ONE LP

EDUCATION | EXHIBITIONS: ONE LP EXH@BCU/RHYTHM CHANGES: ATRIUM - FACE OUT

The One LP Project - Rhythm Changes International Conference: Jazz Utopia - School of Media and the Faculty of Art, Design and Media, Birmingham City University. 

Outline 

One LP is a unique and critically acclaimed portrait photography project that explores the 

inspirational qualities of jazz recordings and the impact that they have on people’s lives. 

Each artist portrait features the subject holding a recording that is of fundamental importance to them. The photograph is accompanied by a short interview that explores the meaning and value of the selected album. 

Concept and development 

“One LP is a project that commenced in 2010 as a response to conversations with musicians about their relationship with the work of other artists encountered via recordings. In particular, conversations had focused on the albums that had profoundly moved the subjects. As a conversation is of course transient – usually committed only to memory - I was eager to find a format that would adequately document my interactions with the artists.  

The One LP series is the outcome - something that excavates layers of memory, influence, being and uniqueness.  

Perhaps more poetically, One LP has come to represent a 

journey into another’s soul: the album that each artist selects is a part of them: their past, present and future. 

The project, conceived in the jazz world has been extended and now includes around 200 people in a spectrum of occupations in the creative milieu - artists, academics, broadcasters, musicians, writers and photographers.” 

William Ellis 

Exhibitions 

The premiere One LP exhibition was held in New York at the ARChive of Contemporary Music in 2014. The portraits were subsequently shown in Los Angeles during the Britweek arts program. 

The exhibition at Birmingham City University is the most comprehensive to date and reflects the status of jazz as the most diverse of musical genres. 

The artists featured here range from innovators whose provenance reaches back to the birth of the jazz genre and moves through to those at the cutting edge of contemporary composition and performance. The exhibition also includes subjects whose passion for the music inspires them to excel in their respective fields: here we feature world famous jazz club and specialist record store owners, concert directors and record producers, promoters, agents, journalists, historians and photographers. 

One LP is a mature and ongoing project. However, initiatives to broaden its remit are welcomed. I am open to discourse on new collaborative assignments and projects in the UK and overseas 

. William Ellis 

British photographer William Ellis is perhaps best known for his impeccable photos of jazz musicians. Truly cool interactive exhibits like this that combine multiple art forms don’t come around often. Time Out New York 

About 

William Ellis was born in Liverpool in 1957. Developing his distinctive style encompassing portrait, performance and still life images of musical instruments via study and appreciation of a widerange of artists and fellow photographers. 

His breakthrough into jazz came with the opportunity to photograph Miles Davis in 1989. 

William has since worked with many of the world’s leading musicians. 

His work is exhibited extensively at international level: it is held in private collections worldwide and those of major institutions including the National Portrait Gallery London, the Archive of Contemporary Music in New York and the American Jazz Museum in Kansas City MO. William’s photographs have been used in the JAM (Jazz Appreciation Month) Outreach program in the United States initiated by the Smithsonian Institute. They also appear regularly in print/online publications, and are used by record companies in artist promotion. One LP is featured on the leading website allaboutjazz.com 

Commission One LP 

The OneLP Project is available as a bespoke art event and can be integrated into existing programmes or operated as a stand-alone event. The latter is usually based on an exhibition that can complemented with a range of optional activities, including for example, individual OneLP portrait and interview sessions, presentations, seminars, methodology and practitioner workshops, and discussions relating to technical aspects of portrait and music photography. 

Visit onelp.org/experience email info@william-ellis.com 

“Beautiful images.” - Herman Leonard 

“One LP is a marvellous idea, superbly executed. The range of subjects (human and musical) is wide indeed, often surprising, sometimes touching, always interesting. May it go on and on.” - Dan Morgenstern, Director Emeritus, Rutgers Institute of Jazz Studies, NEA Jazz Master 

