![]() The photography crew was already having trouble directing the adults, and the presence of the children added to the chaos: one of the children appearing in the window kept yelling at a sibling on the curb another kept playing with Basie's hat Taft Jordan Jr. Most of the children were neighborhood residents, although the second child from the right, Taft Jordan Jr., had accompanied his father, Taft Jordan, to the photo session. ![]() Musicians in the photograph Ĭount Basie, having grown tired of standing, sat down on the curb, and gradually a dozen children followed. In 2018, a book was published to mark the 60th anniversary of the event, with forewords by Quincy Jones and Benny Golson, and an introduction by Kane's son, Jonathan. Kane himself was not that certain who would turn up on the day, as Esquire staff had merely issued a general invitation through the local musicians' union, recording studios, music writers, and nightclub owners. Many musicians who were formerly resident in the area had already moved to middle-class parts of New York, or did so shortly thereafter. The scene portrayed is something of an anachronism, as by 1957 Harlem was no longer the "hotbed" of jazz it had been in the 1940s, and had "forfeited its place in sun" to 52nd Street in Midtown Manhattan. ![]() It has been called "the most iconic photograph in jazz history". Published as the centerfold of the January 1959 ("Golden Age of Jazz") issue of Esquire, the image was captured with a Hasselblad camera, and earned Kane his first Art Directors Club of New York gold medal for photography. The subjects are shown at 17 East 126th Street, between Fifth and Madison Avenue, where police had temporarily blocked off traffic. However, after being given the commission, it seems the latter was responsible for choosing the location for the shoot. The idea for the photo came from Esquire 's art director, Robert Benton, rather than Kane. A Great Day in Harlem or Harlem 1958 is a black-and-white photograph of 57 jazz musicians in Harlem, New York, taken by freelance photographer Art Kane for Esquire magazine on August 12, 1958.
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