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September 27 2013

T'as jamais entendu une chanson faite de bouffe libanaise, chantée « en arabe » par un noir américain…

T’as jamais entendu une #chanson faite de bouffe libanaise, chantée « en arabe » par un noir américain ? Heureusement que #Slim-Gaillard a inventé ça pour toi.

Yip Roc Heresy - Slim Gaillard c.1951 - YouTube

#jazz #musique #1951

July 12 2013

"Le son n'est que vibration n'est-ce pas ? Pourquoi ne pas l'avoir dit avant ? Ca ne réveille pas…

« Le son n’est que vibration n’est-ce pas ? Pourquoi ne pas l’avoir dit avant ? Ca ne réveille pas l’imagination ? »

« Entre dans la chambre anéchoïque... écoute ton système nerveux en action. Et écoute ton sang... En circulation... »

John Cage

Pour une approche poétique et esthétique de la musique
Sound ?? : John Cage et Roland Kirk de Dick Fontaine(1966)

« Sound ?? » est un des plus beaux films jamais réalisés sur la #musique, toutes les #musiques. Et c’est peut-être parce qu’il pose l’idée de son, bien plus que de musique, qu’il peut aller aussi loin, fort de deux points d’interrogation qui laissent rêveur et ouvrent vers un questionnement poétique plus que purement esthétique. « #Sound ?? » est d’abord un casting de choc, et même a priori de choc culturel intense, avec un #John_Cage tout en aphorismes profonds et un #Roland_Kirk tout en liesse d’un #hard_bop débarrassé des conventions. Deux figures #iconoclastes certifiées. Mais pour Kirk, ici, une réhabilitation salutaire.

Rahsaan Roland Kirk était un multi-instrumentiste qui jouait de plusieurs embouchures en même temps. Les puristes du jazz n’y voyaient souvent qu’une exubérance futile, au mieux un phénomène de foire virtuose. Si Kirk était hors des radicalités initiées en 1960 par un Ornette Coleman avec #free_jazz, loin aussi de la mystique enragée d’un #John_Coltrane dernière période, il était un visionnaire et passeur sans équivalent. Du fait peut-être de sa cécité, il savait associer au mieux sa musique aux sonorités de son environnement urbain. A cet égard, la communion sonore de Kirk avec les #oiseaux, éléphants et surtout une meute de #loups d’un parc zoologique est un pur moment de bonheur.

Le tour de force de Fontaine, outre l’élégance du montage, c’est de donner la réplique à Cage, de suggérer tout son univers en montrant un autre musicien, un deuxième monde qu’on aurait tort de croire éloigné du premier. A la fin du film, les deux mondes se croisent dans une chambre sourde, une de ces salles anéchoïdes où nulle réverbération sonore n’est possible. Et Cage de crier, avec toutes les forces de l’univers derrière lui et jusqu’au dernier battement de cœur : « Le silence n’existe pas. »

#Jazz #Musique_expérimentale #Avant-Garde #Film #Documentaire #Vidéo

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February 26 2013

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Art Blakey & The Jazz Messengers - Live Italy, Sanremo 23-03-1963 - YouTube


// Music starts at 4.30 min
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January 23 2013

May 20 2012

This week's cultural highlights: The Raid and Bath festival jazz weekend

Our critics' picks of this week's openings, plus your last chance to see and what to book now

• Which cultural events are in your diary this week? Tell us in the comments below

Opening this week


Wah! Wah! Girls
British musical meets Bollywood in new love-against-the-odds show set in the East End of London with a cast of 14, almost all British Asians and a Polish handyman. Peacock,London, Thursday to 23 June.

Laura Wade has updated her Royal Court hit to point the spotlight once again on the Oxbridge dining clubs that spawned the posh boys currently in power. Duke of Yorks theatre, London, until 4 August.

John Simm stars in Harold Pinter's semi-autobiographical play about an adulterous love affair. The power of the piece is that it works backwards from its bitter end to the moment the affair first sparked. Crucible, Sheffield, until 9 June.


