Jazz - SIMON, George TAntiquariat.de
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1971ref. 141909New York City. Galahad Books 1971. 491, (1) pages. With a lot of b/w illustrations. Original halfcloth binding (No dustjacket. A little used). 31x23 cm
1925ref. List3672New 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. 1 “Ethel Waters Is Featured In New Plantation Revue” The New York Age June 20 1925 6. Henry Waterson, Inc unknown
1925ref. List3672New 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. 1 “Ethel Waters Is Featured In New Plantation Revue” The New York Age June 20 1925 6. Henry Waterson, Inc unknown books
1961ref. 95869Hannover, Galerie Seide, 1959-1961. 24-46 S., tls. auf Packpapier gedruckt. 32,5 cm. Teils klammergeheftet, teils gelumbeckt.
1984ref. 32825Lot de deux superbes photographies de Count Basie prises par Jean-Pierre Leloir, dont une dédicacée par le jazzman. Format 24 x 17,5 cm et 23,5 x 16 cm. La plus grande est dédicacée par Count Basie et la plus petite porte le cachet du photographe. Rare et bel ensemble.
1519ref. 32591Revue Rock & Folk n° 19 bis de 1968. In-4 agrafé de 62 pages, au format 27 x 21,5 cm. Couvertures photographiques avec Otis Reding. Couvertures avec d'infimes frottis aux coins. Intérieur frais. Mensuel musical français consacré à la musique rock et pop, fondé en 1966 par Robert Baudelet, Jean Tronchot, Philippe Adler, Jean-Pierre Leloir et Philippe Koechlin. La revue connut la participation de nombreux photographes dont : Jean-Pierre Leloir, Claude Gassian, Pierre Terrasson, Gaëlle Ghesquière, Bruno Ducourant,Patrice Guino, Jean-Louis Rancurel, Dominique Tarlé, Bertrand Alary et Saddri Derradji. Nombreux articles sur le Rock, le blues, la soul, la pop dont : Otis Reding, Les Rolling Stones, Fats Domino, Aretha Franklin, etc. Nombreuses chroniques avec de très nombreuses photographies en noir et blanc. Rarissime édition originale, en superbe état de fraicheur de ce mythique n° 19 Bis spécial Rhythm'n'Blues.
ref. 3122Affiche originale. 1972. Impression en offset. Dim: 534 x 534 mm. Excepté deux petites taches bords partie sup, en très bon état.
ref. 3122Affiche originale. 1972. Impression en offset. Dim: 534 x 534 mm. Excepté deux petites taches bords partie sup, en très bon état.
1926ref. boz_006433Auteur : André Cœuroy et André Schaeffner Titre : Le Jazz, sous la direction de André Cœuroy (Collection La Musique Moderne - II) Édition : Éditions Claude Aveline / Chez André Delpeuch, Paris, 1926 (MCMXXVI) Tirage : Édition originale, n 63, l'un des 100 exemplaires numérotés sur papier vergé d'Arches (second papier après 25 Japon impérial). Reliure : Ouvrage broché, couverture souple rempliée. Exemplaire tel que paru, avec ses tranches non rognées et ses marges non coupées. Dimensions : 15,5 x 20,1 cm État : Très bon état, ouvrage complet. L'intérieur est d'une grande fraîcheur, il y a deux marques d'ombrage dues à la présence de deux coupures de presse glissées à l'intérieur de l'ouvrage. Voir photos pour plus de détails. Nombre de pages : 150 pages
ref. awd-1139Aquarelle originale sur papier fin contrecollé, titrée et datée 1957 en marge.
1974ref. 106886BBRom, 1974. 40 x 30 cm.
1991ref. 99260BBRom, 1991. 30 x 40 cm.
1955ref. 9200Hollywood, Linear Productions, 1955. In-folio broché non paginé, couverture noire illustrée, imprimée en ocre et blanc. Bas du dos fendu, plis en bords.
1958ref. 146640Associated Booking Corp. Joe Glaser, President. New York, Chicago, Hollywood. (Ohne Jahr. Um 1958). Fotoformat: 21x25 cm
1947ref. 98087Paris, P., éditions du Belvédère, coll. « Les Maîtres du Jazz, 1 » 1947 In-8 broché, 107 pp., 9 planches hors texte, discographie complète de Louis Armstrong par Charles Delaunay. Infime tache sur le premier plat, couverture un peu poussiéreuse.
