142 résultats
1949List3677New York City: Edwards Music Co. and others 1949. Ten pieces of sheet music see full inventory below. Overall Near Fine. A representative group of sheet music publications by Willie “The Lion†Smith one of the defining architects of Harlem stride piano and a central transitional figure between ragtime-era keyboard traditions and modern jazz performance. Active in New York during the formative decades of twentieth-century jazz Smith developed a powerful pianistic approach combining rhythmic authority harmonic sophistication and improvisational independence becoming widely regarded as a “musician’s musician†and an influential mentor to figures including Duke Ellington.1<br /> <br /> Emerging from the uptown New York scene shaped by pianists such as James P. Johnson and Luckey Roberts Smith helped define the stride style that grew from ragtime into a more expansive jazz idiom frequently performing at Harlem rent parties and participating in competitive “cutting contests†that tested virtuosity and improvisational skill. Smith also published sheet music producing piano solos novelty songs and popular compositions. Offered here are ten pieces reflecting the breadth of his printed output including collaborative songs and published folios issued by firms such as Leo Feist Edwards Music Co. Mills Music and Joe Davis. In his 1964 memoir Smith recalled hearing in everyday life “another weird but musical sound… that I can still hear in my head.â€2<br /> <br /> Uncommon on the market we find only four first edition copies of Smith sheets available at the time of writing with most of these not available. <br /> <br /> Titles include:<br /> <br /> “Between Sharps and Flats An Unusual Piano Soloâ€. Willie Lion Smith. New York: Edwards Music Co New York 1949. 5 pp. Fine condition. <br /> <br /> “Curfew Time in Harlem Novelty Songâ€. Willie The Lion Smith and Neil Laurence. New York: Joe Davis Inc New York 1938. 3 pp. Near fine with minimal wear. <br /> <br /> “Echo of Springâ€. Willie The Lion Smith. New York: Leo Feist Inc New York 1946. 6 pp. Fine condition. <br /> <br /> “How Could You Put Me Down†Willie The Lion Smith with James P. Johnson and Mitchell Parish. New York: Mills Music Inc 1945. 5 pp. Fine condition. <br /> <br /> “Karnival on the Keys A Modern Piano Fantasyâ€. Willie Lion Smith. New York: Edwards Music Co New York 1945. 5 pp. Fine condition. <br /> <br /> “Let’s Go Joeâ€. Cab Calloway Willie Lion Smith and Jack Palmer. New York: Rytvoc Inc 1942. 3 pp. Fine condition. <br /> <br /> “Let’s Mop It Mop! Mop!â€. Jack Edwards Fred Norman and Willie Lion Smith. New York: Edwards Music Co 1942. 3 pp. Fine condition. <br /> <br /> “Modern Piano Solos†folio. Willie The Lion Smith. New York: Leo Feist Inc 1939. 26 pp. Very good plus with a small chip to front wrap. <br /> <br /> “Rippling Watersâ€. Willie The Lion Smith. New York: Leo Feist Inc New York 1939. 5 pp. Fine condition. <br /> <br /> “Sneak Away Piano Soloâ€. Willie The Lion Smith. New York: Mills Music Inc 1937. 5 pp. Fine condition.<br /> <br /> 1 “Willie ‘The Lion’ Smith: Stride Piano Master†NPR’s ‘Jazz Profiles’ June 11 2008 https://www.npr.org/2008/06/11/91365108/willie-the-lion-smith-stride-piano-master.<br /> 2 Willie Smith Music on My Mind: The Memoirs of an American Pianist Doubleday: 1964. Edwards Music Co. and others unknown
1938List3674New York City 1938. Small folio 12 x 9 inches 16 unnumbered pages. Signed boldly by Calloway on the front cover above the leg of the dancer in the illustration. Near Fine. An illustrated program for the Cotton Club from 1937/1938 with photographs of Cab Calloway the Nicholas Brothers and Mae Johnson in addition to information about the Club’s fifth edition of their Cotton Club Parade though this is a larger program. This copy documents the Midtown Manhattan iteration of the Cotton Club which moved from Harlem to Broadway and 48th Street in 1936 after the Harlem location closed following the Harlem riot of 1935. The new venue attempted to reproduce the earlier club’s formula of elaborate revues combining jazz orchestras chorus lines and specialty dancers in large-scale stage productions such as the Cotton Club Parade. While the performers remained overwhelmingly African American—including Calloway’s orchestra and many of the dancers—the audience at the club continued to be largely white reflecting the segregated entertainment culture of the period. This arrangement had long been criticized by Harlem writers and intellectuals; Langston Hughes writing during the Harlem Renaissance famously described the Cotton Club as a “Jim Crow club for gangsters and monied whitesâ€1 objecting to the racial restrictions placed on patrons even as Black musicians and dancers provided the entertainment. The Midtown Cotton Club continued presenting revues and broadcasts through the late 1930s but ultimately closed in 1940 bringing an end to one of the most famous nightclubs associated with the Harlem Renaissance and the swing era.<br /> <br /> Not in OCLC though see 951748496 for a shorter four page program for the fifth edition of the Cotton Club Parade published in 1938 and held at East Carolina University.<br /> <br /> 1 Langston Hughes “When the Negro was in Vogue†in The Big Sea Alfred A. Knopf 1940. unknown
