JazzBiblio.com
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2J7278Verschiedene Verlage und Orte 1971-1979. Ohne Laufzeitangaben in Original-Hüllen quart teils etwas fleckig und berieben. - Enthalten: La storia del Jazz. Clarence Williams Orchestra / La storia del Jazz. Great Jazz Trumpets 1924-1937. Bix Beiderbecke Bunny Berigan Jimmy Mc Partland / Chicago South Side Jazz Vol. 1 und 2. La storia del Jazz / History if Jazz. Jazz Panorama of the 20's / Muggsy Spanier featuring Miff Mole Lou McGarity Pee Wee Russell u.a. / Jelly Roll Morton Volume 2 / Down by the riverside. The Original All-Star Dixiecompany / Archive of Jazz Volume 17: Kings of classics Jazz. Georges Lewis Kid Ory / Archive of Jazz Volume 19: New Orleans rhythm kings. Clarinet Marmalade London Blues Marguerite / Essie Condon's World of Jazz. Doppelalbum - 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
199523-08-22-gw-7809-jmUtah Jazz 1995-01-01. paperback. Good. 0x0x0. Light wear. Good copy. Utah Jazz paperback
4d3155_SVerschiedene Verlage und Orte 1963-1978. In Original-Covern quart teils leichte Gebrauchsspuren. - sonst gute Exemplare / Enthalten: Charlie Byrd - Latin Byrd 2 LPs / Dave Brubeck - Gone with the wind / Dave Brubeck's Greatest Hits; Produced by Teo Macero / Spirituals - The heavenly sound of Negro Spirituals. Sung by Hugh E. Porter & His Gospel Singers / Schnuckenach Reinhardt Quintet - Live / The very best of Django Reinhardt from Swing to Bop. His best Recordings from 1935 - 1953 2 LPs / Barber's Best - Chris Barber's Jazzband with Ottilie Patterson. Lazy River - Basin Street Blues - Blueberry Hill - I can't give you anything - But Love - King Kong u.a. / Giants of Dixieland. Lonesome - Elephant Stomp - Papa Dip - Berliner Luft - Sweet Sue - Baby won't you please come home / The Best of Sam Cooke / All-Star Festival. Louis Armstrong Maurice Chevalier Nat "King" Cole Bing Crosby Doris Day Ella Fitzgerald Mahalia Jackson Nana Mouskouri Patti Page Luis Alberto del Parana Edith Piaf Anne Shelton Caterina Valente / Ma Baker. Vocal Production / Dixie Party - Traditional Club of Bratislava / Fats Domino - Seine 20 größten Hits. 20 Originalaufnahmen / Papa Bue's Viking Jazz Band. 1919 March - Weary Blues - Corrine Corrina - Bogalusa Strut - AI AI AI u.a. / Herbie Mann & The Family of Mann - Hold on I'm comin'. Recorded live at the 1972 New York & Montreux Jazz-Festivals / Dixie Jubilee. 25 years Dutch Swing College Band Leader: Peter Schilperoort. 12 original recording highlights / The Fats Domino Story 2 LPs / Herbie Mann Memphis Underground - That's Jazz / The Modern Jazz Quartet - Modern Jazz Quartet 2 LPs / Doldinger Jubilee. The Feetwarmers - Oskar's Trio - Klaus Doldinger Quartet - Paul Nero Sounds - Doldinger's Motherhood - Passport 3 LPs / Crosby Stills Nash and Young - So far / The Best of Ramsey Lewis / Ramsey Lewis - Pickup - 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
199844606Westport & London: Greenwood Press 1998. First edition. 230 pp w/indexes. Some light spotting along top edge else near fine in full green cloth with gold stamping to spine and cover. No dust jacket as issued. Anthologies works by individual authors and a cross reference guide matching jazz musician/composer to poet. Westport & London: Greenwood Press hardcover
193058055Portland OR: Hollywood College of Music Dancing & Fine Arts Baker Studio Granada Studio La Vere Photo Shoppe Photo Craft Studios ca. 1930-1933. Oblong 4to. 24 original photographs all preserved in archival mylar sleeves sized 6.25 x 7 in. up to 8 x 10 in. some w/ photographer’s imprint w/in negative others w/ manuscript captions added a few w/ annotations and/or photographer’s instructions on versos all with bright strong contrast a few w/ offsetting from previous mounting on versos and one w/ very small pinholes at corners from prior mounting. Recent cloth binder stamping front cover excellent grouping. These photographs vividly document the dance and music studio operated by Annabelle Knowles reflecting the fast evolving costumes and aesthetics of the twilight of the Roaring 20’s as the U.S. descended into the Great Depression. These photos also clearly reflect the influence of Gus Edwards 1879-1945 vaudeville’s premier producer of kiddie acts and who had produced and released the shorts “Kiddie Revue†in 1930 and 1931. His influence was not only driven by his songs “By the Light of the Silvery Moon & “School Days†but also discovering such stars as Groucho Marx Eddie Cantor Mae Murray Sally Rand and many others. The images depict girls in two-piece outfits in front of Art Deco staging for “Body and Soulâ€; bare-backed girls in Flapper Era inspired costumes for chorus line “Kiddie Revueâ€; song and dance routines featuring Ronald Chetwood in top hat with Marcile Shillito Virginia Collins and chorus line in Jazz Age era costumes and canes; and several show Barbara Jane Wicks Shirley Jay Mulkey and Sunny Dentler in Spanish inspired costumes for “Baby Vanities.