2004ref. 54877JazzFine, 2004. JFIS-XR-002 CD Digipak
ref. BN66418Süddeutsche Zeitung Jazz-Edition: Dive into Jazz Dombrowski Ralf unknown
ref. awd-1137Huile sur papier au format horizontal, contrecollée sur papier jaune, vers 1957 (12,5/50 cm). t
2006ref. bf5551Albertville, Parole gravée Feuillets sous chemise cartonnée 2006 TRES BEL EXEMPLAIRE RICHEMENT ILLUSTRE. RAMALLO (Jean). Jazz du désir. Illustrations d'Alain Bar. Albertville, Parole gravée, 2006. In-8 (25x17 cm), (1) f. de titre, (8) f. de texte, (1) f. de justification, en feuilles, 2 eaux fortes en noir hors texte, 2 eaux fortes en couleurs hors texte et 2 in texte à double page, un motif estampé à froid sur le feuillet de titre, 3 compositions typographiques in texte et un motif hors texte, couverture imprimée, étui en plexiglas. Seconde édition illustrée par Alain Bar. Tirage limité à 33 exemplaires numérotés signés par l'artiste (celui-ci n°17). ; Très bel exemplaire à l'état de neuf, accompagné d'une carte illustrée d'une eau forte d'Alain Bar avec un envoi de sa main et de sa carte de visite. Livraison a domicile (La Poste) ou en Mondial Relay sur simple demande.
1925ref. 54342Philadelphia PA: Otto F. Schumann Philadelphia Textile School ca. 1925. Small 4to. 8.25 x 9.2 in. 75 leaves unnumbered including 32 leaves with detailed colour charts on weave formations producing various kinds of cloth 3 tipped-in textile samples together w/ weaving instructions in manuscript. Original limp leather 3-ring binder gilt lettering stamped on front cover ink lettering & association of Otto F. Schumann on front cover some soiling dustsoiling edgewear still VG exemplar. This Jazz Age weaving manuscript notebook complete with weave formation design plates fabric samples and instructions offer a remarkable and invaluable artifact of how a young American textile designer and weaver received training at the famed Philadelphia Textile School now Philadelphia University during the 1920s. These course books were judged on completeness and the aspiring weaver’s skill in presenting the details about the instruction as well as their abilities in running the machinery required to produce the cloth. This manuscript notebook includes Schumann’s detailed plates and notes on producing color effect on the plain weave creating Broken Twills Crowfoot Satins Checked & Figured Broken Twills Entwining Twills Basket Weaves and Broken Satins. The extensive manuscript notes detail the loom instructions how many lines are required composition and more in producing the assorted effects. Because of the poor quality of United States textiles exhibited at the Centennial Exhibition in 1876 the Philadelphia Textile Manufacturers pushed for a formalized vocational school to train weavers designers and textile workers. In 1884 it became part of the Pennsylvania Museum and School of Industrial Art with 81 students enrolled by 1885 and by 1894 the School of Textiles added a Department of Wool Carding & Spinning and a Department of Cloth Finishing and Design. By the 1920s the Philadelphia Textile School was offering extensive three-year textile courses chemistry and dyeing courses as well as design courses in cottons woolens worsteds silks Jacquard design and more. Schumann 1906-1967 was the son of Hugo Schumann founder and owner of the Maid Hosiery Mills in Reading PA through the opening decades of the 20th century for whom he worked with until after World War II as designer and sales executive. Otto F. Schumann, Philadelphia Textile School, hardcover
1948ref. 223231948. 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. 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. 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
1948ref. 223231948. 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. 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. 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 books
ref. 17518Dimensions : 248 x 172 mm.
[2] Bll., 47 S. Typendruck. Quer-Gr.-4°. PBd. d. Zt. Ecken bestossen/beschabt. RISM S/SS 2365.
2014ref. 90409New York: The Caliban Press 2014. First Limited Edition. Small Quarto. 27cm. Limited to 125 copies. Dark green cloth spine with paper "5 Spot" label over limp grey die-cut card wraps. 10pp with additional internal mechanical elements. A fine bright copy. An artistic reworking of a 1964 "Down Beat Magazine" article by Williams describing the experience of seeing the legendary Thelonius Monk playing at NYC's legendary 5 Spot jazz cafe on 4th and Bowery with a spectacular centrepiece of die cut card by Berard based of a 1958 photo of Monk and his quartet playing. Signed out of sequence by McMurray to limitation page with the accompanying Caliban Press prospectus sheet. The Caliban Press unknown
