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ria9781499099201_inpHardcover. New. New Book; Fast Shipping from UK; Not signed; Not First Edition; This book is a passage of stories carried out in poetry style on the journey I've been through while I was growing up and all the negatives I learned to turn into something positive. Something is better than nothing making the most of hardcover
30622614-nnew. unknown
30622614like new. unknown
ria9781514466407_inpPaperback. New. New Book; Fast Shipping from UK; Not signed; Not First Edition; This book is a passage of stories carried out in poetry style on the journey I've been through while I was growing up and all the negatives I learned to turn into something positive. Something is better than nothing making the most paperback
B9781514466407Paperback / softback. New. paperback
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
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
196419336N Y: Scepter Records. Very Good Plus Vinyl Record/Very Good Record Sleeve. 1964. 33 1/3 RPM LP VINYL RECORD. VERY RARE VINTAGE VINYL JAZZ RECORD from our Audio Archives. NEW YORK JAZZ SEXTET: GROUP THERAPY also known as RECORDED TOGETHER FOR THE FIRST TIME. Released by Scepter Records 254 West 54th Street New York City in 1964. Original monaraul LP 526 Red label with Silver lettering also includes original Scepter Inner sleeve. Players include: ART FARMER - Flugelhorn / JAMES MOODY - Tenor Sax and Flute / TOM McINTOSH - Trombone / TOMMY FLANAGAN - Piano / RICHARD DAVIS - Bass / ALBERT Tudie HEATH - Drums. Side One includes: BOTTOM ON TOP / SUPPLICATION / ANOTHER LOOK. Side Two: GIANT STEPS / DIM AFTER DAY / INDIAN SUMMER / JOY SHOUT. A Very Good Plus Vinyl Record looks good and sounds great in a Very Good Record Sleeve featuring a colorful modern art "Jazz" cover collage clean and bright on front; rear of sleeve shows some aging/discoloring but no marks Features notes by Stan Green plus notes on the Personnel. Rare / Audio Archives. . Scepter Records unknown
1990Q-087474332XSmithsonian Institution Press 1990-03-01. Hardcover. New. In shrink wrap. Looks like an interesting title! Smithsonian Institution Press hardcover
20071769150102074Imports 2007-10-23. Audio CD. Like New. CD plays perfectly & the case looks good. Imports unknown
1953biblio1263<p>This is a very nice AUTOGRAPHED collectible copy of the programme for the famous ill-fated tour which morphed into the Krupa-Armstong tour when Goodman walked of in a huff or a pressure-related malady. The programme depicts the original two line-ups AND features the autographs of Louis Armstong Vernon Brown and eight other Armstrong band musicians inside the front cover. A true jazz collector's coup.</p><p>Photos on request.</p> John Hammond paperback
1956H32985New York: Birdland Jazz Club 1956. First Printing. Wraps. Very good. 12 x 9 inches pictorial wraps very good light wear and toning. 24 pp. with photos biographies of the main acts reprints of articles some ads. Very rare OCLC locates NO copies of this in any institution. The jazz club is still extant but in a different location: at the time this was at 1678 Broadway owned by Morris and Irving Levy and Oscar Goodstein. In 1965 the club moved because of rent increases. Although the club was named in honor of Charlie "Yardbird" Parker he rarely played there. It was considered the premier NYC jazz club of its time. This booklet gives information on the performers they had lined up for 1956: Sarah Vaughan Count Basie Al Hibbler Lester Young Johnny Smith Bud Powell Joe Williams plus the East/West Jazz Septet. Birdland Jazz Club unknown
1999Q-0836268288Andrews McMeel Publishing 1999-04-01. Paperback. New. In shrink wrap. Looks like an interesting title! Andrews McMeel Publishing paperback
199908190Kansas City MO: Andrews McMeel Publishing. Fine in Fine dust jacket. 1999. First Edition. Hardcover. 0836268296 . 120 pages. Profusely illustrated with photographs. Published in conjunction with the new museum's first exhibition. Tight clean and crisp with only some light storage rubbing to dustjacket otherwise As New. The book appears unread and looks New. An excellent First Edition protected in a new Mylar cover. ; 4to . Andrews McMeel Publishing hardcover
