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Typically, a photograph of a jazz musician has several formal prerequisites: black-and-white film, an urban setting in the mid-twentieth century, and a black man standing, playing, or sitting next to his instrument. That's the jazz archetype that photography created. Author K. Heather Pinson discovers how such a steadfast script developed visually and what this convention meant for the music. Album covers, magazines, books, documentaries, art photographs, posters, and various other visual extensions of popular culture formed the commonly held image of the jazz player. Through assimilation, there emerged a generalized composite of how mainstream jazz looked and sounded. Pinson evaluates representations of jazz musicians from 1945 to 1959, concentrating on the seminal role played by Herman Leonard (b. 1923). Leonard's photographic depictions of African American jazz musicians in New York not only created a visual template of a black musician of the 1950s, but also became the standard configuration of the music's neoclassical sound today. To discover how the image of the musician affected mainstream jazz, Pinson examines readings from critics, musicians, and educators, as well as interviews, musical scores, recordings, transcriptions, liner notes, and oral narratives.
The Jazz Image is a celebration not only of jazz photographers Bill Gottlieb, Herman Leonard, Bill Claxton, and Lee Friedlander, but also of the jazz giants they have preserved for future generations. The book is arranged in a series of photo-folios, each containing a selection of a single photographer's work. 152 photos.
Covering six decades of performers - from Louis Armstrong and Duke Ellington to John Coltrane and Miles Davis - this collection is as much a comprehensive catalogue of jazz greats as it is a salute to the photographers who captured them - Herman Leonard, Bob Willoughby and others.
Miles Davis, supremely cool behind his shades. Billie Holiday, eyes closed and head tilted back in full cry. John Coltrane, one hand behind his neck and a finger held pensively to his lips. These iconic images have captivated jazz fans nearly as much as the music has. Jazz photographs are visual landmarks in American history, acting as both a reflection and a vital part of African American culture in a time of immense upheaval, conflict, and celebration. Charting the development of jazz photography from the swing era of the 1930s to the rise of black nationalism in the ’60s, Blue Notes in Black and White is the first of its kind: a fascinating account of the partnership between two of the twentieth century’s most innovative art forms. Benjamin Cawthra introduces us to the great jazz photographers—including Gjon Mili, William Gottlieb, Herman Leonard, Francis Wolff, Roy DeCarava, and William Claxton—and their struggles, hustles, styles, and creative visions. We also meet their legendary subjects, such as Duke Ellington, sweating through a late-night jam session for the troops during World War II, and Dizzy Gillespie, stylish in beret, glasses, and goatee. Cawthra shows us the connections between the photographers, art directors, editors, and record producers who crafted a look for jazz that would sell magazines and albums. And on the other side of the lens, he explores how the musicians shaped their public images to further their own financial and political goals. This mixture of art, commerce, and racial politics resulted in a rich visual legacy that is vividly on display in Blue Notes in Black and White. Beyond illuminating the aesthetic power of these images, Cawthra ultimately shows how jazz and its imagery served a crucial function in the struggle for civil rights, making African Americans proudly, powerfully visible.
A collection of poems recounts the efforts of Esquire magazine graphic designer Art Kane to photograph a group of famous jazz artists in front of a Harlem brownstone.
From the late 1910s until the early 1950s, a series of aggressive segregation policies toward Los Angeles's rapidly expanding African American community inadvertently led to one of the most culturally rich avenues in the United States. From Downtown Los Angeles to the largely undeveloped city of Watts to the south, Central Avenue became the center of the West Coast jazz scene, nurturing homegrown talents like Charles Mingus, Dexter Gordon, and Buddy Collette while also hosting countless touring jazz legends such as Duke Ellington, Louis Armstrong, and Billie Holiday. Twenty-four hours a day, the sound of live jazz wafted out of nightclubs, restaurants, hotel lobbies, music schools, and anywhere else a jazz combo could squeeze in its instruments for nearly 50 years, helping to advance and define the sound of America's greatest musical contribution.
Featuring comprehensive information on musical and biographical details, authoritative critical ratings, special sections for "Anthologies" and "Various Artists" collections, and more, this guide answers the questions that jazz fans want to know. Over 3,500 new listings new to this edition.
The Blue Note Years presents for the first time many of Francis Wolff's previously unpublished photographs, capturing such jazz legends as John Coltrane, Freddie Hubbard, Joe Henderson, Miles Davis, Donald Byrd, Clifford Brown, and Ornette Coleman, among others. 195 duotone photos.
AN INTERACTIVE, SWING-ALONG PICTURE BOOK—WITH 12 SOUND CHIPS! Are you ready to swing? Discover the wonders of jazz: How to get in the groove, what it means to play a solo, and the joy of singing along in a call-and-response. In this interactive swing-along picture book with 12 sound chips, you’ll hear the instruments of jazz—the rhythm section with its banjo, drums, and tuba, and the leads, like the clarinet, trumpet, and trombone. And you’ll hear singers scat, improvising melodies with nonsense syllables like be-bop and doo-we-ah! Along the way, you’ll learn how this unique African American art form started in New Orleans, and how jazz changed over time as innovative musicians like King Oliver, Louis Armstrong, Duke Ellington, and Billie Holiday added their own ideas to it. Press the buttons to hear the band, the rhythms, and the singer calling out: “OH WHEN THE SAINTS—oh when the saints…”
"From the smoky backstage dressing rooms of New York and Chicago's pioneering jazz clubs to the acclaimed Jazz festivals that flourished to enthrall legions of fans, Ted Williams' camera captured the intimacy and the wizardry of Jazz's greats as they perfected their art over more than three decades from the 1940s-1970s. From his unique access and perspective, Williams diligently accumulated a largely unseen archive that documented some of the greatest musicians of the 20th century, the jazz and blues musicians who themselves not only inspired the greats such as Frank Sinatra but fired the aspirations and tastes of a new generation: The Beatles, The Rolling Stones, Bob Dylan, and Eric Clapton among them. Williams caught them in the act of exploring and defining their careers and music - while ensuring impassioned audiences and atmospheric venues remained inseparable from the iconic history he was chronicling. From Miles Davis to Duke Ellington, Dizzy Gillespie to Stan Getz and Sarah Vaughan, Williams' camera witnessed genius at work, rest and play, with an honesty and clarity that few photographers could replicate." --