The Blue Note Design Innovation

For album lovers everywhere, one of the biggest draws to the vinyl record is the palette format that creates for distinctive cover art. And album art has become more than just an industry term, but a full-grown medium, regardless of what genre you choose. While software such as Photoshop has enabled today's designer to produce vinyl album covers that challenge tradition, they owe a debt of gratitude to those that pioneered the form.

For jazz aficionados, the parade of distinctive Blue Note Records covers remain symbolic not only in the musical world, but in pop culture as well. The photographic style of Francis Wolff is maybe the central factor in creating the signature look that defines jazz vinyl art. Emigrating to the United States in 1939, Wolff quickly found his childhood friend Alfred Lion, one of the co-founders of the label. Wolff was also instrumental in keeping the fledgling label's catalog in print during World War II.

Blue Note found the last piece of the design puzzle in 1956. The label hired Reid Miles, an artist who was employed by Esquire Magazine, and the greatest line of jazz vinyl covers was born. The cover art produced by Miles, often featuring Wolff's photographs of musicians in the studio, proved to be as important in the world of graphic design as the music would be in the world of jazz. Blue Note suddenly became known for their noticeable jazz vinyl cover designs under the supervisory hand and attentive eye of Miles. Key elements such as tinted black-and-white photographs, the use of sans-serif typefaces and a careful restricting of the color palette - often black and white with a single color - and the frequent use of solid rectangular bands of color or white, were directly influenced by the Bauhaus school of design. Some of Reid's best-known work includes Sonny Clark's "Cool Struttin," Art Blakey's "A Night in Tunisia," John Coltraine's "Blue Train," Kenny Dorham's "Trompeta Tocatta" and Herbie Hancock's "My Point of View."

Though Miles' work is closely associated with Blue Note, in his personal tastes, Miles was only a casual jazz fan. Blue Note gave him several copies of the many dozens of jazz vinyl albums he designed, but Miles gave most to friends and sold them to second-hand record shops. Further emblematic of the influence of the Blue Note design work, a few mid-1950s jazz vinyl covers feature drawings by an as-yet-known Andy Warhol.

Disco Dies An Eventful Death

For decades, rock vinyl was king. From the hip-rattling swagger of Elvis Presley to mood-altering explorations of the Beatles, from the primitive howls of Little Richard to the grating roar of Led Zeppelin, rock n' roll was here to stay. But as mid-1970s arrived, a new sound - complete with quick hi-hat runs, infectious choruses and pop sensibilities - could be discovered on turntables and the charts. Disco was challenging the new king.

But for a few, the change was hardly accepted. Wax was the realm of rock n' roll and rock vinyl would not fall without a bout. Enter Steve Dahl, a Chicago DJ, who had immediately been fired from his job at WDAI after switching to an all-disco format. As someone with more than just a personal interest in seeing rock vinyl formulated a plan.

After rain pressed the cancellation of a Chicago White Sox game in early April, the game was rescheduled on July 12, 1979 as part of a doubleheader with the Detroit Tigers. Dahl, in conjunction with Gerry Meier, his broadcast partner, Mike Veeck, son of Chicago owner Bill Veeck, and other radio station executives planned a momentous thought that would finally live in infamy in both rock vinyl and baseball history: Disco Demolition Night.

The promotion asked fans to bring unwanted disco vinyl albums to the park in exchange for an admission charge of only 98 cents. And boy did they came. Rock fans turned up in scores; nearly 90,000 showed up at the 52,000-seat Comiskey Park. Many scaled fences outside the park, and the freeway had to be close down after it clogged with cars. When the stadium staff had collected more than enough albums from the crowd, many began using them as Frisbees, littering the field and hitting other spectators. It stood as a testament to their love of rock vinyl at the least. No eager music lover would ever treat "real" 'albums as such.

In between games, Dahl appeared, with a young female in town, garbed in fatigues and riding in a jeep. A crate filled with disco records and wired in explosives was brought onto the field. Rock vinyl would run the day. The ensuing left a gaping hole in the outfield and a small fire burning. However, it was only the beginning.

True to the spirit of the beloved rock vinyl albums collections, fans stormed the field. Some walked aimlessly; some ran from police, some started more fires. All in all, a minor riot broke out in the middle of a baseball game. In the end, the field was cleared by the Chicago Police Department. The field was so badly mangled that the White Sox had to forfeit the game to the Tigers. And while Disco Demolition Night has gone down as perhaps the most ill conceived promotion ever, in a twisted way, rock vinyl certainly ruled the day.

Musician And Photographer - Harry Diltz

For album lovers everywhere, one of the biggest draws to the vinyl record is the palette format that creates for distinctive cover art. And regardless of what genre you choose, album art has become more than just an industry term, but a full-grown medium. While software such as Photoshop has enabled today's designer to make vinyl album covers that challenge tradition, they owe a debt of gratitude to those that initiated the form.

In the 1960s, one of these men, Henry Diltz, almost redefined the process. Catapulting rock vinyl beyond just a mere auditory medium, Diltz began his foray into the music industry as a founding member of the Modern Folk Quartet. However, he soon gravitated toward photography. He soon started photographing the flourishing act after meeting the Monkees and sitting on some recording sessions. As his portfolio expanded, so did his reputation. He was named the official photographer of the Woodstock Festival in 1969. Still, it was rock vinyl where Diltz really left his mark.

