Download PDF Brochure

Total Page:16

File Type:pdf, Size:1020Kb

Download PDF Brochure MOVE ON UP! CELEBRATING BLACK HISTORY MONTH 06 02 2021 31 03 2021 A VIRTUAL EXHIBITION OF HISTORIC PHOTOS BY JOE ALPER, GIANNI GREGUOLI, GUIDO HARARI, ART KANE, GERED MANKOWITZ, JIM MARSHALL, NORMAN SEEFF, LUCIANO VITI, KEVIN WESTENBERG Art Kane, Harlem, 1958. Gianni Greguoli, Billie Holiday, Milano, 1958. Gianni Greguoli, Ella Fitzgerald. Joe Alper, Ella Fitzgerald e Duke Ellington, Newport Jazz Festival, 1966. Art Kane, Duke Ellington sull’A Train, New York City, 1958, Joe Alper, Miles Davis, Newport Jazz Festival, 1966. Joe Alper, Louis Armstrong, Newport Jazz Festival, 1962. Gianni Greguoli, Lester Young & Miles Davis, Milano, 1956. Art Kane, Louis Armstrong, 1958. Art Kane, La tomba di Charlie Parker, 1958. Art Kane, Lester Young, Rye Playland, Connecticut, 1958. Joe Alper, Odetta, Newport Folk Festival, 1965. Joe Alper, Son House, Newport Folk Festival, 1966. Norman Seeff, Furry Lewis,“In Bed with Wind-up Toy & Hat”, Memphis, 1974. Norman Seeff, Sleepy John Estes, Memphis, 1974. Luciano Viti, B.B. KING, Roma, 1987. Kevin Westenberg, B.B. KING, Vicksburg, Mississippi, 2007. Guido Harari, B.B. King, Lugano, 1990. Guido Harari, Buddy Guy, Milano, 1994. Norman Seeff, John Lee Hooker, Memphis, 1974. Guido Harari, John Lee Hooker, Redwood City, CA, 1991. Guido Harari, Bo Diddley, Milano, 1982. Luciano Viti, Little Richard, Roma, 1988. Guido Harari, Chuk Berry, Santa Margherita Ligure, 1984. Joe Alper, Howlin’ Wolf, Newport Folk Festival, 1966. Joe Alper, Mississippi John Hurt & Elizabeth Cotten, Newport Folk Festival, 1964. Jim Marshall, Muddy Waters, Boarding House, San Francisco CA, 1965. Luciano Viti, Muddy Waters, Roma, 1980. Joe Alper, Aretha Franklin, Newport Jazz Festival, 1962. Joe Alper, Nina Simone, Newport Jazz Festival, 1966. Joe Alper, Miles Davis, Newport Jazz Festival, 1966. Jim Marshall, Miles Davis, Monterey Jazz Festival, 1964. Jim Marshall, Miles Davis’s hands, Monterey Jazz Festival, 1963. Jim Marshall, Miles Davis, Monterey Jazz Festival, 1964. Jim Marshall, Miles Davis, Newman’s Gym, San Francisco, 1970. Joe Alper, John Coltrane, Newport Jazz Festival, 1965. Joe Alper, John Coltrane, 1963. Joe Alper, Quincy Jones with Dizzy Gillespie, 1965. Joe Alper, Charlie Mingus, 1963. Guido Harari, Jimmy Scott, Milano, 2000. Joe Alper,Roland Kirk, Newport Jazz Festival, 1962. Joe Alper, Sonny Rollins, 1961. Joe Alper, Thelonious Monk, Newport Jazz Festival, 1965. Jim Marshall, Thelonious Monk, Monterey Jazz Festival, 1964. Jim Marshall, Jimi Hendrix, San Francisco, CA, 1967. Gered Mankowitz, Jimi classic colour, 1967. Jim Marshall, Otis Redding, Monterey Pop Festival, 1967. Jim Marshall, Aretha Franklin, Ray Charles & King Curtis, Fillmore West, 1971. Art Kane, Aretha Franklin, 1967. Norman Seeff, Curtis Mayfield, “Heartbeat”, Los Angeles, 1979. Norman Seeff, Ray Charles, “Creative Ecstasy”, Los Angeles, 1985. Norman Seeff, Sly Stone, “Leaping Sly”, Los Angeles, 1974. Norman Seeff, Kathy Silva & Sly Stone, “The Kiss”, Los Angeles, 1974. Norman Seeff, The Jacksons, “Boy Geniuses”, Los Angeles 1976. Guido Harari, Michael Jackson, Torino, 1988. Guido Harari, James Brown, Milano Palatrussardi, 1994. Guido