Blue Note Records: Complete Guide To The Blue Note Labels

Welcome to the most frequently viewed page at LondonJazzCollector! This guide has been over 10 years in the making. New knowledge is added as it is found, errors are corrected, not to say there isn’t room for more improvement, further discovery welcomed. Be prepared for a deep dive.

Last Updated: April 13, 2024
“Division of United Artists” transition 1971 -3

The Blue Note label, from the ’50s to the present day –  the definitive guide for the audiophile record collector.

The earliest Blue Note recordings were issued on 78 rpm shellac and then 10″ microgroove, largely the domain of the purist collector, as many of these recording (though not all) went on to be republished in various permutations on 12″ LP.

This Collector’s Guide commences in 1956, with the 12″ 1500 series microgroove vinyl LP, which I consider the beginning of modern “high fidelity” and which coincides with the beginning of use of the new condenser/valve microphone. It covers the period of the original Blue Note Records company in the decade up to 1966, and then through the hands of subsequent owners Liberty Records, United Artists and EMI, through the DJ compilation decade,  up to the modern “audiophile” editions of the present day. It concludes with DJ Frankenstein remixing Blue Note recordings with hip-hop beats, and the spectre of cheap Public Domain reissues from undocumented low quality sources. However quality all-analogue reissues from original tapes just get better and better.

Note regarding overseas editions. In the golden era up to 1966, the Blue Note label had no overseas licensing agreements, and original US pressings were simply exported. The first titles manufactured overseas were in the Liberty, United Artists and EMI period , which are covered in separate pages, for Japan and Europe. Counterfeit Blue Notes were manufactured in parts of South East Asia.  Licensed genuine Blue Note reissues for Europe are manufactured today mostly in Germany.

LondonJazzCollector Blue Note Cheat Sheet 

Updated November 7, 2022, to incorporate two early 1980s Capitol-EMI “interim labels”, blue label white note design similar to United Artists, but text now includes manufactured by Liberty Records Inc, and subsequently, by Capitol Records Inc. These labels were used for repressing popular titles, prior to the major Capitol EMI reissue initiative, which was launched in the mid-80s under the banner “The Finest In Jazz Since 1939”

LJC CHEAT SHEET

Note: The years in which labels were in use are approximate. A label indicates the Blue Note design and address at the time the label was printed. Labels were printed generally a few months after recording session, part of the process to prepare each album for release.  Actual timing of release was dictated by Alfred Lion’s commercial judgement, and vinyl was pressed shortly before the release date, using those labels.

The label on a record is a useful guide to provenance but is by no means definitive. Release was at best three months and in some cases several years after the session  date. In periods of change, there was often an overlap between the actual manufacturing date and the labels use. The NY address was in use for new titles between mid-1961 and mid-1966, but new releases with the earlier 47W63rd label stray into that period. Previously printed NY labels spill over on new releases in the Liberty years.  It becomes clearer when you follow the business process of a issuing a new title

A record starts with a recording session date, which sounds definitive, though some Blue Note titles draw together tracks from different sessions sometimes years apart. At the end of the process is the record release month, which is documented in Schwan catalogues and music press reviews of new releases, usually Billboard. Between those dates are various stages of manufacture: mixing, mastering, metal production, label printing, cover fabrication, and shortly before release, actual vinyl pressing. These events occur between the recording date  and release date, and determine which actual label design was used at pressing, and which design of pressing dies happened to be used in the first pressing.

The inner sleeve was added in the factory immediately after pressing, and as a result is the closest evidence of the date of manufacture. Study of the nine unique inner sleeve versions confirms many popular Blue Note titles were repressed to top up dealer inventory, more or less continuously in small batches throughout the first half of the Sixties. The inner sleeve changed constantly. Inner sleeves were often lost, mixed up, or swapped for commercial advantage, but it’s the best you have. Or you can trust the seller: “Original!”

What to look for in an “original” Blue Note LP

Many features are needed to verify an original or a first pressing. With the help of this guide, you should be able to identify the provenance of any Blue Note record, and set your sights accordingly.

Records are the new antiques. Original Blue Notes can be extremely rare, especially sought-after titles. Among collectors there is a great deal of sentiment attached to owning a first “original” pressing, especially one in excellent condition, both vinyl and cover.  The first pressing was often just a few thousand copies, of which only a few hundred survive today, fewer still in excellent condition. The most collectible Blue Note titles are worth upwards of £5,000. Reissues in the following fifty or more years – some titles over a hundred editions – are progressively more common, and less valuable, though some still of interest to collectors.

First, check labels and etchings

A combination of the record label variety, and engravings in the spiral run-out groove area will enable you to determine if a record is a first pressing, a later pressing though still an “original” Blue Note (pre-1966), or a reissue in the subsequent decades of Blue Note ownership by other companies. For some very early releases, attention needs to be paid to the vinyl edge (flat edge early, later beaded rim) and corroborating information regarding the cover, such as the method of frame  construction, though you can not assume cover and record inside are of the same origin.

Two of the least understood but often the most useful means of dating a pressing are its bare vinyl weight (initially around 220 grams and reducing over time down to 120 grams or less), and for records manufactured after 1962, the “correct” corporate inner sleeve,  added at Plastylite immediately after pressing.

Confounding factors

Among small cost-conscious independent labels like Blue Note it was common manufacturing practice to hold stocks of record labels and covers in the inventory. If a record sold well, more vinyl would be pressed, and the second pressing run would use up the existing stock of labels and covers before incurring the cost of printing more.  As a result, older labels can be found on newer pressings. Even 767 Lexington labels (1956) can be found on Liberty pressings (1966).

Auction sellers want to obtain the best price which attaches to first pressings. Auction descriptions can be a minefield. I have seen records described as having a “deep groove” which clearly do not, the absence of the Plastylite pressing “ear” curiously overlooked in the description, and pressings with an original label on one side, and a later one on the other side, overlooked. Caveat Emptor.

After the incorporation of Blue Note at the tail-end of 1959, a registered trade mark symbol ® was added to the label, under the E of BLUE NOTE and INC. added to the company name. When old surplus labels were available for use but without ®, a new label with ® was paired up with an old label on the other side, ensuring assertion of copyright.

Blue Note changed its operating address several times over the decade. The address found on the bottom of the back cover changed accordingly, which can help date the cover manufacture.  However covers were taken from stock, so covers do not necessarily date the record inside.

Blue Note inventory passed on to Liberty including a stockpile of the second inner sleeve, “27 Years of” used for Liberty releases from June 1966 to early 1967.  Legacy metalwork mothers and stampers were often brought into use for further pressing, decades later, though under Liberty, West Coast reissue pressings were often remastered locally from copy tape. Lastly, it is not unknown for sellers of Blue Note to add a Blue Note inner sleeve from a different time, to make up for a missing inner sleeve and look “more authentic”

All these factors must be taken into account to confirm an original first pressing. The word “original” is used frequently in auction descriptions, sometimes inaccurately. For some rare early titles it is all but impossible to determine if a record is really ” the first” pressing, hence the premium on the value of “Review Copies” . A radio-station promo is generally the best  indicator of  the characteristics of the first pressing. With later releases there can be ambiguity, especially between 1961 and 1965,  when the pressing dies which left a deep groove were slowly phased out, and the deep groove appeared on one side only or not at all.

