[The introduction to this series of posts is here.]
“In the mid-1950s (the exact year is not specified on the recording), Charles White provided an illustration for the cover of Urbie Green and his band. The record was released on the Vanguard label (in the UK, PPT 12021). Again, it was a 10” mono recording. The cover of Urbie Green and his band featured a drawing of a trombone player, the trombone being Green’s instrument. The drawing was signed by Charles White and dated ’54.’ There were no further references to White in the notes on the back of the record cover.”
“In 1958 the Vanguard record label re-released Brother John Sellers Sings Blues and Folk Songs. The sleeve of the reissued record carried the same drawing by Charles White, though on this occasion, the red colouring of the singer’s shirt was removed, the background instead becoming a shade of red, and the sleeve carrying other typographic and text changes. The text on the back of the sleeve had also changed. The opening paragraph of the now uncredited sleeve notes read:
‘Brother John Sellers was born a little over thirty years ago in Clarksdale, Mississippi. As a child he sang gospel songs in the Church of God in Christ, the members of which traditionally address each other as “brother” and “sister.” Mississippi has one of the largest Negro populations of any state, and most of this population lives under conditions of extreme hardship and poverty. This life is reflected in the music, and Mississippi is one of the richest centres of folk music of the Negro people. The music is full of poignance, but also found in its strength, dignity and love of life. It takes many forms: gospel or church songs, spirituals, children’s game songs, traditional story ballads, blues or a solo, improvised “minstrel” music. Much of this music infused jazz, as it developed. But to those who knew and felt its origins, and understood its styles, these strands of music were not to be lightly confused with one another. Gospel songs and spirituals were a serious and sacred music. Blues and ballads were a different music, secular, sometimes “sinful.” Jazz was something else again, a music often using the blues, but with a different beat, born in the cities rather than in the countryside where the blues had arisen. It is not surprising that some of the greatest Negro folk singers were Mississippi born, like the blues singer Big Bill Broonzy. All this music was familiar to John Sellers from childhood.’
The 1958 re-released Brother John Sellers Sings Blues and Folk Songs (VRS 9036) contained a greater number of songs than its previous version, with nine songs being added. This time, the sleeve notes included ‘Cover drawing by Charles White,’ and the drawing itself carried a Charles White signature in the lower right corner of the sleeve. “
“In 1955, Charles White provided an illustration for the cover of Jimmy Rushing sings the blues. The record was released on the Vanguard label as part of its Vanguard Jazz Showcase – AVRS-7005. Again, it was a 10” mono recording. Jimmy Rushing (1901– 1972) was an American blues and jazz singer who had worked closely with Count Basie’s Orchestra from the mid-1930s to mid-1940s. The cover of Jimmy Rushing sings the blues featured a drawing of two guitar-carrying musicians. The original drawing for the record cover, ‘Jazz - Jimmy Rushing Sings the Blues,’ a pen and ink work, 34” x 24,” dating from 1955, was, nearly three decades later, offered for sale by Heritage Gallery, Los Angeles.
The album notes contained the following: ‘ABOUT THE COVER--The drawing on the cover is one of a series commissioned by Vanguard from the distinguished artist, Charles White. Mr. White’s work is represented in the Whitney Museum, Library of Congress, and other famous collections. In 1952 he won an Academy of Arts and Letters award and a national prize in the Metropolitan Museum of Art competition in New York. The drawing does not portray any of the performers on this record, but attempts to capture the human experiences out of which the blues arose.’ A version of this text was reproduced on a number of the Vanguard sleeves that Charles White illustrated.”
“In 1954, Charles White provided an illustration for the cover of Buck Meets Ruby. (Ruby Draff, trumpet and Buck Clayton, trumpet). The record was released with several different coloured covers, featuring the same drawing by Charles White. Another record of the same name, featuring a different selection of tracks, again featured the same drawing by White. This record was released on the Vanguard label as part of its Vanguard Jazz Showcase – AVRS-7002-X. Again, this was a 10” recording. The cover featured a drawing of two trumpet players.
The album notes contained the following: ‘ABOUT THE COVER—The drawing on the cover is one of a series commissioned by Vanguard Recording Society, Inc., from the distinguished artist, Charles White. Mr. White won an Academy of Arts and Letters award in 1952, and, that same year, a National Prize of the Metropolitan Museum of Art in New York. His work is represented in the Whitney Museum, Library of Congress, and other famous collections. The drawing does not portray any of the actual performers on this session, but rather reveals the human experiences out of which jazz comes, in this case symbolizing the young student of the horn and the old veteran.’ A version of this text was reproduced on a number of the Vanguard sleeves that Charles White illustrated.”
“In 1965 Charles White provided one of his drawings for the sleeve of an RCA Victor Red Seal recording. [Morton] Gould: Spirituals for Orchestra / [Aaron] Copland: Dance Symphony, directed by Chicago Symphony Orchestra with Morton Gould conducting. The circular drawing used was made in 1965. A feature on White, that appeared in Negro Digest, June 1967, included the drawing, on page 47, with the following accompanying text: J’Accuse! No. 14, 1965, done in charcoal, Collection of Heritage Gallery (The drawing was nominated for an award by the National Academy of Recording Arts and sciences in 1966. It is also called ‘Spirituals’).”
“In 1961 Folkways Records released a unique recording—W.E.B. DuBois—a recorded autobiography/ interviewed by Moses Asch. The grand old man of African American politics of the 20th century was, by 1961, in his early 90s, so this was a very special undertaking. The record sleeve used Charles White’s distinctive portrait of DuBois, which had been previously appeared in print, in 1951, in a small pamphlet, entitled I Take my Stand for Peace.”
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