Prestige records labels 1951-82+ overview

An Audiophile’s Guide to the Prestige and New Jazz label – Overview

Last updated: September 26,  2021 – OJC and Prestige 70th

The LJC Prestige Label Cheat Sheet v2.1

0.1 Prestige origins –  78rpm shellac


0.2  Prestige origins – 10″ LP record,  label – early ’50s – deep groove

Prestige zootsims-10inch-label

1. NY yellow/black “fireworks” Label  446 W. 50th ST., N.Y.C. (1955-8)

PRLP 7001 – 7141

Battle of the Titans: Alfred Lion’s Blue Note vs Bob Weinstock’s Prestige, with master engineer Rudy Van Gelder running with both  the hare and the hounds. After some years issuing 10″ microgroove records (and 78’s in the case of Blue Note) , in the mid 50’s both independent  jazz labels moved into the new 12″ LP format, marked by Prestige with the Yellow/Black “Fireworks” Label.

Example below, one of the first 12-inch microgroove LPs from Prestige manufactured 1956, Van Gelder mastered – hand-written initials RVG –  and pressing by Abbey Manufacturing (AB)


The NY label ran for two years and issued many  historically important recordings of Bop, notably Miles Davis, many of which went on to second and subsequent pressing, hence the stature of the NY label as the mark of  early pressings. Illustrated below  are two copies of early title – PRLP 7094 Miles Davis Cookin’ – the first  on NY label, the second a later pressing on NJ label.

It can be most safely described as an “early pressing”.The term “later pressing” is probably the most accurate way to describe what is clearly not a first pressing but still an “original Prestige”, that is, from within the period of Prestige Records ownership, prior to its sale to Fantasy Records in 1971..


There are indications from label typography whether records within the NYC label period are first/ early pressings or later pressings . The main variation is where the record  title and artist name (text above the spindle-hole).

Two issues of 7005, left is set in Erbar Condensed font, which are usually early manufacture. Below right the round geometric sans-serif Tempo font – usually later –  though exceptions occur to squeeze in long text, and where there is a connection with Plastylite.

These variations are as findings of the Research Project. An extra-condensed font (very narrow) is associated with early pressings, and medium regular font with later pressings  through to the NJ label.

Blue Note Tempo Vogue fontExceptions are where an early title has association with Plastylite, possibly using Blue Note’s print supplier (Keystone Printed Specialties, Scranton, PA) Prestige  labels show many variations in typesetting,  positioning, and spacing, suggesting frequent repeat orders, and well into the 7000 series colour tint and font style seem somewhat arbitrary.

The audio quality of these very first 12-inch recordings on the NY label is generally excellent – recorded and mastered in most cases by Rudy van Gelder, though the earliest releases can sound a little “boxed in” due to the limited dynamic range of very early microphones, or due to being remastered from 16″ transcription discs

The only criticism made is the quality of the music, which on some titles was an unrehearsed “blowing session”. Weinstock was not as fastidious a producer as Alfred Lion at Blue Note, who funded rehearsal time, supervised recording sessions along side Rudy Van Gelder, and often rejected takes according to his own musical judgement as to whether “it svings“. Weinstock’s focus on business issues led to some ill-advised cost-cutting measures (recycled vinyl) and repeat issue of older recordings repackaged with different title and cover design.

2. Bergenfield yellow/black fireworks label 203 South Washington Ave., Bergenfield N.J. (1958-64)

PRLP 7142 – 7264

In August 1958, Prestige moved to new offices at 203 South Washington Avenue and introduced the Second Fireworks label – with the Bergenfield N.J. address.

7166-Miles-Davis-workin-label-12000PRLP 7141 Eddie “Lockjaw” Davis “The Eddie Davis Cookbook”, was the first release bearing the new NJ address, though particular title is found with both NJ and previously printed NY labels (seen below)


7142 Coltrane’s Soultrane is the first title found exclusively on the second Fireworks NJ  label.

As with Blue Note, the confounding factor in dating Prestige pressings is the use of surplus stock of printed labels on later pressings. Below a later pressing caught in transition, the label on one side a legacy of its earlier pressing, illustrating the common manufacturing practice of cannibalising left over unused labels from earlier pressings.


Prestige “re-issues”

As interest in artists like Miles Davis increased, Prestige pressed further copies of their early titles, this time on NJ labels (these later pressings are probably more commonly found in circulation).  Further copies of popular titles released after 1958 were repressed during  the six years the second Fireworks label was in use, and new titles on NJ address label may be an early pressing or later pressings themselves.

The term “reissue” is often used ambiguously in record collecting. With Prestige, when a recording was formally “reissued” it was allocated a new catalogue number, and around one hundred early Prestige releases were reissued, including most of the first  hundred of the 7000 series catalogue . Thus, PRLP 7012 Miles Davis  “Dig” was reissued as PRLP 7281 “Diggin'”. However the so-called “reissue” was pressed with the original Van Gelder metalwork for PRLP 7012, annotated with the new catalogue number. You may have a new catalogue number, new cover design and new label, but you are effectively listening to the original pressing.


Pressing more copies of a record, to my mind, does not of itself constitute a “reissue”, though it is of more than passing interest to those who seek to collect coveted “First Pressings”. I prefer the term “reissue” to be reserved for circumstances where an another company manufactures copies under license, or a successor organisation republishes earlier recordings from its’ acquired catalogue.

Label colour variation


Three colour variations are found:  Egg-Yolk,  Lemon, and Ochre – questions are raised over whether the Ochre-tint is actually egg-yolk photographed under-exposed. Lemon and egg-yolk seem the definitive variation, and lemon yellow associated with earlier manufacture.

“HI FI” and “HIGH FIDELITY”  spelling variation

Coming from the era of cast metal typesetting, printers seem to have exercised their own discretion on some aspects like spelling, font-choice, type spacing and layout. Some of these features, along with cover detail, can be helpful in distinguishing first and early pressings from later pressings within the same label

Up until 1958 releases initially adopted the term HI FI, later expanded to HIGH FIDELITY, with some variation in spelling and font capitalisation.


In general, the NYC label used “HI FI” and NJ labels used “HIGH FIDELITY”, though there are several variations mostly around periods of transition. When more labels were printed for a later pressing on the new NJ label, the earlier format “HI FI” is often retained i.e. the label is identical except for the change of address.

These variations are not tied to any known variation in sound quality and are not helpful in dating pressings as they show little consistency, merely arbitrary choices made by the compositor on the day. The audio quality of NJ pressings is generally very high, within the golden era of vinyl quality production. They benefit enormously from improvements in microphone dynamic range and recording equipment, and of course the engineering skills of  Van Gelder and his studios.

Secrets of the Prestige cover

One assurance of early provenance of any Prestige record is that it is associated with a matching early manufactured cover. In the example below, 7005 MJQ, left is the original , right is the later cover. In this case even the front  cover was replaced by an alternative design.


Other tell-tale signs of later provenance include a printed spine, advertisements for later titles on the back cover or on an inner corporate sleeve, even the font-style of the catalogue number on the front, or different colour tint.. A coveted first pressing should have a matching first cover.

3. Fireworks stereo label – NJ –  black/silver –  late Fifties

To welcome the eventual arrival of stereo at Prestige, the black and silver fireworks label was introduced. (Prestige’s UK licensee Esquire only ever pressed mono editions). The only copy I had seen and auditioned had been pressed with recycled vinyl, hissing badly throughout, so I never got an opinion on the stereo quality. The choice of titles for stereo release seems to have been mainly “old school” power  sax players –  Arnett Cobb, Jimmy Forrest, Gene Ammons and Eddie Lockjaw Davis are noted in the Discogs listing, which doesn’t increase its attraction.


Early stereo is not always a good experience, often with only a very primitive concept of “soundstage”. Front line solo instruments would be placed either extreme left or right and not centre as you might expect, and the rhythm section oddly skewed, with perhaps piano and bass centre but drums on the far right. It can add up to an unsettling listening experience  and accounts for some collectors preference for mono at this time, though no doubt it has its fans. Early mixing consoles offered a simple choice of position – left, right or centre. Engineers like Roy duNann at Contemporary and Fred Plaut at Columbia had a much more sophisticated approach which delivered up a superior stereo presentation as early as the late Fifties, and stereo is the the preferred edition, according to taste.

There is also a detailed argument among stereophiles as to integrity of the “recording intent” – where mono editions were created by folding down a recording made on two track tape, which should be heard in mono as intended.  With the growth of home-stereo market in the early ’60s, record companies were under pressure to issue LPs in stereo, and some were described as  “electronically reprocessed  to simulate stereo” though the term usually described a two track tape mastered as stereo, not a mono recording reprocessed to fake stereo.

4. New Jazz label (1958-64)

Weinstock’s other Prestige label, New Jazz, got off to a shaky start with the first four titles of the 8200 series appearing on the Yellow and Black fireworks label before the Purple New Jazz label took over.


The samples above sourced from the internet show what appear to be “later pressings” on the purple label, as the yellow/black fireworks examples include two “promos”, which indicates they are chronologically the first.  8205 is the first genuine first pressing on the purple label.  8201-4 if found on purple label are later pressings, for which Fireworks are first.

It may not be possible to distinguish between first and later pressings which fall wholly within the purple label era after 8204, simply from the label. The label had no further historical changes but the presence or absence of deep groove offers an indication of earlier provenance. Below, for example, is an early later pressing.

The “Hissy Vinyl” Problem

New Jazz and some Prestige releases are sometimes marred by “hissy vinyl”, due to the raw vinylite being bulked up with recycled vinyl, containing minute detritus and fragments of paper label, which the stylus picks up as a continuous hiss . Some pressings are ok, others have the dreaded hiss throughout, sometimes minor, on other copies quite prominent. There is no consistency – even the same title can be found with hissy copies and not hissy copies. The practice occurred mainly in 1963-4 and the finger of suspicion points directly to Abbey Mfg.  Abbey had its own vinylte-supply company with its directors on the board, so they must have known. it was their business.

Weinstock has never to my knowledge  been challenged on the use of recycled vinyl and its absence on other major’s LP pressings suggests it was known industry malpractice. In a recent interview, Weinstock, long since retired and moved to Florida, seems to have gone along with the  uninformed but common opinion that vinyl is bad and old-fashioned and we have progressed to “better sounding technology” – the CD, and now the digital download.

European editions of these Prestige/New Jazz titles may be preferred as they do not suffer the same problem, though sometimes there is no option. The music and engineering is nevertheless superb and some artists are found only on the New Jazz label.

5. The Prestige Specialty Labels – Moodsville, Swingville and Bluesville

Often with RVG initials in the runout, these are Prestige proper recordings


(Swingville picture courtesy of Bob Djukic)



(Bluesville picture courtesy of Bob Djukic)

Sound every bit as good as Prestige of the same period. As to why these specialty labels were introduced, the story has been told that Weinstock created these new labels not as a stroke of marketing genius, but as a device to reduce tax liabilities on sales on his primary label. Possibly true, but sums owing to the IRS has never been a good indicator as to the quality of music.

6.  The failed revolution – 16 rpm

Just as the 12″ LP replaced the 10″ single by extending playing time, in the late Fifties Prestige lanched an innovation planned to double the length of playing time, by halving the record speed. Whilst quite suited to the spoken word, 16rpm was a disaster to the quality of music, and within a dozen titles, disappeared. The innovation that would embraced by the public in the next few years was not length of playing time, but Stereo.

(16rpm picture courtesy of Bob Djukic)

6.The Blue Trident Label (1964 – 1971)

PRLP 7265 – 7857

The Blue Label/Silver Trident was the primary label format successor to the yellow/ black fireworks label from 1964, adopted both for new releases and reissues of earlier titles.

Example 1.

Example below illustrates typical runout engravings – Van Gelder mastering (early handwritten form “RVG”), Abbey Manufacturing pressing plant (“AB”) and catalogue number updates (original scratched out, reissue catalogue number added, A/B side error correction)

Example 2.

Example 2 above, a reissue of an earlier New Jazz title,  showing both New Jazz and Prestige catalogue numbers. The Blue/ silver trident audio quality is generally superb, with wide dynamic range and engaging presence. Reissues are especially great value, being pressed with metalwork derived from the original master, but not considered as collectible and therefore no where near as expensive.

Stereo label – Blue (1964)

Exists in two known variations – with and without deep groove, and variation in position of the silver trident

(Photo courtesy of Albert of Ohio)

 Mono Label – Gold

Prior to finalising the new Prestige blue/silver trident label, Prestige briefly experimented with a gold/ black trident (mono)  and a black/silver trident (stereo) label, both discontinued.

Stereo Label – Black

Stereo editions account for a large proportion of variations in label design – colours and position of trident, whether enclosed within a circle as a  logo, and of course the word “STEREO” to be fitted in.

7.Prestige’s “budget label” Status 1960’s

Difficult to see what was budget apart from saving on ink, providing minimal information saved nothing, but made it look budget. Working in Marketing in the Seventies, the big fear was always “cannibalisation”. You wanted all the sales you could get at the premium price, and extra sales at the budget price, without losing the one to the other. Extra effort was incurred to make things look less attractive. More marketing genius from Weinstock.

