The Art Curator: Vincent Gérard

Music is an auditory experience and, yet, every genre has its own set of visual iconography that evokes the spirit and feelings of that style. With a long and rich history, jazz has its own such imagery made up of seminal album cover art, iconic portraits, and artistic interpretations of the music itself.

In this Chats with Cats I spoke with Vincent Gérard who has had a long career as a creative but found his passion dealing in Jazz art. Not only does his JazzFest Gallery sell them in the traditional mediums of prints and shirts but also in the new frontier of NFTs and virtual reality. Mr. Gérard gave me some insight into how this all happens.

About Vincent Gérard

Vincent Gérard Janas, a native New Yorker, is the Founder and General Manager of JazzFest Gallery. Based in New York City, Gérard oversees all aspects of the gallery, including curation, marketing, sales, and operations. He has successfully launched two online galleries and is currently exploring opportunities for physical gallery spaces in Manhattan and New Orleans. Gérard uniquely blends traditional art with modern digital platforms like NFTs and virtual reality.

Before founding JazzFest, Gérard worked as Sales and Marketing Director at Showplace Art, Design, Auctions, focusing on antiques, furniture and art sales. He also served as Creative Director at Mattel, managing advertising and branding for Barbie.

Gérard holds dual B.A. degrees in Advertising and Communication Design, and Art History and Museum Professions from the Fashion Institute of Technology in New York City.

All About Jazz: What is your background and how did you get into selling jazz art?

Vincent Gérard: My background is a rich tapestry woven from various threads of art, music, and creative direction. I was born and raised in New York City, a place where culture and creativity pulse through the streets. Growing up, I was surrounded by art in all its forms, but it was music—specifically jazz—that truly captivated me. The improvisational spirit of jazz, the way it can convey complex emotions and tell stories without words, left a profound impact on me.

Professionally, I initially ventured into the world of fashion and beauty, where I spent several years as a creative director. My work included high-profile projects, such as a tenure with Barbie, where I had the opportunity to shape visual narratives that resonated with a global audience. However, despite the excitement and success in that field, I always felt a pull towards the fine arts, especially jazz art. The decision to transition into the art world was both a return to my roots and a leap into a new creative frontier.

JazzFest Gallery was born out of a desire to merge my love for jazz with my passion for visual art. It's a space where I can curate and showcase works that, not only celebrate jazz as a genre, but also explore its deep cultural and historical significance. My goal is to create a platform where collectors can find art that speaks to their love for jazz, whether they are seasoned enthusiasts or new admirers of the genre.

AAJ: What is your most rare or valuable print?

VG: While all the prints in our collection are priced equally, making them of similar "value" in a financial sense, there is one print that stands out due to its rarity and the difficulty I encountered in acquiring it: Jazz at the Philharmonic Volume III. This print, illustrated by David Stone Martin, is particularly special to me because it represents a piece of jazz history that was challenging to track down.

The cover art for Jazz at the Philharmonic Volume III, which features Martin's signature style—fluid, expressive lines that capture the energy and movement of jazz. The illustration depicts a dynamic composition of musical instruments, including a trumpet, saxophone, and piano keys, all intertwined in a rhythmic dance that mirrors the improvisational nature of jazz itself. The mustard-yellow background provides a striking contrast to the black and white elements, drawing the viewer's eye to the intricate details of the instruments and the abstract lines that crisscross the composition.

Finding this print was no small feat. Jazz at the Philharmonic was a concert series produced by Norman Granz that played a pivotal role in bringing jazz to a broader audience. However, as time passed, many of the original prints from these concerts became increasingly rare, particularly those by David Stone Martin, whose work is highly sought after by collectors. The combination of Martin's artistic reputation and the historical significance of the Jazz at the Philharmonic series made this print especially elusive.

After months of searching through various channels—contacting private collectors, visiting auction houses, and networking within the jazz community—I was finally able to acquire this print. It's a piece that not only adds value to our collection but also tells a story of perseverance and the deep connection between visual art and jazz music.

For collectors and jazz enthusiasts, Jazz at the Philharmonic Volume III represents more than just an image—it's a visual celebration of a landmark moment in jazz history, brought to life by one of the genre's most iconic artists. This print is a rare gem in our gallery, and it holds a special place in my heart as a testament to the enduring legacy of jazz.

AAJ: What's your most popular print?

VG: Among all the prints in our collection, the most popular one is undoubtedly the cover art for the album BIrd and Diz, illustrated by David Stone Martin. This print has captured the attention and admiration of collectors worldwide, not only because of its striking design but also due to the legendary status of the musicians it represents.

Bird and Diz is an album that was recorded in 1950 and features two of the most iconic figures in jazz history: Charlie Parker (known as "Bird") and Dizzy Gillespie (often referred to simply as "Diz"). The album is a landmark recording that showcases the brilliance of bebop, a genre that both Parker and Gillespie helped pioneer. Their collaboration on this album is a masterclass in improvisation and technical skill, and it remains a touchstone for jazz enthusiasts to this day.

