Miles Davis

Miles Davis - It Ain’t Necessarily So

Album: Porgy and Bess

(via givemypoorheartease:)

I often hear (and have said myself in the past) that good graphics don't make a good game. Recently, I have used games such as Proteus and Minecraft as my examples. “ Look”, I say, “they look like throwbacks to the 8bit era and yet they are amazing games”

He photographed legends and his pictures have become iconic in American cultural history, but the vast majority of music photographer Jim Marshall’s work has never been seen. Since his death in 2010, Marshall’s estate has been combing through millions of unpublished negatives. This month, a new book and two gallery shows will debut many never-before-published images from Marshall’s coverage of the Rolling Stones 1972 tour, as well as singular portraits of musicians including Johnny Cash, BB King and Joni Mitchell.

The spectacle and energy of live performances are at the center of many of Marshall’s photographs–but arguably, it is his quieter shots that make his work special. Marshall got the pictures that others couldn’t–sunlight falling on Mick Jagger’s face as he peers out an airplane window, a young Bob Dylan crossing a littered New York sidewalk and Miles Davis leaning back on the ropes of a boxing ring. Taken backstage, in hotel rooms, tour buses and homes, these intimate portraits and moments are the result of Marshall’s insistence on having total access to the subjects he photographed.

“It’s really astounding when you look at the breadth of his work,” said Steven Kasher, of the Steven Kasher Gallery which will show Marshall’s work in July. “Jim was able to penetrate the inner sanctum and be welcomed both on stage and offstage.”

Marshall was also insistent about which of his frames made it to publication. He was a meticulous editor known for being incredibly protective of his work– a quality that helped him to gain the trust of his subjects by never allowing incriminating or embarrassing photographs to be published.

“He had an innate sense and a natural ability to pick a photo that was spot on and that represented the musicians,” said Amelia Davis, Marshall’s longtime assistant. “He knew his work so well and was also friends with the musicians so he really, I think he felt that he knew what would represent and convey them the best.”

Davis is now the manager of Marshall’s estate and has spent the past two years going though his massive archive. The decision to release new work, Davis said, came from her desire to share the pictures, which Marshall referred to as his “children,” that he had not released in his lifetime. “He was the hardest editor on himself,” said Davis. “Going through his work, you find out how incredible it was. I want to celebrate that and share that art of Jim with the world.”

Accompanying the release of the book will be gallery shows on both coasts. An exhibit of the Rolling Stones pictures will be on display at Seattle’s EMP Museum beginning July 14 and on July 5, the Steven Kasher Gallery in New York will open “The Rolling Stones 1972, Photographs by Jim Marshall.”

The New York gallery show will feature a section dedicated entirely to the Rolling Stones work, made up primarily of images that have never been seen before. A second room will display a survey of the prolific photographer’s coverage of more than 30 folk, rock and jazz artists. The Kasher gallery will also display a grid of 150 original record covers that feature Marshall’s photography.

Looking forward, Marshall’s estate would like to continue to find and release new collections of work from the archives. “They’re pieces of history,” said Amelia Davis. “It’s important to share that with future generations.”

“Jim Marshall: The Rolling Stones and Beyond” will be on display at Steven Kasher Gallery in New York City through September 8, 2012.

The Rolling Stones 1972 will be released this month by Chronicle Books.

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Do you care about anti-aliasing? Do you dream of snuggling up to its sort of crisp edges and mild performance hit? Or are jaggies an acceptable compromise in the name of RAW INCREDIBLE SPEEDY SPEED? It’s one of those things I find it increasingly hard to go without (though not as much as anisotropic filtering, missus) yet it’s always the first thing to go if a game’s not running so well on my ageing PC. Also, so many games don’t include a decent/any option for it in their settings, requiring me to have a fiddle in driver settings with variable results. Both NVIDIA and AMD are trying to change that, with newer anti-aliasing tech and the option to force it on globally in driver settings.
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Miles Davis - Au Bar Du Petit Bac (Elevator to the Gallows/Ascenseur pour l’Échafaud: Original Soundtrack Recording)

Miles Davis - Chez Le Photographe Du Motel 

(Elevator to the Gallows/Ascenseur pour l’Échafaud: Original Soundtrack Recording)

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Michael Weintrob

INSTRUMENTHEAD

play this essay

INSTRUMENTHEAD is a photographic series created to tell the story of the musicians in a surrealistic style without showing their faces. This is a project five years in the making with over 150 musicians to date. Some of the artists that have participated in this project to date are: Bootsy Collins (James Brown, P-Funk), Mickey Hart (Grateful Dead), King Sunny Ade, Tina Weymouth (Talking Heads, Tom Tom Club), Zakir Hussain (Shakti, Masters of Percussion), Lenny White (Miles Davis, Return to Forever), Bill Summers (Herbie Hancock and The Head Hunters), Derek Trucks (Allman Brothers Band), Peter Asher and many more.
“Over the last 15 years I have met a lot of working musicians and I want to turn people on to the artists I have come to know and respect,” says Weintrob about the project. “I am humbled that all of these talented musicians have come forward to par- ticipate in the project; the response has been incredible.”
Weintrob has taken this project on the road, having shot por- traits at legendary venues such as Red Rocks Amphitheater, Preservation Hall and Tipitinas in New Orleans and Mama Rosas Blues Club in Chicago.
The project will culminate as a coffee table book and travelling exhibition that will be a who’s who of modern musicians.
For more information and updates about this project visit the website: www.instrumenthead.com

Bio

Michael Weintrob’s clients benefit from his ability to consistently produce intimate photographs under a variety of conditions. Whether it is a candid portrait, a live performance, or a cultural event, Michael aims to capture both spontaneity and clarity in his subjects.
“I like to bring out the personality of the people in my photographs,” Michael explains. “For example when I shoot musicians in the studio I try to create a relaxed vibe and let people be who they are. I move really quickly and try to improvise with my camera.”
The skill and ease of Michael’s technique has resulted in a growing reputation both in and outside the music industry. Born in Birmingham, Alabama and currently residing in Williamsburg, Brooklyn, Michael’s images have appeared in publications such as Rolling Stone, Newsweek People, Spin, Mojo, Billboard, Relix, Jazz Times and Downbeat.  Michael has photographed album images for renowned artists he has photographed include Bootsy Collins, Burning Spear, Taj Mahal, Gov’t Mule, Charlie Hunter and many others.

Michael’s work—which is well-known in musical circles—is now expanding into new avenues. Along with working for corporate clients (Sony, Blue Note, EMI, Carefusion, Loews Hotels), Michael has donated his time and effort to raising money for the New Orleans Musicians Assistance Foundation and his photography was auctioned off by Sothebys to help provide musical instruments to children affected by Hurricane Katrina.

Michael continues to work as the principal photographer for several music festivals (he is Staff Photographer for the 2011 Barcelona International Jazz Festival) and as a house photographer (Feinsteins at the Loews Regency Hotel). He is also developing a major publishing project that will highlight his unique “anthropomorphic photography” featuring musicians posing with their instruments.

Exhibiting the ease and skill of improvisational jazz player, Michael’s photography continues to explore the depths of the human soul in all its complexity.

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Michael Weintrob

Instrumenthead

Jules Allen went to Gleason's Gym to train. He stayed to make pictures of a smoke-filled world where boxing champs duked it out daily amid dreamers and hustlers, the up and coming and the down and out.