8. Prestige sub-label: Tru-Sound

Early ’60s Prestige sub-label used for a handful of soul-jazz/latin jazz. (Label examples courtesy of The label address is given as Tru-Sound Recording Corp, 203 South Washington Avenue, Bergenfield N.J., which is the address of Prestige Records.  The King Curtis Doing The Dixie Twist has a VAN GELDER stamp. It’s Prestige, by any account.


9.  Prestige/ Fantasy  1971-82

In 1971 what remained of the Weinstock empire of Prestige was sold to new owners, Fantasy Records of Los Angeles California. In the years that followed Fantasy flooded the market  with re-issues from the Prestige Catalogue, variously attributed to “Fantasy Records” or “Prestige Records”, cover address Berkley California, Tenth and Parker to be found on label and cover.

A pale shadow of their former glory, they are generally feeble pressings – often better  to buy the CD to listen to, and the LP for the cover art. From time to time I have “chanced it” for a filler and mostly disappointed.

Though exasperatingly, not always. Around the very beginning of the transition from Prestige to Fantasy, dated around 1972, we find some pressings still bearing the VAN GELDER machine stamp:


The original Prestige catalogue number, van Gelder stamp, hands up to “Distributed by Fantasy Records” rather than an opportunist claim to be Prestige Records, but only 117gm vinyl. Five years previously the above record was released, looking like this:


(Source: Discogs, retouched by LJC)

Looks like early days, Fantasy cranked out reissues using old stock Prestige covers from the original release, and repressed using the original stampers, so producing a record which is a very close relative of the original.

10. Original Jazz Classics 

“Created in 1982 by Fantasy Records to present classic jazz albums from the Fantasy-owned labels (i.e. Prestige, Riverside Records, Milestone Records, Contemporary Records and later Pablo Records), with their original artwork and liner notes. Over 1,000 titles to date have been reissued on the label” (Source: Discogs)

OJC Reissue – 100gm vinyl weight, not adequate.

Mastering of many OJC reissues is credited to George Horn  Chief Engineer for Coast Recorders Studios and Columbia Records in the 70’s, in 1980 Horn started a 30-year career with Fantasy Studios in Berkeley, California, runout signature GH hand-etched. (Obit – Horn passed away in 2021, age 87).

Early to mid 80s vinyl output allegedly mastered from original tapes, becoming digital transfers into the ’90s and mostly CD thereafter Much useful information on OJC – a Buyers Guide  by GhentJazzCollector Dirk Lenhart

Update: Latest reissue series by Prestige owners Concord Music,  the anniversary Prestige 70 Series in blue vinyl (2019). No opinion regards quality, haven’t bought one, but blue vinyl? According to Record Industry, the world’s largest pressing plant, “audio pressed on non-black vinyl is more susceptible to higher noise levels and/or clicks in the lead-in and lead-out grooves, or on quiet parts of the recording”. Doesn’t instill confidence that Concord management know what is important. Concord Music’s Craft Catalogue output has previously  used George Horn for mastering and Paul Blakemore at CMG (staff engineer Concord Music Group?) interviewed here:

“I don’t have a lathe here, so I don’t do any lacquer cutting. We send out our lacquer cutting to one of several different people. But I’ve found that you really do have to prepare the audio files that you send to the lacquer mastering engineer, you have to prepare them very differently than you do the CD master…

“[The Precision Limiter] is … the most transparent digital limiter I’ve ever encountered. It’s really great for doing any kind of music that’s primarily performed on acoustical instruments. You can do big changes to the dynamic range without really altering the timbre of the instruments or the essential character of the mix.”

Note, Blakemore is sending digital audio files to the vinyl master cutter, no mention of original tape as source, and he adjusts the dynamic range to suit his ear.  If you valued the original source tape, wouldn’t you mention its use? Limiters, compressors, de-essers, levellers, expanders, EMT-emulators, Concord/Craft  audio quality is in the hands of an engineer who believes he is improving the original recording with digital tools, sounds all very Steve Hoffman.

The only test is to compare the final pressing with the vintage original vinyl, on a revealing audio system. It is not an improvement unless you a have a baseline against which to judge it, and no-one does (or very few apart from yours truly). It is may sound different, but put them side by side and the word improvement is rarely if ever justified.


To be continued…

Next: | Prestige Japan

Prestige in Europe

Prestige Yellow Fireworks Label reference set

257 thoughts on “Prestige records labels 1951-82+ overview

  1. Regarding late 80s-90s OJC pressings….according to a thread on Hoffman’s website, those pressings are almost certainly analog. This is from an email from Philip De Lancie, who did the remastering starting in 1986:

    “From: Philip De Lancie
    Sent: Dienstag, 13. März 2018 17:05
    Subject: Re: Original Jazz Classics vinyl reissues from the late ’80s

    I started at fantasy in 1986. At first, definitely analog, direct from the two track masters. At some point in the 90s we got our digital console but I believe that was mostly for CDs. There may have been some exceptions, but my recollection is that in most cases we continued to cut the vinyl analog. It’s been a while, though. I left in 1999.”


  2. Hi there, I have a question for the Vinyl Detective !

    Is it possible that the Blue Trident Label (with the trident on the right side of the label) actually came sooner than 1964 ?

    I have a Thelonious Monk – Work ! reissue, with the original catalogue number scratched and the new reissue number PRLP 7169 etched underneath. It also has the AB and RVG marks in the runout grooves.
    It came with the Blue Trident label on the right side of the label.
    So far no mystery, you would think it’s a later pressing reissued sometime between 1964 and 19671.

    But it’s not matching this article information that this label was used for PRLP 7265 to 7857.
    And what’s interesting is that Thelonious is misspelled on the label as Theolonius, and I found on Discogs the same error but on a Yellow NJ label. It’s dated from 1959.

    Why would they carry over a mistake on a different label for a reissue at least 5 years older ?
    Is it possible that they where running the Yellow NJ labels in parallel with the Blue Trident label for some time in the late 50s or early 60s?

    Anyway, thanks a lot for this mass f information, it’s unbelievably useful and interesting stuff !

    Keep up the good work!


  3. Hello folks,

    I’ve scanned the comments and info and forgive me if I’ve overlooked the key piece of information I’m looking for, but my question is fairly simple: is there a date or catalog number for the Prestige labels where a double deep groove no longer necessarily meant a first pressing? Blue Note seems to have a relatively clear example: BLP 4059 (although I’ve seen multiple review copies of BLP 4058 which had no DG, but I digress). This title is supposedly the first where a first press was non-DG at least on one side and this was recorded in Dec 1960 and released in (supposedly) June 1961, meaning that by 1961, the double DG-as-first press standard for Blue Note was over.

    What about for Prestige or other labels? A contributor named Aaron has suggested the double DG as first press was over in 1963 for Prestige. 2 years later than Blue Note? Can anyone confirm or deny this or get more specific?



    • Hi Doug,
      The deep-groove question is more about pressing plants than records labels. Blue Note was pressed by exclusively by Plastylite while Prestige was most often, but not exclusively, pressed by Abbey Record Manufacturing.


    • Aaron has hit the spot – Blue Note pressed at only one plant (just one or two exceptions ever) The die patterns in use at Plastylite reflected the gradual replacement of old dies gradually over a four year period 1962-6 until the last remaining DG die was discarded, In that time, DG and non-DG dies were used randomly. A first press of 4207 issued in November 1965 is DG both sides, merely by chance. The bigger issue is that Blue Note has been studied in incredible depth. Prestige not so much!

      Weinstock started shopping around pressing plants, around 1962/3, the time that non-DG dies began turning up in various pressing plants across the country. Records began being pressed at different plants, evidenced by the different typesetting of labels on the same release. The industry had no standard of die for presses, so there is as a whole spectrum of variation in die impressions, from a deep trough to a single small step, in use at different plants. I documented the the New Jazz full time series, gives an idea how and when things changed

      Collector’s Guide To Prestige/ New Jazz – Update

      With continuous pressing of titles in small batches to top up dealer inventories, I’m not sure the notion of a “first pressing” had any longer much traction.


    • I would have thought this one to be even later than 1964. I have seen the classic greenish, turquoise cover with the blue trident labels inside, without the mono sticker of course. This must be the last version of this cash cow Prestige item.


  4. Hi mate!
    I’ve just noticed that my original Prestige PRLP-7076 has misaligned printing (not centered) for tracks on B side label. All the other features (i.e.: address on labels, cover, RVG etched and AB in the dead wax, etc….) are exactly the same. Only the B side label has this strange printing mistake.
    In addition, there is a B stamped into the run-out A side and B stamped into run-out B side.
    Have you any news about these kind of mistakes?
    May be a very early pressing, released before the right centered B side label?
    Do you need some pics by email?
    Thanks for help!



    • Email me pictures, worth a thousand words. Take a few shots, labels flat on full screen. Etchings – maybe from different angles, reflections are tricky,there is always one better than others, and I can retouch in photoshop.


      • Hi Andrew,
        I sent pics and I received your answer by email on yesterday. Thanks a lot as usual for your great help.



  5. Hi,

    About “Looks like early days, Fantasy cranked out reissues using old stock Prestige covers from the original release, and repressed using the original stampers, so producing a record which is a very close relative of the original.”

    Did you think is there a lot of this ones on market?
    It seems a lot of this records are on discogs for 1964-1965’s 2nd pressings.

    Thank you.


  6. Hey LJC,
    first all of I want to thank you for your work & all the information you share though I have to say I dont allways share your opinion especially when it comes to estimating the quality of reissues. I started collecting vintage jazz several years ago & avoided 70s/80s reissues (Blue NOte/Impulse/Prestige etc.) strongly as I read comments like yours – and also other collectors.
    Now I have to say that many of these proscribed pressings are a very attractive alternative especially to unaffordable or sometimes even unavailable classics. Especially blue/black Blue Notes are very recommended in my own opinion.

    So, here’s my question concerning Prestige (also New Jazz, Riverside etc.) Reissues:

    when searching for classic Jazz & Blues records from the 50s & 60s on Prestige & other pre-Fantasy labels I often bang into pressings like this:

    Boogaloo Joe Jones* – Right On Brother
    The Ray Draper Quintet Featuring John Coltrane – The Ray Draper Quintet Featuring John Coltrane
    Boogaloo Joe Jones* – No Way!

    These dont belong to the OJC/OBC series and are obviously not mastered by GH. As the LAbel from “No Way” suggests, these are done in the 70s BUT my other 70s Prestige reissues with the lightgreen label have no Fantasy mastering credit…
    I’m a big fan of GH-mastered OJCs and so Im very interested in all these Reissues done by Fantasy…

    Does anyone have any info on these?
    Who mastered them?
    for example: PR-7766 B₁ FANTASY INC. USA {A}
    {A} seems to be the initials for the mastering/cutting engineer but who is it?
    are these pressings recommended?

    Another mastering initial that can often be found in the deadwax of these pressings is this: (T)
    for example found on my Fantasy-reissue of Ray Draper Quintet feat. John Coltrane….

    Would be very happy to get some info from you guys


    • Thanks for your comments, which I have some sympathy with. Some of us started out with original Blue Note and Prestige issues within reach, which for many people today are no longer within reach. Affordable choices have changed since those times, but audio performance hasn’t.

      Some reissues are very acceptable – an opinion I arrive at by having owned both original and reissue of the same recording. Some reissues are quite weak, probably most of them, an opinion based on the same criteria of actual comparison. Unless you are able to compare the “unaffordable original” (which not many people have have) with an affordable reissue, you can not know what the difference is.

      . If it sounds good to you, then it does, and no one can disagree, certainly not me. No-one knows what you hear, me likewise. My baseline is original pressings of ’50s and ’60s. Fantasy ’70s output is unsatisfactory to my ears

      I have different issue with music made after 1970, most of which I simply don’t like, irrespective of who recorded and mastered it. There are exceptions, as always, no problem with disagreement, I encourage exploration and building knowledge. Opinions are not fixed, they change over time as you grow in experience and judgement, something wrong if they didn’t. Humble pie is always on the menu, and doesn’t taste as bad as one fears.

      Keep listening.


      • I would echo LJC’s comments on the pale yellow 1971 era prestige pressings. Have quite a few of them, and sonic qualities are not very good. I do not have any of the original 1950s or 1960s Prestige pressings, so have no idea on how they sound. Today, for Prestige titles I am looking for now search for the late 1980s pressings under the OJC label which were remastered, or head to Japan on line vinyl shops to look for the Japan Victor re-issues which are very good, better dynamics and quieter pressings than the 1980s OJC titles. In the US, Concord Music group has now started re-issuing some of the Fantasy titles under the OJC banner. These are pressed on 150 gram vinyl by RTI in California. Have bought a number of these titles, which are decent pressings and have similar sound quality to the OJC pressings from the late 80s and early 1990s. Several on line retailers sell these, including acoustic sounds.


  7. I just picked up a “workin'” with Miles Davis Quintet, blue trident label, has the RVG and Van Gelder etching. I’m guessing it’s from the ’64-’71 era. One question I have: It’s a misprint, both sides have the “Side 2” label, tracklist and all. Although the etched labeling is correct (and the music of course!). Is this a known or common error? does this increase (or more likely decrease) value?