The Blue Note etchings

Below are pictured the main etchings commonly found in the vinyl run-out of most Blue Note records: Rudy Van Gelder mastering  (hand-written initials, later stamp), Plastylite pressing inverted cursive “P”, the custom-client metal “9M”, and van Gelder STEREO master .

Some etchings, such as Van Gelder’s, were applied to the original master acetate, and therefore continue to be seen on pressings with metal derived from the original master, even into the Liberty and even United Artists years.  Before stereo became commonplace, Van Gelder would distinguish his stereo master from his mono master  with a “STEREO” or “RVG STEREO” stamp.  The form of his mastering stamp evolved from “RVG”, initially hand-etched and later stamped,  to “VAN GELDER” from mid-1962.

The “9M” etching appears on around two-thirds of the 1500 series LPs, and disappears early in the 4000 series. 9M is a fairly consistent variable – mostly all copies of a title have the 9M, or all copies do not. Just a handful of titles have been found both with and without 9M, which is evidence a second master was cut.

To the collector, the most important indicator of record origin is the Plastylite stamp.  The symbol of Plastylite is the stylised letter P, however it appears on the vinyl inverted left to right and turned upside down, hence the description as the “ear” which it resembles:

The Plastylite “ear” – unmistakable mark of authentic Blue Note.

All original Blue Note pressings, from foundation through to the sale of the company in 1966, have the symbol of the Plastylite pressing plant handwritten cursive letter “P” in the run-out both sides. All original Blue Note records were pressed by  Plastylite (just one exception, see below)  and  have an ear each side. None is found after 1966 when pressing of Blue Note records was transferred by Liberty to other plants.

For a large number of titles, the presence of the “ear” in the run out is the guarantee of an original pre-1966 Blue Note pressing.  Just one exception to the Plastylite rule has been found (thanks to Russian collector Alex). In the early ’60s, exceptionally, Blue Note  commissioned Abbey Mfg. (preferred plant of Prestige Records) to press additional copies of BLP 1595 Cannonball  Adderley’s Somethin’ Else. These copies are  NY / 47W63rd label, without “ear”,  but with all other etchings present. The Abbey copies are identifiable by a small circular depression around the spindle hole  on side two only – characteristic of pressing dies used by Abbey Mfg. at that time.

There are also around forty Blue Note titles in the Blue Note catalog, examples are 4193, 4196, 4204, 4206, 4209, and many others approaching the 4250 cut-off, which had been prepared for release prior to the sale of Blue Note, labels and covers printed,  but were pressed subsequent to the company sale to Liberty. Hence the original first pressing is without ear.

Some titles were issued by Blue Note in mono only, and the first stereo pressing was by Liberty or in Japan.  A small number of titles, confusingly, the 1st mono appears on Division of Liberty labels, whilst the stereo edition appeared later on previously printed NYC labels. Liberty used up Blue Note stock inventory of labels and covers before printing their own, hence a number of titles are found as “NY/Liberty” – Blue Note NY label but no ear.

In vinyl record manufacture, stampers were the last step in the metal formation process. The “ear” symbol was added onto the stampers for pressing by Plastylite. Later pressings by Liberty and United Artists sometimes use legacy metal as their source, but new stampers without the Plastylite ear applied.

Stampers have a limited useful life of between 1500 and 4,000 pressing iterations, and it appears they were manufactured in batches. The ear was applied to all the stampers in that batch, in similar but not exactly the same position relative to the other etchings –  which originate on the Van Gelder lacquer. The position, angle and depth of the ear varied from one set of stampers to another – it may be faint or appear part-formed.

The ear should appear on both sides of the record, though rare examples have been found where it appears on only one side – due to the very restricted size of the vinyl land.

Vinyl weight

The unappreciated forensic indicator of record age is vinyl weight. A kitchen digital scale (for under $10) can be  your best friend.

In the early to mid Fifties , vinyl LPs weighed as much as 220 grams. Thicker vinyl gave more protection against surface damage by heavyweight 20gm-tracking weight tonearms.  Changing industry practice saw this fall to 160-180 grams, and  in the later Sixties to 130-140  or less. Vinylite was an important factor in pressing costs and therefore profits. No pressing plant went out of its way to make a pressing heavier than was current practice in pressing at that time. There are always a few outliers in pressing weight (bell curve appplies), so exceptions are found, but as a rule, weight is a good indicator of age, which my sagging waistline confirms.

Confirming a first pressing

 A worked example of the markings required to determine a records provenance is shown below for BLP 1599 Bennie Green’s “Soul Stirring”, last of the 1500 series, released around 1959. To sample a little of what it’s all about –  47 West 63rd St labels, deep groove mono, first pressing shown below, just listen a while to the perfect audio reproduction:

For this particular record to be identified as a first pressing, all the identifiers shown below have to be present, on both sides of the record.

BLP 1599 First Press essentials

Fred Cohen’s excellent Guide to Blue Note First Pressings will give you all the knowledge required to determine the “first” of every release. My intention is not to repeat this, just buy Fred’s book.  My intention is to delve deeper into the audio quality of the many releases and reissues right up to the present day – the pressings you are most likely to encounter in the field, unlike those showcased in the fascinating Jazz Collector $1,000 bin.

A Chronology of Blue Note Labels (12″ LP)

1. 767 LEXINGTON AVE NYC (1951-57)

Catalogue numbers: BLP 1501 (released November 1955) – 1543 (released March 1957) in a straight run. 767 Lexington Avenue is sometimes  referred to by less experienced sellers as 161 Lexington Avenue 

Lexingtons in excellent condition are the holy grail in terms of collectible historical artefact, prices to match. This era of Blue Note has many unique features for the very earliest pressings, such as a ” flat edge” rim rather than the later beaded rim, covers manufactured with a kakubushi  frame construction (the paper from the back sleeve folds around the cover and appears in front, under the unlaminated cover art paper, leaving a shadow-line on two edges) , and up until April 1958 (BLP 1586) absence of print on the spine 

In addition, the engraving in the runout feature hand-written initials of master-engineer Rudy Van Gelder (replaced in 1957 by machine-stamped initials), and two-thirds in the 1500 series also have a hand-written marking “9M”  believed to be a  customer code for Blue Note used in the metalwork plating process by Plastylite or one of its suppliers. Other alpha-numeric combinations are found on records of other labels pressed at that time by Plastylite (prior to 1958) such as Prestige (7E), Dial (3R) and Debut (19H). The 9M etching appears intermittently in the early 4000 series, the last appearance being 4067, some titles are found both with and without 9M, explanation unknown  (info updated 16/12/15)

Lexingtons can be extraordinary audio quality, though the very earliest recordings made in the nineteen forties lack dynamic range due to microphone limitations, and can sound “boxed-in” or radio-quality (recorded at radio studios). Recordings made immediately after the war also sometimes do not come up to modern audio expectations, some early Blue Note titles are recordings made by other engineers, re-mastered by Van Gelder. However, generally, Lexington label Blue Notes sound magnificent. Playing my Lexington 1st issue of Blakey and the Jazz Messengers at Cafe Bohemia is like physically being there. The Messengers are not “between the hi-fi speakers”, they  are in the room with you.

