Album covers of Blue Note Records

The album covers of Blue Note Records, an American jazz record label, have been recognized for their distinctive designs. Many of these covers feature a combination of bold colors, experimental typography, and candid photographs of the album's musicians, and have been described as belonging to the Bauhaus and Swiss Style movements.

The album cover of Joe Henderson's Mode for Joe (1966)

In the early 1950s, the LP record format gained popularity, necessitating album covers with graphics and information. During this time, artists like Gil Mellé, Paul Bacon, and John Hermansader began designing covers for Blue Note, often featuring photos by label executive Francis Wolff. In 1956, Reid Miles, a former assistant to Hermansader, was hired as Blue Note's art director. Miles made approximately 400 to 500 album covers for the label, which used various typefaces, mixed letter cases, and design principles and techniques such as asymmetry and tinting. He left Blue Note in 1967 following founder Alfred Lion's retirement. After Miles's departure, Forlenza Venosa Associates and other artists, including Mati Klarwein and Bob Venosa, designed many of the label's covers. The early to mid-1970s saw the work of designers such as Norman Seeff and Bob Cato featured on Blue Note covers, while in the late 1970s and early 1980s, the label's records were reissued in Japan with new covers designed by Japanese artists. From the mid-1980s through the early 21st century, a number of artists, including Paula Scher, P. R. Brown, and Adam Pendleton, contributed to the cover designs for the label's releases.

The Blue Note album covers, particularly those designed by Miles, have been highly regarded and considered definitive of jazz's visual identity. Critics have praised the covers' designs as iconic and noted their ability to capture the spirit of the musicians and their music. The style of these covers has inspired several graphic designers and musicians, influencing a wide range of album art and other visual media.

Background

Main article: Blue Note Records

Blue Note Records is an American jazz record label, founded in March 1939 in New York City by German-Jewish immigrant Alfred Lion. The label initially comprised Lion and American writer Max Margulis, who provided funding and copywriting services. Blue Note's first releases were Dixieland "hot" and boogie-woogie-style jazz, and featured acts such as Albert Ammons, Frankie Newton, and J. C. Higginbotham. The label's first hit record was a version of George Gershwin's "Summertime" recorded by saxophonist Sidney Bechet.

Lion's friend, photographer Francis Wolff, joined the label in October 1939 and headed the business during Lion's military service in the early 1940s, distributing Blue Note records through the wholesale division at producer Milt Gabler's Commodore Music Shop. Following Lion's return in November 1943, the label began to embrace the increasingly popular bebop style of jazz, releasing records from musicians such as Ike Quebec and Thelonious Monk in the mid-1940s.

History

1951–1956: Early years

The cover of Wynton Kelly's Piano Interpretations (1951) features a photograph taken by Wolff, and was designed by Gil Mellé.

At almost every Blue Note recording session, Wolff would photograph the musicians as they played, seeking to capture honest and unrehearsed moments. Though they were taken primarily for personal reasons rather than marketing purposes, the photographs would be used infrequently in Blue Note advertising material, publicity photos, and on record sleeves. However, the growing popularity of 10-inch (25 cm) LP records in the late 1940s and early 1950s amplified the need for detailed album covers with graphics and information, and Wolff's photos would be featured on more of Blue Note's covers after the label began issuing 10-inch LPs in 1951.

One of the first noted appearances of Wolff's photographs on a Blue Note album cover was on Wynton Kelly's album Piano Interpretations (1951), which was designed by saxophonist Gil Mellé. The photo used on the cover portrays Kelly with his "eyes almost closed, mouth open in an appreciative smile", described as an "oasis of calm" by jazz writer Richard Cook. Graphic designers Paul Bacon and John Hermansader would also incorporate Wolff's photos in their designs, such as those for Thelonious Monk's Genius of Modern Music, Vol. 1 (1952) and Bud Powell's The Amazing Bud Powell (1952). While the album covers during this period did utilize Wolff's photography, the textual information and designs featured on the covers were prioritized over the inclusion of images.

Bacon and Hermansader would create most of Blue Note's covers throughout the early to mid-1950s, including Dizzy Gillespie's Horn of Plenty (1953), Bud Powell's The Amazing Bud Powell, Vol. 2 (1953), and the Jazz Messengers's At the Cafe Bohemia (1956). Their designs, which balanced fanciful typography with Wolff's pictures, would later serve as inspiration for the work of designer Reid Miles, then an assistant to Hermansader.

