Beginning April 5th, jazz and photography lovers will be in for a real treat when they visit the Fillmore's Jazz Heritage Center. In honor of Jazz Appreciation Month, the JHC is presenting Jazz Giants: The Photography of Herman Leonard—a collection of some of the greatest jazz photographs ever taken by one of America’s greatest living photographers. The show is Herman Leonard’s first in San Francisco since he briefly lived in the city twenty years ago. The exhibit includes more than forty classic black and white photographs of jazz legends, including Duke Ellington, Louis Armstrong, Miles Davis, Billie Holliday and Thelonious Monk. The images will be on exhibit April 5th - May 16th, in the JHC’s Lush Life Gallery and in the JHC’s Koret Heritage Lobby outside the entrance to Yoshi’s Jazz Club and Restaurant at 1320 Fillmore.

“Jazz Giants” is a photographic journey through the golden years of the Jazz, Blues and Bebop eras that document the larger-than-life legends that comprise the visual album of America's music. Focusing on the life and times of famed artists such as Billie Holiday, Duke Ellington and Thelonious Monk among countless others, this exhibition features a selection from Leonard's extensive photographic history. Using a unique lighting approach, Leonard's signature "backlighting" style and use of elements like smoke and strobe lighting gives his portraits a dramatic quality that is highly humanistic, capturing the illuminating personalities behind the music.

Born in Allentown, PA, Leonard discovered the camera at the young age of 11 and hasn’t stopped shooting since. While stationed in Burma in the Army Medical Corps during World War II he developed film late at night in his combat helmet. Leonard studied under famed Canadian portrait photographer Yousuf Karsh and had the invaluable opportunity to assist in shoots with Albert Einstein, Harry S. Truman and Clark Gable. It was from Karsh that Leonard received his most valuable advice as a photographer, to “tell the truth, but always in terms of beauty”. In the 1950s he became the personal photographer to Marlon Brando. Leonard’s fashion and advertising jobs have run in magazines like Life, Time and Playboy.

In 1956, Leonard moved to Paris and worked in advertising and fashion and for magazines including Life, Time and Playboy. After living in Europe for over 20 years, Leonard returned to the United States and settled in San Francisco and began printing his jazz negatives. In 1991, he moved to New Orleans after visiting the city for an exhibition of his work. Sadly, the devastation of Hurricane Katrina not only took his home, studio, and darkroom but over 6,000 of Leonard’s original photographs along with many of his exposure records were lost in the hurricane.

Leonard, now 87 and living in Los Angeles, continues to shoot, develop and exhibit his comprehensive archive. Most recently, the Smithsonian Institution honored Leonard by housing his entire collection in the permanent archives of musical history where they are considered as essential to American music history as Benny Goodman’s clarinet or Louis Armstrong’s horn. In October of 2008, Leonard was honored with a Lucie Award for his Lifetime Achievement in Portraiture. In June 2009 Leonard was awarded an Honorary Doctorate of Fine Arts degree by Ohio University, where he also delivered the 2009 Commencement Address.

The Herman Leonard Jazz Archive was established in 2007 and in 2008 was awarded a Grammy Foundation Grant for Archiving and Preservation. Herman’s goal through the archive is to bring his entire jazz collection, comprising a visual documentation of America’s original art form, back to life and preserve it for future generations.

There are some real gems in this exhibit, including some personal favorites; Billie Holliday cooking with her faithful dog "Mister" by her side; Duke Ellington, Benny Goodman and William Rodgers sitting front row for an Ella Fitzgerald concert; drummers Buddy Rich and Art Blakey flailing away ever so gracefully; vintage shots of Frank Sinatra and Tony Bennett; a backstage shot of the elegant Max Roach; a young Thelonious Monk scribbling on sheet music, and of course, Miles Davis, signing some of his artwork from the modern "Amandla" and "Tutu" era.

Leonard, like the great Life magazine photographer Gordon Parks, had a knack for being in the right place, at the right time. From Monte Carlo and Manhattan, to festivals in Paris and Newport, Leonard has captured and preserved one of the most important eras in jazz history. His work, like those musicians he so lovingly photographed, will thankfully never be forgotten.

