink & pencil throughout featuring some laid-in miniature photos receipts business cards including 1 photographic souvenir business card for Cole McElroy’s Dance Band and Cole McElroy’s Spanish Ballroom 1 tiny postage stamp photo of Lewis at his bungalow in Seaside all bound in cloth some wear still VG grouping; 8th - 12mo. Approx. 150 pp unpaginated. of ruled paper mostly typescript ink & pencil manuscript some ruling throughout annotations & checkmarks last 4th or so blank. Flexible black cloth 6-ring binder business card for Lewis as Commercial Agent for ACME Fast Freight taped in on front pastedown 3 blank routing order forms in red & black some scuffing edgewear still VG all from the library of Genevieve Martha Lewis Levin 1911-1994. This unusually well-preserved archive of a Roaring 20’s Jazz Orchestra musician and Band Leader in the Pacific Northwest reveals the exuberance and business success of this largely forgotten artist through his successful years before foundering during the Great Depression. Both scrapbooks open with clippings thank you and recommendation letters as well as dance broadsides and photographs during 1926 at the height of Lyle Lewis’s orchestra appreciation. Testimonials include B.J. Saad who owned the Garden Dancing Palace and stated “I have taken the Garden which is second to no other ballroom west of Chicago. That is why I have secured Lyle Lewis recognized as one of the best orchestra leaders on the Coast.†C.W. Craig of Lipman Wolfe & Co. department store extolls that Jazz music dance held at the Multnomah Hotel March 16 1926 that “I don’t think we have ever enjoyed better or more up to date dance music than that furnished by your splendid aggregation.†Broadsides and notices advertise the Lewis Jazz Orchestra playing the Grand Ball Room at the Masonic Temple Congress Hotel leading McElroy’s Oregonians at the McElroy’s Spanish Ballroom the Dessert Hotel Oasis near Spokane parties for Studebaker and more. One of the mounted letters includes a rather sad severance letter signed by Cole McElroy explaining the circumstances of Lyle Lewis’s leaving stating “I realise that you were a victim of circumstances. On account of the fact that you had a fine band organized. . . certain music masters of the theatre jobs saw fit to take your men away from you thereby breaking up your fine band and forcing me to make a deal for another organization.†McElroy 1888-1947 was known as “Pop†McElroy was a popular band leader who during the years before World War I and after played the Palm Gardens often and had great success in his McElroy Spanish Ballroom which opened in 1926 and then opened another Seattle McElroy Ballroom in 1928. Several TLS on letterheads include those for KXL Radio station KGW Radio Station and the KOIN Studio Director for The Portland News which played three nights a week on air for over six months. The many photographs capture the Lyle Lewis band joking around with their instruments on the road fully arrayed on stage in the Radio Station posing at various venues stages and even one as late as 1939 conducting the Lyle E. Lewis Dance Orchestra. The band included Cluet Mansfield formerly with Henry Halsted band William Webber on drums Eddie Scroggins & Frank Champion as sax players G. Berardinelli on Bass and also played dances at the Irvington Club Multnomah Athletic Club and for a while with the historic Congress Hotel in Portland which had been the City’s first reinforced concrete building erected during the Progressive Era and by 1924 expanded to 119 rooms with vibrant Jazz ballroom. The daily diaries for 1929 and 1930 show that Lewis regularly played at the Cotillion Hall now the Crystal Ballroom initially at $ 7.00 per night in 1929 and then steadily dropping to less than half by 1933. He writes about traveling for a gig in San Francisco with Mansfield in 1929 leaving Tuesday and arriving Wednesday Sept. 18 1929 driving 40 mph and getting 19 miles to the gallon with a drive made in 19 hours and 15 minutes. He played extensively at the Bungalow Club in Seaside OR which had opened originally June 19 1920 and for more than 25 years was the destination for the biggest names in the Big Band Jazz era including Lyle E. Lewis Cole McElroy Duke Ellington Bob Crosby Glenn Miller and tragically became connected with the death of Jimmie Lunceford who died from a heart attack just before playing his last set at the Bungalow after playing McElroy’s Ballroom in Portland 2 nights before. Lewis 1890-1948 was a