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Jazz Festival: Jim Marshall Hardcover – 9 Sep 2016
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"The late Jim Marshall's black-and-white photographs captured the defining musicians of the sixties and seventies." --Vanity Fair
"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.'" --The Guardian
"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." --BBC Arts
"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." --British Journal of Photography
"The Newport and Monterey jazz festivals celebrated both the music and changing face of America in the '60s." --MOJO
"This impressively assembled large format volume houses Jim Marshall's unparalleled photographic record of the Monterey Jazz Festivals." --Shindig
"Marshall's shimmering photographs of those lazy summer days when the giants of jazz mingled with the crowd won't be seen as just a celebration of their music. It'll be the epitaph for an era." --CNN
"You can almost feel the sun's warming rays and an ocean breeze emanating from Jim Marshall's evocative photographs in the book." --The Week
"This extraordinary book celebrates Jim Marshall's unique talent and lifelong desire to "capture the perfect moment"." --L'Oeil de la Photographie
"Reel Art Press prides itself in its exceptional taste, curatorial eye, and eclectic selection of material. Without a doubt, Jim Marshall: Jazz Festival is a title in which they may take great pride." --NY Journal of Books
"A master of music photography, Marshall assiduously shot jazz festivals offstage and on in Newport and Monterey, California throughout the early 1960s with his trademark mix of backstage access and fly-on-the-wall candor. This largely unseen trove reveals a bygone culture of cool, its players and denizens, with striking immediacy." --American Photomag
About the Author
Graham Marsh is an art director, illustrator and writer who has released many groundbreaking visual books, including The Cover Art of Blue Note Records. His most recent projects include the pocket-sized The Ivy Look, the illustrated children's book, Max and the Lost Note and the coffee-table tome, Hollywood and The Ivy Look.
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Top Customer Reviews
Everything a jazzer could want...but make sure you have a strong coffee table – it’s heavy.
Go buy it!
Most Helpful Customer Reviews on Amazon.com (beta)
As you may have read in some of the fine reviews here on Amazon, this book contains a truckload of photos most of which have never been seen in previous releases containing Mr. Marshall’s unparalleled lens work. And while this particular volume deliberately lets the pictures tell the story rather than relying on text, readers can’t walk away from this one without recognizing just how lucky we are that Mr. Marshall took the time to visually document these artists and the time they lived in.
Much like “The Haight”, the previous book released by Amelia Davis, the ultra capable Executor of the Marshall Estate, this wonderful and awfully heavy volume contains a seemingly endless set of stills of the greatest musicians of the day along with page after page of shots that reveal a vitally important set of takeaways from these festivals - the vibe in the crowd, the cool easiness that permeated them, and, most of all, the very natural integration among the artists and attendees that was an afterthought here while segregation and racial strife were ripping through other parts of the country.
The photos themselves are beautifully rendered and I must add that the paper used for this book is first class all the way - thick, rich, and wonderful in the way that it allows these splendid shots to jump right off the pages.
The photos of Miles Davis are velvety smooth. The almost annual shots of Dizzy Gillespie show an artist who is not only at the top of his game, but one who is clearly loved by all. The Dizzy For President campaign that appears in a few photos throughout the book must surely have seemed far-fetched back then, but in 2016 who doesn’t wish that, if he were still with us, he’d toss his beret in the ring?
In these pages you are able to see very clearly how the times were a changing...look at the hair progressively getting longer, the fashion blossoming before your eyes, the political winds blowing (dig the Peace Mailbox hoping to end atomic war by 1968: “we want United Nations, not Ignited Nations”). Grab this book, put on some Miles Davis in the background, and just sit back and envision all of the political, social and economic winds swirling around you.
For me, the single most story-laden photos are the ones of the Jefferson Airplane that appear quietly beginning on page 312 . At first, they were just a few careful page turns after deep examination and inspection. They don’t particularly scream out as being different. There’s no apparent significance to them, unless, of course, you step back and think about the sheer oddity of it. Why, after all, is the Jefferson Airplane playing at the 1966 Monterey Jazz Festival? Well the facts don’t really unfold so easily until one starts to connect some dots….and by the time you are finished connecting the dots it becomes oh so apparent that this was the moment when Jim Marshall began the transition from being a great and honored jazz photographer, to one whose work vaulted into a stratosphere only reserved for a club of one. - the World’s Greatest Music Photographer.
Monterey Jazz 1966 took place September 16-18 ,1966, less than three weeks after Mr. Marshall crossed the field and shot The Beatles last concert at Candlestick. Cropped out of his famous photo that night of Lennon backstage was none other that Ralph Gleason - his friend and a revered music writer with the SF Chronicle - and soon to be co-editor with a guy named Jann Wenner on something to be called Rolling Stone Magazine. Gleason loves an up and coming local San Francisco band called the Jefferson Airplane and gets them booked to the ‘66 Jazz Festival. So there is the Airplane taking the stage on September 17th, 1966, no doubt confusing and irritating some jazz connoisseurs in the audience..
For me, these few pages of photos are therefore historic, as are those of Paul Butterfield and Mike Bloomfield. They’re signposts that say “the music world is about to change”...and, of course, it’s Jim Marshall capturing the moment.
A week later, a guitarist named Hendrix picks up and goes off to London to get Experienced while back in the States the wheels are set in motion to offer up Monterey Jazz with a Pop twist. Lou Adler. John Phillips. Brian Wilson. Gleason encourages the SF bands to join. McCartney gets pulled in and suggests The Who and Hendrix. And the music world transforms.
Monterey Pop. June 16-18, 1967. Exactly 9 months after Monterey Jazz 66.
Hendrix is back with a vengeance - and some lighter fluid.
And who is taking the photos that 50 years later still mesmerize and make us step back and allow us to imagine what it was like to be there?
Jim Marshall (of course!) - taking photos of James Marshall Hendrix playing in front of his (Jim) Marshall amps.
The Who. Otis. Janis. From this very moment forward Marshall is THE visual story teller of the music that continues to influence and rock our world today.
Oh and just to close the circle a bit, .September 18th, 1970...exactly four short years after the close of Monterey Jazz ‘66, Hendrix died in London. .
Jazz Festival isn’t just a great book that continues to give us a lens into the eye of music’s greatest visual artist, it’s also a transition piece that continues to tell the story of how Jim Marshall became OUR Jim Marshall.
5 stars. Indeed.
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