The Raid (dir. Gareth Evans)
Brilliant martial arts bulletfest from Indonesia that puts western action movies to shame. Welsh director Evans orchestrates nail-biting sequences. Out now.


The Royal Ballet Ballo Della Regina and La Sylphide
Romantic illusion and virtuosity combine in this double bill of works by George Balanchine and August Bournonville. Royal Opera House, London, in rep from Monday until 15 June.

Emio Greco/PC: Rocco
Dance is reconfigured as a boxing match in this new work from Emio Greco and Pieter C Scholten, inspired by Visconti's film Rocco and His Brothers, about a prostitute who brings trouble to the siblings. Queen Elizabeth Hall, Southbank Centre, London , Tuesday and Wednesday.


The British premiere of Detlev Glanert's 2005 opera based upon the play by Albert Camus. Peter Coleman-Wright is the crazed Roman emperor in Benedict Andrews's production for ENO, with Ryan Wigglesworth conducting. Coliseum, London, Friday until 14 June.

Philip Glass at 75
The latest instalment of Glasgow survey of minimalism pays a birthday tribute to one of its founding fathers, including the British premiere of his Sixth Symphony, the Kronos Quartet playing his film score to Bela Lugosi's Dracula, and the man himself giving a solo piano recital. Royal Concert Hall and City Halls, Glasgow (0141-353 8000), Thursday to Saturday.


Arve Henriksen/Trio Mediaeval
Norwegian trumpeter Henriksen has taken the ambiguous, muted sound of Miles Davis as adapted by his fellow-countryman Nils Petter Molvaer, and given it a unique contemporary spin with the help of ingenious electronics, and a world-music perspective that includes study of the ethereal Japanese shakuhachi flute. He lends his inimitable variations to the early-music vocals and plainsong of Trio Mediaeval. Sage, Gateshead, Monday. Then touring.

Visual art

The Historical Box
Dissident American art created in the aftermath of Vietnam, 1960s performance and the feminist revolution – mangled things and angry things, from a time when art thought it could make a difference. Hauser & Wirth Piccadilly, London, Wednesday to 28 July.


The euphoric rock duo preview forthcoming album Celebration Rock up and down the UK. Cooler, Bristol, tonight. Then touring until 29 May.

Jay-Z and Kanye West
Superstar rappers bring their Watch the Throne collaboration to London as a forerunner for gigs in Manchester, Birmingham and Sheffield next month. 02, London, tonight and tomorrow.

Last chance to see


Making Noise Quietly
Robert Holman's exquisite triptych of mini-dramas that explores what it means to be human in a violent world. Just beautiful. Donmar, London, until Saturday.


Breathing (dir. Karl Markovics)
A tremendous social-realist drama from Austria directed by actor-turned-director Markovics. An orphaned teenage criminal tries to discover his mother's identity.


The Flying Dutchman
The end of the first run of ENO's new production, much praised for Edward Gardner's conducting, and for performances by James Cresswell, Orla Boylan and Stuart Skelton. Coliseum, London , until Wednesday.


Lynne Arriale/Benny Golson
Arriale, a quietly forceful Bill Evans-influenced American pianist with a knack for unusual interpretation and evocative composing invites legendary saxist/composer Golson (the bluesy acid-jazz favourite Killer Joe is his) into her regular Convergence Quartet. Ronnie Scott's, London, Tuesday and Wednesday.


Elizabeth Price
Fetishised objects, great music, scenes in galleries – and in a drowned container ship. These are digital video installations with a hardcore hi-tech sheen from the 2012 Turner prize contender. Baltic, Gateshead, until Sunday.


The Horrors
Southend-on-Sea's post-punkers conclude the UK leg of their seemingly endless world tour. Brixton Academy, Friday.

Book now


Fuerza Bruta
Return of the rave show from the people who brought us the legendary De La Guarda. This isn't in the same league, but if you're looking for excitement and sensation, this shouldn't disappoint.Roundhouse, London, 27 December to 26 January.