Complete photographic record of labels of every title in the 1500 series, here

2. 47 WEST 63rd St New York 23 (1957-8)

Catalogue numbers: NEW YORK 23 first appears on 1544, on both sides,  straight run to 1559, last appearance on 1577.  Certain titles –  1568, 1575 and 1577 – are mixed NY23 one side W63 label the other. These include the iconic Coltrane, Blue Train.

Because manufacturing orders and catalogue numbers were not in strictly chronological sequence (why should they be?) the changeover between label addresses is ragged. Label printing runs supplied matching pairs of side 1 and side 2 labels, so using up old stock labels to pattern would have involved judicious distribution of an equal number of unmatched pairs – old S1 new S2, and vice versa. In practice, I suspect the label hopper of the press each day was filled with whatever first came to hand. The quest for certainty as to which combination of those labels is the hallowed “first pressing”  strikes me as a fool’s errand, but, big money is at stake, and money will have its say. The best one can say is whatever Cohen’s guide says should be treated as definitive, even if it may not be.

These are gems, and usually priced similarly. As with the Lexingtons, the heavy vinyl ( 180-220 gm) is not only louder than other records, it is often quite resilient to surface damage from skating record arms, and they will often sound much better than they look. Even a few feelable light scratches generally can be tolerated and tend not detract from the music, especially if played on a turntable whose design provides better isolation of groove defects.

The “NEW YORK 23” suffix disappears in 1958, and is the indispensable marking of certain first pressings of that period.

3. 47 WEST 63rd NYC without “23”, no Inc and no R (1957-59).

Catalogue numbers: 47 West 63rd  first appears on 1564 (released February 1958), straight run from 1578 until 4061, last seen on 4080 (released February 1962). Last no INC and no® is 4016, always present thereafter.

Beauties in the main, as above. May be second pressings of records originally issued on Lexington labels, but share the same original RVG matrix and sound for all intents and purposes identical, if not better as they have a few years less wear and tear

4. 47 West 63rd NYC with INC and R (1959-62)

The early label predates the incorporation if Blue Note, the later shows the change. Note the early has a slightly smaller font size and fine characters. The later has bold, more heavily inked characters, and slightly larger font. While not of itself musically important it can sometimes help in pinpointing date of manufacture.

Mono or Stereo?

Ay the end of the 50s begins both mono and stereo releases –

Collectors are faced with a choice of both mono and stereo editions. Mono is often more sought-after by collectors than stereo, which became the format of choice for later recordings.  Early stereo engineering was constrained by the primitive mixing technology of the day, where instruments could be “positioned” on only the left or right channel, or in the centre, often with the principal soloists panned hard left.  Ultimately, mono or stereo is a matter of personal preference and many collectors enjoy having copies of both the mono and stereo edition, which can be a very different experience.

Note: mono editions benefit from listening in mono-switched amplification or the counsel of perfection, a mono cartridge on the tonearm. A stereo cartridge has to negotiate different information on the left and right groove wall. A mono record has the same information on each wall, and the cartridge rides up and down instead of side to side.

Early Blue Notes were simple one-track tape recordings, pressed as monaural/ mono. Around 1958, van Gelder started experimenting with two-track recorders,  simultaneously recording sessions in both one track and two track (the future source tape for some stereo editions) However the purpose of two tracks was to improve the quality of mono production. He soon abandoned the single track, recording solely on two track, able to generate the require mono master by “folding down” the two tracks to one.

Early stereo Blue Notes generally carry the “RVG STEREO” stamp in the runout, indicating a van Gelder stereo master. Later, this appears as a “STEREO” machine stamp with “VAN GELDER” stamped elsewhere, and ultimately it is assumed stereo and not stamped at all.

Many of the early Blue Note 1500 series titles were subsequently brought out in “pseudo-stereo”, electronically reprocessed from the mono tape, using various studio tricks. These should be avoided. With 1500 series, always check  the authenticity of stereo – electronically reprocessed to simulate stereo, or an authentic stereo master.

4a. Mono

4b. Stereo

Manufactured after 1960 when “Blue Note Records” became an incorporated company and a registered trademark , and predecessor to the New York label. The same fine sound as 47W63rd without the INC and ®, being pressed with stampers originating from the same Master Acetate.

Collectors get very excited about absence of the “®” as proof of authenticity of earlier recordings. By my reckoning, the variability of sound quality within a pressing run (” from first to last-off a pair of stampers”) is as great as the variability between the first and a second pressing a couple of years later. There is no way of second-guessing audio quality. Play the record. If it doesn’t excite you immediately, you probably have a pressing towards the end of the run, whatever the label says.

Whether this matters or not gets back to why you are a collector. Some people collect wines without drinking them, some collect records without playing them, or play them on indifferent equipment  without ever really hearing them. Really deep collectors have several copies, one archival investment, another for playing.

Recordings produced  by Blue Note during this period, a combination of Van Gelder’s sound engineering and Plastylite pressing, can spoil your willingness to tolerate lesser fare. Once you hear and understand what the “Blue Note pressing” business is all about, it is difficult, if not impossible to go back.

5. NEW YORK USA , ORIGINAL  MONO (1962-66)

Catalogue numbers: first NY appears on 4062 (released May 1962) , a continuous run from 4081, last appearance 4247, then replaced by Division of Liberty (possibly some anomalies during transition in 1966.

NY pressings are superb audio quality, which provide a rich satisfying musical experience, even when second or third pressings. They exhibit a wide dynamic range, a  bright upper register, lots of punch in the midrange, underpinned by a firm natural bass. In ordinary language, they sound “just right” for the acoustic instruments of modern jazz.  Second pressings can be extraordinarily good value compared with earlier “first” pressings sought by the most fastidious collectors. Mono is the collector format of choice.

From May 1961, to mid 1965, including the New York label years,  the pressing dies which left behind the “deep groove” indentation in the label area began slowly to be replaced at the Plastylite plant. The replacement dies left a single small step indentation, no deep groove. The old and new dies were used interchangeably, until eventually the last deep groove dies became worn out and were discarded.  During these four years, Blue Note records began to appear with no deep groove on either side,  a deep groove on only one side or the other, and still some deep groove both sides.

There is some consensus as to the groove-pattern of some new titles in their “original first pressing”. For others the subject remains controversial. There is anecdotal evidence that pressing runs were in small batches, possibly on two or more different machines, or involving a change in stampers,  introducing different die permutations.  This applied to both first pressing of new titles and repressing of older titles, so collectors need to be aware that there can be some variation in groove pattern found on some titles. Fred Cohen’s book remains the most reliable source for first pressing information.

