TEN ISSUES of JOURNAL OF JAZZ STUDIES. Volume 1 Number 1 through Volume 5 Number 2. Complete run of the original Journal of Jazz Studies that was published twice yearly, in the Fall and Spring, from 1973-1979.

Published by Rutgers University, 1973-1979.

Softcover journals, 6x9 inches, 100 to 125 pages each. Illustrated with some musical notations.

Generally GOOD condition. The covers have some light soiling, some edge and spine end wear, most have a mailing label on the back cover, and the back cover of one issue has some coffee droplets. There are a few small previous owner marks, the binding of one issue is cracked where a "called for" fold-open chart is laid-in (the large chart is titled "A comparison of The Smithsonian Collection Of Classic Jazz with other major multi-record, in-print record jazz histories of historical surveys"), and one issue has creasing to the bottom corner area of the latter pages. Otherwise the issues are complete, bright, clean and clear.

A nice early run of these important, scholarly publications on JAZZ from Rutgers University.

About The Journal Of Jazz Studies (from Wikipedia);

******The Journal of Jazz Studies was published from 1973 to 1979. Another publication, the Annual Review of Jazz Studies, began in 1981 as a continuation of The Journal Of Jazz Studies. Today, the Journal of Jazz Studies is an entirely online journal.******

INTERNATIONAL BUYERS PLEASE NOTE: These 10 issues will require additional shipping charges. After placing your order you will be notified of the charges and be able to accept or reject them before payment is taken. Thanks!

Der Choral-Gesang zur Zeit der Reformation, oder Versuch, die Frage zu beantworten: Woher kommt es dass in den Choral-Melodien der Alten etwas ist, was heut zu Tage nichte mehr erreicht wird? Von P. Mortimer (Peter Mortimer). (Choral Singing at the Time of the Reformation, or an Attempt to Answer The Question: How is it that in the Choral Melodies of the Ancients there is Something that is Not Achieved Today? By Peter Mortimer) BERLIN : Bei Georg Reimer, 1821. First Edition. In two sections. Part 1 contains critical musicology text, Part 2 contains scores of 163 chorals. Plain blue paper wrappers (original printed wrappers lacking), perfect bound text, textually complete, 4to. 8 1/8 x 9 5/8 inches (21x24.5 cm), deckled front and bottom page edges. Pagination: [1 leaf] title page, blank verso; vi (bound of sequence); 153 pages (text), 112 pages (musical scores). Engraved portrait of Luther by L. Meyer after Cranach, on title page. GOOD condition: foxing and age toning / browning throughout but text and scores remain bright and clear; page edges are somewhat wavy and darkened from age; latter pages have some edge wear and corner creases; general signs of handling; most pages are uncut. A complete, presentable copy of this important, scholarly work on Reformation Chorale Music. Though functional in its perfect bound blue wrappers, the book would look incredible stitch bound in leather covers! Are you up for the task? PETER MORTIMER, b. 1750 d. 1828, was an English born Moravian organist, composer, conductor, and musicologist, who spent most of his life in Germany, in the Moravian settlements of eastern Saxony. In this work on the early church modes, or Gregorian modes, he explored the reasons for their superiority over the modern modes in the realm of choral music. Mortimer established that three modes governed Reformation chorale music, the hypodorian, hypophrygian (hypoionische), and hypomixolydian modes, and that the music had to be understood harmonically in that context. Considering the paucity of examples available to him at that time, Mortimer's musicological analysis was exceptionally astute, being fundamentally sound. (Eitner VII, 74-75; Kümmerle, Encyklopädie der evangelischen Kirchenmusik (1890) II:307-8).

DER MUSIKFEIND : EIN NACHTSTÜCK (The Enemy of Music: A Night Piece), by Gustav Nicolai.

A novel about a fictional young musical genius who is poisoned by a jealous colleague. It is a dark and moody tale, loosely based on the idea that Mozart was poisoned by fellow composer, Antonio Salieri.

Published by Otto Wigand, Leipzig (Germany), second edition, 1838.

Half leather (leather spine and corners) and marbled paper covered boards, 4.5x7 inches (11x17 cm), 294 pages. TEXT in GERMAN FRAKTUR (i.e. hard to read!)

GOOD condition: The covers are rubbed along the edges, corners, spine ends and spine folds, but are still sturdy and attractive; internally, there is a previous owner's name on the front free endpaper and bookplate on the front pastedown, light foxing and age spots to the pages, otherwise the pages are tight, bright, clean and unmarked. A solid, presentable copy of this unusual novel.