Jazz Giants: The Photography of Herman Leonard
April 5th, 2010 - May 16, 2010
Fillmore Jazz Heritage Center
1300 Fillmore

I am going to miss Robert Culp. Alongside Bill Cosby in the award winning television series "I Spy", Culp was a heroic figure. As a child during the sixties, I was mesmerized watching the tennis player/spy Kelly Robinson and his coach/trainer/Rhodes Scholar/spy Alexander Scott, played by Cosby. No other television series before I Spy, had the racial equality, the chemistry and camaraderie of Culp and Cosby. The incredible music of Earle Hagen, (The Mod Squad, Andy Griffith, Dick Van Dyke, Danny Thomas and Mike Hammer), mixed with superb plots and filmed on locations around the world, made Culp and Cosby international stars in a world reeling from Vietnam, the 60's counter culture, cold war espionage and racism. Their portrayal set the stage for a new era in televison and civil rights.

I Spy ran from 1965-1968, 3 seasons in all. Culp's mix of comedy and wit were blended with drama, poignant and at times, bitter sweet successes. Culp wrote at least 7 of the 82 episodes and directed at least one. Working with Cosby surely had a positive effect on him, coining many Cosby-isms and integrating them into the character of Robinson. "Go for the wonderfulness of yourself", and "Hit that Fletcher before he wakes up" were two of my favorites.

There have already been many obituaries written about Culp, who died after collapsing outside his home in Los Angeles this week at the age of 79. I won't go into the history, his marriages, and lengthy TV and film career, hoverer I'll share my personal favorite Culp roles and performances, in no particular order. Clearly "I Spy" ranks highest among them for me, but there are others that will stand the test of time for me.

Hickey and Boggs (1972). This film reunites Culp and Cosby nearly five years after I Spy, this time as down and out, bitter gumshoes. Violent, grim and dark, it was directed by Culp, but features none of the humor and warmth of the their I Spy roles. Nevertheless, for Cosby and Culp fans it is brilliantly acted and the best post series pairing. 1994's "I Spy Returns" was almost as silly as their reunion on the Cosby show in 1999. Silly as they were however, I absolutely hated the 2002 "I Spy" remake with Eddie Murphy and Owen Wilson. We've come a long way since 1968, but not that far. Swapping character roles and adding the dumbest plot line ever, made this blasphemous vehicle for Murphy and Wilson one of their worst. I'll take the sillier, made-for-TV "I Spy Returns" over this film any day.

Hannie Caulder (1971). A western starring Raquel Welch as a woman who has been raped and husband is murdered, seeks revenge and learns the art of gun fighting from one Thomas Luther Price, played by Culp. It is one of Welch and Culp's best performances. Their brief romance and inevitable showdown with the evil Ernest Borgnine and Strother Martin is a Western classic. The music is haunting and a flashback montage that plays as Welch exacts her revenge and remembers everything Culp had taught her is one of the film's best moments.

The Outer Limits (1964). "The Demon With the Glass Hand" was written by sci-fi writer Harlan Ellison and is one of the greatest Outer Limits episodes ever made. Ellison actually wrote the story with Culp in mind. Culp plays Trent, a time traveling hero with a glass hand, tasked with preserving the human race. The episode won Ellison several awards and led to a decades long friendship with Culp. Does the plot line sound familiar? It certainly did to Ellison. Years later, Ellison would sue the producers of "The Terminator" for plagiarism and win, for an undisclosed amount.

Columbo (1971-1978). Starring actor Peter Falk, Columbo was the irritating police detective that would always solve the case. One of the things I didn't like about Columbo, is that unlike Perry Mason, you knew who did it in the first 5 minutes. The only question was how would Columbo figure it out? Robert Culp played a murderer in 3 different episodes as different characters, however in one episode, Culp comes up with the most ingenious murder I'd ever seen on Columbo. Culp creates an icicle in his freezer, murders his wife in a pool and throws the "murder weapon" in the pool to melt. No evidence. Damn that Columbo, he still figured it out!