6. NEW YORK USA, ORIGINAL STEREO (1962-66)

7. DIVISION OF LIBERTY (1966-70)

The audio quality of Liberty reissues can be variable. The best indicator of authentic Blue Note sound is mastering by Van Gelder, as indicated by the Van Gelder stamp. Liberty manufactured Blue Note reissues at several plants, and as a matter of expediency, sent copy tape from New York to LA, where Research Craft re-mastered those titles, breaking the connection with Van Gelder original mastering. Research Craft engineers used their own preferred lathes and cutting heads,  setting their own choice of groove width and depth, and unaware of some of Van Gelder’s tweaks applied during mastering and not present on the tape..

All Disc and other East Coast plants (Keel (serrated edge) , Bestway and finally Columbia’s Pitman) usually had access to original Van Gelder metal, are Van Gelder stamped, and the equivalent of Plastylite quality. The labels were printed  by Blue Note’s original printer, Keystone, who favoured Intertype line-casting machines, and the  album/artist font is Intertype Vogue Bold, with “Side 1” upper and lower case and 1 is without serif.

West Coast reissues can be distinguished by their labels, printed by Bert-Co, Hollywood,  whose font library was based on Linotype line-casting machines. They used the font Linotype Spartan Medium all in capitals for the album title and artist above the spindle hole, often in the same point-size, likely because Bert-Co did not stock the cartridge for that font in lower case, or other point sizes..

West Coast Liberty pressing

The sale of Blue Note to the giant Liberty Records in mid-1966 marked the end of an era. The vital task of record pressing moved overnight from Plastylite NJ, who had pressed all Blue Notes to date, initially to Liberty’s newly acquired pressing plant All Disc Records, Roselle NJ, and later to other plants including Research Craft, LA on the West Coast, and elsewhere. Towards the end of the 60’s, when vinyl pressing capacity was overwhelmed by the demands of hit sales, Liberty was using a range of plants.

The trademark “ear” of Plastylite disappeared immediately from the vinyl trail-off, however existing inventory stocks of Blue Note “original” labels and covers were used up first before printing more, and these early pressings for Liberty with older labels are commonly passed off as original Blue Note (note: no ear!). Blue Note Records became a Division of Liberty Records Inc, which name replaced the “New York” address on the record label.

After 1968 the increasingly troubled Liberty Records was acquired by Transamerica, a diversified financial conglomerate who also owned United Artists, into whose record division it ultimately merged Blue Note Records. The label remained officially the “Blue Note Records – a Division of Liberty” until 1970, however pressing quality, studio engineering and cover art  became increasingly variable in quality from here on.

Catalogue numbers 4251 – 4435 were first releases by Liberty, many recorded and mastered by Van Gelder, depending on whether the artists were available to record at Englewood Cliffs, as Van Gelder  seemingly would not work other than in his own studio.

8. LIBERTY UA. INC., LOS ANGELES, CALIFORNIA (West Coast pressings) Black/Turquoise label 1970-2

Catalogue numbers (new titles) BST 84330-84423 or earlier reissues (Cheat Sheet label no. 9).  Not all titles found on the Black/Teal Liberty UA label, only blue/white Division Of United Artists label . Thereafter catalogue numbers changed to BN-LA###

The anomalous black/turquoise label design issued by the west coast arm of United Artists. Corporate design probably indicative of the creative tensions between LA and New York at the time, it smacks of a “we can do whatever we want here in California” attitude. The sound quality is often very good, though not consistently. Almost always stereo, with scarce exceptions.

Sought after by budget collectors in the know, these pressings are much cheaper than Blue Note originals and can be similarly  a very forward presentation,  a good place-holder until you can get an original Blue Note. Similar price-point to Japanese pressings, which  are often more silky and restrained than Liberty/UA, but may have been better-looked after.

One of the quirks of these black/turquoise label pressings was the widespread practice on the 70’s west coast of factory- sealing the jacket in a “shrink” cellophane wrapper. Sealed records promise virgin-status, and are of unknown provenance, a mystery which often adds a price premium, with the hope that they may contain an earlier original pressing. Sealed Blue Notes are most commonly these black/ turquoise editions.

9a. DIVISION OF UNITED ARTISTS  “REPLICA REISSUE SERIES” 1971-3

This was a “replica reissue series” – selected titles only, maybe less than a hundred titles of the 350 Blue Note catalogue, all but a few in mono. They are not listed in the Blue Note Cuscuna Ruppli official Blue Note discography (Greenwood Press, 914 pp)

Many of this replica series are exceptional quality pressings. They do not bear an RVG stamp in the run-out, because they were not pressed with  original Van Gelder metalwork like some later United Artists reissues.  Around 90% are mono, manufactured at a time when stereo was the format of choice in the US.

The origin of this series remains unclear, I suspect destined for the Japanese market (hence mono authenticity), but for some reason didn’t travel.  They are under-priced by sellers who class them along with later reissues. They appear to be re-mastered from the original tapes by UA house engineers, who did a better than passable job, though there is no certainty as to the use of intermediate copy tape. Whatever the source, these issues are highly recommended

9b. DIVISION OF UNITED ARTISTS  (P) 1975 UAMARG 

In contrast to the excellent classic pressings of the first wave under Division of United Artists, above, it seems there was a later attempt to revive the classic brand, which isn’t in the same audio league. They bear the legend  (P)1975 United Artists Music and Records Group” on the label in place of the artists listing, and one found by contributor Stefano was using an old stock Liberty cover.

“DIVISION OF UNITED ARTISTS” NEW TITLES  1971-72

Interim label design used for a small number of new albums from in-favour artists including Elvin Jones, Grant Green, Gene Harris, Marlena Shaw, Horace Silver and Donald Byrd – catalogue numbers ran up to BST 84423, after which the format  BN-LA ### was adopted, transitioning to the solid blue white or black note label design.  Classic white/blue design shown, with artist, title and track detail in black print.

Throughout the Seventies United Artists were struggling to make money, and engaged in a long-running legal battle over royalty payments and distribution agreements with the Record Club of America, the only winners being the lawyers.

9c United Artists Blue label Reissue Series

The Reissue Series, dubbed “two-fers”, with two-LP sets in brown gatefold covers. These reissue some earlier titles and previously unreleased material, recorded in the early ’60s but held back by Blue Note.  Many are excellent Van Gelder recordings. The transfer quality by UA is variable, most are very good, a few outstanding,  but a few rather unsatisfactory (especially those recordings of non-Van Gelder origin, and those manufactured in France for European release) . The sets are however fantastic value at around $20 for a double LP.

10.DIVISION OF UNITED ARTISTS RECORDS INC. – BLUE LABEL BLACK NOTE (1973-6)

Note the corporate identity printed on the rim of the label refers to United Artists Records Inc. and not the later form, United Artists Music and Record Group Inc.

