PACIFIC JAZZ / WORLD PACIFIC LABELOGRAPHY

Friday, May 4, 2012

BOB IRWIN-KEITH FINCH-SUEO SERISAWA-EDMOND KOHN-JOHN ALTOON

WEST COAST ARTIST SERIES
© James A. Harrod, COPYRIGHT PROTECTED; ALL RIGHTS RESERVED.

The Spring 1956 catalogue presented new releases in the 12” LP line as well as promoting the original 10” LP releases. The first LP listed, JAZZ WEST COAST - AN ANTHOLOGY OF CALIFORNIA MUSIC, was created to accompany a portfolio of William Claxton photographs published by the Linear Publications division of Pacific Jazz in the previous year. The Claxton portfolio will be the subject of a future post examining the creation of this photographic collection.

Four of the LPs listed among the remaining 12” LPs were part of a new marketing promotion created by Claxton and Bock entitled the “West Coast Artist Series” featuring artwork by leading artists who were then emerging on the west coast art scene and who were represented by new galleries such as the Landau Gallery and the Ferus Gallery.

Claxton’s connection to the art scene in Los Angeles can be traced back to his days at UCLA. His jazz photography was featured in a special exhibition at Royce Hall during the Junior Prom in December of 1953. The event included a jazz concert, program below:

Walter Hopps would be the co-founder of one of the leading cutting edge galleries in Los Angeles, The Ferus Gallery. Two artists represented by Ferus, Robert Irwin and John Altoon, would create several covers for Pacific Jazz albums.

The “West Coast Artist Series” was profiled in an article in the March 7, 1956 issue of Down Beat.

(Down Beat, Volume 23, No. 5, March 7, 1956, page 14)

The album front covers devoted 80% of the area to the artwork with a border at the top for the artist name and label indicia. Claxton designed a sidebar on the back giving essential data about the artist and a photo.

All album covers and liner notes © EMI Capitol Music

Dick Bock, Jim Hall, John Altoon and Clax during the creation of the PJ-1227 cover by Altoon.

John Altoon would design all of the following covers for Pacific Jazz:

Robert Irwin would also continue to have his paintings featured on Pacific Jazz albums:

All album covers and liner notes © EMI Capitol Music

The Robert Irwin cover for PJ-1206 was recognized by the Art Directors’ Club of Los Angeles and the Graphic International Advertising Art League as noted in these Billboard notices from 1956.

Bobby Troup discusses album covers on Stars of Jazz:

The Billboard, March 10, 1956, page 24

The Billboard, November 10, 1956, page 15

Claxton’s association with the art milieu during this period included actors from Hollywood, museum directors, and people in the fashion industry. His growing involvement in these areas would see an expansion in his photography portfolio. Claxton’s association with the Pacific Jazz label would lessen and Woody Woodward would join the label and assume many of the responsibilities for design and photography becoming Dick Bock’s right hand man.

© James A. Harrod, COPYRIGHT PROTECTED; ALL RIGHTS RESERVED.

Tuesday, May 1, 2012

PACIFIC JAZZ 12” LP – 1200 SERIES PART TWO

PACIFIC JAZZ 12” LP – 1200 SERIES
PART TWO - PJ-1221 / PJ-1240

The labels seen in this group reflect the transition from the Pacific Jazz logo to the World Pacific logo with the qualifying “Pacific JAZZ Series” added below the new logo. Releases prior to PJ-1232 are seen with both the original PJ label and then the new WP logo on labels when new pressings were needed to meet continuing demand for those older releases.

The release number on jackets would continue with the PJ- prefix until WP-1243 was issued. It was around this time that the label would also bear a WP- prefix and the PJ- prefix was discontinued. But with Pacific Jazz / World Pacific there would always be exceptions. Note PJ-1224 released as STEREO-1224, this version does not have the release number on the label as seen in the previous post of the stereo series labels. PJ-1225 (STEREO-1005) was also issued as STEREO-1225, the label this time without the release number, just the matrix numbers. Also the Gerry Mulligan Storyville label released here as STEREO-1228 with blue and silver labels, was not part of the STEREO-1000 series. PJ-1237, STEREO-1001, in the STEREO series was also issued as STEREO-1237, same treatment with side IDs and matrix numbers. Likewise PJ-1238, STEREO-1003 in the STEREO-1000 series here issued as STEREO-1238.

All label images © EMI Capitol Music

STEREO 1000 SERIES

World Pacific issued thirty one LPs in a separate numerical series beginning with STEREO-1001 and ending with STEREO-1031. The back of the record jackets carried the same identification and the record labels initially repeated the release number on STEREO-1001 through STEREO-1017. At that point new releases did not identify the release number on the labels, listing only the matrix number and the side identification. The placement of the side number and the matrix number would also alternate from one side of the spindle hole to the other

The matrix numbers changed during this release series going from a separate number for each side to a single number preceded by an A or a B. Thankfully the concept for this series was short lived and stereo releases would eventually carry the same release number as the monaural release.

The listing below is from William Claxton’s JAZZ WEST COAST – Artwork of Pacific Jazz Records, BIJUTSU SHUPPAN-SHA, Tokyo, Japan, 1992. It was compiled by Nobuyuki Suzuki and provides a handy reference to the other releases of the same material with different release numbers.