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Blue Note Records ― co-founded in 1939 by Alfred Lion and Francis Wolff ― celebrates seventy-five years dedicated to recording the greatest musicians in jazz history.

One hundred of the musicians who defined the premier jazz label are celebrated in photographs by Wolff. These photographs, taken from 1948–1969, catch the stars in action: performing onstage, in recording sessions, or cutting stylish silhouettes around town. The powerful images were used to illustrate the label’s iconic album covers, and this curated selection features jazz greats Louis Armstrong, Art Blakey, Ornette Coleman, Chick Corea, John Coltrane, Wayne Shorter, Miles Davis, Thelonious Monk, Dexter Gordon, Herbie Hancock, Joe Henderson, and many more.

Lion and Wolff shared a lifelong passion for music and an unwavering commitment to record quality albums by innovative musicians, even in the face of economic crises and changing musical trends. They witnessed the greatest jazz acts of all time and Wolff’s photographs bring to life their most intimate and exciting performances. Each photograph is identified by subject, session or album being cut, and date; and the featured artists are indexed for easy reference.

This volume ― enriched with one hundred intimate and candid photographs ― recounts the label’s dazzling saga.

Following the success of Rizzoli's The Blue Note Years, the treasured archive of Francis Wolff photographs has been opened once again to present a previously unseen collection of dynamic images. Included are never-before-published colour images from Wolff's later years of photography. This volume is a collection of the jazz photographs taken from 1941 to 1968 by Francis Wolff, co-founder of Blue Note Records, to document the world's most famous jazz label.

Vignettes tell the story of Blue Note Records; its founders, Alfred Lion and Francis Wolff; recording master, Rudy Van Gelder; and many of the labels' great artists -- Jimmy Smith, Miles Davis, Wayne Shorter, Herbie Hancock, Grant Green, John Coltrane, Lee Morgan, Hank Mobley, Joe Henderson, and Art Blakey, among others.

The official illustrated history of Blue Note, the most influential and important brand in jazz

Blue Note is not only known as the purveyor of extraordinary jazz but is also famous as an arbiter of cool. The superb photography of co-founder Francis Wolff and the cover designs of Reid Miles were integral to the label’s success and this highly illustrated publication – featuring the very best photographs, covers and ephemera from the archives, including never-before-published material – commemorates Blue Note’s momentous contribution to jazz, to art and design, and to the music business.

Tracing the evolution of jazz from the boogie-woogie and swing of the 1930s, through bebop, funk and fusion, to the eclectic mix Blue Note releases today, the book also narrates a complex social history from the persecution of Jews in Nazi Germany to the developments in music and technology in the late 20th century. Celebrating over eight decades of extraordinary music, this book demonstrates how Blue Note has stayed true to its founders’ commitment to ‘Uncompromising Expression’.

About the Author:

Richard Havers was a British music author, journalist, consultant and broadcaster. He was the author of over fifty books, including Rolling Stones 50 and Verve: The Sound of America, both published by Thames & Hudson.

For 100 years, BMW’s blue and white propeller logo has been associated with top technology, sophisticated design, comfort and reliability. Its reputation of constant innovation and timeless elegance has conquered generations of drivers around the globe.

In this jubilee edition, car photographer Rainer W. Schlegelmich pays tribute to the tradition of excellence that made BMW’s brand stand out among the world’s great carmakers. All car models, presented in chronological order, are beautifully photographed and described, from the early and legendary models through to the brand-new releases and prototypes.

This book invites for a fascinating tour of BMW’s unique car style. It will ravish car collectors and BMW fans alike.

About the Author:

Rainer W. Schlegelmilch studied photography design in Munich. The highly acclaimed expert on Formula 1 and sports car photography works as a photographer for more than 50 years. To this day his works are centered on his genuine passion for motorsports and fast cars.

Our Fair Lady. The many facets of Hepburn's beauty, on and off set.