The all-blue label/black note, often carrying the VAN GELDER machine stamp in the run-out. Usually an assurance of quality mastering,  it can also  indicate a record pressed from overused Blue Note legacy stampers, resulting in pressings which are dull at the top end and lacking in dynamic range. More commonly available than original Blue Notes, not considered collectable, cheaply priced, not especially recommended other than as a substitute for some expensive sought-after titles.

With the price of originals spiralling  out of reach, I have noticed an uptick in the price of these blue label reissues, especially if VAN GELDER stamp in evidence.  Still a bargain substitute for hard-to fine originals.

11.UNITED ARTISTS MUSIC AND RECORDS GROUP (1975-80) 

11.1 Blue Note  BLUE LABEL WHITE B/ NOTE 

BN-LA Catalogue number series (which replaced the BST series)

Mainly in use 1977-8 . Note the date of copyright assertion e.g. “(p) 1973” is not date of manufacture.  Mainly a reissue label from the twilight years of United Artists ownership, with a few new titles.

The iconic Blue Note 12″ catalogue number series 1500 and 4000,  built up since 1956, was casually tossed, little pride in ownership of a piece of history. Some original material is found on a few releases, but mostly reissues.

11.2 Liberty/ United Records, Inc.

Note the corporate identity printed around the rim changes from United Artists Music and Record Group,Inc to Liberty/United Records, Inc.

New company name, new catalogue LT Series created to exploit previously unissued recordings found in the Blue Note vaults. including “previously unreleased” material from 1957-69 in the LT series (LT987 – LT1103) Most are manufactured in 1979 or 1980, and the label disappears following the sale of Blue Note to EMI around 1980.

The audio quality of the LT series is entirely unpredictable, varying from very acceptable to extraordinarily poor. On one of my copies, there is such severe dynamic range compression that there is almost no top end and the percussion is entirely missing. People were making poor decisions in engineering, mastering and pressing, which failed to realize the musical potential of vinyl. However the artistic quality of the material is undeniable, and the original recording engineer was in many cases Van Gelder, though remastered by UA’s Blue Note  engineer Tony Sestanovich.

12. THE EMI YEARS (1980 to the present day)

Capitol Industries-EMI acquired the Blue Note assets through their purchase of United Artists in 1980. in the early to mid-’80s, EMI made a big push to monetize these assets  through Japan (Toshiba-EMI) , Europe (Pathe Marconi)  and the US (Capitol Manhattan)

But before the big push, selected titles in high demand were repressed for Capitol Industries-EMI, using a  legacy blue label white note label design of United Artists,  updated with new corporate boilerplate.

The First Capitol/EMI Interim Blue Label maintained Blue Note’s Liberty origin:  Blue Note – A DIVISION OF LIBERTY RECORDS INC.;  and “MFD BY LIBERTY RECORDS INC.” in the black text  around the lower circumference. My guess, dated around 1981-2.

This first Interim label adopted an LW prefix catalogue number series.

A Second Interim Capitol-EMI Blue Label – spotted by eagle-eyed collector Mladen K  – introduced the Capitol logo into the corporate outer rim black text for the first time, now MFD. BY CAPITOL RECORDS INC. and not Liberty, though the runout stamp credits Mastered by Liberty (which is true). The catalogue number of these reissues combined the previous United Artists LT series prefix with the originating Liberty Blue Note catalogue number, in this example LT 84194. My guess, this label fits in around 1983-4, before the big and the “Best in jazz since 1939” Capitol-Manhattan big Reissue initiative.

(Photos courtesy of Mladen K)

CAPITOL-EMI  “THE FINEST IN JAZZ SINCE 1939”

After its acquisition of all Blue Note assets,  EMI used a variety of vehicles to reissue and distribute Blue Note recordings around the world. For Japan, first King Records, later Toshiba-EMI, for Europe, Pathe-Marconi and selective releases by EMI UK and other, and for the US, Manhattan Records, a subsidiary of Capitol Records Inc. Mid to late’80s US new release and re-issue label.

US pressings on the classic Blue & White Label design but a new proposition: “The Finest in Jazz Since 1939” on the label.

Not the Finest in Audio Quality Since 1939. EMI/Capitol lacked an engineering champion at senior level. They discarded all Blue Note inherited Van Gelder metal as of no value, though sensibly preserved the original tapes. Capitol Manhattan reissues are generally poor sonic quality, due probably to the change from valve/tubes to solid state equipment, the industry loss of engineering skills, and a growing focus on the compact disc as the future of home music distribution.  Irrespective of the music itself, Capitol Manhattan are best avoided: CD will generally offer a more satisfying musical experience.

EMI FRANCE – PATHE MARCONI (1982-6)

Pathe Marconi became the first pressing vehicle for Blue Note’s new owner, EMI, for European Blue Note reissues, and just a few first releases. Their pressings are not wonderful, average for the standard of their day, but predated the DMM disaster that was to follow.

From 1983 EMI Pathe Marconi  released Blue Note titles variously dated “re-edition 1983“, 1984 or 1985.  Some of these, especially the earlier years, not DMM, are reasonable pressings, remastered by French engineers from copy tape, not exciting, but can be a very acceptable edition of titles that are impossibly rare and expensive to find as US originals.

Whilst in theory, a copy tape manufactured at optimal 15 to 30 inches per second, can make a near-perfect replica of the original recording, in practice this was rarely achieved. The tape generation step down resulted in  loss of information, most noticeable at either end of the sonic spectrum, including loss of upper-end transients and introduction of bass artefacts.

Around the mid-eighties EMI France began to adopt the German Teldec DMM technology, which  are identified by the Direct Metal Mastering symbol. DMM  set out to create acceptable quality pressings in fewer manufacturing steps, cutting cost.  The implementation delivered often wooden lifeless sound.  These records are in my judgement the worst  comparative audio quality, though I have had people tell me they are quite happy with them and I actually have one (Leo Parker Rollin’ with Leo)  which sounds really good.

The last working DMM lathe in the US was sold in 2005 to the Church of Scientology to issue the speeches of founder Ron L Hubbard. DMM technology is still widely used in modern reissue manufacture from digital copy sources,  for example  by Czech giant GZ Media and the Dutch Music-On-Vinyl.

The SACEM logo is the French copyright system for collecting royalties, on Japanese pressings  JASRAC and GEMA in Germany, and BIEM for Europe generally.The Japanese reissue program involved a complete reissue of the Blue Note back catalogue through their own subsidiary Toshiba EMI. Massive in scope, this is detailed in its own pages in the LJC label guides.

Mosaic Limited Edition Collections

Founded by Michael Cuscuna, Head of Reissues and Special Projects at Blue Note Records since 1984 to the present day, Mosaic vinyl box sets are limited editions which are frequently out-of-print and found only on the second hand market, often quite expensive. They include some unique material, notably Miles Davis full session tapes of In person at the Blackhawk, Live at the Plugged Nickel and similar, and others bring together the complete collection of Blue Note albums of key artists.

