gillespie bud (9 risultati)

Hardcover. Condizione: Very Good. Condizione sovraccoperta: Very Good. "An Introduction to the World's Greatest" ain't books but rather a boxed set of five, 12-inch, 33-1/3 rpm vinyl jazz LP records, World's Greatest Music Series WGM(S)-2A, "from the catalogue of Roulette Records Birdland Series," the vinyl very-good-plus (no real problems, but these records have been played), four of the five discs marked "Stereo," the box intact and "very good" with some edge rub and what's probably a sticker pull to bottom of rear panel. On the bright side, Charlie Parker and Miles Davis offer "Crazeology" and "Bird Feathers"; Dizzy Gillespie and Charlie Parker bring us "School Days" and "Swing Low Sweet Cadillac"; Art Tatum offers "Dark Eyes"; the Stan Getz Quartet brings us "Hershey Bar"; we find Sonny Stitt with "Spinning" and "Hitsburg." Maynard Ferguson, Sarah Vaughan ("Stormy Weather") and Joe Williams each get a full disc to themselves, set of five now reduced from $12. For Maynard Ferguson fans we'll throw in OUR SECOND BOXED SET of two Roulette LPs, "The Maynard Ferguson Years," K-101, appear to be mono, very-good-plus vinyl in a "good" original 1965 box, including "Hip Twist," "Stella By Starlight," "Mambo La Mans" (sic), "The Party's Over," etc. -- that second boxed set being about a $4 value, the pair of boxed sets now reduced from $14.

Condizione: New. In.

Soft cover. Condizione: Good. 1st Edition. 1st Ed, 20 pp., photos, stiff pi. wps., vg+ Herd # 892.

Condizione: Fine. english edition - légères marques de lecture et/ou de stockage mais du reste en très bon état. Envoi rapide et soigné dans une enveloppe à bulle depuis la France. 12x14x2cm. 2017. CD. 3 volume(s). Fine.

PAP. Condizione: New. New Book. Shipped from UK. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

PAP. Condizione: New. New Book. Delivered from our UK warehouse in 4 to 14 business days. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

Vinyl. Condizione: Sehr gut. Tadellos - neu+ungespielt (so schauen die Platten aus). Versand aus München 15-148 Sprache: Deutsch.