1930313Mexico City: Tacos Jazz Band 1930. <p dir="ltr">10" x 8" black and white photograph with matting 7.25" x 5" photograph alone; includes signatures of all band members on verso. The band name is likely "Tacos Jazz Band" – this is a rare and potentially only photo of this band as confirmed by a foremost Mexican jazz historian who also assisted with the name transcriptions “the photo is unique.†Inscription on the back in Spanish language translated to English: "For our dear and fine friend Mr. Eduardo M. as a loving memory of the Gorcos Jazz Band. México June 12-1926 / Roberto G. F. piano / Leopoldo Zavala saxophone / Juan Concha B. trumpet / Fernando Vazquez banjo / Pedro Plata violÃn / José G. Manrique drums" Photograph is slightly smudged; matting slightly creased and smudged. </p> . [Tacos Jazz Band] unknown
1937206792Philadelphia: Pi Xi Fraternity 1937. Small stain at edge otherwise fine and fresh. Double sided handbill 6 x 9 in. printed on both sides. Original advertising handbill promoting the event at Philadelphia's Alcazar Ballroom Friday April 30th 1937. A colorful flyer featuring the caricature picture of the drummer-bandleader clad in a red tuxedo and swinging his sticks against a backdrop of flying musical notes. On the verso is "An Open Letter to the Dance Lovers of this City" touting the group as "America's Greatest Rhythm Band." After winning first prize at the famed Apollo Theatre's Amateur Night in 1934 at the age of seventeen Ella Fitzgerald was soon introduced to Webb and joined his band the following year. By 1937 she had become a mainstay of the group with her name being prominently highlighted in promotions. After Webb's early death in 1939 she carried on as leader of the band. An excellent evocation of the height of the Swing Era. Pi Xi Fraternity unknown
1930List2913Omaha Nebraska: The Metropolitan Press 1930. 14 x 21 ½ inch poster. Worn with marginal damage; very good plus. Nat Towles 1905–1963 was a jazz musician and bandleader from New Orleans. His band first called Nat Towles’ Creole Harmony Kings was a renowned territory band in Texas Oklahoma Kansas and Nebraska. They would later have residences in Omaha and Chicago and tour New York City. Offered here is a poster for the Nat Towles Orchestra at the Trianon Ballroom in Croweburg Kansas likely from the 1930s given the location and band name. Croweburg was a coal mining town—and a sundown town until 1912.1<br /> <br /> 1 “A.P.Roundtree Esq.†The Kansas Baptist Herald May 20 1912 1. The Metropolitan Press unknown
192645424Amherst MA: Samuel T. Dana & Harriet Dana 1926. Six volumes. 4to. 32; 38; 38; 27; 37; 34 leaves; an additional 16 leaves in manuscript in 3 of the albums written by Harriet Dana at age 10. Approx. 300 real photos of Harriet & George Ruth Dana Samuel Dana many street scenes numerous large studio photos tipped-in of sights in Rome Florence Dresden and other areas. Over 450 black & white tipped-in photo postcards many of them real photo postcards a few gold-tone photo postcards; approx. 75 tipped-in colour postcards; two letters of introduction from Yale University Secretary Robert Maynard Hutchins letter of introduction from U.S. Secretary of Agriculture William Marion Jardine who served under Presidents Coolidge and Hoover; printed invitations to the Congress World Forestry Congress credentials numerous programs to operas and theaters in European cities; menus to the S.S. President Harding; Menus for the S/Y Meteor; menus for the conferences; Children’s Tea Menu for the S.S. President Harding; Passenger lists for the United States Lines President Harding; tourist maps pictorial maps manuscript annotations and more. Uniformly bound in pebbled black cloth two-ring binders 1 of them with SS President Harding ribbon stretched around the binding wear & rubbing to the corners bumping to the spines a couple of the binders with hinges starting many of the leaves with wear and some loose at the gutter margin still a remarkable archive. An incredible Jazz Age archive of travel photos ephemera and documents assembled by Samuel T. Dana and his daughter Harriet during the family’s five month trip through Europe for the First World Forestry Congress held in Rome Italy. The albums are filled with documentation and souvenirs from their grand tour through Europe. Included are photos of the participants in the World Forestry conference two of them are of Dana’s subcommittee at the meeting many of the registration credentials letters of introduction as well as invitations to meetings and parties associated with the conference. The Dana family had an audience with the Pope in Rome saw Benito Mussolini visited the major sights of Venice with pictures of young George Dana feeding the pigeons in the Plaza in front of St. Mark’s Cathedral. They attended Verdi’s opera La Traviata featuring the soprano Violetta Valery. From there they traveled through France Switzerland Austria Czechoslovakia Germany Denmark Norway Sweden and Finland. They have included their brochures for visiting assorted