Drummer Joe Morello has died at 82. Best known for his work with the Dave Brubeck Quartet, Morello was also a member of Marian McPartland’s trio and a beloved teacher to many in the jazz community, not to mention one of the best ever with his own signature version of brushes-on-snare technique. New York Times obituary here.
Join us for the opening reception, Friday, March 18th, from 7–10 pm at The New York Center of Photography and The Moving Image (NYCPMI) located at 580 Eighth Avenue (38th St.) 7th Floor.
A selection of wines will be served. Proper attire required (no jeans, sneakers, baseball caps, etc.).
RSVP to: email@example.com
The New York Center of Photography and the Moving Image (NYCPMI) will present an exhibition of new and never-before-exhibited color and black-and-white photographs by photographers Ryan Paternite and Richard Conde, featuring some of the 20th century’s greatest jazz musicians in performance on the legendary Birdland stage. The exhibit runs from March 15th through April 9th, 2011. NYCPMI is located at 580 Eighth Avenue (38th St.) 7th floor and is open to the public Tuesdays through Saturdays from 11am to 6pm.
The exhibit includes over 40 images commissioned by Birdland for its 60th Anniversary. On view are meticulous large scale prints produced between 2008 and 2010 depicting contemporary jazz greats including Terence Blanchard, Ron Carter, James Carter, Freddy Cole, Paquito D’Rivera, Al Foster, Joe Lovano, Charlie Haden, Roy Haynes, Jimmy Heath, Jon Hendricks, Dave Holland, Freddie Hubbard (1938-2008), Bobby Hutcherson, Hank Jones (1918-2010), Wynton Marsalis, Pat Martino, Brad Mehldau, Nicholas Payton, John Pizzarelli, Pharoah Sanders, John Scofield, Ralph Towner and many more.
Ryan Paternite’s color jazz images have been described as “performance portraiture” because they combine the visual textures of the studio and environmental portraiture with the dynamism and fortuitous timing of documentary performance photography. Richard Conde’s luminous black & white jazz photos are a modern interpretation of the jazz musician’s art evoking the classic feel and chiaroscuro of the jazz photography of Herman Leonard and Francis Wolff. Both Paternite and Conde exemplify the natural congruence between jazz and photography. As A.D. Coleman has noted “Jazz, as it happens, is the musical form whose philosophical basis is most akin to photography… in its emphasis on intuition, spontaneity, and improvisation.” (Light Readings, 61-62) Although Paternite and Conde often work in tandem, sometimes photographing the same artists on the same stage at the same time, the results are as distinctly different as the hot and cool trumpet sounds of Louis Armstrong and Miles Davis.