1956–1967: The Reid Miles era

In the mid-1950s, Blue Note began issuing 12-inch (30 cm) LPs after previously being unable to afford to adopt the format. In 1956, Reid Miles, now working in the art department of Esquire magazine after leaving Hermansader's studio in the same year, was hired by Wolff as Blue Note's art director, and was tasked with designing the covers for the early 12-inch releases. Wolff and Blue Note founder Alfred Lion had been impressed by Miles's work at the label in the year and a half before his exit, which included co-design credits on the cover of Miles Davis's Volumes 1 & 2 (1956) with Hermansader. Miles was paid $50 (equivalent to $429 in 2023) for each cover he made.

Miles, a fan of classical music, was not interested in jazz, and relied solely on Lion's descriptions of the music on the albums in order to design their covers. His first 12-inch designs were for reissues of Milt Jackson's Milt Jackson and the Thelonious Monk Quintet (1956) and the two volumes of Thelonious Monk's Genius of Modern Music (1956). The covers of the latter releases each feature single-color backgrounds; on both, the name "Thelonious" is displayed in a black type and split by a hyphen across two lines, while "Monk" appears in a contrasting white type. A photo of Monk, taken by Wolff, is placed in the top of the frame, while the title "Genius Of Modern Music" is written in all lowercase in a small font size and situated to the left of the word "Monk".

The cover of Johnny Griffin's The Congregation (1958) features an illustration from Andy Warhol.

Miles continued designing for Blue Note throughout the late 1950s and early 1960s, employing a number of techniques across the covers. On some, he made minimal edits to Wolff's portraits, such as on the cover of John Coltrane's Blue Train (1957), while on others he included photographs of objects, as seen on Hank Mobley's Peckin' Time (1958) and Jackie McLean's Jackie's Bag (1961), which depict a red suitcase and a string-tied file folder, respectively. The latter album was nominated for a Grammy Award for Best Album Cover – Other Than Classical at the 4th Grammy Awards. For some designs, he collaborated with a then-unknown Andy Warhol, whose illustrations appeared on the covers of Johnny Griffin's The Congregation (1958) and Kenny Burrell's Kenny Burrell, Volume 2 (1957) and Blue Lights, Vols. 1 & 2 (1958). Miles also designed the covers for albums such as Baby Face Willette's Face to Face (1961) and Andrew Hill's Smoke Stack (1963) during this time.

In 1963, Miles was hired as the art director of Columbia Records by company president Goddard Lieberson, but was still allowed to design for Blue Note. In the following years, he became more experimental with his typography, sometimes omitting photos entirely, such as on the cover of Larry Young's Unity (1966). He would also design covers for Eric Dolphy's Out to Lunch! (1964), Tony Williams's Spring (1965), Horace Silver's The Jody Grind (1966), and Cecil Taylor's Unit Structures (1966). Miles later began to take photographs himself; a picture of a woman, taken by Miles, is shown on the cover of Lou Donaldson's Alligator Bogaloo (1967). Simultaneously, additional designers and artists, including Bob Fuentes and Ornette Coleman, began creating covers for Blue Note. Coleman, a saxophonist for the label who also painted, contributed his artwork to the cover of his album The Empty Foxhole (1966).

Lion sold Blue Note to Liberty Records in 1965 and soon became dissatisfied with the pressures of the corporate system. This frustration, coupled with heart problems, prompted his retirement from the label in 1967. Following Lion's departure, Miles also left, as Liberty's marketing team became more involved in the design process. During his eleven-year tenure as art director at Blue Note, Miles designed approximately 400 to 500 covers.

1967–present: Post-Miles era

The cover of Jackie McLean's Demon's Dance (1970) was designed by Bob Venosa.

After Miles left Blue Note in 1967, many of the label's covers were designed by Forlenza Venosa Associates, whose works included McLean's 'Bout Soul (1967), Bobby Hutcherson's Total Eclipse (1967), Donaldson's Midnight Creeper (1968), John Patton's That Certain Feeling (1968), and Silver's Serenade to a Soul Sister (1968). Tony De Stefano was credited with the design on Elvin Jones's The Ultimate (1968). Artist Mati Klarwein designed the cover of Reuben Wilson's Blue Mode (1970), which features artwork from painter Bob Venosa. Venosa also created cover designs, such as those for Mobley's The Flip (1969) and McLean's Demon's Dance (1970).

