Jazz Festival: Jim Marshall is a lavish new book celebrating the legendary rock photographer's early work at the Newport and Monterey Jazz Festivals of the 1960s. Some 600 black-and-white images, most previously unseen, capture not only the musical icons of the time, but the freedom, excitement and intimacy of the events, whose integrated crowds led the way for the civil rights movement. ALLAN CAMPBELL introduces a selection of Marshall's best shots.
Jimi Hendrix setting fire to his guitar at Monterey. Johnny Cash flipping the bird at San Quentin. An out-of-it Janis Joplin backstage at the Winterland. Just a handful of the classic shots which made the late Jim Marshall the pre-eminent photographer of the rock era. No question.
Read more at www.bbc.co.uk.
Written by Jacob Brookman
Jim Marshall’s photos of 60s jazz festivals capture the many greats of the ‘first uniquely American art form’.
A new release celebrates the work of Grammy-award winning ‘father of music photography’, Jim Marshall as he documented American jazz festivals during the 1960s. Featuring icons such as Miles Davis, Dizzy Gillespie and Nina Simone, the collection includes a variety of previously unseen images in a dynamic exploration of these revolutionary and unique musical happenings.
Jim Marshall managed to get the kind of access most photographers can only dream about. He was present at The Beatles’ final paid live show at Candlestick Park, for Jimi Hendrix’s flaming guitar antics in Monterey and – perhaps most difficult of all – on site for the live recording of Johnny Cash at San Quentin Prison.
A professional of finely-tuned opportunism and singular ambition, Rolling Stone’s obituary in 2010 quoted him as saying ‘I have no kids […] My photographs are my children.’
A new book compiled by Graham Marsh focuses on Marshall’s work at Newport (Rhode Island), and Monterey (California) jazz festivals between 1960-66, with an astounding array of musical luminaries featuring alongside stars of stage and screen. The collection is the first in a series of volumes from Marshall’s archive, and demonstrates the photographer’s rare talent for handling composition, exposure and depth of field.
Read more at www.bjp-online.com
by Sean O'Hagan
“Jim was a guy you either loved or hated, there was no in-between,” says Amelia Davis, Jim Marshall’s erstwhile assistant and now archivist. “If he loved you, he would lie down in front of a truck for you. If he hated you, he would happily drive the truck over you.”
Marshall, who died in 2010, is known as the father of modern music photography – Jimi Hendrix setting light to his guitar, a young Bob Dylan rolling a car tyre down a New York street, Johnny Cash “flipping the bird” on stage in San Quentin prison. While managers and minders may have bridled at his combative approach – he demanded total access before accepting an assignment – performers seemed to have sensed, in his upfront attitude and commitment to his craft, a kindred spirit. “They loved him. He was one of the guys,” says Davis. “But more importantly, they trusted him because he was so good.”
Marshall’s first love, though, was jazz, and a new book testifies to his more quietly intimate approach to photographing musical titans such as John Coltrane, Duke Ellington, Miles Davis and Nina Simone. Simply titled Jazz Festival, it is not just a collection of great, mostly unseen fly-on-the-wall portraits, but a document of what the veteran jazz writer Nat Hentoff, describes as “one of the most important periods in the cultural history of the United States”. From 1960 to 1966, Marshall photographed the performers and the audiences at the Monterey and Newport jazz and folk festivals, the precursors of the huge hippy gatherings of the late 60s – Woodstock, Isle of Wight, Glastonbury. His images attest to the surprisingly intimate and formal nature of these early events: everyone is dressed smartly in the preppie-meets-boho style of the time and the audience sits attentive in rows of seats as if attending a classical recital.
Read more at www.theguardian.com/artanddesign
by Rose Garrett
A new public photography installation has gone up in the windows of the long-vacant San Francisco Unified School District building at Fell & Franklin.
Installed by neighboring SFJAZZ and curated by SFJAZZ photographer laureate Jim Goldberg, the new installation displays works by celebrated photographer Jim Marshall, who made his name documenting musicians of the '60s and '70s.
Installed by neighboring SFJAZZ and curated by SFJAZZ photographer laureate Jim Goldberg, the new installation displays works by celebrated photographer Jim Marshall, who made his name documenting musicians of the '60s and '70s.
"The installation will include 24 photographs, featuring Tony Williams, Joe Henderson, Dave Brubeck, Miles Davis, Mary Lou Williams, Sonny Rollins, John Coltrane, Charles Lloyd, and current SFJAZZ resident artistic director Mary Stallings," said SFJAZZ's Marshall Lamm. SFJAZZ previously utilized the building to display a Herman Leonard photo show back in January 2013, when the jazz center first opened.
The installation's debut coincides with the publication of a new Jim Marshall photobook, featuring jazz festival photographs from the 1960s. It's not the only Marshall tribute in the neighborhood, either—last month, street artist Shepard Fairey installed a new mural above PROXY, which is based on a Marshall photo of Cesar Chavez. (Sadly, it's since been vandalized.)
Though the installation is already up, it'll have a grand unveiling this Thursday, Sept. 8th at 6pm, to coincide with the kickoff of SFJAZZ's fifth anniversary season. It will remain up through May 2017.