  • “Double Six - when I was in college in my first year I had formed a singing group patterned along the lines of Lambert, Hendricks and Ross - and Double Six.Double Six changed my life - I listened to them instead of going to class - I think they almost sent me home!Very important music to me, I became friends with Michel Legrand - his sister sang in the group then and Mimi Perrin - thank you Mimi! we’ll all see you soon.So Double Six - very important, lots of people important - but a special place for them.”Al Jarreau: Bridgewater Hall, Manchester, 26th July 2011Les Double Six - released 1962Al Jarreau
  • {quote}The reason this album is special to me is because the producer of the album - J Dilla is my favourite hip hop producer and I got the privilige to actually work with him before he passed away in 2006. To work with him - watch him make music - watch him in ‘the lab’ and see how he works.J Dilla is probably the only producer I know that changed the way musicians actually play their instruments. Normally a producer will just take from the musicians and do their thing  - but J Dilla actually changed the way musicians play music.So this particular album Fantastic Volume 2 - when it came out, was to me the first time a record that made people start playing in that hip hop way behind the beat - kind of sloppy hip hop way - all that stuff started with Dilla - you know what I mean.This record has all of my favourite people on it -    D'Angelo’s on there -  Common - a lot of people on this record. It also means alot because of the time period it came out, and how it influenced the way I play doing my Trio and my Experiment band - just the way we feel the beat, his drum patterns, drum sounds, the way he samples piano and where he decides to put it - it's placement is what makes it just very very special. So I've kind of patterned alot of the stuff - especially when we play J Dilla beats we pattern alot of our stuff around his idea of where the beat is - so I think he was definitely ahead of his time and a genius of his time. So that's why I chose this record.”Robert Glasper: Hilton Garden Inn, Glasgow 28th June 2012Slum Village Fantastic, Vol. 2 - released 2000Robert Glasper
  • I was very sad to hear of the passing of Jack Bruce and would like to share with you my recollections of once meeting him when he kindly agreed to be in the project and how he has been an inspiration to me from an early age.I’ve played electric bass since I was around 15 when a school friend who was having guitar lessons asked if I would like to try and get a band together.I got a Hofner Senator bass for Christmas and set about learning to play Willie Dixon tunes – twelve bar blues and rock and roll.I had no knowledge of bass except for noticing Paul McCartney only had four strings on his guitar…As my interest in the instrument grew I became aware of other players – Jack Bruce was at the forefront. Even with my very limited outlook I knew he was like nobody else and he became my bass hero with Cream.I heard that he was playing at Band on the Wall in Manchester I decided to approach him with the help of friends at the wonderful venue to invite him to be in the One LP Project.It didn’t start well, Jack’s response to the invitation was not positive – in fact he thought it a stupid idea.I wouldn’t give up and decided as he was on tour - and quite understandably perhaps he hadn't had the time to get the full information so I wrote again clarifying things and emphasising the key interview aspect.It turned out Jack’s initial impression was that it was just a photograph of him with the record.So I understood his initial reticence – particularly from the point of view of a man who had survived everything and every situation thrown at him through the sixties and beyond and wouldn’t waste his time on stupid ideas.He kindly agreed and we arranged that the shoot and interview would take place during the first set when his 'Big Blues Band' with another bassist were playing and Jack would have time to get in, relax and do the session.So I set the light up - in a white room, tested and waited for Jack to arrive, soon he came downstairs with his road manager. I introduced myself to the road manager and was told that Jack would do the shoot after the show, which was not good news in as much as I knew he would be tired and perhaps less inclined to go ahead.I had brought along a mounted print of Charles Mingus’ beautiful carved Barbary Lion bass head for him as a gift and gave it to his road manager, who was so helpful, I'm sorry I can't remember his name. He took the picture into the dressing rooms to give it to Jack who almost instantly he flew out of the room asking me in the manner of a barrister: “Who had the bass?”I was surprised at this question and replied (and quickly I can tell you) - that Sue Mingus had it and I’d photographed it after a performance in the Old Fruit Market in Glasgow.Acquitted of implied charges he thanked me and returned to his dressing room.Exciting times - I’ve no idea why he asked except perhaps in a protective way concerned about who had access to such a unique historic instrument.I stripped the light - a Bron pack and ring-flash, and went up to the concert as Jack was preparing to go on at the side of the stage, I took a few frames but was being very careful not to get in his way.After he went onstage I noticed his spare bass and I thought – now or never – I asked if I could hold Jack’s spare bass – his road manager obviously could spot that I was an absolute fan and said ok.I feel a bit silly telling you this but it's part of the story of how special - and challenging the evening was from my perspective.I held it and silently for a moment then played a couple of notes and handed it back before the spell was