aid the work was too sophisticated. From cultural critic Greg Tate we get confirmation of our speculation that a little Miles Davis' art appeared on his albums. But Tate, commenting in FLYBOY IN THE BUTTERMILK (Simon & Schuster 1992), doesn't seem to think much of the visuals: "Now comes STAR PEOPLE, an LP of simple blues variations containing cartoon aesthetic art work by Miles and liner notes wherein the maestro explains his music to Leonard Feather, then defines his contributions to modern art thusly: 'All Drawings, Color Concepts and Basic Attitudes by Miles Davis.' Is he kidding us or what?" Always working a dual (flutist/visual artist) capacity, Lloyd McNeill did the cover for this "Tanner Suite" (1969) and "Treasures" (1975) recordings. Helping us plan part II of this article, McNeill canvassed his record collection and found some gems: Claude A. Ogundipe Fayomi's painting and Loring Eutemay's design for Randy Weston's self-produced 1964 "African Cookbook" release. Abidine's painting for the cover of "The Avant Garde" by Coltrane and Don Cherry (1966). (There is some Arabic script in the painting which leads McNeill to surmise that the artist could be a Nigerian form the northern part of the country.) Two Herbie Hancock albums presenting work by Robert Springett: "Sextant" (two Watusi dancers under a moon) and "Crossings" (three elderly black men getting off the "Dominique," a boat). Joseph Burbank's drawing based on a Chuck Stewart photo for the Eric Dolphy album, "Dedicated to Dolphy" (Cambridge). The photographer Chuck Stewart is something of a legend in the jazz community. Stewart began working as an assistant to Herman Leonard, a leading white surveyor of the jazz scene who sold photographs to the major labels. When Leonard moved to Europe in 1955, Stewart took over his trade. "I cannot absolutely say there was no prejudice," says Stewart, noting that the recording company art director...
