With a camera as his backstage pass, Herman Leonard has photographed the giants of jazz in their golden age, movie stars on set and on their travels to exotic places, the fashion world of Paris in the 1960s, and the inner sanctums of his beloved New Orle

Classic portraits of jazz greats spanning the late 1940's to the early 60's, as they performed in the clubs of New York and Paris.

More than 200 haunting photographs capture the very heart and soul of jazz music.

Typically, a photograph of a jazz musician has several formal prerequisites: black-and-white film, an urban setting in the mid-twentieth century, and a black man standing, playing, or sitting next to his instrument. That's the jazz archetype that photography created. Author K. Heather Pinson discovers how such a steadfast script developed visually and what this convention meant for the music. Album covers, magazines, books, documentaries, art photographs, posters, and various other visual extensions of popular culture formed the commonly held image of the jazz player. Through assimilation, there emerged a generalized composite of how mainstream jazz looked and sounded. Pinson evaluates representations of jazz musicians from 1945 to 1959, concentrating on the seminal role played by Herman Leonard (b. 1923). Leonard's photographic depictions of African American jazz musicians in New York not only created a visual template of a black musician of the 1950s, but also became the standard configuration of the music's neoclassical sound today. To discover how the image of the musician affected mainstream jazz, Pinson examines readings from critics, musicians, and educators, as well as interviews, musical scores, recordings, transcriptions, liner notes, and oral narratives.

Miles Davis, supremely cool behind his shades. Billie Holiday, eyes closed and head tilted back in full cry. John Coltrane, one hand behind his neck and a finger held pensively to his lips. These iconic images have captivated jazz fans nearly as much as the music has. Jazz photographs are visual landmarks in American history, acting as both a reflection and a vital part of African American culture in a time of immense upheaval, conflict, and celebration. Charting the development of jazz photography from the swing era of the 1930s to the rise of black nationalism in the ’60s, Blue Notes in Black and White is the first of its kind: a fascinating account of the partnership between two of the twentieth century’s most innovative art forms. Benjamin Cawthra introduces us to the great jazz photographers—including Gjon Mili, William Gottlieb, Herman Leonard, Francis Wolff, Roy DeCarava, and William Claxton—and their struggles, hustles, styles, and creative visions. We also meet their legendary subjects, such as Duke Ellington, sweating through a late-night jam session for the troops during World War II, and Dizzy Gillespie, stylish in beret, glasses, and goatee. Cawthra shows us the connections between the photographers, art directors, editors, and record producers who crafted a look for jazz that would sell magazines and albums. And on the other side of the lens, he explores how the musicians shaped their public images to further their own financial and political goals. This mixture of art, commerce, and racial politics resulted in a rich visual legacy that is vividly on display in Blue Notes in Black and White. Beyond illuminating the aesthetic power of these images, Cawthra ultimately shows how jazz and its imagery served a crucial function in the struggle for civil rights, making African Americans proudly, powerfully visible.

Glorious Days and Nights is a personal account of the fifty-year career of jazz photographer Herb Snitzer, with a special focus on his years in New York City from 1957 to 1964. A photojournalist for Life, Look, and Fortune, Snitzer was the photo editor and later associate editor of the influential jazz magazine Metronome. During the 1960s, politics, race, and social strife and unrest swirled in Snitzer's life as a working artist. But throughout the bus boycotts, demonstrations, civil and racial unrest, what remained constant for him was jazz. Snitzer recalls what it was like to go on the road with these musicians. His reflections run the gamut from serious meditations on his development as a young photographer working with musicians already of great stature to more conversational recollections of casual moments spent having fun with the jazz artists many of whom became close friends. This book includes Snitzer's very best jazz photographs. He reveals the essences of the artists, their struggles, joys, and pains. A number of Snitzer's jazz images have become iconic, including Louis Armstrong with the Star of David, Lester Young at The Five Spot Café in New York City, John Coltrane reflected in a mirror, Thelonious Monk with piano keys reflected in his sunglasses, and Miles Davis at Newport. With eighty-five black-and-white images of jazz giants, Glorious Days and Nights provides a long-awaited testimony to the friendships and artistry that Snitzer developed over his remarkable career.

Jazz arrived in New York in the 1920s & caused a riot. Artist Robert Nippoldt has put together a collection of drawings of the leading figures of the time, includes luminaries such as Jelly Roll Morton, Fats Waller, Bessie Smith, Louis Armstrong etc. Jazz expert H-J Schaal provides a short history of the period, and a text on each of the musicians featured.