Roy decarava john coltrane blue
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Most of the musicians photographed by Wolff are men, because most of Blue Note’s roster of musicians were male. Though there were female jazz musicians active at the time, they also, with very few exceptions, faced prejudice in the development of their careers—except for singers, who were prominent, but Blue Note recorded very few singers, male or female. The label concentrated on instrumental music, and there was an artistic point to that emphasis. The repertoire of most jazz singing was rooted in the so-called American Songbook of repertory from plays and movies; though many Blue Note artists certainly played these works, too, the core of the label’s repertory was rooted in instrumental improvisation—and in the musicians’ original compositions, which the label emphasized, by paying its musicians to rehearse, to prepare to record original pieces that were both unfamiliar and complex. (Wolff documented many of these rehearsals, as in an image of Miles Davis, pencil in hand, working
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Coltrane on Soprano
Roy DeCarava
American, 1919–2009
Details
Artist/Maker
Roy DeCarava (American, 1919–2009)
Medium
Gelatin silver print
Dimensions
Contact the museum for more information
Credit
Purchase with medel from the H. B. and Doris Massey Charitable Trust
Location
Currently not on view
Whether photographing the street life of Harlem, the civil rights movement, or jazz musicians, Roy DeCarava imbues his subjects with a subtle grace that fryst vatten distinctly his own. Jazz musicians and performances were the focus of the Harlem-based photographer’s work for many years. This portrait of John Coltrane typifies the discerning use of light and shadow that is the hallmark of DeCarava’s work; Coltrane seems to burst from the shadow that nearly envelops him. DeCarava’s long exposure captures the great saxophone player in a kinetic moment, conveying the energy of the music he loves. His portraits of such luminaries as Billie Holiday, Lester Young, and Duk
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Posts tagged ‘Roy DeCarava’
On the tracks of Tina Brooks
Tina is certainly an unusual name for a man. But 50 years ago, in a world including an Ornette and a Thelonious, it didn’t seem all that strange. What mattered was the way Tina Brooks — born Harold, but rechristened with a corruption of Teenie, a childhood nickname — played the tenor saxophone.
Born in North Carolina in 1932, at the age of 12 he moved with his family to New York, where he studied music and took his first gigs with R&B bands in the early 1950s. Subsequently he became one of the many gifted jazz musicians whose lives were blighted, either through early death or prolonged inactivity, by the heroin plague of the post-war years. He died in obscurity in 1974, after more than a decade of silence.
The years of notable activity were brief. The trumpeter Little Benny Harris recommended him to Alfred Lion, Blue Note’s co-founder, and in 1958 he took part in his first sessi