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The Jazz ImageSeeing Music through Herman Leonard's Photography$
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Heather K. Pinson

Print publication date: 2010

Print ISBN-13: 9781604734942

Published to University Press of Mississippi: March 2014

DOI: 10.14325/mississippi/9781604734942.001.0001

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Ceci n’est pas jazz

Ceci n’est pas jazz

The Battle for Ownership

Chapter:
(p.99) Chapter 3 Ceci n’est pas jazz
Source:
The Jazz Image
Author(s):

K. Heather Pinson

Publisher:
University Press of Mississippi
DOI:10.14325/mississippi/9781604734942.003.0004

This chapter talks about the transformations that jazz went through during the 1980s when there was a resurgence of the classic jazz of the 1940s and 1950s. This era has been termed the neoclassical era, when Herman Leonard’s association with jazz was also reborn. This happened in 1988 after there was an exhibit of his work in London. It was Leonard’s photographic depictions of African American jazz musicians that not only created the visual image of a black musician of the 1950s, but also became the standard representation of the musical style of jazz from 1945 to 1959. At the same time, however, his photographs caused a dilemma, particularly among contemporary musicians. The chapter explains this dilemma. It thus traces the influence of the jazz image by explaining its relationship to the current cultural influence of jazz.

Keywords:   classic jazz, neoclassical era, African American jazz musicians, black musician, Herman Leonard, contemporary musicians, cultural influence, jazz image

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