Harari, Prince, Guido Harari, Miles Davis, Milano, 1987. Perugia, 1987. Guido Harari, Tracy Chapman, Milano, 1988. Guido Harari, Vernon Reid / Living Colour, Torino, 1993. Norman Seeff, Tina Turner, “Bel Air Sequence”, Los Angeles, 1983. Luciano Viti, Grace Jon es, Roma, 1982. Guido Harari, Hannibal Peterson & Eternal, Milano, 1995. Guido Harari, Wayne Shorter & Herbie Hancock, Reggio Emilia, 1991. Guido Harari, Aaron Neville, Milano, 1992. Guido Harari, Mavis Staples, Monforte d’Alba, 2008. Guido Harari, Stevie Wonder, Zurigo, 1981. Guido Harari, George Benson, Milano, 1986. Luciano Viti, George Benson, Roma, 1984. Kevin Westenberg, Erykah Badu, Cincinnati, Ohio, May 3, 1997. Kevin Westenberg, Erykah Badu, Cincinnati, 1997. Kevin Westenberg, Mary J Blige, New York City, December 16, 1996. Kevin Westenberg, Mary J Blige, New York City, December 16, 1996. Norman Seeff, Will.I.Am, Inner Creation”, Los Angeles, 2010. Kevin Westenberg, Luther Vandross, Venice, California, February 26, 2001. Norman Seeff, Whitney Houston, “Whitney 3-Up”, Los Angeles, 1990. Wa l l Of Sound Gallery Tutte le stampe di questa mostra virtuale sono in vendita. Per informazioni e ordini si prega di inviare una mail a info @wallofsoundgallery.com. All prints of this virtual exhibition are for sale. For infos and orders please email us at info @wallofsoundgallery.com.
Recommended publications
  • Queen of the Blues © Photos AP/Wideworld 46 D INAHJ ULY 2001W EASHINGTONNGLISH T EACHING F ORUM 03-0105 ETF 46 56 2/13/03 2:15 PM Page 47
    03-0105_ETF_46_56 2/13/03 2:15 PM Page 46 J Queen of the Blues © Photos AP/WideWorld 46 D INAHJ ULY 2001W EASHINGTONNGLISH T EACHING F ORUM 03-0105_ETF_46_56 2/13/03 2:15 PM Page 47 thethe by Kent S. Markle RedRed HotHot BluesBlues AZZ MUSIC HAS OFTEN BEEN CALLED THE ONLY ART FORM J to originate in the United States, yet blues music arose right beside jazz. In fact, the two styles have many parallels. Both were created by African- Americans in the southern United States in the latter part of the 19th century and spread from there in the early decades of the 20th century; both contain the sad sounding “blue note,” which is the bending of a particular note a quar- ter or half tone; and both feature syncopation and improvisation. Blues and jazz have had huge influences on American popular music. In fact, many key elements we hear in pop, soul, rhythm and blues, and rock and roll (opposite) Dinah Washington have their beginnings in blues music. A careful study of the blues can contribute © AP/WideWorld Photos to a greater understanding of these other musical genres. Though never the Born in 1924 as Ruth Lee Jones, she took the stage name Dinah Washington and was later known leader in music sales, blues music has retained a significant presence, not only in as the “Queen of the Blues.” She began with singing gospel music concerts and festivals throughout the United States but also in our daily lives. in Chicago and was later famous for her ability to sing any style Nowadays, we can hear the sound of the blues in unexpected places, from the music with a brilliant sense of tim- ing and drama and perfect enun- warm warble of an amplified harmonica on a television commercial to the sad ciation.
