The legacy of Roy DeCarava, particularly his collection The sound I saw: Improvisation on a jazz theme (London: Phaidon, 2001), illuminates how his photographic method, both in individual photographs and in the way they are sequenced, absorbed jazz technique and mimicked jazz performance.
DeCarava’s aesthetic can be seen as both a distinctively black aesthetic and a profoundly inclusive one. His unflinching but caring eye is cast over the debris of the ghetto as well as the ecstasy of the jazz solo, and it observes the cramped but welcoming dark of the metonymic Harlem hallway.
This according to “‘And you slip into the breaks and look around’: Jazz and everyday life in the photographs of Roy DeCarava” by Richard Ings, an essay included in The hearing eye: Jazz & blues influences in African American visual art (New York: Oxford University Press, 2009, pp. 303–31).
Pekar, author of the autobiographical comic series American splendor,
was also a jazz fan, an obsessive record collector, a prolific jazz critic, and
a tireless supporter of experimental music; he often worked these enthusiasms
into his comic strips.
These comic-book treatments of jazz can be viewed as
extensions and developments of his prose criticism in publications such as The jazz review
and DownBeat. In
these comic strips, Pekar was experimenting with the form of jazz criticism
itself, and was developing its language and impact.
This according to “Comics as criticism: Harvey Pekar, jazz
writer” by Nicolas
Pillai, an essay included in The Routledge companion to jazz studies
(New New York: Routledge, 2019, pp. 433–41).
Today would have been Harvey Pekar’s 80th birthday! Above, Robert Crumb’s depiction of Pekar and himself for an American splendor cover; below, a promo clip for Harvey Pekar’s world of jazz.
The African American artist Norman Lewis’s artistic background was similar to those of the abstract expressionists; but with abstract expressionism defined chiefly by white male artists and critics, Lewis’s contributions to the movement were ignored.
Abstract expressionism valued originality apart from European influence, yet Lewis borrowed ideas from Picasso, Mondrian, Klee, and Kandinsky to recontextualize into his work. Lewis also changed styles frequently. From Musicians (1945), through Jazz musicians (1948, above), to Jazz band (1948, below), a development can be traced—from depicting overt human forms merging with musical instruments, through human forms gradually more abstracted, to emphasis on visual interpretation of musical lines, sound, embellishments, and rhythms (called “pure eye music” by the critic Henry McBride).
While Lewis’s blending and recombining of many artistic influences may have run against the abstract expressionism aesthetic, his recontextualizing of styles parallels the innovative borrowing from standard tunes and chord substitution that were characteristics of bebop.
This according to “‘Pure eye music’: Norman Lewis, abstract expressionism, and bebop” by Sara K. Wood, an essay included in The hearing eye: Jazz & blues influences in African American visual art (New York: Oxford University Press, 2009, pp. 95–119).
Today would have been Lewis’s 110th birthday! Below, a brief documentary chronicles his artistic development, including references to his jazz-influenced works.
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The first meeting and interchange between Māori and Europeans was a musical one. As the Dutch explorer Abel Tasman and his party sailed toward the coast of Aotearoa (now New Zealand) on a December evening in 1642, they saw canoes … Continue reading →