Blue Notes In Black And White

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.

Jazz can be uplifting, stimulating, sensual, and spiritual. Yet when writers turn to this form of music, they almost always imagine it in terms of loneliness. In Blue Notes: Jazz, Literature, and Loneliness, Sam V. H. Reese investigates literary representations of jazz and the cultural narratives often associated with it, noting how they have, in turn, shaped readers’ judgments and assumptions about the music. This illuminating critical study contemplates the relationship between jazz and literature from a perspective that musicians themselves regularly call upon to characterize their performances: that of the conversation. Reese traces the tradition of literary appropriations of jazz, both as subject matter and as aesthetic structure, in order to show how writers turn to this genre of music as an avenue for exploring aspects of human loneliness. In turn, jazz musicians have often looked to literature—sometimes obliquely, sometimes centrally—for inspiration. Reese devotes particular attention to how several revolutionary jazz artists used the written word as a way to express, in concrete terms, something their music could only allude to or affectively evoke. By analyzing these exchanges between music and literature, Blue Notes refines and expands the cultural meaning of being alone, stressing how loneliness can create beauty, empathy, and understanding. Reese analyzes a body of prose writings that includes Ralph Ellison’s Invisible Man and midcentury short fiction by James Baldwin, Julio Cortázar, Langston Hughes, and Eudora Welty. Alongside this vibrant tradition of jazz literature, Reese considers the autobiographies of Duke Ellington and Charles Mingus, as well as works by a range of contemporary writers including Geoff Dyer, Toni Morrison, Haruki Murakami, and Zadie Smith. Throughout, Blue Notes offers original perspectives on the disparate ways in which writers acknowledge the expansive side of loneliness, reimagining solitude through narratives of connected isolation.

Music lovers have been attracted to the distinct style and sleek sound of jazz since its birth at the turn of the century. The album covers collected in this comprehensive volume under the well-known Blue Note record label embody classic design and pioneering typography. Two hundred color photographs of the album sleeves, an informative history of the Blue Note record company, and a portrait of Reid Miles, who designed nearly 500 album covers, capture the integrity of this distinctive record label. Sophisticated jazz connoisseurs and young listeners alike, as well as those with an interest in style and graphic design, will enjoy this exciting book of jazz memorabilia.

The photography of jazz created a visual rhetoric that argued for racial inclusiveness in the 1930s, racial equality in the 1940s and 1950s, and black cultural nationalism in the 1960s. The identification of the music as culturally African American had to be constructed over time by the interaction of musicians with visual representation in the contexts of depression and war, record business economics, the evolving civil rights movement, and the dynamics of interracial collaboration and black self-assertion over the course of decades. Although these goals were often complicated by the racial discourse in the jazz press and by the claims made upon the music by competing political and economic agendas, photographs describe the social and political significance of jazz in American cultural history. In the 1930s and 1940s, photojournalists Charles Peterson and Gjon Mili challenged Life's racial template, promoting an inclusive social vision. They visually represented the significance of African American musical culture in their images of Louis Armstrong, Duke Ellington, and others even as the magazine exerted editorial control that served segregationist and U.S. nationalist agendas. In the late 1940s, William Gottlieb's and Herman Leonard's photographs gave dramatic visual form to bebop's strong African American identity. They could not save the music from commercial failure---despite Dizzy Gillespie's camera-ready approach to publicity---but created long-neglected archives of canonizing photographs. In the 1950s, the long-playing record album developed by Columbia Records temporarily revived jazz's fortunes. Miles Davis, recording for the major label, achieved uncompromising control of his image on album covers while being broadly marketed as an international pop star. Sonny Rollins challenged a black/white racial dichotomy in the album covers of small independent labels on the east and west coasts, engaging established cultural tropes and asserting the moral necessity of a politics of equality. As the jazz audience declined in the 1960s, Roy DeCarava's images of John Coltrane drew inspiration from the music to create a black aesthetic in photography. In the context of 1960s black cultural nationalism, he constructed jazz as a predominantly African American art form while retaining the essential humanism of his work.

Music, like romance, is the language of the soul. Music allows us to express ourselves, and in so doing makes us feel alive. Jazz music, the only art form created by Americans, reminds us that the genius of America is improvisation; a good beat, a contagious rhythm, an emotional ballad, creative improvisation, jazz has it all. Jazz is the story of extraordinary human beings, black and white, male and female, children of privilege and children of despair, who were able to do what most of us only dream of doing: create art on the spot. Their stories are told in Blue Notes. Blue Notes contains profiles of 365 jazz personalities, one for each day of the year. Each vignette tells a story, some heartwarming, others tragic, but all memorable. The daily entries also provide valuable information on jazz styles, jazz history, instruments and instrumentalists, and such related topics as jazz and religion, women in jazz, drug and alcohol abuse, and racism. These topics can be referenced through an extensive set of indexes. The book's appendix includes helpful background information, a concise overview of jazz music, and even a quiz on jazz biography. While Blue Notes is written for jazz fans in general, experts will value its comprehensive nature. So whether you are curious about jazz or simply love and appreciate music, Blue Notes will provide daily moments of discovery and help you recognize what the rest of the world already has, a music so compelling that it can be said to define the human being in the twentieth century.

Provides a complete discography of all recordings made or issued on the Blue Note label from 1939 through 1999.

The official illustrated history of Blue Note, the most influential and important brand in jazz. Tracing the evolution of jazz from the boogie-woogie and swing of the 1930s, through bebop, funk, and fusion, to the eclectic mix Blue Note releases today, this landmark publication tells the story of an influential jazz institution and commemorates Blue Note’s momentous contribution to modern music and style. Practically all of the jazz greats passed through Blue Note’s doors, including Miles Davis, Sidney Bechet, Art Blakey, Thelonious Monk, Bud Powell, Ornette Coleman, Donald Byrd, and Jimmy Smith. Blue Note is not only known as the purveyor of extraordinary jazz but is also famous as an arbiter of cool. The photography of cofounder Francis Wolff and the cover designs of Reid Miles helped create a look that was an integral part of the label’s genius. A highly illustrated volume, Blue Note features the very best photographs, covers, and ephemera from the archives, including never-before-published material, and and documents a groundbreaking era in American culture.

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.

An assessment of the cultural mix of slave and slave holder