 |
|||||||||
|
|
|||||||||
 |
|||||||||
       |
|||||||||
 |
|||||||||
|
Search our site:
          |
|
 ALLENE MAHOGANY and BEVERLY REHKOP © 1998 Mike Metheny JAM talks with KC's preeminent jazz photographers about capturing memorable moments on film.
AM: I got involved in photography through a neighbor, when I was in high school. I was looking for a job, and the lady who lived next door worked in a photo-finishing lab. She said, "Come on down and tell them I sent you; they'll hire you." So, I started in their lab; you know, where everybody drops off their film. I eventually moved up to processing film, printing slides, all the variations, and then worked my way up to being production supervisor and interim plant manager. This was for Fox Photo. I was with them for 18 years. When I started actually photographing, it was mainly as a hobby; I mean, when you're around it 10 or 12 hours a day (laughs)... But then I met my husband (singer Kevin Mahogany) and he encouraged me to go out with my camera. As a matter of fact, that was a stipulation: if we went to hear music, I had to take my camera. So, that's how I got started. I worked as a technician, printed other people's stuff, and then got into it as a hobby, an avocation. JAM: Beverly? BR: Ever since I was little, I've always visualized photographs, what would make a good picture. But it wasn't until I got my first 35 mm camera -- a nice Nikkon -- for my 40th birthday that I started taking pictures more seriously. Shortly after that I went through a series of personal losses -- their were several people in my life who left suddenly -- so photography was great therapy. I would go out and shoot because it was something I could do by myself. It became a form of self-expression and communication -- something more than just snapshots. Then, in '93, one of my co-workers who was also involved in lighting for events at the Country Club Christian Church asked me to come and shoot a jazz vespers service at the church. I said, "Oh, OK, I'll try," not knowing exactly what would happen. The photos turned out pretty well and I showed some of them to (pianist) Tim Whitmer, who then showed them to Ron Schoonover (owner of the Phoenix Piano Bar & Grill), who then bought several! After that, I started going to the Levee -- where I shot Kevin (Mahogany) -- and to the Tuba. They had such great lighting at the Tuba... AM: One of the neatest clubs in the city to shoot. BR: Yes, it was. And (Tuba owner) Mike Harvey was just wonderful. He let me do a lot of experimenting there.
AM: For me, it's a visual thing that can be added to the music. And that's the main reason I shoot in color; I seldom shoot in black and white. Jazz has so many layers of sounds and colors. But I think (a photograph) adds to the experience; it brings back a memory instantly once you see the image. JAM: But in terms of jazz musicians as subjects, what is it that makes them so "photogenic?" AM: The music they play. And how they react, how they interact. Jazz musicians are very emotional. It's sort of like in rock 'n roll, where you've got people jumping around, screaming and hollering. Except in jazz, the emotions are more internal. More subtle. Even though they can be just as intense. And that can be seen visually, the musicians' relationship to the music. You just have to try and capture that. BR: Jazz is soulfood for me. It has been since high school. And I'm totally in awe of someone who can make that music, even though I can't. I'm a sponge around jazz musicians; I draw from what they do. And I try to capture their energy on film and share it with other people. It's definitely an emotional thing, even on the other side of the camera. JAM: What are the things you try to capture in a photo? AM: Most artists have certain movements and certain gestures that are uniquely theirs. BR: That's right. AM: And that's one thing you try to capture. I have a shot of Kenny Barron I took where he's just leaning against the piano. I showed it to someone and they said, "You've captured Kenny Barron's 'lean.' He's known for doing that!" But, you'd look at it and think he might just be bored, or that he was just listening, or whatever. But it was a gesture and a moment I happen to capture while he was sitting at the piano. JAM: Before either of you start shooting, do you have a way of checking things out first? You know, looking things over? Planning what you'll try to capture? AM: I usually watch a whole set before I take any pictures. BR: Same here. AM: You need to know how to watch for things like: how does the horn player turn, or, what's their hand position going