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Seller's Description:
Very Good in Very Good jacket. London: The Jazz Book Club, 1967. A bit of pale foxing to page edges. Tight, square and unmarked. 284pp. New and enlarged edition. Jacket in a protective mylar cover. Volume 63 in the Jazz Book Club series. Hardcover. Very Good/Very Good. 12mo-over 6"-8" Tall.
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Seller's Description:
Good. Good condition. No Dust Jacket (Jazz, Music, Criticism) A copy that has been read but remains intact. May contain markings such as bookplates, stamps, limited notes and highlighting, or a few light stains.
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Seller's Description:
Near Fine. No Jacket. Ex-library copy with the usual stamps, stickers, etc. This copy has been recently re-bound by the library into very strong and solid and brand new buckram covers that show no wear of any kind. Book interior is clean and free of marking of any kind, and the only actual stamp is a "withdrawn from collection" on the F.E.P. and the name of the public library on the upper page ends. Spine has white lettering: Real Jazz; Panassie and ART-REF 780.973 P18r Book appears new.
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Seller's Description:
Very Good in Good jacket. 8vo 326pp. Black cloth boards, pink and white titles on spine, pink and white illustration on front board. Binding tight, spine straight, corners solid. Pages evenly age toned but otherwise clean and unmarked. Previous owner's name in ink on front paste down. Some offsetting to endpapers from jacket. Laid-in New York Times clipping of Panassie's obituary. Dust jacket is missing chips at head of spine and shows some wear to corners. Jacket is price clipped. Second printing of Panassie's book, uncommon in its earliest edition.
This is a dated but still useful book about jazz and its origins. The author was already interested and active in the 1930s in researching jazz history and clearing up some of the common misconceptions regarding same. Most significantly, the Frenchman was already regarding jazz as a serious art form at a time in which few writers considered it anything other than disposable. Panassie was often opinionated in his views; its still possible to admire his passion even when his arguments are just plain wrong. Any student of early jazz, or one building a meaningful library on jazz history, will want to acquire this book.
