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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
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
Genève, Éditions Zoé, 1992; in-8, 142 pp., broché. Bon état.
S. l. (Paris), Éditions du Seuil, 1977; in-12 (121 x 178 mm), 288 pp., broché. Collection « Solfèges », N° 9, dirigée par F.-R. Bastide. 7ème édition.
Marseille, Éditions Parenthèses, 1986; in-8, 202 pp., broché. Très bon état.
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
198969405ABKöln., Selbstverlag., 1989. 19,9 x 29,7 cm. [1] unpaginiertes Blatt., 69405A Gutes bis sehr gutes Exemplar.
69406ABHeimbach (Eifel)., Selbstverlag., o. J. 29,7 x 19,9 cm. [1] unpaginiertes Blatt., 69406A Gutes bis sehr gutes Exemplar.
199069402ABHeimbach., Selbstverlag., 1990. 29,7 x 19,9 cm. [1] unpaginiertes Blatt., 69402A Gutes bis sehr gutes Exemplar.
198969404ABKöln., Selbstverlag., 1989. 19,9 x 29,7 cm. [1] unpaginiertes Blatt., 69404A Gutes bis sehr gutes Exemplar.
198869419ABKöln., Selbstverlag., 1988. 14,7 x 21 cm. [1] unpaginiertes Blatt., 69419A Gutes bis sehr gutes Exemplar.
198869407ABKöln., Selbstverlag., 1988. 14,7 x 21 cm. [1] unpaginiertes Blatt., 69407A Gutes bis sehr gutes Exemplar.
199069403ABKöln., Selbstverlag., 1990. 29,7 x 19,9 cm. [1] unpaginiertes Blatt., 69403A Gutes bis sehr gutes Exemplar.
196045557Harrisburg PA: Penn-World Attractions 1960. Very Good . Harrisburg PA: Penn-World Attractions 1960. Broadside flyer 28x21.6cm printed on peach stock advertising a Louis Armstrong concert at The Forum in Harrisburg Pennsylvania May 19 1960. Minor wear and creasing to edges; Very Good or better. <br /> <br /> Promotion from a late career concert for Armstrong which took place a year after he suffered a heart attack while touring in Italy. Features Armstrong's bandmates Danny Barcelona "Peanuts" Hucko and Velma Middleton. Not separately cataloged in OCLC. . Penn-World Attractions unknown
193461978Asnières, Les Imp. Mary, (1934). In Braun u. Schwarz gedrucktes illustr. Orig.-Plakat (99,5 x 32 cm).
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.
GF15013Dessin original à l'encre de chine sur calque signé - format 13,5 x 10,5 -
12520Lausanne. Editions de l'Echiquier, 1945-1947. In-4 agrafé. Contributions : Ch. Delaunay, H. Panassié, A. Hodeir, K. Mohr, A. Garsin, M. Gautier, B. Vian, L. Choquart, etc. Nombreuses photos, dessins, chroniques, discographie, etc. Rare collection complète du n° 1, décembre 1945 au n° 17, 1947. E.O.
12469Paris. Collection complète du n° 1, janvier 1949 au n° 11, mars-avril 1950. In-4 agrafé. Nombreuses contributions de H. Panassié, Madeleine Gautier, G. Herment, L. Armstong, M. Mezz Mezzrrow, R. Wright, etc. Importante iconographie, discographie, etc. E.O. Signature autographe du trompettiste Buck Clayton sur le n° 7 de la revue.
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
2041Disque vinyl 45 tours. Philips. Sans date [années 60]. 432.162 NE.
2039Disque vinyl 45 tours. Fontana. Sans date [années 50]. 460.515 ME.
2033Disque vinyl 45 tours. Philips. "Les nouvelles têtes de la chanson". Sans date [années 50]. 432.176 NE.
1957113871957. Paris Éditions du Cerf 1957 - Broché 13 5 cm x 19 cm 32 pages - 15 negro spirituals traduits et harmonisés par A. Z. Serrand - Bon état