    [Show full text]
  • My Back Pages #1
    My Back Pages #1 L’iMMaginario coLLettivo deL rock neLLe fotografie di Ed CaraEff, HEnry diltz, HErb GrEEnE, Guido Harari, art KanE, astrid KirCHHErr, Jim marsHall, norman sEEff e bob sEidEmann 04.02 | 11.03.2012 Wall of sound gallery La capsula del tempo decolla… La musica non è solo suono, ma anche immagine. Senza le visioni di questi fotografi, non avremmo occhi per guardare la musica. Si può ascoltare e “ca- pire” Jimi Hendrix senza vedere la sua Stratocaster in fiamme sul palco di Monterey, fissata per sempre da Ed Caraeff? O intuire fino in fondo la deriva amara di Janis Joplin senza il crudo bianco e nero di Jim Marshall che ce la mostra affranta con l’inseparabile bottiglia di Southern Comfort in mano? Nasce così l’immaginario collettivo del rock, legato anche a centinaia di co- pertine di dischi. In questa mostra sfilano almeno una dozzina di classici: dagli album d’esordio di Crosby Stills & Nash e di Stephen Stills in solitario a Morrison Hotel dei Doors, The Kids Are Alright degli Who, al primo disco americano dei Beatles per l’etichetta VeeJay, Hejira di Joni Mitchell, Surre- alistic Pillow dei Jefferson Airplane, Grateful Dead di Jerry Garcia e compa- gni, Genius Loves Company di Ray Charles, Stage Fright della Band di Robbie Robertson, Desperado degli Eagles e Hotter Than Hell dei Kiss. Il tempismo è tutto. Soprattutto trovarsi come per miracolo all’inizio di qualcosa, ad una magica intersezione col destino che può cambiare la vita di entrambi, fotografo e fotografato. Questo è successo ad astrid Kirchherr con i Beatles ancora giovanissimi ad Amburgo, o a Herb Greene immerso nella ribollente “scena” musicale di San Francisco.
    [Show full text]
  • Palo Alto Jazz Alliance Newsletter September 2012 PO BOX 60397, PALO ALTO, CA 94306 Ed Fox, Editor
    www.pajazzalliance.org Palo Alto Jazz Alliance Newsletter September 2012 PO BOX 60397, PALO ALTO, CA 94306 Ed Fox, Editor who came by for a Sunday afternoon jam. This was a dif- FROM THE CHAIR ferent kind of investment for PAJA, and it is certain to Summer offers so many opportunities for doing fun be beneficial to the CSMA jazz program. Thanks to Ben things, and, as the old Gershwin song says, the living can Deovlet, John Neves, Carmen Cansino and Marty Honda be easy. Unfortunately, the summer of 2012 has not been for setting all this up for PAJA. so much fun for many people. Take the East Coast, with Speaking of the Community School, we hope to see record-breaking high temperatures and that everlast- you at the Free Member Party there on Sunday, Septem- ing humidity. Or the Midwest, with the worst drought ber 9 (details below). Do come by and hear some live since the 1930’s—even the mighty Mississippi isn’t roll- music, meet old friends, find new fellow lovers of jazz, ing along too well. Tough going for those folks. All this enjoy some libations and toast the end of a beautiful sum- while here on the Midpeninsula we’ve had one day after mer. We are dedicating this party to the memory of Phil another of lovely sun and moderate temperatures. Makes Sorenson, longtime PAJA board member who, for many one wonder why every jazz friend one might have from years, provided invaluable support to our operation. He those areas didn’t come to visit—not only for the weather maintained membership information on his somewhat but also because we had so many great gigs on offer.
