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Blue Note Design Revolution

For fans of albums worldwide, one of the largest reaches the vinyl record format for the range color that creates the distinctive coverage. And no matter what type you choose, the album has become more than an industry term, but an environment adult. While software like Photoshop has allowed designers to produce vinyl album today defy convention, who have a debt of gratitude which initiated the form.

For jazz lovers, the parade of Blue Note Records only covers are emblematic, not only in the music world, but in the culture pop. Perhaps the key element in creating the signature look that defines the art of vinyl jazz is the style of Francis Wolff photographs. Immigrating to the United States in 1939, Wolff has quickly found his childhood friend Alfred Lion, one of the co-founders of the label. During World War II, Wolff was also useful to maintain the label of the print catalog experience.

In 1956, Blue Note found the last puzzle piece design. The label named Reid Miles, an artist who has been named by Esquire magazine, and the last line of vinyl covers jazz was born. The cover produced by Miles, regular photo Wolff musicians in the study was also played a role in the world of graphics that would be music in the jazz world. Blue Note has become coverage quickly known for drawings of notable jazz vinyl under the control of management and the watchful eye of Miles. The basic elements such as color photographs black and white, the use of sans-serif and attention to restrict the color palette – often in black and white with one color – and repeated use solid color rectangular strips or white, were directly influenced by the Bauhaus school of design. Some of Reid's most famous works include Sonny Clark "Cool Struttin," Art Blakey "A Night in Tunisia", John Coltrain "Blue Train", Kenny Dorham's "Trumpet Tocatta" and Herbie Hancock "My point of view."

Although Miles' work is closely associated with Blue Note in their tastes Personal Miles was a casual jazz fan. Blue Note gave several copies of dozens of jazz albums vinyl designed, but Miles gave more of your friends and sold them to second-hand record shops. Emblematic of the influence work design Blue Note, some mid-1950 the jazz vinyl coating designs function by a still Andy Warhol unknown.

About the Author

James Watts is a freelance writer living in Philadelphia.  He is passionate about Vinyl Albums music and has devoted much of his professional life to helping young artists gain the exposure they need.  When not writing or attending shows, Watts can often be found cheering on his beloved Phillies or cooking up one of his signature culinary creations.

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