Jazz

certainly been inscribed by Monk when he headlined at the Longhorn Jazz Festival in Austin, Texas, in late April 1967, alongside the Dizzy Gillespie Quartet and Nina Simone. This is the original Columbia Records release of Monk’s second album for Columbia, and “features some of the finest work that Monk ever did in the studio with his ‘60s trio and quartet … This is prime Monk” (AllMusic website). 12-inch LP (Monaural-CL 2038). With album liner and pictorial sleeve. Sleeve with a few slight marks to front panel, some surface loss along right edge. In excellent condition. £2,500 [123055] 33 PANASSIÉ, Hugues. Histoire du vrai jazz, original holograph manuscript. [?Paris: 1950s] “it was through contact with black people that i learned what real jazz is” The original holograph manuscript of Histoire du vrai jazz (History of true jazz , published Paris, 1959) by the influential French jazz critic, historian and record producer Hugues Panasié (1912–1974), here very attractively and imaginatively presented, the spine of the box labelled “La vraie histoire du jazz” (“The real history of jazz”, the original working title). “Panasié was one of the French jazz community’s chief philosophers and polemicists, and one of the individuals most dedicated to securing the place of jazz in France’s entertainment repertoire. Panasié’s writings explained hot jazz to readers who did not know much about it or rarely distinguished between the different styles of jazz. His books and articles, presented with an irrepressible passion for the music, made him one of the most significant jazz critics of the age – not just in France but anywhere – and his work made a profound impression on many other fans and critics around the world” (Jackson, p. 168). In 1931 Panassié was co-founder, with Charles Delaunay, of the Hot Club de France, one of the earliest jazz fan clubs. He was also the founder of Le Jazz Hot magazine (1935) and the author of a series of historical, biographical and discographical studies. He was an ardent exponent of what he saw as “true” or “real” jazz, a music strictly rooted in the blues and the work of the New Orleans founding fathers. He had little time for the kind of dance band jazz popularized in the 1920s and 30s, describing it as “a commercial counterfeit of jazz, represented by such orchestras as Jack Hylton and Paul Whiteman” (Panassié). When

31 MILETTI, Vladimiro. Aria di Jazz: parole in liberta. Trieste: [printed by Renato Fortuna for] Edizioni dell’Alabarda, 1934 jazz and futurism First edition, presentation copy from the author, inscribed affectionately on the half-title [in translation], “To my dear friend Giuseppe Calagnoli with sincere affection V. Miletti”, together with Calagnoli’s ownership stamp. This wonderful piece of Futurist parolibere is extremely uncommon, with just three locations on WorldCat, and is much enhanced by the superbly sympathetic cover design by Triestian artist Trisno. Miletti’s book employs experimental typesetting to “produce the simultaneity of sound-impression sparked by jazz; synchronise the rhythms of words in freedom [parole in liberta] with those of jazz; and vivify and synthesise the characteristic environment of jazz”. The standing of jazz in Italy in the 30s was oddly ambiguous; “Whereas England, France and Germany had always looked to jazz as a ‘foreign’ art form, ‘exotic’ in nature, with indelible connections to African American culture, Italy embraced jazz, at least in part, as a ‘native’ art form. This was

in this facilitating hand, presumably transcribing the piece on Broonzy and “Joe Turner’s Blues” that Panasié references. Panasié was, despite his prejudices, one of the key European writers and thinkers on jazz during the 20th century, and this vital manuscript holds a mirror up to his passion for the music. Balliett quotes Stephane Grappelli’s succinct take on the man: “He was very sincere himself. He was a very pure man, very religious, very decent. Not for the gallery. He believed. He did a lot for the jazz music. The only bad thing about Panassié was he was a bit stubborn”. Quarto, holograph manuscript of approximately 620 leaves (of which 12 typewritten) in blue and red ink, preserved in 16 brown heavy stock paper folders. Housed in a custom made archival box designed to resemble a manila paper parcel bound with blue string (290 × 100 mm), signed “CFM”[?] and dated 1989. With a copy of the first edition ( Histoire du vrai jazz, Paris: Robert Laffont, 1959): square octavo, original pictorial wrappers (light signs of handling to covers, touch of foxing to edges of book block; very good). Manuscript: one dent to front of box, light shelf wear; occasional light toning and foxing; overall in excellent condition. ¶ Whitney Balliett, American Musicians II: Seventy-Two Portraits in Jazz , 2005; Jeffrey H. Jackson, Making Jazz French: Music and Modern Life in Interwar Paris, 2003; Hugues Panassi é , The Real Jazz , 1942. £7,500 [123995]