Ben Hur
An impossible feat: a stage version of the epic novel featuring sea battles, Roman orgies and chariot-racing, all on a stage the size of a postage stamp. A cast of four play 12,059 characters! Should be fun. Watermill, Newbury (01635 46044), 22 June to 28 July


Flawless and English National Ballet: Time Is of the Essence
Ballet, street dance and acrobatics test out their mutual chemistry in this new collaboration choreographed by Marlon Wallen and Jenna Lee. HMV Hammersmith Apollo, London, , 1-2 JuneThen touring.


Spitalfields summer festival
This year's associate artists are the Gabrieli Consort and Players, cellist Matthew Barley and composer Talvin Singh; plus there's a wide range of choral music, from the renaissance to the present day, with new works from Alec Roth, Huw Watkins and Nicola LeFanu. Various venues, London, 8-23 June.


Bath festival jazz weekend
This festival always features a wide-ranging jazz weekend: this year's includes saxophonist Jason Yarde's subtle duo with pianist Andrew McCormack, Courtney Pine's genre-bending Europa, pianists Stan Tracey, Tord Gustavsen, Gwilym Simcock and Zoe Rahman, along with Manchester's acclaimed young Beats & Pieces big band. Various venues, Bath, 2-4 June.


Wide Open School
A hundred artists lead courses, lectures and demonstrations open to the public. Get down and dirty with the Gelitin group, take a course in queer home economics, cook offal with Yto Barrada, learn about energy not quality with Thomas Hirschhorn. Hayward, London , 11 June-11 July.


Richard Hawley
The bequiffed son of Sheffield takes his latest album, Standing at the Sky's Edge, out for an autumn jaunt. Tour begins at Holmfirth Picture House, West Yorkshire, 16 September. © 2012 Guardian News and Media Limited or its affiliated companies. All rights reserved. | Use of this content is subject to our Terms & Conditions | More Feeds

March 31 2012

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Friedrich Gulda & Herbie Hancock - All Blues (Miles Davis)

YouTube permalink

Hochgeladen von Neidhardt84 am 21.05.2009

Salzburger Festspiele, 1989.

March 28 2012

Play fullscreen
Dizzy Gillespie on the Bahá'í Faith |

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March 25 2012

This week's cultural highlights: Roberto Fonseca and Laura

Our critics' picks of this week's openings, plus your last chance to see and what to book now

• Which cultural events are in your diary this week? Tell us in the comments below

Opening this week


I Dreamed a Dream
SuBo is played by Elaine C Smith in this new musical based on the life of the Britain's Got Talent sensation, who has given her personal endorsement to this money-spinner – sorry, show. Theatre Royal, Newcastle (0844 811 2121), until 31 March, then touring.

Fierce festival
Birmingham gets ready for boundary-busting performances from UK and international performers, including Ann Liv Young, Playgroup and Graeme Miller. The festival takes place in unusual spaces all across the city, including the soon to be demolished library and under Spaghetti Junction. Various locations, Birmingham, Thursday to 8 April.


The Hunger Games (dir. Gary Ross)
Suzanne Collins's teen bestseller is turned into an exciting dystopian thriller. Jennifer Lawrence stars.


English National Ballet: Beyond Ballets Russes
The second programme of this ambitious mix of revivals and reinventions from the great Diaghilev legend. Coliseum London WC2 (0871-911 0200), 28 March to 1 April.

New Dance Commissions
Enterprising selection of new work commissioned by ROH2 from Sarah Dowling, Laila Diallo and Freddie Opoku-Addaie. Linbury Studio Theatre, London WC2 (020-7304 4000), 29-31 March.


Valery Gergiev and the Mariinsky Opera give concert performances of Wagner's final stage work, followed in Cardiff the next day by Mahler's Eighth Symphony, and in London by Verdi's Requiem. Millennium Centre, Cardiff (029 2063 6464), Saturday. Then touring to London and Birmingham until 6 April.

