Archive for October, 2010

Daniel Kramer at CDS Recap

Daniel Kramer at CDS, Duke University, October 2010. (C) Arline Cunningham

Daniel Kramer at CDS, Duke University, October 2010. (C) Arline Cunningham

Two weeks ago photographer Daniel Kramer and his wife Arline Cunningham visited us at the Center for Documentary Studies.  The purpose of their visit was for Dan to listen to Gene Smith’s loft tapes and hear himself chatting with Smith about Bob Dylan and photography and other topics in August 1965.  At the time of these loft recordings Dan had completed a year – 366 days – photographing Dylan.  Smith and his longtime girlfriend and professional associate Carole Thomas were attempting to launch a new journalism magazine, Sensorium, and Smith wanted to use a spread of Dan’s photographs of Dylan in the inaugural issue.

Dan had first met Gene Smith in Columbia’s Studio A in NYC on June 16, 1965 when Dylan was recording “Like a Rolling Stone.”  Dan told us:  “I noticed Gene Smith in the room and I went up to him and I said, ‘I’m a photographer and I love your work, Mr. Smith.  Thank you for doing it.’  Gene said, ‘What are you doing?’  I said, ‘I’m photographing Bob Dylan.’  Gene said, ‘Me, too.’  Then he said, ‘Gimme your name.’  I didn’t have a pen and Gene said, ‘How can you walk around without a pen?’  So from that day on I’ve always walked around with a pen.”

Smith eventually enlisted Kramer to put together a spread on Dylan for the first issue of Sensorium alongside work by Smith’s friends Henri Cartier-Bresson, Red Valens, and David Vestal, among others.  In my work and travels on JLP over the past decade, I’ve learned that the kind of impulse Smith had to include an unknown young photographer in a new venture like this – a venture Smith was staking his life and resources on at the time – is an impulse only artists have.  Maybe I should rephrase that:  Others may have the impulse, but only artists act on it.  It felt right to Smith – he liked what he’d seen of Kramer’s work – and that’s the only thing that mattered to him.

Sensorium eventually failed.  The inaugural issue never launched.  Smith’s reputation, already suffering, was in more tatters.  But he didn’t turn away from Kramer.  They had a mutual friend in photographer Philipe Halsmann who told Kramer in private: “Gene has a lot of problems.  But he still has his power.  You can trust him.”

“Gene went to bat for me after Sensorium failed.” Dan told us.  “He thought I could do it.  He thought I could finish my work on Dylan and he thought it was important enough for a major magazine spread and eventually a book.  I owe him a lot.”

Clay Felker, an old associate and correspondent of Smith’s, published Dan’s first Dylan spread in the New York Herald Tribune’s Sunday magazine.  A couple of years later Dan published his book documenting Dylan for 366 days.  It was a period when Dylan went from traveling with armfuls of suitcases to traveling with 18 wheel trucks.  (Here is a link to a recent edition of Dan’s original work from that period).

Daniel Kramer at CDS, Duke University, October 2010 (C) Arline Cunningham

Daniel Kramer at CDS, Duke University, October 2010 (C) Arline Cunningham

Dan and Arline also spent a couple of days listening to Smith’s tapes with JLP Research Associate Dan Partridge.  They told many intriguing stories.  Dan and Arline spent a lot of time with Gene and Carole.  After Gene and Carole split up in the late 1960s, Gene showed up despondent, on Dan and Arline’s doorstep.  Gene walked in with a bottle of scotch and sat at their table and told his life story and drank all night.  Dan says it never really occurred to him to turn on a tape recorder – the moment seemed too intimate.  I wish he had.

In Dan Partridge’s office one of those days two weeks ago Dan Kramer was talking about things he wanted to do, current goals, and he muttered:  “One of my problems is I don’t get out of the day everything that I should.”

The following day we were all huddled around a speaker listening to Smith’s tapes from August 1965 – me, Dan, Dan, and Arline – and suddenly on the reel we could hear Kramer, forty-five years ago, mutter to Smith, “One of my problems is I’m not…how can I explain this?  I don’t get everything out of the day that I should.”

Arline broke up laughing, and so did the rest of us.

Daniel Kramer, Sam Stephenson, Dan Partridge at CDS.  October 2010. (C) Arline Cunningham

Daniel Kramer, Sam Stephenson, Dan Partridge at CDS. October 2010. (C) Arline Cunningham

One day soon we’ll have a video clip of Daniel Kramer’s talk at CDS, edited by him for this blog.

