Adderley julian (15 risultati)

Hardcover. Condizione: As New. Condizione sovraccoperta: Near Fine. 1st Edition. Not a book but a 12-inch, 33-1/3 rpm vinyl disc, RCA Victor dynaflex stereo LSP-4636 (APRS-8455), near-mint vinyl with orange labels in a near-mint gatefold cardboard sleeve. Reduced from $42.

paperback. Condizione: Good condition. good condition,fast ship.

Condizione: New. Num Pages: 79 pages. BIC Classification: AVGJ; AVQ. Category: (G) General (US: Trade). Dimension: 302 x 227 x 8. Weight in Grams: 248. . 2011. Pap/Com. Paperback. . . . .

Paperback. Condizione: Brand New. paperback/cd edition. 79 pages. 11.50x8.75x0.50 inches. In Stock.

Condizione: New. Num Pages: 79 pages. BIC Classification: AVGJ; AVQ. Category: (G) General (US: Trade). Dimension: 302 x 227 x 8. Weight in Grams: 248. . 2011. Pap/Com. Paperback. . . . . Books ship from the US and Ireland.

(= 840 835 2). Gutes Ex. Sprache: Englisch, ------------ Julian Edwin "Cannonball" Adderley (* 15. September 1928 in Tampa, Florida; gest. 8. August 1975 in Gary, Indiana) war ein US-amerikanischer Jazz-Altsaxophonist (ab 1968 auch Sopransaxophon) der Periode der kleinen Combos in den 1950er- und 1960er-Jahren.…

Taschenbuch. Condizione: Neu. Neuware - Cannonball Adderley Collection.

Taschenbuch. Condizione: Neu. Neuware - Cannonball Adderley: Omnibook presents nearly 50 of Julian Cannonball Adderley's recorded solos fully transcribed exactly as he recorded them.

paperback. Condizione: New. In shrink wrap. Looks like an interesting title.

Taschenbuch. Condizione: Neu. Julian Cannonball Adderley Collection | Julian 'Cannonball' Adderley | Taschenbuch | 72 S. | Englisch | 2020 | Hal Leonard Publishing Corporation | EAN 9780793531738 | Verantwortliche Person für die EU: Hal Leonard Europe, Rotlaubstr. 6, 79427 Eschbach, verkauf[at]halleonardeurope[dot]de | Anbieter: preigu. …

An uncommon, visually striking - if oddly off-key - memento of a profound evolutionary shift in the career of the one of the great originators of jazz. Late in September 1965, Coltrane was booked for a week-long residency at the Seattle club The Penthouse with his classic quartet, which featured the pianist McCoy Tyner, Jimmy Garrison on bass, and the drummer Elvin Jones. On an evidently thought-through afterthought, he added two friends whom he had met up with in San Francisco: Sun Ra protégé Pharaoh Sanders on tenor, and the multi-reeds and bass experimentalist Donald Rafael Garrett. This decision marked a controversial transition in his work: a move into the realm of free-blowing and spiritual striving that defined his later career. The session was recorded, only being released some six years later as an Impulse! double set, which allows an informed, and divisive, debate on the music produced to continue. In their authoritative Penguin Guide, Cook and Morton drily speculate as to whether Seattle's 1980s grunge movement represented the "genetic fall-out" from Coltrane's visit to Washington State ten years earlier, while awarding the album ***(*). Allmusic's Scott Yanow reaches for "atonal. and often very violent", before concluding, "this is innovative and difficult music", while the Coltrane biographer Bill Cole asserts that "this music is unquestionably at the ritual level in terms of its function". As to Coltrane's long-time collaborators, Garrison adapted to the new ethos - "drones in the background" (Yanow) - later recording with Alice Coltrane, Ornette Coleman and Archie Shepp, while Tyner - "plays manfully. but this is no longer his music" (Cook and Morton). Elvin Jones - "once so ubiquitously evident, has dropped into the shadows" (ibid.) - left Coltrane in January 1966. On leaving, Jones remarked that "I couldn't hear what I was doing. all I could hear was a bunch of noise". We have been unable to trace another example of this poster, which in hindsight, with its Fiestaware pallet and kookie sixties lettering, seems almost impossibly at odds with the musical transformation it unwittingly announced. Nonetheless, and almost despite itself, it strongly evokes the moment. Richard Cook & Brian Morton, The Penguin Guide to Jazz Recordings, eighth edition, 2006. Poster (572 x 380 mm), colour printed in purple and pale orange on medium cardstock. Framed and glazed, overall 690 x 500 mm. A little toned verso, but overall very good.…