museums folk festivals operas in Munich historical sights in Prague the beautiful city of Dresden tramped through all parts of Paris voyaged on the S/Y Meteor of the Norwegian Steamship Lines through Sweden Finland and Norway with the special treat of including their menus for breakfasts lunches dinners and children’s teas great photo of the children for the Captain’s tea on the SS President Harding. The photographs feature street scenes in assorted places views from the top of the Arc de Triomphe and the Eiffel Tower many of the people they met in their travels and more. Dana met with foresters and visited timber stands throughout northern Europe and Scandinavia.Of particular interest are the many leaves hand-written by the 10-year old Harriet Dana 1916-2011 describing the places they visited her impressions of the sights the many experiences she had as well as very charming notes from family friends tipped-in which were to be opened during their travels. She has annotated many of the postcards and photos. These albums and her impressions offer an invaluable cultural insight into travel during the Jazz Age for the well-to-do. In addition there are several leaves in manuscript written in both pencil and pen of the prices and types of souvenirs purchased throughout Europe including dolls pennants mosaics many lead soldiers a toy loom toy boat decks of cards clothing china and many different types of jewelry. Harriet Merrill Dana Carroll would later attend Swarthmore college graduate from Yale Nursing School in 1941 and eventually retire in Bethesda Maryland in 1986. Samuel Trask Dana 1883-1978 was a world renowned forestry expert who graduated from Yale in 1907 entered the U.S. Forest Service where he began groundbreaking studies in the culture of renewable white pine and paper birch forests. He established several forest experimental stations intended to further research and promote the economic value of forests. He served in World War I and from 1923 to 1927 was the director of the Northeastern Forest Experiment Station in Amherst Massachusetts where his most significant achievement was helping to organize the First World Forestry Conference. This Congress was significant because he succeeded in helping to establish an international body to compile and track forestry resources all over the world. Subsequently he became the first dean of the University of Michigan School of Natural Resources which pioneered many trends in modern forestry. He served as chairman of the U.S. Timber Conservation Board President of the Society of American Foresters was appointed in 1958 by President Eisenhower to serve on the National Outdoor Recreation Review Commission and also studied proposals to preserve California’s redwood forests. Samuel T. Dana & Harriet Dana, hardcover
192253307Beaver Dam WI: Malleable Iron Range Co. 1922-23. Three works in one. Oblong 4to. 38; 3-24; 34 pp. 35-39A leaves 39-66 i.e. 68 pp. 1st -- Colour-illustrated title in gray black orange & light blue printed and illustrated throughout with each black & white illustration of stove w/ orange & gray border; 2nd -- numerous plates in black & white black printed borders text illustrations diagrams; 3rd -- illustrated title numerous plates 5 linen-backed colour-tinted photographs w/ linen hinges text illustrations. Tan softcovers bound w/ two brass screw-posts at upper margin w/ Monarch Malleable range instructions cooking times and thermometer instructions preserved in original printed envelope laid-in minor shelfwear very minor thumbing rubbing still VG copy w/ ownership stamp of J.ohn Y. Hicks b. 1881 Malleable Iron Range sales rep who worked as railroad messenger and then machinist and salesman following World War I. First edition thus of these nicely illustrated salesman sample catalogues of Jazz Age electric stove appliances with electric cook tops insulating blocks an electric appliance plug-in on the side as well as automatic timer and temperature controls. These beautiful stoves could be purchased with enamel finish and as one oven cabinet ranges two oven cabinet ranges one oven square ranges one oven H type cabinet range with built-in kitchen heaters and more. The nicely executed colour-tinted linen-backed photographs showing Malleable stoves provide excellent contemporary visual documentation of the actual colours of the popular stoves folloowing World War I. Malleable Iron Range Company existed from 1896-1985 and at its height after World War I employed over 1200 employees producing a variety of stove and oven appliances which were coal & wood burning electric and gas. No copies located in Worldcat. Malleable Iron Range Co., paperback
