Paul Bacon (designer)

Paul Bacon(December 25, 1923 – June 8, 2015) was an American book and album cover designer and jazz musician. He is known for introducing the "Big Book Look" in book jacket design, and designed about 6,500 jackets and more than 200 jazz record covers.

Paul Bacon
Born	(1923-12-25)December 25, 1923 Ossining,New York,U.S.
Died	June 8, 2015(2015-06-08)(aged 91) Beacon,New York, U.S.

Personal life

Paul Bacon was born December 25, 1923, inOssining,New York. Bacon's family lived in many places in the New York City area while he was growing up due to economic hardships caused by theGreat Depression.The family settled inNewark, New Jersey,in 1939, where Bacon graduated fromNewark Arts High Schoolin 1940.Bacon's introduction to jazz was through the radio. "My brother and I realized we were jazz fans after hearing Benny Goodman on the Camel Caravan show in 1935,"Bacon said. In Newark they were members of a "hot club," a group of teens who listened to and talked about jazz.

After high school, Bacon took a design job with Scheck Advertising, a small ad agency in Newark. He was drafted in 1943 and joined the Marine Corps. With the Marines he was sent to Guadalcanal, Guam, and China, never seeing any action.

He was discharged in 1946 and returned toUnion Beach, New Jersey,where his family had moved. Shortly afterward he moved to New York City. He later married his roommate's cousin, Maxine Shirey, a dancer inCharles Weidman's house company for the City Center Opera in New York.Bacon died on June 8, 2015, aged 91, inBeacon, New York.

Design career

Bacon's design career got its start with drawings for small magazines such as The Newark Hot Club'sJazz NotesandBob Thiele'sJazzbefore he was drafted into the Marines.After the war he worked for Hal Zamboni at his design studio, Zamboni Associates, in Manhattan, for about nine years.In addition to this $30 a week work, Bacon designed 10 "album coversforAlfred LionandFrank Wolff's label,Blue Note Records,and wrote reviews forThe Record Changer,a magazine edited by Bill Grauer andOrrin Keepnews.

Bacon became the chief designer for Grauer and Keepnews's label,Riverside Records,in its early and middle years. At the same time he designed covers for the partner's reissues for theRCA Victorsubsidiary label, "X".It was also during this time – the late 1940s and early 1950s – in which Bacon began to work in book design.

The cover ofCompulsion.

In 1950, Bacon was asked by Bill Westley, a friend's father, to provide illustrations for his book,Chimp on My Shoulder.The art director forE. P. Dutton,the book's publisher, was pleased enough to ask Bacon to provide a dust jacket as well. The book was not anything major, but it gave Bacon his start.

In the early 1950s, Bacon was commissioned by Tom Bevans, the art director ofSimon & Schuster,to design a number of titles. Commissions from other houses came in as well, and Bacon opened his own studio in 1955. He continued to have a series of studios with his name on the door for over 50 years.

His first big hit came in 1956 withCompulsion,a novel byMeyer Levin.This cover also marked the inception of the "Big Book Look" that Bacon became known for. This look features a large, bold title, a prominent author's name, and a small conceptual image. Instances of this "look" includeCatch-22byJoseph Heller,Visions of CodybyJack Kerouac,andBullet ParkbyJohn Cheever,along with countless others.

Throughout his career, Bacon was a member of the American Institute of Graphic Arts (AIGA), theSociety of Illustrators,and the president of Graphic Artists for Self Preservation (G.A.S.P.), which was soon absorbed into theGraphic Artists Guild.He also taught at theSchool of Visual Artsfor four years.

Bacon designed covers for about 50 years, from his start in the early 1950s to the early 2000s. Throughout his career he used hand-drawn letters and illustrations. In later years, while Bacon was officially retired from creating book jackets, he continued to work on special projects for the small publishing firm McPherson & Co., and he returned to designing jazz albums.

