Posts Tagged ‘Thelonious Monk’
November 11, 2015 | by Sam Stephenson
I was working on a book and an exhibition about W. Eugene Smith’s Pittsburgh photographs in 1998 when I learned about his voluminous, inexplicable, irresistible collection of reel-to-reel tapes. I’d found them in his archive at the Center for Creative Photography (CCP) in Tucson, Arizona. There are 1,740 of them, made roughly between 1957 and 1965 inside the loft building at 821 Sixth Avenue in Manhattan. The simple task of counting and numbering the dusty tapes took me two weeks. It was several years—it would require a great deal of fund-raising to preserve the tapes properly—before I could listen to them.
In 1999, still not having heard the tapes, I wrote an article about Smith’s loft work for DoubleTake magazine. The article was based on his photographs and some thirty interviews I’d conducted with jazz musicians I had identified in his photos or from his chicken-scratched tape labels or who I’d learned about via word of mouth. A man named David Logan, then in his eighties, was on his treadmill in Chicago when he saw me talking about the story on CBS Sunday Morning. He impulsively called Vicki Goldberg, the venerable New York Times photography critic, who had no idea who I was. She suggested he call CCP. Read More »
April 25, 2014 | by The Paris Review
Sadie Stein already recommended Arlette Farge’s little book-length essay The Allure of the Archives. A year later, I have to second the recommendation. On the surface, this is a personal memoir by a feminist historian whose research—into eighteenth-century police files—fundamentally changed our picture of pre-revolutionary Paris. But really this is a handbook about how to write, how to think about, history. Gripping, graceful, and beautifully translated by Thomas Scott-Railton, it captures the fun and the dangers of library work like nothing I’ve ever read. —Lorin Stein
A new anthology from Brick introduced me to Don DeLillo’s “Counterpoint: Three Movies, a Book, and an Old Photograph,” an essay from 2004. That title belies both the piece’s range and its force of concentration. It looks at Glenn Gould, Thelonious Monk, and Thomas Bernhard, three isolated, brilliant men who craved and feared the seclusion that came with their work. DeLillo is interested not just in their difficult lives but in the cultural consensus we reached upon their deaths—who did we decide these men were, and why? As its images begin to collect, all of them rendered in that laser-cut DeLillo prose, the essay becomes a haunting account of the distance between an artist and his audience, his art, and himself. DeLillo has a rare gift for writing about the sensory experience of art, for tracing the vectors of meaning in sight and sound. “In a busy diner,” he writes of a scene from Thirty Two Short Films About Glenn Gould, “there are voices in layers and zones, some folded over others, in counterpoint.” And he condenses The Fast Runner into a solitary image, an image of, well, overwhelming solitariness: “The man is running, eyes wild, into the arctic sky.” —Dan Piepenbring
Lebbeus Woods, who died in 2012, was an artist’s architect. He imagined the buildings that cities would need when calamity came calling. His work exists almost exclusively as experiment—only one of his ideas was actually constructed—and 175 of his graphite dreams are currently on display at the Drawing Center in SoHo. Some look like gashes in the side of a building, or what would happen to a street if it suddenly woke up. Some are like seedpods split open and engorged, a home for one suspended by a slender stalk, and some are simply floating, free of the city entirely. Or maybe these are cities, untethered, finally free to found themselves. —Zack Newick Read More »
December 17, 2012 | by Brian Cullman
I saw Ravi Shankar at Carnegie Hall in 1966 or 1967. Because of the Beatles, of course. And I learned so much about music from that one concert. Not that the lesson stayed with me; it wasn’t like that. But it set me up for hearing music in a different way than I was used to (that is, as pop songs on the radio, as 45s on my record player, as the songs we sang at camp about the cat coming back or your heart going where the wild goose goes, or, worse, much worse, as the moth-eaten songs from musicals on Broadway).
