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1950137205Late 1950s - early 70s. Excellent group of UK tour programmes for a constellation of jazz greats: Armstrong 2 Basie 8 Bechet Brubeck 2 Nat King Cole Eddie Condon Sammy Davis Jr. 2 Tommy Dorsey Ellington 4 Errol Garner 3 Lionel Hampton Ella Fitzgerald and Oscar Peterson Woody Herman Harry James JATP 4 Newport Jazz Festival Glen Miller Earl Hines and Jack Teagarden Bal du Moulin Rouge. 36 programmes quarto. Illustrated throughout. Original pictorial wrappers wire-stitched as issued. Overall in excellent condition. unknown
1950190253London: 1950s. Vivid images of jazz greats by one of the "obscure guys" of British jazz photography - from the collection of Charlie Watts From the collection of Rolling Stones drummer and jazz aficionado Charlie Watts: a delightful and absorbing archive of largely unpublished photographs by Jamie Hodgson an unsung hero of British jazz photography capturing both the exuberance and inwardness of the music. Among the jazz greats pictured are Dizzy Gillespie Ella Fitzgerald Duke Ellington Billy Strayhorn and Louis Armstrong. Perhaps the stand out photographs here are two superb studio images of Strayhorn one a memorable image showing him observing a goldfish in its bowl used on the cover of David Hajdu's 1996 biography Lush Life but unattributed another a delightful and unforgettable portrait of "Strays" lying on the studio floor cigarette in hand legs crossed wine glass within reach working on a score marked in 12/8 time with a quill pen and ink stand. A sequence of eight images focus on Louis Armstrong and date from 1956 through to 1970: one a particularly exuberant portrait of Pops sharing the limelight with Trummy Young Barrett Deems at the kit. These were nearly all taken in concert the exception being one marked "solo visit. Rehearsing with Norman del Mar conductor of the Royal Philharmonic Orchestra at the Royal Festival Hall for a concert in aid of the Hungarian Releif sic Fund. December 10th 1956". There are two fine shots of Dizzy Gillespie both in tux in his dressing room looking thoughtful and another of his up-tilted horn in its case the tag from his recent visit to France still attached to the handle. There is a witty bleached-out studio shot of Jimmy Rushing leaning into the horn of a gramophone and further images of the great singer one a boisterous backstage portrait of Rushing with Harry Carney and Jimmy Hamilton sitting in Rushing's capacious lap! smiling and laughing gathered on the stairs leading up to the gents' toilets and holding a gamut of reed instruments; plus a terrific image of "Mr. Five by Five" raising a pint behind the bar of a pub recalling Basie's reminiscence that "Me and old Rush. We were some pair. We just wanted to have a good time" Basie p. 37. Other portraits include a petulant Ella Fitzgerald Duke Ellington and individual images of Ellington alumni Paul Gonsalves Johnny Hodges Ray Nance Harry Carney Barrett Deems and Sam Woodyard; a chuckling Oscar Peterson; Lionel Hampton with Humphrey Lyttelton; Bud Freeman; a humorous shot of Eddie Condon sitting at a bar and scowling playfully; a tight close-up of a beaming Lionel Hampton; drummer Gus Johnson accompanying bassist Bob Haggart; and Ray Charles performing at the Capital Radio Jazz Festival in 1982. A full listing is available on request. For Hodgson 1930-2006 jazz was a private passion and these remarkable photographs did not see the light of day until a 2006 exhibition Masters of Jazz: Unseen Portraits held in the foyer of the National Theatre. In 2007 Jazz Improv magazine described him as one of the "obscure guys" of British jazz photography. His Guardian obituary noted that he "became known for his hobby rather than his profession. The man who owned the Kinnerton Street studio in London's Knightsbridge for many years earned his living in fashion and family photography. But it was the recent exhibition of 50 of his pictures in the National Theatre foyer that attracted more attention than anything previously shown by the largely anonymous Hodgson. Few knew of his work within the music world and fewer still knew of these unguarded often intimate images which were Hodgson's personal homage to the stars he observed and worshipped. All were taken during British tours many in the privacy of dressing rooms across London or in Hodgson's studio The Guardian jazz critic John Fordham regards these images as 'wonderful pictures'. 