1969's then-provocative "Bob and Carol and Ted and Alice" was one of Culp's biggest films, but didn't do much for me. I was never a fan of the TV series, "Greatest American Hero" (although Culp was hilarious in it), never watched him on "Everyone loves Raymond", and hated seeing him play a bad guy in "Bonanza", "Great Scout and Cathouse Thursday", or the "Pelican Brief". Although they bore some physical similarities, Culp was no relation to the actress Nancy Kulp of the "Beverly Hillbillies", despite rumors to the contrary.

I'll always remember a sunny day in Georgetown with some of my high school chums, and seeing the cool, calm and collected Culp walk by us with an astonished look on our faces. "Hey guys", he said, flashed that famous smile and walked away. Wonderfulness.

I am going to miss Robert Culp. Alongside Bill Cosby in the award winning television series "I Spy", Culp was a heroic figure. As a child during the sixties, I was mesmerized watching the tennis player/spy Kelly Robinson and his coach/trainer/Rhodes Scholar/spy Alexander Scott, played by Cosby. No other television series before I Spy, had the racial equality, the chemistry and camaraderie of Culp and Cosby. The incredible music of Earle Hagen, (The Mod Squad, Andy Griffith, Dick Van Dyke, Danny Thomas and Mike Hammer), mixed with superb plots and filmed on locations around the world, made Culp and Cosby international stars in a world reeling from Vietnam, the 60's counter culture, cold war espionage and racism. Their portrayal set the stage for a new era in televison and civil rights.

I Spy ran from 1965-1968, 3 seasons in all. Culp's mix of comedy and wit were blended with drama, poignant and at times, bitter sweet successes. Culp wrote at least 7 of the 82 episodes and directed at least one. Working with Cosby surely had a positive effect on him, coining many Cosby-isms and integrating them into the character of Robinson. "Go for the wonderfulness of yourself", and "Hit that Fletcher before he wakes up" were two of my favorites.

There have already been many obituaries written about Culp, who died after collapsing outside his home in Los Angeles this week at the age of 79. I won't go into the history, his marriages, and lengthy TV and film career, hoverer I'll share my personal favorite Culp roles and performances, in no particular order. Clearly "I Spy" ranks highest among them for me, but there are others that will stand the test of time for me.

Hickey and Boggs (1972). This film reunites Culp and Cosby nearly five years after I Spy, this time as down and out, bitter gumshoes. Violent, grim and dark, it was directed by Culp, but features none of the humor and warmth of the their I Spy roles. Nevertheless, for Cosby and Culp fans it is brilliantly acted and the best post series pairing. 1994's "I Spy Returns" was almost as silly as their reunion on the Cosby show in 1999. Silly as they were however, I absolutely hated the 2002 "I Spy" remake with Eddie Murphy and Owen Wilson. We've come a long way since 1968, but not that far. Swapping character roles and adding the dumbest plot line ever, made this blasphemous vehicle for Murphy and Wilson one of their worst. I'll take the sillier, made-for-TV "I Spy Returns" over this film any day.

Hannie Caulder (1971). A western starring Raquel Welch as a woman who has been raped and husband is murdered, seeks revenge and learns the art of gun fighting from one Thomas Luther Price, played by Culp. It is one of Welch and Culp's best performances. Their brief romance and inevitable showdown with the evil Ernest Borgnine and Strother Martin is a Western classic. The music is haunting and a flashback montage that plays as Welch exacts her revenge and remembers everything Culp had taught her is one of the film's best moments.

The Outer Limits (1964). "The Demon With the Glass Hand" was written by sci-fi writer Harlan Ellison and is one of the greatest Outer Limits episodes ever made. Ellison actually wrote the story with Culp in mind. Culp plays Trent, a time traveling hero with a glass hand, tasked with preserving the human race. The episode won Ellison several awards and led to a decades long friendship with Culp. Does the plot line sound familiar? It certainly did to Ellison. Years later, Ellison would sue the producers of "The Terminator" for plagiarism and win, for an undisclosed amount.

Columbo (1971-1978). Starring actor Peter Falk, Columbo was the irritating police detective that would always solve the case. One of the things I didn't like about Columbo, is that unlike Perry Mason, you knew who did it in the first 5 minutes. The only question was how would Columbo figure it out? Robert Culp played a murderer in 3 different episodes as different characters, however in one episode, Culp comes up with the most ingenious murder I'd ever seen on Columbo. Culp creates an icicle in his freezer, murders his wife in a pool and throws the "murder weapon" in the pool to melt. No evidence. Damn that Columbo, he still figured it out!