The cover art for Bird and Diz, designed by David Stone Martin, is as iconic as the music itself. Martin was known for his ability to capture the essence of jazz through his art, and this cover is a perfect example of his talent. The design features a stylized illustration of both Parker and Gillespie, cleverly incorporating their instruments into their profiles. Parker's saxophone is depicted in vibrant red, contrasting sharply with the muted tones of the rest of the image, drawing the viewer's eye to the center of the composition. Gillespie's trumpet is rendered in a cool blue, with his face partially obscured by the instrument, symbolizing the close relationship between the musician and his music.

The typography is bold and dynamic, with the album's title "Bird and Diz" rendered in red and blue, echoing the colors of the instruments. The title's playful, angular font reflects the spontaneity and energy of bebop, while the abstract shapes and lines around the figures add a sense of movement and rhythm to the piece. The small bird in the upper right corner is a subtle nod to Charlie Parker's nickname, "Bird," adding a personal touch to the design.

This print is immensely popular because it encapsulates the spirit of an era when jazz was evolving rapidly, with Parker and Gillespie at the forefront of that transformation. The combination of their legendary status, the historical significance of the album, and Martin's distinctive artistic style makes this print a favorite among jazz fans and art collectors alike. It's not just a visual tribute to two of jazz's greatest innovators; it's a piece of history that continues to inspire and captivate new generations of jazz lovers.

AAJ: Is it difficult to license the images for prints and shirts?

VG: Licensing is indeed a complex aspect of the business, but it's an essential one to navigate with care and respect. When dealing with images that are steeped in history, particularly those involving legendary musicians and photographers, there are often multiple stakeholders involved. This can include the estates of the artists, record labels, and sometimes even the musicians' families.

The process typically begins with identifying who holds the rights to the image or artwork. Once that's established, negotiations can take place to secure the appropriate permissions. This involves not just financial agreements but also ensuring that the use of the image aligns with the original intent and maintains the integrity of the work. In some cases, I've had the opportunity to work closely with the families or estates of the artists, which adds another layer of responsibility to ensure that the legacy of these cultural icons is honored.

Despite the challenges, I find the process rewarding. Each successfully licensed piece is a step towards preserving and celebrating jazz history in a way that makes it accessible to a broader audience. Whether it's a print or a piece of merchandise like a shirt, the goal is to bring these iconic images into everyday life while ensuring that the original creators are rightfully acknowledged and compensated.

AAJ: Is there a certain part(s) of the world that you sell to the most?

VG: JazzFest Gallery has a truly global reach, but there are certain regions where our art resonates particularly strongly. In the United States, major cities like New York, Los Angeles, and Chicago are at the forefront. These cities have deep roots in jazz culture—New York, of course, being the birthplace of bebop, and Chicago having its own storied history with the blues and early jazz.

Internationally, Japan stands out as a significant market. The Japanese have a profound appreciation for jazz, and this is reflected in their enthusiasm for jazz art. There's a deep respect for the genre's history and its cultural impact, which translates into a strong market for our prints. Europe, particularly cities like Paris and London, also has a vibrant jazz scene, and we see consistent interest from collectors there.

This global interest highlights the universal appeal of jazz. It's a genre that transcends cultural boundaries, and the art associated with it has the power to evoke emotions and memories in people from all walks of life. Whether it's a collector in Tokyo or a jazz enthusiast in Paris, there's a shared love for the music and its visual representation that unites our audience.

AAJ: What, do you think, makes a piece of art intriguing?

VG: Art becomes truly intriguing when it has the ability to engage the viewer on multiple levels—emotionally, intellectually, and aesthetically. For me, a piece of jazz art is most compelling when it captures the improvisational spirit of the music. Jazz, by its very nature, is about spontaneity and expression, and art that can mirror these qualities tends to stand out.

One aspect that makes jazz art particularly fascinating is its capacity to tell a story. Whether it's a portrait of a musician lost in the music or an abstract representation of the rhythm and flow of a jazz piece, the art invites the viewer into a narrative. This storytelling element is crucial because it creates a connection between the art and the viewer, allowing them to see beyond the image and into the world of jazz.

AAJ: Do you have a favorite jazz musical artist(s)?

VG: Choosing a favorite jazz artist is always a challenge because the genre is so rich and diverse, with each artist bringing something unique to the table. However, if I had to narrow it down, two artists who stand out for me are Frank Sinatra and Ella Fitzgerald. Both of them are legends in their own right, and their contributions to jazz and popular music are immeasurable.

Frank Sinatra is not only a towering figure in jazz but also one of the most iconic voices in American music history. Sinatra had an unparalleled ability to interpret a song, bringing emotion, nuance, and a sense of storytelling to every performance. His phrasing, timing, and the sheer warmth of his voice made him a master of ballads, while his swagger and charisma brought a unique energy to more upbeat numbers.

One of the reasons I admire Sinatra is his deep connection to the lyrics. He had a way of making each song feel personal, as if he were singing directly to the listener. Whether it's the melancholy introspection of In the Wee Small Hours or the exuberant optimism of Come Fly with Me, Sinatra's performances are timeless, transcending generations and remaining relevant today. His work with arrangers like Nelson Riddle and Quincy Jones produced some of the most sophisticated and enduring recordings in jazz and popular music.