'They catch the mood on the night of jazz on and offstage' he said 'and they are very expressive of the big personalities of a lot of those old guys who started touring here in the 1950s and 60s after there had been a dearth of live US jazz in Britain'. Hodgson was a Londoner who took up photography after completing his national service in 1950. Starting out as a freelance he began by taking whatever commissions came his way - news and features aerial and architectural photography or commercial and children's pictures. A stint with the Mayflower Studios brought him into contact with advertising and various television personalities including Frankie Howerd Harry Secombe the Crazy Gang and the Ted Heath Band. In 1956 he set up his own studio where he did fashion shoots with Tania Mallet Jean Shrimpton and Sandra Paul He caught the change in mood from the snooty static haute couture fashion shoots of the 1950s to the more playful popular looks of swinging London in the 1960s. And at night he sneaked out to shoot his favourite jazz and blues bands playing across the capital". An important and captivating collection of jazz images imbued with the photographer's deep affection for the musicians the spontaneity of the portraits matching that of the music itself. Together 95 black and white photographs 46 measuring 223 x 170 mm; 49 measuring 402 x 305 mm each with identifying caption on verso by the photographer some with studio wet stamps or labels a number signed by Hodgson. Preserved in the photographer's own commercial boxes. Three prints Duke Ellington Billy Sytrayhorn Louis Armstrong framed and glazed by auction house overall measuring 445 x 620 mm. In excellent condition. Count Basie Good Morning Blues: The Autobiography of Count Basie 1987. unknown
1940169491United States: c.1940-60. A visual record of a rarely seen and poorly documented world - an accidental history An unusually extensive group of these evocative "table photographs" striking records of largely African-American audiences in the glamorous sociable and intentionally inclusive world of mid-century nightclubs. Shot by in-house photographers developed on site and sold for a dollar at the end of the evening these quick souvenirs now amount to a rare visual history of a poorly documented milieu. As Gold notes they "turn the camera round": instead of performers we see the audiences - a critical part of what Jason Moran calls the jazz "ecosystem." The collection offers a nationwide survey of venues from the extravagant to the resolutely down-home. At New York's Café Zanzibar with its spectacular floor shows and "Zanzibeauts" the audience was integrated but largely white prompting Langston Hughes's caustic observation about the seating hierarchy - an impression borne out by the image here. Detroit's Gay Bar Lounge another "black and tan" joint catered to a mostly Black clientele and offered a rougher edge: in 1947 the barkeep famously shot two stick-up artists with the.38s kept beneath the cash register. Equally compelling are the histories of Black enterprise that surface. Oakland's Athens Elks Cocktail Lounge home to Lodge 70 of the Improved Benevolent and Protective Order of Elks of the World stood at the centre of West Oakland's vibrant musical scene hosting countless jam sessions and serving as the informal checkpoint for touring African-American musicians. In Los Angeles Dootsie Williams's Dooto Music Center founded by the trumpeter-turned-entrepreneur provided one of the city's foremost Black cultural venues praised by the Los Angeles Sentinel as "the most-needed cultural and recreation center in Southern California." The photographers themselves remain surprisingly elusive though a few can be traced. In Columbus George Pierce ran a record shop and studio in Bronzeville and supplied images to the Ohio Sentinel and other regional papers; in Detroit Earl Fowler's Top Hat Photo developed into a significant presence in the Black Press with Fowler later serving as chief of the Los Angeles bureau of Now! magazine. Beyond these contexts the photographs' enduring appeal lies in the human dramas unfolding across their tabletops: the conviviality style and fleeting alliances captured in a moment of collective ease. A scene from Gamby's in Baltimore is emblematic - six convivial hat-tipping men and two young women smiling through a forest of shot glasses presided over by a portrait of Fats Waller. It is warmly enigmatic yet inviting an offhand welcome extended across time. A more detailed description and full listing is available on request. Together 66 black and white gelatin silver print photographs 62 c.127 x 178 mm; 3 approximately 178 x 254 mm around 50 are in their original plain or printed souvenir folders the balance loose. Loose photos and folders with occasional wear and mild damp-staining some annotations verso of prints and to folders prints occasionally stapled into folders overall the group remains about very good. Ronald Auther "The Oakland Larks" The Shadow Ball Express: African American Baseball Renderings and other Facts of Life online; Clora Bryant et al Central Avenue Sounds; Jazz in Los Angeles 1930s-1950s 1998; Jeff Gold Sittin' In: Jazz Clubs of the 1940s and 1950s 2020; Robert Petersen "Before Motown: L.A.'s Black-owned Music Empire" PBS SoCal online. unknown
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
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
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
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
1900040492Northampton MA: s.n. 1900. Original document. Fine. Printed in display type on tan stock 11" x 6.25". In part: "April 18.That Sensational Canadian Orchestra 'The Ja-mo-kas' with Fred Sheppard the 'Wonder Drummer' formerly with the Black and White .Frisco and Exhibition Dancing by Sambo Drake and Partner of Hartford . April 19. Celebrate This Holiday Patriot's by Dancing in Parsons' Hall.the Black & White with Chapman Himself at the Piano Sullivan whom we all Know on the Violin and their New Drummer. Together with their other Four Kings of Jazz . April 20.'Carnival Dances' and 'Balloon Balls' always mean a big Crowd . Qua's Seven Piece Novelty Orchestra . Always Dancing 8 to 12 Admission 55 cents." Unrecorded by WorldCat. s.n. unknown
