Max Roach -- NYC. [black-and-white photoprint,] 1950
Photographer:
Leonard, Herman 1923-2010
Subject:
Roach, Max
Physical description:
Silver gelatin on paper
1 item
Culture:
African Americans
Type:
Two-dimensional graphics
Date:
1950
1950-2000
Topic:
African American musicians
Drums
Drummers (Musicians)
Jazz
Musicians
Local number:
AC0445-0000009.tif (AC Scan No.)
Summary:
Roach is shown playing the drums in a recording studio. Title, signature, date in lower margin
Publications:
Used April 27, 2010, on the Smithsonian Photographic Initiative web site, "click! photography changes everything" (http://click.si.edu) to accompany contributor Jeremy Wolfe's (a professor at Harvard School of Medicine who investigates visual attention) story, which reflects on how photography changes what and how much we remember
Cite as:
Herman Leonard Photographs, Archives Center, National Museum of American History. Gift of the artist
Dizzy Gillespie, ca. 1984-1990, by Pat and Chuck Bress. Pat and Chuck Bress Jazz Portrait Photographs, ca. 1984-1990, Archives Center, National Museum of American History. Gift of the artists
Benny Carter / Alto Saxophone / Marian McPartland / Piano [black and white photoprint]
Photographer:
Seidel, Wayne
Publisher:
Concord Records
Subject:
McPartland, Marian
Carter, Benny 1907-2003
Physical description:
Silver gelatin on paper
1 item, 10" x 8"
Culture:
African Americans
Type:
Photographs
Publicity photographs
Date:
1960
1950-2000
Topic:
Women in music
African American musicians
Women musicians
Piano
Jazz
Women in jazz
Local number:
AC0766-0000029.tif (AC Scan No.)
Restrictions:
Unrestricted research access on site by appointment
Notes:
Archives Center's Women in Jazz
In Box 2, Folder 11
Summary:
Marian McPartland sitting at piano with Benny Carter standing behind. Photo credit at right edge: "Photo by Wayne Seidel, Vanguard Photography." Concord Records imprint at lower right
Cite as:
Photograph by Wayne Seidel. W. Royal Stokes Collection of Musicians' Publicity Photoprints, Archives Center, National Museum of American History
Ella Fitzgerald entered a Harlem talent contest in the mid-1930s, intending to do a dance. On stage, however, her legs froze, and in desperation she launched into song. Her fallback alternative proved good enough to win the contest, and so began a singing career that would make Fitzgerald the "First Lady of Song." Blessed with a voice capable of seamlessly spanning three octaves, Fitzgerald soon perfected her remarkable gifts for vocal improvisation, known as "scat" singing. Her "songbook" recordings of American standards, made from 1956 to 1964, are the definitive tributes to Cole Porter, Duke Ellington, and others. Fitzgerald's respectful understanding of a composer's intentions made these songwriters some of her most ardent fans. "I never knew how good our songs were," lyricist Ira Gershwin once said, "until I heard Ella Fitzgerald sing them."
A pioneering figure in twentieth-century American music, Aaron Copland first rooted his work in jazz during the 1920s to showcase its divergence from European traditions. By the thirties, he used the flourishing mass media of radio and movies to create a large music-loving audience with film scores for Of Mice and Men and The Heiress, for which he won an Academy Award in 1949. Copland also composed scores for such ballets as Agnes de Mille's Billy the Kid and Martha Graham's Appalachian Spring, winning a Pulitzer Prize in 1944 for the latter. His symphonic compositions include A Lincoln Portrait and Fanfare for the Common Man.
