Available to order from the San Francisco Chronicle Store.
Available to order from the San Francisco Chronicle Store.
Jim Marshall is known as the defining father of music photography and his intimate photographs of the greats of rock & roll, country, folk, blues and jazz are legendary. Renowned for his extraordinary access and ability to capture the perfect moment, his influence is second to none. In 2014, Marshall became the only photographer ever to be honored by the Grammys with a Trustees Award for his life’s work.
Published here for the first time ever are Marshall’s jazz festival photographs from the 1960s, which capture the crowd, the performances and unguarded moments with jazz icons such as Thelonious Monk, John Coltrane, Miles Davis, Nina Simone, Ray Charles and many more.
Over 95% of the material in this breathtaking volume has never been seen before. Marshall’s remarkable photographs of the festivals at Newport and Monterey immortalize the unique energy and soul of these celebrations of jazz. Complete access to Marshall’s vast archive has been granted for this book. It includes a foreword by President Bill Clinton and an introduction by renowned jazz writer Nat Hentoff, and is designed by art director Graham Marsh (The Cover Art of Blue Note Records, Hollywood and the Ivy Look). This is the first in a series of books to be published by Reel Art Press in collaboration with the Jim Marshall Archive.
Jim Marshall (1936–2010) was born in Chicago. While still in high school, he purchased his first camera and began documenting musicians and artists in San Francisco. Over a 50-year career he created hundreds of legendary images that came into public consciousness through magazine features, more than 500 album covers and six books: Monterey Pop, Not Fade Away, Proof, Jazz, Trust and Pocket Cash.
From Thelonious Monk to John Coltrane, Miles Davis to Nina Simone, Jim Marshall’s defining photographs of the 1960s jazz scene
I love the immediacy of Jim Marshall‘s photographs. I own several of the late Jim Marshall’s music photography books. I treasure what his camera lens captured for rock music legacy.
Speaking of cultural history later this year we will have a new book of photographs culled from the archives of Jim Marshall, The Haight: Love, Rock, and Revolution.
Here is the book’s description from the publisher, Insight Editions.
Widely regarded as the cradle of revolution, California’s Haight-Ashbury grew in the sixties from a small neighborhood in San Francisco to a worldwide phenomenon. Legendary photographer Jim Marshall visually chronicled this area as perhaps no one else did. Renowned for his powerful portraits of some of the greatest musicians of the era, in this one-of-a-kind book the full extent of Marshall’s Haight-Ashbury work is stunningly displayed: live concerts, powerful candids, intimate sessions with icons of the day, street scenes, crash pads, and more.
Featuring hundreds of images, from Bill Graham, Bob Dylan, Jimi Hendrix, Janis Joplin, and Jefferson Airplane to Carlos Santana, Donovan, The Beatles, Allen Ginsberg, and Timothy Leary, The Haight tells the complete and comprehensive story of the revolutionary aspects of the day. Written by bestselling San Francisco music journalist Joel Selvin, the story behind each of these incomparable images is disclosed through an intimate and revealing narrative, lending the images a fascinating context and perspective.
I welcome this future book and the history it portrays.
There is nothing like a Grateful Dead show. The music, the feeling that you experience at their concerts is the most original cosmic force existent.
This magazine does an incredible job in 100 pages of capturing and documenting the 48 years of America’s greatest band. It’s a tremendous value at $11.99 to have a well curated, cross-functional collection of excerpted articles from the original pages of Rolling Stone Magazine.
I urge you to buy a copy of this special collectors edition for your very own. The photographs by Jay Blakesberg, Herb Greene, Baron Wolman, Jim Marshall and others beautifully articulate the halcyon era of Rock’s Longest Strangest Trip.
I was thinking about San Francisco today.I often transport myself there. The music I played in the car today was recorded in San Francisco at Bill Graham’s Fillmore Auditorium in 1968, Cheap Thrills, Big Brother & The Holding Company. The album cover was drawn by underground cartoonist, R. Crumb. The liner notes for the remastered edition has photographs by the late Jim Marshall.
I was browsing my Facebook stream this afternoon when I happened upon a very cool picture posted by Robert Altman.
There was a photo from a 1985 book on the San Francisco music scene of famed poster artist Stanley Mouse taken by the great rock photographer Jim Marshall. The copy of this book is from autograph collecter Matt Tadevich. Mouse took the time to add his touch.
I love the synergy of San Francisco’s music, Janis and Big Brother, Bill Graham, R. Crumb, Stanley Mouse, Robert Altman and Jim Marshall, who figures in both references.
