parker charlie dizzy gillespie (15 résultats)

Audio CD. Etat : Sehr gut. Auflage: 308432- Import. 1 CD. Disc im sehr guten Zustand, minimal gebrauchsspurig. Case im guten Zustand, lediglich Cover leicht stumpf/ berieben, Preisaufkleber auf Frontcover. Sprache: Englisch Gewicht in Gramm: 550.

13,2 x 13,0 x 3,3 cm, Audio CD. Etat : Gut. 10 CDs Alles sauber und gut erhalten. Sprache: Englisch Gewicht in Gramm: 279.

Audio CD. Etat : Sehr gut. Hülle mit minimalen Lagerspuren, sonst CD sehr gut überW3-W10 Sprache: Deutsch Gewicht in Gramm: 505.

Kein Einband. Etat : Gut. leichte Gebrauchspuren, Besitzvermerk , Hülle Klebestreifen Size: single 45. Buch.

Kein Einband. Etat : Gut. leichte Gebrauchspuren, Besitzvermerk , Hülle Klebestreifen Size: single 45. Buch.

Doppel-LP. Etat : Sehr gut. GER BLST 6550. 2 LPs. LPs NM. Gatefoldcover VG. Bei Mehrfachbestellungen ab der 3. LP keine zusätzlichen Versandkosten (außer bei amazon, dort jeweils + 1,- Euro statt 3,- Euro Versandkosten). Einzel- und Doppel-LPs in Schutzhüllen. Versand im speziellen LP-Versandkarton. Sprache: Deutsch Gewicht in Gramm: 1001.

CD-Hülle im Pappschuber. Etat : Gut. Versand im Luftpolsterumschlag! CD/DVD-Hülle etwas berieben, Disc ist in einem guten Zustand; Case shows some wear, disc in good condition. H240820cdm48 ISBN: 4011222325440 pl Gewicht in Gramm: 284.

Hardcover. Etat : Very Good. Etat de la jaquette : 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.

Hardcover. Etat : Near Fine. Etat de la jaquette : Very Good. 1st Edition. Not a book but a 12-inch, 33-1/3 rpm "Long Playing Microgroove" (mono) jazz record album, Royal Roost LP-2234, near-mint vinyl in a very-good-plus cardboard jacket. No sidemen are mentioned. "A Night in Tunisia"; "Groovin' High", "Swing Low Sweet Cadillac," "School Days," etc. Reduced from $14.

Hardcover. Etat : Very Good. Etat de la jaquette : Very Good. Not a book but a "compilation" jazz album, Savoy "Long Playing Microgroove" (mono) MG 12125 from 1956, very-good-plus vinyl in a very-good cardboard jacket stamped "N-R' to bottom corner jacket verso and also to both disc labels, including "Now's the Time" with Miles and Dizzy from "The Charlie Parker Story" (mg 12079); J.J. Johnson and Kay Winding on "Blues for Trombones" (from "Jay and Kai," mg 12010); Milt Jackson, Kenny Clarke, et al. offering "True Blues," "Soul In Three-Four," "Opus and Interlude," and "Strollin'," etc. Reduced from $15.

Audio CD. Etat : LikeNew. CD.

Audio CD. Etat : Wie neu. Alle Bücher & Medienartikel von Book Broker sind stets in gutem & sehr gutem gebrauchsfähigen Zustand. Unser Produktfoto entspricht dem hier angebotenen Artikel, dieser weist folgende Merkmale auf: Datenträger ohne Kratzer. Sprache: Deutsch Gewicht in Gramm: 91.

Etat : 1. Swing. Big Band. Partitur und Stimmen .

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.

