William Claxton’s stunning portraits of musicians including Chet Baker and Miles Davis made him my favorite jazz photographer. No longer. My new heroes are the anonymous men and women who hawked souvenir photos in jazz clubs in the 1940s and 1950s. Their previously unappreciated work is documented in Jeff Gold’s revelatory new book Sittin’ In: Jazz Clubs of the 1940s and 1950s.
In his introduction to the lavish volume, Gold notes the images “turn the camera around” from the musicians on stages to the patrons in the clubs. Intended as “a cheap souvenir of a night out,” Gold rightly suggests the “quick snapshots” form an “accidental history.” Scholars and fans can finally take a close look at precisely who frequented venues during jazz’s golden era. Sittin’ In reveals fans of the form were often as charismatic as the musicians.
Typical entries feature black-and-white photos of smiling customers enclosed in paper frames. The riveting pictures of strikingly beautiful women and men with outsize swagger are supplemented by Gold’s admirable scholarship. He provides insights into the history and cultural significance of each venue. He’s particularly interested in examining depictions of integration as well as the blatant racism associated with the Cotton Club. In addition to providing a sense of the atmosphere and decor at each venue, the photographs allow viewers to see what patrons were wearing and drinking.
While interviews with musicians and historians including Jason Moran and Sonny Rollins provide invaluable insights, the majority of Sittin’ In’s 260 pages are dedicated to geographically-arranged chapters about clubs in 11 cities. Dozens of New York City venues are examined, but only two rooms in Kansas City are featured. Text on the frame of a souvenir photo of eight distracted patrons at Gilmore’s Chez Paree bills the room at 1822 Vine as “The Gayest Nite Spot In Greater Kansas City.” A 1951 advertisement for Tootie’s New Mayfair outside the city limits of Kansas City promotes an appearance by Charley (sic) Parker.
Only the most provincial Kansas City jazz fan would let the underrepresentation of the town prevent them from coveting Sittin’ In. Besides, Charlie Parker and Count Basie pop up throughout the book. The luxurious paper stock and handsome layout complement the exceptional contents. Sittin’ In is an essential addition to the bookshelf of every serious jazz library. While the volume is weighty enough to be used as a doorstop, it’s destined to serve as the pride of countless coffee tables.