-Sam Stephenson

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Once Upon a Time in New York

W. Eugene Smith, Sixth Avenue, New York City.  Photograph by David Vestal.  March 1965.

W. Eugene Smith, Sixth Avenue, New York City. Photograph by David Vestal. March 1965.

Late in the JLP book we included David Vestal’s above photograph of Gene Smith.  Below the photograph we included this quote from my 2007 interview with Vestal:

“I had been visiting Ralph Steiner, just a social visit, and I was walking home.  It was beginning to rain.  And there was Gene standing in front of a lighted store, where they sold yarn or something, and he was looking the way he looks in the picture.  He had just been robbed.  His cameras were stolen and, what was worse, cameras with film in them.  Because, well, in the loft he had got involved with junkies, and the junkies were stealing the cameras.  I didn’t know at that time that Gene was a junkie himself, because he didn’t tell that to anything except other junkies.”

In December 1966 Popular Photography published a long article by Vestal under the title, “…a Great Unknown Photographer – W. Eugene Smith.”  Of course Smith was famous.  But at the time he was widely considered to be down and out.  He was down and out.  Vestal’s piece was an attempt to defend Smith against his growing reputation as a loose canon who couldn’t finish anything, who was impossible to work with.  Vestal is a born teacher;  give him an opening and he’s going to relentlessly show you how things should be done.  He had a bone to pick with this piece on Smith and he picked it beautifully.  It’s one of my favorite pieces in the Smith literature.

Vestal also connects with CDS and Duke in another way.  He had decades-long correspondence with the great photographer Paul Kwilecki whose life’s work is collected in the Duke Special Collections Library.  Paul told me he wouldn’t have done what he did, which is photograph his surroundings in Bainbridge, Georgia for several decades, or he wouldn’t have done it as well – if it hadn’t been for Vestal’s encouragement and sometimes tough tutelage.  (CDS Director Tom Rankin is currently working on a retrospective of the late Kwilecki’s career that promises to be remarkable).

Vestal’s influence as an instructor and commentator is substantial. But he is an important photographer in his own right.  This week he has a new show, Once Upon a Time in New York, opening at the Robert Mann Gallery in NYC.  There is a reception tomorrow night, October 28, 6-8pm.  We recommend everybody in proximity to NYC check it out.

-Sam Stephenson

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Subdivisions

The Bad Plus in Pinhook, downtown Durham, October 25

The Bad Plus in Pinhook, downtown Durham, October 25

Last night at Pinhook in downtown Durham The Bad Plus offered a public listening session to an audience of forty-five rapt patrons who were kicking back in the dark, orange-lit lounge sipping Pabst Blue Ribbon and High Life missiles as well as bourbons/rocks.  Bassist Reid Anderson, pianist Ethan Iverson, and drummer Dave King played tracks in around-the-horn fashion three times, nine tracks total.  The results were lively and provocative.  The co-led collective was founded on music they loved, they said, no matter what it was.  I find their take on things to be insightful, deeply rigorous, and refreshing.  Here’s what they played:

1) Reid led off by playing a clip from “Eyes of the Heart” by Keith Jarrett’s quartet from the 1970s featuring Dewey Redman on saxophones, Charlie Haden on bass, and Paul Motian on drums.  There was discussion of Motian’s “subversive” drum work.

2) Ethan then played “Bemsha Swing” by Thelonious Monk’s trio from 1954 featuring Max Roach on drums and Gary Mapp on bass.  Ethan point out that both Monk and Roach were from nearby and again there was mention of “subversive” percussion.

3) Dave played “Street Woman” by Ornette Coleman’s 1971 Science Fiction Sessions.  The trio agreed that this was one of the “four or five most important records” around which The Bad Plus were formed and sustained.

So far, we’re on pretty solid grand for a jazz foundation, although each of these first three selections is fairly iconoclastic within the iconography of the leaders represented.

4) Reid’s next selection was “An die Musik,” a piece of lieder by Schubert sung by Elisabeth Schwarzkopf.  I didn’t catch the piano player on this track but it could well have been this performance with Gerald Moore.