Engrossing small collection of original acetates cut by Boris Rose from radio broadcasts, capturing live performances by Charlie Parker at various club dates in New York, the Dizzy big band at Cornell University, Bud Powell at Birdland during an extended residency in 1953, and Tadd Dameron at the Royal Roost in 1948, the club dubbed "The Metropolitan Bopera House". The history of jazz is sprinkled liberally with entrepreneurs driven by a passion for the music, figures such as Teddy Reig and Norman Granz, and those zealous amateur recordists such as Dean Benedetti who become an integral part of jazz lore. One such figure was the "voluble and erudite" Boris Rose, described as such by Frank Driggs and Chuck Haddix in their Kansas City Jazz: From Ragtime to Bebop - A History (OUP 2005, p. ix). Subsequently they relate how, from his "crowded studio in New York City on 15th Street east of the Third Avenue El" Rose "sold dubbed acetate discs of rare sides". In a piece about the Rose archive for the Wall Street Journal the distinguished jazz writer Will Friedwald remarked that "Boris Rose was one of those legendary characters who seem to proliferate in the world of jazz. He was tall, articulate, always very well groomed - and by all accounts an outrageous character. An inveterate prankster, he dreamed up a dizzying array of fake label names (including "Titania," "Ambrosia," "Caliban," "Session Disc," "Ozone" and "Chazzer Records"), many of which he tried to pass off as European imports. Most of his albums bore an address on the front, such as "A Product of Stockholm, Sweden." But if you looked closely on the back, it would say something like "Manufactured in Madison, Wisconsin" in much smaller type. 'I always felt something about jazz,' Mr. Rose said in an undated interview with historian Dan Morgenstern that was taped for German television. 'As far back as 1930, I listened to broadcasts from the Cotton Club. I heard Duke, I heard Don Redman, I heard Cab Calloway'. During his years at City College, Mr. Rose practiced the c-melody saxophone but began to find his calling when he got a job at the MRM Music Shop on Nassau Street. 'As far back as 1940, I purchased a home [disc-cutter] recorder and I began to dub records,' he told Mr. Morgenstern. 'For the next few years while I was in the Army, I was able to dub records for collectors who couldn't find the originals'. From there, he branched out to recording radio broadcasts and then live bands in clubs. 'Getting out of the Army in 1946, I had professional equipment, and began to take down all of these jazz broadcasts,' he explained. 'First on 16-inch acetate discs. Later on, when tape came into the picture, I was able to record on tape'. Mr. Morgenstern remembers Mr. Rose as 'a man who never sat down - he was always monitoring three or four tape recorders or disc-cutters at any given time'. For decades, Mr. Rose ran a thriving business, recording jazz wherever he could, then making and selling copies or trading them for rarer material. Over time he amassed a spectacular library of modern jazz from the glory years - the 1950s. His friends found this amazing since he rarely listened to the stuff himself; his own tastes ran to Louis Armstrong and Kid Ory. Still, he documented an entire era of music, the great majority of which hasn't been heard in 60 years" (4 December 2010). Rose's work as an archivist is covered in the scholarly Democracy of Sound: Music Piracy and the Remaking of American Copyright in the Twentieth Century by Alex Sayf Cummings (OUP 2013): "Boris Rose, a compulsive collector and sound engineer from the Bronx. recorded performances from the radio, making homemade acetates and LPs available to fans of jazz, classical, country, and countless other genres for decades. Each featured a unique cover, designed and Xeroxed by Rose himself. 'We should thank goodness that someone was documenting these broadcasts,' [Down Beat columnist John] Corbett writes, 'or they might have been lost forever'". The collection comprises: Parker: 10-inch acetate: "Out of Nowhere" and "How Hi [sic] the Moon" 10-inch acetate: "Ornithology #1" and "Ornithology #2" Neither time nor place stated. Bird scholar Larry Koch notes five occasions on which Bird played both "Ornithology" and "Out of Nowhere" on the same date: at St. Nicholas Arena, New York (18 February 1950), "Boston area, 1951?", Storyville, Boston, (10 March 1953), and two dates at the Hi-Hat, Boston (18 and 24 January 1954). 12-inch acetate, cover annotated in black marker pen: "Parker Broadcasts. [Side 1] 3/24/51. Just Friends, Everything Happens To Me, East of the Sun, Laura, Dancing in the Dark, Embraceable You. [Side 2] 9/20/52? Easy To Love, Repetition, 52nd Street Theme, Ornithology, 52nd Street Theme". 1951 date: live broadcast from Birdland, NYC. Parker, strings, oboe, harp, rhythm section of Walter Bishop (piano), Teddy Kotick (bass), Roy Haynes (drums). 1952 date: live broadcast from Birdland? The date listed by Koch (20 September) he admits is guesswork and he only cites two numbers, "Ornithology" and "52nd Street Theme", against the five given here. Ken Vail notes that the lineup was Duke Jordan (piano), Charles Mingus (bass), Phil Brown (drums). 12-inch acetate, cover annotated in black marker pen: "Charlie Parker Broadcasts. [Side 1] 12/11/48. Slow Boat to China. 5/9/53 Cool Blues, Star Eyes, Moose the Mooch [sic]. [Side 2] Moose the Mooch [sic], Broadway. 2/5/49 Scrapple from the Apple, Barbados, Salt Peanuts". 1948 date: live broadcast from Royal Roost, NYC. Parker, Miles Davis (trumpet), Al Haig (piano), Tommy Potter (bass), Max Roach (drums). Koch notes that Miles "shows his newfound extended range in his solo. Parker goes through the rapidly moving chord changes as if they were melted butter". 1949 date: live broadcast from Royal Roost, NYC. Parker, Kenny Dorham (trumpet), Al Haig (piano), Tommy Potter (bass), Max Roach (drums). "The Bird solo on Salt Peanuts is great: it's a long-li.

Archive of 19 photographs of mid-century jazz and blues icons by noted jazz photographer Burt Goldblatt, all but one with his credit stamp on the verso. Included are photographs of Wes Montgomery, Woody Herman (4), Ron Carter, Dexter Gordon, Lionel Hampton (2), Johnny Hodges, Milt Jackson (2), "Cannonball" Adderley, Maxine Sullivan, Nat Adderley (2), Bud Freeman, Monk Montgomery, Buddy Montgomery, Phil Woods, and others. Goldblatt is known for his photographic work for album covers from the late 1950s to 1960s. His credits include photo artwork for LPs by Billie Holiday, Herbie Mann, Carmen McCrae and others. 18 of the photographs with Goldblatt's stamp on the verso (in various stamp formats over a 30-year period), all from his archive. 18 of the photographs approximately 8 x 10 inches, 2 approximately 5 x 7 inches. Very Good to Near Fine, one with a vertical crease (Phil Woods). Please note: copying for re-sale is illegal and no commercial rights are included in the sale of these vintage prints. Copyright remains with (c)Burt Goldblatt/CTSIMAGES.