ONE LP

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

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 

  • {quote}Brilliant Corners' by Thelonious Monk. Why this album is so special for me is because when I first heard it - it sounded all wrong but it pricked my conscience you know.The actual tune 'Brilliant Corners'  - I didn't understand it because it wasn't even and symmetrical like most standards are - or most compositions are. Very quirky and the strongest link all his compositions was the melodies you know; the strong sense of melody and time - and the feel - and dissonance. So, that was the album for me and that really got me into jazz and made me.... kind of like think.... this is what I want to be when I grow up.{quote}WE  So, it's through the intrigue of the album almost?TK   Yes yes - absolute intrigue. 100% total intrigue. When I first heard it I didn't like it but then when I investigated I realised that it challenged me and so I went for that challenge and start learning about Monk and studying Monk. So it was total intrigue, you know sometimes the thing that intrigues you most is the thing that grabs you, you know, the most - so Brilliant Corners is one.{quote}Tony Kofi: The Spa, Scarborough, 26th September 2015Theloniuos Monk: Brilliant Corners  released 1957Tony Kofi
  • “It's a Cannonball Adderley record called 'Things Are Getting Better'. And I guess the reason it's so special was I had been taking lessons when I was in High School with a friend of my band director who was a saxophone player who had just moved back from New York.  And he had an amazing record collection and he would loan me records to listen to each week, but that record was like the first jazz record I bought literally and I ordered it through the mail and I was just so excited and I just remember like waiting for days - and it seemed like months before it came but I remember we were sitting down at dinner and the bell in the door rang and I knew it was the delivery of the record and I remember just jumping up from the table and going and getting it and just - I don't know something about the act of opening the package and holding you know - it was like one of my first records you know that was mine.  And there's a picture of him and you know he's holding the horn out in front of him and so the horn looks huge.  And it's just a great record you know and I listened to it every day for months you know and yeah - just loved it.”Chris Cheek: The Spa Scarborough 27th September 2015Cannonball Adderley: Things Are Getting Better  released 1958Chris Cheek
  • Mr Bailey had to chose two - what can I say? I love these too.Return to Forever - Romantic WarriorWeather Report - Heavy Weather“The two favourite records I have are Heavy Weather by Weather Report and Romantic Warrior by Return to Forever, and I can’t pick one over the other. It’s not anything that complicated, those records spoke to who I really I am which is sort in between being a jazz guy and a funk guy.I love jazz but I love the groove too both those records have incredibly high level of musicianship but always nice feeling.The music after a while got real technical and a lot of guys who had a lot of technique but not the soul, the feeling and the groove.And those two bands had feeling and groove and soul. The compositions were good music – the difference between being heavy and (just) trying to be heavy.Those guys were heavy weight musicians if you look at a record like Heavy Weather none of those songs are complicated and none of them are technical - it’s just really great music.A lot of the Return to Forever music on Romantic Warrior was technically complicated but still good melodies, good music.And of course Stanley Clarke and Jaco were just phew - way beyond.I was already playing like that – playing melodically, playing solos - exploring possibilities on the instrument and Stanley and Jaco and Alphonso Johnson - who was my other favourite were doing exactly the same thing I was doing - but a thousand times better.So the combination of those guys playing bass and the great music and of course everybody else’s performances – Chick, Lenny White and Al Di Meola on the Return to Forever and then with Weather Report – Zawinul, Wayne Shorter, Manolo, Alex Acuña on the drums – just great great music.I like the exploration that goes on in jazz - but still with the groove and with some feeling and some soul and those two records for me do it more than anything else – so that’s it!”Victor Bailey: Band on the Wall, Manchester, 4th November 2011Weather Report: Heavy Weather released 1977Return to Forever: Romantic Warrior released 1976Victor Bailey
  • {quote}Well actually when you introduced the project, I thought - 'I could really work at this - and that would be too much of a challenge!' Or I could just go with what popped into my head, and a very interesting one did. It's 'Out There' by Eric Dolphy. And the reason I think it was a very influential album for me was the instrumentation really. The unusual sonority of cello, bass, bass clarinet - when he played bass clarinet or flute, when he played flute and a little bit of alto but, you know, the changing around - and the cello.So no chord playing instruments as such but just the way those instruments resonated with each other and the way of playing in the kind of post BeBop style - but nothing very formal . You now when I talk about the instruments you might think of it as sounding more like one of the more formally arranged West Coast jazz things that were kind of in that third stream pocket or something - but it wasn't at all. It was actually very New York, it was a bit odd, a bit scratchy - Ron Carter on cello - playing and so forth. But it had tremendous time and feel and it created a sound Universe for me beyond what I thought of as the instrumentarium - the sound universe of straight ahead jazz and yet it didn't sound like a classical cross over kind of thing - like the things that you know - my father was doing with Leonard Bernstein or even Gunther Schuller. It was its own space. 'Out There'  really influenced me to try and find those spaces myself.{quote}Darius Brubeck: The Spa, Scarborough, 27th September 2015Eric Dolphy: Out There  released 1960Darius Brubeck
