years: paintings, posters, highly graphic design. By the mid-1950s, more and more photographs were used on album covers, sometimes as part of a general design or collage, sometimes with a photo covering the entire space. According to Walter Herdeg's study RECORD COVER, the LP's square format "is considered by some photographers to have been influential in the rise in popularity of the single-lens, square-format, reflex camera--a tool obviously perfectly suited to record-jacket illustration."(7) In the 1960s and '70s, record companies began to issue double-albums or "twofers." When these two-record sleeves were hinged together (as what the industry called "gatefolds"), there were twice as many surfaces to cover, either with visual or written material. Sometimes an artist's single piece spread across an entire album, with its covers opened out to complete the long rectangular picture. Inside, the extra room led to what jazz writer Tom Piazza has called a "golden age" for liner notes.(8) Certain companies provided several pages between the twofers' covers--offering sometimes more than one essay, data of various sorts, and visual material crossing several genres. Some companies experimented with "threefers," opening out yet another panel of possibility. Boxed sets were the inevitable next step: several individual albums (complete with cover art and liner notes) set into a single box, sometimes with designs or pictures fitting together once the set was completely in place. More typically, records in simple inner sleeves were placed into boxes with booklets inserted as super-liner notes. Like Avakian's original "Chicago Jazz," the jazz record package again was large enough to accommodate a booklet inside. As jazz record dealer and historian Fred Cohen has observed, some of these boxes and booklets became very large and elaborate indeed. Verve's founder/owner Norman Granz, an innovative leader in so many aspects of presenti...
