‎Jazz‎

‎COLLECTIF‎

‎POUR CEUX QUI AIMENT LE JAZZ LIVE - LES CONCERTS DE L'EMISSION RADIOPHONIQUE CULTE DES ANNEES SOIXANTE‎

‎WARNER JAZZ. 2003. In-4. Relié. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 20 pages. Nombreuses photographies en noir et blanc dans et hors texte.. . . . Classification Dewey : 781.65-Jazz‎

‎Classification Dewey : 781.65-Jazz‎

Referenz des Buchhändlers : R110280804

‎Collectif‎

‎Reporters sans frontières n°53 hiver 2016 - Jazz 100 photos pour la liberté de la presse + dossier sépical : journalisme d'infiltration.‎

‎Reporters sans frontières. 2016. In-4. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 143 pages - nombreuses photos en noir et blanc et en couleurs dans et hors texte.. . . . Classification Dewey : 781.65-Jazz‎

‎Par les photographes de l'agence magnum photos. Classification Dewey : 781.65-Jazz‎

Referenz des Buchhändlers : R160221260

‎COLLECTIF‎

‎REVUE : Jazz Hot. Hors série : Les grandes signatures. Album photo.‎

‎Paris, Jazz Hot et L'Instant, 1987, pt. In-folio, br., couv. Photo en noir éd., 112 pp., très nb. Photos, dessins et reproductions d'affiches en noir, Des photos en noir souvent inédites, mais aussi des textes de "spécialistes" du jazz : Boris Vian, Louis Malle, Siné, Claude Luter, Charles Delaunay, André Hodeir, Stephane Grappelli et bien d'autres. Un régal ! Bon état‎

Referenz des Buchhändlers : 61087

‎COLLECTIF‎

‎SO WATH, LE MENSUEL DE JAZZ - N°39 - AVRIL 2000 / RAVI COLTRANE - VINCENT COURTOIS - NORBERT LUCARAIN - McCOY TYNER - MARSEILLE.‎

‎SO WHAT. 1999. In-4. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 38 pages agraffées illustrées de nombreuses photos en noir et blanc in texte - 1er plat illustré en couleurs.. . . . Classification Dewey : 781.65-Jazz‎

‎Classification Dewey : 781.65-Jazz‎

Referenz des Buchhändlers : R320042475

‎COLLECTIF‎

‎Terre Lorraine - Revue Trimestrielle - Octobre 1982- N.25‎

‎Lunéville Association Pour Le Rayonnement Des Arts , Des Lettres et Des Sciences En Terre Lorraine 1982 20x23cm 32 pages - quelques taches - broché‎

‎Moyen‎

Referenz des Buchhändlers : 36Bb

‎COLLECTIF‎

‎Tout Sur Le Jazz / Bulletin Du Hot Club De France Années 1974 1975 1982 1983 1984 1985 1986 1987 1988 1989 1992 1993‎

‎Montauban Hot Club De France / Imprimerie Forestie 1974 In-8 un volume pour deux années consécutives, initialement les brochures avaient été conservées en classeur ce qui explique la présence de deux trous en marge intérieure , couvertures conservées 7 fascicules par année d'environ 25 pp‎

‎Bons Pleine Toile a La Bradel‎

Referenz des Buchhändlers : 25855

‎Cole, Holly‎

‎Holly (Digipak)‎

‎Tradition & Moderne, 2018. T&M 005 Digipak Digipack‎

‎Tonträger im neuwertigem Zustand, leichte Lagerspuren am Digipak‎

Referenz des Buchhändlers : 55114

‎Cole, Nat King‎

‎En Espanol (Twice as Nice) (2 CD)‎

‎Companion. 2 CDs CD‎

‎CD im optisch neuwertigem Zustand, Jewelcase mit leichten Lagerspuren, Schuber mit leichten Lagerspuren‎

Referenz des Buchhändlers : 25417

‎Coletti, Mimmo - Mutti, Roberto‎

‎Marco Nicolini. Photographer‎

‎Mm 220x240 Volume nella sua brossura originale con bandelle, 88 pagine completamente illustrate in nero e a colori. Testo in lingua italiana ed inglese - english-italian texts. Ottima copia paragonabile al nuovo, spedizione in 24 ore dalla conferma dell'ordine.‎

‎COLLECTIF‎

‎B2T - BIBLIOTHEQUE DE TRAVAIL N°82 - HISTOIRE DU JAZZ‎

‎INSTITUT COOPERATIF DE L'ECOLE MODERNE. 1976. Bon état. Couv. convenable. Intérieur frais. 48 pages richement illustrées de photos et dessins en noir et blanc. Tampon et annotation sur le premier plat.‎