    • Trident label pressings with original metal are very much undervalued. ie great to find and cheap, especially if the surface condition is VG+ or better. Incorrect label pair is an unusual fault, but it happens. I would be surprised if it made much difference in a modestly priced record, of which many copies were sold. If the label-hopper of the press was filled with the wrong side, there may be a few thousand copies out there with the same fault!


  8. dear LJC and friends, my prestige LP has the washington address, no deepgrove but a concentric circle maybe about 1-1.5cm around the spindle hole. may i ask which year is this?


    • The Bergenfield address first appears in mid 1958. The pressing ring around the spindle hole on one side is mark of an Abbey pressing. Beyond that there isn’t you can use to date a Prestige title other than its release date, which you can winkle out of a Billboard search.


  9. Pingback: [weekend roundup] – Coltrane on Prestige and Atlantic: Soultrane (1958), Olé Coltrane (1961) – Nutmegging This Up

  10. Now, here’s something really odd:
    Mobley’s Message(1956 – Mono rec.) with several late 60ies and early 70ies re-issues bearing “Electronically Remastered for Stereo” but still with Van Gelder stamped on deadwax. Can someone in lights me here?


    • Prestige used to reissue early titles with a new catalogue number and mentioning ‘electronically rechanneled for stereo’ or something similar.
      The few copies I have had of these were in fact just regular mono records, playable on a mono system, and often with an improved (mono) sound.
      It is my impression that they did nothing to the sound, only the mention on the sleeve and on the labels to enhance sales in an all stereo world, 1960’s.


  11. For Eric Dolphy at Five Spot 2, how about the sound of the one year later 1964 japanese pressing SMJ-7192? Is it comparable to the orginal US pressing? Thanks!


    • Victor Japan/Prestige are generally disappointing, more often than not a weak transfer, rolled-off top end, entirely lacking the character and punch of the original Prestige (which I guess is impossibly expensive!)


      • I am confused because you gave a highly positive comment in this web for the victor japanese pressing. Did I mistake something?


        • Variable I guess. I have bought a couple of titles recently, happen to be New Jazz originally,both Eric Dolphy titles and was very disappointed with the quality, very anaemic. May be I’m getting more fussy! Opinions can change over time, as your experience widens.


          • I couldn’t agree more, out of the dozen Japanese pressing I own only one sounds
            good to my ears. I tracked down some King pressings that I read were far superior.
            No difference, hard to justify crazy money on an album but I at least have a copy.
            Thanks for a wonderful site, Derek


  12. Man, if you don’t want any of your 1980’s OJC Prestige, Riverside, Contemporary (assuming you have any) I’ll take em’ all. Sound great to these ol’ ears.


    • yes, back in the day (late 80s to early 90s), I used to be in LA (Los Angeles) every 3 weeks. Would always stop at Aarons Records on Hollywood north of Vine. He had 90+% of the Fantasy OJC catalog on vinyl. Would buy as many as I could afford. Every once in a while Aarons’ would get in a Trident pressing so was able to pick up a few of those. The few original Prestige titles I found were always really beat up so did not opt for them…..would also state for any comparisons between OJC, originals and Japan pressed titles, all must be really clean (deep in the groove). The bottom of the grooves are loaded with calcium Carbonate. Once you get that out the record sounds a ton better.


  13. Hi LJC —

    There are two 10″-releases of the famous Miles Davis recording session with Sonny Rollins (pre-RVG).


    How does “Dig” sound on those, as heavily “echoed” like on the subsequent 12″- & CD-releases, remastered by RVG?

    This is very annoying, isn’t it?

    Thanks in advance for an enlightening reply 😉

    Another one; I was lucky and found this one for a reasonable price:

    Those tracks have been also remastered by RVG for the later 12″-LP-release, and they all are “enhanced” with electronic reverb. The above 10″-release is the only, containing the original sounds, as they were recorded.


  14. Today I found and bought a version of Jackie’s Pal (LP 7068) that has this label:

    But has a Berkeley, CA 94710 address instead of NY.

    Anyone have any clue on what vintage it is? I have no clue, seems like the record store had no clue either…it’s pretty pristine but not from one of the bootleg European labels like Waxtime.


  15. I came across this picture of a New Zealand made Prestige (from US RVG metalwork) and it’s similarity to the mysterious “no address” gold label made me think that maybe the gold label copies were US made for export, explaining absence of an address on the label. Just a thought.


  16. Hello LJC, I was just reading your Prestige label page and was wondering if you’d like me to send you 2 White Label Promo scans that I have from 1972 and 1973.
    PRST-10051 Dexter Gordon – Ca’Purange
    PRST-24025 Kenny Burrell -All Day Long/All Night Long
    The Kenny Burrell’s both have PRST(stereo) labels and stamped PRST in the dead wax but are really from mono masters.

    Not sure if you’ll find this of interest but I have all three original versions of All Night Long. The 1963 release is from the original 1957 master, the handwritten dead wax is identical except for the addition of PR 7289. They didn’t even bother to scratch out the previous cat #. Rudy must of remastered the 1973 two-fer release(it bears his stamp) and even though they used the PRST prefix it’s a mono master sounds amazing!! Although it’s not mastered quit as loud as the earlier pressings, the vinyl is of a higher grade which is why I kept all 3.
    Info in the dead wax:
    RVG PRLP-7073-A (All Hand written)
    RVG PRLP-7073-A PR 7289 A(All Hand written)
    PRST-24025 C(Hand Written) VAN GELDER(Stamp)


  17. Dear LJC,
    Thank you very much for the informative site. I really learned a lot from you.
    Today, I have a question regarding Prestige labelology.

    I have two mono copies of PRLP 7292 John Coltrane “The Believer”.
    One is a yellow ochre NJ label which uses Roman font for the artist name, an example of which is already shown in your site (PRLP 7281 Miles Davis “Diggin’”). The other is a lemon yellow NJ label and uses narrow Gothic font for all the information on it.

    My guess is that the former is the first press, but that’s just a guess. What do you think?


    • This is controversial and largely undocumented issue. I have been persuaded that the narrow gothic font on lemon-yellow label is generally the first. That said, the roman rounded font is associated with Plastylite pressings, so I am really uncertain, because I am a huge fan of Plastylite quality, and I am really uncertain why Plastylite would have been brought in for later pressings.

      I like to think that the commercially-promiscuous Weinstock merely “played the field”, so there is no single supplier for all catalogue numbers, but some this, and some that.


  18. –The dreaded OJC Reissue

    Why “dreaded”? These have been my gateway to records, and imho sound pretty good, if not excellent, especially considering the very reasonable prices they still command. I think they are the best bargain for the jazz listener on a budget.


    • Agreed. The 80’s pressings are pure analog and you can find them in good to pristine conditions from $5 – $20. Best bargain for jazz fans – regardless of budget. Buy a shitty, beat to hell Prestige from 1957 for $80 or near mind OJC for $15. I mean, you actually have to be able to discern the music from the noise…


  19. Prestige 10″ 161, Miles Davis quartet.
    front cover: with John Lewis, Horace Silver, Percy Heath, Max Roach, Art Blakey
    label: yellow dg NYC
    side 1: When lights are low, Tune up, Miles ahead, Smooch
    side 2: Four, That old devil moon, Blue Haze
    BACK COVER: under the personnel (Davis, JACKSON, Heath, CLARKE, MONK)-Prestige LP-196 (Bags’ groove, Swing Spring) and Prestige LP-200 (The man I love, Bemsha swing).
    liner notes clearly are about this famous and controversial session.
    it’s clear that this back doesn’t match with front cover and labels.
    my question is: did Prestige 199 AND 200 have this same back?
    anyone with the right back for 161, Rudolf?
    second question: is my copy a mistake or a fake?
    in a recent 10″ reissue of 10 Davis Prestige, the label of 161 is red, not yellow.


    • your 161 is a strange animal: my copy of same has a front with just “miles davis quartet” and the catalogue number (cover is an abstract blue/rose design). The rear has the catalogue running from 101 to 177. (Under 161 the catalogue reads: Miles Davis with Sonny Rollins!).
      I have seen yellow/black labels for the most popular re-prints (MJQ), whereas the first pressings were red/grey or blue/grey fireworks labels.
      My 196 and 200 have a common liner discussing the four tracks recorded at that memorable Christmas Eve.


      • thanks Rudolf, I knew YOU knew.
        my front is blue/rose as yours.
        my back has a “complete listing of Prestige LP’s by the featured artists”:
        Davis: 113-124-154-161-154-182-185-187-7007
        Jackson: 160-170-183-7003
        Monk: 142-166-180-189
        re Davis 196 and 200 are missing, but are the albums for which the cover was (later) reprinted.
        161 has the correct title: Quartets with Horace Silver, John Lewis.
        definetly mine is a (50’s) reissue, argh!


        • It could have been much worse: a 90’s facsimile pressing for instance. Yours then was re-printed in 1955. Not a bad score after all.


  20. Hi All,
    I just found this site today and am amazed at the wealth of information you have compiled. Anyway, a problem brought me here and I’m really curious if anyone here can help. I’ve been digitising my record collection recently (actually more than 5 years, since there is 200+ records there, mainly jazz) and am currently doing the Prestige label. Most of the records were bought in the 1990s, as brand new OJC reissues. Most of them have been played once or twice, if at all. My playback recording system is fairly solid, consisting of a plinthed Garrard 301 with a VdH Colibri cartridge, Aqvox phono stage and TASCAM hard drive recorder. I transfer the 2496 recording to my PC where the files and treated, cleaned and spliced using Audacity. What I discovered is that almost as a rule, all of the Prestige OJC LPs have a constant channel imbalance of about 2-3 dB, with the left channel being stronger. This happens regardless of the record being mono or stereo. It is relatively easy to fix during the recording process, however when I listen to records directly the problem is a bit harder to fix since I do not have a preamp which would allow me to adjust channel balance. Apart from this, once the recording has been fixed, it plays beautifully and I am extremely pleased with the result. However, I would still like to know if anyone else has made the same observation with these reissues?


    • Dragan,
      I duly checked some of my mono OJC’s (OJC-050/P-7008, OJC-391/P-7200, and OJC-319 which is a Contemporary, C3518) because it’s the easiest thing to do, and I was unable to detect any channel imbalance, neither on screen nor in my headphones (mono switch off and on for comparison). Are you sure it happens only with your Prestige OJC’s? Otherwise it could be due to the mixing desk you’re using, or some other stage in the signal path.


  21. I’m looking at The Genius Of Thelonious Monk, PRLP 7656, 1969, on the Blue Trident label, from ‘Jazz Classics Series’. It appears to be in stereo – how can that be?! The sessions are from 1953-4 – pretty sure that they must have been recorded in mono only. Is this record a dreaded ‘fake stereo’ issue? Or is just mono compatible with stereo systems? Do you know this issue?


    • It’s either mono or fake stereo, some of which can sound deceptively close to “real” stereo (Saxophone Colossus). Check with your headphones on, pushing the mono switch for comparison.


    • PRLP 7656 is a compilation of recordings that all predate stereo. The cover I can see on the internet has very small print in blue across the top. It’s barely legible apart from the last two words “…FOR STEREO” which I guess declares it to be electronically reprocessed.

      There was a legal requirement, at the behest of the recording industry, to declare fake stereo, hence words on the cover like “electronically re-recorded to simulate stereo” or “Electronically reprocessed” – either fairly aggressive tonal filtering, channel rephrasing and reverb, or fairly anodyne and not especially noticeable.

      Personally I would avoid, and seek out a bona fide mono reissue.


  22. RVG spoiled many tracks with echo. One example is really annoying, and I can’t find any reason for this kind of brutal treatment: “Blue Horizon” & “Summertime”, both recorded for Blue Note by Sidney Bechet in 1945. RVG killed this great music, which was originally dry and crisply, directly sounding, with electronically added echo.

    OK, what did I do? I purchased the two initial Blue Note 10″-LP’s (totally scratchy), transferred them to my hard drive, and cleaned those two tracks by hand, removed scratch after scratch, and now it sounds really great.

    So, the only solution for circumventing RVG’s “enhancements”, is to go for the earliest releases.

    Happy hunting!


    • A similar experience here with the Parker sessions on Savoy, I prefer the 10″ releases over the 12″ which were re-mastered by van Gelder.


      • What do you think about the Parker-Savoy releases of Bob Porter, (re)mastered by Al Brown? — There are also French releases. Are they better? — t’s funny anyway, to speak about Bird’s cuts by using the verb “to remaster” 😉


        • you hit it with re-mastering Bird. I have often seen the French releases in the bins (four or five volumes, same cover design, but different colour for each volume), have never listened to them though. I think they were just French issues of the standard Savoy material, re-mastered by van Gelder. I am not familiar with Bob Porter’s releases of this material.


    • It’s highly unlikely the decision to add reverb was RVGs. It was much more likely added at the request of either Herman Lubinsky or Ozzie Cadena when Savoy engaged RVG to transfer the material from lacquer to tape for re-release on LP.