popular Portland Oregon based jazz band & orchestra leader who managed to lie about his age and enlist at 15 in the Oregon National Guard Co. G 3rd Battalion served for three years and in May 1910 married Genevieve Franklin while working as salesman and musician before World War I Following the War he quickly became a successful band leader including successful stints with the Cole McElroy Spanish Ballroom Congress Hotel Multnomah Hotel Bungalow Garden Ballroom as well as the Coronado Hotel in California. As indicated by the daily diaries he maintained a fairly close relationship with his daughter Genevieve “Martha†but became largely estranged from his wife Genevieve living in separate rooming houses or hotels. Still in her position as a sales manager she managed to convince Meier & Frank to hire him as their house band for store functions and the restaurant while during the Great Depression he mostly worked for the US Forest Service mapping division while his show business largely disappeared. By 1943 he became the commercial agent for ACME Fast Freight where he worked as commercial agent until his death. This cataloguer could find no surviving recorded discography record for Lyle E. Lewis and his assorted incarnations although there are a few recordings for the Cole McElroy Band from 1926-1928 which most likely would have included him as band leader and musician. Lyle E. Lewis, Dance Orchestra, hardcover
1960CAT206New York et al. 1960. Five 8 x 10 and two 5 x 7 inch gelatin silver prints with Bradley's estate marks to versos. Excellent. Jack Bradley was a Cape Cod native who after graduating from the Massachusetts Maritime Academy fell in love with Jazz after seeing Louis Armstrong perform at the Boston Armory in 1956. In 1958 he moved to New York from Cape Cod and began dating Jeann Failows a member of Louis Armstrong's inner circle. Through Failows Bradley gained access to Armstrong eventually becoming very close friends with the trumpeter and his inner circle. Bradley already had amassed a large collection of jazz material much related to Armstrong and he augmented his own collection by photographing Armstrong and his Jazz circle for the next decade. The bulk of Bradley's collection now resides at the Louis Armstrong House Museum in Queens. <br /> <br /> This collection is of seven photographs of jazz musicians from Bradley's estate showing a wonderful window into the tail end of the Classic Jazz era. <br /> <br /> Photographs as follows:<br /> <br /> Willie Cook. 5 x 7 inches. A portrait of Cook seated. Excellent condition. <br /> <br /> Count Basie and Duke Ellington. 5 x 7 inches. The two jazz greats are seated at their respective pianos during rehearsal. Excellent condition.<br /> <br /> Duke Ellington's Empty Bandstand. 8 x 10 inches. The horns chairs and sheet music are laid out. Very good condition with some toning to margins and a faint scratch at outer edge of image. <br /> <br /> Duke Ellington Conducting his Band. 8 x 10 inches. Excellent condition. <br /> <br /> Ella Fitzgerald at the Apollo Theatre New York c. 1959. 8 x 10 inches. Excellent Condition.<br /> <br /> Count Basie Seated at a Table Smoking a Cigar. 8 x 10 inches. Excellent condition. <br /> <br /> Pee Wee russell Painting at his New York Apartment c. 1966. Good condition marginal tear affecting ½ inch of image. <br /> <br /> Overall a nice group and an example of a photographer whose work is not often available on the market. unknown books
1921bf4868Editions Sélection, Bruxelles Sélection Abraxas-libris Broché 1921 MAGNIFIQUES POCHOIRS TRES EXPRESSIFS ET MAGNIFIQUEMENT COLORES DE GEO NAVEZ. Miousic. Sept poèmes à la louange de la musique baroque. Bruxelles, Editions Sélection. 1921. In-4 (23,4 x 32,5 cm), broché, 45 pages, édition limitée à 132 exemplaires, un des 100 exemplaires sur papier de Hollande, van Gelder Zonen (ici le n°40), orné de sept dessins rehaussés au pochoir par Géo Navez (peintre belge, 1890-1975). L'auteur, Paul-Gustave van Hecke (1887-1967), entre autres critique, marchand et collectionneur d'art à la pointe de toutes les avant-gardes tant au plan esthétique qu'idéologique, s'est fait le promoteur de l'expressionisme belge et international, mais aussi du dadaïsme et du surréalisme, Cet ouvrage est considéré comme l'un des plus anciens livres illustrés abordant le jazz ; excellent état. Livraison a domicile (La Poste) ou en Mondial Relay sur simple demande.
1954128140Couverture souple. 74 revues de 32 pages. Le N° 2 est manquant.
