Eastward (1970) by Gary Peacock Trio. Photography by Hiroshi Asada, Tadayuki Naitoh.
Continuing an occasional series about artists or designers whose work has appeared on record sleeves. Also another jazz-related post which includes Herbie Hancock via the V.S.O.P. album.
Eiko Ishioka is best known outside Japan for the costume designs she created for feature films, especially those in Francis Coppola’s Dracula, but she also had a parallel career as a graphic designer and art director, working with photographers and other designers on a large number of album covers. The examples here are a partial selection, many of which were created for East Wind, a label established by Nippon Phonogram to promote Japanese artists overseas.
Circle 2: Gathering (1971) by Circle. Design by Eiko Ishioka, Seiya Sawayama, Yoshio Nakanishi.
Weather Report Live In Tokyo (1972) by Weather Report. Design by Eiko Ishioka, Yoshio Nakanishi.
Miles Davis Story Vol. 2 (1972) by Miles Davis. Design by Eiko Ishioka, Yoshio Nakanishi. Photography by Columbia Records Photo Studio, Tadayuki Naitoh.
Black ink on silver foil, something that always looks impressive but doesn’t wear very well. This cover may have led to Ishioka’s work on Tutu (see below).
Winter Love, April Joy (1975) by David Friedman. Design by Eiko Ishioka, Motoko Naruse.
Continue reading “Eiko Ishioka album covers”
Tadanori Yokoo Emphasizes Deliberate Misalignment in Contemporary Woodblock Series.
• Another week, another Paris Review essay on Leonora Carrington. This time it’s Olga Tokarczuk exploring eccentricity as feminism. At the same publication there’s more eccentricity in Lucy Scholes‘ feature about the neglected novels of Irene Handl, a woman best known for the characters she played in many British films and TV dramas. I’ve long been curious about Handl’s writing career so this was good to see.
• “The denial of our participation in the world, [Fisher] implies—the disavowal of our desire for iPhones even as we diligently think anti-capitalist thoughts—is incapacitating. It leads to a regressive utopianism that cannot envision going through capitalism, but only retreating or escaping from it, into a primitive past or fictional future.” Lola Seaton on the ghosts of Mark Fisher.
• More ghosts: Paranormal is the latest collection of spooky, atmospheric electronica from Grey Frequency, “an audio document exploring extraordinary phenomena which have challenged orthodox science, but which have also grown and evolved as part of contemporary culture and a wider folkloric landscape.”
• “Items billed as THE BEST EVER can stop us cold, and even cause us to take them for granted, never reassessing them, as we instead gesture, often without thought, to where they sit in the corner, under a halo and backdrop of blue ribbons.” Colin Fleming on Miles Davis and Kind Of Blue.
• “Diaboliques and Psycho both achieve something very rare: a perfect plot twist but an unspoilable movie,” says Milan Terlunen.
• Richard Kirk returns once more as “Cabaret Voltaire” with a new recording, Billion Dollar.
• Even more Leonora Carrington: some of the cards from her Tarot deck.
• DJ Food on Zodiac Posters by Simboli Design, 1969.
• Kodak Ghosts (1970) by Michael Chapman | Plight (The Spiralling Of Winter Ghosts) (1988) by David Sylvian & Holger Czukay | The Ghosts Of Animals (1995) by Paul Schütze
Cover art by Domenico Gnoli, 1959.
• After decades of ignoring the output of Tangerine Dream it feels strange to be interested in the group once again; musicians you’re compelled to dismiss seldom manage to recapture your attention later on. Stranger still when the group itself is now completely detached from its origins following the death of founder Edgar Froese in 2015. But it was Froese’s departure, and with it the disappearance of many years of poor aesthetic choices, that helped renew my interest. At FACT the group take up the against-the-clock challenge in which musicians are given 10 minutes to create a new piece of music.
• “We were both working at Sounds at the time and we thought that instead of listening to these terrible ’80s records like Haircut 100 we’d go off and look for Montague Summers books, so off we went!” Savage Pencil (Edwin Pouncey) on his enthusiasm for Summers, Austin Spare and Louis Wain.
• At the Paris Review: Valerie Stivers bakes pies for Italo Calvino. I’d like to see someone create a series of dishes based on every location from Invisible Cities. Elsewhere there’s William N. Copley on Joseph Cornell: “No art historian ever prophesied the coming of the box.”
• On the experimental realism of an eccentric Russian Anglophile: “For Sigizmund Krzhizhanovsky, strangeness was a matter of perspective,” says Caryl Emerson.
• Nova Reperta: John Boardley on a series of 16th-century prints showing new inventions.