  23. l’emmerdaur is back: Miles Davis, the Musings of Miles, Prestige 7007.
    yellow fireworks, dg, 446W50th ST NYC, back cover without other Davis’ records.
    2 questions:
    1) does label or cover read “NON BREAKABLE” ?
    2) is it flat edge?
    thanks to experts.


    • I just pulled out my copy to confirm.
      1) the label reads “non-breakable” on the right side, no where on cover.
      2) yes, it is flat edge.


        • Aaron: very interesting indeed. This label type, Plastilyte mention and flat edge on yours is the same as on my Benny Green PrLp 210. I have never been able to explain convincingly in this forum how my lemon coloured angular letter type labels looks like. I have a couple of them (7003, 7007, 7008, 7010, 7014, 7018, 7020, 7021 to mention a few). Pictures have circulated, but I don’t see see them hereinabove.
          My 7001 (which I sold) was exactly like your 7007.
          Without jumping to conclusions I would assume that your version of 7007 is a first.


        • This rare vintage label with the mention unbreakable, needs to be included in the label examples. The letter type and the special mention make it very special. Andrew, if you could please.
          So the sequence becomes:
          this “Plastilyte” related label, picture of Aaron’s 7007;
          the “angular” lemon colour type (as on 7005 hereunder)
          the regular NYC labels as Aaron’s second 7005
          the Bergenfield labels.
          Thank you Aaron, I never knew the Plastilyte label came as far as 7007. I thought it ended with 7001.


          • P.S. the Elmo Hope album (7010), now on Al’s Jazz Collector site, has the angular lemon coloured label. Btw, I have never seen this album with an other label.


          • Andrew, let me take a better picture that’s in focus and captures the correct color of my 7007 label better and I’ll send it your way.


            • Gentlemen, I can take a hint. The Prestige Fireworks Label reference set I created some time ago is woefully inadequate. Too many gaps, not up to the job.

              I’ve moved it to a logical place under Label Guides/Prestige, and started work to gather a complete label reference set i.e. each title label original in sequence. Since I started today its been an eye-opener.

              7030 label, for example, states “Custom molded by Plastylite” Extraordinary, never seen this before.

              It’s going to be a slog and I may need some help in filling the blanks, I’ll let you sleuths know what’s missing in due course, but lets get this done, it’s a long time overdue.


    • L’emmerdeur est toujours le bienvenu.
      I pulled out mine:
      -non breakable nowhere mentioned, nor on label, nor on sleeve
      -no flat edge.
      Mine is the first lemon coloured label with the angular letter type. 446W on labels and rear of sleeve.
      No ads for later Davis records. Mention on the rear: custom made pressing by “Plastilyte”.
      Sleeve kakubuchi, non laminated.


        • so we must assume that the lemon angular labels were still available when they switched to a new sleeve which would later house the regular NYC labels. Joe L. has your sleeve pictures of Miles album sleeves issued after 7007 or just laminated non-frame?


  24. Giorgio, sorry, I cannot help you regarding “Gongs East”. I had two copies, one mono, one stereo, (and may still have one left , but cannot find it). But I have no clue regarding DG or not on the WB label.


    • might very well be an original. The yellow Bergenfields I have in the 7290 to 7310 range have no DG, just sort of an indent where the DG should have been.


      • thanks Rudolf.
        another question Dolphy-related.
        there are three Warner Bros Chico Hamilton with Dolphy.
        B 1245, W 1271 and W 1344.
        Mine are all mono Vitaphonic Hi Fidelity, grey label but 1271, Gongs East, hasn’t DG. other have. I couldn’t find it with DG. is it original?


      • In my notes I have “Yellow Bergenfield 7259-7320 have no deep-groove”. I got this information from another collector so I can’t verify but it’s probably in the ballpark.


  25. I’m a little late to this party, but I just pulled out my copy of Gil Evans & Band “Big Stuff” (8215). It’s a purple lable New Jazz, deep groove, HIGH FIDELITY, RVG machine stamped. My question is with regards to the prefix – this record is NJLP 8215, rather than PRLP as shown in examples. Could this be another transition or possibly a later release? A curious feature of this record is that it has a matrix code PRLP-7120 that has been scratched out, but still very readable, and replaced with the matrix code NJLP 8215. This occurs on both sides. Looks like a clerical error whille reissuing earlier recordings.


    • to me it seems that your prefix is as it should be. Regarding the music, PRLP 7120 = NJLP 8215, the albums are identical, the latter is a repackaging of the former. New Jazz had a NJ prefix on all issues starting with # 8206 or thereabouts. From 8207 the NJ prefix is firmly rooted. No error thus in your case.


  26. Soooo, after reading through here, a fascinating journey, I’m still none the wiser re my recently aquired “Red Garland’s Piano”. I’ll put the info from my copy out there and hope that someone can advise!

    Rear cover
    TL and TR = “PRESTIGE LP 7086”
    BR = “Printed & Packaged by GEM Albums, Inc., N.Y.”

    Colour = Yellow
    Address = NJ
    “HI FI” to right of spindle hole

    “PRLP-7086 A-1” etched
    “PRLP-7086 B-1” etched

    “VAN GELDER” machine stamp both sides.

    Interestingly there’s what appears to be a quality stamp in red ink on the rear cover in the left-hand margin: “INSP. BY ” with maybe two or three characters that I can’t make out and then quite a large font “RW”.

    From the discussion hereand considering it was recorded in ’57 I’m thinking it’s right on the cusp of the transition from NY to NJ..? When was the VAN GELDER machine stamp introduced?


    • some questions:
      is it laminated? is the spine broad with a well readeable text, or thin with text nevertheless?
      The stamps “Insp. by” and RW indicate later pressings. Sometimes they came with a cellophane wrap and a Status sticker. I don’t know what RW means.
      Rear: Prestige adress printed at the bottom, or none?
      Are the labels DG?
      It is not an album right in the transition period NY/NJ.
      I will take out my copy. No time for it right now.


      • Thanks for reply Rudolf, just playing it now for the first time, both cover and vinyl are in NM condition visually but the record does have a fair bit of background static noise, not so noticeable when music is playing though.

        No Prestige address on the back, the sleeve front is laminated and shiny, fairly broad spine with very legible text, though a little off centre towards the bottom, the rear side of the sleeve is a matt finish.

        No cellophane wrap or Status sticker. Can you expand on your DG query please? Sorry…



        • DG: are the labels deep grooved? These later pressings were rather Noisy.
          My copy has DG, N.J. adress, rvg hand etched, one side stamped in the dead wax: AB and a C and the other side AB and a B. No adress rear, but G E M albums.


              • I’ve heard both “record withdrawn” or “robert (bob) weinstock”. the former would make more sense. Regarding the stamp, the “Van Gelder” stamp was introduced in 1961 on Blue Note… whether or not that is relevant to Prestige is up for debate. However, the original NY label of this Red Garland title has RVG etched on both sides, which by the transition to NJ labels at ~7140 was stamped. As far as I can tell, they continued to use the stamp for Prestige releases from 1961 such as Steamin’, Honeydripper, and Out of the Forest. Just a long winded way of agreeing with Rudolf that this is likely not from the transition period. Maybe more likely to be an early 60’s pressing.


            • As far as I know the RW stands for Record Withdrawn – IE a cutout without the cut!

              Apart from that, I have a question regarding the label Trusound which also was part of the Prestige complex. They released among other stuff some interesting King Curtis-items.

              Can anybody throw a light on this?


  27. recorded OR remastered by Van Gelder?
    only two Davis Prestige are remastered but not recorded by the Master, 7012 and 7025, unknown (to me) the original sound engineer.
    While most of the original Prestige recordings by Miles offer a great sound, one is almost unlistenable, 7012, Dig feat. Sonny Rollins.
    Usually I don’t discuss sound quality: it’s unchangeable. Music quality or record conditions are my bread.
    But this particular recording, original grey cover, NYC 446, near mint, all the best features, is like it was recorded in a cavern, with lots of reverb.
    was it a “day in the life” for Rudy who took the trouble of remastering a tragic recording?
    wasn’t possible to cut off all effects that injure the original music as played by some giants?
    I’m not into technical but I would like to have opinions from our readers.
    lastly: it’s a great pleasure for me to hold, smell and play original issues as they came out 50 or 60 or more years ago.
    it’s not the same with later issues.
    that’s why I’m proud of the title LJC gave me: First Pressing Fundamentalist.


    • “Dig” was originally issued as Prestige 777 (78 RPM). Has anyone listened to this version? Does it have the reverb? Did RVG add the reverb in the remastering process? Unlikely.
      Onr thing is for sure: Even with modern technology, the reverb would in all probability be impossible to remove.


      • That’s my task! was reverb on the original 78 or was unfortunately added later?
        and when? original master OR remastering?
        don’t wanna be Hypercritical but could Rudy have added that monstrosity to the original master?
        in this particular case does a modern reissue exist without reverb?


        • Not that I know of. Judging from samples on the Internet, they all seem to have reverb.
          The idea of RVG having added the reverb seems unlikely to me, because the Apex studio tracks show slight variations in sound quality. I think reverb is worst on the title track of “Dig”. Listening to the 78 disc might provide an answer, because it was most certainly issued before 1954, i.e. before Bob Weinstock started to work with RVG.


    • One thing’s for sure, Van Gelder never added reverb to recordings in the mastering process. You seem to be suggesting that Van Gelder mastered the recording for the 12″ LP release, which would be a guarantee that the reverb is on the tape. (This is all withstanding Eduard’s research showing that every digital stream online has the ‘verb as well.)


      • Has anyone compared the tracks of # 7012 with # 124 and 140? The latter (25 cms) were not re-mastered by van Gelder, but were put on wax directly from the original masters.


          • dottore, I am i mistaken that your sobriquet is something like FPF (first pressing fondamentalist)? and you don’t have 124, 140, 196 and 200 to name a few? Well that gives you something to work on.( I could not resist teasing you. I apologize.)
            Btw, 182, 187 (and 196 and 200) are original Rudy van Gelder engineered recordings, as you may see on the rear of your # 187.
            I will try to compare 7012 vs 124/140. Will let you know.


            • no, I do not have ’em.
              the main problem for a FPF is that any record must be original.
              my personal second problem is that any record should be fully enjoyable, mint or mint-; this is the reason why I do not have everything yet. and I do hope not to have them all: no more searching?
              re 10″: I love them but often the sound quality is inferior to correspondent 12″.
              in some case I prefer 10″, for example I sold Jack Sheldon on Jazz West to keep the couple of 10″, Get out of town and Quintet with Zoot Sims.
              I still keep 10″ and 12″ of some recordings, especially BN.
              some are original only on 10″, Here comes Frank Foster on Blue Note.
              anyway my last week entries are Lee Morgan The cooker and Renè Thomas Guitar groove withJ R Monterose. While I knew the first one, the latter was a nice surprise (on Jazzland).


              • dottore buona sera! first of all, congrats with your new acquisitions. The Cooker is a great album and so is Guitar Groove.
                I made the test listening with a new copy of 124 (first time it found itself on a turntable), a NM copy of 140 and a NM copy of 7012 (NYC) and a mint copy of 7012 (Bergenfield). I spent a good time and it is true that there is some reverberation, or echo, in the re-mastered versions (7012), but it gives the recording some width and depth. The 124/140 recordings are thinner in sound but don’t have the echo. Am now listening to Bluing on 140 and it is a most enjoyable listening experience. I grew up with these re-mastered sounds and they are overfamiliar to me. Since I am also a FPF, I bought 124/140 just to have first pressings (and 140 for the unissued take of Blue Room, with a solo of Sonny, which is not on 7025). Up to now I always played my NYC 7012.and I am glad you gave me the occasion to pull the 25 cms albums out of the racks. Maybe they ARE better!
                I have only the 12″ Jack Sheldon on Jazz:West, but as you did away with yours, I did away with the 30 cm albums on Blue Note of Miles (1501/2), Bud (1503/4), J.J. (1505/6), Milt 1509, Horace 1520, Clifford 1526, Fats (1531/2) and Lou D. 1537, just to keep the originals on 25 cm. I think the 25 cm Blue Note series gives the most comprehensive picture of the fifties, everything is there, plus the rare ones, you mentioned: Frank Foster, but also the Gil Melle albums, Julius Watkins, Herbie Nichols, the Hank Mobley quartet, Lou Mecca, Tal Farlow, Jutta Hipp, Elmo Hope, all these never on 30 cm! It is a real treasure. If you have these, plus the major Prestige 25 cm albums (i.a.Teddy Charles/Miles/Raney/Ph Woods/Monk/Rollins/Jon Eardly and the twenty or so 25 cm albums each on Savoy, Contemporary and on Pacific Jazz, you have the quintessence of modern jazz in the fifties. If you have these, you can be quiet, without worries and go out fishing.
                Returning to the echo business, I did away with all the re-mastered Bird on 30 cm Savoy, with all the false starts etc, to keep just the four 25 cms which definitely have a better sound. For sentimental reasons I kept the throne album, 12079, since it was my first Bird album.


