"I rarely heard the music in advance as I was trying to find images that were eye-catching."
Jazz Covers. Interview with Bob Ciano
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Out of all the covers you designed, do you have any favourites?
I think that all the ones for Hubert [Laws] just happened. There's one called Afro-Classic. Then there was a Randy Weston cover (Blue Moses) with a big image of a man's face. We did it in different colors. I liked it a lot.
Did you miss your time at CTI, when you finally left?
I did, but I had already had enough of it. I got the opportunity to become art director for Esquire - and it was too good to turn down.
Did you ever work for another record company after leaving CTI?
No, I stayed in magazines. After Esquire I went on to become art director for Life magazine.
Is there anything you miss most about working at CTI?
I miss the interaction with the musicians, and I miss hearing them as well. I'd often go to wherever they were playing in NY and listen to them. Not so much with covers in mind, but just to get a sense of what they were doing. Occasionally you work in a place where everyone is right and this was a place that was like that. That doesn't happen too often. Part of it was because Creed was very easy to work with.
Can you pick out any recollections of other record label designers at that time?
Yes, there was a really wonderful group of covers done at Riverside.When I worked at Columbia records, which was my first job in design, the art director who I worked for was Reid Miles. So I kind of had a good role model.
Page [1] [2] [3]
Page [1] [2] [3]
Out of all the covers you designed, do you have any favourites?
I think that all the ones for Hubert [Laws] just happened. There's one called Afro-Classic. Then there was a Randy Weston cover (Blue Moses) with a big image of a man's face. We did it in different colors. I liked it a lot.
Did you miss your time at CTI, when you finally left?
I did, but I had already had enough of it. I got the opportunity to become art director for Esquire - and it was too good to turn down.
Did you ever work for another record company after leaving CTI?
No, I stayed in magazines. After Esquire I went on to become art director for Life magazine.
Is there anything you miss most about working at CTI?
I miss the interaction with the musicians, and I miss hearing them as well. I'd often go to wherever they were playing in NY and listen to them. Not so much with covers in mind, but just to get a sense of what they were doing. Occasionally you work in a place where everyone is right and this was a place that was like that. That doesn't happen too often. Part of it was because Creed was very easy to work with.
Can you pick out any recollections of other record label designers at that time?
Yes, there was a really wonderful group of covers done at Riverside.When I worked at Columbia records, which was my first job in design, the art director who I worked for was Reid Miles. So I kind of had a good role model.
Page [1] [2] [3]
Jazz Covers
Softcover with flaps, 24 x 24 cm (9.4 x 9.4 in.), 496 pages
$ 39.99
$ 39.99
Vinyl mania: Jazz LP covers from the 1940s to 1990s
Archie Shepp, The Magic Of Ju-Ju. Impulse. Design: Robert & Barbara Flynn. Photo: William E. Levy, 1967