By William Carter

Photographer, Author, Jazz Musician

Posts Tagged ‘book

Jazz Emerges Part 5

with one comment


Visible Roots of America’s Most Original Cultural Product

Preservation Hall Won Hearts Across U.S.

Photographs by William Carter, 1971-1985

New Orleans

New Orleans

New Orleans

New Orleans

San Francisco

San Francisco

San Francisco

San Francisco

Middle West

Middle West

Napa, California

Napa, California

Napa, California

Napa, California

Jim Robinson and fan, California

Jim Robinson and fan, California

San Francisco

San Francisco

Santa Rosa, California

Santa Rosa, California

Jim Robinson at Stanford

Jim Robinson at Stanford

Frank Demond in Santa Rosa, California

Frank Demond in Santa Rosa, California

Sing Miller en route

Sing Miller en route

Allan Jaffe, California

Allan Jaffe, California

New York City

New York City

Chicago

Chicago

Minneapolis

Minneapolis

Copyright statement: William Carter papers, © Stanford University Libraries. Click here for a detailed usage guide.

Advertisements

Written by bywilliamcarter

September 1, 2017 at 12:00 pm

Jazz Emerges Part 4

with one comment


Trumpeter Percy and Clarinetist Willie Humphrey
On Tour and At Home

Visible Roots of America’s Most Original Cultural Product

Photographs by William Carter 1973-1985

HumphreysColor1

.

PHusedbyWC005

.

PHusedbyWC007

.

PercyClose-1_1

.

notPH-byWC015

.

humphreeyeshut

.

notPH-byWC017

.

PHUsedbyWC003

.

002 - Version 2

.

williecolorserious

.

Williecolor-laughing

.

Percycolorlaughing

.
001

Birthday party with kin folk and friends after a gig in California in 1976; musicians included the Humphrey brothers (center), drummer Cie Frazier (behind Percy), and banjoist/singer Narvin Kimball (seated).

In a long caption in my book, Preservation Hall (W.W. Norton, 1991), I told the story, quoted below, of the Humphreys’ long lives and distinguished lineage. I never met their trombonist brother, Earl, who died relatively young. Their father, Willie Humphrey Sr., was a clarinetist who spent much of his life on road tours; in a surviving publicity shot he looks just like Willie Jr. The pioneering grandfather’s story says something about the rich artistic and cultural complexities underpinning the birth of what has been called “America’s classical music”:

“The work of the front-line Humphrey triumvirate stemmed from the teaching of their grandfather, James Brown Humphrey, who played a unique role in the earliest years of jazz. That “fair-skinned Negro with red hair,” as the authors Berry, Foose and Jones told it, in Up from the Cradle of Jazz (1986), “starting about 1887, boarded the train each week, wearing a swallow-tailed coat and carrying a cornet case and music sheets in a satchel. The professor had many New Orleans pupils who entered the ranks of early jazz; he is also said to have taught whites. Most students on his weekly tour of the plantation belt — 25 miles either way from the city — were illiterate workers who lived in shacks behind the sugar and cotton fields along the river…Humphrey by 1890 was a rare commodity, a black man who lived off his talents as an artist. He played all instruments, directed bands and orchestras, and became a catalyst sending rural blacks into urban jazz ensembles.”

The essence of classic New Orleans jazz is the ensemble. The essence of that essence is a tough, growling, cut-down, loose-limbed, abbreviated lead trumpet or cornet — allowing the other horns lots of space. Trumpeter Percy Humphrey gives us a fiery taste of his lead in the excerpts below.”Running Wild” and “Panama” were recorded in Oxford, Ohio by the great George Lewis Ragtime Band of 1952.

Click below to listen to segments of “Runnin’ Wild” and “Panama.”

In the following solo on “St. Louis Blues,” clarinetist Willie Humphrey demonstrates two cardinal components of the New Orleans style.

Rhythmically, the horns and piano never cease to play off of, and around, the beat as strictly laid down by the rhythm section. Attacking microseconds before or after what would be correct in a more European or “white” reading, this constant off-beatness serves to trip up the listener. “What’s your music for? Mine’s for dancing!” exulted a classic player. Making people move their bodies out on the streets and in the dance halls is the musicians’ fundamental assignment — which extends to foot tapping in concert halls. Syncopation is key.

Structurally, Willie gradually, logically builds his variations from lower to higher pitches and intensities. Employing St. Louis Blues-derived themes and a faux-stumbling manner that helps release micro-rhythms, he gradually weaves a baroque edifice soaring above the underlying foundation.