                • Rudolf, pardon me, you kicked my ass off!
                  I do not have all the treasures you mention, yet.
                  I’ve got most of Pacific Jazz and Contemporary, 2 Melle, 2 Lou Donaldson and many more.
                  BN have a very nice sound on 10″, Prestige often don’t.
                  interesting some almost obscure, Lou Mecca (on my want list).
                  long time ago I bought one of these obscure records in Frisco, George Redman on a never seen label, Skylark, quintet with Bob Gordon and Herbie Harper, later released on Tampa.
                  oh yes: I love West Coast, at least the first years.
                  let me suggest Andrew one new post, always in progress.
                  as readers here are from all over the world, and being a frequent traveller, can you set up an “address book” for jazz vinyl record shops so that anyone can add places of common interest?
                  I’m not jealous of my address book BUT, any time I asked for tips in another USA site, I encountered the silence…
                  my next travel will be to San Francisco again: I know some places but ant suggestion is welcome.


                  • Dottore: I love early West Coast too, dig all the Niehaus albums on Contemporary and the work of Jack Montrose with Bob Gordon and Clifford on P.J. and Atlantic.. I have the George Redman album on a superb U.K. London 10″ pressing. It is not the best example of Bob Gordon though.
                    The Skylark label was pretty bad quality. I had a Lighthouse All Stars listed in Jepsen under the name of Jimmy Giuffre on the Skylark label. Giuffre is honking his way around and the musical value is close to nil.


          • I compared 25 cm Prestige Lp 124 with 30 cm # 7012. The 25 cm original has a fuller sound compared to the echo chambers heard on Dig 7012.
            I have the same remark concerning the Bird sessions on Savoy, re mastered by RvG for re issue on 30 cm,.


            • Concerning the transfer of 25 cm # 187 to 30 cm # 7109, the matter is quite simple. Rudy van Gelder was the original engineer on this session. No need to improve upon himself. I noticed the same brisk sound on 7109 as I heard on the original 187, and the corresponding Esquire, by the way.


      • The original 78 rpm of “Ko Ko” has no reverb (therefore neither did the original 16″ transcription disc made by Doug Hawkins at WOR), yet the version heard on Savoy MG 12079, “The Charlie Parker Story” remastered by Van Gelder clearly has added reverb.

        Van Gelder always points out that he is an engineer and not a producer. In cases like this it was probably Ozzie Cadena or Bob Weinstock who wanted reverb added. Most likely they would have paid for RVG to transfer original lacquer transcription discs to tape (the 1951 Apex session was most likely cut to disc) and it’s possible that the reverb was added then.

        That being said, RVG has always had a special fondness for reverb (Alfred Lion used to refer to reverb-heavy Blue Note sessions as “Rudy Specials”) from heavily spring reverb-laden early jazz sessions like “Walkin'” to his later investment in the very expensive and massive state of the art German EMT 140 units in his Englewood Cliffs studio.


        • Well I certainly stand corrected. Thank you, Felix, for pointing out that my statement was technically false. I’m surprised that he did add reverb to this Parker LP, and it’s a good guess that it was requested by the label’s producer. Do you have any other examples of instances where Van Gelder added reverb in the mastering (or remastering) process?

          I agree that he went heavy on the spring ‘verb in early Hackensack, but I don’t think his use of reverb was as heavy later on, and I do think he toned the spring ‘verb use down even before he got the EMT plate in late ’57. I also find his use of the EMT plate quite tame in Englewood Cliffs. Plus the EMT plate sounds so damn great.

          Perhaps I should have stated that he never added reverb in the mastering process to his own recordings. But to be 100% clear, I was not present for every Van Gelder mastering session. Because the reverb sounds identical on all the various remasterings of his recordings (that I’ve heard), I feel pretty confident making this statement. But I know from our interactions here that you despise assumption and poor hypothesis, Felix, so if you have evidence to the contrary for this new statement (hypothesis) of mine, please do let us know because I’m more interested in the truth than being right.


  28. back in yellow: while listening to my 14 Miles’ originals again, I noticed this:
    7007, 7014, 7034, 7044, 7054, 7076, 7109 Hi FI on label and cover
    7012, remastered by VAN GELDER on label and cover
    7013, HI FI on label and remastered by VAN GELDER on cover
    7025, remastered by VAN GELDER on label, nothing on cover
    7094: HI FI on label, nothing on cover
    the last NYC, 7129 Relaxin’, HIGH FIDELITY on label and cover
    the 3 Bergenfield, 7150, 7166 and 7200, HIGH FIDELITY on label and cover
    intrigued by the only one NOT HI FI on NYC I made a research on line and at home.
    I wasn’t unable to find 7129 with HI FI.
    this doesn’t mean that it doesn’t exist.
    QUESTION 1: anybody with HI FI on Relaxin’?
    then I checked all my Prestiges around that number:
    7112, Interplay for 2 Trumpets and 2 Tenors, 7118, After Hours with Thad Jones, Hi FI on label and cover
    from 7123 on, all NYC are HIGH FIDELITY, some still bear Hi FI on cover.
    7114, Jackie Mclean Alto Madness has HIGH FIDELITY on label and HI FI on cover.
    QUESTION 2: anybody with HI FI on Alto Madness?
    my hypothesis: HI FI on label seems to have been used on most NYC.
    subsequently, around 7114, HIGH FIDELITY partially substituted the earlier HIFI on the last NYC and on Bergenfield.
    further research coming on.


    • My copies are as follows:
      -7114 High Fidelity
      -7129 NYC: HIGH FIDELITY
      -7129 First N.J. pressing: HIGH FIDELITY
      Nota bene: 7114 same letter type used as on first pressing of 7142.


    • I just purchased Relaxin (7129) in Egg Yolk/Ochre with NJ address and it says “HI FI”. An oddity of note: the cover has “STEREO” printed on top, which I have not seen before.


        • Email a picture (jpg) as a file attachment to my email address given in the blog home page banner under “CONTACT LJC” . I don’t want to repeat it in this reply because of the email-harvesting bots that crawl the internet looking for email addresses to add to spam lists. I have enough spam daily as it is.


      • Raina, the sequence of 7129 sleeves is as follows :
        1st issue, NYC adress on the rear of the cover sleeve. The sleeve has a thin whitish lining/ film over the raw, brown carton inside. Over the years this may have turned into brown or beige.
        2nd issue, ditto, but for the adress which becomes Bergenfield, N.J.
        3rd issue. The Bergenfield adress stays. The inside is left without the white finishing. The cover is about half a centimetre bigger and they have introduced for all catalogue numbers the Stereo option. The word Stereo is printed on top. Depending on how they glue, it will show in front on top, or it is supposed to be hidden by the back slick top rear. Since they made slightly bigger sleeves, one often sees the word stereo somewhere, entirely or partly.
        4th issue. Ditto, but the labels blue trident and the risk of recycled vinyl.
        I have had all these versions and know all the details.
        So yours is a copy which was badly glued. 7129 was never issued in Stereo or fake Stereo.


  29. (continued from below in reply to Felix Strange:)

    I happen to own some paper-thin promotional discs published by Ford motorcars in the 1960’s. The groove doesn’t look any different from a regular groove, and the sound is average. Not bad. But they are 45 rpm singles, not to be compared with HQ LPs.
    What I wanted to point out – and I think we agree on this, Felix – is that light weight records do not necessarily have to have a shallow groove. DMM’s do have shallow grooves.

    BTW, here’s what a mastering engineer has to say about the issue of vinyl weight:

    “I’ve said this lots of times before – but as someone who used to work as a
    production manager at a vinyl pressing plant – 180 gram weight somehow being
    “better sounding” is one of the biggest myths in audio there is. Contrary to
    common misconception groove depth is set during mastering – as long as the
    biscuit the record is pressed from is the minimum weight needed for good fill
    (easily achievable at 120 grams) then the weight of the record has absolutely no
    effect on this. Heavier records are indeed easier to make sure they are flat and
    stay that way – but this factor is easily achievable at weights of around 130
    The quality and care put into the mastering, pressing and
    plating has substantial more to do with the sound of a record than the weight of
    the record ever does. One thing though – pressing plants will sometimes put more
    effort into quality control of their heavier weights as they realize anyone
    ordering 180grams or above is looking for an “audiophile” oriented product.
    Anyway – I personally think that 140grams is more than enough to make a good
    record with. (Steve Berson)”


    • I totally agree with the statements of Steve Berson and the idea that 180g somehow ‘sounds better’. The chief benefit of thicker vinyl is (as anyone who collects records from the 50s knows) better durability. Also, thinner vinyl is always a cost cutting measure and is often a good indicator that other compromises were made during manufacturing.

      “this factor is easily achievable at weights of around 130 grams.:

      I think we all agree on this. I am explicitly thinking of the ~90g pressings that LJC has documented and two potential problem scenarios:

      1. In the case of remasters: were sonic compromises made during the cutting of the master to ensure that the resulting grooves could be safely pressed on paper-vinyl.

      Certainly this can happen in the case of very long (>30 min) sides and dynamic range. The signal is cut quieter to squeeze the maximum amount of grooves on to a single side at the expense of dynamic range.

      1. Original masters that were originally cut with deeper groove depth that are later pressed on to much thinner vinyl (lighter biscuits).

      Groove depth is set when a master is cut and the more dynamic range that is present in (stereo) record, the more vertical modulation will be present (specifically, the greater the differential between the L and R channels).

      I Am Not An Engineer, so there’s a potentially for misunderstanding on my part and I freely acknowledge I am engaging in speculation, but I do think outside the cases Mr. Berson addresses, there is a potential concern for vinyl thickness, at least at the extreme end of the spectrum.

      If nothing else, one might ask: why even stop at 90g? Certainly during the oil crisis of the 1970s record plants looked for any way to use less PVC. There has to be some limiting factor?

      I think the clearest example of the ‘less is more’ approach to pressing has to have been RCA’s “Dynaflex” experiment.


    • I completely agree with the above. I am a partner in a pressing plant, and 140 grams is the optimum. 180 grams is however where the premium market is these days. They are slightly more challenging to manufacture. To properly make even heavier records, one needs to look at different extruders. However, there is absolutely no sonic benefit.


  30. There may be something to (mass contributes to damping) My sense of this (and that’s all it is)
    The thicker and heavier the basis…the more control one could achieve over unwanted resonance..
    I know how clearly subjective all this is…but I do believe I hear a difference in the thick and thin of it.


  31. at the risk of repition, the Prestige 8200 series became only New Jazz with the release of # 8205 (Jérôme Richardson). The first issues of 8201 through 8203 came with the yellow/black (“fireworks”) labels and a PRLP prefix. I am not sure about the first 8204 label. Mine has a PRLP prefix, but is violet New Jazz. Maybe the first New Jazz to have been issued, or a repressing. Anyone? The Japanese re-issued 8204 with a yellow fireworks label.


    • Hey anonymous – thanks for raising this, I had no idea the start of the New Jazz label was a ropy handover from the Fireworks label to the purple New Jazz.

      I have some skin in the game as I have a purple label 8203 so the suggestion that it is a second is material.

      I have started an evidence page here –

      If anyone can add more light to the transition please post in.


      • Thank you for replying to an anonymous, who happens to be Rudolf. Lovely evidence page which gives a reply to my question on 8204.
        For the record: my 8201 is purple, 8202 yellow, I have 8203 both in yellow and purple, 8204 purple.
        So can we conclude that first pressings are yellow up to and incl. 8204?


        • let me have New Jazz 12″ beginning digested, please.
          8201, 8202, 8203, 8204 exist in purple (New Jazz) AND yellow fireworks (Prestige).
          no evidence, till now, from 8205 on to exist in yellow, ok?
          my question is about covers: are all these first 4 numbers’ covers matched to the labels? New Jazz with New Jazz and Prestige with Prestige?
          or some are mixed up?
          thanks for turning the light on.
          difficult reply to Rudolf’s question, as we discussed Prestige-New Jazz beginning with 10″ too.
          New Jazz seems to precede Prestige on 10″, just a little bit.
          Prestige precedes New Jazz on 12″ far apart.
          it would seem logical that Prestige 8201 to 8204 are previous than New jazz counterpart.


          • Dottore, you have digested correctly and we have got to assume that New Jazz started with 8205, though in hybrid form (see hereunder).
            Regarding the sleeves matching with the labels, the question seems simple. The reality is somewhat more complicated.
            My violet label versions of 8201 and 8204 have Prestige 8201/8204 on the front and the rear of the cover, but the catalogue numbers on the labels still have the PRLP prefix.
            8205 and 8206 finally come with New Jazz on front and rear cover, violet labels, but still a PRLP prefix on the labels.
            8207 is the first to have NJ all over: front and rear cover and NJLP prefix on the labels. So this is the first pure breed NJ, after Bob Weinstock’s initial hesitations.


      • note the letter type of the words “high fidelity” on 8201-8204 above. They are identical for yellow and violet labels. The same letter type, by the way, as on the first pressings of Soultrane, PRLP 7142. This is all authentic late 1958 stuff and very collectible, yellow and violet.


  32. Hey buddy, leave them OJC reissues alone! 😉 Seriously though, I have an OJC copy of that very Quinichette record and I think it sounds impeccable–especially when I have in the back of my mind that I got it for six bucks!