    [Show full text]
  • Rolling Stone Magazine's Top 500 Songs
    Rolling Stone Magazine's Top 500 Songs No. Interpret Title Year of release 1. Bob Dylan Like a Rolling Stone 1961 2. The Rolling Stones Satisfaction 1965 3. John Lennon Imagine 1971 4. Marvin Gaye What’s Going on 1971 5. Aretha Franklin Respect 1967 6. The Beach Boys Good Vibrations 1966 7. Chuck Berry Johnny B. Goode 1958 8. The Beatles Hey Jude 1968 9. Nirvana Smells Like Teen Spirit 1991 10. Ray Charles What'd I Say (part 1&2) 1959 11. The Who My Generation 1965 12. Sam Cooke A Change is Gonna Come 1964 13. The Beatles Yesterday 1965 14. Bob Dylan Blowin' in the Wind 1963 15. The Clash London Calling 1980 16. The Beatles I Want zo Hold Your Hand 1963 17. Jimmy Hendrix Purple Haze 1967 18. Chuck Berry Maybellene 1955 19. Elvis Presley Hound Dog 1956 20. The Beatles Let It Be 1970 21. Bruce Springsteen Born to Run 1975 22. The Ronettes Be My Baby 1963 23. The Beatles In my Life 1965 24. The Impressions People Get Ready 1965 25. The Beach Boys God Only Knows 1966 26. The Beatles A day in a life 1967 27. Derek and the Dominos Layla 1970 28. Otis Redding Sitting on the Dock of the Bay 1968 29. The Beatles Help 1965 30. Johnny Cash I Walk the Line 1956 31. Led Zeppelin Stairway to Heaven 1971 32. The Rolling Stones Sympathy for the Devil 1968 33. Tina Turner River Deep - Mountain High 1966 34. The Righteous Brothers You've Lost that Lovin' Feelin' 1964 35.
    [Show full text]
  • CHILLED CAVIAR to EAT... a Little More Naked... VEGETABLES and MORE... FLOUR and WATER
    CHILLED VEGETABLES AND MORE... TO EAT... (V) Garden Vegetable Crudités 18 (V) Coleman Farm's Garden Green Salad 22 • (VG) Austrian White Asparagus 32 Santa Monica Farmers' Market Seasonal Harvest Heirloom Lettuces, Spring Citrus, Meyer Lemon Vinaigrette Sun-Dried Tomato Chimichurri, Marinated Quinoa and Spring Vegetables, Sunflower Seeds Cilantro Green Goddess Dressing Toasted Black Olive Crostini with Local Goat Cheese Alaskin Halibut 49* Baja Gulf Prawns 36 (V) Imported Italian Burrata 18 Pan-Roasted, Braised Baby Artichokes, Confit Fennel, Lemon Purée, Herb Gremolata Spicy Horseradish, Citrus Tomato Sauce 18-Year Aged Balsamic Vinegar, Grilled Country White Bread Toasted Pepitas, Foraged Herbs • Organic Jidori Half Chicken 54 Whole Santa Barbara Uni 24* Porcini Mushrooms, Romano Beans, Natural Jus Tomato, Red Onion, Micro Shiso (V) Caramelized Corn Salad 24 First of the Season White Corn, Frijoles, Cherry Tomatoes • 8oz USDA Prime 'Butcher's Butter' 76* Kusshi Oysters 24/48* Wild Arugula, Cilantro Crema, Black Lime Vinaigrette Pommes Aligot, Sauce Armagnac British Columbia, Clean, Mildly Sweet, Slightly Meaty Green Apple Fennel-Mignonette (V) Green Asparagus Soup 22 (WP) Marcho Farms Veal 'Wiener Schnitzel' 49* White Asparagus, Meyer Lemon Oil Marinated Fingerling Potatoes, Marinated Cherry Tomatoes, Styrian Pumpkin Seed Oil Omega Blue Kanpachi Tataki Crudo 32* Carrot Aguachile, Pickled Green Almonds, Charred Scallion • CAB 'Never Ever' Beef Burger 28* Japanese Cucumber, Avocado, Coriander FLOUR AND WATER Vermont White Cheddar, Garlic
    [Show full text]
  • Jazz Documentary