RARE in its true 1838 printing.

About the author GUSTAV NICOLAI:

******Gustav Alexander Wilhelm Nicolai, b.1795 d.1868, was a German writer and composer. His friends included the composers Adolf Bernhard Marx, Gaspare Spontini and Carl Loewe, for whom he wrote the oratorio libretto Die Zerstörung von Jerusalem, set to music by Loewe in 1833. Frederick William III of Prussia rewarded Nicolai with a golden box for the same libretto. The king was one of his main supporters, giving him the Gold Medal for Art and Science. Nicolai became widely known for his writing, especially his travelogue on Italy. Nicolai corresponded with Robert Schumann and wrote several books including Der Musikfeind: Ein Nachtstück.******

FIVE ORIGINAL ANNOUNCEMENTS and PROGRAMS of the FIRST THREE SEASONS of the SAN FRANCISCO SYMPHONY (aka SAN FRANCISCO ORCHESTRA, SAN FRANCISCO SYMPHONY ORCHESTRA). (1) 1911 ANNOUNCEMENT for the FIRST SEASON (season 1911-1912) of THE SAN FRANCISCO ORCHESTRA. Pamphlet, side stapled, 5.5x8.5 inches, eight pages including covers. From the inside front cover:

"The Musical Association of San Francisco... establishing a permanent orchestral body along the lines of those maintained in the larger cities of Europe... For the first season, the concerts will be given in the afternoons as the formation of the Association was so late that it was impossible to secure sufficient musicians for evening concerts, but plans are being laid for both afternoon and evening concerts next season... All the objects and ambitions of the Association cannot be attained the first season, but an earnest start will be made, with the view to having an orchestra equal to any in the country and achieving the highest results both from an artistic and educational standpoint, within a few years...The announcement of the first series of Symphony concerts is herewith submitted for your kind consideration..." (2) 1912 FIRST SEASON, Fourth Concert, PROGRAM, performed on February 2, 1912. Booklet, side stapled, 6x9 inches, 20 pages including covers. (3) 1912 SECOND SEASON, Fourth Concert, PROGRAM, performed on November 29, 1912. Booklet, side stapled, 6x9 inches, 28 pages including covers. This symphony featured TINA LERNER, PIANIST playing Beethoven and Tschaikowsky. From Wikipedia: "An audience that represented the wealth and culture of San Francisco went into ecstasies of delight over her remarkable playing of the Tchaikovsky Concerto at the recently formed San Francisco Symphony, according to the San Francisco Orchestra's manager, Frank W. Healy." (You can read more about her on Wikipedia.) (4) 1913-1914 ANNOUNCEMENT of the THIRD SEASON of the THE SAN FRANCISCO SYMPHONY ORCHESTRA. Pamphlet, side stapled, 5.5x8.5 inches, eight pages including covers. (5) 1913 THIRD SEASON, Second Concert, PROGRAM, performed on November 24, 1913. Booklet, side stapled, 6x9 inches, 28 pages including covers. The concert featured the Operatic Soloist ERNESTINE SCHUMANN-HEINK. CONDITION: The Announcements and Programs are in FAIR to GOOD MINUS condition, they are lightly toned, a few have been folded, there is edge wear, some small closed tears, and other signs of handling; overall they are complete, bright, clean and clear. A nice group of RARE, ORIGINAL Announcements and Programs from the BEGINNING of the Great SAN FRANCISCO SYMPHONY. From the San Francisco Symphony website: ******In the wake of the devastating 1906 earthquake and fire, San Francisco's civic leaders set about creating a permanent orchestra in the music loving city.

In December 1911, the San Francisco Symphony (SFS) gave its FIRST CONCERTS, rekindling the city's cultural life. It delighted audiences with a kaleidoscopic mix of classics and new music.******

LA MÚSICA POPULAR y los MÚSICOS CÉLEBRES de la AMÉRICA LATINA, por A. L. CORTIJO. (POPULAR MUSIC and CELEBRATED MUSIC of LATIN AMERICA, by A. L. CORTIJO.) Published by Casa Editorial Maucci, BARCELONA, Spain, undated but circa 1920. SIGNED (Initialed) and DATED 1930 by JOAQUIN NIN on the title page. Softcovers,

