![]() ![]() He became well known for his limited editions and he initiates a renewed Private publishing venture Glad Hand Press. Throughout most of his career Jones devoted his spare time to his When Jones came to RCA heīob Jones stayed at RCA Victor into the late 1970s. Steinweiss and Jim Flora and they developed the new LP format toward the end of the decade. In the 1940s, which design studio was the most innovative of the American companies. It's the cool drawing of Count Basie, shown among the images to the right.īOB JONES was the art director at RCA Victor from the early 1950s. His finest cover from 1950s was made for RCA Victor. He died in 1998.ĪNDY WARHOL made just some few jazz album covers, and the best known are those for Blue Note Records. Jim Flora left RCA Victor in 1956 and started to write and illustrate children books. Photography-based covers came into vogue. Motion and they bubble over with high spirit and excitement.įinally his style began to fall out of fashion, and the tide was turning against album covers based on illustration. His zany cartoon-like covers have a unique dynamic Jim Flora's RCA covers shows what a brilliant cartoonist he was. In 1954 he was hired by Bob Jones who was a former colleague from Columbia, now art director at The legendary designer and illustrator JIM FLORA produced some of his most oustanding works during the two years he was working for Krog and Garbarek, greats in Norwegian jazzĮsquire and Tempo, classic labels in British jazz Montmartre, Debut Records and the heydays in Danish jazz The LPs in the 1950s, and Swedish jazz abroad The EP era and Metronome Records in 1950s Roost, Signal, Storyville, Tampa, Transition, United Artists, Vee Jay, and more Scroll down and use the links to browse this comprehensive archive of rare jazz album coversĪrtist-operated jazz label with Mingus & RoachĪBC-Paramount, Aladdin, Argo, Capitol, Coral, Dawn, Decca,Įpic, Fantasy, HiFi, Imperial, Jazzland, Jazz West, Jubilee, Mercury, Mode, and more The format was abandoned by 1933, and two-speed turntables were no longer offered, but some Program Transcriptions lingered in the Victor record catalog until the end of the 1930s.Records we have bought and sold over the years - the rare and the beautiful!īirka Jazz record store is closed but Birka Jazz Archive is still available. The format was a commercial failure, partly because the new Victrolas with two-speed turntables designed to play these records were exorbitantly priced, the least expensive model retailing for $395.00 in the depths of the Great Depression. These used a shallower and more closely spaced implementation of the large "standard groove" found on contemporary 78 rpm records, rather than the "microgroove" used for post-World War II 33⅓ rpm "LP" (long play) records. In September 1931, RCA Victor introduced the first 33⅓ rpm records sold to the public, calling them "Program Transcriptions". This gave RCA head David Sarnoff a seat on the EMI board. In 1931, RCA Victor's British affiliate the Gramophone Company merged with the Columbia Graphophone Company to form EMI. In absorbing Victor, RCA acquired the New World rights to the famous Nipper/"His Master's Voice" trademark. In 1929, the Radio Corporation of America ( RCA) purchased the Victor Talking Machine Company, then the world's largest manufacturer of phonographs (including the famous "Victrola") and phonograph records. ![]()
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