I really miss the late photographer Jim Marshall. I was very affected by his death. We never met in person but I knew of him through his photographic lens. The first photograph of Jim Marshall that caught my eye was of James Marshall Hendrix at Monterey Pop in 1967. I recall opening Rolling Stone then the newspaper and seeing this photograph speak so powerfully to me.
Throughout the decades more and more of Jim Marshall’s photographs became ingrained in my consciousness. Eventually I began to own autographed copies of his music photography books so I could hold and study his photographic art at close range.
First I purchased Proof, through Wolfgang’s Vault. It was a tremendous study of Jim Marshall’s camera proofs that spoke to me in intimate detail. I later saw his real proofs displayed at the John Varvatos Store in Las Vegas on the walls of the clothier.
Next I bought Jazz, which increased my knowledge of the great jazz artists I had wanted to meet through Jim’s friendship and trust with these great musicians. My favorite photograph in that book was the picture of Allen Ginsberg looking at Thelonious Monk in magical awe and wonder. I once met Allen Ginsberg in person at the University of New Haven (but that’s another story for another day).
I last bought Jim Marshall’s Trust through The Morrison Hotel Gallery on Prince Street in SoHo, New York City. That book spoke to me the deepest as I learned about how Jim Marshall earned the trust of each artist he photographed.
We had planned to go to see Jim Marshall at the original Pocket Cash event at The Morrison Hotel Gallery but God had other plans for our photographer of the stars.
We were just acknowledged of the Pocket Cash Apple Store and Morrison Hotel Gallery event in New York City on Thursday March 24th, 2011. We’re going to do all we can to attend both events.
This year marks the 40th anniversary of the closing of The Fillmore East on June 28, 1971. No rock hall echoes stronger in the music of our heart than Bill Graham’s legendary venue in the East Village section of NYC.
The concert that closed The Fillmore East is equally, if not more historic. The Allman Brothers Band headlined that night, with J Geils Band as the middle act and Albert King as the opening act. Guest stars who joined The Allman Brothers Band and the other scheduled acts on stage that night included Mountain, Country Joe McDonald, Edgar Winter’s White Trash with Rick Derringer and The Beach Boys. I listened to the entire concert which was broadcast live over WNEW-FM 102.7. The concert went from 8 p.m. on June 27th until 6 a.m. in the morning of June 28th.
There were 40 albums recorded live at The Fillmore East from 1968 through 1971. Considering there were 111 main concerts during that time frame (more if you count both early and late show events) 40 concerts was close to 1/3 of all shows that were performed there. You can see the complete list of live Fillmore East albums, sorted A-Z by recording title on this Wikipedia page, http://en.wikipedia.org/wiki/Category:Live_at_the_Fillmore_East_albums
Many people associate The Allman Brothers Band At Fillmore East as “the” recording that captured the music live of the last night. Truth of the matter is that only when the deluxe edition of this dual CD was released did we get to hear two tracks from June 28th, “One Way Out” and “Midnight Rider”. According to Peter Wolf, lead singer of the J Geils Band who performed that night, “the Allman Brothers started at around four in the morning. At dawn, they were still playing “Crossroads,” or something like that.” (Graham and Greenfield, 2004).
The late, great photographer Jim Marshall took the photographs for the cover of The Allman Brothers Band At Fillmore East in the alley next to Capricorn Recording Studios in Macon, Georgia. (not in the alley of The Fillmore East as many, including myself, always thought). This is my favorite pose by the band that Jim Marshall’s unique lens captured.
As we get closer to celebrating the real 40th anniversary of the closing of The Fillmore East I will update this blog post with any potential celebrations and events. Trust me I plan to take part as fully as I can in those events.
My favorite Web site about The Fillmore East is the The Fillmore East Preservation Society. I love this Web site and the freaks who put it together!
An immensely satisfying book about the Fillmore East authored by Amalie R. Rothschild who worked for the Joshua Light Show and was the official photographer for The Fillmore East. Her camera captured many intimate moments as they occurred during those exciting three years. Live at the Fillmore East, A Photographic Memoir, http://www.amazon.com/Live-Fillmore-East-Photographic-Memoir/dp/1560252790
Amalie R. Rothschild’s Web Site http://www.amalierrothschild.com/Allman/index.html
Bill Graham and The Fillmore East are synonymous. This is a well written autobiography and collaboration.
Bill Graham and Robert Greenfield, 2004, Bill Graham Presents, My Life Inside Rock and Out, Da Capo Press, Cambridge, MA