Jim Marshall was one of the chief photographers at the Monterey Pop Festival and the original Woodstock. He took historic backstage shots of The Beatles' last concert. And he chronicled San Francisco's acid rock heyday.
Marshall was everywhere.
He shot more than 500 album covers over his 50-year career.
MarshallPhoto.com, his new Web site, offers 160 fine art images for sale. Sure, the prints are expensive. But if you have the bucks, I'm sure they'll be a great investment. Or try to find his terrific out-of-print book, "Not Fade Away: The Rock and Roll Photography of Jim Marshall."
Recently, Marshall donated several photographs to Rock for MS 2009, a charity event held in San Francisco to benefit MSFriends. Marshall is a passionate advocate for the needs of people living with multiple sclerosis.
Maybe it's just me, but it seems like most musicians I meet are more into making music than listening to it. They don't care about how music sounds at home; many are satisfied with the sound they get from boom boxes or chintzy computer speakers. Some tell me they're more focused on the way the players play than the sound.
Sure, I've met a few musicians with ears for sound. That happened just recently when I struck up a conversation with jazz drummer and audiophile Billy Drummond.
He readily conceded my point: "Getting a good hi-fi isn't high on their list of priorities. Like everybody else, musicians listen to music while they're on the computer or sending e-mails. That's what music is now, a backdrop, so fidelity isn't important anymore."
Sad, but true, so what is music for? Drummond had a ready answer. "It's for people to enjoy," he said. "It can take you somewhere, you can dance to it, music conjures emotions. For musicians it's an expression, a way to challenge ourselves, and it can be inspiring. If you're a saxophone player and you're listening to Sonny Rollins or John Coltrane, music can motivate you. It lets you see what's possible.
"I really enjoy playing (live) for myself and for an audience, I want people to feel something when I play. When I listen to Tony Williams or Elvin Jones (two great jazz drummers) and what they've accomplished it's mind boggling, that's what music means to me."
That's all great, but how did he become an audiophile? Drummond explained that he was always an avid music collector, and when he first heard his favorite music played on a really great system he was blown away: "Wow, I never heard my music sound so real, so vibrant, so great."
It turned you on, I asked. "Right, I was even more motivated because I could hear the nuances of Max Roach's drum set or Tony Williams ride cymbal. It helped me become a better player because I can get in touch with the thing I'm chasing after. Which is, how can I sound as good as these guys."
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While jazz trios tend to stay low-pro, E.S.T. has managed to gain an international following outside of its home base of Sweden. Much like the Cinematic Orchestra, the group's new school approach to post-bop creates more of journey for its listener, rather than a groove. We're featuring this in memory of Esbjorn Svensson. Svensson died on June 14, 2008 at the age of 44.
From conscious piano jazz to lightheaded trip-hop, this dependable trio has been delivering the goods since the early '90s. Their intuitive ability to stretch musical boundaries has led to wonderful collaborations with notable players from John Scofield (guitar) to DJ Logic (turntables).
You can tell a lot about a jazzman by his apprenticeship. Parks aided Terence Blanchard, you say? Well, he's all right by us. The pianist's own Blue Note debut is a remarkable avant-cool effort that features heady texturalism--the electric guitar is especially fine--but no melodic cop-outs.
While jazz trios tend to stay low-pro, E.S.T. has managed to gain an international following outside of its home base of Sweden. Much like the Cinematic Orchestra, the group's new school approach to post-bop creates more of journey for its listener, rather than a groove. We're featuring this in memory of Esbjorn Svensson. Svensson died on June 14, 2008 at the age of 44.
The supply of high-grade jazz-pop just keeps getting topped up. New York's Graham is the latest to spread sotto voce murmurs over a bed of soft piano, and she even adds a gentle kick with Brazilian drums--an especially nifty touch when she's covering Simon and Garfunkel's "America."
Nas: one of the many headliners at Rock The Bells this year.
Now that we're knee-deep into summer, it's time to recap the big festivals going on this season. Coachella and Bonnaroo have come and gone, so now our eyes are on, among others, Lollapalooza in Chicago, Outside Lands in San Francisco, and Rock the Bells in cities nationwide. And it's not too late to catch the Sub Pop 20th Anniversary Festival. This two-day tribute to one of the greatest indie labels ever is happening in Seattle--aka the home of grunge rock--this weekend. Road trip!
Listen to our free Summer Daze playlist by clicking the green button below. Then visit Download Music to stream and download thousands more free songs.
The view from inside Rockit Scientist Records
(Credit: Steve Guttenberg)It's in the East Village around the corner from where the 1960s rock Mecca, the Fillmore East once stood. Rockit Scientist Records is a blast from the past, a 'Village record shop that's a treasure trove for collector oriented psychedelia, '60s, '70s, and '80s garage rock, underground, progressive, punk, blues, soul, reggae, and jazz.
Rockit carries mostly CDs, but there's a lot of new and used vinyl, with a smattering of music DVDs. Owner John Kioussis is there six days a week and always multitasking. "It's not rocket science," heh, heh--drop in, and you'll likely find him sorting records, chatting on the phone and serving in-store customers--all at the same time.
Asked if downloads are killing his business, John got a little worked up, "Anybody who legally downloads music is an idiot! You can get it for free, why pay for it? Download it illegally, who's going to catch you? Legal or illegal, they sound the same."
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Eigsti gained renown as a pianist while still in his teens, which may explain how, at just 23, he's cut a remarkably adult record. "Let It Come To You" is modern piano jazz at its most lush and urbane--a must for anyone who has worn out her collection of Brad Mehldau.
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