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Description
Joseph Albert Morello (July 17, 1928 – March 12, 2011) was an American jazz drummer best known for his work with the Dave Brubeck Quartet. He was particularly noted for playing in the unusual time signatures employed by that group in such pieces as "Take Five" and "Blue Rondo à la Turk". Popular for its work on college campuses during the 1950s, Brubeck's group reached new heights with Morello. In June 1959, Morello participated in a recording session with the quartet—completed by the alto saxophonist Paul Desmond and the bassist Eugene Wright—that yielded "Kathy's Waltz" and "Three to Get Ready", both of which intermingled 3/4 and 4/4 time signatures.
During his career, Morello appeared on over 120 albums. He authored several drum books, including Master Studies, published by Modern Drummer Publications, and also made instructional videos. Morello was the recipient of many awards, including Playboy magazine's best drummer award for seven years in a row, and Down Beat magazine's best drummer award five years in a row. He was elected to the Modern Drummer magazine Hall of Fame in 1988, the Percussive Arts Society Hall of Fame in 1993, and was the recipient of Hudson Music's first TIP (Teacher Integration Program) Lifetime Achievement award in June, 2010.
I am now listing several autographed photographs that were inscribed to him personally from other entertainers and performers during his career in my E-Bay shop.
Photographer: Maurice Seymour
Time Period:
1930-1970
Location:
Chicago, New York
Biography:
Maurice (1900-1993) and Seymour Zeldman (1902-1995), Russian expatriate photographers, formed the "Maurice Seymour" studio in 1929. Inspired by the example of Maurice Goldberg, the foremost photographer of classical dancers and concert musicians of the 1920s and regular contributor to the New York Times, the brothers chose to make a particular forte of ballet dancers. From 1929 to 1950 they plied their trade in a studio at the St. Clair Hotel in Chicago. In 1950 Seymour Zeldman moved to New York City; both men at this juncture legally changed their names to Maurice Seymour.
The New York brother expanded his clientele from dancers and actors to singers, jazz musicians, and burlesque stars in the 1950s. He for a period partnered with James Kriegsmann, successor to Herbert Mitchell, and a practitioner of in situ photography of singers and musicians in their performance venues. The Chicago Maurice Seymour continued specializing in dance and theatrical photography, although he had, for a period of time in the 1930s, a healthy business from radio personalities as well. Both shuttered their studios in the 1970s.
When in Chicago, they collaborated completely when creating images, sharing the posing and developing work. The images tended to be brightly illuminated, posed against neutral featureless backgrounds, and developed on glossy paper. The studio's skill at retouching was particularly well known. All of the Chicago portraits were taken with a large accordion portrait camera using 8x10 negatives. From 1935 onward, the brothers were the prefered portraitists of the Ballet Russe de Monte Carlo. In 1947 the studio published Seymour on Ballet, a set of photographic studies, with a foreward by Leonid Massine (Chicago: Pelligrini & Cudahy), and in 1952, an expanded portfolio, Ballet Portraits, featuring Margot Fonteyn (Chicago: Pelligrini & Cudahy).
8 x 10 inches
ref: clear container k