Click below to listen to “St. Louis Blues.”

Copyright statement: William Carter papers, © Stanford University Libraries. Click here for a detailed usage guide.

Written by bywilliamcarter

August 18, 2017 at 12:00 pm

Jazz Emerges Part 2

with 2 comments


Billie sings and plays, De De plays

Billie sings and plays, De De plays.

De De sings.

Blues Essential

Visible Roots of America’s Most Original Cultural Product

.

In the jazz genome, the blues is essential.

Louis Armstrong administered his blues while performing open heart surgery on the whole world.

Miles Davis wove his kind of blues-isms amid the dark arteries and shadowy intersections of postmodern life.

Billie and De De Pierce? I just came to their house; they came to mine. Their house is your house.

Billie Plays

Billie plays

.
.
Billie at home

Billie at home

.
De De before going home

De De before going home

.

PHOTO CREDITS ABOVE: 1. unknown 2. Marty Kaelin 3. Charles Stroud
4-5. William Carter

.PHOTO CREDITS BELOW: by William Carter
Mance Lipscomb, Oakland, California c. 1960

Mance Lipscomb, Oakland, California c. 1960

.
Unknown bluesman, Berkeley, California c. 1960

Unknown bluesman, Berkeley, California c. 1960

.
Carol Leigh, San Francisco, c. 1960

Carol Leigh, San Francisco, c. 1960

.
Mama Yancey

Mama Yancey, San Francisco, c. 1960

.
Sonny Terry, San Francisco, c. 1960

Sonny Terry, San Francisco, c. 1960

.
Jimmy Rushing, San Francisco, c. 1960

Jimmy Rushing, San Francisco, c. 1960

.
Manny Sayles, New Orleans, c. 1986

Manny Sayles, New Orleans, c. 1986

.
Louis Armstrong, Ithaca, New York, 1962

Louis Armstrong, Ithaca, New York, 1962

Copyright statement: William Carter papers, © Stanford University Libraries. Click here for a detailed usage guide.

Jazz Emerges, Part 1

with 4 comments


notPHnotWC005 New Orleans Brass Bands 1950-1990

Visible Roots of America’s Most Original Cultural Product

A lifelong preoccupation with traditional New Orleans jazz inspired my book, Preservation Hall (W.W. Norton, 1991). While doing my own shooting, I uncovered a trove of historical photos I decided to mix with my own (sources available on request). Like the music itself, this project is a blend of old and new, personal and professional. Blogs, like recordings, add a fresh dimension to a traditional art.

In the 1970s and 80s I paid regular visits to New Orleans. I was invited to play with some of the brass bands. In the sweltering streets and shuttered funeral homes, I juggled a clarinet in one hand and a camera in the other – not easy to do, or forget.

Jazz was born in the 1890s when strutting brass men and parade drummers, performing street marches and wailing spiritual dirges, went indoors, or up onto park bandstands, for “sit down jobs.” There, the marches merged with country blues, parlor ragtime, and popular dance songs utilizing stringed instruments like the guitar and piano. By the early 20th century, in these cultural wetlands near the mouth of the Mississippi, a new music had been spawned: a spicy, varied gumbo of black, white, and Creole ingredients.

As jazz evolved worldwide, its earliest style was preserved in the city of its birth. Many first and second-generation players remained active into the 1960s and beyond. As younger devotees took over, the music changed subtly – some would argue for the worse – as the old decorum, dress codes, and refined musicianship gradually gave way, like the French Quarter, to a more touristic style. But that kind of regret for a faded past has always marked a city that remains unlike the rest of America.

For me, the photographs in this and succeeding posts evoke nostalgia for a host of friends – a whole subculture, really – now largely gone. Their music is part of me.

PHusedNotByWC(3)069

PHusedNotByWC(2)023

notPH-byWC-009

PHusedNotByWC017

PHusedNotByWC019

notPH-ByWC-001

notPH-byWC-005

notPHnotWC001

notPH-byWC-007

PHusedNotByWC(3)039

PHusedNotByWC(2)017

notPHnotWC003

notPH byWC 011

Copyright statement: William Carter papers, © Stanford University Libraries. Click here for a detailed usage guide.