5) Something from Lyle Mays was selected by Ethan.  I didn’t catch which album the track came from but it sounded like it was from the 1970s, with lots of synthesized sounds.  One of the trio said it seemed like Mays and Metheny were staging a “big hair contest” between themselves back in this period.  The track provoked a lively discussion with the audience, with a few voices saying the track was lame, but others defended it, saying that if you listened to the entire album the melodies grew on you and stayed with you, which is not something that happens all the time with music.

Next, the tracks, already on the edge of the Jazz Museum comfort zone, went further out.

6) Dave played “Subdivisions” from Rush’s 1982 album, “Signals.”  Dave said that for him and Reid, growing up together in Minneapolis as teenagers, Rush was integral to “the nerdy inner world that led us to where we are today.  It was alien music.”  He said, “Their music was a catalyst to getting us thinking beyond the grid and confines of pop music.”  The odd and shifting time signatures were also influential.

7) Reid then played a tune from Richard David James, a.k.a. Aphex Twin, a pioneer of solo produced electronica.

8) Ethan played an abstract soprano sax “etude” from Sam Newsom.  This youtube clip isn’t the same tune or track that Ethan played, but it was in the same realm of sound.

9) Dave finished up with a track from Pixies, something off their album, “Doolittle.”  Dave told a story about wandering upon the TV show, Night Music, in 1989 and finding Pixies playing “Monkey Gone to Heaven” and “Tame.”  He said, “It was breathtaking for me to hear rock music played on more progressive terms like this.  It was iconoclastic but not as obvious as punk rock of the 1980s.”  Following threads as they do, The Bad Plus opened for the Pixies on a tour more than a decade later.  Pixies bassist Kim Deal told them, “I didn’t know jazz guys dug us.”  Dave said, “It was the first time we played in front of 15,000 people looking at us with blank stairs.”

All in all, just another night in downtown Durham, courtesy of Duke Performances wizard Aaron Greenwald.  The Bad Plus’s listening session took place about a block and a half from Pettigrew Street, where seventy years ago you could have heard Reverend Gary Davis, Blind Boy Fuller, Peg Leg Sam, Sonny Terry playing Piedmont blues for tips on the sidewalks outside the football field sized tobacco warehouses and cigarette factories.  The old industrial empire that grew from the surrounding fields of North Carolina and Virginia, and built Duke University, is long gone.  But the long-struggling downtown is become more and more vital today.

The Bad Plus are in the middle of a year-long residency with Duke Performances.  In March the trio will offer a world premier of their arrangement Stravinsky’s Rite of Spring in Durham.

By the way, check out TBP’s new record, Never Stop. There’s a tune on it called “Bill Hickman at Home” and each time I listen to the tune – about a dozen times now – I expect them to bust into Monk’s “Misterioso” and they never do.

-Sam Stephenson

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JLP Event in Winterville, N.C. Thursday October 28

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On Thursday October 28 at 7:30pm I’m giving an audio-visual JLP presentation and book signing at the Coffee Shack in Winterville, N.C. which is next door to Greenville, N.C.  Before that, and probably afterward, Steve Creech & Friends will play.  Steve is a multi-instrumentalist whose band plays regularly in the popular traditional music series at the R.A. Fountain General Store in downtown Fountain, N.C.

I grew up in “little” Washington, N.C.,  about 25 miles east of the Coffee Shack, and my parents still live there.  My two brothers live with their families in Greenville.  So this table-top flat, swampy region is home.  Also of note, 9 miles northwest of the Coffee Shack is Bell Arthur, N.C. and Monk Road, where for most of a century lived Thelonious Monk’s late cousin Gaston Monk and his wife Virginia.  Gaston was a teacher and principal in the local public school system and a local NAACP leader.  He was also a family historian and he shepherded an annual Monk family reunion that drew hundreds each Labor Day weekend.  After Thelonious Monk died in 1982 his wife Nellie began attending Gaston’s reunions.  I have another connection to Gaston and his family that I described here.

I’m grateful to Steve Creech for setting up this event.

-Sam Stephenson

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16MM Film Footage of Downtown NYC in early 1960s

This link comes courtesy of JLP friend Jeff Caltabiano.  It’s intriguing for us to consider this footage in light of 821 Sixth Avenue during this period.  We’d love to find footage like this of the Flower District neighborhood.  It’s also interesting to ponder this footage in light of the show, Mad Men, which renders this same time period in NYC, not far from Draper’s post-divorce Village apartment.

