197 notes InTRoDuCTIon 1. for example, see Mark c. Gridley, Jazz Styles: History and Analysis. 9th ed. Upper Saddle river, nJ: Pearson, 2006. 2. “the images of Herman Leonard: Herman Leonard Biography,” accessed, 3 June 2006, lpb.org/programs/frame/leonard.html. 3. at the Granz concert in columbus, ohio, Leonard heard Buck clayton, illinois Jacquet, Helen Humes, and trummy young. 4. “images of Herman Leonard.” 5. for an extensive list of Leonard’s exhibitions see appendix B. 6. Ibid. 7. telephone interview with Geraldine Baum, 31 July 2008. 8. Ibid. 9. Herman Leonard and Philippe carles, The Eye of Jazz: The Jazz Photographs of Herman Leonard (London: viking, 1989); Herman Leonard, Jazz Memories (Paris: Levallois-Perret, 1995); and David Houston and Jenny Bagert, eds., Jazz, Giants, and Journeys: The Photography of Herman Leonard (London: Scala, 2006). 10. Geraldine Baum interview. for more information see Jennifer odell, “the Beat: Leonard Loses thousands of Prints, Saves negatives in new orleans floods,” Down Beat 72.12 (December 2005): 26; or Howard reich, “thousands of famed Photos ruined,” chicagotribune.com (September 12, 2005), chicagotribune.com/ news/nationworld/chi-0509120262sep12,0,7792959.story, accessed 2 august 2008. another documentary, directed by Leslie Woodhead, was released in the UK entitled Saving Jazz. a co-production between Sundance channel and BBc, Saving Jazz chronicles Leonard’s efforts to recover his materials from the flood in new orleans. 11. Geraldine Baum interview. to aid in this process, Leonard’s studio will use Microsoft-based programs, and to gain some feedback on the catalogue system, Microsoft will do a case study of Leonard’s catalogue and Microsoft software that will provide a reference and further use for both parties. 12. Leonard was even honored by former President Bill clinton, who presented a portfolio of Leonard’s prints as an official gift from the United States government to a fellow musician, the King of thailand. 13. telephone interview with Herman Leonard’s agent, Jenny Bagert, 11 September 2006. 14. Liner notes by charles Mingus for his album Let My Children Hear Music, columbia records, 1972. 198 noTES 15. Peter townsend, Jazz in American Culture (edinburgh, Scotland: edinburgh University Press, 2000), 166. 16. See for example, roland Barthes, Camera Lucida: Reflections on Photography (new york: Hill and Wang, 1981); roland Barthes, Image, Music, Text, Stephen Heath, trans. (new york: Hill and Wang, 1977); Susan Sontag, On Photography (new york: anchor, 1989); Bernard Shaw, Bernard Shaw on Photography (Salt Lake city, Ut: Peregrine Smith, 1989); David Liebman, Self Portrait of a Jazz-Artist: Musical Thoughts and Realities (rottenburg, West Germany: advance Music, 1988); Michel foucault, The Order of Things: An Archaeology of the Human Sciences, a translation of Les Mots et les choses (new york: vintage, 1970); Michel foucault, This is Not a Pipe, James Harkness, trans. and ed. (Berkeley: University of california Press, 1983); Wynton Marsalis, “What Jazz is—and isn’t,” New York Times (31 July 1988, arts & Leisure) 21, 24; Scott Deveaux, “constructing the Jazz tradition: Jazz Historiography,” Black American Literature Forum 25.3 (fall 1991): 525–60; Scott Deveaux, “Struggling with Jazz,” Current Musicology 71–73 (Spring 2001–Spring 2002): 353–74; Scott Deveaux, The Birth of Bebop: A Social and Musical History (Berkeley: University of california Press, 1997); George e. Lewis, “improvised Music after 1950: afrological and eurological Perspectives,” Black Music Research Journal 22 (2002): 215–46; George e. Lewis, “taste cultures and Musical Stereotypes: Mirrors of identity?” Popular Music and Society 19.1 (Spring 1995): 37–58; ingrid Monson, “the Problem with White Hipness: race, Gender, and cultural conceptions in Jazz Historical Discourse,” Journal of the American Musicological Society 48 (1995): 396–422; ingrid Monson, Saying Something: Jazz Improvisation and Interaction (chicago: University of chicago Press, 1996); ted Gioia, The History of Jazz (new york: oxford University Press, 1997); and ted Gioia, The Imperfect Art: Reflections on Jazz and Modern Culture (new york and oxford: oxford University Press, 1988). 17. for example, Houston a. Baker Jr., Black Studies, Rap, and the Academy (chicago: University of chicago Press, 1993); Houston a. Baker Jr., Blues, Ideology, and AfroAmerican Literature: A Vernacular Theory (chicago: University of chicago Press, 1984); Greg tate, ed., Everything But the Burden: What White People Are Taking from Black Culture (new york: Broadway, 2003), and Kimberly W. Benston, Performing Blackness: Enactments of African-American Modernism (London and new york: routledge, 2000). 18. for an example, see Gioia, The Imperfect Art. 19. Philip ford, “Somewhere/nowhere: Hipness as an aesthetic,” Musical Quarterly 86.1 (Spring...