5.5x8.5", 446 pages. Illustrated with drawings and musical snippets. CONDITION: LACKING FRONT COVER AND PRELIMS (first page is the title page); spine covering mostly chipped off, rear cover present but very worn; the first few signatures are disbound and loose, and the rest of the binding is very shaky with some signatures loose and many almost loose; some dark dime size stains here and there throughout (mostly in the blank front or bottom margin); some margin marks; the first few pages have edge wear; nonetheless a textually complete copy of this important book, SIGNED (Initialed) by one of the great Composers and Arrangers of Spanish Music, Joaquin Nin. About JOAQUIN NIN (from Wikipedia): ******Joaquín Nin y Castellanos (September 29, 1879, Havana - October 24, 1949, Havana) was a Cuban pianist and composer. Nin studied piano with Moritz Moszkowski and composition at the Schola Cantorum (where he taught from 1906 to 1908). He toured as a pianist and was known as a COMPOSER and ARRANGER of POPULAR SPANISH FOLK MUSIC. Nin was a member of the Spanish Academy and the French Legion of Honor. He was the father of Thorvald Nin, composer Joaquín Nin-Culmell, and writer Anaïs Nin with singer Rosa Culmell. In her diaries and fiction, his psychoanalytically oriented writer daughter Anaïs Nin often attempts to explain her own personality and problems by recalling how her father treated her as a child. She was also close to him off and on as an adult. Her "unexpurgated" diary volume Incest: From a Journal of Love describes an adult incestuous relationship with him. He also appears in her fiction. She describes him as an egotistical Don Juan, and she imitated him at times by being a "Doña Juana".******

THE GIFT TO BE SIMPLE: SONGS, DANCES AND RITUALS OF THE AMERICAN SHAKERS, by Edward Deming Andrews.

Published by J. J. Augustin Publisher, New York, 1940. First edition, first printing, with the date 1940 on the copyright page with no indication of later printings.

Hardcover Book in Dustjacket, 6.5x9 inches, 170 pages.

Condition: VERY GOOD book, a few pea size spots to the top page edges (page edges of the closed book), otherwise just lightly used and still tight, bright, clean, clear and unmarked; in a GOOD dustjacket that is toned (as normal), sunned at the spine, has light soiling, some edge and spine end wear, and small tears and chips; still this fragile dj remains solid, is doing its job well, and retains its 5.50 price at the top of the front flap.

The 1940 First Edition Hardcover in Dustjacket published by Augustin is hard to find and quite lovely.

PRAYER AND PARAPHRASE for Virgil Thomson by NED ROREM

NED ROREM Holograph Music Manuscript. Reproduction (blue print? Circle Blue Print Co., New York City printed in bottom margin).

Piano Music. Two pages. One folded sheet 11" x 14", opens to 22" x 14".

Beneath the last measure of Prayer is the number 9-15-45, and beneath the last measure of Paraphrase is the number 10-45. They are probably the composition dates, September 25, 1945 and October 1945.

An important early composition by Ned Rorem. Only one other known copy, archived at Yale in the Virgil Thomson Papers.

GOOD CONDITION: The sheet is toned, lightly foxed, slightly fragile, the fold is tender and starting to split but holding, tiny tears and chips to edges, otherwise the piece is bright, unmarked, completely legible, and remains upright on a music stand.

Ned Rorem (born 1923) is an American composer and diarist. He won a Pulitzer Prize for Music in 1976 for his Air Music: Ten Etudes for Orchestra.

Virgil Thomson (1896 - 1989) was an American composer and critic. He was instrumental in the development of the "American Sound" in classical music. In 1949, he was awarded the Pulitzer Prize for Music for the score to the film Louisiana Story.

RARE, EARLY 1958 CONCERT PROGRAM by the DAVE BRUBECK QUARTET. "Benefit Jazz Concert by the Dave Brubeck Quartet for Dave's Friend, Al Jay Naukana, January 7, 1958, 150 Golden Gate Ave., San Francisco." The "Master of Ceremonies" was Phil Elwood, longtime San Francisco Bay Area jazz and blues critic.

HAND-SIGNED by BAND MEMBERS DAVE BRUBECK, PAUL DESMOND and JOE MORELLO, and BAND MANAGER MORT LEWIS.

Joe Morello and Mort Lewis also INSCRIBED the booklet to JEAN (Jean Gundlach), who was on the Committee that arranged for the Benefit Concert (she is named at the bottom of the last page of the 4 page program pamphlet).

