In collecting the things I do collect, occasionally I come across something totally unrelated that just strikes my fancy. I keep these around for years, wondering what to do with them. So, finally, I am scanning in a few of these miscellany and posting them. Each of these has a different story to tell. Three of them are gospel. Brother Bob, London Parris, the Happy Goodmans. Parris cracks me up – did his parents really name him London Parris? Brother Bob looks do-it-yourself. All three of them signal the type of music enclosed by using a trope that makes sense to their intended audience. Vernacular record design: lets you know at least what kind of music is contained.
The one called Grey Fox presents could be anything. It turns out to be songs in Hebrew or Yiddish. This may be the worst cover I have ever seen.
The one on TopRank is generic elevator music. What makes it interesting, if anything does, is that the cover is die cut, there is a round hole with a foil insert. Usually, records like this don’t spend that much on the packaging.
I haven’t been scanning much lately, but finally got back into it. Another batch of covers from a different era of graphics.
These are GA 201 SD to GA 214 SD. The original stereo versions and the 1960s reissues when I have them. Again, a great group of graphics if not individually stunning for the most part. Some great commercial artists.
The Steve Allen one I have labeled as Steinweiss, but it could just be influenced by him. I like it a lot, which probably means Steinweiss. Piano Moods is by David Stone Martin, and is as fine as his famous covers for Verve/Clef/Norgran. And its timely, since I recently finished posting the ten inch Waldorf records.
As I have said before, Command records had taste in music that did not coincide with mine. This was true of the precursor labels as well – Waldorf and Grand Award. But there are exceptions. After Hours, the ten inch version on Waldorf, was repackaged with extra material as After Hours on Grand Award. And it remains a great record to these ears. Here I show the covers from all the Grand Award records that I ever listen to. I keep them categorized with Swing, between Goodman, Benny and Herman, Woody. There are some great moments. They also introduce the basic Grand Award cover design – the false frame around an illustration by a commercial artist of the time – Tracy Sugarman, Elmer Wexler, Arthur Shilstone, David Stone Martin. I find the covers to individually not be all that incredible. But taken as a group, they make a wonderful display of graphics.
As I said before, a budget label at this point. Remarkably, some of the music is pretty good, more so than anything the company would do later. At least the ones with some relationship to jazz are pretty good. The record “After Hours” is one of my all time favorite albums. 100 all time favorite, but still a favorite. Much of this music was later reissued on Grand Award.
This is everything else I have on Waldorf, or just about all.
Bargain label at its finest. The drawn ones are by Tracy Sugarman.