Jeff grew up as a jazz and blues fan and immersed himself in the world of music in Chicago, hanging out in clubs and recording studios and documenting what was going on within.
Covering Duke’s “My People” show started as an assignment and ended up as a lbor of love. I shot rehearsals at the Arie Crown Theater, performances once it opened and the recording sessions at Universal Studios between performances. Quite a bit of work, but every minute of it was a pleasure, including driving drummer Louis Bellson to his hotel after the last session.
I think of this photograph of Duke viewing the performance from the side of the stage as one of my more “artistic” images. If you are a follower of jazz, you may have guessed this is Duke, a man usually pictured at the piano.
The orchestra was not an official Ellington unit, but contained many players who were in the band over the years, I had the run of the studio, and even brought my girlfriend to one session, where she was the recipient of Duke’s full-on praise, ending with “We love you madly!” She was very impressed!
Being a close-up witness to Duke’s.artistry was an amazing experience. .To this day, I consider the opportunity to be in the studio with him an honor.
My policy when shooting recording sessions is that the music always takes precedence over the pictures, so I often don’t remember the interesting little things that happen.
But one anecdote I remember was the conga drummer saying to Duke “I don’t have any music! What should I play Maestro?” And Duke responding “Send MESSAGES man, send MESSAGES!”
Joya, seen began her career with Duke when she was 17. Taking a few years out to complete college, she returned to the orchestra, where she was one of Duke’s favorite vocalists.
We had a unique relationship during the run of the show. Because she saw me in the front row for many of the performances, she started to work directly to me, which was a kick. Joya was both beautiful and talented.
One of the most popular Chess artists, here’s Howlin’ Wolf at one of his first forays from a West Side blues club to a North Side venue. Although sometimes portrayed as a mean guy, he seems very happy here. I found him to be the same in recording sessions, where he was all business, although sometimes critical: Of his “psychedelic” album he said “My new album is shit!”
I was introduced to the music of Muddy Waters at the greatest nightclub that ever existed – The Bear. This remarkable club could have Muddy on the main stage one week, The Johnnie Pate Duo on another floor, and the next week Laurindo Almieda on solo Spanish guitar. And then, amazingly, Bessie Griffin and the Gospel Pearls the next week! What a Club, and what music!
Here are two of the gentlemen who produced many of Muddy’s hits: Muddy and producer Gene Barge. A little blurred in the background is engineer Stu Black. Stu and Malcolm Chisolm were responsible for the famous “Chess Sound.” A know this picture is over 50 years old, but it’s still funny to see the four and eight track recorders in the booth. They were state-of-the-art at the time!
Otis was a very nice man. A fine pianist and vocalist ,he worked for a number of years with Muddy, and the branched out on his own. He can also be seen in the photographs fo Fleetwood Mac in Chicago, elsewhere on this site.
One of the early be-bop players, he later was the musical director for the much different Modern Jazz Quartet. The owner of a very distinctive vibes style, he was copied by many other players.
It was always a pleasure to see and hear (and photograph!) the Count, a very subtle pianist who also led one of the most powerful bands ever, from a very quiet position, with only a nod or twist of the hand to direct all that power.
Although I was most appreciative of his alto saxophone artistry, I also appreciated his humor: He wrote a book entitled “How Many of You Are There in the Quartet?” and would occasionally sign autographs as “Chet Baker!”
I shot this at WTTW, at a rehearsal for a show featuring Roy Eldridge and Coleman Hawkins. And it was at this show where I participated (a little) in the writing of a tune: Sitting around in the dressing room with some of the performers, Roy was trying to remember the tune he had just pimprovised in rehearsal…and looked at me and asked “Do you have that on tape?” Which of course I did, because I recorded every note of Roy, whenever I could.
So I played it back for him, and he then played the progression for bassist Truck Parham, and he came up with the often-recorded tune titled “5400 North”, which is the address of WTTW!
Barry Harris was a wonderful pianist and later teacher, who gave famous Master Classes in New York. He was particular about musicians playing correct chord progressions, and if he heard you play incorrect ones, he would speak to you later (privately!) and show you the correct ones, but in a kindly manner. A number of musicians have written about this.
One of the giants, who put the saxophone on the jazz map. This is one of only two photographs I took at The London House the famous Chicago club. Why only two? Because I was trying to emulate the off-camera flash style of Herman Leonard, one of the early photographers of jazz. But after two frames in the dark club I realized how disturbing the flash was, and decided, “No more!” I’m sure Hawk appreciated that choice.