Shooting some of the biggest names in rock in the late 1960s, Diltz captured images of musical icons that still speak to viewers across generational lines. For his career, Diltz has shot over 80 covers of rock vinyl albums. Of those, a lot have been really career defining. His credits include the Doors' "Morrison Hotel," Crosby, Stills and Nash's eponymous debut effort and Stephen Still's self-named solo debut. His work on these timeless rock vinyl masterpieces has put Diltz in rarified air in the world of rock journalism.

Even beyond mere covers of vinyl albums, Diltz resume is also jittered with images of both cultural and musical legends. His documentation of Jim Morrison and Jimi Hendrix living subtly caught their live magnetism. His soft remembrances of Joni Mitchell, Neil Young and James Taylor captured their muted essence on film. His sullen images of a young Michael Jackson still serves as a testament to his tortured childhood, a young boy both in the spotlight and running from it. Still, it's Diltz contribution to the world of rock vinyl that will leave the longest-lasting impression.

Today, Diltz is still up to his old tricks. His images of current acts such as Pearl Jam, Henry Rollins and Korn have captured the rage of a new generation of rockers. As Glenn Frey of the Eagles once defined Diltz's work, "This is not history. This is evidence!"

From Factory To Hi-Fi

You love your records. I'd nearly bet they're precisely structured, their plastic sleeves free from any wrinkles. Collectors don't come much more serious than those who have fallen in love with vinyl albums. And whether your passion is rock vinyl, jazz vinyl or just about any genre under the sun, have you ever thought about just how that perfect little piece of wax gets into your hands and on your turntable? It's a surprisingly simple process.

Logically, the method of producing and pressing the records of today has its roots in the steps first provided by Thomas Edison's photograph. But a medium is necessary before anything similar to a vinyl record is produced. In the studio, a master recording is made, where musicians, producers and audio engineers work hand in hand to perfect the recorded sound.

Once the master is obtained, a lacquer is placed on a record-cutting machine. The polish finish dries out to a perfectly shiny exterior during its production. As it rotates, electronic signals from the master recording are transmitted to a cutting head, which holds a stylus. An engineer moves the cutter and a microscope then inspects the test groove and adjustments are made to the cutter. Since the recording is one continuous groove, a computer observes the cutting and modifies the spacing between the grooves as needed. Although not a vinyl record yet, it's beginning to take shape.

From there, the imprinted lacquer is sent to a pressing plant - perhaps a more industrial-looking environment than most vinyl album enthusiasts would like to admit. Then the varnish is rinsed with soap and water and sprayed with liquid tin chloride and liquid silver. Creating an inverse of the lacquer, the resulting metal master has ridges as opposed to grooves. Then the metal master is utlized to produce a metal record, also known as the mother. A stamper is born from the mother. The stamper is put on a machine, which punches a hole in the center and removes the edges to make a diameter of 12 inches. Negative versions of the original recording known as stampers will be utilized to make the real vinyl albums.

To finish, the stamper is put in a hydraulic press. Black Polyvinyl chloride pellets are placed in an extruder, which turns them into small "biscuits". The biscuit is then placed in the press which has two stampers mounted within - one for each side of the record. Steam softens the plastic while the stampers create impressions of the master recording onto soon-to-be-vinyl albums. Cool water is then used to solidify the disc. The final step? Finding its place in your vinyl record collection and on your turntable, whether its rock vinyl or jazz vinyl.

Facts Behind Jazz And Rock Vinyl Album Collecting

There are many reasons why people collect albums. In 1982, the compact disc (CD) was introduced; however, it didn't triumph in replacing the LP albums. On the contrary, it even powered the rebirth of the classic vinyl albums' popularity to musicians and music lovers alike. Each year, millions of vinyl records are sold to a lot of vinyl record collectors who switched to CD collecting out of convenience. Why do people collect records? For some, they are attracted to a piece of their past and for others, they just found the feel and sound of vinyl, be it jazz vinyl or rock vinyl, to their liking.

You can't really pinpoint the exact group of people who collect vinyl. They usually go by the names "audiophiles" or "geeks", but they are people from all walks of life. Doctors, lawyers, businessmen, housewives, politicians, factory workers, waitresses, rock musicians - name them all. These collectors would go anywhere just to find that one special record that perfectly fits their collection. However, their collection could never be complete as they go off again finding the next special piece of record. You can find these people in garage sales, church bazaars, flea markets, record shows, online aution, yard sales, and a lot of them are just behind their computers, browsing the Interent for their next find.

Vinyl album collecting is not an easy task; you have to invest your time and effort on it. Each piece in your collection must be categorized, cleaned, organized and taken care of. But feeling the grooves on your hand before playing it on the turntable is priceless. A piece of live history was just in your hands and of which you are now listening to. It has outlive reel tapes, track tapes, cassette tapes, and CDs. Vinyl records are still alive despite the presence of iPods and digital downloads; they have not been totally phased out.

