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Jazz Photography: Art Form and Historic Document Staci A Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2006 Jazz Photography: Art Form and Historic Document Staci A. Spring Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC JAZZ PHOTOGRAPHY: ART FORM AND HISTORIC DOCUMENT By STACI A. SPRING A thesis submitted to the College of Music In partial fulfillment of the requirements of the degree of Master of Music Degree Awarded: Fall Semester, 2006 Copyright©2006 Staci A. Spring All Rights Reserved The members of the Committee approve the thesis of Staci A. Spring defended on October 26, 2006. ______________________ Denise Von Glahn Professor Directing Thesis ____________________ George Blakely Committee Member ______________________ Benjamin D. Koen Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii ACKNOWLEDGMENTS I would like to graciously thank Denise Von Glahn for her guidance and valuable insight throughout the duration of this project. I would also like to thank committee members Ben Koen and George Blakely for their support. Special thanks to my mother Geri Spring: my favorite editor and number one fan. iii TABLE OF CONTENTS List of Figures……………………………………………………………………….v Abstract...…………..……………………………………………………………….vi INTRODUCTION……..…………………………………………………………….1 1. THE JAZZ PHOTOGRAPHY TRADITION............…………………………..3 Origins of the Tradition………... ………………………………………….3 Elements of the Tradition………………………………………………….7 Parallels Between Jazz and Photography..…………………………......9 2. CASE STUDIES……………….……………………………………………….14 John Coltrane………………. …………………………………………….15 Sarah Vaughan……………...…………………………………………….28 Duke Ellington…………….……………………………………………….39 3. CONTRIBUTIONS TO MUSIC HISTORIOGRAPHY………………………49 SELECTED BIBLIOGRPAHY.......…………………………………….……......54 SELECTED DISCOGRAPHY.......………………………………………………58 ONLINE RESOURCES.................................................................................59 BIOGRAPHICAL SKETCH...........………………………………………………60 iv LIST OF FIGURES 1. Lee Friedlander, Giant Steps,1961..............................15 2. Lee Friedlander, The HeavyWeight Champion,1995.......17 3. Roy DeCarava, Coltrane on Soprano, 1963..................20 4. Jim Marshall, John Coltrane at Ralph Gleason’s House, Berkeley, 1960.........................................................22 5. Herb Snitzer, Reflected ‘Trane,1961............................23 6. Bob Thiele, cover photo for A Love Supreme, 1962/64...25 7. Jim Marshall, Coltrane backstage at Stanford, 1966......27 8. Young Sarah Vaughan poster.....................................29 9. Herman Leonard, Sarah Vaughan, NYC, 1950...............30 10. William Gottlieb, Sarah Vaughan, 1946................….....30 11. Album cover, Sarah Vaughan After Hours....................31 12. Two Sarah Vaughan albums.......................................32 13. Carol Friedman, Sarah Vaughan, Studio, NYC, 1982.....33 14. Herman Leonard, Sarah Vaughan, Birdland, 1949.........34 15. Roy DeCarava, Sarah Vaughan, early 1960’s...............35 16. Lee Friedlander, Sarah Vaughan, 1956.......................36 17. William Claxton, Sarah Vaughan, Brooklyn,1960..........37 18. Jim Marshall, Sarah Vaughan, Cow Palace, late1980’s..38 19. Photographer unknown, Sarah Vaughan, late 1980’s.....38 20. Herb Snitzer, Sarah Vaughan at the Bern Jazz Festival, 1987..........38 v 21. Corson/Brettmann, Duke Ellington, “Top Hat”, 1933......40 22. Herman Leonard, Duke Ellington, Paris, 1960..............40 23. From estate of Mercer Ellington, Duke Ellington...........41 24. Herb Snitzer, Duke Ellington, 1959 ............................41 25. William Gottlieb, Portrait of Duke Ellington, Paramount Theatre, NY, circa September 1946............................42 26. Herman Leonard, Duke Ellington, Paris, 1958..............44 27. Herman Leonard, Ella Fitzgerald, Duke Ellington, Benny Goodman & Richard Rogers NYC, 1948..................................................................46 28. Herb Snitzer, Duke the King,1961/1986.......................47 vi ABSTRACT Through publicity material, personal portraiture, and the work of individual photographers, jazz music has been documented and artfully represented in photographs throughout its development. This thesis examines the circumstances leading to such a wealth of photographs, the elements of the jazz photography tradition, and some of the important photographers and their jazz musician subjects. These photographs are a valuable source for historical study and make a compelling case for the contributions of photography to musical historiography. vii INTRODUCTION Jazz music occupies a unique position in historical study. It emerged simultaneously with certain technological advances, such