From the looking glass of a photographer’s lens, a sound engineer’s ears, and a percussionist’s rhythms, Bethel Woods celebrated the anniversary of Woodstock Aquarian Exposition with the imagery, sounds and syncopations of three artists that made history 56 years ago on Max Yasgur’s dairy farm. The celebration on Wednesday, August 13, consisted of a slideshow by photographer Elliot Landy, the screening of a documentary film about soundman Bill Hanley, and a musical performance by percussionist Juma Sultan, who played with Jimi Hendrix at Woodstock on August 18, 1969.

Photographer Elliot Landy

“Woodstock was an example of a perfect moment in time,” said Photographer Elliot Landy, who presented a slideshow of photographs from the iconic three-day festival. His images of luminaries Jimi Hendrix, Janis Joplin, and Richie Havens performing at Woodstock are infamous, and his experiments with infrared photography produced unique and explosively colorful portraits of Bob Dylan and Ornette Coleman.

“For me it was just about getting a beautiful photograph,” said Landy. “I was always interested in composition and the feeling that came out of the picture. Art is something harmonious and beautiful, that was my primary concern.” Landy said when fans praise his photography skills, he tells them, “I’m not a great photographer, I’m a great editor.”

Landy shared a story about covering a Jimi Hendrix concert prior to Woodstock: he had packed up all of his cameras, telling himself, “I’ll photograph Hendrix another day.” He was walking out of the venue with his gear when he heard Hendrix play his first notes and was instantly mesmerized; he immediately returned to experience the transcendent guitar playing. Landy was not only in awe of Hendrix’s music, but also struck by the artist’s kindness; he said, “Jimi Hendrix was a very sweet man.”

Soundman Bill Hanley

Director John Kane presented a film screening of his “Last Seat in the House,” a documentary about soundman Bill Hanley, who revolutionized live sound engineering at a time when electric instruments began producing decibels that the equipment could not handle. Before becoming the biggest name in the country for equipment and live mixing, Bill and his brother Terry started a television repair and audio engineering company called Hanley Sound, which provided sound equipment for local dances, community events and theatre out of a two-car garage.

Bill Hanley always had a unique talent for sound engineering. As a kid growing up in Medford, Massachusetts, he would often fix the neighbor’s television set when a tube failed. When he attended church, he noticed that the acoustics were so bad that the podium speaker’s words were often unintelligible. He also noticed a discrepancy between the quality of recorded music and that of the organ at the Bal-a-Rue, a skating rink he frequented. Hanley said, “There was a big difference in the way the organ sounded on the organ sound system, and they used to play records and they sounded horrible over the public address system.” 

Hanley and his crew provided live sound for the local church, the skating rink, and in 1960, they provided equipment and sound engineering for the Newport Jazz Festival. Hanley distinguished himself as a necessary fixture to Festival Producer George Wein through his superior equipment, dedication to his craft, and high-quality sound engineering that was integral to the festival’s success. Wein said, “Bill really introduced big sound systems which elevated the listening capabilities of the Newport Jazz Festival. He moved it up several notches.” Hanley was diligent in his quest for producing consistent sound throughout the venue and became famous for “walking the wall,” surveying every inch of the space to ensure that sound was consistent for every audience member.

Hanley Sound’s name exploded when it subsequently provided sound for the Beatles at Shea Stadium in 1965, and in 1969, Bill and his company did sound for the Denver Pop Festival and also a festival in upstate New York that would prove to be a legendary event.

Hanley provided a huge and high quality sound system for Woodstock that was crucial to its excellent sound. Despite a last minute venue change, punishing Catskills weather, and musical acts arriving late by helicopter, Hanley and his crew rallied through the myriad of challenges and provided stellar sound for musicians onstage and also the audience of 460,000 festivalgoers. The concert was a peaceful event, and much credit can be given to the driving force behind the weekend’s sonic energies: Bill Hanley and Hanley Sound.

Juma Sultan

Juma Sultan and his Aboriginal Music Society band brought a pulsing and intense musical performance to Bethel Woods Market Shed as a crimson red sun pierced the sky as it set upon the Catskill mountains. Sultan’s ensemble, which featured percussion, flute, keyboards, electric guitar, drumset, saxophone and vocals, was elevated by the presence of Master Drummer Kofi Donkor and Guitarist, Percussionist, and Vocalist Daniel “Natoga” Ben Zebulon, who performed with Richie Havens during his iconic opening set at Woodstock. Famously, Havens came offstage after his performance only to find out that no other musicians had arrived yet due to the massive traffic jam, so Havens walked back onstage and improvised his now-legendary song “Freedom.”

Sultan’s music combined African rhythms, big band jazz, and soul music, and the audience revelled in the music’s trance-inducing sounds. The performance was penetrated by energetic solos from the saxophone, keyboards, and especially the electric guitar, which brought the room to a pinnacle of auditory ecstasy.

The Ember Sessions 

The day of celebrations wound down with “The Ember Sessions, Part 2- A New Generation for Peace,” an intimate concert by young acoustic songwriters Joe Colwell, Lace and Lee, and Kyle Hancharick, produced by Artist in Residence Peter Negroponte. The musicians performed before a campfire and a small audience at The Campground at Bethel Woods, a cozy setting amidst a field of basic tent accommodations and 11 two-bedroom luxury glamping cabins. There were s’mores to be enjoyed and the soothing acoustic sounds from the next generation of songwriters brought reflection and tranquility to the atmosphere. 

The campfire experience was elevated not only by the musical performances but also by the excellent sound quality provided by the Bethel Woods sound crew. Sound Engineer Sam Quick said he checked every spot in the venue to make sure the sonic composition was rich and balanced. In essence, Quick was carrying on the tradition of Bill Hanley, as he “walked the wall,” ensuring that every nook and cranny of the listening space was drenched in high fidelity. 

And so the day of commemorating Woodstock’s 56th Anniversary came to a close, with a community of artists brought together in honoring the past, present, and future, of a universal message: Peace, Love, and Music.