Blue Note covers in the early 1970s featured designs by Eileen Anderson, whose work appears on the cover of Donald Byrd's Black Byrd (1973), and Norman Seeff, whose cover design on Ronnie Foster's Two Headed Freap (1973) incorporates photography from Al Vandenberg. The mid-1970s saw graphic designer Bob Cato create the covers of Hutcherson's Montara (1975) and Ronnie Laws's Pressure Sensitive (1975). In the late 1970s and early 1980s, the Japanese record company King Records, along with other Japanese labels, began reissuing Blue Note records domestically. These reissues, which included Dexter Gordon's Clubhouse (1979), Art Blakey's Pisces (1980), and Grant Green's Oleo (1980) and Nigeria (1981), featured illustrations, photographs, and designs from Japanese artists such as Toshikazu Tanaka, Akiyoshi Miyashita, K. Abe, and T. Fujiyama.

In the mid-1980s, Richard Mantel and Terry Koppel designed the covers of Hank Mobley's Far Away Lands (1984) and Grant Green's Born to Be Blue (1985), respectively, while Paula Scher created the cover of Bobby McFerrin's Spontaneous Inventions (1986). In the early 1990s, Tommy Steele was credited with design for Dianne Reeves's I Remember (1992), Mark Larson made the cover of Cassandra Wilson's Blue Light 'til Dawn (1993), and Eric Baker Design Associates worked on the cover art of Joe Lovano's Rush Hour (1994). Patrick Roques created several Blue Note covers in the mid-1990s, including those of Hutcherson's Patterns (1995), Mobley's A Slice of the Top (1995), and Wayne Shorter's Et Cetera (1995). The late 1990s saw Bleu Valdimer of Project Dragon design the cover for Medeski Martin & Wood's Combustication (1998), and P. R. Brown for Jason Moran's Soundtrack to Human Motion (1999).

Designers of Blue Note album covers in the 21st century include Jessica Novod Berenblat, who is credited with art direction and design for the covers of Norah Jones's Come Away with Me (2002) and Feels like Home (2004). Jeff Jank designed the cover of Madlib's Shades of Blue: Madlib Invades Blue Note (2003), while conceptual artist Adam Pendleton worked on the cover of Moran's Ten (2010). Designer J.C. Pagán designed the cover of Robert Glasper's Black Radio 2 (2013), which features photography by Janette Beckman.

Style and composition

The cover of Kenny Dorham's Una Mas (1963) was designed around Dorham's pose in the featured photo.

Reid Miles is credited with developing the style of Blue Note's album covers and shaping the label's overall visual identity. His covers have been described as belonging to the Bauhaus and Swiss Style movements. They are generally characterized by their use of bold colors like ochre, vermilion, and indigo, and visual design techniques and principles such as contrast, negative space, asymmetry, and tinting. Some covers feature abstract artwork with blocks of colors and shapes, as seen on Sonny Clark's Sonny Clark Trio (1959). The typography varies between upper and lower case lettering and employs a wide range of typefaces, including sans-serif and calligraphic fonts, the latter of which are seen on the covers of Lee Morgan's Lee Morgan Indeed! (1956) and Dizzy Reece's Soundin' Off (1960). Some covers from the mid-1960s show a more experimental typographic style, such as on those of McLean's It's Time! (1964), which contains multiple exclamation marks in a black type on a white background, and Joe Henderson's In 'n Out (1964), which integrates arrow symbols into the text. At times, personnel or track listings are omitted from Blue Note cover designs.

The covers, especially those in the mid-20th century, are often supplemented by the photography of Francis Wolff, whose candid black-and-white photographs of musicians at recording sessions appeared on hundreds of Blue Note album covers. On several covers, Wolff's pictures are cropped for accentuation, such as on the covers of Thelonious Monk's Genius of Modern Music (1956) and McLean's It's Time! (1964), or are used as canvasses for typography. For the cover of Kenny Dorham's Una Mas (1963), the album's title is positioned to fit in the space between Dorham's index finger and thumb; similar methods of arranging text around the cover image's contents can be seen on the covers of Freddie Roach's Good Move! (1963) and Dexter Gordon's Our Man in Paris (1963).