192453221New York: The Charles William Stores Inc. 1924-1925. Two vols. 4to. 548 8; 518 8 pp. With numerous colour plates colour-tinted text illustrations over 1000 black & white text illustrations diagrams. Colour-illustrated softcovers minor soiling wear slight sunning front cover of vol. 1 creasing to spine; minor creasing shelfwear vol. 2 light uniform interior toning as usual still VG- set. First edition of the complete year of Jazz Age catalogues from the Charles William Stores which offered a treasure trove of everyday fashions work clothes and household and consumer goods during the Roaring 20s offering the glamour and style of New York to the rest of the country. Their fashions were intended for the average American with emphasis on the more “endowed†woman and “stout†man during the Jazz Age emphasizing chic styles and well-woven fabrics. These catalogues detail the high grade work pants riding breeches denim jeans corduroy work pants along with triple-sewed work denim overalls and coats which could be purchased as well as those made out of Wabash Stripe Stifel denim cloth noted for its durability. No copies located in Worldcat of Spring & Summer 1925; 3 copies located of Fall & Winter 1925 Henry Ford Harvard American Textile History Museum. The Charles William Stores, Inc., paperback
1924139822London: Published Privately at the Savoy 1924. First and only edition one of 1000 copies issued as a "first birthday" celebratory publication; scarce particularly so in the fragile glassine jacket. Loosely inserted in this copy is a slip printing soprano Luisa Tetrazzini's birthday wishes in green. The Savoy Orpheans were formed by former army bandmaster Debroy Somers in 1923 and were resident at the Savoy Hotel until contractual wrangles between W. F. De Mornys entertainments manager at the Savoy and the hotel company led to the orchestra disbanding on New Year's Eve 1927. During their four year tenure the Orpheans were among the cream of British dance bands and "patterned their instrumentation arrangements and classy presentations upon Whiteman's model" Baade p. 25. This attractive publication was printed at the Baynard Press which "employed highly skilled craftsmen. and printed many of London Transport's pictorial posters. the Baynard Press was amongst the largest and most technically accomplished printing firms in Britain" Science Museum. Library Hub locates only the British Library copy among British and Irish institutional libraries; WorldCat adding another copy at Rutgers University New Jersey. Square octavo pp. 16. With 3 tipped-in photogravures 2 showing the Orpheans the other the Savoy-Havana band all in situ in the Savoy Ballroom title page printed in green and pink decorative head- and tailpieces and occasional decorative sprays of notes in pink. Original white quarter cloth pink pictorial boards endpapers with musical notation in pink. With the glassine jacket Negligible rubbing to board edges faintest offsetting to endpapers; else a fine copy in the toned jacket with creasing and a couple of closed tears and chips to edges. Christina L. Baade Victory through Harmony: The BBC and Popular Music in World War II 2012. hardcover
192554342Philadelphia PA: Otto F. Schumann Philadelphia Textile School ca. 1925. Small 4to. 8.25 x 9.2 in. 75 leaves unnumbered including 32 leaves with detailed colour charts on weave formations producing various kinds of cloth 3 tipped-in textile samples together w/ weaving instructions in manuscript. Original limp leather 3-ring binder gilt lettering stamped on front cover ink lettering & association of Otto F. Schumann on front cover some soiling dustsoiling edgewear still VG exemplar. This Jazz Age weaving manuscript notebook complete with weave formation design plates fabric samples and instructions offer a remarkable and invaluable artifact of how a young American textile designer and weaver received training at the famed Philadelphia Textile School now Philadelphia University during the 1920s. These course books were judged on completeness and the aspiring weaver’s skill in presenting the details about the instruction as well as their abilities in running the machinery required to produce the cloth. This manuscript notebook includes Schumann’s detailed plates and notes on producing color effect on the plain weave creating Broken Twills Crowfoot Satins Checked & Figured Broken Twills Entwining Twills Basket Weaves and Broken Satins. The extensive manuscript notes detail the loom instructions how many lines are required composition and more in producing the assorted effects. Because of the poor quality of United States textiles exhibited at the Centennial Exhibition in 1876 the Philadelphia Textile Manufacturers pushed for a formalized vocational school to train weavers designers and textile workers. In 1884 it became part of the Pennsylvania Museum and School of Industrial Art with 81 students enrolled by 1885 and by 1894 the School of Textiles added a Department of Wool Carding & Spinning and a Department of Cloth Finishing and Design. By the 1920s the Philadelphia Textile School was offering extensive three-year textile courses chemistry and dyeing courses as well as design courses in cottons woolens worsteds silks Jacquard design and more. Schumann 1906-1967 was the son of Hugo Schumann founder and owner of the Maid Hosiery Mills in Reading PA through the opening decades of the 20th century for whom he worked with until after World War II as designer and sales executive. Otto F. Schumann, Philadelphia Textile School, hardcover