In his distinguished career as a Hollywood photographer, Bob Willoughby captured Marilyn Monroe, Elizabeth Taylor and Jane Fonda, but remains unequivocal about his favorite subject: Audrey Kathleen Ruston, later Edda van Heemstra Hepburn-Ruston, best known as Audrey Hepburn. Willoughby was called in to shoot the new starlet one morning shortly after she arrived in Hollywood in 1953. It was a humdrum commission for the portraitist often credited with having perfected the photojournalistic movie still, but when he met the Belgian-born beauty, Willoughby was enraptured. “She took my hand like… well a princess, and dazzled me with that smile that God designed to melt mortal men’s hearts,” he recalled.

As Hepburn’s career soared following her Oscar-winning US debut in Roman Holiday, Willoughby became a trusted friend, framing her working and home life. His historic, perfectionist, tender photographs seek out the many facets of Hepburn’s beauty and elegance, as she progresses from her debut to her career-high of My Fair Lady in 1963. Willoughby’s studies, showing her on set, preparing for a scene, interacting with actors and directors, and returning to her private life, comprise one of photography’s great platonic love affairs and an unrivalled record of one of the 20th century’s touchstone beauties.

The photographer:

Bob Willoughby (1927-2009) took his first photo at the age of twelve. By 1954 his exhibitions of photographs of jazz musicians and dancers led to a contract with Globe Photos, followed by work at Harper's Bazaar. After shooting Judy Garland during the filming of A Star is Born he became the first "unit photographer"— hired specifically by movie studios to take on-set promotional "stills". The author of numerous books on photography, he lived his last years in Vence, France.

Bob Mizer spent 48 years making photos and films for his Athletic Model Guild, and 41 years publishing Physique Pictorial, America's first, and most explicitly gay physique magazine. His diaries, kept from the age of eight, make it clear that he was openly homosexual from his late teens, but until the age of 42 he lived and worked in his mother's L.A. rooming house, where his strict ethical code prevented him from fully expressing his fantasies. For 24 years he worked in black and white and never showed a completely naked man, but following his mother's death in 1964 Mizer built a kingdom dedicated to the pleasures of male flesh, and photographed fully nude men in explicit poses and psychedelically saturated colors.

In the 1970s and '80s Bob Mizer's compound, centered around the old rooming house, became home to dozens of his young models, who lived outdoors on couches and porch gliders among the chickens, geese, goats and monkeys, Roman statuary, cast off Christmas trees and other sundry props that featured in his increasingly quirky films and photography.

Sometimes called the Hugh Hefner of gay publishing for his pioneering magazine (republished in entirety by TASCHEN in 1997), Mizer influenced figures in art and society from David Hockney–who first came to America partly to meet Bob Mizer–to California governor Arnold Schwarzenegger, who modeled for Mizer in 1975.

Bob's World: The Life and Boys of AMG's Bob Mizer is the first book to celebrate the full-color, deliriously uninhibited carnival of late-period Mizer. Over 250 photos are accompanied by an oral history by contributing artists David Hockney, Jack Pierson and John Sonsini, photographers David Hurles and Hal Roth, models Ben Sorensen and Andrew Sears, and Wayne Stanley, inheritor of the Mizer estate. The book includes a one-hour DVD of Mizer films spanning 1958–1980, specially edited for this edition.

The definitive survey of contemporary photography of the human body

The body remains a battleground. Politicized, conceptualized and increasingly shared, our often-paradoxical relationship with the human form is nothing new, but finds itself heightened in the digitised, virtualised era of the ‘post-industrial’ body. No longer a tool but a work-in-progress, our bodily expectations bound from fantasy to reality, beauty to tyranny, art to commerce and curiosity to obsession, leaving us dreaming of other bodies and alternate lives.

Surveying a range of over 360 photographic re-presentations from the worlds of art, fashion, scientific and vernacular photography – including the work of Nobuyoshi Araki, Bettina Rheims, Lauren Greenfield, Viviane Sassen, Cindy Sherman, Wolfgang Tillmans, Daido Moriyama, Sally Mann, Pieter Hugo, Juergen Teller, Sølve Sundsbø and Daniel Sannwald – Body explores what our imaging of the human form, and the ways in which those images have been used and shared, might reflect of our relationship to the body. Supporting the broad range of photography is an essay by the psychologist Professor David Sander, Ph.D., discussing the neurological representation of our own bodies

About the Author:

Nathalie Herschdorfer is an author and curator specialised in photography. She is the director of the Museum of Fine Arts Le Locle, Switzerland, and a curator with FEP (Foundation for the Exhibition of Photography). She has written a number of books amongst which are Afterwards, The Thames & Hudson Dictionary of Photography, Coming into Fashion and reGeneration, all published by Thames & Hudson.

