Janoschka magazine Linked_V4_2019

issue #4 ©
l i n k e d
23
Symbols, Surrealism and
Samba pa Ti
Photography and typography have always been important for record covers,
but painting also had a key role to play. One of the most influential artists during
the era when pop music was making its breakthrough – the late 60s and
early 70s, in other words – was Mati Klarwein. Born in Germany in 1932,
Klarwein emigrated with his parents to Palestine when he was two. After
living in Paris for a while, the much-travelled Klarwein came to New York in
1965. His friends included Salvador Dalí and Jimi Hendrix.
In 1970, two revolutionary albums were released featuring paintings by Mati
Klarwein on their covers: Bitches Brew by Miles Davis, on which the jazz
genius integrated funk and electronic music in his sound for the first time,
and Abraxas by Santana, which included the instrumental number "Samba
pa Ti" and was later to become a world hit. The cover of Abraxas was based
on Klarwein's "Aleph Sanctuary": a sacred space designed for all religions and
intended as a new interpretation of Michelangelo's Sistine Chapel. It was a
work to which the artist devoted many years.
Klarwein died in 2002. Although the oeuvre of this prolific artist evinces influences
of Surrealism, Symbolism and Pop culture, his name is associated
above all with his LP covers.
Mati Klarwein’s place in the history of 20th century
art is unique, nestling at the crossroads of
painting and music. Numerous musicians such as
Miles Davis, Carlos Santana and Jimi Hendrix
recognised a statement of intent in his work and
used it on their record covers as a manifesto.