salou michel (11 risultati)

2004 / 107 pages. relié Editions lela presse Collection Navires et histoire des marines du monde n°4 Français Nombreuses illustrations en noir et blanc.

Broché. Condizione: D'occasion - Comme neuf. Editions Tirésias, 2009. Envoi rapide et soigné.

In-4 - br. 203 pp., texte sur 2 col., ill.

Characteristically charismatic image of the great pianist, captured in performance, we believe, at the Salle Pleyel, Paris, on 12 June 1962; Erroll, smiling and looking heavenwards, is perhaps acknowledging applause with his right hand, while the left is still comping. Also pictured is bassist Eddie Calhoun, the drummer on the night would have been Kelly Martin. The Penguin Guide to Jazz Recordings sums up Garner's irresistible appeal, "Erroll Garner was one of a kind. He was as outré as the great beboppers, yet bop was alien to him, even though he recorded with Charlie Parker. He swung mightily, yet he stood outside the swing tradition; he played orchestrally, and his style was swooningly romantic, yet he could be as merciless on a tune as fats Waller. He never read music, and often pianists would be hired to teach him songs, but he could play a piece in any key, and delighted in deceiving his rhythm sections from night to night. His tumbling, percussive, humorous style was entirely his own". 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. Incidentally, another image from this concert, by Jean-Pierre Leloir, was used on the cover of Erroll Garner Trio (Vargal, 1963). Richard Cook and Brian Morton, The Penguin Guide to Jazz Recordings, ninth edition, 2008. Original carbon print photograph (178 x 241 mm), printed on heavy stock paper, verso with Salou's inventory number in blue ink and with identifying note in pencil. In excellent condition.

Superb shot taken onstage, close behind Silver, who is framed by the raised lid of the piano, through which bassist Gene Taylor is visible. This probably dates to the Paris Olympia gig of 6 October 1962, which featured the classic lineup of his quintet. Silver (1928-2014) is "the defining stylist of hard-bop piano and one of the most enduring of small-group leaders" (Cook & Morton). At this time his group comprised Junior Cook (tenor), Blue Mitchell (trumpet), and Roy Brooks (drums). A recording of the date was finally released in 2002 as Horace Silver: Paris Blues: "In essence, this is hard bop reaching perfection, neither al dente nor over-cooked. All of the songs are lengthy Silver compositions" (All About Jazz website). 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, eighth ed., 2006; Paul Steinbeck, Message to Our Folks: The Art Ensemble of Chicago, 2017. Original carbon print (240 x 180 mm), printed on heavy stock paper, identifying note in pencil on verso. In excellent condition.

An evocative sequence: one focusing on Blakey at the kit (a particularly luminous shot), another showing the front men playing percussion, two of Freddie Hubbard soloing, one of Curtis Fuller, and another of Cedar Walton. Blakey (1919-1920) was a master percussionist, and the Jazz Messengers, which he led for over 30 years, was "the most famous academy in jazz" (Cook & Morton). The lineup here is Blakey (drums), Wayne Shorter (tenor sax), Freddie Hubbard (trumpet), Curtis Fuller (trombone), Cedar Walton (piano), and Jymie Merritt (bass). When Lee Morgan left the band, Blakey brought in Hubbard and Fuller, with Cedar Walton coming in for Bobby Timmons. The new agglomeration formed perhaps "the most adventurous of Messenger lineups. The band's expanded voicings added orchestral sonority to rhythmic power". 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 the 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. Paul Steinbeck, Message to Our Folks: The Art Ensemble of Chicago, 2017. Six original carbon print photographs (240 x 180 mm), printed on heavy stock paper, inscribed on versos in blue ballpoint: "clichés Michel Salou". In excellent condition.

Stunning portraits of the man who "re-shaped American music for half a century" (New York Times obituary). These date from his sensational standing-room-only Paris concerts of 1961. "With 'Hit the Road' still at its peak, Ray and the gang took off again for Europe. First Zurich and Lyons, which none of them remembered, then Paris, which none of them ever forgot. In Paris, October 1961, Ray Charles triumphed in a way that few artists live to enjoy. At thirty-one, the full height of his manhood, he stormed and captured the heart of the rose-grey city on the Seine. For old-time jazz lovers like Maurice Cullaz, president of the Jazz Academy, Ray's triumph recalled Louis Armstrong's and Duke Ellington's European debuts in the 1930s" (Evans, p. 205) 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 the 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. Mike Evans, Ray Charles: The Birth of Soul, 2009; Paul Steinbeck, Message to Our Folks: The Art Ensemble of Chicago, 2017. Two original carbon print photographs (240 x 180 mm), printed on heavy stock paper, numbering ballpoint on versos. In excellent condition.

Excellent sequence of low-angled images showing "Bags" soloing, progressively leaning into the instrument, mallets blurred. These date to one of the MJQ's Paris appearances of 1960-61. Jackson (1923-1999) is "the master vibesman of jazz after the swing era [introducing] a new elegance into its sound via his ballad-playing and reached back to basic jazz elements by remaining a peerless improviser on the simplest blues forms" (Cook & Morton). 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, eighth ed., 2006; Paul Steinbeck, Message to Our Folks: The Art Ensemble of Chicago, 2017. Four original carbon print photographs (240 x 180 mm), printed on heavy stock paper, wet stamp to verso of one print, identifying note and numbering in pencil and ballpoint on verso of each. In excellent condition.

An outstanding series of "in the moment" images showing one of the great Messengers lineups, captured in Paris, probably at the Olympia, in 1960. The lineup comprises Blakey (drums), Wayne Shorter (tenor sax), Lee Morgan (trumpet), Bobby Timmons (piano), and Jymie Merrit (bass). Blakey (1919-1920) was a master percussionist, and the Jazz Messengers, which he led for over 30 years, was "the most famous academy in jazz" (Cook & Morton). Wayne Shorter was relatively new to the band, and his playing lent a "dark, corrosive edge" to the front line, while on ballads his tone became "softly beseeching". Lee Morgan, "arguably the defining figure of hard bop" had been with Blakey since 1958. 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 the 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, eighth ed., 2006; Paul Steinbeck, Message to Our Folks: The Art Ensemble of Chicago, 2017. Eight original carbon print photographs (240 x 180 mm, 6 landscape, 2 portrait), printed on heavy stock paper, verso with Salou's identifying note in pencil. In excellent condition.

Evocative images of the Basie organization: a single image of the Count at the piano and two shots of the band. This may date to the Palais de Chaillot concert of 29 March 1960, which was recorded and released as Paris Jazz Concert. 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. Paul Steinbeck, Message to Our Folks: The Art Ensemble of Chicago, 2017. Three original carbon print photographs (240 x 180 mm), printed on heavy stock paper, identifying note in pencil on verso. 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.