1948223231948. 1 Traill Sinclair ed. Jazz Journal issues 1948 document postwar British jazz culture as readers collectors critics and musicians rebuilt access to American jazz after wartime disruption and expanding record scarcity. Founded by Sinclair Traill in 1948 Jazz Journal became a major English-language jazz periodical; its inaugural year placed African American performers blues aesthetics revivalist debate discography and record reviews at the center of British jazz criticism. These issues support research into jazz reception in the United Kingdom transatlantic music journalism record collecting racialized cultural admiration and the postwar circulation of African American musical authority through British print culture. <br /> <br /> Jazz Journal. Volume 1 Nos. 1-3 5-6 8-9. London: J.J. Publications May-November 1948. Seven issues each approximately 12 pages in pictorial wrappers. The run includes the May June July September October and November 1948 issues with one additional issue represented by number rather than month in the supplied description and contains record reviews discographies artist profiles editorials criticism and jazz news. The premier issue opens with Traill's editorial appeal to jazz readers recalling that "Even in those far-off days between the two wars when paper was to be had for the asking and printers' costs didn't resemble a millionaire's hotel bill it was always a dubious endeavour" and closing with the hope that readers would see "a new issue of JAZZ JOURNAL on the first of each month for many years to come." Contents cited in the supplied description include "Make Way for Dixieland or Return to Sanity" a Thomas Waller discography a September 1948 appreciation of Hoagy Carmichael with signed portrait cover and Hugues Panassié's November essay "Count Basie and the Blues" which argues that "Count Basie knows how to play the blues as well as it seems possible to do so on the piano." Cover portraits include Louis Armstrong Nellie Lutcher Count Basie and Humphrey Lyttelton placing African American jazz innovators alongside British revivalist musicians within a magazine aimed at a postwar readership hungry for recordings biographical knowledge and critical guidance.<br /> <br /> Traill Sinclair ed. Jazz Journal. Vol. 1 No. 1. London: J.J. Publications 1948. The opening issue establishes the magazine's postwar purpose through Traill's editorial address to jazz enthusiasts and its promise of sustained monthly criticism. Its contents including revivalist commentary and discographical attention to Thomas "Fats" Waller show the early publication's effort to organize jazz knowledge for British readers dependent on print mediation and record collecting. 2 Traill Sinclair ed. Jazz Journal. Vol. 1 No. 2. London: J.J. Publications 1948. This issue continues the magazine's early program of criticism record commentary and performer-centered coverage for a readership attentive to American jazz and its British reception. It belongs to the first sequence of issues issued after the May 1948 relaunch from Traill's earlier Pick Up whose final issue preceded the first Jazz Journal in May 1948. 3 Traill Sinclair ed. Jazz Journal. Vol. 1 No. 3. London: J.J. Publications 1948. The third issue forms part of the magazine's initial attempt to stabilize a postwar jazz readership through recurring reviews essays and documentation of recordings and artists. Its position in the first volume is useful for tracing how British jazz criticism developed a regular periodical form in 1948. 4 Traill Sinclair ed. Jazz Journal. Vol. 1 No. 5. London: J.J. Publications 1948. This issue continues the first-year sequence with the supplied description emphasizing the magazine's mix of artist portraits discographical writing and critical essays. The issue contributes to the archive's broader value as evidence of how British jazz readers encountered American performers through images reviews and commentary. 5 Traill Sinclair ed. Jazz Journal. Vol. 1 No. 6. London: J.J. Publications 1948. The September 1948 issue features an appreciation of Hoagy Carmichael with a signed portrait cover connecting jazz readership to popular song composition and the American music industry. Its treatment of Carmichael alongside coverage of African American jazz performers demonstrates the publication's wide understanding of jazz-adjacent culture in the late 1940s. 6 Traill Sinclair ed. Jazz Journal. Vol. 1 No. 8. London: J.J. Publications 1948. This issue belongs to the later portion of the inaugural-year run and continues the magazine's regular pattern of record culture criticism and performer documentation. In the context of the seven-issue group it helps show the durability of Traill's monthly editorial project beyond the launch months. 7 Traill Sinclair ed. Jazz Journal. Vol. 1 No. 9. London: J.J. Publications 1948. The November issue includes Hugues Panassié's "Count Basie and the Blues" a critical essay distinguishing blues feeling and phrasing from commercialized improvisation. Its attention to Basie foregrounds African American musical authority within British jazz discourse and gives the archive direct relevance to the study of blues reception swing-era memory and postwar criticism. Moderate soiling and creasing to wrappers occasional spine chipping intact stapled bindings delicate covers and vivid photographic contrasts good overall. Substantial inaugural-year run of a long-lived British jazz periodical preserving the early critical vocabulary through which postwar British readers studied African American jazz swing-era performers blues expression and record collecting. unknown