Design style

In jacket design, Bacon found a talent for "finding something that would be a synthesis graphically of what the story was about."He would work for about three weeks on a book – the first two reading and making a sketch, and the third to finalize the design once it was approved. He didn't draw thumbnails or multiple sketches, he simply provided one image of his idea. However, he was accommodating, and did multiple versions of jackets if the publisher was not pleased. Bacon completed as many as eleven versions of the cover forCatch-22before a design was agreed upon.

Though Bacon had his signature style, he was by no means tied to it. His work was individualized, and he is noted to have "subordinated ego to function" in following what the book wanted. He did not, however, like to work directly with authors, so that the author would not influence the cover design.

"When you look at Bacon's jackets en masse, you realize that you're looking at a history of late-20th century commercial book cover design," said Stephen Heller in his article on Bacon forPrintmagazine in 2002.

Musicianship

Bacon's passion for jazz did not leave off at listening, reviewing, and designing sleeves. He himself took up playing thecombin the late '40s at the urging of Bill Grauer. Bacon joined The Hot Club of Riverside Drive – Grauer (comb),Conrad Janis(trombone), Bob Greene (piano), Bob Thompson (washboard), Bob Sann (banjo), Bob Lee (jug), and Orrin Keepnews (comb) – in Friday night jams. Bacon also played with The Washboard Live and The Hot Damn Jug Band of New York, bands that performed in an around New York City. In 1976 he played at Carnegie Hall with Bob Greene's "World of Jelly Roll Morton" show.

Starting in 1980, Bacon performed on Tuesday nights for twenty-two years as a vocalist and on the comb with the New Orleans-style jazz band, "Stanly's Washboard Kings", at the Cajun, a New Orleans-style restaurant in New York City.He has performed in Japan, Australia, New England, and on many jazz cruises, booked by Hank O'Neil andShelley Shier's agency, HOSS. He put out two albums, "Swing Me A Song" (1996) and "Things Are Looking Up" (2002), both fromJazzology.

Works

Bacon's design for the first printing ofPortnoy's Complaint(1969), byPhilip Roth,an example of his "Big Book Look" style.

Notable book jackets

See also:Category:Books with cover art by Paul Bacon

• CompulsionbyMeyer Levin,Simon and Schuster (1956)
• Catch-22byJoseph Heller,Simon and Schuster (1961)
• One Flew Over the Cuckoo's NestbyKen Kesey,Viking Penguin (1962, 1990)
• Miss MacIntosh, My DarlingbyMarguerite Young,Scribner's (1965)
• The Confessions of Nat TurnerbyWilliam Styron,Random House (1966, 1967)
• Rosemary's BabybyIra Levin,Random House (1967)
• Slaughterhouse-FivebyKurt Vonnegut, Jr.,Dell Pub. Co.(1968)
• Portnoy's ComplaintbyPhilip Roth,Random House (1969)
• Harvest HomebyThomas Tryon,Alfred A. Knopf (1973)
• Harlequin (novel)byMorris West,William Morrow & Company, Inc. (1974)
• RagtimebyE. L. Doctorow,Random House, Inc. (1974, 1975)
• ShōgunbyJames Clavell,Atheneum (1975)
• The Power BrokerbyRobert A. Caro,Alfred A. Knopf (1974)

Notable album covers

See also:Category:Albums with cover art by Paul Bacon

• Thelonious Monk:Genius of Modern Music:Blue Note (1947)
• The Amazing Bud Powell:Blue Note (1951)
• Fats Navarro: Memorial Album:Blue Note (1947)
• James Moody and His Modernists:Blue Note (1948)
• Milt Jackson:Wizard of the Vibes:Blue Note (1952)

Discography

• Swing Me A Song:Jazzology (1996)
• Things Are Looking Up:Jazzology (2002)

Essays

• "The High Priest of Be-bop." InThe Thelonious Monk Reader,(New York: Oxford University Press, 2001), 56–62.