Also signed Lou Olvera, who was a beloved teacher at the East Contra Costa Junior College (now Diablo Valley College) and Jazz fan. Dave Brubeck once performed at ECCJC along with Cal Tjader.

The program consists of TWO ITEMS:

(1) An illustrated SIGNED and INSCRIBED booklet about the Dave Brubeck Quartet and its members, produced as an informational booklet for Brubeck's 1957-1958 tour, published by Derry Music Co., 1957. Printed paper covers, side-stapled 8.5x11 inches, 16 pages including covers. VERY GOOD condition, light offsetting to the front cover, and light signs of handling, overall tight, bright, clean and clear; with lovely signatures and inscriptions.

(2) A 4 page program for the "BENEFIT JAZZ CONCERT" that took place on January 7, 1958 in San Francisco. GOOD condition, several horizontal folds, perhaps to fit into a jacket pocket, otherwise just lightly used, bright and clear.

About JEAN (Gundlach), who was on the Committee to arrange the Benefit Concert, and to whom Joe Morello and Mort Lewis inscribed the program (from her 2010 Seattle Times obituary):

******Jean Gundlach, b.1914 d.2010, was a lifetime labor union activist. Beginning in the 1950s she served for 30 years as secretary to Harry Bridges in the ILWU in San Francisco. Throughout her years, Jean devoted herself to progressive programs, fighting against the McCarthy hearings, working with migrant farm worker organizations in the 1950s, joining many labor strikes and walkouts, etc. She was central to the creation of the Harry Bridges Chair and Center for Labor Studies at the University of Washington.******

1966 L.D. HEATER MUSIC CO. CATALOG 67 including HARMONY, GIBSON, & EPIPHONE GUITARS & AMPS, ROWE PICK-UPS & CONTROLS, and various Brass, Woodwind, and Classical Stringed Instruments. Published by L.D. Heater Music Company, Portland and Seattle. The catalog is undated, but the date 1966 appears on several of the bound-in catalogs.

Hardcover Catalog, 9.5x12 inches (23.5x30 cm), illustrated cloth covered boards, 372 total pages (including a number of bound-in catalogs that are numbered separately).

The L.D. Heater Music Company was a family owned US musical instrument company with locations in Portland, Oregon and Seattle, Washington. It operated from 1918 to 1984 and sold a wide range of instruments including accordions, brass instruments, wind instruments, and stringed instruments. In its early years it featured instruments mostly used by schools. Then came the SIXTIES!

In the mid-sixties, when this catalog was published, guitars, especially electric guitars, amps, and related, were all the rage. There are bound-in fully-illustrated catalogs for GIBSON (50 pages), HARMONY (26 pages), EPIPHONE (12), and other brands that feature ELECTRIC GUITARS, ACOUSTIC GUITARS, AMPS, BANJOS, MANDOLINS, STEEL GUITARS, and related equipment such as PICK-UPS, CONTROLS, and MIKES.

CONDITION: "Customer Use" is written on the front cover in black marker (reportedly L.D. Heater Music Company's store copy), the covers are worn at the edges and spine folds (the cloth is splitting along the rear spine fold but holding), rubbed and fraying a bit at the spine, and showing general signs of handling, but are still solid and doing their job well, Internally, there is the number 75 written in black marker on the front free-endpaper, otherwise the pages are very nice, tight bright, clean, clear and unmarked. There is a pocket on the rear pastedown that says "Use this Handy Pocket for Current Slingerland Catalog" but there is no small catalog in the pocket.

An indispensable reference for the lover of vintage guitars in your life or soul (of course if your heart melts for that old brass or woodwind instrument there's plenty of that too!)

THE EAST VILLAGE OTHER - WOODSTOCK, Vol. 4, No. 37, August 13, 1969. Rare Preview Issue published 2 days BEFORE the "Woodstock Music and Art Fair" that took place August 15 - August 18, 1969. The issue's cover is a MAP OF ROUTES TO THE MUSIC FESTIVAL, drawn in 60's funky style, complete with naked women coming out of bottles of "GLEE", guitars split open with their guts spilling out, farmer rats in overalls, a tent with a smoking joint sticking out, etc. The cover and issue are rare and sought after. The Stanford University David Rumsey Map Center has a copy in its collection.

THIS COPY is HAND SIGNED and INSCRIBED by KEN KESEY, KEN BABBS, and BARRY MELTON.