Signs of the Times

with 2 comments


America’s Corn Belt Speaks for Itself

Digging deep in my files as part of an ongoing effort to gather a legacy of vintage prints, I stumbled on some unpublished treasures. Forty years ago I photographed these signs along the back roads of Indiana, Illinois and neighboring states while working on my second book, Middle West Country (Houghton Mifflin, 1975).

Now the signs are mostly gone — but not the inherent modesty, chuckling humor, and serious spirit of America’s heartland.

Photographs © William Carter 1972, 2010

Sign: Pickneyville Home Style Beans

cat-fish,-Grand-Tower,-Ill.-c1973

Madison-barn-sign-c1972

Independent-Farm

Revival-placard,-Indiana-1972

Oak Ridge Friends Church

Church Float

farm-sale-notice-1972

Annamae Wife

Churchyard, Henry Cty Ill, Sharon

Copyright statement: William Carter papers, © Stanford University Libraries. Click here for a detailed usage guide.

Written by bywilliamcarter

June 10, 2017 at 12:00 pm

Hands Are Us (Part 2)

with 4 comments


Moment, 11/25 Vintage Silver Print, ©William Carter 1973

Moment, 11/25 ©William Carter 1973

Closure, 1/25 Platinum Print, ©William Carter 1992

Closure, 1/25 Platinum Print, ©William Carter 1992

Suggestion, 1/35 Vintage Silver Print, ©William Carter 1994

Suggestion, 1/35 Vintage Silver Print, ©William Carter 1994

Dance, 2/25 Vintage Silver Print, ©William Carter 2006

Dance, 2/25 Vintage Silver Print, ©William Carter 2006

Shiva, 2/25 Vintage Silver Print, ©William Carter 1989

Shiva, 2/25 Vintage Silver Print, ©William Carter 1989

Actor, New York City, printed later, ©William Carter 1963

Actor, New York City, printed later, ©William Carter 1963

Near Ganeshpuri, Maharashtra, India, ©William Carter 1981

Near Ganeshpuri, Maharashtra, India, ©William Carter 1981

Wrestlers 1/35 Vintage Silver Print, ©William Carter

Wrestlers 1/35 Vintage Silver Print, ©William Carter

Hands

In Touch: Dominique and Sramana

Sramana

Sramana

Copyright statement: William Carter papers, © Stanford University Libraries. Click here for a detailed usage guide.

Written by bywilliamcarter

May 26, 2017 at 12:00 pm

Hands Are Us (Part 1)

with 5 comments


Touching the Heart

Ruth and Olivia, 2012Archival Inkjet Print, ©William Carter 2012

Ruth and Olivia, 2012, Archival Inkjet Print, ©William Carter 2012

On September 11, 2012, I visited my beloved 97-year old Aunt Ruth. Her body systems were shutting down. Two of her children, Maureen and Susan, and one granddaughter, Olivia, were there. I took a few pictures, including the one above. Two nights later, Aunt Ruth passed away.

In the 1980s and ’90s I spend fifteen years photographing nudes and the body. For much of that I carefully avoided hands: they felt personal and unique, whereas the project was about universal forms. Eventually, though, hands started creeping in. I’m not sure if that was my decision or theirs. Several appeared in my 1996 book, Illuminations.

“Hands” is a project without a beginning or an end. Some were used with Indian poetry quotations and readings by Sramana Mitra. I used a shot of my own palm as the endsheets for my 2011 book, Causes and Spirits.

Here are some others:

Sramana's Hands, vintage silver print, ©William Carter 2002

Sramana’s Hands, vintage silver print, ©William Carter 2002

Appearance, 23/25 vintage silver print, ©William Carter 1983

Appearance, 9/25  ©William Carter 1983

Char, 3/25 vintage silver print, ©William Carter 1992

Char, 3/25 vintage silver print, ©William Carter 1992

Remember, 3/25 vintage silver print, ©William Carter 1990

Remember, 3/25 vintage silver print, ©William Carter 1990

Mystery (detail), Vintage Silver Print, ©William Carter 1990

Mystery (detail), Vintage Silver Print, ©William Carter 1990

Whisper, Vintage Silver Print, ©William Carter 1992

Whisper, Vintage Silver Print, ©William Carter 1992

Intimation, 3/25 Vintage Silver Print, ©William Carter 1991

Intimation, 3/25 Vintage Silver Print, ©William Carter 1991

Copyright statement: William Carter papers, © Stanford University Libraries. Click here for a detailed usage guide.

Written by bywilliamcarter

May 10, 2017 at 12:00 pm

%d bloggers like this: