‎TENOT Frank - CARLES Philippe ‎
‎Le jazz.‎

‎JAZZ HOT. Revue Internationale de la Musique de JAZZ. TETE DE COLLECTION. 264 numéros dont les introuvables numéros d'avant-guerre.‎

‎Au Siège - Pierre Nourry Paris 1935-1967 TETE DE COLLECTION "JAZZ HOT". 264 numéros de cette revue in-4 ( 270 X 210 mm ) d'environ 24 pages par numéro. Très importante collection de cette revue doyenne mondiale des revues de Jazz encore en activité. Innombrables illustrations. Nous proposons l'INTEGRALITE DES NUMEROS D'AVANT GUERRE du numéro 1 de 1935 au numéro 32 de 1939. Première série rarissime. + la nouvelle série du numéro 1 de 1945 au numéro 237 de 1967. Il manque à cette collection les années 1960 et 1961 ( soit 8 numéros ) et le numéro 200. Les numéros spéciaux sont présents ( voir détail à la suite ). A noter de nombreuses contributions ( articles et revues de presse ) de Boris VIAN. A part quelques numéros abimés ( voir détail à la suite ), cette collection est en bonne condition.************************************************************- 32 premiers numéros de 1935 à 1939. - 1935 N° 1 à n° 6. ( Duke Ellington, Lucky Millinder, Léon Vauchant, Benni Goodman ). Couvertures effrangées avec petits manques, papier collant sur les dos. Le numéro 1 a des coupures de presse collées sur les 2 premiers feuillets.- 1936 n° 7 à n° 13 ( Amstrong, Redman, Ekyan, Milton Mezz Mesinow ). Le numéro 9 a les plats détachés ( mais présents ) papier collant sur le dos du N°12, second plat absent. - 1937 n° 14 à 21 ( Earl Hines, Philippe Brun, Teagarden Sullivan, Hill, Reinhardt, Wells, Lunceford ). Papier collant sur le dos du N°20.- 1938 n° 22 à 28 ( Newton, Combelle, Mary Lou Williams, Grappelly, Webb, Coleman, Bechet ). Petits trous de brochage du numéro 23 au numéro 28.- 1939 n° 29 à 32 ( Jess Stacy, Basie, Stewart, Ladnier ). Petits trous de brochage sur les numéros 29 à 32 papier collant au dos du numéro 32.Cette première série est publiée bilingue français-anglais. ************************************************************- Nouvelle série 1945 à 1967. - 1945 n° 1 à 3 ( Ellington, Reinhardt, Amstrong ). - 1946 n° 4 à 11 ( Grappelly, Hodges, Brun, Basie, Ekyan, Combelle, Stewart, Gillepsie ). - 1947 n° 12 à 18 ( Hubert Rostaing, Michel Warlop ). - 1948 n° 19 à 28 ( Festival Nice . ) - 1949 n° 29 à 39. - 1950 n° 40 à 50 ( Spécial 1935-1950, Ellington, Salon international ). - 1951 n° 51 à 61. - 1952 n° 62 à 72. - 1953 n° 73 à 83. - 1954 n° 84 à 94 ( Salons. ) - 1955 n° 95 à 105 ( Amstrong, Roy Eldridge ). - 1956 n° 106 à 116 ( Dizzi Gillepsie. ). - 1957 n° 117 à 127 ( Miles Davis, Mitt Jackson, Erroll Garner, Coleman Hawkins, J.J. Johnson, Ellington, etc. ). - 1958 n° 128 à 138 ( Don Byes, Festival de Cannes et Knokke, Sarah Vaughan, Ellington ). - 1959 n° 139 à 142 ( Lee Morgan, Sonny Rollins, Silver, Lester Young ). - 1962 n° 172 à 182 ( Coltran, Freddie Hubbard, Curts Fuller, Nouvelle Orléans, Jazz et Siné, Ray Charles, Festival Juan, Comblain, Rollins, Coltrane, King Oliver ). - 1963 n° 183 à 193 ( Cannon Ball Adderley, Thelonious Monk, Jaspar, Jeanking, Miles et Gréco, Smith, Kirk ). - 1964 n° 194 à 204 ( Lucien Nelson, Boris Vian, Mister T, Charlie Mingus, Fitzgerald, Mimi Perrin, Dave Brubeck, Arvanitas, Johny Griffin ). Manque n° 200. - 1965 n° 205 à 215 ( John Lee Hocker, Amstrong, Evans, Montgomery, Thomas ) Attention Manque n° 207. - 1966 n° 216 à 226 ( Cecil Taylor, Mc Coy Tyner, Don Cherry, James Brown, Ravi Shankar, Earl Hines, Ellington, MJR, Harlem ). - 1967 n° 227 à 237 ( S. Rollins et Sartre, Taylor, Don Cherry à Notre Dame, Max Roach, Abbey Lincoln, Coltrane, Spécial Boris Vian ). - + Numéro spécial Nouvel an 1948 / Numéro spécial 1949 / Numéro spécial 1950 / 1 double Juillet-Août 1958.‎