KEN KESEY, an important American author and an even more important FATHER of the MERRY PRANKSTERS, SIGNED the front cover in SILVER INK. NOTE: The Merry Prankster Bus was Present at Woodstock.

BARRY MELTON, co-founder and lead guitarist of COUNTRY JOE and the FISH, SIGNED and INSCRIBED the issue TWICE. He signed and inscribed the front cover: "Best Fishes / Barry Melton (signed with his iconic signature)". HE ADDITIONALLY SIGNED page 15 beside an AD for the upcoming WOODSTOCK FESTIVAL. NOTE: COUNTRY JOE and the FISH performed at WOODSTOCK on August 17, 1969.

KEN BABBS, a MERRY PRANKSTER, SIGNED and INSCRIBED the front cover: "Tootle - EEE - Tootle / Ken Babbs". NOTE: KEN BABBS, a MERRY PRANKSTER, ACID TEST MC, and friend of THE GRATEFUL DEAD since 1965. He was on the stage at WOODSTOCK with the DEAD when they performed on August 16, 1969. At one point during their performance they had technical difficulties. They told Babbs to grab a microphone and entertain the crowd, which he did. He was obviously dosed to the gills with LSD.

About the Item: NEWSPAPER, 20 pages including covers. The illustrated article on the upcoming Woodstock Festival is on pages 10-11 and continues on pages 14-15. The rest of the issue contains general counterculture articles, comic art by Kim Deitch and others, ads (including an ad for the upcoming Festival on page 15), and the like.

VERY GOOD condition, a center crease from being folded as originally sold, lightly age toned, still bright, clean and clear.

RARE and IMPORTANT piece of AMERICAN COUNTERCULTURE HISTORY. Unique with the Signatures and Inscriptions of Ken Kesey, Barry Melton and Ken Babbs. I'm sure I will never see another such copy, and I bet you won't either!

About KEN KESEY (excerpts from Wikipedia):

******Ken Kesey, b.1935 d.2001, One Flew Over The Cuckoo's Nest, Sometimes a Great Notion, Merry Pranksters, Acid Tests, Grateful Dead... After One Flew Over the Cuckoo's Nest was published, Kesey began hosting happenings with former colleagues, miscellaneous bohemian and literary figures, and other friends (Ken Babbs et al), collectively known as the MERRY PRANKSTERS; these parties, known as ACID TESTS, integrated the consumption of LSD with multimedia performances. KESEY MENTORED THE GRATEFUL DEAD (the Acid Tests' de facto house band) throughout their early years and continued to exert a profound influence upon the group throughout their career.******

About Ken Babbs (from Wikipedia):

******Ken Babbs, b.1936, is a famous Merry Prankster who became one of the psychedelic leaders of the 1960s. He along with best friend and Prankster leader, Ken Kesey, wrote the book Last Go Round. Babbs is best known for his participation in the Acid Tests and on the bus Further. He and Ken Kesey said The Acid Tests were conceived when the Pranksters met the Grateful Dead.******

About BARRY MELTON (from Wikipedia

******Barry "The Fish" Melton, b.1947, is the co-founder and original lead guitarist of Country Joe and the Fish. He appeared in the films made at Monterey Pop (1967) and Woodstock (1969).******

About THE EAST VILLAGE OTHER (from Wikipedia):

******The East Village Other (often abbreviated as EVO) was an American underground newspaper in New York City, issued biweekly during the 1960s.******

1973 DIE FLEDERMAUS S.F. OPERA PROGRAM - SIGNED by JOAN SUTHERLAND, JUDITH BLEGEN, HUGUETTE TOURANGEAU and 2 others whose signatures I can't make out. All are signed to "DON", who I believe was a director of the San Francisco Opera House at the time. Framed in a Wooden Frame with Poured Resin Decorations - a nice 1970s frame. The visible window of the frame is 7.5x9.5", the full frame dimensions are 13.5x15.5". Condition: I have NOT removed the program from the frame - therefore I don't know if this is 1 page of the program, the entire program, it's exact dimensions, etc. What I can see through the glass shows a bright, clean, clear program page with bold signatures. The framing blocks a few words and the ends or beginnings of a few signatures. The frame itself has some chips to the decorations, scrapes and peeling to areas of the paint, some small nicks and scratches, but remains solid and quite lovely.

OPERA CAVALCADE - STORY OF THE METROPOLITAN. Published by The Metropolitan Opera Guild, New York, 1938.

