Another show with a very few ‘salvageable’ images to present. This was within the first year of my owning my camera equipment, and I was just learning how to deal with small clubs, dim lights, smoke, and slow film. So, chalk it up to a learning experience.
I had been aware of Mr. Van Zandt since just before my college days, thanks mainly to Emmylou Harris, and would hear a lot more about him from some of my peers there, and when this show was announced, I thought it only natural to go and see him perform in a small, intimate environment. The Great Midwestern hosted a slew of great singer-songwriters, bluegrass and folk musicians, as well as the occasional Jazz show [saw a very good Larry Coryell, Alphonse Mouzon, Miroslav Vitous trio performance there, in October, of the previous year]. I had also been going through a phase of checking out a lot of the artists on the Tomato Records label, at about this point in time [see Mr. Owen Cody wearing the label t-shirt in an image or two here], and since each lp I had listened to impressed me, I knew I should attend this show.
Unfortunately, as evidenced by these photographs, I did not get to the show early enough to score a table anywhere near the stage, and since I was never one to “push myself on others”, I had to be content with taking the snapshots from a distance – and with a flash. Since I was in the learning stages with assessing the available light, and not being able to push the film very much, I came away with so-so results.
The show itself was very enjoyable, as the crowd was very respectful of the performers, given the fact that it was a drinking establishment, and the sound mix there, as always, was very solid. Just a shame that these images weren’t any better……
For more information on Mr. Van Zandt, you could begin here:
An additional site cataloging much of his recording and touring career:
NOTE: A FEW WORDS ABOUT THE WATERMARKS ON MY WORK
While many of you who arrive here, to look at these photographs may get turned off to my use of watermarks [thinking they ruin the image], let me explain why I choose to do this.
No one paid for my camera equipment but me. No one paid for the film I used to take these photographs. On occasion, when I free-lanced for a free monthly newsletter, and they published a photo of mine, the payment for each photograph barely paid for the fuel to get my vehicle to the show [when I *did* have a vehicle], and the film I used on that night.
Not too many of my photos were published, at the time, because the artists I chose to capture images of, were not hugely popular then. Hence, the old dictum, “Supply and Demand”; I had the supply, but the demand [pre-Internet], was not there. You can argue the relative merits of the quality of my work, and that is precisely what a blog offers: a venue for discussion.
Back to the watermarks: no one is subsidizing my time to scan and then clean up the images I am presenting here. Start to finish, each negative will take approximately an hour-and-a-half to reach “proof” quality – which is what you will see here. This is my labor of love, and until there is some measurable return on my efforts, what you see is what you get.