broken. I don’t know whether he told Jack what had happened, I think he would have smiled - actually I think he would have laughed.I took some photographs during the performance and a few minutes before the end I went to set the light up again and wait. Shortly afterwards the guys came down the stairs and Jack headed for his dressing room.After around 10 minutes I knocked on the door, really not knowing what to expect. I know it’s tough on the road and every moment you can relax is important, I wouldn’t have blamed him had he finally declined but thankfully when we spoke he was still up for it.The session is usually done in 3 – 4 minutes, I like to work fast to capture the energy as thoughts and emotions come to mind when people connect with and talk about an album that’s very dear to them.Back to Jack, we were at the last crucial stage and I felt we'd been through quite alot together in a couple of hours.I felt somehow and we might be right on the cusp of something special when Jack said: “Do you mind if I’m in disguise?” “No,” I answered, “not at all.”He was offering to do a lot more than he needed to do; he was collaborating with me to create the picture.Jack left for a moment then came back into the white room and stood just as you see him in the portrait, hands just so.The Rock Star - or maybe it was a disguise. Throughout his career he had always played the music he wanted to and if that meant being a rock star from time to time he did it.He spoke about his One LP:-{quote}It's called “L'ascension” by Olivier Messiaen who was a French composer I have loved for most of my life. Why I love his compositions is he shows that music has always existed. Humans only stole it. We borrowed it but it's in nature. It holds the universe together; ask any skylark or ask any blackbird they'll tell you.{quote}I was mesmorized when I heard this prose from a truly great artist. He had transformed what at times had seemed a hopeless quest into an unforgettable touching experience which I shall always treasure - working with a boyhood musical hero of mine who was heroic in his life’s art in so many ways.Jack Bruce: 1943 - 2014Jack Bruce© William Ellis
  • {quote}She was my hero, she was my mentor, she was my idol.I got to know her very very well and I was very proud that I did, because she was a real buddy of mine.I think there's a whole life in this voice for her to sing the songs that she sings - I mean you could cry listening to her and I just think she was like a beautiful ebony statue.Great songs.{quote}Annie Ross: At home, New York City, May 2013Billie Holiday: Lady in Satin 1958Annie Ross
  • {quote}Miles Ahead - the title says it all - Miles was ahead of everybody else!  {quote}Blues for Pablo’ - there's depth in that you know. The treatment that Spain received from Franco is awful.So we can tell the story in that album and then tell whatever Miles did.Miles got into it himself - he said 'it sounds as if like I'm Spanish' you know. He's into it, he’s really into it.I told Judith that people are gonna think that those lyrics* wrote themselves - cos they come from nowhere, but they cover a whole lot.Me - {quote}Your current project with Pete Churchill based on Miles Ahead - so that record has inspired you both to discover and create your own response to the album.{quote}Jon - I like those things that open.Jon starts to sing, laughs and says -“Now after that you gotta have somethin’! You and me are gonna work! Soon as I find out how to write!!”Judith enters the room.Jon  “What you got?”Judith - “I have some albums – the Miles Ahead, Freddie Freeloader, Evolution of the Blues Song, Thelonious Monk, the first Hendricks, Lambert and Ross, another Miles Davis Porgy and Bess then I have Basie from ’41 to ’51.”Me - “The cover (Miles Ahead) matches your jacket Jon!!”Judith – “Yes the colours are right!”Jon laughs – “Oh man!”After the photographs were taken Jon spoke warmly about two of his close friends Kurt Elling and Erroll Garner.How Kurt seized a great opportunity at one of Jon's vocal workshops when Jon asked for a volunteer to come onto the rehearsal room stage. Kurt sprang up and their friendship began. Jon thought about 'His brother' - Erroll Garner.“When Erroll Garner came back home from tour he would call me up to sing. When we met we'd embrace and say {quote}I love you man.{quote}'Concert by the Sea'  is a great favourite of Jon's, he asked his Judith to play the recording - he was moved to mime Erroll playing an invisible piano, his heart was with his great friend.On the wall hangs the powerful poetic picture of another old friend. John Coltrane playing soprano sax signed by one of my favourite photographers - Roy DeCarava.It's a masterpiece in a moment. Jon talked about it how DeCarava seemed to have made the notes visible - they were {quote}flying from the horn.{quote}Jon Hendricks: At home, New York City, 26th March 2015Miles Davis: Miles Ahead  released 1957Jon Hendricks*Jon Hendricks and Pete Churchill are working on a project based on Miles Ahead