†Another shows adolescent boy and girl dance team in an “Apache†dance inspired costume number. The Hollywood College of Music Dance & Fine Arts offered classes and instruction in all ages with the last few photos showing teenage girls in chorus line with short hair coquettish expressions and teamwork or chorus line numbers. Annabelle Knowles 1900-1989 was a musician and dancer who founded the Hollywood College of Music Dancing & FIne Arts at 4112 NE Sandy Blvd. some time in the late 1920’s. Most of the street directory references focus on 1929-1932 and her British-America theatre-director husband at the time Vincent Knowles 1883-1944 worked at the studio as well. Baker 1882-1972 was a longtime commercial studio photographer in Portland OR who had initially begun as a photographer with noted tourist travel guide Howard Eaton photographing tours through National Pakrs. Beem 1892-1984 was founder and photographer at Granada Studio located in the 1930’s at 515 Swetland Building in Portland. Centlivere 1878-1964 owned and operated La Vere Photo Shoppe and Photo Craft Studios on Sandy Blvd. in Portland for nearly all of his career. We could find no similar collections or photographs or even references to Annabelle Knowles and very few examples of any of these three photography studios in institutional holdings. Hollywood College of Music, Dancing & Fine Arts, Baker Studio, Granada Studio, La Vere Photo Shoppe, Photo Craft Studios, hardcover
1970052683Istanbul: Manuscript. ca. 1970-80 1970. No Binding. Very Good. Original nine letters with their original envelopes and one empty envelope of Nüket Aruca -1987 was a Turkish female jazz singer. Letters are in mostly English. It's her last voice record in YouTube is from an improvised song from a jazz concert in the Turkish - American Association in 1985. <br/> <br/> Manuscript., [ca. 1970-80] unknown
6h167Membrab Music Hamburg 2005. 168 CDs in 21 original Kunststoff-Hüllen im kartonierten Schuber. - gute Exemplare/enthalten: 36 CDs Classic Jazz Ragtime Dixieland/28 CDs Blues/4 CDs Boogie Woogie/60 CDs Swing to BeBop Modern Jazz/20 CDs Big Band/20 CDs Vocalists - unknown
1983499742Bangor: The Bangor Historical Society 1983. Softcover. Fine. First edition. Slim octavo. 8pp. Stapled wrappers. Illustrated including two portraits of King. Fine. Includes “A Novelist’s Perspective on Bangor†by King as well as a brief biography. OCLC locates six copies. N.B. There was also an edition issued by the same publisher with 40 pages of text including advertisements for distribution at the March 1983 benefit for the Bangor Historical Society. The Bangor Historical Society unknown
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
20161-1495052389Hal Leonard Corp 2016. Paperback. New. pap/psc edition. 47 pages. 11.00x8.50x0.25 inches. Hal Leonard Corp paperback
1495052389.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
192550606New York: A. Koenigsberg 648 Broadway ca. 1925. 8vo. 12 pp. Photo illustrated throughout colour-tinted centerfold. Colour-illustrated softcovers model wearing a stylish hat printed in red & black stapled as issued sewn through punch hole at head of spine w/ gold silk braid slight shelfwear 1 very small closed tear at fore-edge front cover still VG copy. First edition of this very scarce and beautiful catalogue of hat frames and hat bases for millinery shops during the 1920s. The company could supply for hat designers Zibeline hatters plush hats Lyons Velvet Brims Satins Velours Ribbon bound fur and felt hats as well as millinery supplies and hat boxes. Koenigsberg b. 1889 emigrated from England in 1889 to New York where he worked as a furrier for many years with his father Wolf before setting up his own successful millinery supply shop and 4200 square foot factory which successfully operated until the Great Depression. After his shop closed Koenigsberg moved into selling pin ball machines. No copies located in Worldcat; See: New York State Industrial Bulletin of the Department of Labor 1921 Vol. 1 p. 171. A. Koenigsberg, 648 Broadway, paperback
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
2000Q-087930619XBackbeat 2000-11-30. Paperback. New. In shrink wrap. Looks like an interesting title! Backbeat paperback
0312IC29LC1Vinyl. Vinyl LP. Very Good. All 12 10-inch LPs in very good condition in good original color pictorial jackets some scuffs exterior. Many lacking interior record jacket. Vols 1-12 complete 120 songs. unknown
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
c13127Sonodisc. audioCD. New. 0x0x0. Brand New factory sealed in original shrink wrap. Sonodisc unknown
19857001893NY: FSG 1985. Bound in tan glossy illustrated wraps with an illustration of the author on the front panel with a pair of drumsticks. . This is the revised version of the first edition. It contains all of Larkin's reviews from 1961-1971 and a discography that is revised for American audiences. 288 pp. discography. First American Edition. Soft Cover. Very Good /No Jacket - As Published. FSG Paperback
193934468NY: W. W. Norton. Very Good in Good dust jacket; Jacket rubbed and worn at corners and head . and tail of spine. 1939. First Edition. Hardcover. Blue cloth binding. Index. Five photos. "American Jazz Music is the first book by an American to deal with the subject as a whole in its technical as well as its historical aspects." from front jacket flap. ; 8vo 8" - 9" tall; 230 pages . W. W. Norton hardcover
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
0878559655.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
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
ria9780199309320_inpPaperback / softback. New. New Book; Fast Shipping from UK; Not signed; Not First Edition; The Arduino platform provides a virtually limitless range of creative opportunities to musicians who are interested to explore new technologies. In Arduino for Musicians Brent Edstrom provides a comprehensive guide to the underlying te paperback