20002111902158500396Matsuzaka 2000. Soft Cover. Fine. Number of pages: 288p. Size: 21cm Matsuzaka paperback
20025000889Stockholm: Prisma 2002. Bound in black boards stamped in gold with matching illustrated dust jacket. This is a 216 pp. book of Jazz History in Stockholm in the 1960's. CD included in pocket at rear. Rare -- no copies on the internet or on OCLC. In terrific condition. Text mostly in Swedish some English. Long inscription on half-title page in Swedish. . First Edition. Hard Cover. Near Fine/Near Fine. Oblong 4to. Prisma Hardcover
3938281758.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
2010SONG3938281758Plaisir D'Amour Verlag 11/11/2010. paperback. Used: Good. 5.83x0.49x8.27. Buy with confidence. Excellent Customer Service & Return policy. Plaisir D'Amour Verlag paperback
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
1955206097Miami 1955. Handbill folded and a bit marked; very good. Printed handbill 5-1/2 X 10 in. printed on one side only; original admission ticket approx. 1-1/2 X 4-1/4 in perforated; with vintage newspaper clippings. Vintage promotional material and a review of this 1955 night of traditional Jazz at Miami's Dade County Auditorium. "Preacher" Rollo Laylan was a local fixture known for his mercurial and difficult personality and his history as a hard-swinging drummer in the mold of Gene Krupa. Condon then at the height of his domination of New York's 52nd Street came to Miami at Laylan's urging. His band comprised genuine all-stars of the old-time tradition including Pee Wee Russell George Wettling "Wild" Bill Davison and Walter Page. unknown
200427319New York:: Oxford University Press 2004. First Printing of the First US Edition. A Fine tight unread copy in a Fine unclipped dust jacket . In Django Michael Dregni offers a definitive portrait of this great guitarist. Handsome charismatic childlike and unpredictable Reinhardt was a character out of a picaresque novel. Born in a gypsy caravan at a crossroads in Belgium he was almost killed in a freak fire that burned half of his body and left his left hand twisted into a claw. But with this maimed left hand flying over the frets and his right hand plucking at dizzying speed Django became Europe's most famous jazz musician commanding exorbitant fees--and spending the money as fast as he made it. Dregni not only chronicles this remarkably colorful life--including a fascinating account of gypsy culture--but he also sheds much light on Django's musicianship. Oxford University Press, unknown
2006AManProB4E9-0000021Platy Possum Records 2006-01-01. Audio CD. New. 0x0x0. Douce Ambiance Audio CD Federico Britos and Le Jazz Hot Platy Possum Records unknown
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
1947041182New York: Program Publishing Co 1947. First Edition. Softcover. Very Good. 16pp; illustrated throughout from photographs some full-page. Includes: "The Story of Duke Ellington" running text; "Farewell to Jazz Fakers" by Duke Ellington; "Duke Ellington - Musical Pioneer" by Leonard Feather plus Feather's notes on the concert program. Bound in pictorial yellow wrappers 12" x 9" The concert program: Jazz Accelerando; Bojangles; Creole Love Call; You Name It; Liberian Suite; Resume; Songs by Lu Eliot; Violet Blue; The History of Jazz in Three Minutes; Songs by Albert Hibbler; Duke Ellington at the Piano. Personnel: Trumpets--Al Killian Ray Nance Harold Baker Nelson Williams David Burns; Trombones--Lawrence Brown Tyree Glenn Quentin Jackson; Reeds--Johnny Hodges Harry Carney Jimmy Hamilton Russell Procope Jimmy Forrest; Rhythm--Duke Ellington piano; Sonny Greer drums; Wendell Marshall bass. Vocals--Albert Hibbler Kay Davis Lu Eliot. Program Publishing Co unknown
c14169Sonod. audioCD. Like New. 0x0x0. CD case and liner all in Excellent condition. Sonod 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
C1236Sonod. Like New. CD case and liner all in Excellent condition. Sonod unknown
100-30786Happy Hairy Zeno. Audio CD. Very Good. CD in case with booklet. Happy Hairy Zeno unknown
1950List2914Unknown location 1950. 7 x 11 inch poster. Some small marginal tears overall excellent. A small poster for Pearl Bailey with the Louie Bellson Quartet presented by the United Service Organizations and Department of Defense. Bailey 1918–1990 was a singer dancer and actress; she started her career performing at Black nightclubs on the east coast and later performed in several Broadway hits including an all-Black version of Hello Dolly! Louie Bellson 1924–2009 was Bailey’s husband a composer bandleader and jazz drummer credited with inventing the double bass drum setup. Bailey toured regularly with the USO beginning in 1941 though this poster is likely from later; the DOD was called the Department of War until 1949 and the USO was inactive between 1945 and 1950. unknown
19802110502150414739elementary school 1980. Soft Cover. Fine. Volume: 1 elementary school paperback