These collections were issued under license from the mid Eighties onwards , in runs of typically 7,500 units .  The vinyl audio quality is variable, often not as dynamic as the original pressings of the same recordings, despite being mastering from original session tapes. Engineers commissioned to remaster Mosaic boxsets included Van Gelder, Bernie Grundman, and Ron McMaster. Mosaic’s  main value is bringing together of material that is hard to get any other way. It is not uncommon to find them for sale in near mint/unplayed  condition, as owners found it too exhausting to sit and listen through up to twenty sides of vinyl: most wear and tear will be found on Disc 1/ Side 1.

The most valuable Mosiac vinyl box sets include the compendium of Hank Mobley titles, and those of Miles Davis, which uniquely included sessions which were drastically edited to fit on the original commercial vinyl release. His scholarship is impeccable, Cuscuna seems not to have caught up on the audiophile vinyl revival of the last few years, continues to issue material only on compact disc, leaving the all-analogue vinyl territory the preserve of Blue Note UMG, Music Matters and Tone Poet.

More on the Mosiac Label here

Capitol Blue Note “Connoisseur series”

©1995 180 gram Limited Edition

Released in 1995, ten years after the launch of the compact disc,  around thirty titles, the pick of the Blue Note catalogue, were re-mastered from original tapes, on vinyl to appeal to the “audiophile” market.

The Connoisseur series were signposted by a blue/yellow sticker attached to the front of the shrink, ensuring that, when the shrink fell off, nothing remained to distinguish the series from ordinary reissues – to the untutored eye. Fortunately Discogs maintains a discrete entry for Blue Note Connoisseur.

The runout stamp says “MASTERED BY CAPITOL”, similar to that found on some Mosaic issues, and the catalogue number is unique, commencing B1-##### and not the original Blue Note catalogue number. The label address is “Hollywood and Vine Streets“. Though other Blue Note records continued to be reissued in the mid-90s, none match the quality of the Connoisseur series.

As owner of a half dozen Connoisseurs I can attest to their generally excellent sound quality, though they do not stand up to direct comparison with originals. There is a well-founded debate over the use by Capitol of a digital delay line during mastering. Tape playback machines at this time lacking a preview head were used, instead incorporated a digital delay line to facilitate adjustments during mastering.   This turned the original analogue tape signal into a digital copy (effectively a CD) and that digital copy was then transcribed by the lathe  on to the acetate.

By all accounts, this was the final gasp of vinyl, following which Capitol threw in the towel to concentrate on CD. It was left to independent audiophile manufacturers like Music Matters to pursue the vinyl audio quality of historical Blue Note recordings.

The UK editions of Connoisseur Series are in no way as impressive as the US Series. Another to avoid.

This 1997 UK edition claims to be mastered from original tapes, something the busy run-out suggests otherwise – stamped “Mastered by Capitol” it exhibits various other engineering interventions, and doesn’t sound good.

“Rare Grooves” Series

Targeting the DJ/dance demographic with funkier selections from the late 60’s and ’70s Blue Note catalogue, these are of similar quality to the Connoisseur series launched around the same time, mid-’90s.

Distinguished by a blue circular sticker on the shrink:

Long B1 – #### # ##### # # catalogue number, “Mastered by Capitol” drilled stamp accompanied in many cases by hand-etching “Wally” – Wally Trautgott, sound engineer. Runout includes logo stamp C R in two circles

UK issues –  EMI Records Ltd

A few selected titles were issued by EMI’s UK company, fairly undistinguished offerings, of indifferent audio quality not comparable to the great EMI Hayes Middx. pressings of the ’60s. Identifiable only through the very small print, refers to EMI Records Ltd (UK incorporation name)

“See sleeve for details” (we can’t be bothered to type it). Black print instead of matching blue. (Shouldn’t it match? Why? They can still read it. ) Pre-printed label, title and content printed at another time.

21. 1990’s EMI effort to enter the “budget” market with a few popular titles. CEMA was a record label distribution branch and budget label of Capitol-EMI. The name CEMA stood for the four EMI-owned labels it originally distributed: Capitol Records, EMI Records, Manhattan Records and Angel Records . Subsequently renamed EMI Music Distribution (EMD).

Photo courtesy of Xavier

EMI FRANCE – CAPITOL RECORDS MODERN “BLUE NOTE” MUSIC GROUP

Modern pressing and engineering standards. The bass is sometimes over-hyped by DJ/ sound engineers who have spent too much time producing dance and club music, or thinking about the download market for iPod and iTunes and not serious vinyl listeners. Good control of bass is not easy to achieve, but essential to balanced reproduction of the upper register and the full dynamic range. What is it about some middle-aged men and dance music intended for people half their age? Whoops. I think I answered my own question.

Modern Blue Note Artist Roster

I am not a fan of the recent roster of Blue Note artists: “traditionalists” such as Wynton Marsalis and the Lincoln Jazz Centre team,  or the Urban R&B/hip hop potpourri (“the more ingredients the better“). Some people like it, Blue Note have to sell to survive, meets a need, just not mine.

Grey Reissues – Scorpio Records

“304 Park Avenue South” Blue Note address – digital transfer vinylIncluded for completeness, for over a decade Scorpio Records NJ have produced RINOs (Records In Name Only) of Blue Note and other collectible period labels including Prestige, Tempo, Limelight and others. You want a Mobley 1568 for $15? Scorpio make one. Note that the origin and date of manufacturer is never declared, the “Scorpio” name never appear anywhere, and no “Manufactured under license” declaration, so we can assume it isn’t official.

These digital-to-vinyl transfers use the modern Blue Note address 304 Park Avenue S NYC on the classic Blue & White label. Note the absence of the “Inc” and the “R”: (it’s ironic). The jacket is photo-reproduced on modern plastic-finish card, with original liner notes, all the “original” detail, but modern printing technology is an instant giveaway.

Scorpios pop up on eBay to snare the unwary. “Recorded in 1957!! Mint!! Still sealed!!!” Records that are 50 years old are rarely if ever mint and rarely if ever sealed – or more likely resealed. These records have all of the disadvantages of vinyl with none of its advantages.

Scorpios have been pressed in tens of thousands and are sold widely at around $15-$20, often found in record stores like Honest Jons, in London’s Notting Hill. That said, there are worse ways to spend $15 and I bought quite a few when I was starting out. For some people, a Scorpio is as close as they will ever get to owning the legendary Mobley 1568.

BLUE NOTE AUDIOPHILE REISSUES

Proper “audiophile” reissues of Blue Note recordings, including Classic Records, Analog Productions, and Music Matters, are remastered from the original tapes, not “a digital copy plonked on 180 gram vinyl”. The mastering of these Blue Note audiophile re-issues  has varied between engineers Bernie Grundman, Steve Hoffman, and Kevin Gray, each of whom have brought their own philosophy and preferences to the task.

Classic Records

Mastering by Bernie Grundman- initials BG pin-etched in the run-out. 200 gram vinyl, facsimile vintage label, some pressings incorporate a “deep groove”, back cover indicates official licensing.