DJs who keep on spinning rock vinyl records in clubs and artists who press for vinyl releases of their albums; anyone who buys vinyl for its sound quality and for purists who want to preserve not only the vinyl records themselves, but their jackets and sleeves - vinyl records are here to stay. Collectors, local bands, and record companies keep a piece of the past and our culture; for them, it has become a way of life.

Clean Your Vinyl Records

Cleaning your vinyl records regularly and properly is what it takes to have optimum quality sound when you spin them. Keeping your vinyl records good as new always just needs a few easy steps.

You will need basic cleaning tools and solutions such as anti-static guns and record cleaning machines which are optional, record cleaning pads, brushes and solutions, a turntable and your vinyl records. Or you may prefer using a 50/50 solution of isopropyl alcohol and distilled water for normal cleaning. A 70% alcohol solution may damage your vinyl records, but not in the recommended 50/50 solution. You can also use small amounts of baby bath to clean the vinyl records.

You can begin cleaning after you have all the required materials. Start cleaning the stylus and place the record on the turntable, handling the record by edges and labeled areas. If you have an anti-static gun, utilize it to neutralize grime. If you're using the alcohol-water solution, to help reduce water spots and marks, put a couple of drops of Photo Flo with the solution. Wiping in a circular motion with the grooves, rub in the solution with a soft, clean washcloth. This moment, the turntable comes useful. When cleaning the vinyl records, don't get the labels wet. Rinse the cloth often in the solution and replace with a fresh mixture when needed. If you have a record cleaningp brush or ad, hold the ends of the brush or pad between your fingers and manually rotate the platter in a clockwise direction while pushing the brush gently into the grooves. To lift the dirt, sweep the brush up and away and use a brush holder or similar object to scrape the grime off the brush, away from the turntable. Dry clean the vinyl record if it is not very dusty and has been cleaned regularly; or you can use a soft, clean towel to thoroughly dry the record.

Like most of us, you probably have heavily soiled records by now if you forget cleaning your vinyl records. A slightly different cleaning method that requires pre-cleaning them is called for. Place the heavily soiled records on a clean, soft, lint-free towel and wet-clean the vinyl record in a spiral motion from center to rim. Air-dry or use 100% cottion, lint-free cloth and repeat the steps on the other side. After pre-cleaning your vinyl record, you can proceed to the usual cleaning steps procedures.

If the cover of your vinyl record is laminated or glossy, use a damp towel or a mild furniture polish to clean it. You can get rid of the marks or writings on the cover with a rubber eraser or a lighter fluid. Heating the area with a hair dryer and making use of a citrus-based cleaner or lighter fluid is an effective way to get rid of the stickers, labels, and tape, and sticker residue. About cleaning the covers, there's nothing much you can do if you have matte finish vinyl record. Since the covers are already set, you would end up removing part of the print or color and making your vinyl records looking worse than dirt. Just remember that it just takes a moment of your time to keep your vinyl record clean and new.

Blue Note Records: A Foundation Of Jazz

In the annals of music history, certain names rise above the rest. In the 1940s, jazz exploded into American pop culture backed by the vision of two men, who believed in its complex rhythms, soaring melodies and mathematical chord progressions. Putting out nearly numerous undying jazz vinyl, Blue Note Records would soon take its rightful place as one of the primary forces in pushing both jazz's popularity and development.

Founded in 1939 by Alfred Lion and Max Margulis, Blue Note instantly grew into a force in the world of jazz. A 1939 session with pianists Albert Ammons and Meade Lux Lewis in a rented studio was the pair's first venture into recording and jazz vinyl. Conventional "hot" jazz and boogie-woogie were the label's first releases. Blue Note's first hit - the infectious performance of "Summertime" by saxophonist Sidney Bechet, which Bechet had been unable to record for the recognized companies - proved to be a breakthrough in the early days of jazz vinyl.

In Blue Note's earliest days, musicians were frequently supplied with alcohol as they recorded late into the night after their evening's work in the clubs and bars. The label quickly became famous for treating musicians unusually well, arranging sessions sometimes that were convenient to working musicians and giving them freedom and input as to the record's production.

While World War II proved to be a disruption to Blue Note's development, by late 1943, the label was back in business recording musicians and supplying jazz vinyl to the armed forces. Willing to record artists and styles that majority of other labels easily passed over, Blue Note brought some of the best musicians the U.S. has ever made to the forefront of the national music scene.

Through the 1940s and 50s, Blue Note found themselves at the forefront of the bebop and hard bop sounds, delivering them around the world on now-legendary jazz vinyl LPs. During the same era, iconic names like Thelonious Monk, Miles Davis, Hank Mobley, Lou Donaldson and Sonny Rollins all cut sides for the label or sat in as session players. Those recordings, still considered to be the best jazz ever recorded, stand as a witness to Blue Note's reach and influence.

The commercial feasibility of jazz came into questions also while America changed in the coming decades. Blue Note records lay dormant by 1979. But, EMI purchased the company that still owned Blue Note and launched an assertive reissue strategy in 1985. These days, the renaissance's remains in full swing as many of the class jazz vinyl reissues have become mainstays in vinyl albums' resurrection.