Doubling as an AUTOGRAPH ALBUM, the book contains SIGNATURES of 55 OPERA SINGERS collected by a fan over the OPERATIC SEASONS 1943-1948. The signatures are on opera program covers, cut pages, and clipped sheets, that have been glued on (most at the corners) to the pages and inside covers of the book. The signatures are in ink and pencil.

On the title page the previous owner lists some of the operas he/she attended, and the dates they were performed.

On page 63 there is a list of all the members of the "current" Metropolitan Opera Company (i.e. 1938 when this book was published). There are check marks by twenty-one of the names. Those names make up part of the 55 signatures collected in this album/book.

Signatures include: Karin Branzell, Thelma Votipka, Edward Johnson, Bidu Sayão, Nicola Moscona, Patrice Munsel, Ezio Pinza, Rose Bampton, Frances Greer, Richard Tucker, Zinka Milanov, Lily Pons, Astrid Varnay, Florence Quartararo, and many, many more.

The book - Opera Cavalcade: The Story of the Metropolitan, is a history of the Metropolitan Opera. It is filled with b&w photographs of stage productions and singers, and includes a nice frontispiece photograph of Edward Johnson by Steichen.

Condition: The book is in GOOD MINUS condition, worn through at the edges and corners, with rubs, scrapes and scratches to the boards; but is solid and has a cover image that is bright and attractive. The inner pages have some age toning and foxing, and two pages have offsetting likely from a newspaper page laid in at some point; otherwise the inner pages are tight, bright, clean and clear. The signatures are mostly sharp and clear though some of the pencil signatures are fading, but even those are easily legible with only one that has faded into near illegibility, at least according to my aging eyes.

A wonderful look at the world of Opera as it was in the mid 1940s, filled with signatures of those who were part of that world.

A unique treasure for the lover of opera in your life or soul.

THE SECOND HURRICANE: A Play Opera in Two Acts - For High School Performance. MUSIC by AARON COPLAND. Libretto by Edwin Denby. This was Aaron Copland's FIRST OPERA.

SIGNED, INSCRIBED and DATED by AARON COPLAND on the title page:

"For Martin Riskin / Aaron Copland / '72".

Martin Riskin, individually and through his charitable foundation, was a major supporter of the New York Philharmonic Orchestra, and classical music throughout New York City. A search for "Martin Riskin" together with "New York Philharmonic" will provide a good sampling of Martin Riskin's involvement with classical music and musicians.

Published by Boosey & Hawkes, undated but likely circa 1970, a later printing. (First published by Birchard & Company in 1937, the rights to this work were transferred from Blanchard to Boosey & Hawkes in 1957. Any copies showing Boosey & Hawkes as the publisher were published post 1957.)

Musical score, softcovers, 7x10.25 inches, 112 page score plus 8 introductory pages, including a facsimile of a program for the original 1937 production which was titled: "The Second Hurricane: A Play Opera for High School Children". (I like how "Children" was changed to "Performers" in later editions.) There is a long tradition of great composers writing operas to be performed by young performers.

VERY GOOD condition, tight, bright, clean, clear and unmarked. A lovely copy.

RARE with the SIGNATURE and INSCRIPTION of AARON COPLAND from 1972, and the Association to the notable NY Philharmonic supporter Martin Riskin.

BOGEY BEASTS. By Sidney H. Sime. Music by Josef Holbrooke.

A collection of Sime's imaginary and fantastic creatures, each accompanied by a short song written by the well known but controversial composer Josef Holbrooke. Holbrooke wrote numerous symphonies and orchestral works based on the macabre writings of Edgar Allan Poe. A perfect accompaniment for this book filled with eccentric beasts.

Published by Purple Mouth Press in a LIMITED EDITION of only 500 copies. A facsimile of the 1923 edition published in London by Goodwin & Tabb.

Illustrated wrappers, 8.5x11 inches, 62 pages. Illustrated throughout with Sime's beasts and odd creatures.

FINE condition, looks and feels unused.