Classic Records (subsequently bought by ???) are generally superior to 80’s Manhattan re-issues, and depending on title, may be preferable to Japanese pressings. (Some collectors have praised Classic Records edition of Kind of Blue, as superior to the Columbia release, though with all such things, claims do not always measure up with the experience). Classic Records are solid performers but from the few I own, tend to my ears to be restrained, and  a trifle bland and unexciting in presentation.

Analogue Productions

Mastering strongly influenced by  Steve Hoffman, who brings his own preferences to bear as to how these recordings should sound. Hoffman is quoted elsewhere as saying Blue Note originals are terrible, or words to that effect, and that modern technology can improve on them.  Needless to say, I disagree, but it’s for the listener to decide what they like.

2×45 rpm 180gm vinyl, produced by Steve Hoffman and Kevin Gray, number limited edition.

Analogue Productions find me slightly uneasy with their “botox-finish” engineering and 45rpm double album format, which seems increases weight and cost without discernible  improvement in sound quality over 33rpm, and a worn  path to and from the turntable with frequent record changes (a particular hassle for those of us with complex  record turntable clamping systems).

Music Matters Jazz

Curated by Ron Rambach, mastering by Kevin Gray in his latest RTI studio facilities. Music Matters editions have a particularly strong following among collectors who swear by the “authenticity” of the sound, and issues not to be overlooked, availability and affordability. Some titles are available in 2x45rpm format, and increasingly, 33rpm format with improved audio quality.

Music Matters are renowned for their value-added packaging with art-quality photography of Francis Wolff within the gatefold format

In my opinion, the 33rpm format Music Matters were the best audiophile quality Blue Note reissues available at the time (first around 2015-6). Thus far primarily in Stereo format. Lovers of the original mono format will still need to seek out original pressings, or a handful of Japanese 80’s pressings which were issued in original mono format.

A note of caution – I have yet to year a modern audiophile edition, by anyone, that sounds better than originals, and I have a good selection of both. People say “they sound great” but very few have an original at hand for comparison, why would they? A few have come close, but not equal and never better. And even within “originals” there is a spectrum of sound quality, between bright first and dull last off the stamper.

Blue Note 75 Editions

Celebrating its 75th anniversary in 2014, Blue Note have reissued many classic titles on vinyl at a budget price intended to appeal to a new generation of listeners.

Everyone asks whether these are any good from the audiophile point of view. I have not found need to buy any titles myself. The quality has had a very mixed reception, example this Amazon buyer review:

But when I got this LP I was seriously disappointed with the vinyl quality. It is a reasonably heavy LP but when you look at it, you see all kinds of clouds in the vinyl pressing, and the first one had a bunch of pits & flaws, and both had a skip…..surface noise is a big annoyance on what I thought might be a good new reissue vinyl LP. I did return the LP and Amazon did do a good job of getting me a replacement copy pretty quickly. The second one was better than the first but not what it should be for what current vinyl buyers expect, especially for jazz….the vinyl (in a generic Blue Note 75th Anniversary sleeve) is nothing but another corporate disappointment…..What is up with EMI/Capitol vinyl these days? Don’t they get it that people care about quality vinyl?

I have read similar elsewhere, and spoken with dealers who report manufacturing defects.  The intention is  laudible and I wish them every success, though their price-point  makes pressing quality an obstacle for the audiophile listener, who is used to better.

UPDATE: it has since come to light that the 75 Series were mastered from digital copies, not original tapes.   Blue note retained a well-respected  engineer, Bernie Grundman,  to create a hi-res  32bit/192kHz digital archive of the catalogue, for posterity. The combined use of digital source with pressing economies  to deliver the low price point, sadly the 75 Series are to be avoided.

DBLP EMI Music Japan / Disc Union Premium Vinyl reissue Series (2011-4)

(Included here under Audiophile Reissues)

According to The Wall Street Journal:” The Blue Note Premium Vinyl Reissue Series is the brainchild of Tokyo-based record retailer Disc Union and EMI Music Japan. They have released 60 titles from the Blue Note label’s catalogue in limited editions of 1,000 each. Precise replica artwork, laminated jackets’

MONO ,  200g HEAVY WEIGHT VINYL , claim “From the original master tapes.”  which is intended to imply “Mastered  from…” when actually they have lacquers cut by Kevin Gray sourced from  premastered hi-res 24bit/192kHz. digital files,  Youtube interview with Steve Westman streamed March 2023 confirms:

https://www.youtube.com/watch?v=WU0Rg6wcl2g&t=3102s – go to 50:45

In case YT link disappears, screengrab with transcript

Sold only in Japan, changing hands at a premium in the international collector market. Highly regarded, an unusual source of mono reissues of titles often seen only reissued in stereo.

Full listing

DBLP-001	Kenny Dorham	Round About Midnight At The Cafe Bohemia
DBLP-002	Lee Morgan	Indeed!
DBLP-003	John Coltrane	Blue Train
DBLP-004	Hank Mobley	Soul Station
DBLP-005	Herbie Hancock	Maiden Voyage
DBLP-006	Clifford Brown	Memorial Album
DBLP-007	Sonny Clark	Cool Struttin’
DBLP-008	The Amazing Bud Powell*	The Scene Changes
DBLP-009	Jackie McLean	Swing, Swang, Swingin’
DBLP-010	Wayne Shorter	Juju
DBLP-011	Jutta Hipp With Zoot Sims	Jutta Hipp With Zoot Sims
DBLP-012	Lou Donaldson	Blues Walk
DBLP-013	Sonny Rollins	Newk’s Time
DBLP-014	Kenny Drew	Undercurrent ‎
DBLP-015	Joe Henderson	In ‘N Out
DBLP-016	Thad Jones	Detroit-New York Junction
DBLP-017	Hank Mobley	Hank Mobley
DBLP-018	Art Blakey And The Jazz Messengers*	Moanin’ ‎
DBLP-019	Duke Pearson	Profile ‎
DBLP-020	Grant Green	Idle Moments
DBLP-021	Johnny Griffin	Introducing Johnny Griffin ‎
DBLP-022	Cannonball Adderley	Somethin’ Else
DBLP-023	Donald Byrd	Off To The Races
DBLP-024	Horace Parlan	Movin’ & Groovin’ ‎
DBLP-025	Kenny Burrell	Midnight Blue
DBLP-026	Kenny Dorham	Afro-Cuban
DBLP-027	Lee Morgan	Volume 2 – Sextet
DBLP-028	Sonny Clark Trio	Sonny Clark Trio
DBLP-029	Sonny Red	Out Of The Blue
DBLP-030	Hank Mobley	Dippin’
DBLP-031	Miles Davis	Miles Davis Vol. 1
DBLP-032	Miles Davis	Miles Davis Vol. 2
DBLP-033	Bud Powell	The Amazing Bud Powell, Volume 1
DBLP-034	Bud Powell	The Amazing Bud Powell, Volume 2 ‎
DBLP-035	Art Blakey Quintet	A Night At Birdland, Volume 1
DBLP-036	Art Blakey Quintet	A Night At Birdland, Volume 2
DBLP-037	Thad Jones	The Magnificent Thad Jones
DBLP-038	Sonny Rollins	Sonny Rollins Volume 1
DBLP-039	Walter Davis Jr.	Davis Cup
DBLP-040	Tina Brooks	True Blue
DBLP-041	Joe Henderson	Page One
DBLP-042	J.R. Monterose	J.R. Monterose
DBLP-043	Lee Morgan	Vol. 3
DBLP-044	Hank Mobley – Lee Morgan	Peckin’ Time
DBLP-045	Freddie Hubbard	Open Sesame
DBLP-046	Eric Dolphy	Out To Lunch!
DBLP-047	Sonny Clark	Cool Struttin’ Volume 2
DBLP-048	Tina Brooks	Back To The Tracks
DBLP-049	Wayne Shorter	Night Dreamer
DBLP-050	Wayne Shorter	Speak No Evil
DBLP-051	Wayne Shorter	Adam’s Apple
DBLP-052	Hank Mobley	Quintet
DBLP-053	Sonny Rollins	A Night At The “Village Vanguard”
DBLP-054	Lee Morgan	Candy
DBLP-055	Duke Jordan	Flight To Jordan
DBLP-056	Dexter Gordon	Our Man In Paris
DBLP-058	Jutta Hipp	At The Hickory House Volume 2 ‎
DBLP-059	Horace Silver Quintet*	6 Pieces Of Silver
DBLP-060	Paul Chambers Quartet	Bass On Top
DBLP-061	Horace Parlan	Us Three
DBLP-062	Hank Mobley	Roll Call
DBLP-057/58	Jutta Hipp	At The Hickory House Volume 1, 2 ‎
DBLP-049/050/051	Wayne Shorter	3 Album Set With Special 7″ EP