    I’ve heard other OJC (and ORC) reissues and I think they consistently do a good job. (FWIW, I believe that’s the consensus on them, which is what compelled me to try them out…that and the often insane prices of originals.)


    • I’ll give the OJC another listen – it’s a long time since I played this one and I didn’t reckon it at the time. At 98 gm weight its the second thinnest record in the LJC collection. It looked glossy mint but had surface noise, which I take to be an issue when records are “too thin”. I’m not convinced of pressing quality but I don’t have enough examples to judge definitively.


      • Heavy records have some undisputed advantages (reduced warp, nicer to hold…) , but I never heard thin records are more prone to surface noise. Why should they, anyway? If you count rumble as surface noise – well, maybe. I’m not sure. I think OJC are not a bad choice if you can’t buy originals.


        • Extraneous surface noise is the observation, the explanation is merely a hypothesis. If wrong, it doesn’t deny the observation.

          The thinner the vinyl, the shallower cut, the more vulnerable the surface is to damage? I have accidentally scratched a very thin record with a light needle jog. Any normal 140-180 gram record you would have never affected it, but the thin record then clicked loudly.

          Thin vinyl has no positive benefit except reduced cost of manufacture, which is not passed on. I have read the wisdom of engineers that 120 grams is required to get a good fill. Don’t know if that is true, but at 98 grams, who knows…

          Don’t know if it’s typical of practice with other OJC, but it’s not a good omen.


          • This has been my experience as well. I have a couple of Philips classical LPs with very minor scuffs that are clearly audible which I’m confident would not be heard on a more robust pressing.

            I’m also suspicious that certain compromises may be made during mastering to produce a cut which can be pressed on paper-thin vinyl without potential problems, but that’s just speculation on my part.

            As for the OJC series, I believe it’s my understanding that earlier OJC releases were sourced from the master tapes while later (and current) pressings were sourced from Joe Gastwirt’s 16-bit digital remasters used for the OJC CDs.


            • The consensus seems to be that the OJC reissues with GH in the matrix, no barcode and (if early enough) paste-on backs were pressed from the original tapes. My experience with those pressings has been good, particularly given the price. Later reissues with the barcode and crappy jackets don’t sound nearly as good (to my ears anyway). I’ve even seen a later bar-coded OJC of Saxophone Colossus with the green Fantasy label! It weighed about 6 grams and sounded . . . not good.


              • This is outstandingly good useful information. I had no idea. There is clearly a “good Fantasy” period, and a “bad Fantasy heritage” delineated by various markings. I love it. It explains the few good pressings I have, contrary to my negative expectations.


                • Even more surprising, many of the ’70s-era two-fers sound equal to the good OJCs (to my ears, anyway). They are very unattractively packaged, but I have directly play-compared Bill Evans, Portrait in Jazz: (a) original mono LP; (b) OJC LP 088; (c) disc 1 of the 1976 two-fer Spring Leaves, Milestone M-47034. The original is obviously superior, but the OJC is very nice (say a 7.5 to the original’s 10), and, shockingly, the two-fer sounded identical to the OJC, and thus was also a very nice 7.5.

                  For these reissues, the vinyl is extremely flimsy, and they may have the green Prestige or burnt orange Milestone labels, but they are worth a look if found very cheap for the issues that include rare records. In other words, not dissimilar from the Blue Note 2-fer reissue series. For example, I regularly listen to House of Byrd (which includes The Young Bloods and Two Trumpets), and enjoy it immensely, particularly as I will not likely be listening to original pressings of those LPs in the near future!


          • “The thinner the vinyl, the shallower cut” is a popular myth, but groove depth has absolutely nothing to do with the weight or thickness of a record.


              • Of course it’s an issue! But you can make shallow grooves on thick records, and deep grooves on thin ones. There has yet to be a record made where the two sides of the grooves meet in the middle. So basically, yes, the depth of a groove is important, but there is no direct relation to the weight of the record. “Remastered” does not necessarily mean it has a shallow groove, does it?


              • I think the focus of this discussion is specifically remasters cut with a view to being pressed on paper-thin vinyl, presumably the lightest possible weight.

                That being said, it seems to me that there may also be problems with pressing an original ‘deep’ cut master onto very thin vinyl as well, although I have no idea what the ramifications would be.


  33. The hissy vs non-hissy is one I have been trying to crack for a while with no luck. I just received a later fireworks NJ label of Sonny Rollins Moving Out…. hissy!! AB pressing.


    • If you are able to see the record in person, a close examination of the deadwax can help you avoid the “hissy” pressings. I’ve had a handful of Bergenfield, New Jazz and blue label copies with a much higher level of surface noise than usual (none were W.50th) and on each one the dead wax had a distinctive look, a little sandy, kind of like it was covered in tiny random hairs. Now when I come across a Prestige title with this look (easy to spot if you know what to look for) I’ll leave it in the bin, regardless of the condition otherwise. Hope this helps you avoid some stinkers!


        • I have a hissy ‘Status’ pressing of ‘Groovy’ I took a chance on because it had the Fireworks label (The cover is the original Prestige cover with a ‘Status’ sticker over ‘Prestige’.). Also a non-Status ‘Red Garland Piano’ pressing with Fireworks label which is also hissy.

          Even though both have the Bergenfield yellow fireworks label, neither of them have a deep groove, so I think that can be taken as warning sign as well.

          I also concur with Aaron’s observation that if you can closely expect the vinyl in the runout, it has a very slight ‘grainy’ appearance.


  34. Hello,and thank you for your further clarification..It would seem the lable was quite erratic
    in regard to visual consistency and perhaps quality control…I would doubt anyone back then realized that collectors, such as we are would be scrutinizing every nook and cranny of their
    On the good side of it all, they certainly had a taste for solid jazz artists and put forth a wonderful number of memorable recordings..A mixed legacy I suppose…

    Yes mine has the all red cover. As you suggest, if they cannot fetch a decent price I would opt to keep it and give it a spin now and then..
    Once again may I thank you for your input.


  35. In the “fireworks” label era, label typesetting for Prestige (right up to about 1963-64) was handled by Co-Service Printing Co. of Newark, NJ, a printer that handled many labels over the years including US Decca (from the 1940’s up to 1956), RCA Victor (East Coast pressings from late 1955 to early 1959; 45 pressings through late 1957 with their typesetting bear the infamous “horizontal line” below the “black label, dog on top” logohead), ABC-Paramount (45’s generally between 1956 and 1964), Elektra (c.1955-59), and a few other small labels. After 1964, we hear nothing from Co-Service in Billboard International Buyer’s Guides, but the fonts used by that printer turned up on an almost exclusive basis on LP’s and 45’s pressed by Bestway Products in Mountainside, NJ. I was once told that the fonts ended up at a Mountainside printer, Shell Press, that supplied the labels to Bestway (which did not have its own print shop, but then again, neither did Abbey Record Mfg.).

    After switching to the “trident” label, Prestige also switched to different printers, among them MacMurray Press in lower Manhattan, New York City. MacMurray had a combo of Ludlow and Linotype fonts, and their typesetting was seen on East Coast pressings of many releases of custom clients of RCA Victor beginning c.1955 and on into 1968; plus on many small-label pressings into the ’70’s.

    The photo marked prestige-80s-reissue.jpg could well have come from the 1970’s; at the time Prestige was sold to Fantasy (oft-referred to as “The Label That Creedence Clearwater Revival Built,” irrespective of the label existing long before they gained fame, and especially their own history with jazz artists), Fantasy had all its product pressed by RCA plants. The label fonts in this example came from RCA’s Indianapolis, IN plant; however, the pressing itself may’ve come from another plant, given what looks like a 2.75″ diameter pressing ring; whereas RCA’s own pressings by this point had 1″ pressing ring.

    The pic of the OJC reissue – prestige-ojc.jpg – betrays a pressing by Columbia Records’ Pitman, NJ plant; the spacing of the Mergenthaler Linotype “VIP” phototypesetting fonts (among them Franklin Gothic; Spartan Bold Condensed [used for cat. # and side designation] and Trade Gothic Bold [text type]) suggests a post-1983 release. It would appear the typesetting was the best part of that label.


    • W.B. you have excelled yourself again, thanks!
      I’m going to have to eat (some of) my words on the Green Prestige label pressings. I picked up a couple recently, dated 1972, that have a VAN GELDER machine stamp, much to my surprise. Someone had the good sense to source RVG metalwork.
      I’ll post up some pictures shortly, your font-trained eye may spot something of significance.


  36. A few years ago i bought jazz records , got rid of some, keep the others, mostly new audiophile pressings. Recently , i decided to add a turntable again and to start adding some more jazz.

    I am being much more selective this time , with respect to 50-60’s pressings.For the most part, i intend to avoid the 70’s pressings to current reissues, unless i have a compelling reason.

    My question with respect to the yellow fireworks label for prestige. I understand the cut off for the NY/NJ address – but how can you tell pressings ie, NJ address , what differences are visible to discern 1st or second pressings? I just picked up 7166 , NJ address of course, How can i tell ?

    Truth be told , i am happy to have the second , third pressing as long as the quality is high and the label correct ( in this case the NJ firework label.

    same question for NY addresses?

    the site is wealth of information and i have been on this one and jazz collector alot lately

    thanks for the efforts


    • If I understand your question right, you want to know how to tell a first pressing from a subsequent (later) pressing within the correct label for that period. For example, a first pressing on NJ fireworks from a second or third pressing on NJ Fireworks, that label lasting six years from 1958 to 1964, during which no doubt a number of popular titles were repressed several times. Same probably applies to low catalogue numbers on NY Fireworks.

      I hesitate to say there isn’t – other collectors may have an answer – but I am not aware of any way of telling first from second pressing run within the period of a label. Weinstock was famously frugal (i.e. mean) in business expense, and I expect he pressed no more than he expected to sell, so repeat pressing orders were probably a common feature of Prestige production. I am guessing, of course. There are indications he used a variety of different pressing plants, and there isn’t the consistent pattern you find with Blue Note, for example, by vinyl weight.

      Personally I don’t think it matters anyway, as I don’t think they would sound any different, taken from the same master metalwork. To my mind, being a bit more recent avoids the early days of home radiogram arms that did such damage to vinyl surfaces, and is overall better. First pressing fundementalists would disagree, which is their prerogative.



      • Gary has raised an interesting point which merits further study.
        We have talked already a lot on first and second issue NYC labels, so let’s skip this familiar subject and move on to N.J.
        I noticed that the first N.J. labels repeat the mention HI FI on the right, as per a NYC label. Thereafter it becomes HiIGH FIDELITY in full. The third version can be a mix (HI FIDELITY). Also, the later versions of the yellow stars label are not always DG.
        Nobody has done research on the subject. Bravo Gary to have given the idea. Anyone there??


        • Love a challenge. This is like pieces of a jigsaw, but not enough pieces to get the whole picture, and you are never sure if they don’t belong to different puzzles.
          I’ve checked out sixty Prestige labels, (my own and on discogs) and so far the evidence stacks up as follows:

          During the Fireworks label NY period, catalogue numbers 7001 to 7140, the convention is almost universally “HI FI” (capitals) to the right of the spindle. Interestingly, when second editions of early titles are found on the later NJ address label, they appear to retain the “HI FI” text, unlike their NJ contemporaries, which are almost always printed as “HIGH FIDELITY” However they are immediately recognisable as second issues from the address anomaly.

          Through most of the Fireworks Bergenfield NJ label period 7140 upwards , the convention “HIGH FIDELITY” (occasionally in proper capitalisation “High Fidelity”) is found.

          Approaching the label changeover from NYC to NJ, and shortly after, there are some anomalies, such as “HI FIDELITY” but I think these are random and of no consequence. Similarly, on some occasions, the text “HI FI” appears on a NJ 1st Edition for no apparent reason ( eg PRLP 7169).

          I am still of the opinion that on limited evidence, there is no reliable means of identifying 1st from subsequent pressings within a fireworks address label, at least from the HI FI/ HIGH FIDELITY assignation. Always open to persuasion otherwise.

          The deep groove question is not so easy to determine with out a lot more samples. Some of those Discogs photos are pretty poor.


          • good to find ourselves in the dark. The definite first N.J. issues sometimes have (in round letter type) “High Fidelity”, so only two capital letters, like my # 7144, a “not for sale” copy.


                • Well, a quick look through did not dispel any of your excellent new research, but there were a few wrinkles.

                  (1) Nearly all pre-7141 represses state “Hi Fi” and have the ochre labels and DG.
                  (2) The exception: my 7086 states “Hi Fi,” but has lighter labels. Not lemon like the very earliest NYCs, but not ochre either. And no DG. (So a “later” NJ pressing?)
                  (3) 7141 states “Hi Fidelity” and has the ochre labels and DG.
                  (4) Interestingly, my 7142 states “High Fidelity” with the ochre labels and DG. As does my 7158.
                  (5) Except as noted, all others of mine between 7142 and 7157, and then after 7158, state “Hi Fidelity.” They are all ochre, except for my 7159, which is the same lighter color as my 7086.

                  They are similar vinyl weight, they all sound the same (excellent) on my system.