as sound recording, film, and photography, which were previously unavailable. These resources have allowed scholars to develop a broader view of a musical genre rich with historical significance. Photography, in particular, can offer a unique perspective for the music historian in that it functions simultaneously as historical record and art form. Many outside the realm of jazz studies may be unfamiliar with the large volume and range of jazz photographs. Demonstrating that a jazz photography tradition exists therefore provides the framework for the remainder of the thesis. This will be accomplished through a discussion of the people and elements that make up this tradition and through the study of the photographic techniques used, such as lighting and composition. One can then explore what the photographs communicate about the values that are essential to jazz music as it has developed over time, how they might shape an individual’s impression of what jazz is, and also why there seems to be such a strong connection between the two art forms of photography and jazz. What makes jazz musicians such fascinating subjects for many photographers? What are the common elements the two art forms share? There are many types of photographs available for examination, including portraits, candid photos, publicity photos, and album cover art. While some may serve a predominantly documentary purpose (as a historic record), it is my belief that many go beyond this to create a higher form of artistic expression. In such a context, jazz and photography interact as two art forms with many parallel components. Examples of these parallels include the way both mediums: convey an emotion or aesthetic, provoke a response from the listener/viewer, or draw on an artistic tradition. This study will investigate these and additional parallels, and highlight the important contributions that photography brings to music historiography. 1 Within the jazz photography tradition, a photograph has the potential to transcend the role of social record. However, it is essential to be aware of the existing clichés and stereotypes that might contribute to the way a musician is represented, and to examine the historical context. Such an examination should evaluate the purposes of the photographs. How do they portray the artist? How does this positively or negatively affect the image of the jazz artist, or of jazz itself? Can the artist’s image and personality as portrayed in certain photographs be separated from their music, or does it all become one package? A case study of three jazz musicians will address the preceding issues. Duke Ellington, John Coltrane, and Sarah Vaughan are three iconic figures whose careers as jazz artists have inspired the click of many a shutter. By surveying a number of photographs of these musicians, one can gain important information about the way they are portrayed both publicly and privately, and hence how jazz is portrayed. For example, photographs of John Coltrane often convey the image of a pensive and intensely spiritual man, emerging out of darkness. The discussion of these photographs will include a description of the techniques of the photographer, and the historical context and significance surrounding the photographs. A discussion of the contributions these photographs make to music historiography will conclude the study. 2 CHAPTER 1 THE JAZZ PHOTOGRAPHY TRADITION Origins of the Tradition While one cannot say for sure, a rough estimate of the number of jazz photographs in existence must be in the hundreds of thousands. Jazz music has inspired relationships between dance and the visual arts, and seems to be one of the most photographed musical genres of the twentieth century. The earliest photographs predominantly come from publicity material or personal portraits. As jazz music evolved through the nineteen-forties, fifties, and sixties, individual photographers found artistic inspiration in jazz music and the broader scene in which the music lived. Their photographs contribute to the considerable bounty of images representing jazz. As early as the nineteen-teens numerous photographs were taken featuring the jazz music groups of the time. These were taken everywhere the music was happening: mainly in New Orleans, Chicago, Kansas City, and New York. The bands are almost always posed holding their instruments, sometimes even in strange positions seemingly for comic value. Candid photos were rarely taken from close range and seldom focus in on one particular musician. There are, however, many individual portraits of musicians posed in the typical fashion of a publicity head shot. The discovery of photography allowed the camera portrait
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