to be. I do that before I even take out the camera. After a set, you learn how to watch for those things. BR: ...The instrument, the hands, the face; you need to know how you're going to try to capture each of those. And, of course, the emotion, which is sometimes less predictable. But it is the composition of all of these elements within the frame that makes a good photo great. JAM: Timing, luck, instinct, talent. What role does each play in capturing that great jazz moment on film? BR: Highest to lowest: luck, instinct, timing, talent. That's how I'd rate those. JAM: So getting a good photograph is mostly about luck? BR: Yes, I really think so. AM: I agree. There are too many variables to deal with. The film... BR: The lighting... AM: The camera... JAM: So, talent would be at the bottom of the list? BR: I have no talent (laughs)... AM: I don't see any talent in my work either (laughs). Everyone else does, but I don't. I look at other people's work, though, and I think they are very talented! BR: Really! JAM: How important is it to take numerous pictures in order to get one that is special? AM: For me, if I don't get the connection pretty quick, I tend to get bored and think, "why should I continue shooting?" So, if that connection isn't there, it won't matter how many pictures I take. I was telling Beverly earlier, at the Folly (on November 2), I loved Chick Corea and Gary Burton; but there were only the two sounds, two dimensions. The first few songs were fine, but after a while it was just the same. Visually, too. I did get excited when Chick started strumming inside the piano; that was interesting. I shot more of that than the rest of the performance. JAM: So, in a situation like that, you're probably not going to capture the "magic" no matter how many shots you take. AM: For me, yes. JAM: Same Beverly? BR: (pause) I think so... But, sometimes I'm really surprised by what I find later. AM: That's true. BR: When you're shooting a moving object, it's hard to know if you've reacted fast enough. Try anticipating the movements of a drummer during an intense solo! JAM: In other words, sometimes after the fact, there's a nice little surprise in there waiting to be discovered? AM: Yes. BR: Exactly! And sometimes the things I think are going to be great turn out to be horrible, and other things I think are going to be wonderful actually turn out to be good. AM: That happens to me, too. I've taken a shot and I knew, right then and there, "this is the one." BR: And then there are the other times... AM: ...when it doesn't even show up on the film (laughs). JAM: What do you specifically look for in a potential subject? That thing that will make it worth your time and all those rolls of film? BR: I try to look for someone who is expressive in both their body language and in their face. AM: Again, I look for the interaction with the music. How involved they are, how they react to someone else's solo, the camaraderie on stage. You know, sometimes the musicians are so involved with the music, they don't even know the audience is there! And as a photographer, you feel that you're almost "peeking in" to that world; where you can get real close and catch different expressions and reactions no one else will notice. JAM: You both are known for photographing jazz musicians in action. Is that a preference over having someone sit for a photo? AM: Oh (groans), having someone sit is nerve wracking. That's very difficult. I've done a couple of sessions with musicians that way and it seemed uncomfortable, awkward, not normal for them. It was work, for both of us. "Lean over this way, look that way..." JAM: Like having your picture taken in school... AM: Yeah. I'd rather shoot performances. BR: Ditto. Posing people can be really stiff. I'd rather capture them being themselves. JAM: It's been said that a good musician will sound good on any kind of instrument. That, if the talent is there, the equipment won't affect the performance. How important is equipment for a photographer? BR: I vote for good equipment (laughs). A good quality lens, a good light meter... AM: Yes, it's important. Every time I get a new piece of equipment, I know it's something that's going to help me. But again, I'm mainly self taught. So, it's still: shoot a roll, see what went wrong, do a little reading, and then -- well, maybe I need this or that. Also, something I don't like is a photographer who interferes with the performance by running up to the stage and taking pictures. So, the bigger the lens, the farther away I can be, and not interfere with the music. That's one way good equipment is a plus. JAM: