However, his modern jazz designs – some with stunning and wild typographical expression, such as Lee Morgan’s The Rumproller – created a superb legacy, marking Reid Miles out as one of the earliest album cover designers to take note of. In the 60s, Miles began to concentrate on photography and he became a hugely successful figure in advertising.
As he once said: “Fifty bucks an album… they loved it, thought it was modern, they thought it went with the music… one or two colors to work with at that time, and some outrageous graphics!” He had small budgets and worked speedily.
Miles was not a jazz fan and was thus able to stand back and analyze what would make a great cover, irrespective of the musician involved. Chicago-born Miles, who had been an Esquire magazine journalist before working in music, created a “hip” brand identity for Blue Note, which was the epitome of modern, cool, and progressive.
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