42
42 POWELL, Bud. Piano Interpretations. New York: Verve, 1956 in walked bud Inscribed by Powell in black ballpoint pen at the head of the back cover, “To ?Mil from Bud”; Powell’s autograph in any form is scarce, and an album of important recordings signed in this manner is a highly desirable piece. This is the original pressing of Powell’s penultimate album for Verve. He was “well looked after” by the
This copy carries the label of renowned Paris record store Raoul Vidal, whose disquaire on the corner of Place Saint-Germain-des Prés and rue de Rennes ran for many years before finally closing in 1996. The provenance forms an attractive coda, as Powell himself had relocated to Paris in 1959. 12-inch vinyl LP (Verve Clef Series MGV–8167), original sleeve and album cover, artwork by David Stone Martin. Top edge of cover split, a little wear to spine, light soiling to covers, scuff mark from where album has pressed through (noticeably just above Powell’s signature); a few light abrasions to discs, yet overall in very good condition. ¶ Richard Cook & Brian Morton, The Penguin Guide to Jazz Recordings , 2008. £7,750 [144427]
label and his albums benefited by being graced with the superb artwork of David Stone Martin, who supplies a particularly striking illustration here. Piano Interpretations has Bud in fine form, supported by George Duvivier and Art Taylor, working through a handful of standards (including “East of the Sun”, “Willow Weep For Me,” and “Stairway to the Stars”), plus a smattering of jazz compositions, such as George Shearing’s “Conception” and Tad Dameron’s “Lady Bird”; the one original being “Willow Groove”. “The sheer erratic brilliance of the Blue Note recordings has tended to cloud the remarkable work that Powell did for Norman Granz” (Cook & Morton).
41
A tremendously evocative collection of “in the moment” images. 40 original “10 × 8” (254 × 203 mm) silver gelatin prints. In excellent condition. ¶ John Chilton, Roy Eldridge: Little Jazz Giant, 2002; Ken Vail, Bird’s Diary, 1996. £7,500 [137224]
Stan Getz Quintet: Jimmy Raney (g), Horace Silver (p), Joan Shaw (voc), Walter Bolden (d). 11 images. One image in particular catches Getz at full throttle – an uncharacteristic shot, perhaps, of the perennially “cool” West Coast tenorist. Horace Silver had joined the quintet in late 1950.
that “I loved the drums. I used to play them in a local kids’ band. I was so keen I’d get up early in the morning and get up on the roof of our garage so that the sun would catch the skins of my snare drum and dry them in such a way to let me get just the sound I wanted” (ibid., p. 6).
40
JAZZ
All items are fully described and photographed at peterharrington.co.uk
41
Made with FlippingBook - professional solution for displaying marketing and sales documents online