2004XO-90UM-QT69Bel Air Recordings 2004-06-01. Audio CD. Good. 5x4x0. CD in case with original art work. See our photos. Disc has some light surface scratches tested plays nicely. Case has moderate wear. Shipped promptly with Tracking and Signature Confirmation. A & E Bel Air Recordings unknown
42080County Borough of Hastings In-8 4pp. unknown
2090502113706472Not Available N.A. Soft Cover. Fine. The book is in fine condition. Not Available paperback
19942090502113709223Not Available 1994. Soft Cover. Fine. The book is in fine condition. Not Available paperback
1710250722027CD Baby 2017-10-01. Audio CD. New. 0x0x0. Brand new factory sealed condition. CD Baby unknown
2000Q-0130196177Prentice Hall College Div 2000-07-25. Paperback. New. New. In shrink wrap. Looks like an interesting title! Prentice Hall College Div paperback
1948054196RKO Radio 1948. Poster. Very Good. No Binding. 1st Edition. 11" X 14". A complete set of eight original release lobby cards in VG or better condition. The movie features great Jazz tunes by Benny Goodman Tommy Dorsey Louis Armstrong Lionel Hampton Charlie Barnet Mel Powell Buck & Bubbles Ford Washington Lee and John William Sublett Page Cavanaugh Trio Golden Gate Quartet and Russo and the Samba Kings. RKO Radio unknown
20001-0130196177Prentice Hall 2000. Paperback. New. 5th edition. 368 pages. 9.25x7.00x0.62 inches. Prentice Hall paperback
22405The interview appeared in the July and August 1966 numbers of 'Crescendo' magazine London. The interview was published in two numbers of 'Crescendo' 'The world's most authoritative music magazine' founded 1962. The first part retitled 'Music & Moore Les Tomkins interviews “The Genuine Dudâ€' – was the leading article pp.18-19 of the July 1966 number of with Moore featuring on the cover. The second part was published in the following number August 1966 pp.18-19 and 25. Four items all in good condition with light aging. ONE: Carbon typescript of first part of interview with title replaced on publication: 'The Serious Side of Dudley Moore A Les Tomkins Interview'. 8pp 4to. On leaves of blue and yellow paper. The typescript appears to correspond to the published version other than a few minor stylistic changes and the correction of a few errors such as 'Maudlen' to 'Magdalen'. TWO: Carbon typescript of second part of interview titled 'More Music and Moore Part Two of the Les Tomkins interview with "The Genuine Dud"'. 8pp 4to. With ink notes indicating that one short passage should be moved and the correction of a typing error. THREE: Carbon of typed letter from 'Les' to 'Victor' i.e. Victor Graham the magazine's editor. 1p 12mo. In what is a covering note to Item One Tomkins writes: 'This is about half of it. The remainder is equally good. He talks about working with the bands of Vic Lewis and Johnny Dankworth the hostility he encountered his development as an accompanist; speaks of Tony Coe as “the perfect hornman for our Trioâ€; Peterson's accompaniments; his experience in the States; his high regard for Pete and Chris detailing their qualities; the fun he had at the Establishment and how he misses it; his plans for using jazz more extensively in films; Beyond the Fringe; humour in music; putting jazz across to a wider public; shyness of musicians; the ego of Miles Davis; his dislike of the atmosphere of listening to jazz; his desire to work with a big band of his own.' He ends by asking when the second half should be used. FOUR: Carbon typescript titled 'ROUND & ABOUT'. 2pp 4to. Mostly taken up with a gig review beginning: 'Sonny Rollins unavoidably detained missed the first two days of his engagement. On the Monday this resulted in a welcome one-night stand being played by the Dudley Moore Trio.' Comparing the gig with a previous engagement at Ronnie Scott's the review comments on Moore's 'microphone prescence today' 'hilarity caused by the funny voices he is expected to adopt between tunes' and his 'accomplished' and 'irresistibly groovy' piano playing. Moore 'brought off a "first" at the club - with his falsetto singing of an old English madrigal'. Two other reports: the first one a short item on Sonny Rollins' music for the film 'Alfie'; the second on Tubby Hayes being 'well in evidence on the London scene again' with details of his 'new quartet'. The material comes from an archive of typescripts by Tomkins of his Crescendo contributions including interviews with Louis Armstrong Sonny Rollins Bud Freeman Stan Tracey Erroll Garner Stan Kenton Quincy Jones Joe Turner Tubby Hayes Stan Getz. The interview appeared in the July and August 1966 numbers of 'Crescendo' magazine [London]. unknown
