Photographer Paul Hoeffler, who studied with the likes of Ansel Adams, Alfred Eisenstadt, and Nancy Newhall, discovered an interest in photographing jazz musicians through his regular attendance at Rochester, New York jazz clubs the Pythodd, the Ridgecrest Inn, the Auditorium Theater, the Eastman Theater, and the University of Rochester auditoriums. He cites Louis Armstrong as an early inspiration, and he subsequently photographed Duke Ellington, Count Basie, Billie Holiday, Chet Baker, Dave Brubeck and a variety of others during their tours through
In an excellent October, 2014 post for The Wire, Derek Walmsley writes about how jazz musicians “from the mid-1950s onwards imagined liberation through distant places and spaces.”
“Before free jazz broke through in the 1960s,” he writes, “you could read a desire for liberation unfolding in the titles jazz musicians gave their compositions from the mid-1950s onwards. In previous years, players might have dedicated a piece to a woman or a passed colleague. Now, they were naming them after newly independent nations of Africa, to underline their Afrocentric solidarity; after locations in the Far East, to flaunt a growing interest in […] Continue reading »
In honor of the late jazz photographer Lee Tanner, Jerry Jazz Musician presents a number of editions of “Master of Jazz Photography,” featuring a work by one of the photographers featured in Tanner’s book The Jazz Image.
This edition: Val Wilmer […] Continue reading »