1969's then-provocative "Bob and Carol and Ted and Alice" was one of Culp's biggest films, but didn't do much for me. I was never a fan of the TV series, "Greatest American Hero" (although Culp was hilarious in it), never watched him on "Everyone loves Raymond", and hated seeing him play a bad guy in "Bonanza", "Great Scout and Cathouse Thursday", or the "Pelican Brief". Although they bore some physical similarities, Culp was no relation to the actress Nancy Kulp of the "Beverly Hillbillies", despite rumors to the contrary.

I'll always remember a sunny day in Georgetown with some of my high school chums, and seeing the cool, calm and collected Culp walk by us with an astonished look on our faces. "Hey guys", he said, flashed that famous smile and walked away. Wonderfulness.

I first saw guitarist John Scofield back in the late '70s, replacing guitarist John Abercrombie in Billy Cobham's band, featuring the Brecker Brothers and again later with the incredible "Billy Cobham-George Duke Band" with bassist Alphonso Johnson of Weather Report. It was one of the most brilliant fusion quartets I'd ever seen, with searing solos and ridiculous prestidigitations; Scofield more than held his own. I would next see Scofield touring with the legendary Miles Davis at the Newport Jazz Festival in '84 and actually had the pleasure of working with him during his tour in support of his "Bump" album in 2000. Scofield returns to Yoshi's in Oakland this weekend for a series of shows along with Mulgrew Miller (piano), Ben Street (bass), Kendrick Scott (drums).

On his website, John Scofield is "considered one of the 'big three' of current jazz guitarists - along with Pat Metheny and Bill Frisell. His influence began in the late 70’s and is going strong today. Possessor of a very distinctive sound and stylistic diversity, Scofield is a masterful jazz improviser whose music generally falls somewhere between post-bop, funk edged jazz, and R & B.

Born in Ohio and raised in suburban Connecticut, Scofield took up the guitar at age 11, inspired by both rock and blues players. He attended Berklee College of Music in Boston. After a debut recording with Gerry Mulligan and Chet Baker, Scofield was a member of the Billy Cobham-George Duke band for two years. In 1977 he recorded with Charles Mingus, and joined the Gary Burton quartet. He began his international career as a bandleader and recording artist in 1978. From 1982-1985, Scofield toured and recorded with Miles Davis. His Davis stint placed him firmly in the foreground of jazz consciousness as a player and composer.

Since that time he has prominently led his own groups in the international Jazz scene, recorded over 30 albums as a leader (many already classics) including collaborations with contemporary favorites like Pat Metheny, Charlie Haden, Eddie Harris, Medeski, Martin & Wood, Bill Frisell, Brad Mehldau, Mavis Staples, Government Mule, Jack DeJohnette, Joe Lovano and Phil Lesh. He’s played and recorded with Tony Williams, Jim Hall, Ron Carter, Herbie Hancock, Joe Henderson, Dave Holland, Terumasa Hino among many jazz legends. Throughout his career Scofield has punctuated his traditional jazz offerings with funk-oriented electric music. All along, the guitarist has kept an open musical mind.

Touring the world approximately 200 days per year with his own groups, he is an Adjunct Professor of Music at New York University, a husband and father of two."

I'm not sure about the "big three" of jazz guitarists label, I can think of at least a dozen others who belong on that list, John McLaughlin, Larry Coryell, Ralph Towner, Al DiMeola, John Abercrombie, David Torn, Allan Holdsworth, Mike Stern and that's just off the top of my head. I will say this, John Scofield is clearly among the best jazz guitarists of all time. See him and his killer band at Yoshi's and judge for yourself.

John Scofield's New Jazz Quartet
with Mulgrew Miller, Ben Street and Kendrick Scott
Fri 8pm $24 & 10pm $18
Sat 8pm & 10pm  $24
Sun 2pm (Kids Matinee)
$5 (ages 15 and under), Adults (with children) $18, Adults $24
Sun 7pm $24