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Archivists Roundtable of New York Awards Tonight

Tonight at Columbia University the Jazz Loft Project will be awarded the Innovative Use of Archives Award from the Archivists Roundtable of Metropolitan New York, Inc.  We’re very proud of this award, coming from some of the top archival professionals in the world, as I described in this post when we first heard the news.  More information is on the Roundtable’s site.  JLP Research Associate and chief archivist Dan Partridge and I will be there.

It will be meaningful to be presented the award by Brigid Hughes, founder and editor of the great literary journal published in Brooklyn, A Public Space.  Brigid published my piece, Gene Smith’s Sink, a few years ago and she’s long supported JLP.  This past summer she was presenting what promised to be a unique event in which we were going to perform selected parts of the JLP book as if it were a play.  I was performing the narrated parts and actors were to perform transcripts from Smith’s tapes and our oral history interviews.  The event, called Chaos Manor, was to be outdoors in Fort Greene Park in Brooklyn and it was canceled due to 104 degree heat, with the city issuing warnings of power outages.  We hope to reschedule this event in the spring.

It is also meaningful to see Chris Lacinak of AV Preserve on the program bill tonight.  Chris was the original engineer on the Smith tape project and has also been a longtime JLP friend.

-Sam Stephenson

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Which Direction Home, Pt. 3

Saturday night I went to see Dylan’s band play in Winston-Salem.  Two nights earlier I caught them in Charlotte.  Attending these shows felt like the right thing to do after Daniel Kramer and his wife Arline Cunningham visited us this week (more soon about that).  My thinking was that the two shows might provide content and impetus to finish my long-wandering piece about Dylan and the Piedmont region of America that I mentioned in a previous blog entry, Which Direction Home.  So it was worth the splurge.

In Winston-Salem Dylan played in Lawrence Joel Coliseum at Wake Forest University just off of N.C Highway 52 several miles north of downtown.  Along with Durham, Winston-Salem was an axis power of the tobacco and cigarette heyday (I’m chagrined that people can’t choose to smoke in bars anymore, even though I’m not a smoker).  Nineteen miles from the coliseum up Hwy 52 looms Pilot Mountain, which was known as Mount Pilot on the Andy Griffith Show. Drive sixteen more miles up Hwy 52 from Pilot Mountain and you reach Mount Airy, N.C., which is the real Mayberry.  The amount of music that came from this relatively low populated region blows your mind:  Doc Watson, Etta Baker, Ralph Stanley, just to name three.  Dylan knows this, of course.  He probably took his Harley to Deep Gap (Watson still lives there) or Morganton (Baker, recently deceased, lived there) in between his Charlotte and Winston-Salem shows.

What Dylan might not know (but he probably does) is that if you drive twenty-two miles from Lawrence Joel Coliseum in the opposite direction you can reach 118 Underhill Avenue in the city of High Point.  This is where John Coltrane lived most of his life until he graduated from high school and moved to Philadelphia in 1943.

After the Winston-Salem show I stayed in a suburban Hampton Inn near the coliseum.  It could have been anywhere – Home Depot, Office Depot, Starbucks, Subway, Chick-Fil-A, Wendy’s, Hooters, Cracker Barrel, Bank of America, Wachovia, Exxon, BP – and no way to really walk around.  Visually, it could be Phoenix or Orlando or Sacramento.  People working in these block and glass boxes are happy to have jobs.  Their accents hearken to the Old, Weird America but everything else has been rubbed smooth by sameness.  I caught the end of Phillies-Giants and then worked on my Dylan-Piedmont article until two in the morning.

Yesterday I woke up, made two large cups of hot black tea, grabbed a couple of granola bars, and I drove to 118 Underhill Avenue.  The house sits one block from the railroad tracks, much like Monk’s childhood home in Rocky Mount, NC (which I wrote about here and made a photograph with Gene Smith’s camera which can be found here).  According to the seminal Coltrane scholar David Tegnell, this house was built by Coltrane’s maternal grandfather, Reverend William Wilson Blair, circa 1929.  The City of High Point recently purchased it with intentions of making it a landmark or Coltrane museum, but the current situation is unclear, according to Tegnell.  The City has let the rental tenants stay put for now. Here’s the photograph I made with my iPhone.

John Coltrane's childhood home.  High Point, N.C.

John Coltrane's childhood home. High Point, N.C.