  • “This is the first jazz recording I ever heard, it’s not even bebop! It’s a rebopper! ‘Charlie Parker’s Reboppers.'There’s a whole story behind this record.Charlie Parker alto, Miles Davis, trumpet, Curley Russell bass  and - who’s on piano? Hen Gates that was Dizzy – he couldn’t give his real name – and Max Roach on drums.So it was Curly (Russell), oh my God – can you believe that?So on the other side is {quote}Bille’s Bounce{quote}, same personnel.I always sang as a little kid, I never knew what kind of music I wanted to sing and then after I moved back to Detroit to be with my mother and go to high school, there was a jukebox downstairs from my school.I was always playing music there, you know, putting nickels in.So I knew most of the artists and their songs that made them famous – not that I was tired of hearing – but I was looking for something else and I saw this. I saw this and I said ‘Oh – Charlie Parker and His ReBoppers, I wonder what that is?’So I put my nickel in – four or five notes and I thought – and oh my God, this is the music I’ll dedicate my life to.Whether I sing it, teach it, support it – whatever, it doesn’t matter, I’ll just dedicate my life to that music.I’d finally found the music that I wanted to do where I felt I could get into and really mean it.And I’ll tell you, I got goose bumps when I first heard the first four notes, I was like whoa – it was almost like being elevated you know.That was ‘Now’s The Time’.And the funny thing about this record that’s so beautifully framed now is I was doing a concert maybe two summers ago and there was a wonderful poet on before us, his name is Billy Collins.He recited his poetry and afterwards it was going to be me and Cameron Brown the bass player, that’s a duo I have.I’ve been doing bass and voice since the fifties.I’m the originator of bass and voice – not to brag – but to say hey to singers and bass players ‘you know can do music this way too. And there are people doing it now – which is great.This was an outdoor concert and so we were in this big house where we got dressed, got ready and relaxed until we went on.It was just Billy Collins reciting his poetry and me and Cam.So my friend, (Peter) - this drummer and a wonderful artist, he knows I’m a Bird freak - and he draws birds – all kinds of birds he’s done - they’re beautiful he sends them to me or gives them to me.It was Peter, I said ‘Peter it’s good to see you man’He said ‘ Yeah I have a present for you – I said really? I said ‘what is it?’ He said ‘yeah open it up’And so I opened it up – it was this, all framed beautifully.I got so emotional and I thought oh my God - I don’t think I can go up there and sing right now!But I waited a few minutes, I hugged him and kissed him and thanked him.I said ‘Oh my God this is the most wonderful gift I’ve ever been given - except of course the music and my daughter (laughs).So that’s the story of that record!”Sheila Jordan: At home, New York City, 11th February 2014Charlie Parkers Reboppers - The Koko Sessions by Devon {quote}Doc{quote} WendellSheila Jordan
  • “Well, I would have to say Miles Davis ‘Round About Midnight’.  I grew up listening to this recording as a kid and the poetic expression - the ensemble playing between John Coltrane and Miles Davis, Red Garland, Paul Chambers and Philly Joe Jones just captured my attention from an early age.  And of course their solos within each tune were just so masterful you know.  But yet, as a quintet, there was a real ensemble sound that gave me a lot of direction through the years.”Joe Lovano: Birdland, New York City, 21st September  2014Miles Davis: 'Round About Midnight released 1957Joe Lovano
  • “The ‘Donny Hathaway Live’ album is so special because it captures - with full concentration the thing that’s special in live performance. That communication, that exchange of audience and artist.There’s back and forth conversation, the women and the men in the audience are screaming things back to Donny and Donny’s of course responding musically - and responding incredibly musically.You can feel the emotion in the room as soon as the needle hits the record.That communication - it’s not just jazz, it’s not just soul, it’s human to human.That exchange between humanity is just beautiful to see. It happens on Donny Hathaway LIve.”Gregory Porter: Band on the Wall, Manchester, 13th June 2012Donny Hathaway: Live - released 1972Gregory Porter
  • “My record of import is one I heard in 1962 when I heard the melody played by Yusef Lateef on oboe.I later found out the record he made on this disc was called ‘Going Home’ which is one of the movements from a Dvorak Symphony.So I went out and bought the disc – that would have to be done by Leonard Bernstein and The New York Philharmonic when they do the four movements of the Dvorak New World Symphony - and among these four movements is that melody called Going HomeThe story is that Antonin Dvorak came to the States - to New York, heard some blues people and went back to his hometown in Europe and wrote this melody – we call it ‘Gong Home’I’ve since recorded it on a record of mine called Orfeu with Bill Frisell on guitar, Houston Person on saxophone and my working quartet.It’s a great view of a classical melody interpreted by jazz musicians who are always, going home.”Ron Carter: At home New York City, 1st April 2014Antonin Dvorak: New World Symphony composed 1893Ron CarterLeonard Bernstein
  • {quote}I thought I'd select one of my more contemporary recent favourite albums.In terms of the jazz idiom this was a statement of intent really from Wynton at the point it dropped. I think as an example of all of them playing as young lions Jeff 'Tain' Watts, Kenny Kirkland, Charnet Moffat all playing really at the peak of their powers and of course Branford who's  a massive influence on me.I think it's a really good example of not just the virtuosity of their playing and writing these great compositions - but also having a kind of political conciousness that's sadly bereft from alot of modern jazz - (that is) an attempt to make people think about what the thoughts are behind the music.{quote}Soweto Kinch: Hockley Circus, Birmingham, 5th August 2011Wynton Marsalis: Black Codes (From the Underground) released 1985Soweto Kinch
  • ABOUT
  • ONE LP PORTRAITS
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      • A - B
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        • MARCUS MILLER
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        • RUTH PRICE
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