1925List3672New York City: Henry Waterson Inc 1925. Folio illustrated wraps. 5 pp. Fine condition. A striking Jazz Age sheet music issue and likely first edition for “Dinah†the widely popular song composed by Harry Akst with lyrics by Sam M. Lewis and Joe Young here promoted as a “Featured Song Success†from The New Plantation Society’s Rendezvous of N.Y. a Harlem revue-style theatrical production. The revue was advertised as an all-Black production reopening the Plantation Cabaret at 50th Street and Broadway featuring prominent performers including blues singer Ethel Waters alongside Will Vodery’s Parisian Orchestra Josephine Baker Bessie Allison Leonard Harper Jimmy Ferguson and the Plantation beauty chorus.1 “Dinah†would go on to become one of the most enduring standards of the decade. Multiple versions were published in 1925 this one in June and though we are not able to establish definitive priority we guess that this is the first edition. Very scarce with three copies found institutionally at the Francis G. Spencer collection at Baylor University BYU and the British Library reference collection. <br /> <br /> 1 “Ethel Waters Is Featured In New Plantation Revue†The New York Age June 20 1925 6. Henry Waterson, Inc unknown
1957206793New York 1957. Old horizontal fold barely detectable; fine and bright. Original handbill 6 x 9 in. printed on one side only in black red and yellow. Vintage boxing-style handbill for the Carnegie Hall dates of this 1957 tour featuring a dizzying array of Jazz stars headlined by Count Basie with Joe Williams Billy Eckstine and Sarah Vaughan. Other performers included Jeri Southern Bud Powell Lester Young Zoot Sims Chet Baker Phineas Newborn Roy Haynes and others. unknown
192447496Dayton OH: The Comer Manufacturing Co. 1924. Tall 8vo. 5.5 x 10.5 in. 36 pp. Numerous illustrations 4 colour plates 4 sepia-tinted plates 64 wool wool blend canvas linen leather cotton and patterned fabrics some treated w/ coating tipped-in occasional offsetting from samples either surrounding the sample or on facing leaves. Dark red printed softcovers decoration & lettering in orange & blue minor soiling some creasing still a VG- copy. First edition of this scarce salesman sample catalogue for men and women’s Jazz Age raincoats and overcoats in the mid-1920s. The company was founded before World War I by Charles E. Comer b. 1887 who quickly established the company as one of the largest manufacturers in Ohio of raincoats. The colour fashion plates are quite striking for the period and offer invaluable historical reference for the styles and weight of raincoats sold during the Flapper Era. Comer produced rubber-lined coats offered deals if you ordered two coats at once and also offered Mackinaws General Purpose coats Rubber rain slickers reversible coats and even waterproof aprons for housewives. This catalogue notes that they had just completed their new 40000 square foot and even offered waterproof luggage and garment bags. They were well known for advertising in labor magazines trade magazines and professional magazines constantly promoting their product and recruiting new salesmen. Worldcat locates only 1 copy Vol. 166. The Comer Manufacturing Co., paperback
192182277New York: Palmetto Music Pub. Co 1921. First Edition. Slim quarto 30.5cm; original pictorial wrappers; 6pp. Moderate wear handling and dust-soil to wrappers some creases and edge-tears with inner spine-fold archivally reinforced with a patch of paper tape remnant to upper end of same; complete Good to Very Good.<br /> <br /> One of the earliest hits by African American songwriter and composer Thomas Henry Delaney 1889-1963. Born in Charleston SC he would eventually become one of the most popular jazz and blues composers on Tin Pan Alley. The front wrapper reproduces a photograph of Lucille Nelson Hegamin 1894-1970 backed by the band Albury's Blues and Jazz Seven. In 1920 she became the second African American blues singer to record following Mamie Smith and Perry Bradford's August 1920 recording of "Crazy Blues." She recorded "Jazz-Me Blues" in 1921 backed by her husband Bill and his band the Blue Flame Syncopators; thanks to her recording Delaney's song would go on to become a jazz standard. OCLC notes a scant 8 holdings. 82277. Palmetto Music Pub. Co unknown
