Steve McQueen's vinyl collection

His ability as an actor aside, Steve McQueen was a photogenic man, as proved by the work of photographers like William Claxton and John Dominis. The latter, who's been featured in this blog before, took this image below, which may be familiar to music lovers.

Steve McQueen in 1963 by John Dominis
©John Dominis/Time & Life Pictures/Getty Images
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If you're reading this, you've probably wondered what are those LPs spread all over Mr. McQueen's floor (we want to believe he's not stepping on one of them). If that's the case, I think I have been able to identify all the sleeves, even those only partially visible.

The two immediate conclusions are, firstly, that McQueen must have had some direct or indirect contact at Atlantic Records: not only is the label with most LPs in the room, but there seem to be up to three copies of one album.

Secondly, this collection of LPs, mostly stereo, is of its time. Even though LPs recorded and published in the mid-1950s could already considered to be high-fidelity soundwise, from about 1957 recordings are made also in stereo—often in paralel to mono—and towards the end of that decade stereo sound becomes the norm, with the popularity of hi-fi.

Given the rising tide of hi-fi equipment, record labels on the one hand phased out mono sound, and on the other they adapted their existing and still recent mono stock to the new stereo sound, through processes of "remastering" or "rechanneling", which at times didn't amount to much more than playing the same music through both left and right channels with minor differences in equalization or phase in order to give the listener a sense of space, of "stereo". This is the case with at least two of the LPs in the list below, numbers "6" and "14". The rest are LPs published in stereo, except for two instances of mono issues.

I've numbered the LPs in the image below. I've also added links to Qobuz (for audio) and Discogs (for info on the LPs).

Finally, it is quite clear that Mr. McQueen had excellent taste, or he knew how to be advised on musical matters.

(Click on the image to enlarge it)

Cecil Taylor dances to...

Passion for music is one facet common to both its practitioners and their audiences. If not passion, at least its overbearing presence in our daily lives. In jazz, with so many giant innovators and because its history has often been told as a relay race where the baton would be "influence", there has always been some interest in knowing what our idols listen(ed) to. We know that Miles Davis would listen to anything, including a lot of jazz —as shown in his various blindfold tests— or that Coleman Hawkins hardly listened to any other music than classical at home.

One of those giant innovators would be Cecil Taylor. Admittedly, not everyone's cup of tea, but I think we can agree that he was a monster pianist with an unassailable artistic and personal integrity.

Roaming around the internet, I have found these two photographs, taken by Deborah Feingold:

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Taylor seems to be dancing—which he would do in his performances—in his music room, where besides the piano and a conga drum (under his right arm), there can be seen a lot of LPs, among which three covers can be made out.