By William Carter

Photographer, Author, Jazz Musician

Posts Tagged ‘camera

Jazz Emerges Part 3

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Spirit Matters

Visible Roots of America’s Most Original Cultural Product


CLICK THE ARROW ABOVE to listen to The old Eureka Band, led from the 1930s by Percy Humphrey., Tops in the city, as late as the 1950s its joyous processions were marked by a dignity and decorum since overtaken by the wild and garish. Photos by Tom Sharpsteen, compiled with sound by Clint Baker and Katie Cavera, used here with permission.

Years ago, the French Quarter streets were amazingly quiet.  Especially in the mornings, before the few tourists were out and about, this historic section – located near the river, yet built on high ground for good reason – retained its residential feel. New Orleans’ slow-going, personal style, out of the national mainstream, had much to do with how it cradled classic jazz for most of a century.

But other than a couple of sleazy joints on Bourbon Street, it was hard for a musician to feed his family, or for a visitor to hear the real deal. Still, the city’s close-knit neighborhoods proclaimed their musical birthright at pop-up parties, funky dance halls, street events, church memorials. “Let the good times roll,” translated from the French, was always there, highlighted by everyone’s anticipation of the Mardi Gras Carnival, which they prepare for all year long.

The past has always loomed large in this survival culture where one never knew what tragedies the future might hold. Generations of musicians have long been linked by family ties, spiritual traditions, personal musical tutelage, people caring for neighbors. By the 1970s I had met and played with musicians in several cities of the world, but only in New Orleans did you learn so quickly where they lived — on which block of which street, in which ward, near which landmark.  And no other city has ever spawned so many tunes named for beloved streets, from Basin to Canal to Bourbon to Burgundy to…

Within weeks of arriving, I knew I had arrived when I was invited to jam on the sidewalk to celebrate the birthday of an old lady named Miss Carrie. Then on ten minutes notice I donned a parade hat to go play a gig at Antoine’s fancy restaurant. Then I joined a procession of Japanese visitors marching to the graveside of clarinet great George Lewis. There were plenty of weeks of no action at all. But one thing was sure: in New Orleans nobody ever needs to be asked to “play with feeling.”

Preservation Hall, St. Peter Street, French Quarter, New Orleans, early morning, after the streets have been freshly washed and workers are filtering back to their jobs in the tourist industry. Photograph by William Carter, 1984

Preservation Hall, St. Peter Street, French Quarter, New Orleans, early morning, after the streets have been freshly washed and workers are filtering back to their jobs in the tourist industry.
Photograph by William Carter, 1984

Serenading a friend of the musicians, Miss Carrie, at her home typified the informality of French Quarter musical culture. Left to right: Miss Carrie; bass drummer Booker T. Glass; student Jennifer Hamilton wearing band hat; washboard player Allan Jaffe. Photograph by William Carter, 1974

Serenading a friend of the musicians, Miss Carrie, at her home typified the informality of French Quarter musical culture. Left to right: Miss Carrie; bass drummer Booker T. Glass; student Jennifer Hamilton wearing band hat; washboard player Allan Jaffe. Photograph by William Carter, 1974

Left to right: trumpeter De De Pierce; tubaist Allan Jaffe; clarinetist Willie Humphrey with Preservation Hall Jazz Band on tour in California. Under Jaffe's tough but caring marketing expertise, the down-home sincerity of the players was welcomed as part and parcel of their music by adoring fans in major concert venues worldwide. Photograph by William Carter, c. 1970

Left to right: trumpeter De De Pierce; tubaist Allan Jaffe; clarinetist Willie Humphrey with Preservation Hall Jazz Band on tour in California. Under Jaffe’s marketing expertise the warm sincerity of the players was welcomed as part and parcel of their music by adoring fans in major concert venues worldwide.
Photograph by William Carter, c. 1970

Pianist-vocalist Sing Miller at concert; "You gotta have soul to do this work," he told a photographer. Photograph by William Carter, 1975

Pianist-vocalist Sing Miller at concert; “You gotta have soul to do this work,” he told a photographer. Photograph by William Carter, 1975

Trombonist Louis Nelson at a private party in the French Quarter. For many years Nelson was featured in the bands of Barry Martyn and others on countless European tours, as well as with trumpeter Kid Thomas and others across the U.S. under the Preservation Hall banner. The watchword of such brass players was a simple, honest sound derived from decades of experience processioning through the streets of the city by day and working down-home dance halls by night. Photograph by William Carter, 1984