Pacifica Quartet
The US group return to complete their Shostakovich cycle with the Ninth to the 15th Quartets. Wigmore Hall, London W1 (020-7935 2141), 26 and 28-29 March.


Roberto Fonseca
The piano star and Buena Vista sideman takes Cuban jazz and dance traditions and wrenches them into new identities – mixing in electronica with familiar guitar and percussion sounds, reconnecting Cuban music to traditional and contemporary Africa, and leading a thrilling band promoting his new Yo album. Barbican, London EC2 (020-7638 8891) Monday, then touring to 1 April.


Odd Future
Overhyped or hip-hop's big hope? Perhaps the response to the controversial LA rappers' first major label album, The OF Tape 2, will decide it. Tour begins at O2 Academy, Birmingham (0121-622 8250), 28 March.

One-off Teenage Cancer Trust gig by beloved, reconstituted national treasures. Royal Albert Hall, London SW7 (0845 4015034), 31 March.

Visual art

Gillian Wearing
Private lives and public personas, false identities and intimate confessions are at the heart of Wearing's humane and humorous art. This major survey of the Turner-prize winning artist also includes new films and sculptures. Whitechapel gallery, London E1 (020-7522 7888), 28 March to 17 June.

Last chance to see


Cold war politics and flawed West German chancellor Willy Brandt are examined in Michael Frayn's intelligent 2003 play, which gets a masterly revival from Paul Miller. Crucible, Sheffield (0114-249 6000), until 31 March.

Uncle Vanya
Roger Allam, Dervla Kirwan and Timothy West lead the cast in the first production of the 50th Chichester festival season. With so many West End transfers (Sweeney Tood, Singing in the Rain and The Browning Version/South Downs), Jonathan Church's outfit should be enjoying a golden 50th birthday. Minerva, Chichester (01243 781312), 30 March to 28 April.


Laura (dir. Otto Preminger)
This rereleased 1940s noir classic of obsession is a must-see. A cop becomes obsessed with the memory of Laura (Gene Tierney), a murdered ad executive.


The Rake's Progress
A brief run for David McVicar's coolly stylish new production for Scottish Opera, with Edgaras Montvidas as Tom Rakewell and Steven Page as Nick Shadow. Festival Theatre, Edinburgh (0131-529 6000), on 27, 29 and 31 March.


Ambrose Akinmusire Quintet
Young American trumpeter Akinmusire made waves in 2011 for the remarkable purity of his tone, coupled with a punchy American postbop feel laid down by a powerful band of long-time friends. Another original, UK pianist Robert Mitchell, shares this tour. Ronnie Scott's, London W1 (020-7439 0747), 26 March, then touring until 29 March.


Canadian singer-songwriter is fantastic live, exploring darker, bleaker waters on recent album Metals. Tour ends 27 March at Royal Concert Hall, Glasgow (0844 847 2487).

Pokey LaFarge
Acclaimed St Louis country-blues and string-band revivalists do not exactly reinvent the wheel, but are a treat on stage. Tour ends at Concorde 2, Brighton (01273 673311), 28 March.

Book now


What the Butler Saw
Sean Foley directs a revival of Joe Orton's dark farce, a Freudian nightmare involving cross-dressing, perversion and Sir Winston Churchill's penis. Omid Djalili plays Dr Rance, the government official sent to investigate dodgy dealings at a private psychiatric clinic. Vaudeville, London WC2 (0844 412 4663), 4 May to 25 August.

2008: Macbeth
Grzegorz Jarzyna's version of Sarah Kane's 4.48 Psychosis was a wonder, and now he and Poland's TR Warszawa return to the Edinburgh international festival with a contemporary take on Shakespeare's play set in the Middle East. Royal Highland Centre, Ingliston (0131-473 2000), 11-18 August.

