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Sempé and music is a long love story that goes from Jazz to Debussy and his Clair de Lune, via Trenet, Ravel, Gershwin and Michel Legrand. On this cover of March 12 th 1984, he offers us a little journey of modesty in the philharmonic orchestra, from the conductor to the harpist, to the snare drum player all moved by this honour. 

Indian girl in the wings for the entrance of the musicians of the Philharmonic Orchestra under Sempé's eye for the New Yorker of January 28, 1985. The black tails of the musicians' tails stand out against the covers of their instruments as they watch them pass by. The snare drum player chooses his sticks. Music is a favourite subject in Sempé's work. 

Purple Rain for Prince, by Bob Staake. On May 2, 2016 the cover of The New Yorker pays homage to the Minneapolis kid, in all sobriety, the purple rain slides down the page like the tears of the fans. Prince is no more but his Kiss, Sign of the times, Raspberry Beret or Little red corvette resound for eternity. 

Let's dream jazz with Sempé, on this drawing of February 5, 1996 on the cover of The New Yorker. For the artist, who is a music-loving artist, a sparkling tenor saxophone suspends the incessant rhythm of the city that never sleeps, with its yellow taxis and the crowd filling its sidewalks, to light up the dream of a teenage music-lover with a cap. "Jazz and comedy drawing have something in common in suggesting things," says Sempé.

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Autumn String Quartet on the October 20, 1980 cover of The New Yorker by Sempé. The orange of the leaves littering the ground and the golden light of the Indian summer that surrounds the musicians, give relief to the small coloured spots on their clothes where the memory of summer can still be read. While the knitwear in progress placed on the tables announce the coming arrival of winter...

Arthur Getz is one of the people who designed the most covers for The New Yorker, 213, between 1938 and 1988. On the cover of January 4 1958, for the New Year, he captured a jazz orchestra in full swing. Pianist about to play, hands suspended above the keyboard, and absorbed double bassist, contrast with the energy of the drummer with his wild sticks. An image that reminds us that New York was the jazz capital of the world.