A Great Day in Harlem: Capturing the Heartbeat of Jazz
On August 12, 1958, a remarkable event in the history of jazz and photography took place at 17 East 126th Street, between Fifth and Madison Avenue, in Harlem, New York. It was the day freelance photographer Art Kane, on commission from Esquire magazine, captured one of the most iconic images in jazz history. This photograph, known as “A Great Day in Harlem,” features 57 of the most influential jazz musicians of the time, creating a timeless snapshot of an era.
The Conception of the Iconic Photograph
The idea for the photograph did not originate with Kane but with Esquire’s art director, Robert Benton. However, it was Kane who brought the vision to life, choosing the location and orchestrating the shoot. Despite his lack of certainty about who would attend, Kane’s choice of location—a street in Harlem, historically a center for African-American culture and jazz—was a masterstroke. Harlem had been a hotbed of jazz in the 1940s, though by 1957 it had lost some of its musical vibrancy to Midtown Manhattan’s 52nd Street. Nonetheless, the location carried a powerful symbolic weight, representing the roots and soul of jazz.(From left) Eddie Locke, Jay C Higginbotham, Charles Mingus, Ernie Wilkins, Bill Crump. ‘
Eddie Locke told me he rounded the corner of 126th Street … and nearly fainted. The giants of jazz! His heroes. Right there! Basie, Dizzy, Monk, Pres, The Hawk, Blakey, Joe Jones and on and on. Knees knocking, he said he almost fled … not feeling like he belonged in that gathering of titans. But then he spotted another young lion, Horace Silver, who he had gigged with, so he made his way over and stood with his friend, taking his place in that historic moment’ – Jonathan Kane (Art’s son)
Gathering the Legends
Esquire’s staff issued a general invitation to jazz musicians through local unions, recording studios, music writers, and nightclub owners. The response was astounding. On that sunny August morning, 57 jazz musicians gathered, creating a unique assembly of talent that included legends like Dizzy Gillespie, Thelonious Monk, Charles Mingus, and Count Basie. The atmosphere was electric, filled with camaraderie and the shared legacy of jazz.
The Photograph
Kane used a Hasselblad camera to capture the image, which was published as the centerfold in the January 1959 issue of Esquire, themed “The Golden Age of Jazz.” The photograph earned Kane his first Art Directors Club of New York gold medal for photography, cementing its place in both photographic and musical history.
The composition of the photograph is a study in both spontaneity and structure. The musicians are casually arranged on the steps and sidewalk, some standing, some sitting, others chatting, laughing, or holding their instruments. This seemingly informal arrangement belies the complexity of the task Kane faced in coordinating such a large group. The result is a vibrant tapestry of personalities, each contributing to the collective aura of the jazz community.
‘Black and white: two colours forbidden to be in close proximity, yet captured so beautifully within a single black and white frame. The importance of this photo transcends time and location, leaving it to become not only a symbolic piece of art but a piece of history’ – Quincy Jones
‘There was going to be an unusual shooting of a photograph for Esquire Magazine and I was being invited to be a part of it. I couldn’t believe it! Nobody really knew me that early in my career. But zippo, I was there on the intended date. When I arrived, there were all of my heroes’ – Benny Golson
Luckey Roberts, Willie ‘The Lion’ Smith
Anachronism and Nostalgia
The photograph represents something of an anachronism. By 1958, Harlem was no longer the epicenter of jazz it had been in previous decades. Many musicians had moved to other parts of New York, pursuing opportunities in more affluent neighborhoods or more vibrant music scenes. Yet, the image evokes a deep sense of nostalgia, capturing a moment of unity and celebration among the jazz greats, regardless of the changing geographical and cultural landscape of the music.
Front row, from left: Stuff Smith, Marian McPartland, Miff Mole, Gene Krupa, Jimmy Rushing, Roy Eldridge, Max Kaminsky, Hilton Jefferson. Laughing on the right, up the stairs, is Dizzy Gillespie.
‘It would be sort of a graduation photo or class picture of all the jazz musicians. After I thought about it some more I decided they should get together in Harlem. After all, that’s where jazz started when it came to New York’ – Art Kane
Dizzy Gillespie crossing the street with a camera. ‘
The fact that all 57 musicians agreed to show up for a 10am photoshoot is a true testament to how dedicated they were. These musicians did not gather together on this early morning because they thought they would be paid or instantly be made an international superstar. Rather, they did it to celebrate the golden age of jazz and all that it stood for. Jazz was never just a genre, it was a way of life. And it still is’ – Quincy Jones
‘I have no idea how they decided to stand where they did, and with whom, but they did. Slowly they formed themselves into a big group … and I saw they couldn’t have got themselves into a better position’ – Art Kane
Count Basie’s hat was repeatedly stolen by local kids until Kane surrendered and put them in the shot too.
‘So here you have a non-professional photographer, who’s got an assistant who’s never loaded a camera before, taking this picture which 30 years later is probably the best-known group photograph ever taken of jazz musicians’ – Art Kane
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