Gulliver's Travels
Romanian director Silviu Purcarete's production of Faust was quite something, certainly memorable for its excesses if not its content. Now EIF gets the premiere of his new version of Jonathan Swift's savage political satire. King's Theatre, Edinburgh (0131-473 2000), 17-20 August.


Into the Abyss (dir. Werner Herzog)
Werner Herzog probes the dark heart of humanity and society with his death-row interviews. Why do people kill?


Royal Ballet of Flanders: Artifact
A rare UK showing for the first work created by William Forsythe when he was appointed director of the Frankfurt Ballet. Back in 1984, it set down a clear marker of Forsythe's postmodern ambitions, and it still looks subversive today. Sadler's Wells, London EC1 (0844 412 4300), from 19 April.


Bow Down
The Opera Group and London Sinfonietta combine for Frederic Wake-Walker's new production of Harrison Birtwistle and Tony Harrison's hauntingly unclassifiable 1980s theatre piece. Brighton festival, (01273 709709), 17-18 May; Norfolk and Norwich festival (01603 766400), 20-21 May.


Cheltenham jazz festival
Guest director Jamie Cullum curates an all-star international jazz lineup, with artists including former Miles Davis producer/bassist Marcus Miller, guitarist Bill Frisell's Beautiful Dreamers trio, a new Radio 3 commission for UK piano giant John Taylor, cutting-edge US pianist Vijay Iyer with radical saxophonist Steve Lehman, a showcase for new musicians from Norway and much more. Montpellier Gardens, Gloucestershire (0844 880 8094), 2-7 May.


The Charlatans
Tim Burgess's Lambchop-assisted second solo album is more hotly anticipated than you might expect, but at these gigs the Charlatans play their Britpop-era hit album Tellin' Stories. Tour begins 8 June at Hammersmith Apollo, London (0844 844 4748).

Visual art

Hans-Peter Feldmann
Feldmann is a collector of everything from the contents of women's handbags to the views from hotel rooms, seascapes and snatched moments. The Dusseldorf-born artist is part installationist, part joker, part archaeologist of the fleeting moment. Serpentine Gallery, London W2 (020-7402 6075), 11 April to 3 June. © 2012 Guardian News and Media Limited or its affiliated companies. All rights reserved. | Use of this content is subject to our Terms & Conditions | More Feeds

August 25 2011

Bill Frisell: Sign of Life: Music for the 858 Quartet – review


Guitarist Bill Frisell formed this occasional group in 2002 to produce music inspired by eight Gerhard Richter abstract paintings entitled 858-1 to 858-8, which were eventually packaged as the 2005 CD Richter 858. Though hints of Frisell's famous country-jazz impressionism and waltzing momentum were present, this was music far closer to the cool ambiguities of the paintings themselves. The lineup included guitar, violin, viola and cello, so they were, in effect, an electric guitar-led string quartet, and played with an idiosyncratic, folksy, contemporary-classical solemnity. This is the group's first recording since, and though that atmosphere remains, it's infused with rootsier references and more explicit warmth. These 17 short pieces sometimes sound like wistful, eerie country music, at times with Celtic inflections. Frisell hardly solos, and mostly restricts himself to shimmering, pinging and warped chord sounds within the loose, collective slow-whirl. But the pieces (all Frisell originals) are absorbingly different, from the softly ringing, classical-sounding Wonderland, through Mother Daughter, with its low guitar throb, to the breezy chamber hoedown of Suitcase in My Head and the lyrical romantic blues of A Friend of Mine. It's yet another testament to Frisell's versatility.

Rating: 4/5 © Guardian News & Media Limited 2011 | Use of this content is subject to our Terms & Conditions | More Feeds

July 08 2011

Mike Figgis: My family values

The director talks about his family

Dad was a good writer, a reasonable jazz pianist and my mother was a beautiful woman and a brilliant typist. She worked for Hemingway for a while in Nairobi, and was a great storyteller. When Hemingway had an accident and burned his hands very badly, my mother was sent to do his typing for him and they had this mad ... well, I don't know how far their relationship went, but he wrote beautiful letters to her from Cuba after he'd left. My youngest sister had just been born, so there was always this "Hemingway thing" in the house. He was my sister's godfather.