22406The interview appeared in the April 1964 number of 'Crescendo' magazine London. The interview – retitled 'Duke looks back – and forward in an interview with Les Tompkins' – features on pp.6-7 of the April 1964 number of 'Crescendo'. Sammy Davis Jr features on the cover with the announcement 'NOT A WORD ABOUT THE BEATLES!' Three items the typescript of the interview and two accompanying pieces one not used. All three in good condition lightly aged. ONE: Carbon typescript titled 'That's where the tailoring comes in Duke Ellington talks to Les Tomkins'. 6pp 4to. On six leaves stapled together at a corner. Of particular interest in this typescript is the following passage – suppressed in the published version – in which Ellington names Jimmy Forrest as one of his imitators: 'we've had people like Jimmy Forrest – who took a couple of pages out of our book wrote a number and called it something else. It became the biggest thing since “St. Louis Bluesâ€. And that's “Night Train†- you know from “Happy Go Lucky Localâ€'. In a couple of instances the typescript appears closer to Ellington's voice than the published version. It features the Americanism 'specialty' rather than the published 'speciality'; and has the following passage which was recast for publication: '… and as the refreshments would take over and he would roll of the piano stool – why they would call in the soda jerker i.e. Ellington to come and play the piano.' The published version reads: 'As the refreshments took over and he rolled off the piano stool they'd call in the soda jerker to play the piano.' Other changes are relatively minor: 'Some people don't like to have to – what is it … to follow something they are not familiar with' printed as 'Some people don't like to have to apply themselves. … to follow something unfamiliar'; 'Then you don't have to worry about how many drinks you take' printed as 'Then they don't have to worry about how many drinks they take'; 'the English audience has' printed as 'the British audiences have'; 'is a thing which is rare' printed as 'is rare'. In the typescript the preamble to the article ends rather lamely 'However here are some of his interesting utterances about:' this is replaced in the printed version with 'But the printed words alone have their own value. – L.T.' In addition the published version exhibits a few minor editorial changes such as the correction of 'fit' to 'fitted' and 'less notes' to 'fewer notes'. The typescript has the following headings: 'His jazz beginnings' 'When he was a fixer' 'The men in the band' 'Billy Strayhorn' 'Their writing approach' 'Ellington imitators' 'His view of the present band' and 'His view of the future'. These are replaced in the published version by 'Smart' 'So loud!' 'Cutting' 'Renaissance' and 'Protection'. TWO: Carbon typescript headed: 'The Duke presents a bouquet to our audiences'. 1p 4to. Published in a box at bottom left of first page of interview under the title 'An Ellington bouquet'. THREE: Carbon typescript of one-sentence quotation from Ellington under title 'Duke Ellington's comments on Crescendo'. 1p 4to. Reads: 'I think it's wonderful reading. And it's very exciting thrilling – interesting mainly – and enjoyable.' This endorsement does not appear to have been used by the magazine. The material comes from an archive of typescripts by Tomkins of his Crescendo contributions including interviews with Louis Armstrong Sonny Rollins Bud Freeman Stan Tracey Erroll Garner Stan Kenton Quincy Jones Joe Turner Tubby Hayes Stan Getz. The interview appeared in the April 1964 number of 'Crescendo' magazine [London]. unknown
GB000VWGKP6I3N00Earl Davis and the Jazz Foundation of America/Metropolitan Museum of Art. Paperback. Good. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More Spend Less.Dust jacket quality is not guaranteed. Earl Davis and the Jazz Foundation of America/Metropolitan Museum of Art paperback
