Nancy Jazz PulsationsBiblio.com
Jazz ThorntonBiblio.com
Stop Surviving Start Fighting 16pt Large Print Edition
ref. B9780369356802Paperback / softback. New. paperback
The Saint Bookstore · Reino Unido£ 48,06≈ € 57,20
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ref. 68-6678Nancy France: Nancy Jazz Pulsations 1980. Blank Post Card. 10.5 x 15 cm. VG. Scarce.Provenance: jazz musicians in clubs like the Procope and the Arlequin but especially the Tanner Club de Metz and some from Nancy Jazz Pulsations; circa 1950 to 1970. Nancy, France: Nancy Jazz Pulsations, 1980. unknown
1930ref. 23072EHollywood CA: 8” x 10” 1930. Original sepia tone promotional photo signed by theater director John Murray Anderson: “To the ‘Imp’ - from Murray Anderson Hollywood. 1930”. The photo shows Mr. Anderson smartly dressed in a three piece suit and tie sitting at a desk pen in hand looking slightly to his left. With the slightly faded inkstamp of the famous movie and theater star photographer James Edward Abbe 1883 - 1973 on the verso. Fine condition. The photo is laid in to a first edition copy of King of Jazz: Paul Whiteman’s Technicolor Revue Severn MD: Media History Press 2016 detailing the making of and the restoration of the film directed John Murray Anderson starring Paul Whitman John Boles and Laura La Plante. Oversize 303 pages extensively indexed and illustrated throughout. Fine in a fine dust jacket. John Murray Anderson 1886 - 1954 worked in almost every genre of show business including vaudeville Broadway and film. He made his Broadway debut in 1919 as a writer director and producer of The Greenwich Follies. In the 20s and 30s he ran an acting school in Manhattan teaching Bette Davis and Lucille Ball among others. Anderson produced the Ziegfeld Follies in 1934 1936 and 1943 as well as directing plays in London’s West End. Some of his other contributions include directing at Radio City Music Hall and Ringling Brothers Circus from 1942 - 1951. Anderson’s work in Hollywood includes in addition to directing King of Jazz 1930 writing the screenplay for Ziegfeld Follies 1946 with Fred Astaire William Powell Judy Garland and Lucille Ball directing the water ballets in Bathing Beauty with Esther Williams Red Skelton and Basil Rathbone and the circus sequences in The Greatest Show on Earth 1952 with Charlton Heston Betty Hutton and Cornel Wilde. 8” x 10” unknown
ref. B9780369356802Paperback / softback. New. paperback
ref. 1495052389.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
1979ref. 15409JLos Angeles: Twentieth Century-Fox 1979. First Edition. Paperbound 11” x 15”. A special film program made by the studio for advance screenings of the film of the acclaimed film dance musical All That Jazz directed by the great Broadway and film choreographer Bob Fosse and based upon his life starring Roy Scheider Jessica Lange Ann Reinking and Ben Vereen. Fine in printed wrappers. Twentieth Century-Fox unknown
2011ref. 2054470Soul Jazz Books 2011. Hardcover. Very good. Very good condition. Binding is tight. Inside is clean and unmarked. Soul Jazz Books hardcover
2017ref. 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
1999ref. 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
1979ref. 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
1920ref. 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
ref. 100-30835Charly Jazz. Audio CD. Very Good. CD in case with booklet. Charly Jazz unknown
ref. 100-30786Happy Hairy Zeno. Audio CD. Very Good. CD in case with booklet. Happy Hairy Zeno unknown
ref. 30622614like new. unknown
1974ref. 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
1974ref. 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
1974ref. 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
1974ref. 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
1974ref. 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
1974ref. 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
ref. 1514466406.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
ref. 1398415278.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
1920ref. 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
1932ref. 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
ref. 1737325519.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