Trombonist Louis Nelson at a private party in the French Quarter. For many years Nelson was
featured in the bands of Barry Martyn and others on countless European tours, as well as with trumpeter Kid Thomas and others across the U.S. under the Preservation Hall banner. The watchword of such brass players was a simple, honest sound derived from decades of experience processioning through the streets of the city by day and working down-home dance halls by night. Photograph by William Carter, 1984

Drummer Paul Barbarin's manuscript of his song, "The Second Line" © circa 1960: the term "second line" refers to the enthusiasts who walk and dance along with the brass bands during the New Orleans street parades. Collection of William Carter

Drummer Paul Barbarin’s manuscript of his song, “The Second Line” © circa 1960: the term “second line” refers to the enthusiasts who walk and dance and exult beside the brass bands along the routes of the street parades. Collection of William Carter

Clarinetist Paul "Polo" Barnes' manuscript of his tune "My Josephine," New Orleans, prior to 1960. Polo was remembered by jazz buffs for his tours and recordings with Jelly Roll Morton and King Oliver around 1930. He was remembered by his neighbors for playing sweet songs by himself on summer evenings in his back yard. Collection of William Carter

Clarinetist Paul “Polo” Barnes’ manuscript of his tune “My Josephine,” New Orleans, prior to 1960. Polo was remembered by jazz buffs for his tours and recordings with Jelly Roll Morton and King Oliver around 1930. He was remembered by his neighbors for playing sweet songs by himself on summer evenings in his back yard. Collection of William Carter

Entertainers in a Bourbon Street nightclub: some clowning is traditional among New Orleans musicians, but in the commercial joints they often faced degrading conditions. Bassist at right is jazzman James Prevost. Prior to 1960. Courtesy Hogan Jazz Archive, Tulane University

Entertainers in a Bourbon Street nightclub: some clowning is traditional among New Orleans musicians, but in the commercial joints they often faced degrading conditions. Bassist at right is jazzman James Prevost. Prior to 1960. Courtesy Hogan Jazz Archive, Tulane University

Sister Gertrude Morgan at Associated Artists gallery, New Orleans. Photograph by Dan Leyrer, before 1960.

Sister Gertrude Morgan at Associated Artists gallery, New Orleans. Photograph by Dan Leyrer, before 1960.

Revival service, Church of God in Christ, New Orleans. Photograph by Ralston Crawford, 1950s. Courtesy Hogan Jazz Archive, Tulane University

Revival service, Church of God in Christ, New Orleans. Photograph by Ralston Crawford, 1950s. Courtesy Hogan Jazz Archive, Tulane University

Clarinetist George Lewis with his mother, Alice Zeno, New Orleans. An internationally influential jazz stylist, Lewis loved playing simple hymns. He said, "I consider myself as a beginner from the time I started till now." Photograph by Stanley Kubrick (?), c. 1950.

Clarinetist George Lewis with his mother, Alice Zeno, New Orleans. An internationally influential jazz stylist, Lewis loved playing simple hymns. He said, “I consider myself as a beginner from the time I started till now.” Photograph by Stanley Kubrick (?), c. 1950.

Reedmen Tom Sharpsteen & Ryoichi Kawai; banjoist Junichi Kawai and others pay homage at clarinetist George Lewis' grave, New Orleans. Photograph by William Carter, 1984

Reedmen Tom Sharpsteen & Ryoichi Kawai; banjoist Junichi Kawai and others pay homage at clarinetist George Lewis’ grave, New Orleans. Photograph by William Carter, 1984

Tubaist/entrepreneur Allan Jaffe paying his respects at a New Orleans memorial service for trombone star Jim Robinson. Photograph by Grauman Marks, 1976

Tubaist/entrepreneur Allan Jaffe paying his respects at a New Orleans memorial service for trombone star Jim Robinson. Photograph by Grauman Marks, 1976

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

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Jazz Emerges Part 2

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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

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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

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Billie at home

Billie at home

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De De before going home

De De before going home

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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

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Unknown bluesman, Berkeley, California c. 1960

Unknown bluesman, Berkeley, California c. 1960

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Carol Leigh, San Francisco, c. 1960

Carol Leigh, San Francisco, c. 1960

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Mama Yancey

Mama Yancey, San Francisco, c. 1960

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Sonny Terry, San Francisco, c. 1960

Sonny Terry, San Francisco, c. 1960

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Jimmy Rushing, San Francisco, c. 1960

Jimmy Rushing, San Francisco, c. 1960

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Manny Sayles, New Orleans, c. 1986

Manny Sayles, New Orleans, c. 1986

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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

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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.

