The Jazz Loft Project: Photographs and Tapes of W. Eugene Smith from 821 Sixth Avenue, 1957-1965 (Google eBook)

Front Cover
Knopf Doubleday Publishing Group, May 30, 2012 - Photography - 288 pages
3 Reviews
In 1957, Eugene Smith, a thirty-eight-year-old magazine photographer, walked out of his comfortable settled world—his longtime well-paying job at Life and the home he shared with his wife and four children in Croton-on-Hudson, New York—to move into a dilapidated, five-story loft building at 821 Sixth Avenue (between Twenty-eighth and Twenty-ninth streets) in New York City’s wholesale flower district. Smith was trying to complete the most ambitious project of his life, a massive photo-essay on the city of Pittsburgh.

821 Sixth Avenue was a late-night haunt of musicians, including some of the biggest names in jazz—Charles Mingus, Zoot Sims, Bill Evans, and Thelonious Monk among them—and countless fascinating, underground characters. As his ambitions broke down for his quixotic Pittsburgh opus, Smith found solace in the chaotic, somnambulistic world of the loft and its artists. He turned his documentary impulses away from Pittsburgh and toward his offbeat new surroundings.

From 1957 to 1965, Smith exposed 1,447 rolls of film at his loft, making roughly 40,000 pictures, the largest body of work in his career, photographing the nocturnal jazz scene as well as life on the streets of the flower district, as seen from his fourth-floor window. He wired the building like a surreptitious recording studio and made 1,740 reels (4,000 hours) of stereo and mono audiotapes, capturing more than 300 musicians, among them Roy Haynes, Sonny Rollins, Bill Evans, Roland Kirk, Alice Coltrane, Don Cherry, and Paul Bley. He recorded, as well, legends such as pianists Eddie Costa, and Sonny Clark, drummers Ronnie Free and Edgar Bateman, saxophonist Lin Halliday, bassist Henry Grimes, and multi-instrumentalist Eddie Listengart.

Also dropping in on the nighttime scene were the likes of Doris Duke, Norman Mailer, Diane Arbus, Robert Frank, Henri Cartier-Bresson, and Salvador Dalí, as well as pimps, prostitutes, drug addicts, thieves, photography students, local cops, building inspectors, marijuana dealers, and others.

Sam Stephenson discovered Smith’s jazz loft photographs and tapes eleven years ago and has spent the last seven years cataloging, archiving, selecting, and editing Smith’s materials for this book, as well as writing its introduction and the text interwoven throughout.

W. Eugene Smith’s Jazz Loft Project has been legendary in the worlds of art, photography, and music for more than forty years, but until the publication of The Jazz Loft Project, no one had seen Smith’s extraordinary photographs or read any of the firsthand accounts of those who were there and lived to tell the tale(s) . . .
  

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LibraryThing Review

User Review  - HHS-Staff - LibraryThing

Reviewed by Mr. Overeem (Language Arts) A coffee table book with a difference. This book chronicles the obsessive "life recordings" ace photojournalist Gene Smith made during his residence in an ... Read full review

Excellent Book!

User Review  - ladyjazz17 - Overstock.com

I disagree with the other reviewer. Reading the text gives you more insight into what actually went on. There are interviews with many people who were actually there during this time period. A very ... Read full review

Selected pages

Contents

Section 1
Section 2
Section 3
Section 4
Section 5
Section 6
Section 7
Section 8
Section 12
Section 13
Section 14
Section 15
Section 16
Section 17
Section 18
Section 19

Section 9
Section 10
Section 11
Section 20
Copyright

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About the author (2012)

Sam Stephenson is a writer and instructor at the Center for Documentary Studies at Duke University. He is the author of Dream Street: W. Eugene Smith’s Pittsburgh Project and W. Eugene Smith 55. He lives in Chatham County, North Carolina.

Bibliographic information