Jazz musicians usually have influences, role models and other artists they respect and admire. In the world of photography, who are some of the people you look up to? BR: I've almost deliberately stayed away from the work of other photographers. I mean, I do look at the work of others, but I don't dwell on any particular individual. For me, that can have an intimidating, almost negative influence. JAM: There are musicians like that, who don't want to chance being influenced by what they hear, who purposely don't listen to recordings for fear of second guessing themselves, doubting their work... BR: Exactly. JAM: Allene, any influences? AM: There was a black female photographer I discovered about a year ago named Vandese who took photographs during the Harlem Renaissance. She was one of the few females in what has always been a mostly male-dominated field. And then there's Gordon Parks, who I got to meet in Washington D. C. when he had his exhibit, "Autumn Pastimes." Everything of his from 1942 to the present day was there. And it was absolutely awesome. I had a chance to talk to him; I said, "If the dates weren't on these pictures, it would be as if nothing had changed." The shots of drug use, poverty... He covered the spectrum. And all of what he photographed still happens. JAM: Allene, you tend to be more involved in photographing visiting artists when they appear in Kansas City. Is there someone you've never photographed that you would like to add to the portfolio? AM: Unfortunately, they're all dead. Dizzy, Miles... I've seen so many images of Miles; I would have loved to been able to photograph him. The closest I've come (to that) is Sonny Rollins at the Folly Theater last year. I shot several rolls that night, and I'm still looking at those (photos) to see if there are any I like. It was such an intense concert; and I was so excited about trying to photograph it. I'm also interested in the people who are making their own mark today, creating their own lineage. Musicians like Joshua Redman. JAM: As two people who are avid followers of Kansas City jazz, how would you rate the scene these days? BR: (pause) Oh... You really want to know? Hmm, this is tough. (pause) I really think it's lost something. And I'm going to get in trouble for saying that. Let me put it another way. Many of the performers I enjoy the most are not appearing in the clubs as much as they used to. AM: I agree. JAM: Any theories as to why? AM: Because the people in the clubs don't pay any attention! There are certain artists I'd love to go out and hear who don't perform (here) that often, and when I do, you've got one conversation over here and another one over there, and a musical conversation going on stage... And the two clash! JAM: So, the better players are opting to not perform that much because of the inattentive crowds? AM: I think that's the case. Yes. BR: That's right. AM: And as a result, the kind of people who would be the best listeners stay away from the clubs as well. JAM: It's almost a Catch-22... AM: That's right. BR: Yes. I hope we can correct the situation, though, because I'm afraid the whole KC jazz scene will lose the "steam" it was developing a couple of years ago.
AM: A calendar. I would want to start with a calendar. Costwise, it's cheaper than a book! BR: Have you ever investigated the cost? AM: Uh, no... BR: Ten to twelve thousand dollars for black and white. And you do color! AM: Well, that just turned me off of that idea real quick! (laughs) JAM: Beverly, your work has more to do with local jazz musicians. Where can people see your photographs? BR: At Jardine's, at the Phoenix downtown, and at the Phoenix at Station Casino where they bought pretty much my whole exhibit. That was very nice. JAM: Same question, Allene. AM: Most of my work can be seen at Ethnic Art in the Lincoln Building at 18th & Vine. They were the first ones to give me an opportunity to do a show in the city. I've also had a show with International Artists. JAM: So, we should always be on the lookout for upcoming shows where your work will be on display? AM: That's right. I just had another show at the Midland Theater on November 14. BR: I'd really like to do an exhibit together with Allene. AM: Yeah! BR: Two different styles -- Allene's color, my black and white -- in the same location. AM: That would be interesting. BR: Now, if we could just find a backer (laughs). RETURN TO DECEMBER/JANUARY 1998 MAIN INDEX ------------------------------------------------------------------------ © Kansas City Jazz Ambassadors 1996-2001. All rights reserved. |
|
           |
|
|||
 |
|||||||||