I left Underhill and drove over to High Point’s Green Hill Cemetary and, with instructions from Tegnell, found the graves of Coltrane’s father, John Robert Coltrane, and Reverend Blair.  I can’t tell the whole complex story here, but let me say that Rev. Blair was a pioneering figure who was elected as a Commissioner of Chowan County (county seat, Edenton) before the integrated Fusion movement was squashed by white supremacists in the late 1890s. Both of John Coltrane’s grandfather’s were AME Zion ministers but Rev. Blair was the most influential and he had a profound impact on young John.  He also cast a massive shadow over John’s father.  The two grave stones are pictured below in photos I made yesterday.  I had to root around with my boots to find the elder Coltrane’s stone and then kneel on my hands and knees to dig out dirt to make his name, misspelled Coldtrane, legible.

Gravestone of Coltrane's father, John R. Coltrane (1895-1939)

Gravestone of Coltrane's father, John R. Coltrane (1895-1939)

Gravestone of Coltrane's maternal grandfather, Rev. W.W. Blair (1860-1938)

Gravestone of Coltrane's maternal grandfather, Rev. W.W. Blair (1860-1938)

These two stones are in a family plot marked by a big marble stone indicating “Blair Family” (photograph below).  David Tegnell was told by John Coltrane’s cousin Mary Alexander (Coltrane’s tune “Cousin Mary” is named for her) that this stone was paid for and installed by John and his mother Alice Coltrane in 1966, a year (or less) before John died (he died in July 1967).  John’s mother Alice died in 1977 (yes, Coltrane’s mother was Alice, just like his wife Alice McLeod Coltrane).

Gravestone marking Blair Family plot in Green Hill Cemetery, High Point, N.C.

Gravestone marking Blair Family plot in Green Hill Cemetery, High Point, N.C.

For me this Coltrane pilgrimage was long overdue, and moving.  I tried to imagine what twelve year-old John Coltrane might have been doing on Underhill on a day in 1938 like yesterday (sunny, 72 degrees).  What would High Point have been like?  Well, undoubtedly, young John would have spent most of the day in church, it being Sunday.  He would have heard the familiar passion, improvisation, and dissonance of the African-American church service – services that ended when they ended, not on predetermined schedules.  But young John’s life was about to change.  In December 1938 his beloved grandfather Rev. Blair died.  In 1939 his father John Robert Coltrane died and there were additional deaths in the family.  Jim Crow was in full swing, too.  In other words, it was a good time to think about moving.  Coltrane’s mother and family would begin leaving for Philadelphia in the near future and John would stay behind long enough to get his high school degree, then he would join them.

There are two frontiers in jazz research, in my view, or in American traditional music in general.  One concerns learning more about the ordinary musicians and figures who populated the music scenes in the middle part of the 20th century.  This frontier is not about iconography.  It includes family members and bartenders and festival judges and hotel owners and other non-musicians as well as musicians who never made it big.  The second frontier concerns deep research on family histories and cultural backgrounds of the musicians, icons (like Tegnell’s work on Coltrane) and ordinary alike.

Bob Dylan has being doing this kind of research for a long time.  He’s nothing if not a historian.  Last week Daniel Kramer told us that in his one year following Dylan – August 1964 to August 1965 – Dylan read everything he could get his hands on whenever he wasn’t playing music and Kramer had photos to illustrate it.  Dylan, who came from upper Minnesota after his parents came from Eastern Europe, is a caretaker of southern musical traditions.  But his shows aren’t just of archival value (although with his foot-lamp stage-front lighting sometimes makes the performance visually resemble old newsreel footage, or Sargent’s famous flamenco painting, El Jaleo).  Dylan’s current band is pushing his music to a limit which much of his ticket-buying audience doesn’t seem to enjoy all that much.  There’s no attempt to be crowd-pleasing.   Those that do enjoy it believe his band might be state of the art in blues rock today.

A deep engagement with history is critical to creating something new and lasting.  Monk and Coltrane were historians, too.  One of Coltrane’s first compositions, “Goldsboro Express,” was named after the railroad line from High Point to Goldsboro, N.C. on which his uncle worked.  Monk cherished old things.  When he decided to play tunes other than his own, it was always old standards, nothing before 1932, and he played them in ways nobody had heard before.  In his 2004 memoir, Chronicles Vol. 1, Dylan tells of approaching Monk at a club in the Village and introducing himself as a folk musician.  Monk replied, “We all play folk music.”  Dylan isn’t the most reliable narrator but this anecdote sounds true to me.  From listening to Monk talk on Smith’s loft tapes, this sounds like something he would say.  In Chronicles Dylan continued:  “Monk was in his own dynamic universe even when he dawdled around.  Even then, he summoned magic shadows into being.”