  • {quote}Ok, I've thought long and hard about this and I thought to myself actually it would be Courtney Pine's 'Journey to the Urge Within', which was his first album that came out when I was at school. I'd been dabbling with a little bit of jazz at the time, I hadn't really had any idea about being a jazz musician and I think on hearing that album and hearing him playing that music live was the thing that kind of inspired me.  The thought 'You know actually I could do that too'.  So it holds a very special place in my heart as an album that kind of made me make the difference between deciding to be an engineer or being a musician.{quote}Denys Baptiste: The Spa Scarborough, 26th September 2015Courtney Pine: Journey To The Urge Within released 1986Denys Baptiste
  • “It's the Gerry Milligan and Chet Baker album. The very first one they made together in the early 1950's - it was the album that made Chet Baker the star - put him on the map. And I love it because it was really unusual. Gerry Mulligan was the ideas guy, was doing lots of arranging. He'd just been working with Miles Davis. And he didn't have a piano in his band so there was nothing in the rhythm section apart from bass and drums and then he was playing baritone sax and Chet was playing trumpet. Chet didn't really read music - he wasn't a theorist - but somehow they just instinctively just worked together. So things like Bernie's Tune and there's that solo and they were all just weaving in and out together. It's - ahh- its sublime and so, yeah, it's the thing that really does it for me. Makes me feel like a bit of a dinosaur - cos - oh I love 1950's music. But it's - yeah - it's what does it for me. It's laid back, it's quiet, it's not in your face. It's just beautiful.”Sue Richardson: The Spa Scarborough 26th September 2015Gerry Mulligan: The Original Quartet With Chet Baker released 1998Sue Richardson
  • “Herbie Hancock's ' My Point Of View', which was his second album as a leader. He was only 23 when he made it and one of the things I like about it is you're able to hear Herbie sort of right at the beginning of his career just as he started playing with Miles - and how exciting that is. There's everything, well everything is pretty fully formed for him. It's also a great example because he, in his first album and in his second album, didn't play any standards - which I love playing- he just played original music which, I think, he was encouraged to do by Blue Note. They could have just got him to record an album of standards but instead they encouraged him to do some of his original music, and that's one of the reasons why it's such a classic album. Also, like his first album, he had players of different generations on there. So Hank Mobley's on this album,  like Dexter Gordon was on his first album. And also it's got a very , sort of, wierd rhythm section that works but with Chick Israels and Tony Williams who, I don't think, ever played together in any other scenario, it sounds great.Anyway it's one of my favourite records - one of the first records I ever got.”Barry Green, The  Spa, Scarborough, 27th September 2015Herbie Hancock: 'My Point Of View'  released 1963Barry Green
  • {quote}It's Coltrane - 'Live at the Village Vanguard'  - the one from '61.  And, you know, it's special because when it came out I think he was constantly blowing everybody's mind but when he brought this out he blew everybody's mind!And you know - and their mother and father and grandmother, you know (laughs).  He just rewrote the whole thing - playing the saxophone like that and leading the band like that was never done until that record.  That was the template for like hot modern jazz from the 60's, you know, and up until now.  It's for me that's the height of the music you know and nobody has gotten that kind of playing to that level as yet, in my opinion you know. that's just - it's all - you know - it's one persons opinion - so a lot of people might disagree you know.  So, but that's it - that's why.  And it's what he's doing with the blues - what he's doing with the modal thing that he got from Miles - it's where he was taking it.  He was taking it elsewhere you know.  He was just going into all the different places that we who followed is attempting to continue and develop and go into there, you know, but him, Elvin, Jimmy Garrison and McCoy Tyner they were doing that in 1961 you know.  They started that ball rollin' for me, you know, and that's why I love it.{quote}Jean Toussaint, The Spa. Scarborough, 26th September 2015John Coltrane: Coltrane {quote}Live{quote} at the Village Vanguard  released 1962Jean Toussaint
  • When you first mentioned it I thought 'Oh my gosh' after all the many years of listening to music it's a real struggle to like pick one album out.  And my top two was Stevie Wonder's 'Songs In The Key Of Life' and George Benson's 'Weekend In LA' - and I'm a massive George Benson fan, and 'Song's In The Key Of Life' - I think it would be that album Stevie Wonder's 'Song's In The Key Of Life', Motown 1976.  It's just an absolutely amazing album. What I love about it is thematically, musically and also in terms of the lyrics and the themes - just amazing.I think the story behind in terms of - from what I've read - when Stevie approached Mr Gordy and said 'Look, I want to do this album..dah..dah..dah.. ' and he wasn't sure about it - which is natural when you think about the commercial, the economics .......  he said 'alright give it a go'. Went over budget but he decided that he would go with it and he hasn't looked back since, you know.That album is a ground breaking album and it's had a major impact on me in so many different ways.  The social messages from it - the social conscience messages, the humongous skill levels, in terms of the musicians - just amazing - the whole concept - fantastic, absolutely, yeah.  So that would be the worlds greatest album for me.{quote}Ciyo Brown: The Spa, Scarborough, 26th September 2015Stevie Wonder: Songs In the Key of Life   released 1976Ciyo Brown
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