‎Jazz Hot hors série un demi siècle de Jazz Album cinquantenaire de Jazz Hot‎

‎ 1986 1986. Jazz Hot 1986‎

‎Cinema Changes: Incorporations of Jazz in the Film Soundtrack‎

‎, Brepols, 2019 Hardback, xxvi + 334 pages, Size:210 x 260 mm, Illustrations:35 b/w, 26 musical examples, Language: English. ISBN 9782503584478.‎

‎Summary Cinema is the form of entertainment that can be, above all, identified with the twentieth century. It gradually replaced theatre as a popular form of performed storytelling, and replaced opera too as the new "multimedia" art form, soon incorporating music as one of cinema's privileged means to co-tell stories. Speaking of music, jazz was as sensational a twentieth-century novelty as cinema was. The two soon teamed up, and jazz, with its various incarnations and styles, has accompanied the moving images and the cinematic narratives throughout the decades. It was inevitable that these two iconic art/entertainment forms, jazz and cinema, should meet, blend, cooperate, and have a reciprocal influence. While the early film music was mostly symphonic and inspired by the late-romantic nineteenth-century idiom, jazz and Afro-American music - in various form and with diverse and changing racial/social connotations - appeared onscreen even before the landmark film The Jazz Singer (1927), which officially launched the sound era. This collection of essays seeks to study the long-standing relationship between jazz and cinema, from the silent era to the contemporary sound cinema, on an international level. TABLE OF CONTENTS Emile Wennekes - Emilio Audissino Prologue: A Reel Jazz Survey Rendition / Reception Emile Wennekes Out of Tune? Jazz, Film and the Diegesis Phillip Johnston Jazzin' the Silents: Jazz and Improvised Music in Contemporary Scores for Silent Film Luca Stoll Cinema: A Privileged Way of Acquiring Intimacy with Jazz Standards Marida Rizzuti Play, My Fiddle, Play! Jazz and Klezmer at the End of the 1930s Randall Cherry Ethel Waters and the Search for Racial Redemption Jazz and National Cinemas Emilio Audissino The Multiform Identity of Jazz in Hollywood: An Assessment through the John Williams Case Study Nicolas Pillai Rhythms of the Everyday: an Alternative History of the British Jazz Film Philippe Gonin Jazz and Cinema: Which Jazz for Which Movies in France from 1945 to the early 1960s? Julio Arce - Celsa Alonso From the Chotis to the Charleston: Jazz in Spanish Films prior to the Civil War Roberto Calabretto Jazz Music in Michelangelo Antonioni's Films Willem Strank When Jazz Meets German Cinema: A Brief Overview Jason R. Hillebrand A Song Helps Us Live: The Narrative Function of Jazz in the Soviet Musical Film Jolly Fellows Case Studies Francesco Finocchiaro - Leo Izzo The Sound of the Nightmares: On the Jazz Music in Fritz Lang's Metropolis Ryan Patrick Jones Dignity in the Twilight of Minstrelsy: Race, Nuance, and Aspiration in Duke Ellington's Symphony in Black: A Rhapsody of Negro Life Adam Biggs The Blues and Dissonance in Michelangelo Antonioni's Blow-Up Armando Ianniello Umiliani, Trovajoli, and Rota: The Jazz Film Score of Boccaccio '70 Marcel Bouvrie Synergetic Jazz Score: The Narrative of the Relation between the Diegetic and Nondiegetic Music in Whiplash Mervyn Cooke 'The Same Goddamn Songs the Same Goddamn Way'? Makin' Whoopee with The Fabulous Baker Boys Abstracts Biographies Index of Names‎

‎Original Dixieland Jazz Band 1921-1936 [UK Import] [Import anglais]‎

‎Jazz Archives 2003 14x13x1cm. 2003. CD.‎

‎MERCI DE BIEN LIRE L'ANNONCE JUSQU'A LA FIN. Le boitier présente des traces d'usure et de stockage mais le CD reste en bon état de fonctionnement. Expedié soigneusement dans un emballage adapté depuis la France‎

‎Till we shall meet and never part. Jazz Lives.‎

‎, A.W. Bruna Uitgevers 2008, 2008 Hardcover, 223 pages, ENG, 330 x 225 mm, book is in New state, with very fine pictures of the final resting places of Jazz legends, in colour and b/w, . ISBN 9789022993538.‎

‎Jazz is an improvisational style of music influenced by West African rhythms and originated in the African American community of New Orleans from a cross-fertilization of ragtime, blues, folk and Negro spirituals. Originally, the word jazz meant a "highly energetic dance". Jazz was not widely accepted by the general public in the early years, mainly because this type of music was associated with loose morals and low social status. When white and mixed jazz orchestras such as Benny Goodman's began playing this music from the 1930s onward, it became an accepted form of entertainment for whites as well. The swing period that began then marked a peak in the popularity of jazz, largely due to the fact that jazz was then still exclusively dance music. As jazz evolved into more experimental musical forms from the 1950s, and due to the rise of exciting dance music such as rock and roll, sales of jazz records declined sharply. However, jazz has remained, and continues to renew itself. This article provides an overview of jazz history from ragtime and hot jazz to the fusion styles of the last decades‎