Soul Jazz RecordsBiblio.com
4 477 résultats
2011réf. 2054470Soul Jazz Books 2011. Hardcover. Very good. Very good condition. Binding is tight. Inside is clean and unmarked. Soul Jazz Books hardcover
2017réf. 28274Lebanon:: ForeEdge 2017. First Printing of the First US Edition. A Fine tight copy in a Fine unclipped dust jacket. Among many art music and literature lovers particularly devotees of modernism the expatriate community in France during the Jazz Age represents a remarkable convergence of genius in one place and period-one of the most glorious in history. The outpouring of boundary-pushing novels paintings ballets music and design was so profuse that it belies the brevity of the era 1918–1929. Drawing on unpublished albums drawings paintings and manuscripts Charles A. Riley offers a fresh examination of both canonic and overlooked writers and artists and their works by revealing them in conversation with one another. ForeEdge, unknown
1999réf. 26915University Park:: Penn State Press 1999. First Printing of the First Edition. A Fine tight copy in a Very Good plus dust jacket with light sunning to the spine that is common wtih this title. In Le Tumulte noir Jody Blake focuses on the impacts of African sculpture and African-American music and dance on Parisian popular entertainment and modernist art literature and performance. Blake discusses the reception of ragtime-era and jazz-age entertainment as well as other African visual and performing art forms to provide new ways of understanding the development of modernist primitivism from Matisse and Picasso to Futurism Dada Surrealism and Purism. But the influence of art nÈgre went well beyond the avant-garde art world. Starting with the cakewalk of the 1900s and culminating with the Charleston of the 1920s the book studies the African-American idioms that were involved in larger cultural social and political developments. As an illustration Blake argues that performers such as Josephine Baker and Sidney Bechet of Revue nÈgre fame were thought to affect the political balance between Africa and Europe during the colonial period. Le Tumulte noir is divided into six chronological chapters each a well-researched well-conceived and well-written synthesis of the histories of art literature music and dance. Penn State Press, unknown
1979réf. 22006New York:: Doubleday 1979. First Printing of the First US Edition. A Near Fine tight copy in a Very good plus unclipped unfaded dust jacket with some tiny nicks to the edges of the spine and two short closed edge tears. This autobiography blends Dizzy's own story along with the thoughts and remembrances of those who knew and with him over the years including such notables as Miles Davis Billy Eckstine Cab Calloway Kenny Clarke to name but a few. Doubleday, unknown
1920réf. List3820Chicago Illinois: Schlink Studio 1920. Real photo postcard measuring approximately 3 ½ x 5 ½ inches. Studio portrait of an African American musician standing in overcoat hat gloves and cane beside a chair displaying a saxophone and clarinet. Divided postcard back. Light wear and soiling with small loss or surface disturbance at lower margin; very good. A real photo postcard portrait of an African American musician posed with saxophone and clarinet. The sitter is not identified but the portrait was clearly made to present him as a professional or semi-professional performer rather than as an informal amateur. The formal clothing cane and carefully arranged instruments give the image the character of a publicity or theatrical portrait. The combination of saxophone and clarinet is especially appropriate to early twentieth-century dance-band and jazz performance when reed players commonly doubled on both instruments. The photograph likely dates from the period in which Black musicians circulated through local orchestras theater bands dance halls vaudeville circuits and early jazz ensembles often leaving behind few named records apart from photographs like this. A strong real photo postcard portrait of an African American reed player with good visual presence and clear musical content. . Schlink Studio unknown
réf. B9798230702948Paperback / softback. New. paperback
réf. B9798227989185Paperback / softback. New. paperback
réf. B9798230764939Paperback / softback. New. paperback
réf. B9798230388487Paperback / softback. New. paperback
réf. 100-30835Charly Jazz. Audio CD. Very Good. CD in case with booklet. Charly Jazz unknown
réf. 100-30786Happy Hairy Zeno. Audio CD. Very Good. CD in case with booklet. Happy Hairy Zeno unknown