The original Savoy test pressings from which the renowned Black Deuce bootlegs were made, and originally owned by the label's artistic director, Teddy Rieg, capturing excerpts from "bop's first large promotional venture" (Koch, p. 121), the Carnegie Hall concert of 29 September 1947 - in which Bird plays magnificently and incisively, delivering a tumbling effusion of rich ideas. The concert was the brainchild of Diz and critic Leonard Feather, and showcased the Gillespie big band with Ella Fitzgerald - Bird appearing as a guest artist. This "guest" status irked the altoist, so that the gig is unusually tense, the edgy sparring between the two prime progenitors of bop making the sparks fly. Ross Russell gives an unforgettable picture of that night: "Charlie might have received better billing had the sponsors been more confident of his reliability. He was programmed to appear only briefly, in a short set alone with Dizzy and a rhythm section drawn from the big band. A large claque of hipsters and musicians had taken over a front section of Carnegie Hall for what they expected to be a classic confrontation - the publicized Mister Bebop versus the real genius of the movement. It would be the first time Bird and Diz had played together since the Billy Berg engagement [in December 1945]. Charlie did not appear until after the intermission. He walked onstage casually, almost indifferently, his eyes heavy-lidded, a sly smile on his face, badly dressed in an unpressed suit, his necktie twisted into one of its hard knots. The Parker-Gillespie set at once exploded into a duel. on the ensemble part of "Tunisia" Charlie played a fantastic counterpoint to the theme that would have routed a lesser musician than Gillespie. Off and running, Charlie plunged recklessly and breathtakingly into the alto break while Dizzy, no longer in his jolly mood, retired to gather his forces. After the break the saxophone chorus was played with a fierce, hard, professional brilliance. Dizzy came back with a chorus of equal quality, lustrous, chiseled, accurately articulated. The duel waxed its hottest on "Dizzy Atmosphere", taken at an incredible tempo that left drummer Joe Harris and pianist John Lewis scrambling frantically. There were feints, sorties, lines paraphrased half a tone off pitch, tricky gambits, musical shorthand, stopped time, lightning excursions into strange scales and keys. Parker was the aggressor, Dizzy the counter puncher. The hipster claque reacted noisily as the spirit of Minton's came to Carnegie Hall. The public was bewildered. Despite the bristling hostility that surrounded the performers, Parker's solos retained that continuity and completeness of form that marked his best work. No matter what chances he took, how fragmentary or allusive the improvisation, he was always able to resolve the line. It was one of his fire-eating nights, a display of astonishing musical powers". Russell goes on to note that "the music played that night was recorded by a sound studio in an upper floor of the auditorium. From the master acetates dubs were made, then pirated, to be released as a set of three 78-rpm records on a label whimsically called Black Deuce. Titled, A Night at Carnegie Hall - Bird and Diz in Concert, the Black Deuce 78s were sold under counters of large record stores. Black Deuce had no address, office, or tangible management. Sales were made to stores for cash, and no records were kept of legal transactions. The sales were eventually stopped when an injunction was obtained against several leading jazz retailers. Eventually the masters were bought, made legal, and issued on Savoy [actually by Rieg's Roost and Roulette labels in 1959-60]". The reason for Bird's somewhat shambolic appearance at the concert can be ascribed to the fact that before the gig he was asleep in the bath. Rieg later recalled that he and Leonard Feather "went to his room and broke down the bath room door. We got him out of the tub, dried him, dressed him, got him in a cab, stuck the horn in his hands and pushed him from the wings on to the stage. The result, which was recorded, can be heard today. It is unbelievable in its speed, ideas, and artistry" (quoted in Reisner, pp. 191-2). The discs comprise: 13000: Night in Tunisia I 13001: Night in Tunisia II 13002: Dizzy Atmosphere 13003: Groovin' High I 13005: Confirmation (listed as Riff Warmer on the Savoy releases) It would appear that at some early point in this group's history disc 13004 (presumably comprising Groovin' High II) was lost or broken, as it does not appear in Ken Vail's catalogue of the Norman Saks collection. Personnel: Charlie Parker, Dizzy Gillespie, John Lewis, Al McKibbon, Joe Harris. Provenance: from the collection of Teddy Reig, artistic director at Savoy records and Bird's A&R man; then, via a Massachusetts collector, to Norman Saks. Lawrence O. Koch. Yardbird Suite: A Compendium of the Life and Music of Charlie Parker, 1999; Robert Reisner, Bird: The Legend of Charlie Parker, 1962; Ross Russell, Bird Lives!, 1980; Ken Vail, Charlie Parker & Jazz Club Memorabilia: The Norman R. Saks Collection, 41 (illustrating these discs). 5 original 10-inch 78 rpm acetate discs, original plain white labels numbered in red crayon pencil 13000, 13001, 13002, 13003, 13005 (corresponding to numbers on runouts), new plain sleeves (annotated by ?Norman Saks). Discs with a few minor abrasions and occasional indentations, but overall very good.