• RIP David Graeber. From 2014: “What’s the point if we can’t have fun?”
• “Damn your blood”: John Spurr on swearing in early modern English.
• At Wormwoodiana: Mark Valentine maps the esoteric in Britain, 1920.
• At Dennis Cooper’s: Seijun Suzuki Day.
• Big Fun/Holly-wuud (Take 3) (1972) by Miles Davis | Funtime (1977) by Iggy Pop | Funny Time Of Year (2002) by Beth Gibbons and Rustin Man
I listen to music all the time when I’m working but it’s not always a good idea to give new music an airing when you’re also concentrating on new work. What often happens on these occasions is that the album will fail to make an impression and end up being laid aside in favour of more familiar sounds, which is what happened to the copy of Milestones (1958) by Miles Davis that I bought last year in a charity shop. Listening to it again this week provoked a “Wow!” response as well as making me realise that I’d heard the tune of the fourth track, Miles, somewhere before. Miles, or Milestones as it’s confusingly also known, is covered by Barry Adamson on his 1996 album, Oedipus Schmoedipus, a simpler version but still jazzier than everything else on the album. I’d always suspected that Adamson was referring to Miles Davis with the title but since I’d never looked at the writing credits until this week I didn’t make the connection. Davis had a habit of naming new pieces of music after people he knew—John McLaughlin, Billy Preston, Mtume, producer Teo Macero, etc—so Miles (as opposed to Milestones) can be taken as an early example of the habit even though it refers to him and also doubles as a reference to measurement rather than a person.
The same title, but not the same piece of music, appears on a 1985 album by Sly & Robbie, Language Barrier, the track in this case being a renamed reworking of Black Satin from Miles Davis’s On The Corner album. Language Barrier in turn was produced by Bill Laswell who later remixed the original Black Satin for his excellent compilation/reconstruction of Davis’s electric period, Panthalassa, and who may have suggested that Sly & Robbie record their own version of the Davis piece. Whatever its origin, Miles (Black Satin) is credited to “B. Laswell, M. Davis, R. Shakespeare & S. Dunbar” which brings us back to Barry Adamson whose Miles has a similar credit at Discogs (but not on my CD…) although Laswell is now (bizarrely) “William Laswell”. I still don’t know what connection Laswell or Sly & Robbie have with Adamson’s track, unless it’s a Discogs error or contains a sample I’ve missed, but the ghost of M. Davis might at least be satisfied that he was influencing popular music after so many years on the outside looking in. Always miles ahead. And that’s the title of another Davis album I’ve yet to acquire…
Polish poster by Franciszek Starowieyski, 1970.
• Tony Richardson’s Mademoiselle (1966) is one of those cult films that’s more written about than seen, despite having Jeanne Moreau in the lead role as a sociopathic schoolteacher, together with a screenplay by Marguerite Duras and Jean Genet, plus uncredited script-doctoring by David Rudkin. John Waters listed the film as a “guilty pleasure” in Crackpot but it’s been unavailable on disc for over a decade. The BFI will be releasing a restored print on blu-ray in September.
“While the hurdy-gurdy’s capacity to fill space with its unrelenting multi-tonal dirge is for some the absolute sonic dream, for others it is the stuff of nightmares.” Jennifer Lucy Allan on the pleasures and pains of a medieval musical instrument.
• “I truly believed”: Vicki Pollack of the San Francisco Diggers talking to Jay Babcock for the fifth installment of Jay’s verbal history of the hippie anarchists.
• “If you want to call yourself a composer, you follow every step of the instrumentation.” Ennio Morricone talking to Guido Bonsaver in 2006.
• Dutchsteammachine converts jerky 12fps film from the NASA archive to 24fps. Here’s the Apollo 14 lunar mission: landing, EVA and liftoff.
• New music: Suddenly the World Had Dropped Away by David Toop; Skeleton and Unclean Spirit by John Carpenter; An Ascent by Scanner.
• Peter Hujar’s illicit photographs of New York’s cruising utopia. Not to be confused with Alvin Batrop‘s photos of gay New York.
• Mixes of the week: XLR8R Podcast 651 by Dave Harrington, and Mr.K’s Side 1, Track 1’s #1 by radioShirley & Mr.K.
• Simon Reynolds on the many electronic surprises to be found in the Smithsonian Folkways music archive.
• The Gone Away by Belbury Poly will be the next release on the Ghost Box label.
• At Dennis Cooper’s: Ed Emshwiller Day.
• Shirley Collins’ favourite music.
• Mademoiselle Mabry (1969) by Miles Davis | Hurdy Gurdy Man (1970) by Eartha Kitt | Danger Cruising (1979) by Pyrolator