Signed by both leading protagonists: "Julian Cannonball Adderley" in blue ball-point on the front cover, and similarly by Art Farmer on the back; a highly unusual pairing of signatures by two of the leading horn men of the period. An intriguing and highly listenable album, teaming Adderley and Farmer with Barry Galbraith (guitar), Milt Hinton (bass) and the composer himself at the piano (in the "third movement" only). The sound of both front men is captured with wonderful clarity. As Orrin Keepnews remarks in his liner notes, "it is doubtful if there has ever before been a musical work quite like this Alabama Concerto, with its bold fusing of jazz virtuosity, folk-music themes, and what is usually called 'serious' composition"; and Cannonball's bio-discographer Chris Sheridan notes that "this is in fact an especially underrated suite of music, based on the Harold Courlander field trip which recorded Negro Folk Music of Alabama for Folkways and ranges from children's songs through spirituals and work songs to lullabies and, of course, the ever-present blues. Most important is that the stories they tell us about the Black experience in Alabama achieve an early 'Third Stream' sophistication while retaining their edge, both in theme and in the expressiveness of the solos, particularly of the horns" (Dis Here: A Bio-Discography of Julian "Cannonball" Adderley, 2000, p. 49). 12-inch vinyl LP (Riverside 1123), new plain paper sleeve (original sleeve also present), original album cover, artwork by Walter Williams. Only light shelf wear to cover otherwise very good; disc in excellent condition.…

Terrific sequence of apparently unpublished images of the Adderley quintet at, we believe, Salle Pleyel Paris in 1960, capturing the great good humour between the brothers. "This was a hard-hitting group which invested blues and formulae with an intensity that helped to keep older jazz channels open at the time of Ornette Coleman, Eric Dolphy and other seekers" (Cook & Morton). Two of the images catch Cannonball in full flight with Nat looking on approvingly, another has Nat at the microphone with Cannonball returning the compliment, his eyes closed in rapt attention. The quintet comprised Cannonball (alto), Nat (cornet), Victor Feldman (piano), Sam Jones (bass), Louis Hayes (drums). The gig, on Friday 25 November 1960, part of Norman Granz's Jazz at the Philharmonic tour, was recorded and "the enthusiasm of the audience spills over into the performance to create a special atmosphere"; something of this is certainly apparent in these highly engaging images (Sheridan, pp.100-01). The photographer, Michel Salou, worked as a music executive, producing albums by, among others, Sun Ra (Live in Paris at the "Gibus", 1973), the Mal Waldron Trio (Ursula, 1978), and French pianists George Arvanitas and Rene Urtreger. He also appears in the annals of the Art Ensemble of Chicago as their "first booking agent. who helped them secure concert dates across France and elsewhere in Europe" (Steinbeck, p. 130). His excellent work as a lensman appears to have gone virtually unnoticed, except that the National Portrait Gallery holds a single print of Ray Charles in performance. Richard Cook & Brian Morton, The Penguin Guide to Jazz Recordings, ninth edition, 2008; Chris Sheridan, Dis Here: A Bio-Discograhy of Julian "Cannonball" Adderley, 2000. 5 original carbon prints (241 x 178 mm), 4 landscape, 1 portrait, printed on heavy stock paper, each with Salou's inventory number in pencil on verso, one with Salou's wet stamp. In excellent condition.…

Signed in full on the front cover in blue ballpoint by the great altoist, "Julian Cannonball Adderley", and on the back cover by Nat Adderley and bassist Sam Jones. This is apparently a contemporary reissue of the original 1961 release (matrix numbers on the runouts match those given by Discogs, which doesn't, however, assign a date). Enroute, recorded in 1957, also features Junior Mance (piano), and Jimmy Cobb (drums). This is a typically effervescent Adderley outing, with a bubbling version of "A Foggy Day"; Cannonball supplying a soulful "Lover Man" that is full of ideas; a barnstorming "I'll Remember April" (featuring a blistering solo from Nat); before a ferociously swinging "The Way You Look Tonight" closes out this thoroughly enjoyable date. Discogs website. 12-inch vinyl LP (Mercury MG 20616), new plain white inner sleeve (original inner also preserved), original album cover. Really trivial wear to cover, otherwise, bright, clean and sharp; disc in excellent condition. …

First pressing, signed in full on the back cover in black and blue ballpoint pen respectively by the Adderley brothers and bassist Sam Jones; Cannonball signing as "Julian Cannonball Adderley". Excellent trio of uncommon autographs adorning this highly appealing album, a fine exemplar of the Adderley quintet at full tilt, their last studio recording. Cannonball's biographer, Cary Ginell, notes that the altoist was seeing out his obligation to Mercury with this album, "another exciting collection for the Adderley Quintet. Sharpshooters featured two Tadd Dameron compositions: a thrilling version of 'Our Delight' and the rambunctious 'Stay On It'. Standards always gave Cannonball the opportunity to flex his melodic chops, and he played gorgeous solos on. 'What's New' and the show tune 'If I Love Again'". Completing the lineup are Junior Mance (piano) and Jimmy Cobb (drums). Discogs website; Cary Ginell, Walk Tall: The Music & Life of Julian "Cannonball" Adderley, Milwaukee, Hal Leonard Books, 2013. 12-inch vinyl LP (Mercury SR 80018), new plain white inner sleeve (original inner also preserved), original album cover. A few minor marks to back cover, very little shelfwear, overall sharp and bright; disc in excellent condition, back cover wet stamped "Inspected by 11".…