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Verve: The Sound of America: Collector's Edition (Englisch) Gebundene Ausgabe – 9. September 2014


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Gebundene Ausgabe, 9. September 2014
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Verve: The Sound of America: Collector's Edition + Blue Note: Uncompromising Expression
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Produktinformation

  • Gebundene Ausgabe: 400 Seiten
  • Verlag: Thames & Hudson; Auflage: Pck Slp Co (9. September 2014)
  • Sprache: Englisch
  • ISBN-10: 0500517479
  • ISBN-13: 978-0500517475
  • Größe und/oder Gewicht: 37,8 x 12,2 x 37,8 cm
  • Durchschnittliche Kundenbewertung: 5.0 von 5 Sternen  Alle Rezensionen anzeigen (3 Kundenrezensionen)
  • Amazon Bestseller-Rang: Nr. 149.100 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)

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Produktbeschreibungen

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Gives an in-depth overview and has interesting photographs throughout. "

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Format: Gebundene Ausgabe
A wonderful visual cornucopia for jazz fans of a certain age. I'm surprised that a book like this hasn't been published before considering the importance of Norman Granz to the politics of jazz let alone the stunning amount of the music he recorded. There was slightly similar book included with the ten CD PolyGram box set: 'The complete Jazz at the Philharmonic', released in 1998. That book was CD size with 224 pages with about seventy-eight devoted to Granz and JATP (the rest of the book was about the tracks and musicians).

This latest title, with four hundred pages, is a much more ambitious look at the man and his music. The first few pages have a quick overview about the origins of jazz then the pages come alive with a detailed description about the start of JATP and the various tours in the US and overseas during the forties and fifties. These are all annotated with dates, locations and musicians. The rest of the pages look at the various Granz labels. Two things break up the book's basic text: spreads with biographies and a page size photo of several dozen musicians; dozens of LP covers. For me the covers are one of the strengths of the book because they show the talent of David Stone Martin who probably did a few hundred covers for the Granz labels. He did the trumpet player illustration which is sort of JATP logo. As well as the personality photos and LP covers there are plenty of other pictures and ephemera.

The book runs up to the late nineties (the last biography is for Diana Krall) and page 371 mentions Granz's ability to repackage the music via his Pablo label though he sold it to Fantasy in 1987. The Verve sound lives on through releases organized by Richard Seidel, especially the 'Ultimate' series.
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Format: Gebundene Ausgabe Verifizierter Kauf
This is a splendid production, very interesting and full of information about a variety of artists, jazz and the company itself. It is also very heavy.
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0 von 1 Kunden fanden die folgende Rezension hilfreich Von Michael Gröschl am 6. Februar 2014
Format: Gebundene Ausgabe Verifizierter Kauf
Einfach nur schön. Zu den (wichtigsten Künstlern) individuelle Informationen, zudem sehr gute Photographien. Präsentation und Qualität sind ebenfalls sehr ansprechend.
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14 von 15 Kunden fanden die folgende Rezension hilfreich
BEAUTIFULLY PRODUCED LOOK AT GRANZ' VERVE RECORDS LABEL 9. November 2013
Von Stuart Jefferson - Veröffentlicht auf Amazon.com
Format: Gebundene Ausgabe Verifizierter Kauf
"Without (Granz) there could have been no modern jazz, cool or turbulent." Nat Hentoff.
"Jazz came to America 300 years ago--in chains." Paul Whiteman.
"The whole reason for Jazz at the Philharmonic was to take it to places where I could break down segregation." Norman Granz.

Yes, I know this book is pretty expensive--but it's very well done. From the thick boards used for the covers (there's no jacket), to the many quality reproductions of photographs and album covers (in both color and b&w), to the paper stock and font, this is a quality book. And the text is intelligent, informative, and works well in conjunction with the graphics. Suffice to say, if you're a jazz fan and/or especially a fan of artists who've recorded for Norman Granz' labels (Verve, Clef, Nogran) you'll probably like this book.