The first half of the concert was endless and dull, nothing but a couple of notes played over and over, like a foreign cuckoo clock gone mad. And then, an hour in, it all changed. And time stopped. The notes began to form a pattern, and the pattern grew more and more beautiful, like a house materializing from thin air, rising out of nothing into the most glorious vista, a home and a garden and hope and love and time, spread out before me. Read More »
February 10, 2012 | by The Paris Review
“I couldn’t make her amusing,” says David Melrose after asking his girlfriend to eat off the floor like a dog, “but I did at least keep her quiet. I was dreading having another talk about the agonies of being rich. I know so little about them, and she knows so little about anything else.” From the first pages of Edward St. Aubyn’s Never Mind, it’s clear that his cycle of Patrick Melrose novels will be delightfully packed with gross privilege, dysfunction, and savage humor. The first four novels have just been released as a single paperback alongside the fifth and final book, At Last. I look forward to devouring them all. —Deirdre Foley-Mendelssohn
If you’re a Thomas Mann fan—or, anyway, someone who’s fascinated by his work (fan doesn’t seem the right word)—it’s worth seeking out Gilbert Adair’s The Real Tadzio, the story of the ten-year-old Polish nobleman who inspired Mann’s Death in Venice. The object of the thirty-six-year-old author’s fixation was unaware of the connection for years. The book deals with his reaction to the odd sort of celebrity he acquired and, of course, with the summer in Venice that inspired the novella. It’s a slim volume, but it packs a punch and is ultimately as much about the end of an era in Europe as it is about the creative process or Mann’s disquieting obsession (about which his wife was oddly blasé). —Sadie Stein
Ambivalence may be the moral failing of the twenty-first century. Or perhaps not. It depends. I’m as guilty of it as anyone (maybe more), and I don’t feel good about my role in what Kenneth Weisbrode describes as a collective pathology. But in reading his engaging minihistory, I do feel encouraged to just make a decision already. —Nicole Rudick
The Library of Congress has made available, via Flickr, all sixteen hundred jazz photos by William P. Gottlieb. From 1938 to 1948, Gottlieb documented the New York and D.C. jazz scenes with the obsession of an avid collector. Duke Ellington, Ella Fitzgerald, Billie Holiday, Thelonious Monk, Charlie Parker, Dizzy Gillespie, Django Reinhardt, and even Doris Day—all are represented. —Josh Anderson
Weighing in at ten pounds, A Living Man Declared Dead and Other Chapters I-XVIII, the nine-hundred-page volume of photographer Taryn Simon’s latest body of work, is not the easiest book to curl up with. Compiled over four years, Simon’s project records the bloodlines of eighteen different families across the world, charting the forgotten details of their family histories. It is an unforgettable exploration of survival, inheritance, and the forces of fate. —Elizabeth Nelson
“Anyone who takes pleasure in modesty will get on well here,” writes Robert Walser of a bar in his Berlin Stories. The same could be said of his work, as the excerpts now running at The New York Review blog prove. —D.F.M.
I really liked this piece on Jewish designers’ appropriation of WASP style—and how often is a title this perfectly suited to its subject? —S.S.
December 8, 2011 | by Sam Stephenson
It’s sixty-two degrees and raining in downtown Durham, North Carolina, on a Tuesday in mid-October. At noon members of the Branford Marsalis Quartet gather at the former St. Joseph’s African Methodist Episcopal church, built in 1891, now converted into the Hayti Heritage Center, an arts-and-community nonprofit. Their goal is to record a new album over the next few days.
When Marsalis moved his family to Durham from New York a decade ago, the local press assumed he was replacing the retiring director of Duke’s jazz department, saxophonist Paul Jeffrey. But Marsalis, who'd grown up in Louisiana, simply wanted to return to the South and picked Raleigh-Durham because the area had an airport large enough to get him anywhere he needed to go. Later, he began teaching part-time in the noted jazz program at the historically black North Carolina Central University, which is a mile down the road from Hayti.
The original St. Joseph’s sanctuary remains intact: a wood-plank stage, hardwood pews, a balcony, chandeliers, and lots of stained glass. Marsalis began recording albums here in 2006 when he noticed that the room had a unique quality: there is no reverb at low decibel levels; it grows gradually with the sound.
September 15, 2011 | by Dawn Chan
It’s late August in Brooklyn, and two men are trying to figure out how to hoist a piano up to a third-floor window and then release it so that it smashes onto the sidewalk below. “I think the major issue is just balancing out its weight,” says one. They push open a door to the roof to explore their options. A security alarm goes off; they’re undeterred.
The two men, director Chris McElroen and “professional problem solver” Dan Baker, are part of the team behind Chaos Manor, a multimedia performance inspired by the unconventional life of W. Eugene Smith. In the 1950s, Smith, celebrated for his front-line World War II photography, found himself increasingly at odds with his Life magazine editors. He quit his job and, several years later, embarking on what some might call a midlife crisis and others a visionary project, left his wife and children and moved into a dilapidated Manhattan building frequented not only by “derelicts, hustlers, and thieves” (in the words of his biographer) but also by some of the “biggest names in jazz.” From his fourth-floor apartment, Smith spent the next eight years relentlessly documenting the sights and sounds around him. His forty thousand photographs and 4,500 hours of audio reels captured hundreds of musicians, including legends such as Thelonious Monk, Sonny Rollins, Bill Evans, and Roy Haynes. Read More »