‎COLLECTIF‎

‎DECCA, LE DISQUE DE L'ELITE, NOUVEAUTES OCTOBRE 1935‎

‎Decca. 1935. In-12 Carré. En feuillets. Etat d'usage. Couv. convenable. Dos satisfaisant. Déchirures. Plaquette de 4 pages. The Mills Brothers.‎

‎COLLECTIF‎

‎DECCA, SUPPLEMENT, AVRIL 1935‎

‎Decca. 1935. In-12 Carré. En feuillets. Etat d'usage. Livré sans Couverture. Dos abîmé. Déchirures. Plaquette de 6 pages dont 1 feuillet volant. Ambrose. Ray Ventura...‎

‎COLLECTIF‎

‎DECCA, SUPPLEMENT, MAI 1935‎

‎Decca. 1935. In-12 Carré. En feuillets. Bon état. Couv. convenable. Dos satisfaisant. Intérieur acceptable. Plaquette de 4 pages. Le célèbre artiste américain Bing Crosby.‎

‎COLLECTIF‎

‎GUIDE AKAI DU DISQUE, JAZZ, BLUES, POP, ROCK‎

‎ISBN : 2863910817. Edition°1. 1984. In-12 Carré. Relié. Bon état. Couv. légèrement passée. Dos satisfaisant. Intérieur bon état. 699 pages. De A à Z.‎

‎COLLECTIF‎

‎JAZZ MAGAZINE, N° 403, AVRIL 1991‎

‎Filipacchi. 1991. In-4 Carré. Broché. Etat d'usage. Couv. légèrement passée. Dos frotté. Intérieur bon état. 69 pages. Illustré de nombreuses photos en noir et blanc. Quelques annotations en 1re page. Le top 40 de Jazzmag. Les 40 meilleurs CD de 1990.‎

‎COLLECTIF‎

‎JAZZMAN, LE JOURNAL DE TOUS LES JAZZ, N° 58, MAI 2000‎

‎Desfossés Int.. 2000. In-4 Carré. Broché. Bon état. Couv. convenable. Dos satisfaisant. Intérieur frais. 62 pages. Illustré de nombreuses photos en couleur et en noir et blanc. John Lee Hooker, Le patriarche bleu. Joshua Redman. Albert Ayler. Jazz à Liège. Vincent Courtois. Enrico Pieranunzi...‎

‎COLLECTIF‎

‎JAZZMAN, LE JOURNAL DE TOUS LES JAZZ, N° 60, JUILLET-AOUT 2000‎

‎Desfossés Int.. 2000. In-4 Carré. Broché. Bon état. Couv. convenable. Dos satisfaisant. Intérieur frais. 77 pages. Illustré de nombreuses photos en couleur et en noir et blanc. George Benson. Trash Corporation. Nicholas Payton. ANthony Braxton. Bud Shank. Bobo Stenson. Michel Pastre. Aaron Goldberg...‎

‎COLLECTIF‎

‎LABEL JAZZ, N° 14, 1996‎

‎Label Jazz. 1996. In-4 Carré. Broché. Bon état. Couv. convenable. Dos satisfaisant. Intérieur frais. Plaquette de 12 pages illustrée de photos en noir et blanc. Kenny Baron Trio. Biarritz ville jazz. Tous les Festivals de l'été. Le Borie aux Chartrons...‎

‎COLLECTIF‎

‎LES 24 HEURES DU SWING‎

‎OMCL. 2006. In-16 Carré. Broché. Bon état. Couv. convenable. Dos satisfaisant. Pliures. Plaquette de 26 pages illustrée de photos en noir et blanc. Juin-Juillet à Monségur, Gironde. Dianne Reeves. New Spirit. Ray Gelato...‎

‎COLLECTIF (revue)‎

‎Les cahiers du jazz n° 11‎

‎N.E.M.M., Les cahiers du jazz n° 11, 1965, 157 pp., broché, rousseurs, traces d'usage, état correct.‎

‎COLLECTIF (revue)‎

‎Les cahiers du jazz n° 16-17‎

‎N.E.M.M., Les cahiers du jazz n° 16-17, 1967, 150 pp., broché, rousseurs, traces d'usage, état correct.‎

‎COLLECTIF.‎

‎JAZZ MAGAZINE N° 328. SOMMAIRE: UZESTE MUSICAL EN DANGER, DES NOUVELLES DE TOUS LES COINS DU JAZZ...‎

‎MUSICALES MODERNES.. 1984. In-4 Carré. Broché. Bon état. Couv. convenable. Dos satisfaisant. Intérieur frais. 54 pages. Nombreuses illustrations en noir et blanc dans le texte.‎