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

Hands Are Us (Part 2)

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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

Jazz + Photography (Part 3)

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A Spontaneous Collaboration

Strange bedfellows, you might say? In 1963 Lu Watters, Bob Mielke and Barbara Dane were each into separate scenes in the San Francisco trad jazz world. As was I: playing occasional gigs, while becoming professionally committed as a photographer and writer. More on this here.

What brought us together in one of those spontaneously rich, fleeting jazz moments was the decision by Watters (then retired) and Dane (who had been running her own San Francisco blues club called Sugar Hill) to make an album together as part of a protest movement aimed at stopping the California utilities agency from building a nuclear power plant at pristine Bodega Bay, north of San Francisco. For many reasons, the plant was never built. The recording session happened on December 1, 1963. My equipment was not yet the best, but the negatives have been in my files ever since (53 years and counting). Here are a few of those images.

Lu Watters Band recording "Blues Over Bodega"
The Lu Watters Band recording “Blues Over Bodega” in 1963. Personnel: Back row Bob Mielke, trombone; Lu Watters, trumpet; Bob Helm, clarinet; Barbara Dane, voice. Front row: Dave Black, drums; Bob Short, tuba; Frank Tateosian, banjo; Wally Rose, piano

 

Bob Mielke, Lu Watters, and Bob Helm
Bob Mielke, trombone; Lu Watters, trumpet; Bob Helm, clarinet at the 1963 recording session.

 

Lu Watters, Bob Helm, and Barbara Dan
Lu Watters, Bob Helm and Barbara Dane at the 1963 recording session.

 

Barbara Dane at the 1963 recording session
Barbara Dane at the 1963 recording session.
Lu Watters
Lu Watters on trumpet at the 1963 recording session.
Wally Rose
Wally Rose at the piano during the 1963 recording session.

 

Bob Helm
Bob Helm on clarinet at the 1963 recording session.

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

Written by bywilliamcarter

April 26, 2017 at 3:20 pm

The Old Glory That Was Kodachrome

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70 Brilliant Years

How great it was — while it lasted, until 2012 — something like 70 years.

It still lasts archivally: those chromes retain their slightly salmon, yet accurate, saturated colors while so many others have long since faded. The film of choice for top magazines, many folks’ travel slides, and countless other applications. This post features some of my Kodachrome slides of the western U.S. from the 1960s on. (We hope to present a few international Kodachromes later; then eventually a selection from that fine new medium — digital color.)

We are fortunate to be living through a major transition in the history of photography. Five centuries ago, Western art was revolutionized by the invention of oil painting. Artists old enough to have been trained in older techniques like tempera, but young enough to master oil — Venetians like Titian, for instance — combined both skills in highly creative ways.  (See my earlier post, “Tone in Art — and in Life.”) So I’m always pleased to hear of today’s art schools continuing to teach the older “wet darkroom” alongside the newer digital technologies.

See also “Bound for Glory: America in Color,”  Kodachromes by photographers of the Farm Security Administration/Office of War Information, property of the Library of Congress.

All Kodachromes © William Carter

Murphy's, California c. 1970
Murphy’s, California c. 1970

Columbia, California 1970
Columbia, California 1970

Illinois, c. 1973
Illinois, c. 1973

Preservation Hall, New Orleans, circa 1986
Preservation Hall, New Orleans, circa 198

Preservation Hall, New Orleans, c. 1985
Preservation Hall, New Orleans, c. 1985

Preservation Hall, New Orleans, c. 1986
Preservation Hall, New Orleans, c. 1986

San Francisco, c. 1970
San Francisco, c. 1970

Granite, Montana, c. 1970
Granite, Montana, c. 1970

Silver City, Idaho, c. 1970
Silver City, Idaho, c. 1970

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

Written by bywilliamcarter

April 3, 2017 at 6:00 pm

The Middle Americans (Part 8)

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Quiet Truths Near the Center of Our Lives

…prairie places..

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

Written by bywilliamcarter

February 20, 2017 at 12:00 pm

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