partially because the first commercially-released jazz recording, ‘Dixie Jass Band One-Step’ (1917), was composed and performed by an Italian American named Nick LaRocca and his Original Dixieland Jazz Band. In Italy, jazz was embraced as an art form inspired by ‘Italian innovation.’ The Futurists praised its ‘virile energy,’ Benito Mussolini described it as ‘the voice of Italian youth,’ and musicians, mesmerised by its ‘progressive’ sounds, abandoned the conservatories for the numerous dance halls that began appearing in Italy’s major cities in the 1920s” (Celenza). However, following the invasion of Ethiopia in 1934 and the creation of the Rome-Berlin Axis in 1936, the official view hardened and jazz lovers became more circumspect. Encapsulating this shifting status, on publication Miletti’s poem was awarded first prize in the inaugural poetry competition organised by the Interprovincial Fascist Syndicate of Authors and Writers, an unlikely outcome just a few years later. Octavo. Original light card wrappers with yapp edges, three-colour lithographic design by “Trisno” (Tristano Pantaloni) to the front panel. Wrappers just a touch toned and mildly rubbed, else very good. ¶ Cammarota, Futurismo , 326.2. Anna Harwell Celenza, “The Birth of Jazz Diplomacy”, fifteeneightyfour, Cambridge University Press blog; Heide Fehrenbach & Uta G. Poiger, Transactions,

the bebop revolution ostensibly blew away the old order he gave it short shrift, famously dismissing the latest developments as “a form of music distinct from jazz”. Or as critic Whitney Balliett put it: “Panassié ceased all forward critical motion around 1940” (Balliett, p. 2). This is exemplified here in the blunt titling of Chapter XII: “Le Be-bop n’est pas du jazz” (“Be-bop is not jazz”). However, Panassié’s influence on the reception of jazz in France, and in shaping the cross-cultural dialogue between American and French musicians, was seminal. This is a wonderfully active working manuscript, reflecting an almost improvisatory fervour during the writing process. There is much emendation, with many passages struck through by the author’s looping deletion, or boldly with a red pencil. The first page of the introduction shows Panasié turning over options for the book’s title: “Histoire du vrai jazz”, “La Véritable Histoire du jazz”, and “La Vraie Histoire du jazz”. Each chapter folder includes a short summarizing note in another hand, apparently that of an assistant. Chapter I includes seven pages in this hand; in one place Panasié breaks off during a discussion of Big Bill Broonzy and remarks that his text will continue after “le morceau” (the piece) from the “Bulletin No. 15” (presumably Le Jazz Hot magazine), and this is followed by four pages

Transgressions, Transformations: American Culture in Western Europe and Japan , 2000. An online institutional search locates copies at the Getty, Australian National University, and Flinders University. £3,250 [130031] 32 MONK, Thelonious. Criss-Cross. Los Angeles: Columbia Records, 1963 inscribed by monk to “the lady who ran the store and dance hall” Boldly signed in full on the upper part of the front cover “Good Luck always Mrs Tiejen [ sic ], Thelonious Monk.” Monk’s signature on an album cover is genuinely uncommon and this is a particularly fine example with a fittingly left-field provenance. We believe the recipient was Marian Tietjen (1920– 2013), who “during her teenage years … worked as a waitress in La Grange [Texas] and, in her spare time, played piano in her father’s jazz band … Many people who visited Swiss Alp [Texas] throughout the decades knew and loved Marian as ‘Mrs. Tietjen’ – she was the lady who ran the store and dance hall” (currentobituary, online). This would have almost

JAZZ

All items are fully described and photographed at peterharrington.co.uk

Made with FlippingBook - professional solution for displaying marketing and sales documents online