By William Carter

Photographer, Author, Jazz Musician

Posts Tagged ‘photography

Jazz Emerges Part 7

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Sing Miller: This Little Light of Mine

Visible Roots of America’s Most Original Cultural Product

Photographs by William Carter 1970 — 1989

Born in 1914, pianist-vocalist Sing Miller was active on the New Orleans scene from the late 1920s until his death in 1990. If Sing didn’t like something, he’d let you know. “Man…that ball don’t bounce,” is a Sing-saying drummer Jeff Hamilton remembers.

Early one winter morning in Iowa in 1984, when I was traveling as a photojournalist with the Percy Humphrey band, Sing sat alone in the lobby for most of an hour, staring glumly out at the blustery weather. Finally he lumbered over and checked out. “Have a nice day,” said the lady at the desk. Sing: “How I’m gonna have a nice day when you took all my money?”

But he was also a bon vivant. When a reporter asked him, “Where did the blues begin?” Sing replied, “I’ll tell you where the blues begin. Blues begin with fish fries.”

Like many early New Orleans musicians, he had an alternate profession: as a paving contractor. On gigs he gave out business cards that read, “Let me pave the way for you.”

But Sing is best remembered for captivating audiences of five, or five thousand, with his vocals on blues and spirituals. After a performance one night at New York’s prestigious Lincoln Center, the famous folklorist Alan Lomax told me:

“The first note he sang, I began to cry.  That first note of Sing’s made me burst into tears.  This little, humble, crushed-looking man was in great big Avery Fisher Hall, and he knew it.  And the first note he formed was as beautiful as a garden of flowers. It was a sunburst of the soul.”

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CLICK HERE TO HEAR SING DOING “SING’S BLUES” WITH WILLIE HUMPHREY AND OTHERS AT PRESERVATION HALL.

CLICK HERE TO HEAR SING DOING “AMEN” ON TOUR WITH THE PRESERVATION HALL JAZZ BAND.

Sing-color+hat

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

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September 29, 2017 at 12:00 pm

Jazz Emerges Part 6

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Visible Roots of America’s Most Original Cultural Product

The Basses of Our Music

Photographs by William Carter, 1971-1985

Above: listen to bassist Pops Foster with the Luis Russell Orchestra from 1929, “Jersey Lightning.” Also on this record are New Orleans men Henry “Red” Allen, Albert Nicholas and Paul Barbarin. Virtually all of the New Orleans bass players depicted in this post played in an energetic, percussive style very similar to Foster’s.

FUNDAMENTAL: Historians and scholars have long believed the world's first jazz band to have been that of Buddy Bolden, whose powerful cornet was heard from the bandstands of city parks and dance halls across New Orleans in the early years of the twentieth century. The only member of the Bolden band known to have survived into the 1960s was bassist Papa John Joseph, shown above in an upstairs room at Associated Artists gallery, which morphed into Preservation Hall. Joseph played concert sets downstairs until 1965, when, at 87, he collapsed and died seconds after performing When the Saints Go Marching In. Photograph by Bobby Coke, early 1960s

FUNDAMENTAL: Historians and scholars have long believed the world’s first jazz band to have been that of Buddy Bolden, whose powerful cornet was heard from the bandstands of city parks and dance halls across New Orleans in the early years of the twentieth century. The only member of the Bolden band known to have survived into the 1960s was bassist Papa John Joseph, shown above in an upstairs room at Associated Artists gallery, which morphed into Preservation Hall. Joseph played concert sets downstairs until 1965, when, at 87, he collapsed and died seconds after performing When the Saints Go Marching In. Photograph by Bobby Coke, early 1960s

IN PERPETUAL DEMAND around New Orleans, and on numerous road trips across the U.S. and Europe, muscular bassist Chester Zardis (1900-1990) employed a powerful style that belied his physical shortness of stature and earned him the nickname "Little Bear." In the post-World War II years, younger proteges flocked to hear and meet early New Orleans masters like Zardis. Thus was a once-obscure, pre-electronic bass plucking technique revived and carried forward across generations and over continents. Photograph by William Carter, 1984

