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Harlem, a photograph of 1958

I look at the photo of Art Kane ( interesting article of Gino Castaldo on Repubblica.it ). What a sweet melancholy!

certainly be shared with those who love jazz.

It 's a photo of the group that dates back to exactly fifty years ago and to be honest, I can not recognize any of the musicians in this, however, pose and detail of little importance. Out there is Harlem and children sitting on the curb frame and enclose the group of musicians with joy their astonishment.

I reflect on this peculiarity of the music: the need to play with friends. Every musician needs another musician as well as the listener. And so, this trio of top ends to enclose an area always emotional, never a simple line such as when an artist does a solo in front of his audience.

And the jazz musician is unfortunate because its value is its damnation. The fact of playing improvised music, introduced him to orality, rather than to write, and so, to cultivate his memory, he is forced to rely to a greater degree of technological support from other music. And these require the obligation of professionalism, the gallows of market laws and the tyranny of technology. For this reason, we who love jazz, we are concerned about the crisis in the media and the advent of free downloads that endangers the historical memory and identity of African American Music, the best gift that the past century has given to mankind. Which is a paradox: the great pain of slavery and the great joy of music inextricably linked.

Here you can have fun and discover the identity of the musicians photographed.

Readings
Ashley Khan, The House That Trane Built, The Assayer
Ashley Khan, A Love Supreme. Story of John Coltrane's masterpiece, The Assayer
Ashley Khan, Kind of Blue, The Assayer

Image
Pictures Art Kane, 1958

Music
Any jazz record released between 1956 and 1960