Contents List:

Introduction • 1. Physique • 2. Alter Ego • 3. Essay • 4. Constructions • 5. Mutations • 6. Celebration • 7. Essay • 8. Flesh • 9. Love

The title of this lavish volume says it all. In other words, that beautiful breasts can become a real mania, a minor but fully deserved addiction. When he was playing a female character, what was it the actor and comic Robin Williams said? “If I actually were a woman, I would be fooling around with my breasts all day long…” Who would b nd begrudge him this erotic fantasy? We are actually extremely fortunate that quite a few of these magnifi cently buxom women are still around, possessed as they are of two irresistible arguments. Given today's anorexic models, still seen by the fashion industry as the measure of all things (and have been since Twiggy), they should not be taken for granted. Among the fabulously well-upholstered women in the pages of this bumper 400-page collection, you won't fi nd many in current fashion magazines. All the more surprising and gratifying, then, to discover that there are still well-known and even famous photographers who are more than happy to get back to the roots of unalloyed joy. This certainly applies to the approximately 40 international photographers included here, whose unique images boast some pretty impressive vital statistics.

Schon der Titel dieses üppigen Bildbandes sagt es: Schöne Brüste können zu einer richtigen Manie, zu einer liebenswerten kleinen Sucht führen. Wie sagte der berühmte Filmkomiker Robin Williams, als er eine Frauenrolle spielte? „Wenn ich eine Frau wäre, würde ich den ganzen Tag an meinen Brüsten herumspielen …“ Wer kann ihm diesen Wunschtraum schon verargen – denn zum grossen Glück gibt es sie noch, die prachtvollen Vollblutweiber, die uns mit ihren beiden schlagkräftigen Argumenten jederzeit zu überzeugen vermögen

The Former Soviet Union’s Foremost Photographer

Since starting out as a photographer in the mid-1960s, Boris Mikhailov (b. Kharkov, Ukraine, 1938; lives and works in Kharkov and Berlin) has built a wide-ranging and strikingly multifaceted oeuvre. A virtuoso of his art, he has explored a great variety of ways of using the medium to paint a picture of his immediate surroundings that is as unsparing as it is ironic. His unflagging critical engagement of photographic techniques and the work with different cameras and stylistic devices as well as the alternation in his oeuvre between conceptual photography and documentary approaches render him the preeminent present-day photographer whose work reaches back to the Soviet era.

The book - which accompanies his largest exhibition in Germany to date - brings together a selection of works that includes the experimental pictures of his early years as well as his most recent photographs created in Berlin.
With essays by Thomas Köhler, Christina Landbrecht, Inka Schube and Jan Verwoert.

Rarely has anyone photographed reality in such an unprettified way as Boris Mikhailov. He captures the unadorned and the natural; in pictures devoid of aesthetic exhaltation, he concentrates on people and their living conditions.

On his journeys through Russia, Germany and his Ukrainian homeland, Mikhailov has equally observed the poor, the well-to-do, the outcasts and the homeless. Look at Me, I Look at Water was composed in 1999 at the suggestion of the Heiner Mller-Society when Boris Mikhailov's name was found in one of Heiner Mller's notebooks.

With this book Mikhailov is continuing, thematically and conceptionally, what he began with his artist's book Unfinished Dissertation in 1985.

The photographs are accompanied by handwritten Russian commentaries, which together give the impression of a private album which narrates stories from a chapter in the artist's life.

The special thing about Boris Mikhailov as a "book maker" is that he thinks of and develops photography in sequences, in spaces and cuts, in the forms of its montage.

Viewed as a whole, his books and book drafts which often only exist as one original copy create a retrospective of a very unique and intimate kind. The artist's books "Krymskaja Fotomanija" (Crimean Photomania) and "Mountains", each with 128 pages, are shown here in facsimile, accompanied by 80 pages of illustrated text.