Ella Fitzgerald is another artist who has had a profound impact on my appreciation of jazz. Ella's voice was a marvel—pure, flexible, and effortlessly swinging. She had an incredible range, both in terms of pitch and emotional expression, and her ability to scat sing is legendary. Listening to Ella perform is like witnessing a masterclass in vocal jazz; her technique was flawless, yet she always conveyed a sense of joy and spontaneity in her music.

One of my favorite aspects of Ella's career is her Songbook series, where she tackled the works of some of the greatest American composers, including Cole Porter, Duke Ellington, and George Gershwin. These recordings are not just a showcase of her vocal abilities but also a celebration of the American musical canon. Each album in the series is a treasure, with Ella breathing new life into these classic songs, making them her own while staying true to the original compositions.

Ella's interpretations are marked by a clarity and precision that make every word and note shine. Whether she was performing live or in the studio, her voice had an incredible warmth that could convey a wide range of emotions, from playful to poignant. Ella Fitzgerald's contributions to jazz are immeasurable, and her influence can still be heard in vocalists today.

Together, Frank Sinatra and Ella Fitzgerald represent the epitome of vocal jazz. Their ability to connect with audiences, their impeccable musicianship, and their lasting impact on the genre make them my favorites. Listening to their recordings is always an inspiring experience, and their artistry continues to influence my work at JazzFest Gallery.

AAJ: Does being in New York help your business and, if so, why?

VG: While selling through a website allows me to reach a global audience and operate from virtually anywhere, being based in New York City is instrumental to the success of JazzFest Gallery in ways that go far beyond logistics. New York is more than just a location—it's a vibrant, dynamic environment that constantly inspires and challenges me as a creative professional.

New York City is steeped in jazz history. From the legendary clubs in Harlem where bebop was born to the iconic venues in the Village that hosted groundbreaking performances, the city has been a cradle of jazz innovation. This rich cultural backdrop not only influences the art I curate but also provides a continuous source of inspiration. Walking the same streets where legends like Charlie Parker, Duke Ellington, and Billie Holiday once roamed creates a deep connection to the music and its visual representation. The energy of the city, with its fast pace and cultural diversity, pushes me to think creatively and stay on the cutting edge of what resonates with today's audiences.

Furthermore, New York is a melting pot of creative industries—art, fashion, music, theater—all intersecting in ways that are unique to this city. This convergence of ideas fosters a creative synergy that is unmatched anywhere else. Being here means I'm constantly exposed to new trends, innovative ideas, and diverse perspectives, all of which feed into the curation of the gallery. Whether it's attending a gallery opening in Chelsea, a jazz performance in the Village, or a cultural event uptown, there's always something happening that sparks new ideas and keeps my creative energy flowing.

Additionally, New York's status as a global cultural hub brings in a diverse clientele—both locals who have a deep appreciation for the city's jazz heritage and international visitors who seek out the unique offerings that can only be found here. This mix of audiences allows JazzFest Gallery to cater to a broad spectrum of collectors, each with their own connection to jazz and its visual art. The city's global reach also opens up opportunities for collaborations, partnerships, and events that might not be possible elsewhere.

In essence, while the digital nature of my business provides the flexibility to operate from anywhere, it is the creative environment of New York City that continually drives the innovation, inspiration, and connections that make JazzFest Gallery what it is. New York is not just a backdrop for my work; it's a vital part of the creative process that fuels the gallery's success.

AAJ: Last question. You mentioned NFTs and virtual reality. Have those become legitimate platforms that you have found opportunities to service?

VG: Yes, both have become legitimate platforms, and I strongly believe they represent the future of the art world.

NFTs are often misunderstood, but they unlock incredible technology that will empower artists and musicians in unprecedented ways. Although they're currently in a primitive phase and receive a lot of negative press, the potential of NFT technology goes beyond just artistic expression—it will play a key role in business operations, especially in creating contracts and ensuring artists and musicians can collect royalties efficiently. As for virtual reality, its artistic and cultural potential is immense.

My ultimate goal is to creative direct a significant part of the virtual space dedicated to jazz by recreating the legendary 52nd Street, known as "Swing Street" in jazz history.

In the 1940s and 1950s, 52nd Street was the epicenter of the jazz world, where you could walk down the block and hear legends like Charlie Parker, Billie Holiday, Ella Fitzgerald, and Miles Davis performing in different clubs. Imagine an immersive experience where you could virtually step into a club to see Bird play, then walk next door to hear Billie sing with Miles backing her up.

Further down the street, you could catch a performance by Louis Armstrong or Frank Sinatra. This virtual 52nd Street would bring together the greatest musicians in history, all in one spot, offering an experience that captures the essence of jazz's golden era. The possibilities for this kind of project are endless, and it could serve as a living museum of sorts, where jazz history is preserved and celebrated in an interactive, dynamic way.

The technology is there. I just need the right partners to work with.

Comments