I've always been fascinated with the internal workings of relationships. You can never presume to understand the secrets of a marriage. Once that door closes, you don't know what goes on. Also I grew up in Africa, then moved back to a very working-class area of England, where I promptly got the shit kicked out of me for the first few months until I learned how to "become one of the lads", though never really. So I always made a habit of watching people and observing them and noticing those moments that give them away. It's all about what's behind the facade.

I went to Kenya when I was six months old. My father was an Irish colonial who had been educated in England. He was a pilot during the war, and became an alcoholic. He tried to pick up the pieces after the war. He was only 17 when he started flying and to please his father, attempted to become a lawyer, like the rest of his family. He went back to Nairobi, where my grandparents were prominent, and at that time Nairobi was this swinging city. I grew up in this environment in a huge house, with servants, and it was just one big party.

My grandfather founded the largest law practice in Nairobi, so Dad got away with murder. He was sort of the black sheep of the family and occasionally worked as a jazz DJ, which is where I got my love of jazz. His record collection is amazing. I've still got it, all the old 78s. He had a very precise ear for music. He'd put on a record and say to me, "OK, just listen to what the bass player is doing. Cut everything else out." If you start at that age, you do develop an ear. Around the time I was 11, they had auditions for a band in school and, from there on, I was a musician.

We moved back to England because of debt. By then, Dad couldn't hold them off any longer. It would be fair to say we fled, leaving unpaid debts with a rich grandmother who refused to pay. I remember going to the airport saying, "But why do we have to hide under a blanket?" Then we arrived back in the north of England, just before Christmas, and I saw my first snow. We stayed with my mother's mother, who was very Christian and disapproving of my father's colonial ways. He was not welcome, but my five siblings, my mother and I bunked down with relatives for a while before getting a council house.

Being a parent can only be a shock of the first order. I was neither strict nor laidback. You take each situation on its merits and deal with it, with love and as much kindness as you can. Finding some sort of balance in family life and working long hours in films on location was trying. But that is the eternal challenge of family. You hope it will work out all right in the end. You try to learn and take the good and avoid the things that were painful to yourself. But ultimately it's about your own kids and who they are as individuals, not to impose your own stuff too much. One of the lessons I learned from my own parents is to never depend on parents.

Mike Figgis: Kate & Other Women, The Little Black Gallery, London SW10 ( until 30 July © Guardian News & Media Limited 2011 | Use of this content is subject to our Terms & Conditions | More Feeds

July 06 2011

Miles Davis - Mystery
Reposted frominsideX insideX

April 26 2011


Ordinary finds - Mal Waldron: For Every Man, There’s a Woman - from...

Mal Waldron: For Every Man, There’s a Woman - from Mal / 3 Sounds (Recorded in Hackensack, NJ; Jan 31, 1958)

Personnel: Mal Waldron — piano; Art Farmer — trumpet; Eric Dixon — flute;  Calo Scott — cello; Julian Euell — bass; Elvin Jones — drums; Elaine Waldron — vocal

(via jessiethejazz)

March 31 2011

Ad Lib On Nippon

Reposted fromreckon reckon

March 25 2011


March 23 2011


March 04 2011

2183 c04d 500


 Ella Fitzgerald in Milan, 1968. Photographed by Roberto Polillo.

Reposted fromStellaVista StellaVista

January 24 2011


January 19 2011

January 17 2011

George Pickow and all that jazz

We take a trip through the late photographer and film-maker's eclectic work, recording folk culture in Europe, the US and beyond

January 13 2011

George Pickow obituary

US photographer and film-maker who chronicled the heyday of folk and jazz

George Pickow, who has died aged 88, was a photographer and film-maker whose images were used on many album covers in the US – jazz, folk and pop – and who made a significant contribution to the film Festival (1967), which chronicled the Newport folk festival in its heyday. As the husband of the Kentucky-born folk singer Jean Ritchie, he was able to gain access to informal music-making, both in the Ritchie family home, and in Britain and Ireland during a visit made by Ritchie in the early 1950s.

