Everyday jazz life

A photographic project on contemporary jazz musicians’ lives in Birmingham

Authors

  • Pedro Cravinho Birmingham City University
  • Brian Homer Freelancer photographer

DOI:

https://doi.org/10.1558/jazz.39943

Keywords:

jazz, United Kingdom, Birmingham, photography, everyday life

Abstract

This article examines fragments of a local jazz scene through photographs. It is theoutcome of a collaborative pilot research project entitled 'Everyday Jazz Life: A PhotographicProject on Contemporary Jazz Musicians' Lives in Birmingham' that took placeat Birmingham Centre for Media and Cultural Research, and brought together an academicand a photographer. As Ian Jeffrey suggests, photographs can be consideredas understandable fragments, which invite their viewers' minds to reflect about them.However, as fragments, photographs of contemporary Birmingham's jazz musicians aspeople, not just performers, in the context of their everyday lives can also be understoodas records of intention illuminating how musicians view themselves, the local jazz scene,and how they negotiate their lives while expanding their music. This visual approachopens up the possibility of new, or under-studied, topics for jazz studies research, forexample, those concerning musicians' off-stage complementary activities, social dynamicswithin their communities, and the living challenges and constraints.

Author Biographies

  • Pedro Cravinho, Birmingham City University

    Dr Pedro Cravinho researches and writes about jazz, media, and archives. He isthe Keeper of the Archives at the Faculty of Arts, Design & Media, and a Senior ResearchFellow at Birmingham Centre for Media and Cultural Research. Cravinho is a Trusteefor the National Jazz Archive, a board member of the Duke Ellington Society UK, and amember of Jazz Promotion Network. Since mid-2015, he has been conducting originalresearch about jazz in Birmingham.

  • Brian Homer, Freelancer photographer

    Brian Homer is a photographer, designer and writer. He was part of the HandsworthSelf Portrait project in 1979 with Derek Bishton and John Reardon, and also cofoundedTen8 international photography magazine. He has since run many self-portraitphotography projects in communities in the West Midlands, Telford and Belfast. Between2012 and 2018 he was on the board of Birmingham Jazz, and currently is an active freelancephotographer documenting the jazz scene locally and nationally.

References

Byers, Paul (1966) ‘Cameras Don’t Take Pictures’. Columbia University Forum 9: 27–31.

Campt, Tina M. (2012) Images Matters: Archive, Photography and the African Diaspora in Europe. Durham and London: Duke University Press. https://doi.org/10.1215/9780822394457

Cawthra, Benjamin (2011) Blue Notes in Black and White: Photography and Jazz. Chicago, IL; London: University of Chicago Press.

Escritt, Russ (2009) Jazz in Black and White. (n.p.): Blurb.

——(2009b) Andy Hamilton, the Blue Notes and Guests. (n.p.): Blurb.

——(2010a) Jazz Photography: Colour Images 2006–2009. (n.p.): Blurb.

——(2010b) A Jazz Year in Birmingham: September 2009 to August 2010. (n.p.): Blurb.

Gabbard, Krin (2002) ‘Images of Jazz’. In The Cambridge Companion to Jazz, ed. Mervyn Cooke and David Horn, 332–46. Cambridge: Cambridge University Press. https://doi.org/10.1017/CCOL9780521663205.020

Ings, Richard (2003) ‘Making Harlem Visible: Race, Photography and the American City, 1915–1955’. Doctoral thesis, University of Nottingham.

Jeffrey, Ian (1992) ‘Fragment and Totality in Photography’. History of Photography 16/4: 351–57. https://doi.org/10.1080/03087298.1992.10442569

Lofland, Lyn (1998) The Public Realm: Exploring the City’s Quintessential Social Territory. New York: Aldine de Gruyter.

Price, Mary (1994) The Photograph: A Strange, Confined Space. Stanford, CA: Stanford University Press.

Schwartz, Dona (1989) ‘Visual Ethnography: Using Photography in Qualitative Research’. Qualitative Sociology 12/2: 119–54. https://doi.org/10.1007/BF00988995

Simpson, Jim, and Ron Simpson (2019) Don’t Worry ’Bout the Bear: From the Blues to Jazz, Rock & Roll and Black Sabbath. Studley, UK: Brewin Books.

Sontag, Susan (2003) Regarding the Pain of Others. New York: Picador. https://doi.org/10.3917/dio.201.0127

Wagner, Jon, ed. (1979) Images of Information: Still Photography in the Social Sciences. Beverly Hills, CA: Sage.

Watson, John (2011) The Power of Jazz. (n.p.): Blurb.

Worth, S. (1980) ‘Margaret Mead and the Shift from “Visual Anthropology” to the “Anthropology of Visual Communication”’. Studies in Visual Communication 6/1: 15–22. https://doi.org/10.1111/j.2326-8492.1980.tb00114.x

Published

2020-02-14

How to Cite

Cravinho, P., & Homer, B. (2020). Everyday jazz life: A photographic project on contemporary jazz musicians’ lives in Birmingham. Jazz Research Journal, 13(1-2), 238–264. https://doi.org/10.1558/jazz.39943