                  Not sure if there any conclusions there, assuming the variations of yellow are simply different plants, dye mixtures, etc. The only real outlier is my 7086, as it lacks DG. But, again, it has the original matrix info and sounds dynamite.


                  • Interesting, but what conclusions to draw? Your 7142, of course, is a first pressing.
                    There is still another angle: the adress (or absence thereof) on the rear. I have a N.J. 7095 without adress on the rear, but with the G E M mark. I have a 7094 with the Bergenfield adress on the rear and without G E M. So the 7094 is a more recent vintage.


    • I can’t figure it

      PRST 7304 Eric Dolphy in Europe Vol 1 = “Stereo” = no Van Gelder

      PRST 7350 Eric Dolphy in Europe Vol2 “Remastered for Stereo” = yes, “VAN GELDER”

      Not helpful, eh?


      • RVG (stamped or etched) and Van Gelder just seems to indicate that the respective lacquer has been cut by Rudy Van Gelder (cf. e.g. Prestige 7053, Thelonious Monk ‘Thelonious Monk’), as there are some Prestige releases, where A- and B-side have been mastered by different engineers, but both sides have been signed by Van Gelder in the runout area.


        • Judging by the CD versions, all the “Eric Dolphy in Europe” sessions seem to have been recorded in true and unmistakable stereo. I know this is a little off topic because it doesn’t say anything about the vinyl, but I don’t see why anyone would bother with electronic stereo when real stereo versions are available – unless the electronic stereo were a rare collectible item. LJC, do you own the PRST 7350 “remastered for stereo” version? Could it be real stereo all the same (with Dolphy in the left channel)?


          • Oops… I wasn’t looking. There it is, in your Dolphy department. Take my word: It is genuine stereo although the cover says “remastered…”


      • I just picked up Two Tenors by Coltrane and Mobley, blue trident stereo with a Van gelder stamp but with the Electronically remastered for stereo on the front cover. Hmmmmm


        • Does the catalog number etched in the deadwax begin with PRST or PRLP? Does it play stereo or mono? I have yet to see a “fake/enhanced stereo” mastered record with VAN GELDER in the deadwax, it’s either true stereo or mislabeled mono.


        • I recently picked up this title too – but it’s in mono and sounds pretty good to these ears. I’ve been burnt before (recently as LJC probably has seen from my posts) w/ buying fake stereo where there wasn’t any labeling to tell the difference – in other words, it fell in Rumsfeld’s land of ‘known knowns’ and ‘unknown knowns’! Anyway, Aaron makes a good point if it says “PRST” then I’d feel more confident you bought true stereo.


          • The deadwax indicates PRST 7670 with what it looks like a “WL” with the van gelder stamp. Can it be a case where they ran out of covers? since i’ve seen my cover with the latter green label pressings which is probably electronically remastered for stereo.


            • I have a bit of confusion regarding an early (1959/60) Prestige STATUS Mono LP
              On the back cover It is printed as Status volume 1. On the front cover it depicts the Status logo and identifies the album as ST 1. The name of the album is
              RED GARLAND with Eddie “Lockjaw” Davis THE RED BLUES…I cannot find this album listed anywhere….I found the same tune line-up on (perhaps) the very 1st Moodsville album…..entitled Red Garland with Eddie Lockjaw” Davis.
              It offers the address of Status Records as 203 SO. Washington Ave. Bergenfield NJ…It is a Rudy Van Gelder’s masterful recording..
              My own guess would be that this is perhaps a transitional recording…I would think it quite rare…The album surfaces are clean and without serious scratch or blemish…a few “whisks” most probably the result of returning the vinyl to the jacket over time…I have play tested this album using my Saec we 407/23 tone arm with Denon’s R103 cartridge..It plays beautifully and the musicianship is superb (albeit) the quality of vinyl that was used back in the day was not without a bit of background noise…In my opinion the quality of sound is the same as my Moodsville LP’s…
              The jacket seams however have been mended using a permanent clear acrylic based pressure sensitive tape 3M’s “finger print tape” (Good stuff) does not yellow or become brittle over time.
              I’m thinking of going to auction with some of my original stuff..(These are ,for the most part) from my own long time collection…
              I could use some assistance evaluating this unusual recording..
              With thanks,


              • AS you say, it appears to be the recording first released on Prestige’s Moodsville sub-label, but on their later “budget label” Status, though I don’t see it listed in the Status release index (8300 series) Weinstock was a master of business and tax juggling, and its entirely possible this was an experiment that wasn’t brought to any conclusion.

                A “rareity” is not necessariliy valuable in its own right if the same music is also available on a full Prestige pressing (RVG mastered) like Moodsville already. Lockjaw doesn’t have the Mobley cachet. Difficult if not impossible to say whether a Status “anomaly” issue has any value over and above the Moodsville, or other Status issues, which are not especially valuable.

                The only way to determine the value of anything is to put it up on auction, with the best story you can tell about it. The market will make its own judgement.


              • When Bob started Status, he put quite a number of originals with the original labels under the Status banner. To that end he used a Status sticker on the sleeve. In a further stage he changed the labels to become orange, used cheaper vinyl and sometimes he changed the cover too. Is yours the red cover? I think I have had that one. Difficult to sell at a decent price. If you have the original, keep it.


    • I have “remastered stereo” albums which are just excellent mono. It is my impression that they just printed stereo on the cover and labels for commercial reasons. A mono record would not sell. But the product is just basic, honest mono.
      In your system, do they sound wonderful as stereo or mono?


      • My Prestige Blue label /silver trident Eric Dolphy in Europe Vol2 says on the cover “remastered for stereo” while Vol 1 says simply “stereo” – not sure why the difference but they both sound bright and punchy, as you would expect. Can’t recall whether they were actually mono dressed up as stereo, or actually stereo. Early stereo isn’t always a pleasant experience -(DuNann and Columbia excepted, of course)


        • Yes, I have number of repressings which are clearly mono but the covers say they were electronically reprocessed for stereo. I have seen that often particularly for older Prestige records repressed under the Swingville or Moodsville labels. The covers say reprocessed stereo, but the labels and matrix show they are straight represses from the original metalwork.


        • “Electronically re-processed stereo” – I picked one up the other day by chance – the seller described it as “stereo”, which I suppose in theory it is. I think the 60’s engineer filtered off the very low frequencies to left speaker and the very high frequencies to the right, and the remaining mud in the middle. Dire, it won’t ever be played again.

          My phono stage has a mono/stereo switch, but for reasons I don’t understand, switching to the opposite of what the record is results in a noticeable drop in quality, whichever way you do it. May be a peculiarity of my WD phono wiring. If you take a “reprocessed for stereo” LP and switch it to play back in its original mono form, it sounds worse. You can’t reconstitute the sum of the parts.


          • Maybe this is just semantics, but I thought about this some more and you know what they say about curiosity… there any difference between records that say ‘electronically rechanneled for stereo’ and ‘electronically remastered for stereo’ or are they one in the same? I’m assuming not and that they are both considered ‘fake stereo’ and maybe just in a few cases (‘Soultrane’ and ‘Traneing In’) they still ended up sounding halfway decent?

            Also, sorry if I may be too dense here, but LJC are you saying that even if the LP may actually appear to sound like ‘mono’ but the record is labeled as being ‘stereo’ that you can’t press the mono button to improve the sound through your system? I guess I can mess around w/ my system to see which way brings the best results.

            Thanks as always for any add’l insights here….


            • If its been done electrically to simulate stereo its bad news, whatever other words are used.

              The only legit (as far as I know, correct me anyone) is as in the Dolphy linked below, “Remastered for Stereo” meaning they have gone back to I assume twin track tapes and made a new master which is stereo, as opposed to the original mono master


              The stuff that is done “”electrically” I assume means frequency filters applied to a mono tape mix to pull off some instruments stick them somewhere else in the sound stage. I am not an engineer so my understanding may not be entirely correct, but the end result is usually a mess.

              Flicking the mono switch is only a partial solution because you can’t restore any loss of frequencies incurred during the transfer process. It’s been fundamentally monkeyed with: Franken-music.

              With Ebay you watch out for sellers who claim the record is “stereo” but is not pressed from a true stereo master, but electronically rearranged mono. Those early 1500 series Blue Notes that were never issued in stereo turn up from Liberty/UA as “Stereo”. I’ve been caught a couple of times, and sellers get uppity about whether it is true stereo or fake stereo.


              • Perhaps it’s just less noticeable then for whatever reason but the ‘Soultrane’ copy I have that says ‘remastered for stereo’ doesn’t sound all that bad. I have avoided these, however, except w/ ‘Soultrane’ and ‘Traneing In’ where I’ve heard other say on here or the Hoffman Forum that these were basically mono despite the labeling on the album covers.

                As for early 1500 series sold by Liberty/UA as ‘stereo’, you had me doublechecking my recent Ebay purchase list and it looks I may have been spared from those purchases thankfully!

                As always, I appreciate the information and helping to clear things up for me.


  37. Anyone have any interesting tales of Prestige pressing errors? I had Mai key owned yellow label pressings for my first year of collecting, but recently have tracked down some blue label LPs. I found two instances where the wrong music was pressed onto the record. They were:

    – a blue label copy of Jackie McLean and Co. where side B featured only organ, guitar, and drums. I I
    Can’t remember if the catalog number was accurate…and at this point I am kicking myself for not googling it if it had the number of the inadvertently pressed music. Anyway, this was an eBay purchase, and my first hint that something was amiss should have been that there were three songs when there should have only been two…the seller proposed “a bonus track?” I tried to explain that the wrong music was on this record and that, as such, it was listed incorrectly and that I should have received a refund on shipping both ways (couldn’t hurt I figured) and the seller said “I don’t know anything about the music or this record.” Yeah. Turned me off to eBay big time.

    – just the other day I picked up a copy of Joe Newman’s “Joe’s Hap’nin’s” which was originally a Swingsville release. It was cheap but beat up, a later pressing on blue labels. I didn’t read the dead wax carefully but noticed a scratched out catalog number and an etched “RVG”. It was pretty grimy so the shopkeeper cleaned it and played it from side A. A particularly acidic alto and a forceful trumpet lit into the first tune, and I realized that there was no alto listed on the jacket. Then I listened some more. It was Jackie McLean. We checked the dead wax and the number was NJ 8290, which is mclean’s “Steeplechase,” a later issue of “Jackie’s Pal”. Plays well with some pops, but fidelity is good. Now I just need the correct jacket and to not do a double take every time I look at the label of the LP while its playing. Super mongrel copy…but well worth my $3!


    • when Prestige acquired the rights on Progressive material, they issued 7819 Broadway, Al Cohn and 7820 George Wallington Qnt. The music of 7819 was to be found on 7820 and vice versa. Later on Prestige was not the quality label it used to be, sloppy is the best qualification. The later issues are not very collectable anyway.


    • So not the only one — I just brought home (from Cheapos in Minneapolis) what I thought was “Joe’s Hap’nin’s” but was confused by a sax player not listed in the liner notes. Jacket and label incorrect — mine too is Jackie’s Mclean’s “Jackie’s Pal”.


    • Yes – I bought the Saxophone Colossus issue recently on Amazon for £25. Despite the wonderful presentation with thick sleeve and tip-on jacket I wasn’t hugely excited by the sound although it is from a decent master which the OJC also uses. Quiet vinyl, detailed but lacking in volume and presence.
      Given I’ll never own the original/or near original (probably) I was happy enough. I think the OJCs, which is basically what these are, are a decent option when compared with other reissues. They are variable though, I recently bought Quiet Kenny OJC which went back because of shocking pressing defects. A recent barcoded issue of Way Out West in stereo though, which may have been digitally remasted, sounds great. And I have to say my Sonny Rollins Plays for Bird OJC CD sounds superior to my Esquire original although that may be because of the limitations of my TT.


  38. Not sure if this has been mentioned, but I came upon what I believe is a first pressing of Manteca by Red Garland trio plus Ray Barretto…PRLP 7139, so the last release on the NY labels. It does in face have NY labels, but they say HI FIDELITY instead of HI FI and has RVG stamped instead of etched. I guess the label design/dead wax info must have begun to change right before the label moved to NJ?


  39. Hi,
    I’m looking for infomation about the ‘AB’ runout etchings on Prestige, Folkways and other records. Abbey (Record) Manufacturing, NJ, appears nor and then as the pressing plant of these copies, but there doesn’t seem to be hardcore evidence. I wonder, if someone could support me by giving a reliable source for ‘AB’ being definitely ‘Abbea Manufacturing’. Thanks and best



  40. LJC, great labelography! I really enjoy your blog. I have a much higher opinion of OJC reissues, though, especially in terms of “bang for the buck”. The pre-1990s ones were all analog transfers from the original tapes and I’ve very rarely encountered even a slightly noisy pressing. The vinyl is lighter, but the sound is usually excellent. Given a VG or worse original and a VG+ or better OJC, I’ve preferred the OJC every time. I think paying under $10 a copy (often sealed) for the OJC is also part of the thrill.