19609446New York: Weston Associates 1960. Staplebound. Very good. Quarto unpaginated 24pp. illustrated. Very good in the publisher's stapled wraps with a thin area of dust-soiling to the top of the front wrap and some gentle creasing to the spine. Staples gently rusted but sound. A fantastically designed concert program for the 1960 Newport Jazz Festival Concert Tour. Within are profiles of Anita O'Day Thelonious Monk George Shearing and others. We could find very little material written about this concert tour though Newport Jazz Festival producer George Wein is known to have organized some tours involving some of the major performers at the storied festivals during the late 1950s and early 1960s. The actual Newport festival in 1960 was one of the most memorable - there were several riots mostly involving frustrated would-be concertgoers who were unable to secure tickets and fought with police in the small ritzy town of Newport. OCLC records no holdings of this program nor any other from a Newport Jazz Festival Concert Tour. A rare and significant piece of jazz history. Weston Associates unknown
197922006<p>New York:: Doubleday 1979. First Printing of the First US Edition. A Near Fine tight copy in a Very good plus unclipped unfaded dust jacket with some tiny nicks to the edges of the spine and two short closed edge tears. This autobiography blends Dizzy's own story along with the thoughts and remembrances of those who knew and with him over the years including such notables as Miles Davis Billy Eckstine Cab Calloway Kenny Clarke to name but a few.</p> Doubleday, hardcover
1950223221950. Complete 1950 run of Jazz Journal Vol. 3 Nos. 1-12. London: L. M. Publications 1950. Complete run of the 1950 volume. Twelve issues with each issue around 20 pages. Black-and-white photo illustrations throughout. Printed paper wraps. Founded in 1948 by editor Sinclair Traill Jazz Journal became a critical platform for serious jazz criticism in Britain at a time when the country began appreciating the impact of African American musical innovation. This volume features twelve monthly issues each spotlighting legendary musicians in deeply reverent portraits: Louis Armstrong Baby Dodds Coleman Hawkins Fats Waller Earl Hines and others. The December cover has a Christmas theme.<br /> <br /> This archive is a window into Britain's postwar jazz awakening. The articles range from retrospectives to musicology and artist discographies. Floyd Levin's "The American Jazz Scene" captures the transatlantic tone of the journal mourning the death of Buster Wilson and lauding figures like Sidney Anderson and Kid Ory as vanguards of "authentic" jazz-framed as endangered in a postwar America increasingly seduced by commercialism. Meanwhile Derrick Stewart-Baxter's "Preachin' the Blues" traces rural-to-urban migration patterns in blues development analyzing Sleepy John Estes' discography and folk influences. The December issue features a full-page bibliophilic essay "A Case for Books" reviewing A Treasury of the Blues by W. C. Handy whom it names "the composer of the classic Memphis Blues and Joe Turner Blues" emphasizing the book's role in preserving "the true and historical survey of the blues." Taken together the essays discographies and image curation construct a coherent theory of jazz not only as music but as cultural heritage. Moderate and consistent soiling and creasing to wrappers; binding intact but some covers remain delicate. Occasional chipping at spine. Covers remain vivid with strong photographic contrasts. Overall good condition. A complete year's run of one of the earliest and most influential British jazz journals with signatures from leading musicians of the era such as Armstrong Dodds and Hawkins. unknown
197138867NY: ESP Disk 1971. Tabloid format 8 pp. printed on newsprint illustrated with a Gilbert Shelton character on the front. Paper tanned as would be expected with some loss to the folds and edges small light stain to middle front else a very good example. While we've had a few copies of the 1967 catalog and the more uncommon 'Special Complete Catalog" this one is new to us and were not aware of its existence until it threw itself over our transom. Though it originally existed to release Esperanto-based music starting with the release of Albert Ayler's Spiritual Unity ESP became the most important exponent of the burgeoning free jazz music scene of the time releasing records by such future greats as Sun Ra Frank Wright and Sunny Murray among others. Along with free jazz the label also produced music by Ed Sanders' band the Fugs the Lower East Side folk of the Holy Modal Rounders and the primitive proto-noise of the Godz. While never much of a commercial success for the musicians the label's philosophy of "The artists alone decide what you will hear on their ESP-Disk" led to the creation of a musical output that to this day wields a heavy influence. <br/><br/> ESP Disk unknown
1925589771925. Two black & white photo images 8" x 10" on glossy stock mounted in Crown Studio mats 11 1/4" x 13 1/4". Images are night shots of windows depicting surroundings full of architectural details. Very minimal soiling to lower fore-edge. 1 image with a bit longer exposure time still a very good pair of photos. These two commercial photos of 1920s window displays provide an invaluable historical glimpse into the marketing of men's fashions at the height of the Jazz Age. The photos include unique period elements with breathtaking flower arrangements positioned amongst the displayed clothing. The men's suits range in tints and style primarily including double-breasted and single-breasted suits with trousers carefully draped over surrounding decorative tables and stands cravats at the neck and each with a dapper cane displayed above it. Rich draperies of men's suit fabrics have been arranged below and around the displays. Frank Jacoby's store was a thriving business in Bridgeport CT. at 1083 Broad Street until the throes of the Great Depression when they were forced to close in 1933. unknown