Artists who've recorded for Granz include Duke Ellington, Ella Fitzgerald, Louis Armstrong, Stan Getz, Charlie Parker, Count Basie, Ben Webster, Jimmy Smith, George Benson, Billie Holiday, Astrud Gilberto, Dizzy Gillespie, Wes Montgomery, and many more, both on stage and in the studio. And these artists and a number of others are represented here in this great book on Verve Records. Included are one page essays (with a full page photograph of that artist on the opposite page) of artists like Armstrong, Ellington, Holiday, Jacquet, Krupa, Lester Young, Nat King Cole, Flip Phillips, Parker, Hodges, and many more. Plus there's an essay on David Stone Martin (a personal favorite), who designed a number of iconic album covers which are highly collectable. A number of years ago a book was published on his artwork which I wish would be published again. His individual style was a good fit for jazz of the period.

Beginning with a Forward by Herbie Hancock ("The music on Verve will never die; it documents the lifeblood of our culture."), the story of the Verve label is laid out chronologically. Starting with the beginnings of jazz and then into "Jazz On Wax" about the earliest days of jazz recording, and ending with "Verve Forever The 1970's And Beyond" with the music of Diana Krall as the last featured artist, this book tells the story of Norman Granz, his labels, and jazz. The short written pieces are designed to enhance the many (and I mean many) illustrations that make up this book--and vice-versa. One of the several nice touches is a timeline of jazz beginning in 1896, and continuing through the decades well into the Twentieth Century. There's also many quotes from musicians and critics that deepen the jazz feel of that particular period. Below is a very tiny sampling.

"You can't play anything on a horn that Louis hasn't played." Miles Davis.
"I don't have a definition of jazz...you're just supposed to know it when you hear it." Thelonious Monk.
"Life is a lot like jazz...it's best when you improvise." George Gershwin.
"Jazz music is deeper than people think." Illinois Jacquet.

But this is primarily a visual history of Verve/jazz with the essays adding depth of detail to the visuals. Besides the many beautifully reproduced photographs of the artists--both on stage and in the studio--there's the history of the label through the many visually stunning album covers and various LP labels that Verve produced. And many are reproduced here in fine color reproductions--though to fit them all in the book there's several to a page--so the graphics can't be appreciated to the full extent they deserve. But seen as a whole, the visual quality of Verve recordings is very impressive.

This book is primarily aimed at the die-hard jazz fan/record collector. But if you're a jazz fan who simply enjoys the music (like most of us) this book is still worth having in your library. In many respects the story of the Verve label is the story of jazz. Norman Granz was responsible for promoting jazz early on ("Jazz At The Philharmonic" concerts and recordings) on a wide international scale. Plus he treated musicians with respect in an age of racism. Yes the book is a self-serving pat on the back. But jazz and jazz fans would be much poorer except for Granz' efforts on behalf of jazz. Verve was (and is) one of the best jazz labels in the history of the genre, and Granz' ground-breaking concerts set the tone for others to follow. And this fine book reminds us of that--as if jazz fans needed reminding. A fine book.

For an in depth look at Norman Granz and jazz, check out the book "Norman Granz: The Man Who Used Jazz For Justice". It's a look into the whole era of jazz beginning early with Granz' formation of his label and producing concerts, musicians and racism, and Granz' fight for equality for jazz artists.
9 von 10 Kunden fanden die folgende Rezension hilfreich
Mister Granz always did it with verve 16. November 2013
Von Robin Benson - Veröffentlicht auf Amazon.com
Format: Gebundene Ausgabe
A wonderful visual cornucopia for jazz fans of a certain age. I'm surprised that a book like this hasn't been published before considering the importance of Norman Granz to the politics of jazz let alone the stunning amount of the music he recorded. There was slightly similar book included with the ten CD PolyGram box set: 'The complete Jazz at the Philharmonic', released in 1998. That book was CD size with 224 pages with about seventy-eight devoted to Granz and JATP (the rest of the book was about the tracks and musicians).

This latest title, with four hundred pages, is a much more ambitious look at the man and his music. The first few pages have a quick overview about the origins of jazz then the pages come alive with a detailed description about the start of JATP and the various tours in the US and overseas during the forties and fifties. These are all annotated with dates, locations and musicians. The rest of the pages look at the various labels Granz ran. Two things break up the book's basic text: spreads with biographies with a page size photo of several dozen musicians; dozens of LP covers. I think it's safe to use the term 'jazz greats' for all those who have biographies here. For me the covers are one of the strengths of the book because they show the talent of David Stone Martin who probably did a few hundred covers for Clef, Norgran and Verve. He did the trumpet player illustration which is sort of a JATP logo. As well as the personality photos and LP covers there are plenty of other pictures and ephemera.

