‘Sweet Child’, Cover illustration — Fabien Loris–1925
In the early 1900s, music publishers in the USA had drawn the connection that the marketability of sheet music was directly related to the quality and artistic input of the covers. The NY firm of Leo Fiest promoted the artistic development of decorative covers where the beauty of the design and colour scheme was solely important or with illustrative covers, the story of the song influenced the art.
The inclusion of enticing cover art in the creation of a brilliant album was also recognised as a valuble marketing asset by the record companies, especially from the 50’s onwards.. Along with the essential element of the music it became a definitive part of how the package was percieved and it became a potent cultural influence. Abstract, avant garde art became more aligned with modern jazz music releases in the 50’s and acted as a subtle art lesson for many of the music connoisseurs. Surrealist art, collages and provocative art also featured in the 60s with the likes of Mati Klarwein’s art for Miles Davis Bitches Brew LP album and the quirky, humorist art of Robert Crumb on Joplin’s Cheap Thrills album.
Browsing through a large album collection was like visiting an art gallery, which is why Tony Bennett said of the marvellous album covers of the 50’s that, when you bought a record, “you felt like you were taking home your very own work of art”. Incisive portrait photography was also introduced at this time along with ambitious photographic themes and exotic graphics as used on Axis Bold As Love from Hendrix. Klaus Voormann’s pop artwork on the Beatles Revolver was also praised for the classic 1966 album. When he heard the tracks for the recording at the Abbey Rd studios he was so shocked by the extent of their innovation that he felt a radical piece of artwork was needed, leading to his monochrome, psychedelic and Beardsley inspired sleeve art. Bold, artistc and original cover art had now become entrenched with the release of music.
‘Flamin Mamie’ published by Leo Feist, NY
1925
John Lennon asked Klaus Voormann to create a design for the Revolver album. Manager Brian Epstein was so enthralled with the result that they approached more art designers for the upcoming Sgt Peppers.
For ‘Tomorrow Never Knows” John Lennon hoped to sound nothing like his usual self. “I want my voice to sound like the Dalai Lama chanting from a mountaintop, miles away,” he proclaimed in the studio. Engineer Geoff Emerick achieved that effect by running Lennon’s voice through the rotating speaker of a Leslie cabinet, “That is bloody marvelous!” Lennon exclaimed repeatedly after hearing his effect. McCartney’s reaction was equally joyful: “It’s the Dalai Lennon!” There was no other place for this track on the album but the end. “Eleanor Rigby,” “I’m Only Sleeping,” “Love You To” and “She Said She Said” were all bold steps toward the unknown — “Tomorrow Never Knows” was the jump from the cliff.
David Stone Martin cover art
1953
‘The Strange Waltz’ – sheet music art Roger De Valerio
1922
‘The Radium Dance’ by Jean Schwartz – from the 1904 Broadway Musical, ‘Piff! Paff! Pouff!’
RetroRocketeer, via Flickr
LP Album ‘Bitches Brew’ – Miles Davis
German painter Mati Klarwein
Party After Hours – Wynonie Harris
Aladdin 703
Wynonie Harris – ‘Around The Clock’- 1955
Jan Garber Jazz Sheet Music – ‘I Never Care About Tomorrow’
1924
‘Relaxin’ With The Miles Davis Quintet
1956
Zule Guerra – ‘El Viaje’
Afif Brothers Quartet @ The Fringe by Dozign
Earth,Wind and Fire—‘Millenium’
‘Jarabi’ by AfroCubism
2010
Bryan Ferry Orchestra
Perlen Der Celopatra – art by Willy Herzig
Boogie Woogie Classics – Albert Ammons
Patrick Latimer
Calypso Vol. II, label: Disc (1946) early illustration by David Stone Martin.
‘What’s Going On’ – Marvin Gaye
The Incomparable Jelly Roll Morton
Artwork by Raymond Erny, ‘Castilian Nights’
1927
‘Hello ma baby’, Howard and Emerson
1899
Igor Stravinski–Columbia
1940
‘The Prophet Speaks’ – Van Morrison
Javapache – B. Cherubinbi
Joni Mitchell — Hejira
Mes Del Jazz
‘Underneath The Havana Moon’ – Mark Gordon /Mark Revel
Eddie Daniels – Live at Iridium
Monterey Jazz Festival
Joe Henderson Big Band
Joe Loco – ‘Mambo Y Cha-Cha Cha ‘
1962
‘Kamgaroo Dance Cake Walk’ – Ad Gauwin, France
Mambo for Cats – Album cover design by Jim Flora
1955
Count Basie – art by David Stone Martin
Desmond Decker and the Aces, 1968
Stanley Turrentine – ‘Easy Walker’
It Is Springs Mistake – art by Einer Nerman
1912
Empire State March – E.Henri Klickmann
The Exotic Sounds of Martin Kenny
Sheet music cover art – Willy Herzig
Art Willy Herzig
Meade Lux Lewis- ‘Cat house piano’
designer–David Stone Martin–1955
Mothers Finest funk rock
Design: David Stone Martin 1950
Nico Gomez pink afro
Orchidee (illustrator Paul Telemann)
Raymond Emy art for Suivez La
Samba Dorpheus New Orleans
The ‘Jelly Roll’ Blues, composed by Fred ‘Jelly Roll’ Morton
1915
‘Some Smoke’ – S.Romberg
Sista Varvet
Sonny Rollins
‘It don’t mean a thing if it aint got that swing’ – Duke Ellington
The Sound Of Tiki — Swen A Kirsten
‘Tin Roof Blues’ — New Orleans Rythym Kings
Tito Puente-(USA)–Art Jaro Fabry
1958
Poster inspired by jazz guitarist Django Reinhardt,–illustrator Nearchos Ntaskas
Billie holiday ‘All or Nothing at all’
David Stone Martin
Lionel Hampton Quintet
David Stone Martin cover art
‘What is this thing called love’ – Cole Porter
‘Yo yo love you and adore you’ — illustrator–Charles Gesmar
1923
Donna Vatra – Tango serenade Arghentine
Art by Willy Herzig
Harmonica Blues – cover art by Robert Crumb
‘Chromatica’ – Lady GaGa
Photo – Norbert Schoerner
Benjamin Jephta Quintet — ‘Homecoming’
Cover art – Mzwandile Buthelezi