The series ends in 2014, a total of 63 titles re-issued from the 350-strong Blue Note catalogue

Heavenly Sweetness  (France/Europe 2009 – still issuing today)

“Quality sound taken from the original tapes” (like every copy) Paris, France DJ enterprise, reissuing thousands of titles, including #6,  a collection of Blue Notes. ℗ & © 2009 Blue Note Records courtesy of EMI Music, France. Manufactured in EU, which most likely means digital file remastered by GZ Media, Czech Republic, as usual “limited edition”, labelled “180gm vinyl LP” Music review always a quote from Dusty Groove, you see the formula.

After mistakenly buying an HS Edition, I emailed the Parisian DJs regarding their sources, they never replied.  You disrespect LJC you get what you deserve. 

The Tone Poet Series (2019 +)

Commencing in 2019 (Blue Note 80th Anniversary)  Blue Note tasked Joe Harley—co-founder of Music Matters Jazz – to produce a new series of all-analog, mastered-from-the-original-master-tape 180g audiophile vinyl reissues. The initial tranche of 16 titles includes a number of ’60s recordings  first issued in the United Artists years, the LT Series in late 1970s.  Mastering of Tone Poet Series is by Kevin Gray (Cohearent Audio) and vinyl manufactured at Record Technology Incorporated (RTI), USA

As record imports from the US to the UK suffer a 20% tariff, the final price of records in this series in the UK  is around £30.  They are  pressed with conventional vinyl, and not the latest SRX formulation used at Music Matters Jazz, but are extremely high quality pressings.

They are mostly stereo recorded after 1962. They enjoy a very wide stereo soundstage, and the remastering has extracted a more information from the tapes than the originals, and can make for very rewarding affordable listening. They avoid any compression, tend to be cut rather conservatively, quiet, low gain, narrow groove width, require increased playback volume, which introduces undesirable side-effects. The tonal delicacy is quite seductive, but if you then mount an original Van Gelder on the turntable, the original sounds immediately more exciting. Sourcing an original is another matter.

De Agostini  Partworks, magazine, (Italy, Germany and UK) publishing venture

Licensed to De Agostini by Blue Note. Digital source file, probably an PCM file originally captured in the late 1980’s or early1990s (44.1khz/16bit “Red Book” Audio CD standard), itself likely captured from analogue copy tape, not original master tape,  now remastered for vinyl (probably DMM for cheapness) and pressed onto 180gm vinyl.

“Italian jazz vinyl collection started on 2011-08-03 [Two releases per month].
40 releases planned in the beginning, extended to 70 releases and then again to 100. Purchased at newsstands or directly mailed home. Every release comes with a booklet containing story, photos and curiosities about the artist and the record.!”

Absolutely no idea what these sound like

Blue Note Vinyl Classics

Classic Vinyl Series / Blue Note 80 

March 12, 2019, “in honour of Blue Note Records’ 80th Anniversary, the legendary Jazz label launched the Blue Note 80 Vinyl Reissue Series. Distinct from the Tone Poet Series , the Classic Vinyl series – curated by Don Was and Cem Kurosman – features mid-priced 180g vinyl releases in standard packaging with albums spanning the many eras of the label’s history presented by themes: Blue Note Debuts, Blue Grooves, Great Reid Miles Covers, Blue Note Live, and Blue Note Drummer Leaders. The series will be all-analog whenever an analog source is available with Kevin Gray mastering directly from the original master tapes. The albums will be pressed on 180g vinyl at Optimal in Germany.”

They sound great.

Blue Note 2021 – contemporary new artist roster

Blue Note continues its search for a new demographic with new artists. A friend bought this Makaya McCraven album on a whim, because it was Blue Note. He was so enamoured by it he gave it to me for nothing. I gave it  a brief listen and added it to the pile of records I’m taking to the junk shop. Modernising classic Blue Note tracks, in apparently modern musical style, Goddamnawful. 

Before giving it away, I photographed the label. Someone clearly has persuaded someone that black is the new blue. This sort of change has a long history in marketing – take something iconic and timeless, that works, and “modernise it” to justify their job.

See, it’s, umm, more modern. Is that important? Of course it is. People won’t buy something if it looks old fashioned. We Marketing people know these things. And Blue Note is old fashioned? Of course. It’s been going since 1939. I mean, that’s, like, really really old.

Blue Note “Public Domain”

The latest incarnation of Blue Note reissues in the twenty-twenties is “Public Domain reissues, at knockdown prices, or claiming to be Public Domain, the proposition itself may be bogus, with Unofficial Releases, anyone can claim anything.

Mostly these seem to be early Blue Note titles,  third-party digital copies cut to vinyl by well-established engineering studios, could be from MP3 download source, who knows, in this market anything goes. No doubt someone somewhere will claim “they sound great to me“.

To Be Continued…

Looking forward to the next Anniversary -100th in whatever format technology brings, probably wireless telepathic broadcast direct from the Cloud, now Rudy Van Gelder is on their team.

Next: |  Blue Note Japanese Pressings of the ’70s and ’80s

or skip to: | The Blue Note Addresses

Previous: |  Blue Note History  provenance matters.