    Jazz Documentary - A Great Day In Harlem - Art Kane 1958 this probably is the greatest picture of that era of musicians I think ever taken and I'm so proud of it because now it's all over the United States probably the world very something like that it was like a family reunion you know being in one spot but all these great jazz musicians at one time I mean we call big dogs I mean the Giants were there press monk I looked around and it was count face charlie means guff Smith Jessica let's be jolly nice hit oh my my can you imagine if everybody had their instruments and played [Music] back in 1958 when New York was still the jazz capital of the world you could hear important music all over town representing an extraordinary range of periods of styles this film is a story of a magic moment when dozens of the greatest jazz stars of all time gathered for an astonishing photograph whose thing started I guess in the summer of 1958 at which time I was not a photographer art Kane went from this day to become a leading player in the field of photography this was his first picture it was our director of Seventeen magazine he was one of the two or three really great young art directors in New York attack Henry wolf and arcane and one or two other people were really considered to be big bright young Kurtz Robert Benton had not yet become a celebrated Hollywood filmmaker he had only just become Esquires new art director hoping to please his jazz fan boss with an idea for an all jazz issue but his inexperience combined with pains and experience gave
    [Show full text]
  • Gerry Mulligan Discography
    GERRY MULLIGAN DISCOGRAPHY GERRY MULLIGAN RECORDINGS, CONCERTS AND WHEREABOUTS by Gérard Dugelay, France and Kenneth Hallqvist, Sweden January 2011 Gerry Mulligan DISCOGRAPHY - Recordings, Concerts and Whereabouts by Gérard Dugelay & Kenneth Hallqvist - page No. 1 PREFACE BY GERARD DUGELAY I fell in love when I was younger I was a young jazz fan, when I discovered the music of Gerry Mulligan through a birthday gift from my father. This album was “Gerry Mulligan & Astor Piazzolla”. But it was through “Song for Strayhorn” (Carnegie Hall concert CTI album) I fell in love with the music of Gerry Mulligan. My impressions were: “How great this man is to be able to compose so nicely!, to improvise so marvellously! and to give us such feelings!” Step by step my interest for the music increased I bought regularly his albums and I became crazy from the Concert Jazz Band LPs. Then I appreciated the pianoless Quartets with Bob Brookmeyer (The Pleyel Concerts, which are easily available in France) and with Chet Baker. Just married with Danielle, I spent some days of our honey moon at Antwerp (Belgium) and I had the chance to see the Gerry Mulligan Orchestra in concert. After the concert my wife said: “During some songs I had lost you, you were with the music of Gerry Mulligan!!!” During these 30 years of travel in the music of Jeru, I bought many bootleg albums. One was very important, because it gave me a new direction in my passion: the discographical part. This was the album “Gerry Mulligan – Vol. 2, Live in Stockholm, May 1957”.