réf. 30622614like new. unknown
1974réf. 18072London: Jazz Journal. Very Good with no dust jacket. First Edition. Magazine. Twelve issues all in very good condition showing light usage.; 11" x 9" . 1974. Jazz Journal unknown
1974réf. 18073London: Jazz Journal. Very Good with no dust jacket. First Edition. Magazine. Twelve issues all in very good condition showing light usage.; 11" x 9" . 1974. Jazz Journal unknown
1974réf. 18071London: Jazz Journal. Very Good with no dust jacket. First Edition. Magazine. Twelve issues all in very good condition showing light usage.; 11" x 9" . 1974. Jazz Journal unknown
1974réf. 18074London: Jazz Journal. Very Good with no dust jacket. First Edition. Magazine. Twelve issues all in very good condition showing light usage.; 11" x 9" . 1974. Jazz Journal unknown
1974réf. 18079London: Jazz Journal. Very Good with no dust jacket. First Edition. Magazine. Twelve issues all in very good condition showing light usage.; 11" x 9" . 1974. Jazz Journal unknown
1974réf. 18078London: Jazz Journal. Very Good with no dust jacket. First Edition. Magazine. Twelve issues all in very good condition showing light usage.; 11" x 9" . 1974. Jazz Journal unknown
réf. 1514466406.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
réf. 1398415278.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
1920réf. List3817Chicago Illinois: Chicago Amusement Service Corporation 1920. Silver gelatin photograph measuring 8 x 10 inches. Photograph shows Jimmie Wade and his Club Alabam Orchestra posed in tuxedos before a curtain with drums banjo brass reeds and string bass beneath a printed sign reading "Chicago Amusement Service Corporation Presents / Jimmie Wade and his Club Alabam Orchestra / Chicago / Vocalion Records. Some wear toning and soiling; verso with staining; very good. A large promotional photograph of Jimmie Wade and his Club Alabam Orchestra. Wade was an African American jazz trumpeter and bandleader active in Chicago from the 1910s through the early 1930s. His orchestra appeared at major Chicago venues and recorded for Vocalion in 1928. Club Alabam opened at 747 Rush Street in 1927 during Prohibition and operated as a cabaret-style nightclub under showman Dan Blanco who had previously worked in saloons amusement parks vaudeville and Chicago cabarets. The club belonged to the city's late-1920s nightlife world of floor shows dance orchestras illicit liquor and entertainment promotion. The sign in this photograph identifies Wade's orchestra Club Alabam Chicago Amusement Service Corporation and Vocalion Records. A strong Jazz Age photograph of an African American Chicago bandleader and his orchestra with connections to the Chicago nightlife scene of the period. Chicago Amusement Service Corporation unknown
1932réf. List3818New York City 1932. Silver gelatin photograph measuring 8 x 10 inches. Stage photograph of Cab Calloway and His Cotton Club Orchestra with Calloway at center before the band brass and reed sections drums bass guitar and stage lighting visible. Verso with mounting residue and manuscript note reading in part "from Irondome Bessemer album" or similar. Some wear creasing toning and mounting residue; very good. A large stage photograph of Cab Calloway and His Cotton Club Orchestra corresponding to a known 1932 image of the band made to mark the arrival of trumpeter Doc Cheatham. The photograph shows Calloway at center bending forward in his characteristic theatrical posture with the orchestra arranged behind him on the Cotton Club stage. By 1932 Calloway had become one of the defining entertainers of the Cotton Club era. He had taken over the Missourians in 1930 and the success of "Minnie the Moocher" in 1931 helped make him a national figure. The orchestra was also being reshaped during these years with musicians such as Doc Cheatham Morris White Walter "Foots" Thomas Benny Payne and others forming the sound and stage presentation of Calloway's early 1930s band.1 Mills Music used this same image in another press photograph indicating that it functioned as a promotional view of Calloway and the orchestra rather than merely as a private stage snapshot. 1 Jean-François Pitet "Morris 'Fruit' White: from the Missourians' banjo to Calloway's guitar" The Hi de Ho Blog May 20 2021 accessed July 21 2026 https://www.thehidehoblog.com/blog/2021/05/morris-fruit-white-from-the-missourians-banjo-to-calloways-guitar. . unknown
réf. 1737325519.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
réf. 0743458265.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