Later covers are mostly distinguished by their use of illustrations, as seen on those of the Japanese Blue Note reissues and the work of Mati Klarwein and Bob Venosa. Some cover designs in the mid-1980s and 1990s continued to feature Wolff's photographs, such as on those designed by Patrick Roques. Others were directly inspired by the style of past Blue Note artwork; the cover of Jason Moran's Ten (2010) features ten black dots and the label's logo without the title or the artist's name, a creative decision Moran stated was a tribute to "classic Blue Note".. The covers of Madlib's Shades of Blue: Madlib Invades Blue Note (2003) and Van Morrison's What's Wrong with This Picture? (2003) have also been noted as homages to the label's early art style.

Reception and impact

The cover of singer Joe Jackson's Body and Soul (1984, left) was inspired by the cover of Sonny Rollins's Sonny Rollins, Vol. 2 (1957, right).

The Blue Note album covers, particularly those designed by Reid Miles, have been considered definitive of the visual identity of jazz, serving as a symbol of the genre's imagery. Estelle Caswell of Vox praised the covers as "iconic", while David Hinckley of the New York Daily News called Miles a "visionary", and commented on "how expertly [he] caught the spirit of the artists" when using Francis Wolff's photography on his covers. Design writers Steven Heller and Greg D'Onofrio stated that Blue Note's covers "were always inventive", and noted their ability to "[evoke] the feeling of the music". Dave Gelly of The Observer labeled them as "classics", writing:

"Every album cover was tantalizing, with its bold, futuristic design and a photo of the artist slotted into the pattern, like an icon. Sometimes the picture was tiny, squeezed up into one of the letters of the title; sometimes it was cropped into a weird shape; sometimes it was a great, big, handsome portrait. Blue Note bathed its artists in glamour. They were heroes. They seemed to inhabit a charmed world and who would not yearn to be part of it?"

Several graphic designers and musicians have used the style of Blue Note's album covers as inspiration for their own work. Artist Logan Walters reimagined the album covers of Wu-Tang Clan in the Blue Note style. Graphics featuring US president Barack Obama have emulated the designs of the label's covers. In an interview with the Kennedy Center, Blue Note president Don Was noted that the logo for Late Night with Jimmy Fallon resembled a Blue Note album cover. The album art of other musicians have been influenced by Blue Note's covers, including Elvis Costello's Almost Blue (1981), whose cover is an homage to that of Kenny Burrell's Midnight Blue (1963), Van Morrison's The Skiffle Sessions – Live in Belfast (1998), which has a cover inspired by Art Blakey's Free for All (1965), and Aesop Rock's Float (2000), whose cover features a design reminiscent of Cecil Taylor's Conquistador! (1968).

See also

• Cover art
• Blue Note Records discography

References

Sources

Books

• Clayton-Lea, Tony (1999). Elvis Costello: A Biography. London: Andre Deutsch Ltd. ISBN 978-0-233-99339-3.
• Cook, Richard (2003). Blue Note Records: The Biography. Boston: Justin, Charles & Co. ISBN 978-1-932112-10-8.
• Cuscuna, Michael; Lourie, Charlie; Schnider, Oscar (1995). The Blue Note Years: The Jazz Photography of Francis Wolff. New York: Rizzoli International Publications. ISBN 978-0-8478-1912-6.
• Larkin, Colin (1998). The Encyclopedia of Popular Music. Vol. 1 (3 ed.). Muze UK. pp. 613–614. ISBN 978-1-56159-237-1.
• Havers, Richard (14 June 2022). Blue Note: Uncompromising Expression. London: Thames & Hudson. ISBN 978-0-500-29651-6. OCLC 1289263434.
• Heller, Steven; D'Onofrio, Greg (19 September 2017). The Moderns. Abrams Books. p. 262. ISBN 978-1-68335-012-5.
• Marsh, Graham; Callingham, Glyn (1991). Blue Note: Album Cover Art. London: Collins & Brown. ISBN 978-1-85585-096-5.

Journals

• Kowalski Dougherty, Carissa (2007). "The Coloring of Jazz: Race and Record Cover Design in American Jazz, 1950 to 1970". Design Issues. 23 (1): 47–60. doi:10.1162/desi.2007.23.1.47. ISSN 0747-9360. JSTOR 25224088. Archived from the original on 23 February 2023. Retrieved 6 June 2024.