    [Show full text]
  • EDISON's Warriors
    EDISON’S WaRRIORS Christoph Cox Real security can only be attained in the long run through confusion. — Hilton Howell Railey, commander of the Army Experimental Station1 Simulantur quae non sunt. Quae sunt vero dissimulantur. — Motto of the 23rd Special Troops2 In “The Invisible Generation,” an experimental text from 1962, William S. Burroughs unveiled a proposal to unleash urban mayhem via the use of portable tape recorders. “Now consider the harm that can be done and has been done when recording and playback is expertly carried out in such a way that the people affected do not know what is happening,” he wrote. “Bands of irresponsible youths with tape recorders playing back traffic sounds that confuse motorists,” Burroughs gleefully imagined, could incite “riots and demonstrations to order.”3 Championing the productive (and destructive) powers of portable audio, “The Invisible Generation” is an emblematic text in the history of sound art and DJ culture. Yet, nearly 20 years earlier, Burroughs’s vision had already been conceived and deployed by none other than the United States Army, whose “ghost army,” the 23rd Special Troops, included several units dedicated to “sonic deception” and its results: enemy confusion and carnage.4 The first division in American Armed Forces history assigned exclusively to camouflage and deception, the 23rd was a military oddity. Despite the centrality of deception in the history of warfare from the Trojan Horse on, soldiers drilled in the West Point code of duty, honor, trust, and integrity were ill-suited to a life of simulation and dissimulation; and American officers tended to dismiss deceptive tactics as underhanded, a sign of weakness in every sense.5 It’s not surprising, then, that the 23rd consisted primarily of a population with an occupational predisposition to deception, invention, and fabrication: artists.
    [Show full text]
  • 2009 Tour Dates
    Randy Brecker 2009 Tour Dates Website: http://www.randybrecker.com/ Email: [email protected] January 20 Special Guest with Saleno Jazz Orchestra Salerno, Italy January 28-31 w/Marc Copland, Dave Liebman and others Birdland, NYC February 3 Manhattan School of Music Interactive Clinic to be broadcast live to Toronto Schools February 4 Piano Jazz w/Marian McPartland taping February 6 Randy Brecker Quintet 11 AM - 12 NOON - Children's Concert Tribute to Miles Kimmel Center for the Perfoming Arts 260 S. Broad St. Philadelphia, PA February 7 Randy Brecker Quintet 7:30 PM - Randy Brecker Quintet Kimmel Center for the Perfoming Arts 260 S. Broad St. Philadelphia, PA February 8 West Chester State Trumpet Festival w/ Bobby Shew,Chase Sanborn, Criterions Jazz Ensemble and others February 13 Featured guest with Richard Sussman Trio Riverspace Jazz Cafe, Nyack NY February 15 Special guest w/Dave Liebman Group Baltimore, Maryland February 20 - 21 Special guest w/James Moody Quartet Burmuda Jazz Festival March 1-2 Northeastern State Universitry Concert/Clinic Tahlequah, Oklahoma March 6-7 Concert/Clinic for Frank Foster and Break the Glass Foundation Sandler Perf. Arts Center Virginia Beach, VA March 17-25 Dates TBA European Tour w/Lynne Arriale quartet feat: Randy Brecker, Geo. Mraz A. Pinciotti March 27-28 Temple University Concert/Clinic Temple,Texas March 30 Scholarship Concert with James Moody BB King's NYC, NY April 1-2 SUNY Purchase Concert/Clinic with Jazz Ensemble directed by Todd Coolman April 4 Berks Jazz Festival w/Metro Special Edition: Chuck Loeb, Dave Weckl, Mitch Forman and others April 11 w/ Lynne Arriale Jazz Quartet Ft.
    [Show full text]
  • The Rolling Stones and Performance of Authenticity
    University of Kentucky UKnowledge Theses and Dissertations--Art & Visual Studies Art & Visual Studies 2017 FROM BLUES TO THE NY DOLLS: THE ROLLING STONES AND PERFORMANCE OF AUTHENTICITY Mariia Spirina University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/ETD.2017.135 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Spirina, Mariia, "FROM BLUES TO THE NY DOLLS: THE ROLLING STONES AND PERFORMANCE OF AUTHENTICITY" (2017). Theses and Dissertations--Art & Visual Studies. 13. https://uknowledge.uky.edu/art_etds/13 This Master's Thesis is brought to you for free and open access by the Art & Visual Studies at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Art & Visual Studies by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known.
