schaap walter (12 resultados)

Condición: New.

Condición: Acceptable. Criterion New York 1948 8vo. 608 pages. boards are well worn with heavy soiling and rubbing. corners bumped. previous owner inscription to front pastedown. binding secure.

Hardcover. Condición: Very Good. No Jacket. Music. Later printing. Covers nice, corners and spine ends lightly bumped, spine slightly faded. Interior clean and tight.

Hardcover. Condición: Fair. No Jacket. From the library of JI Packer (although not designated so inside). Some brown spotting on first 3 pages inside, front and back. Guttering inside book cover such that web of binding visible but binding and hinge holding. Text block clear and binding good. WR.

Hardcover. Condición: Very Good. No Jacket. 1st Edition. Black cloth with gold lettering. Pages clean and free of writing or marks.

Hardcover. Condición: Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

Condición: New.

Condición: Good. First. Druk: 1 | Binding: Hardcover | Staat: Goed | Jaar: 1948.

Condición: New.

Condición: New.

Unknown Binding. Condición: Good. Ex-library book, usual markings. Hardback rebound by library. In good condition. Clean text, sound binding. Quick dispatch from UK seller.

From the collection of Charlie Watts, this group of documents captures a pivotal moment in European jazz: the 1949 Paris debut of bebop, with Charlie Parker and the young Miles Davis appearing alongside Sidney Bechet and the older generation. The material includes Miles Davis's performance contract, signed "Miles Davis Jr." on 11 March 1949, engaging him to play at the Salle Pleyel and related festival venues from 8-15 May. His fee - just $250 - underscores his still-emergent status, despite growing attention in the United States for his work with Charlie Parker and the "Birth of the Cool" nonet. Paris, his first trip abroad, became central to his artistic identity, and this is the earliest Davis signature we have seen. Minor pencilled amendments adjust the advance and specify exchange rates. Two documents concern Bechet's engagement. His contract, signed in blue ink by Bechet and in green by Charles Delaunay, sets out down payments totalling $1,600 (25% of a $6,400 fee) and schedules the balance for payment after his arrival on 8 May. A separate agreement between Bechet and his friend Walter Schaap obliges Schaap to reimburse him in dollars for francs deposited with Delaunay, a device - according to John Chilton - designed to avoid France's strict post-war currency controls on festival performers. Bechet was the headline attraction, his bond with French audiences long established, though organizers remained wary: his past included prison sentences and deportations from both France and Britain. Schaap, a close associate of Delaunay and an important jazz scholar in his own right, translated and expanded Delaunay's pioneering Hot Discography. Despite Bechet's stated intention to return to the United States after the festival, his triumph in Paris led him to settle in France permanently the following year. The Davis document, 2-leaf quarto (279 x 215 mm) copy typescript, rectos only, on onion-skin paper, signed; the Bechet, 3-leaf foolscap (333 x 193 mm) copy typescript on onion-skin paper, signed, together with a similar single-page document, stapled in a card folder. First leaf of the Davis contract slightly browned, staple holes to both left- and right-hand side of the top edge, a few minor nicks and splits to the edges; Bechet 3-page contract lightly browned, staple holes to top left, creases from olds folds, the single-page agreement folded. Very good.