IN PERPETUAL DEMAND around New Orleans, and on numerous road trips across the U.S. and Europe, muscular bassist Chester Zardis (1900-1990) employed a powerful style that belied his physical shortness of stature and earned him the nickname “Little Bear.” In the post-World War II years, younger proteges flocked to hear and meet early New Orleans masters like Zardis. Thus was a once-obscure, pre-electronic bass plucking technique revived and carried forward across generations and over continents.
Photograph by William Carter, 1984

NEW ORLEANS BASS STYLIST Wellman Braud (1891-1966) reached the top of his profession as a mainstay with Duke Ellington, plus many other engagements. Like a number of the classic jazzmen, Braud descended from a Creole musical family -- several of whom, such as his cousin, bassist McNeil Breaux, used an alternate spelling of the French-derived last name. Like many another jazz pioneer, Wellman eventually settled in California, accepting gigs such as with blues singer Barbara Dane. Photograph by William Carter, c. 1960

NEW ORLEANS BASS STYLIST Wellman Braud (1891-1966) reached the top of his profession as a
mainstay with Duke Ellington, plus many other engagements. Like a number of the classic jazzmen, Braud descended from a Creole musical family — several of whom, such as his cousin, bassist McNeil
Breaux, used an alternate spelling of the French-derived last name. Like many another jazz pioneer,
Wellman eventually settled in California, accepting gigs such as with blues singer Barbara Dane. Photograph by William Carter, c. 1960

FAMOUS BASSIST Pops Foster (lower right), 1892-1969, was already playing professionally in New Orleans by 1907. Amid a busy career of touring and gigging with top jazz names, he lived mainly in New York and (eventually) San Francisco. He is shown here (bottom right) in a photo from his own collection with an all-star band that included New Orleans natives Alvin Alcorn (piano, bottom left) Alvin Alcorn (trumpet, center) and Cie Frazier (drums, top right). Photograph: San Francisco Traditional Jazz Foundation Collection, Archive of Recorded Sound, Stanford University (date unknown)

FAMOUS BASSIST Pops Foster (lower right), 1892-1969, was already playing professionally in New Orleans by 1907. Amid a busy career of touring and gigging with top jazz names, he lived mainly in New York and (eventually) San Francisco. He is shown here (bottom right) in a photo from his own collection with an all-star band that included New Orleans natives  Alvin Alcorn (trumpet, center) and Cie Frazier (drums, top right). Photograph: San Francisco Traditional Jazz Foundation Collection, Archive of Recorded Sound, Stanford University (date unknown)

Listen to bassist Pops Foster on “Ostrich Walk” with Mutt Carey’s band

TALENTED SON of bandleader Henry Allen, trumpeter Henry "Red" Allen (1906-1967) played extensively in New Orleans, on the Mississippi riverboats and in Chicago before settling in New York, where he was featured as soloist and sideman with top jazz orchestras of the 1920s, 1930s, and 1940s including those of Luis Russell, Fats Waller, Fletcher Henderson and Eddie Condon -- besides leading several of his own bands. Photograph by William Carter, 1964

TALENTED SON of bandleader Henry Allen, trumpeter Henry Red Allen (1906-1967) played extensively in New Orleans, on the Mississippi riverboats and in Chicago before settling in New York, where he was featured as soloist and sideman with top jazz orchestras of the 1920s, 1930s, and 1940s including those of Luis Russell, Fats Waller, Fletcher Henderson and Eddie Condon — besides leading several of his own bands. Photograph by William Carter, 1964

UNDISPUTED EMPEROR OF TRADITIONAL JAZZ, Louis Armstrong (1901-1971) enjoyed a career too spectacular to summarize. While occupying center stage in America's mainstream musical culture for virtually half a century, in his music and in his words "Satchmo" never ceased to recall, with great affection, his formative New Orleans years as a streetwise orphan and fledgling brass band cornetist. Photographs by William Carter, 1962

UNDISPUTED EMPEROR OF TRADITIONAL JAZZ, Louis Armstrong (1901-1971) enjoyed a career too spectacular to summarize. While occupying center stage in America’s mainstream musical culture for virtually half a century, in his music and in his words Satchmo never ceased to recall, with great affection, his formative New Orleans years as a streetwise orphan and fledgling brass band cornetist. Photographs by William Carter, 1962

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

Jazz Emerges Part 5

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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.

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September 1, 2017 at 12:00 pm

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.

Signs of the Times

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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.

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June 10, 2017 at 12:00 pm

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

Hands Are Us (Part 1)

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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

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