Boris Mikhailov is seen as a chronicler of his Ukrainian homeland: the everyday life of the so-called little people on the street, on the beach, at dances anywhere that the politic becomes visible in the private. Drawing on this material, Mikhailov explores both the human condition and the history and decline of the Soviet Union and the consequences of its fall.

About the Author:

Boris Mikhailov was born in Kharkov, Ukraine in 1938. He uses documentary as well as staging and studio techniques to comment on the Soviet Regime and, latterly, the downfall of the Soviet Union. His work has appeared in exhibitions at the Museum of Modern Art (New York), the Stedelijk Museum (Amsterdam), the Kunsthalle (Zurich), and the Sprengel Museum (Hannover). Today, Mikhailov lives and works in both Kharkov and Berlin.

For the acclaimed photographer Boris Mikhailov (born 1938), a society's most significant paradigm shifts are often most clearly perceived in the smallest of everyday transactions. For example, in a café or restaurant in Soviet-era Ukraine, a waiter would have offered you "tea or coffee?" Today, two decades after the fall of the Soviet bloc and the ascent of western capitalism, it's "tea, coffee, cappuccino?" In his latest body of work, Mikhailov addresses this shift by focusing on his hometown of Charkow, in northeast Ukraine. Here, the consumerist invasion of western capitalism is everywhere apparent in huge, colourful advertising banners and billboards, but the promises of the so-called Orange Revolution seem to have been fulfilled for only a few.

Mikhailov writes that "only when one sees misery in a picture, does one begin to notice it in the street," and throughout the 200-plus photographs in this volume, he takes pains to neither dramatize nor ameliorate the conditions of life in Charkow; and so his tough-minded pictures present a bleak but rigorously honest portrait of Ukraine and its inhabitants.

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For Boris Mikhailov, societal changes are most clearly visible in small, everyday events. While the waiter in Ukraine would still be asking "tea or coffee?" during the Soviet era, the question today is "tea, coffee, cappuccino?"

In his newest works (2000 - 2010), Mikhailov tackles precisely these changes and captures-as he has already in "By the Ground / At Dusk" (Oktagon, 1996)-daily life in his hometown Charkow. In this collection of more than 200 colour photographs, the West is perceptible everywhere in the form of huge, colourful advertising banners, but the promises of the Orange Revolution, that everything would get better, have only been fulfilled for few.

Through palliating nothing, transfiguring nothing, Mikhailov attempts to sensitise the view of the observer. The individual pictures and scenes create a large tableau of society that tells us more about Ukraine and its inhabitants than any specialised book.

This past year Boris Mikhailov joined the ranks of William Eggleston, Cindy Sherman, and Robert Frank as the recipient of the prestigious Hasselblad Award, confirming the international stature and critical acclaim he has earned in the last few years with one-person exhibitions at the Stedelijk Museum in Amsterdam, London's Photographer's Gallery, and the DAAD Gallery in Berlin as well as representation in major international surveys such as the Carnegie International.
 
His first book, "Unfinished Dissertation", was published by Scalo in 1997, on the occasion of his receipt of the Albert Renger-Patzsch Prize; in 2000, he published his second book with Scalo, "Case History", and was awarded the photo book award of the International Festival for Photography in Arles, France. Mikhailov also recently accepted an invitation to teach at Harvard University beginning in the fall of 2000.
 
This new book contains a never-before-published series of work from the early 1980s: Mikhailov photographed ''The Dancers'' in his hometown in Ukraine during a period when the former Soviet Union was a reality, before the appearance of Gorbachov and "perestroika". We observe the open-air dancing scene with great astonishment; seeing older and younger people enjoy themselves in a way that might be contradictory to the images we might have about everyday life in the old Soviet Union. These cheerful images remind us how little women and men need to have a good time.
 
An essay by Russian art critic Boris Groys and an exhaustive interview make this volume a must-have for readers and libraries interested in contemporary art and photography. Hardcover, 144 pages, 9 x 10 inches, 65 duotone illustrations.