    [Show full text]
  • Living Blues 2021 Festival Guide
    Compiled by Melanie Young Specific dates are provided where possible. However, some festivals had not set their 2021 dates at press time. Due to COVID-19, some dates are tentative. Please contact the festivals directly for the latest information. You can also view this list year-round at www.LivingBlues.com. Living Blues Festival Guide ALABAMA Foley BBQ & Blues Cook-Off March 13, 2021 Blues, Bikes & BBQ Festival Juneau Jazz & Classics Heritage Park TBA TBA Foley, Alabama Alabama International Dragway Juneau, Alaska 251.943.5590 2021Steele, Alabama 907.463.3378 www.foleybbqandblues.net www.bluesbikesbbqfestival.eventbrite.com jazzandclassics.org W.C. Handy Music Festival Johnny Shines Blues Festival Spenard Jazz Fest July 16-27, 2021 TBA TBA Florence, Alabama McAbee Activity Center Anchorage, Alaska 256.766.7642 Tuscaloosa, Alabama spenardjazzfest.org wchandymusicfestival.com 205.887.6859 23rd Annual Gulf Coast Ethnic & Heritage Jazz Black Belt Folk Roots Festival ARIZONA Festival TBA Chandler Jazz Festival July 30-August 1, 2021 Historic Greene County Courthouse Square Mobile, Alabama April 8-10, 2021 Eutaw, Alabama Chandler, Arizona 251.478.4027 205.372.0525 gcehjazzfest.org 480.782.2000 blackbeltfolkrootsfestival.weebly.com chandleraz.gov/special-events Spring Fling Cruise 2021 Alabama Blues Week October 3-10, 2021 Woodystock Blues Festival TBA May 8-9, 2021 Carnival Glory Cruise from New Orleans, Louisiana Tuscaloosa, Alabama to Montego Bay, Jamaica, Grand Cayman Islands, Davis Camp Park 205.752.6263 Bullhead City, Arizona and Cozumel,
    [Show full text]
  • Album Cover Art Price Pages.Key
    ART OF THE ALBUM COVER SAN FRANCISCO ART EXCHANGE LLC Aretha Franklin, Let Me In Your Life Front Cover, 1974 $1,500 by JOEL BRODSKY (1939-2007) Not including frame Black Sabbath, Never Say Die Album Cover, 1978 NFS by HIPGNOSIS 1968-1983 Blind Faith Album Cover, London, 1969 $17,500 by BOB SEIDEMANN (1941-2017) Not including frame Bob Dylan & Johnny Cash Performance, The Dylan Cash Session Album Cover, 1969 $1,875 by JIM MARSHALL (b.1936 - d.2010) Not including frame Bob Dylan, Blonde on Blonde Album Cover, NYC, 1966 $25,000 by JERRY SCHATZBERG (b.1927) Not including frame Bob Dylan, Greatest Hits Album Cover, Washington DC, 1965 $5,000 by ROWLAND SCHERMAN (b.1937) Not including frame Bob Dylan, Nashville Skyline Album Cover, 1969 $1,700 by ELLIOT LANDY (b.1942) Not including frame Booker T & the MGs, McLemore Ave Front Cover Outtake, 1970 $1,500 by JOEL BRODSKY (1939-2007) Not including frame Bruce Springsteen, As Requested Around the World Album Cover, 1979 $2,500 by JOEL BERNSTEIN (b.1952) Not including frame Bruce Springsteen, Hungry Heart 7in Single Sleeve, 1980 $1,500 by JOEL BERNSTEIN (b.1952) Not including frame Carly Simon, Playing Possum Album Cover, Los Angeles, 1974 $3,500 by NORMAN SEEFF (b.1939) Not including frame Country Joe & The Fish, Fixin’ to Die Back Cover Outtake, 1967 $7,500 by JOEL BRODSKY (1939-2007) Not including frame Cream, Best of Cream Back Cover Outtake, 1967 $6,000 by JIM MARSHALL (b.1936 - d.2010) Not including frame Cream, Best of Cream Back Cover Outtake, 1967 Price on Request by JIM MARSHALL (b.1936
    [Show full text]