More and more, it makes sense to me that Gene Smith laid out his 1969 Aperture monograph so Monk and Dylan were facing each other.  Ironically, my Monk article (linked above) was the cover story of the Oxford American’s music issue in 2007 and Sean Wilentz is featured on the cover, too, for a Dylan piece that became part of his new book, Bob Dylan in America (See Which Direction Home and Which Direction Home, Pt. 2).  The overlaps are everywhere.

-Sam Stephenson

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Needle Park: Mad Men and JLP

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There are many ways in which the TV show Mad Men overlaps with our decade-plus of research on the Jazz Loft Project.  This past Sunday night Midge, Don Draper’s Village girlfriend from the first season, reappeared as a Village heroin junkie with a junkie “husband” (most junkie couples weren’t legally married) willing to prostitute Midge for cash (photo above).  Yesterday on Slate’s weekly discussion of Mad Men Julia Turner mentioned that Alexandra Dufour had tipped them on LIFE magazine’s long 1965 piece on a couple living the junkie life in New York City, “The World of Needle Park.”  We’ve had this piece in our files for years.  The piece grew into a book by James Mills which became the source material for Joan Didion’s screenplay of the 1971 film, “Panic in Needle Park,” starring Al Pacino.

When JLP colleague Dan Partridge and I ventured to Port Townsend, Washington in 2005 to visit Virginia “Gin” Wald (in the loft era she was Gin McEwan) and her husband, the bassist Ted Wald, Gin told us all about the junkie street life she witnessed in NYC in the summer of 1961 with her boyfriend, saxophonist Lin Halliday.  She wrote about it movingly in letters to me afterward.  We edited her letters, with her editorial approval, for a blog entry a few months ago.  Gin said if we wanted to get a feel for her life with Lin then we should watch “Panic in Needle Park.”

Pacino played the junkie in that film.  On various buses and planes and rental cars (and I think we took a ferry from somewhere to somewhere on that particular Pacific Northwest trip in 2005), Dan Partridge and I tossed around actor names we thought could play Lin Halliday.  A year earlier we’d been in Chicago and came across film footage of Lin shot by bass player Dennis Carroll a few years before Lin died.  In that footage Lin looked not unlike he looks in the photograph of Lin and Gin made by their daughter which we posted in Gin’s blog entry.  He looked a little bit younger and healthier than that, but similar.  In the footage Lin is smoking cigarettes with all the compulsive mannerisms you’d expect from someone with serious addiction problems.  Only Lin seemed to have rounded off all the quick jerks, like a swimmer or flamenco dancer or puppeteer.  I’ve been in a lot of bars and pool halls and I’ve never seen anybody whip around matches and lit cigarettes quite like Lin.  Dan and I figured the actor who could do Lin justice is Johnny Depp.

-Sam Stephenson

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Carmine Calabro Responds to Jane Getz

I thought JLP blog readers might enjoy a new comment posted by Carmine Calabro at the end of Jane Getz’ blog entry of August 19, Running with the Big Dogs, Part 3, regarding Herbie Mann.

-S.S.

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Daniel Kramer at CDS: “Bob Dylan and Gene Smith”

Dylan album cover, "Bringing it all Back Home." Photo by Daniel Kramer

Dylan album cover, "Bringing it all Back Home." Photo by Daniel Kramer

This is a reminder for locals (or Dylan fans in North Carolina for his shows this week) that Daniel Kramer will be at CDS for a noon brown bag event this Wednesday October 13 to show and discuss his photographs of Bob Dylan from the mid-1960s.  We’ll also play – for the first time ever in public – clips of Smith’s loft tapes in which Kramer is recorded discussing Dylan and photography with Smith in 1965 (Smith photographed Dylan during this period, too, of course).  More information can be found on the CDS site.

Recent JLP posts about Dylan:

Which Direction Home

Which Direction Home Pt. 2

Whose Nikon SP is that on the Cover of Highway 61 Revisited?

-S.S.

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