193961627York Pennsylvania: The Valencia Ballroom 1939. Quarto. Spiral-bound leatherette boards hardcover; 94pp; illus. Trivial soil to covers with front board very slightly bowed at fore edge; internally fresh clean and unmarked; Near Fine. <br /> <br /> Promotional album for the storied Valencia Ballroom a popular musical venue during the Swing Band era. Strategically located on a route that connected New York Philadelphia and Baltimore the Valencia caught traveling orchestras on their way north or south thus bringing an impressive assortment of acts to the unlikely industrial city of York PA. Richly illustrated with photographs of the venue of the Tassia family owners and managers of the Valencia architectural views and dozens of portraits of the popular performers who played there including Eddie Duchin Kay Kyser Benny Goodman Sammy Kaye Guy Lombardo Bunny Berrigan the Dorseys and a host of others. Though the Valencia clearly favored white orchestras a few noteworthy African-American performers appeared there regularly and are pictured including Jimmy Lunceford Cab Calloway Duke Ellington and Claude Hopkins. A lavishly-produced souvenir and highly uncommon; OCLC notes four locations and we trace no other copies in the trade. The Valencia Ballroom unknown
1924List3678New York City: Clarence Williams 1924. Folio measuring 12 x 9 inches 5 pp. With an attractive period style illustration by Sydney Leff with his printed signature in the lower right corner. Fine condition. A very scarce surviving example of the sheet music for "Cakewalking Babies from Home" a cornerstone early jazz-blues composition issued through Clarence Williams’s publishing enterprise at the moment when New Orleans–derived ensemble practice was reshaping American popular music. Written by Williams with Chris Smith and Henry Troy the piece bridges late ragtime syncopation and emerging small-group jazz textures. Though widely disseminated through performance and recording it appears to have circulated only sparingly as domestic sheet music.<br /> <br /> The song achieved lasting fame through the celebrated 1924 New York recording sessions by the Clarence Williams Blue Five Okeh 8256 featuring Eva Taylor vocal Louis Armstrong cornet Sidney Bechet soprano saxophone Clarence Williams piano and Buddy Christian banjo; a landmark early small-ensemble performance often cited for its dynamic Armstrong–Bechet interplay and its role in defining early jazz ensemble language.12 Circulating widely among classic blues singers vaudeville performers and musicians within Williams’s publishing network and the TOBA circuit the composition reflects the porous boundary between theatrical blues dance music and emerging jazz repertory in mid-1920s Harlem and Chicago. As noted in Smithsonian jazz educational materials “the roots of jazz are heard clearly… in ‘Cake Walking Babies from Home’â€.3<br /> <br /> Despite its well-documented performance and recording history institutional holdings of the sheet music itself appear extremely limited. We locate a single copy at the Stanley King Jazz Collection at Oberlin with none presently recorded in OCLC.<br /> <br /> 1 Brian Rust Jazz records 1897–1942 Arlington House Publishers 1978.<br /> 2 Tom Lord Jazz Discography Lord Music Reference Inc. 1992.<br /> 3 “Act 3. New York Introduction: 1924–1925†Smithsonian Louis Armstrong Education Kit https://amhistory.si.edu/jazz/education/Act3.pdf. Clarence Williams unknown
19641513341964. unbound. Signatures by Percy Humphrey Jim Robinson Albert Burbank James "Sing" Miller Louis Barbario and Narvin Kimball who appended his instrument banjo to his signature decorate the verso of the album sleeve corners slightly bumped small stain on verso does not obscure signatures. 12 1/2" x 12 1/2". No place no date. Circa 1964. Fine condition.<br/> <br/> unknown
19704900n.p. 1970. Loose Photos. Very Good. Five 8x10 promotional Jazz drummer photos the 2 Kruppas and 1 Lewis are gelatin silver and the 2 Bellson are halftones all variously inscribed and / or signed. The signature on the Lewis photo is signed in the photos' negative and thus not "live" ink - as are the other four "live ink" autographs in this collection. The company "Long & McQuade" is the largest chain of musical instrument retailers in Canada and as we are unsure who Lou Williams Jr. & Sr. are assume that they may have been music store owners. One of the Louie Bellson photos has "March 18 / '79 at Convocation Hall / Toronto Ont." written in blue ink on the verso. All photos a touch age toned w. only minor wear. A nice collection of drummer signed photos showcasing three of Jazzdom's most legendary and time-honored players. unknown
19682080202103701141Not Available 1968. Soft Cover. Fine. Size: B5 books: 7 books Not Available paperback
