Das Jazzfest Berlin ist seit seinem Bestehen von Fotograf*innen begleitet worden. Die Fotos waren nicht nur für den kurzlebigen Gebrauch in Konzertkritiken und Reportagen bestimmt. Sensible Porträts sind entstanden, die die Präsens der Musiker*innen auf der Bühne einfingen, vertieft in ihr Spiel, in Zwiesprache mit dem Instrument. Ob es den Fotograf*innen um die einzigartige Atmosphäre des Festivals ging, ob sie auf der Suche nach besonderen Momenten vor, während und nach dem Konzert waren, oder ob sie die Persönlichkeit der Musiker*innen einfangen wollten – die Jazzfotografie ist über den Moment hinaus immer auch Dokumentation von dieser besonderen Lebens-und Arbeitswelt. Zwei Fotografen, die lange Jahre das Jazzfest Berlin fotografisch begleiteten, sich dort kennen und schätzen lernten, sind Patrick Hinely und Detlev Schilke. Patrick Hinely beschreibt hier, wie es zu dieser Begegnung kam und stellt eine kleine Auswahl seiner Fotos und denen von Detlev Schilke vor, die in der Fotogalerie Friedrichshain ab dem 4. November zu sehen sind.

During my first few years among the ranks of photographers at JazzFest Berlin, the process of learning the local etiquettes was an ongoing challenge. There were a few professional colleagues, mostly newspaper guys, who would use their elbows, knees or feet to let me know I was in their way. Others were more subtle, some even patient, and many collegial.
In 1990, I started to notice this same fellow hovering in the center of my shots, behind the subject, across the stage: I kept waiting for him to move, but he seldom did. One time I looked up at him, glaring, more out of frustration than hostility, thinking why the hell doesn’t he get out of my shot, only to encounter his gaze, glaring back at me, as if to say, again more with frustration than hostility, “why don’t you move out of my shot?” That was Detlev Schilke.

We pretty quickly realized we were seeing – and seeking – similar images, simply from opposite sides! We began to hang out in the canteen during breaks. Detlev didn’t speak much English, and I didn’t speak much German, but, being visually-oriented people, we managed to communicate, through gesture and good will, showing each other examples of our work, as well as using the few words – in both languages – we had in common. Coffee and wheat beer fueled our attempts at conversation, with ongoing and increasing success.

From this has evolved more than professional courtesy: there is also mutual respect. Ever since, we have continued to defer to one another during the pressure-cooker atmosphere JazzFest sound checks can be, sometimes chiding a professional colleague when he – or she – misbehaves, because we know we will all be judged by our worst-behaved colleague.
My bonding experience with Detlev came during JazzFest 1991, after the NRG Ensemble performance at the Franz Club, an ECM Records event celebrating the release of their label-debut album. I’d caught a ride over to the gig in what was then a less familiar part of town, but had no ride back. Detlev offered me a lift in his Trabant, and chauffeured me back via the Brandenburg Gate, which was the first time I had ever passed through it. This was a monumentally sweet moment which will stay with me always.

Detlev’s work was featured in Jazzprezzo’s 2007 “JazzCalendiary”, and my own in the 2008 edition. Over the years, we have both made our livings shooting all sorts of subjects, primarily for publication, but jazz musicians remain at the top of both our lists as preferred subjects. In 2014, we were both honored to be included among the small group of photographers whose work was shown in the Haus der Berliner Festspiele during the 50th anniversary edition of Berlin’s jazz festival.
By that time, Detlev had already begun making enquiries about a larger exhibition of our work, and now his efforts have come to fruition. I am very pleased to be a part of all this, and hope he feels my work complements his as much as I feel his work complements my own.

Patrick Hinely, Lexington, Virginia USA, October 2016

Jim Pepper and Don Cherry, Soundcheck  JazzFest Berlin 1986
This is the most lasting souvenir of my first foray into the Philharmonie, on my very first day in Berlin. It was a somewhat overwhelming scene and I like to think this image conveys some of the sense of wonder and amazement I felt. For years I called it „The adoration of the Photo-Magi“.  That fellow at the lower right turned out to be Bill Smith, editor of the Canadian magazine „CODA“, though I didn’t know it at the time. It all just fell into place. This is the sort of tableau you can’t wait for but need to always be ready to capture in its ephemerally brief existence.
Hal Russell’s NRG Ensemble, Franz Club, Berlin, 1991
I like to think of this as my homage to Herman Leonard, the patron saint of cigarette smoke among jazz photographers: the Franz Club becomes a cathedral, with tobacco as its incense. ECM liked this one enough to publish it on the band’s next album. What I remember most from that final day of JazzFest Berlin 1991 was being chauffeured home by Detlev Schilke in his Trabant: it was my first time passing through the Brandenburg Gate. Perfect!
I am so glad our conversations continue to this day. I am very grateful to Detlev for arranging our exhibition. My only regret is that I am not able to be there in Berlin, to stand next to him at the gallery. I feel like my work is in very good company, and I hope he feels the same for his own.
Buell Neidlinger in His Back Yard, Whidbey Island, Washington, USA, 2015
It wasn’t until months after I’d shot this that I realized how much Neidlinger’s expression makes him look like the actor Lee Marvin. Buell is a gentler soul than one might think from looking at this strong (and disapproving?) countenance. He is also the greatest jazz raconteur I have yet met. In fact, he was only straining his eyes, trying to read the brand name on my camera and lens (Fuji) while he wasn’t wearing his glasses. When I first saw the big print of this photograph, nearly a meter wide, I was amazed – and pleased – by the incredible level of detail. I hadn’t even noticed that late-afternoon mosquito on his forehead.
Gary Burton JazzFest Berlin 1990
This is one of my first photographs of Jazzfest Berlin, a shot from 1990. For this image, I was playing on the similarity of form between Burton’s vibraphone and the Philharmonie’s pipe organ in the background.
Archie Shepp, Jazzfest Berlin 2012 Often, I like to photograph musicians when they have their instrument – or hand – obscuring their face while they work. You will find many of these photos in my Jazz Calendiary 2007. „Sometimes it works like a shield“ wrote Christian Broecking in his piece „New Yorker Oktoberrevolution“ in the “Berliner Zeitung“ (Feuilleton) in 2006.
Deep Schrott, JazzFest Berlin 2012
I like Bass Saxophones. The saxes are on tripods, because they are big and heavy. I photographed these guys during a blow-and-sing at the end of a piece, in a very short ‘snapshot’ performance at the press conference and public conversation preceding Jazzfest Berlin 2012.

Patrick Hinely, an American photographer and writer, has attended JazzFest Berlin 26 times since 1986, and has been photographing musicians since the early 1970s. Native Berliner Detlev Schilke has attended JazzFest Berlin since 1990. Their exhibition „The Many Faces of Jazz: Two perspectives Across the Decades“ is at Fotogalerie Friedrichshain from 04 November until 16 December.

The gallery is located at Helsingforser Platz 1, 10243 Berlin-Friedrichshain, and is open 14 – 18 hours Tuesday through Saturday, as well as 10 – 20 hours on Thursdays. Admission is free. The closest S- & U-Bahn and Tram (M10 & M13) station is Warschauer Strasse.
Telephone: 49 (0)30 296 16 84; www.fotogalerie.berlin