    • Welcome Chris. All opinions are good here. I haven’t listened to every issue of every record, and I often surprised myself when I find a pressing which I just “know” is rubbish, and it turns out a gem. Isn’t that annoying? I even had a French DMM Blue Note that defied all expectations and turned out terrific. I haven’t had much luck with OJC but I know some have, so thanks for putting the word in for them. At the end of the day it is what sounds good to you that matters.


      • The early pressings with paste-on back covers and “GH” in the matrix often sound very good (and look and feel decent too – heavier cardboard and crisp graphics than later glossy bar-coded covers). For example, I recently play-compared a blue twin-reel label mono “Sound of Sonny” with an early OJC pressing, and they sounded very similar. It was both wonderful and annoying (happily, I paid little for the blue label, so not annoying in that way, but you know what I mean). For very rare or expensive pressings, an early OJC pressed in the US with a paste-on back cover for under $10 is not a bad way to go as a starter, in my humble opinion.


  41. LJC – any thoughts on Status audio quality? I have a copy of Oliver Nelson’s “Main Stem” (killer record), and aside from the label looking like crap, the vinyl is heavy, “Van Gelder” is in the matrix, and the sound is superb to my ears. It appears to me to be a top-quality blue trident label, just with a crappy orange Status label. Any contrary thoughts or experience?


    • Just lent an ear to my Jackie McClean Alto Madness ST8312 on Status. Pressed direct from an original PRLP/ RVG stamper, chunky 150gm vinyl, good dynamic range, no roll-off at the top, firm springy bass, McClean sounds fresh and inside in the room, nice mono presentation, in a word…Great!. Nothing budget about Prestige’s budget label. I’d be happy with a Status any time, and being issued around 1966 it has by-passed the most damaging years for vinyl. Quickly flipped on my Kenny Burrell Guitar Soul ST8318 and the same story, really nice listen. Good value for listeners, if not those wanting only the original artefact.


    • Yellow and black make a horrible color combination, but once you come to associate the label with the excitement of the music itself, the bad effects fade in importance. The blue and silver Bluesville label was fairly handsome though, wasn’t it?


  42. Your guide got me interested in the sound quality of Prestige compared to Blue Note. I won an Eddie ‘Lockjaw’ Davis album on Ebay, very cheap: There is organ it (and flute) 🙂
    It’s the first Bergenfield NJ (Prestige 7141)
    Same for Jimmy Smith on Blue Note, they go cheap too!
    But the sound is amazing. No hiss at all, and so ‘you are there’. Prestige, hmm, need some Miles albums now. They’ll be not that cheap I’m afraid.


  43. Hi LJC

    Could you explain how to make the distinction between the original Fireworks Yellow/Black labels and the ones reissued by OJC (Original Jazz Classics), because the labels of the latter seem to be a facsimili of the original ones.

    Thanks, loving your blog



  44. I have a gold label copy of Dolphy’s Outward Bound that is in really nice shape and it’s not hissy at all. I also have an original pressing of the Roy Haynes album Cracklin’ on the purple New Jazz label that also sounds fantastic. While I agree that a lot of the green label lps lack the magic that draws one in like the earlier pressings it really does matter if you have a good turntable/cartridge set up for enjoyment of those later pressings.

    In recent years I have bought some used Prestige albums that were pressed in Europe that have blue Victor labels on them with HIs Master’s Voice in French at the top of the circle and the dog and phonograph below it. The only one I can think of at the moment is Red Garland’s When Skys Are Grey. I have a few others but I can’t retrieve them from my biological mainframe at the moment :-). They are quiet pressings but agree that they too lack any real magic though I’m happy to have them until a better copy comes along.


    • Hi Les, thanks for the input, Seems the Prestige Gold are hit and miss – my Colossus hisses like a gas leak. I really envy you that Roy Haynes Cracklin’ on New Jazz. There will be a post shortly on the light green Prestige reissue – watch this space.


  45. New to buying online? Ouch, I can remember that feeling! I don’t have a sellers “blacklist” but I do have some rules for successful buying online, which you may find helpful. There are rather too many issues to put in a post reply so I have committed these to a page, under the heading “Buying records online, including thoughts on record grades. You will find it here:
    It is also linked under the heading WHAT’S NEW in the blog header


  46. Hi again LJC, you mentioned a couple of Ebayers that I have seen also. In your experience, is there anyone that I should avoid buying records from on Ebay? I am new to buying online!
    Also, purely from an audio point of view, what grading and beyond should I be avoiding? ie. dont buy anything worse than VG+?? Or is VG+ still mostly (and I realise this can be debatable between sellers/collectors) still sounding fine? Thanks for the help.
    I’ve just realised my Prestige Swing Ville 2009 Claude Hopkins ‘Yes Indeed!’ has the RVG stamp and is older than I realised! Cool!


  47. do you have any real proof that PRESTIGE recycled vinyl a la CROWN records. were you inferring that the complete gold label run is recycled?


    • I have around 30 Prestige and New Jazz original pressings. Four of the Prestiges are hissy – PR7295 and PR7326, PRST7342(double) and two of the New Jazz – the Walt Dickersons NJLP8275 and 8254 as best I recall. In all cases later pressings around mid Sixties. The rest are all fine. I have only the one gold label, which is hissy, so I have no knowledge of others in this series.

      btw I note Organisso thread October 2010 on subject of gold black trident, comments from “Chewy”. Hi!

      Reputable ebayer Euclid Records is currently selling a copy of NJLP8286 Roy Haynes Cracklin “GRADE & DESCRIPTION (RECORD): VG+ Multiple light surface scuffs, recycled vinyl.”
      Another seller Fifties Jazz on negative feedback (11/03/11)
      “member unaware of surface noise in later Prestige albums due to inferior vinyl”

      Seems well known within record collector circles .Interestingly my copy of 8286 doesnt hiss, which suggests the issue may even be batch-production specific rather than record specific. Down to whoever was the supplier of vinylite to the plant and which batch was used in that run that day. If anyone out there knows more, welcome the input. We are all learning.


  48. Thank you mate, very helpful 🙂 I am interested to hear the quality of a decent Japanese (king or victor) press of my favourite album, compared to what I consider great, the relative cd that I’ve listed to for years. I am coming completely from the listening perspective, rather than a collectors view with pristine cover etc, and am excited to know that I could potentially hear my favourite musicians even clearer than I have before!
    P.s….you don’t want to off load that Louis Smith ‘Smithville’ album by any chance do you??
    Thanks again.


    • No chance. It flew to me all the way from America and its staying here.

      Just a thought about vinyl compared to CD re “clarity” .The additional information found in an analogue source, vinyl, provided you have a set up that can retrieve it!, adds a range of different dimensions. “Clarity” is part of it but the music should evoke a stronger emotional response, engagement with the artist, a more natural airy presentation, one where the music flows more, where you want to listen rather than flick to another track or album (a real sign of disengagement) . Vinyl’s extra information is a gateway to a higher quality of musical enjoyment.


  49. Hi LJC, what do you think of the 1977 Japanese ‘Victor’ pressings of Prestige recordings? I’ve never heard one, any idea on the audio quality? I cannot afford an original Prestige pressing unfortunately.


    • All respect to our Japanese jazz friends, record companies in Japan always employed superior audio engineers and best quality vinyl manufacturing processes, throughout the years when US and European vinyl went into decline. Japanese manufactured re-issues during the seventies and eighties (King (for United Artists), Victor ( for Prestige) and Toshiba ( for EMI) are all hugely superior to their US/European re-issue counterparts and superior to modern CDs.
      They are relatively inexpensive as Japanese collectors lust for US originals. I have bought direct from Japan and dealers tell me pressings like King are even becoming very hard to find in Japan..
      I have around a dozen seventies Victor Prestiges and find them very nice listening. Not as strong as US Originals, a little “polite rather than ballsy” but much better quality than most later reissues, and the condition is invariably excellent as a bonus.


  50. Hi, The Vinyl Detective is IN.
    The magic number with Prestige catalogue numbers is 7140 – the last record released on the NY address label. After that it’s Bergenfield NJ. for first pressings and subsequent pressings of earlier titles.
    So, your copy is 7025, the first press would be on NY labels. Yours being on NJ indicates a later pressing. Whether it is a “second pressing” or a “re-issue” is a debating point. From what I have seen, both were pressed from the same source RVG master, the only difference being reissues were given a new catalogue number (found etched in the runout alongside the original catalogue number) They should sound the same – within the variation between first and last off the stamper in use.
    However they are not worth the same in collector dollars. The original artefact will always be worth a lot more, though I would say both are desirable. And MDwH is a great cover, I am envious.


  51. I have Prestige LP 7025 (MDWH) with the Bergenfield Yellow Fireworks label. etchings on the vinyl – PRLP 7025 A and B (each side) plus etched RVG each side. Was this a re-issue or re-pressing after the original with the NYC address ??? I’m guessing that it was a big seller and Weinstock had to go to another pressing???


  52. I have 7005 (MJQ) Concord with RVG and AB in the deadwax. Its a Metronome copy, pressed in Denmark with a label that doesn’t appear above. Ring any bells?


    • Short answer Tom, no bells. If its got RVG and AB its pressed from a stamper that originated from the US master – that’s how Prestige overseas marketing worked. My guess is that just as Prestige had a press and sell agreement in the UK with Esquire, and later, Transtlantic, a French, a Japanese, and a German, I guess they could have had other European /Country distribution agreements. Denmark and Paris were the US Jazz expatriate centres. What you have may be rare here, and not rare in Denmark. May be some one else has the story.


  53. after careful check of my trail off Prestiges, I couldn’t draw any useful info.
    all but one have RVG, in different shapes, as on Blue Note.
    interesting if others collectors could compare their copies.
    7003: m jackson: NY 7E
    7004: l konitz: NY no marks
    7005: mjq: NY no marks
    7007: m davis: NY 7E
    7012: m davis: NY no marks
    7013: m davis: NY no marks
    7014: m davis: NY no marks
    7017: a farmer: NY no marks
    7020: s rollins: NY no marks
    7025: m davis: NY IIII side 1 only
    7027: t monk: NY no marks
    7029: s rollins: NY no marks
    7032: g wallington: NY no marks
    7034: m davis: NY AB and a small D
    7038: s rollins: NY A
    7044: m davis: NY AB and a small A after RVG. on side 2 AB is readable in the external part of label
    7047: s rollins NY: AB plus A on side one and B on side two
    7053: t monk NY AB plus B
    7054: m davis: NY AB; small B next to RVG and 1 opposite side on side 1; D next to RVG on side 2
    7055: c brown: NY AB
    7058: s rollins: NY AB plus A both sides
    7070: t dameron: NY AB
    7074: tenor conclave: NY AB and A
    7075: t monk: NY AB plus F side one or D side two
    7076: m davis: NY side 1: AB, E next RVG, 1 opposite side; side 2: AB on label, D next to RVG
    7079: s rollins: NY AB plus C dide one and E side two
    7080: p woods: NY side one: AB and A; side two no AB but B
    7083: g ammons: bergenfield AB
    7089: j raney: NY AB plus A side one; A side two
    7094: m davis: NY AB; on side one A and 1; on side two C
    7095: s rollins: NY AB plus B both sides
    7104: t macero: NY AB plus A
    7105: j coltrane: NY AB
    7109: m davis: NY AB and A, both sides
    7112: i sulieman: NY AB and A, both sides
    7114: j mclean: NY AB plus D side one or B side two
    7118: t jones: NY no marks
    7123: j coltrane: NY B only, first cover
    7125: s lacy: NY AB; A next to RVG both sides
    7126: s rollins: NY AB, almost hidden under label both sides; additional B side one, C side 2
    7129: m davis: NY C side one, A side two
    7130: r garland: bergenfield AB plus hierogliph
    7131: f wess: NY 58
    7132: g ammons: berbenfield T8
    7142: j coltrane: bergenfield E side 1; AB and E side 2
    7150: m davis bergenfield: AB (C side one and what looks like LI side two)
    7158: j coltrane: bergenfield no marks
    7166: m davis; bergenfield no marks side one; 06-L-L MBA on side two
    7181: r garland: bergenfield AB (specular)
    7188: j coltrane: bergenfield AB with additional separate A on side 1
    7200: m davis: bergenfield AB
    7201: g ammons: bergenfield AB (different font)
    7209: r garland: bergenfield AB
    7206: e davis: bergenfield AB
    7213: j coltrane: bergenfield AB
    7229: r garland: bergenfield AB
    7243: j coltrane: bergenfield: ZA1
    7268: j coltrane: bergenfield no marks
    7280: j coltrane: bergenfield no marks
    7292: j coltrane: bergenfield no marks
    7294: e dolphy: bergenfield no marks (catalogue numbers for prestige AND new jazz NJLP 8288)
    7304: e dolphy: bergenfield no marks (there are 2 catalogue numbers on each side, one for prestige and one for new jazz. this one, NJLP 8300, is erased on side two, no RVG)
    7316: j coltrane: bergenfield no marks
    7334: e dolphy: trident no marks ( a deep groove on side 2 only)
    7350: e dolphy: trident no marks
    7353: j coltrane: trident no marks (has 2 catalogue numbers, one scratched and erased)
    7366: e dolphy: trident no marks
    7378: j coltrane: trident DM
    7382: e dolphy: trident no marks


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