Articles

• Adams, Owen (10 August 2009). "Label of love: Blue Note". The Guardian. ISSN 1756-3224. Archived from the original on 8 June 2024. Retrieved 7 June 2024.
• Alter, Alexandra (11 June 2015). "Paul Bacon, 91, Whose Book Jackets Drew Readers and Admirers, Is Dead". The New York Times. ISSN 1553-8095. Archived from the original on 13 May 2024. Retrieved 8 June 2024.
• Caswell, Estelle (2 January 2019). "How one designer created the 'look' of jazz". Vox. Archived from the original on 7 June 2024. Retrieved 6 June 2024.
• Fordham, John (14 November 2014). "Blue Note: 75 years of the coolest visuals in jazz". The Guardian. ISSN 1756-3224. Archived from the original on 8 June 2024. Retrieved 7 June 2024.
• Gelly, Dave (4 April 1999). "The best things come in Blue Note packages". The Observer. ISSN 0029-7712. Archived from the original on 8 June 2024. Retrieved 7 June 2024.
• Goddard, Peter (7 March 1992). "Album covers define the art of the hip". Toronto Star. p. 149. ISSN 0319-0781. Archived from the original on 7 June 2024. Retrieved 7 June 2024.
• Hinckley, David (15 December 2005). "Oozing cool: that Blue Note look". New York Daily News. p. 43. ISSN 2692-1251. Archived from the original on 7 June 2024. Retrieved 7 June 2024.
• Jarenwattananon, Patrick (24 June 2009). "Listening, Party For Two: Sidney Bechet's 'Summertime'". NPR. Archived from the original on 7 June 2024. Retrieved 7 June 2024.
• Jarenwattananon, Patrick (29 March 2011). "Where The Wu-Tang Clan Meets Jazz". NPR. Archived from the original on 17 October 2022. Retrieved 9 June 2024.
• Kinross, Robin (1990). "Cool, clear, collected". Eye. London: Eye Magazine Ltd. ISSN 0960-779X. Archived from the original on 4 October 2023. Retrieved 6 June 2024.
• L.A. Times writer (12 February 1993). "Reid Miles; Designed Album Covers, TV Ads". Los Angeles Times. ISSN 2165-1736. Archived from the original on 8 June 2024. Retrieved 8 June 2024.
• Magidsohn, Jon (15 January 2015). "Joe Jackson got to me, Body and Soul". The Guardian. ISSN 1756-3224. Archived from the original on 10 June 2024. Retrieved 9 June 2024.
• Morton, Brian (11 November 2014). "Blue Note at 75: All that jazz". BBC. Archived from the original on 7 June 2024. Retrieved 7 June 2024.
• Reynolds, Nick (n.d.). "Norah Jones — Feels Like Home Review". BBC Music. Archived from the original on 21 June 2023. Retrieved 11 June 2024.
• Russonello, Giovanni (26 July 2019). "A History of Blue Note Records in 15 Albums". The New York Times. ISSN 1553-8095. Archived from the original on 22 April 2024. Retrieved 7 June 2024.
• Waring, Charles (1 April 2024). "Best Blue Note Album Covers: 20 Groundbreaking Artworks". uDiscover Music. Archived from the original on 4 April 2024. Retrieved 8 June 2024.

Interviews

• Caswell, Estelle (19 November 2018). The greatest album covers of jazz. Michael Cuscuna (interviewee). Vox Media. Archived from the original on 25 May 2024. Retrieved 8 June 2024.
• John F. Kennedy Center for the Performing Arts (29 March 2014). Blue Note Records: The Covers. Michael Cuscuna, Don Was, Jason Moran (interviewees). Archived from the original on 25 May 2024. Retrieved 8 June 2024.

Media notes

• Blue Note Records (2002). Come Away With Me (Media notes). Norah Jones (artist).
• Blue Note Records (2013). Black Radio 2 (Media notes). Robert Glasper (artist).

Websites

• Anon. (n.d.). "4th Annual Grammy Awards". The Recording Academy. Archived from the original on 7 April 2014. Retrieved 10 June 2024.

External links

• Official Blue Note Records website
• A History of Blue Note Records with Richard Havers on YouTube