Pickow was born in Los Angeles, but grew up in New York, where he studied art. During the second world war he made training films for the US navy. Although never a musician himself, he loved jazz and blues, and his first exposure to folk music was in the early 1940s, when he heard Woody Guthrie and Cisco Houston at the leftwing Camp Unity in upstate New York.

At a square dance in 1948 he met Ritchie, who came from a large Kentucky family whose members had sung for the English folk collector Cecil Sharp in 1917, and again for the American folklorist Alan Lomax. With her large repertoire of Anglo-American balladry, Ritchie was lauded by the emerging American folk scene in Greenwich Village, New York.

Eager to discover the origins of her songs, Ritchie, accompanied by Pickow – they married in 1950 – spent more than a year in Britain and Ireland in 1952-53, funded by a Fulbright scholarship. Pickow worked with Lomax (based in Britain for much of the 50s) and the English folk collector Peter Kennedy to film a Cornish folk custom, the Padstow Obby Oss (hobby horse). The result, Oss Oss Wee Oss (1953), remains an important ethnographic record, excerpts from which were shown recently on the BBC television documentary Still Folk Dancing After All These Years. Pickow also filmed the Dartmoor folk singer Bill Westaway, whose family's version of Widecombe Fair helped to popularise the song, and provided inspiration for Kennedy and others to film English folk singers and customs.

In Ireland, Pickow photographed singers and musicians visited by Ritchie, such as the uillean piper Séamus Ennis and the singer Sarah Makem, mother of Tommy, as well as Irish rural scenes. Pickow's Irish photographs are deposited in the library of the National University of Ireland, Galway.

Back in the US, Pickow took photographs of jazz, pop and rock singers including Louis Armstrong, Tony Bennett, Nina Simone, Little Richard, Dizzy Gillespie, Louis Jordan and Lena Horne, as well as the folk singers Pete Seeger, Josh White and Judy Collins, and many of his photographs graced their album covers. He also photographed visual artists such as Edward Hopper and Thomas Hart Benton.

Pickow travelled to Mexico, Peru, the new state of Israel in 1948 and Turkey, as well as Europe, taking photographs. Whenever the opportunity arose, he photographed musicians, local celebrations and ordinary people at work. His photographs were published in Life magazine, National Geographic and Cosmopolitan, and he was the principal photographer, and later partner, of the Three Lions picture agency.

Pickow was associate producer and one of the cameramen for Murray Lerner's film Festival, about the Newport folk festival between 1963 and 1966, when the commercial, political and ethnic aspects of the American folk revival came together at a single event. The film captures performers including Bob Dylan, Joan Baez, Johnny Cash and Peter, Paul and Mary. Pickow's camera work was also used in the 2007 film The Other Side of the Mirror: Bob Dylan Live at the Newport Folk Festival. Pickow also filmed Ballads, Blues and Bluegrass (1961), directed by Lomax, featuring singers including Doc Watson and Jack Elliott.

Ritchie popularised the Appalachian dulcimer for folk song accompaniment, but as there were no manufacturers of the instrument, Pickow made a copy of Ritchie's dulcimer and supervised a small-scale business that supplied the burgeoning folk market. He supplied the photographs for Ritchie's songbooks, including The Swapping Song Book (1952) and Folk Songs of the Southern Appalachians (1965), as well as for The Dulcimer Book (1963).

Pickow is survived by Ritchie and their sons, Jon and Peter.

• George Pickow, photographer and film-maker, born 11 February 1922; died 10 December 2010 © Guardian News & Media Limited 2011 | Use of this content is subject to our Terms & Conditions | More Feeds

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