‎COLLECTIF.‎

‎ON NE RESISTE PAS AUX GENIES DU BLUES. PLAQUETTE.‎

‎ATLAS.. Non daté. In-4 Carré. Broché. Bon état. Couv. convenable. Dos satisfaisant. Intérieur acceptable. 10 pages. Nombreuses illustrations en noir et blanc et en couleurs dans le texte et hors texte.‎

‎Collier, Graham‎

‎JAZZ WORKSHOP. The Blues. Universal Edition 26931‎

‎London : Universal Edition, 1988. 77 S.; mit Abb. u. Notenbsp. Krt.‎

‎gute Erhaltung, altersbedingte Lagerspuren, sauber, Sprache: Englisch‎

Referenz des Buchhändlers : 121513

‎Collier, James Lincoln‎

‎Duke Ellington. The life and times of the restless genius of jazz.‎

‎Pan Books, 1987. 340 Seiten, with b/w.-.photos, brosch.‎

‎Guter Zustand / good condition. Brownished paper Cover very slightly worn. - The jazz world has always been filled with interesting personalities: gun-slingers and saints, the beautiful and the damned. Few, however, have em-bodied in one personality as many contradictions as Duke Ellington. He was gregarious and, as one of his friends said, a ?devourer of relationships.? But he was also reserved, a private man whom few people knew well. He could be unstintingly generous; but he could also argue with his musicians over petty amounts of money. He was infinitely loyal and kept on his pay-roll people who had outlived their usefulness; but he could manipulate the people around him ruthlessly for his own ends. Who the real Duke Ellington was is a mystery that fascinated even those who knew him well. In this book I have tried to open, at least a little, this extraordinary man to view. His impact on twentieth-century music is large, and it is only through understanding who he was that we can know how he made so major a mark on our times. I have tended to emphasize the earlier portions of Ellington?s life and career. There are several reasons for this. For one, a number of books published after his death covered the later stages of his career fairly thoroughly. For another, it is my view that Ellington?s most important music came before he was fifty, and I wished to concentrate on that work. Perhaps most critical, the forces that shape any artist?s work generally appear early. Such was the case with Ellington, and I had neces-sarily to look at his early days to find the roots of his art. A book like this is not created by one person but is built on the work of many other people who have gone before. I have depended for discographic details on the superb compilations of Benny H. Aasland, D. Bakker, and the Italian team of Massagli, Pusateri, and Volonte. Where biographical detail was otherwise lacking, I have used Leonard Feather?s Standard work The Encyclopedia of Jazz and the ever-reliable John Chilton?s Who?s Who of Jazz. Previous biographies are discussed in the text, and readers will dis-cover my opinions of them there. I have found particularly useful dozens of oral histories of people associ-ated with Ellington, and I would like to thank the following for guiding me to them and helping me in other ways: Dan Morgenstern and the Staff of the Institute for Jazz Studies at Rutgers University; Vivian Perlis and her associates Harriet Milnes and Jan Fournier at the Duke Ellington Oral History Project at Yale University; and the staff at the Schomburg Center for Research in Black Culture, in New York City. Herb Gray supplied me with some pictures and other material from his private collection. Fran Hunter generously shared with me her memories of the Ellington family. Rob Darrell supplied me with early letters and his memories of Duke. Francis ?Cork? O?Keefe also shared his memories of Duke with me. Andrew Homzy gave me the benefit of his insights into Ellington?s music. Geoffrey L. Collier helped me with analyses of certain Ellington pieces. Edward Bonoff in particular checked many of the musical analyses and of-fered valuable suggestions and criticisms. I am especially grateful to John L. Fell, who provided me with a number of Ellington items I could not locate, spent many hours running for me Ellington films from his private collection, and read the manuscript in its entirety, offering many valuable suggestions and comments. I cannot thank too much Stanley and Helen Dance, who spent hours of their time talking to me about Ellington, again and again answering questions and offering their criticisms and comments on the manuscript. Their aid was invalu-able. Needless to say, the help provided me by the Dänces and any of the others aforementioned does not constitute an endorsement by them of my interpretations and critical opinions of Ellington and his music, which are my own responsibility. I must also thank my editor, Sheldon Meyer, always supportive, sensitive, and forbearing. Finally, I am grateful to Wiley Hitchcock and the Institute for Studies in American Music at Brooklyn College for providing a fellowship that, in part, supported the research for this book. (Preface) ISBN 9780330306171‎

Referenz des Buchhändlers : 1163178