SIDNEY HERBERT SIME (S.H. Sime), b.1865 d.1941, was an English artist in the late Victorian and succeeding periods, mostly remembered for his fantastic and satirical artwork, especially his story illustrations for Irish author Lord Dunsany. - Wikipedia

JOSEPH CHARLES HOLBROOKE, b.1878 d.1958, was an English composer, conductor, and pianist...Holbrooke was fascinated by the writings of Edgar Allan Poe which deal with the supernatural and the macabre, eventually producing over thirty compositions which he referred to as his Poeana. These included orchestral works (The Raven, Ulalume, The Sleeper, Amontillado, and The Pit and the Pendulum), a double concerto for clarinet and bassoon (Tamerlane), choral works (a choral symphony Homage to E.A. Poe, and a poem for chorus and orchestra The Bells), a ballet (The Masque of the Red Death), a multitude of chamber works (such as the Clarinet Quintet Ligeia, the Trio Fairyland, and the Nonet Irene) and several piano pieces. - Wikipedia

Separately bound PAPER of LEONARD STEIN delivered at the 1974 VIENNA CONGRESS of the INTERNATIONAL SCHÖNBERG SOCIETY. His paper is titled FROM INCEPTION TO REALIZATION IN THE SKETCHES OF SCHOENBERG. SIGNED and INSCRIBED by LEONARD STEIN on the cover page: "to Milton and Judy / My paper for the Schoenberg Congress / 4 years late / Best wishes, as always / Leonard". Booklet, stapled pages, cover page plus 16 pages numbered 213 to 228. Title page in German, Leonard Stein paper in English, verso of the last page is the first page of another paper and is in German. Front cover of this separately bound publication of Leonard Stein's paper reads (with English translations in parentheses): Bericht über den Kongress der Internationalen Schönberg Gesellschaft, Wien, 4 bis 9 Juni, 1974. (Report on the Congress of the International Schoenberg Society, Vienna, July 4 through 9, 1974.) Im Auftrag der Gesellschaft herausgegeben von Rudolf Stephan (Commissioned by Rudolf Stephan). Sonderdruck aus den Publikationen der Internationalen Schönberg Gesellschaft, Band 1. Nicht einzeln im Buchhandel erhältlich. (Special edition from the publications of the International Schoenberg Society, Volume 1. Not available individually in bookstores.) Published by Verlag Elisabeth Lafite, Wien, [1978]. GOOD condition, 5a food covered finger smudge to the front cover over the inscription (the inscription remains bright and clear), otherwise the pages are just lightly used and still tight, bright and clean. Leonard Stein made a hand correction to a single word of text on the first page. About LEONARD STEIN (from Wikipedia): ******Leonard David Stein, b. 1916 d. 2004, was a musicologist, pianist, conductor, university teacher, and influential in promoting contemporary music on the American West Coast. He was for years Arnold Schoenberg's assistant, music director of the Schoenberg Institute at USC, and among the foremost authorities on Schoenberg's music. He was also an influential teacher in the lives of many younger composers, such as the noted minimalist La Monte Young.******

RECOLLECTIONS by MARION BROWN.

SIGNED, LIMITED, NUMBERED, FIRST EDITION. This being copy #105 of only 1000 copies. "First Edition" stated on the copyright page.

Signed by Marion Brown, as called for on the limitation page. Signed a second time, and dated, below the called for signature. Dated 9/26/84.

Published by JAS / Juergen A. Schmitt Publikationen, Frankfurt, Germany, 1984. ISBN: 3923396031. Text in English.

Contents include: Five Essays "The Negro In The Fine Arts", "Notes To Afternoon Of A Georgia Faun", "Language And Music In Afro-American Song", and more; Fourteen Drawings; Five Compositions; and autobiographical "Conversations".

Softcovers, 7.5x8 inches, 285 pages. Illustrated with some b&w photographs.

GOOD condition, the covers have some shelf rubs, a bit of rubbing to the edges and spine folds, some superficial creases to the front edge of the front cover, and light signs of use, but are bright and doing their job well; internally very nice, there is a pea sizel, light brown stain to the bottom edge of the first few pages, otherwise tight, bright, clean and unmarked. A solid, very presentable copy.

SCARCE, especially so. SIGNED TWICE and DATED by the multi-talented African-American Jazz Saxophonist.

About MARION BROWN (from Wikipedia):

******Marion Brown, b.1931 d.2010, was an American jazz alto saxophonist, composer, writer, visual artist, and ethnomusicologist. He was a member of the avant-garde jazz scene in New York City during the 1960s, playing alongside musicians such as John Coltrane, Archie Shepp, and John Tchicai. He performed on Coltrane's landmark 1965 album Ascension. AllMusic reviewer Scott Yanow described him as "one of the brightest and most lyrical voices of the 1960s avant-garde".******