Jazz Giants: 
The Photography of Herman Leonard

Beginning April 5th, jazz and photography lovers will be in for a real treat when they visit the Fillmore's Jazz Heritage Center. In honor of Jazz Appreciation Month, the JHC is presenting Jazz Giants: The Photography of Herman Leonard—a collection of some of the greatest jazz photographs ever taken by one of America’s greatest living photographers. The show is Herman Leonard’s first in San Francisco since he briefly lived in the city twenty years ago. The exhibit includes more than forty classic black and white photographs of jazz legends, including Duke Ellington, Louis Armstrong, Miles Davis, Billie Holliday and Thelonious Monk. The images will be on exhibit April 5th - May 16th, in the JHC’s Lush Life Gallery and in the JHC’s Koret Heritage Lobby outside the entrance to Yoshi’s Jazz Club and Restaurant at 1320 Fillmore.

“Jazz Giants” is a photographic journey through the golden years of the Jazz, Blues and Bebop eras that document the larger-than-life legends that comprise the visual album of America's music. Focusing on the life and times of famed artists such as Billie Holiday, Duke Ellington and Thelonious Monk among countless others, this exhibition features a selection from Leonard's extensive photographic history. Using a unique lighting approach, Leonard's signature "backlighting" style and use of elements like smoke and strobe lighting gives his portraits a dramatic quality that is highly humanistic, capturing the illuminating personalities behind the music.

Born in Allentown, PA, Leonard discovered the camera at the young age of 11 and hasn’t stopped shooting since. While stationed in Burma in the Army Medical Corps during World War II he developed film late at night in his combat helmet. Leonard studied under famed Canadian portrait photographer Yousuf Karsh and had the invaluable opportunity to assist in shoots with Albert Einstein, Harry S. Truman and Clark Gable. It was from Karsh that Leonard received his most valuable advice as a photographer, to “tell the truth, but always in terms of beauty”. In the 1950s he became the personal photographer to Marlon Brando. Leonard’s fashion and advertising jobs have run in magazines like Life, Time and Playboy.

In 1956, Leonard moved to Paris and worked in advertising and fashion and for magazines including Life, Time and Playboy. After living in Europe for over 20 years, Leonard returned to the United States and settled in San Francisco and began printing his jazz negatives. In 1991, he moved to New Orleans after visiting the city for an exhibition of his work. Sadly, the devastation of Hurricane Katrina not only took his home, studio, and darkroom but over 6,000 of Leonard’s original photographs along with many of his exposure records were lost in the hurricane.

Leonard, now 87 and living in Los Angeles, continues to shoot, develop and exhibit his comprehensive archive. Most recently, the Smithsonian Institution honored Leonard by housing his entire collection in the permanent archives of musical history where they are considered as essential to American music history as Benny Goodman’s clarinet or Louis Armstrong’s horn. In October of 2008, Leonard was honored with a Lucie Award for his Lifetime Achievement in Portraiture. In June 2009 Leonard was awarded an Honorary Doctorate of Fine Arts degree by Ohio University, where he also delivered the 2009 Commencement Address.

The Herman Leonard Jazz Archive was established in 2007 and in 2008 was awarded a Grammy Foundation Grant for Archiving and Preservation. Herman’s goal through the archive is to bring his entire jazz collection, comprising a visual documentation of America’s original art form, back to life and preserve it for future generations.

There are some real gems in this exhibit, including some personal favorites; Billie Holliday cooking with her faithful dog "Mister" by her side; Duke Ellington, Benny Goodman and William Rodgers sitting front row for an Ella Fitzgerald concert; drummers Buddy Rich and Art Blakey flailing away ever so gracefully; vintage shots of Frank Sinatra and Tony Bennett; a backstage shot of the elegant Max Roach; a young Thelonious Monk scribbling on sheet music, and of course, Miles Davis, signing some of his artwork from the modern "Amandla" and "Tutu" era.

Leonard, like the great Life magazine photographer Gordon Parks, had a knack for being in the right place, at the right time. From Monte Carlo and Manhattan, to festivals in Paris and Newport, Leonard has captured and preserved one of the most important eras in jazz history. His work, like those musicians he so lovingly photographed, will thankfully never be forgotten.

Jazz Giants: 
The Photography of Herman Leonard

April 5th, 2010 - May 16, 2010
Fillmore Jazz Heritage Center
1300 Fillmore

Comments

Post a Comment

Popular posts from this blog

Building the Phil Collins Gretsch Kit - Part One

Image
Back in 2017, I managed to acquire a dozen of the revolutionary new wireless Versatriggers from Poland; Battery powered drum triggers you can mount inside a drum shell. Replace the acoustic drum head with a mesh head and you have yourself a v-drum. I first tried out the Versatrigger on an old Viking snare I'd converted previously with an internal Pintech trigger, and a Remo Silent Stroke mesh head. After connecting the Versatrigger wireless USB hub to my MacBook Air, I was able to tweak the sensitivity and trigger the drum surprisingly well. I also learned I needed to be able to access the trigger for adjustments and battery replacement, so double headed toms weren't practical. The kick and snare are easy enough to cut out a round hole in the bottom head, but the toms would have to be easy to access as well. A modest kit with concert toms would work perfectly. I didn't want to build just another small v-drum kit of virtually identical trigger pads either, so when
Read more

Building Bill Bruford's Symmetrical Tama Kit

Image
In two of my previous blogs, I wrote about successfully restoring a Tama "Bill Bruford Signature Series Palette" snare drum , and then building a duplicate version wrapped in chrome . Although they looked and sounded great, I thought about completing this project by adding a kit to go with it. Now I suppose I could always could buy a Tama Starclassic kit, and use the snares I built, but where is the fun in that? Bruford's Signature snare drum had all black Tama lugs, just like his Tama kit with King Crimson. That particular kit was a Canary Yellow Tama with deep power toms. Bruford would reappear with a another version of that yellow kit at the 1999 Modern Drummer Festival alongside his all acoustic Earthworks band. That kit also had black lugs, and featured an 18" kick drum, 16", 13", 12" and 10" toms. That kit appeared to be a rarity, perhaps even custom-made for Bruford. I've never seen another Tama kit that matched it. If I could gather
Read more

Building the Bill Bruford Signature Snare - Part One

Image
Bill Bruford's "rimshot" is one of the most unique and exquisite snare drum sounds ever heard. From his earlier days on his 14"x 5.5" Ludwig Supraphonic Super-Sensitive snare with Yes, to his brass 14" x 6.5" Tama Big Beat snare with King Crimson, Bruford's crisp rolls and sticking technique were a thing of beauty and a joy to behold.  In his later years, Bruford moved away from the metal snare drums of rock, to the jazzier sound of the all-maple 14"x 6.5" Tama Starclassic snare drum with his all-acoustic group Earthworks.  It was during that era that Tama offered the "Bill Bruford Signature Palette Series" snare drum, a customized, 6 ply Starclassic; 2 ply Maple, 2 ply Birch and 2 ply Maple. It was also outfitted with all black hardware; lugs, hoops, strainer and a custom "Black Metallic Sand Blasted" finish, with Bill Bruford's personally autographed and numbered decal. Listing for around $650, the snare quic
Read more