Years ago, two friends in Philadelphia — both designers, both obsessed with jazz — kept noticing the same notation on the back of their favorite records: “recorded by Van Gelder in Hackensack.” So one Saturday they drove out to find it. They tracked down the address in a 1955 phone book, pulled up — and found a parking lot. No sign, no plaque, nothing to mark that Rudy Van Gelder had once turned his parents’ living room into a recording studio there, capturing some of the most important American music of the century.
Years ago, two friends in Philadelphia — both designers, both obsessed with jazz — kept noticing the same notation on the back of their favorite records: “recorded by Van Gelder in Hackensack.” So one Saturday they drove out to find it. They tracked down the address in a 1955 phone book, pulled up — and found a parking lot. No sign, no plaque, nothing to mark that Rudy Van Gelder had once turned his parents’ living room into a recording studio there, capturing some of the most important American music of the century.
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That quiet drive home planted the seed for a twenty-year project. Mark Havens and Chris Entwisle are the authors of WAIL: The Visual Language of Prestige Records — the first real look at the design history of a label that, unlike Blue Note, never got its design mythology, despite cover art that’s just as striking and durable. They tracked down original pressings, interviewed the designers before that history disappeared for good, and uncovered how a label run, in one historian’s words, “like a mom and pop store” — no budget, no briefs, no marketing department — produced a visual identity coherent enough to still echo through design today.
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What we love about this conversation is how much of it comes down to constraints driving creativity. Reid Miles couldn’t afford imagery, so he made typography the art. Tom Hannon had no budget for stock photography, so he shot the musicians himself. Designers got an album title and nothing else — no brief, no comp, no client approval — and turned that absence of direction into creative freedom, because Bob Weinstock simply “viewed it all as art,” the music and the covers alike. This is a conversation about jazz, but it’s also about what happens to creative work when nobody’s watching too closely, and why limitations so often produce things that last.
Bios
Chris Entwisle is an artist and illustrator. For over thirty years, he has used his passion for both jazz and postwar graphic design in his illustration work. Entwisle has a BA in graphic design from Rutgers University. He and his wife live in the Philadelphia area.
Mark Havens is an artist and educator with a dual background in graphic and industrial design. His work has been exhibited internationally and is held in both public and private collections. Out of Season, his first major monograph, was described by the New York Times as “a decade-long elegy.” Havens is a professor of industrial design at Thomas Jefferson University.
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