The book runs up to the late nineties (the last biography is for Diana Krall) and page 371 mentions Granz's ability to repackage the music via his Pablo label though he sold it to Fantasy in 1987. The Verve sound lives on through releases organized by Richard Seidel, especially the 'Ultimate' series. With about 1200 images throughout these pages book designer Steve Russell had quite a challenge but it all pulls together beautifully though there is one annoyance, many of the pages have no numbers and it can vary between blocks of six to nines pages which makes using the index useless sometimes.

This is a thick, chunky look at jazz history revolving round one man and author Richard Havers has done a wonderful job making Granz's life (1918--2001) come alive. Anyone who lived with JATP and Verve over the decades will love this book.
10 von 12 Kunden fanden die folgende Rezension hilfreich
A Must for Verve Album Collectors 9. November 2013
Von Dennis J. Pauly - Veröffentlicht auf Amazon.com
Format: Gebundene Ausgabe Verifizierter Kauf
It is a beautifully put together book, well worth the price. Many album covers included. I am especially glad that many of the 10LP and 78 sets are also featured. While Verve was essentially a jazz label, I did miss the omission of albums by Jane Powell,
Dory Langdon and the cast albums from FUNNY FACE and RUGGLES OF RED GAP. But that is a minor quibble. I found it interesting that some of the 45 EP covers were included as well as the Columbia Record Club pressing of ELLA FITZGERALD SINGS THE GERSHWIN SONGBOOK. I love that cover.
4 von 4 Kunden fanden die folgende Rezension hilfreich
Brings back fond memories of a wonderful albeit bygone era. 9. Dezember 2013
Von luvnglife - Veröffentlicht auf Amazon.com
Format: Gebundene Ausgabe
Basically, the book is a history of the Clef/Norgran/Verve label and Jazz at the Philharmonic (JATP), as expressed in a narrative full of pictures in the first 100 + pages. The approach is that of a coffee table book format (5 pounds), 400 pages, each page printed on heavy stock (no dust jacket) loaded with pictures of album covers, records, labels, programs, posters, etc. The many pictures of JATP included are ones I've never seen before as well as others that are more common. (One photo of JATP performers riding in a convertible in Japan is misdated 1963 instead of 1953, and possibly other such kinds of mistakes may exist.) About half the book is devoted to short bios of the significant players of the label with "key recordings" (get the pun?) usually 4 per performer. For example, Buddy Rich and Buddy DeFranco are two such bios (2 pages - one a picture from the JATP era and one a bio, which is the general approach for each performer.) JATP has a relatively comprehensive yearly itinerary through 1960 with exact dates and cities, some years more complete than others interlaced with historic narrative about JATP. So the book is basically broken into 3 parts: 1) history of the label, 2) history JATP, 3) bios of the major players - all generously illustrated with pictures of the players (some color but mostly b/w), labels, album covers, and records (mostly color) .
Question: Would I recommend this book? Yes. Positive point: the narrative throughout takes an overview/historic/chronological approach tieing everything together and giving it perspective. On the other hand, the bios are composed of information that can be found via many sources such as websites like Wikipedia, but with an accent of how the artist connected with Verve. Nevertheless, it is a great source of entertainment and is a valiant effort to capture the essence of this period in American music. As I poured through the pages, the book brought back fond memories of a wonderful albeit bygone era.
6 von 7 Kunden fanden die folgende Rezension hilfreich
way better than 5 stars 13. November 2013
Von F. Morris Rosman - Veröffentlicht auf Amazon.com
Format: Gebundene Ausgabe
Okay, I admit from the start that I am the Executive Director of the Ella Fitzgerald Charitable Foundation PLUS I did the preliminary archival work on Miss Fitzgerald's estate.
But did I learn things from this book!!
and saw photos I have never seen.
THIS BOOK IS BEYOND FABULOUS, BEYOND INCREDIBLE AND WAY BEYOND WONDERFUL.
It is a MUST BUY for just about anyone...but especially lovers of jazz and
great American popular music.
This is going to everyone on my gift list, and I'd pay double for it.
BUY IT RIGHT NOW and you will be very happy.
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