In 1939, two German-Jewish immigrants fleeing Europe—Alfred Lion and Max Margulis, soon joined by photographer Francis Wolff—started what would become the most revered jazz label in history. For collectors, Blue Note represents the ultimate challenge and the ultimate reward: difficult to master, expensive to collect seriously, and deeply satisfying when you find the right record at the right price.
Why Blue Note Matters
Throughout its peak years, Blue Note released more defining jazz albums than seems statistically possible. Nearly every titan of post-bebop jazz recorded for the label:
John Coltrane. Herbie Hancock. Art Blakey. Joe Henderson. Wayne Shorter. Tony Williams. Thelonious Monk. The list goes on and on.
But Blue Note wasn’t just about signing the right artists. It created a complete aesthetic vision. Reid Miles’ iconic cover designs—bold typography, striking compositions. Francis Wolff’s atmospheric photographs, taken during the recording sessions. Rudy Van Gelder’s legendary engineering, capturing that distinctive Blue Note sound.
These records weren’t just vessels for music. They were art objects from the start.
The 1500 Series: The Holy Grail
Between 1955 and 1958, Blue Note released the legendary 1500 series—98 LPs that define what collectors chase most aggressively. This was post-bebop modern jazz at its creative peak.
Why these specifically? Original pressings were genuine artifacts: relatively small initial print runs, many not reissued for decades after their original release, and the mono first pressings represent the recordings as they were first heard.
The cost of entry is significant. An original pressing of Lee Morgan’s self-titled Blue Note LP sold for over $4,000 in 2017. Pristine copies of sought-after titles regularly reach five figures.
This isn’t casual collecting. This is serious.
Identifying Original Pressings
The difference between an original Blue Note and a reissue can be thousands of dollars. Learning to tell them apart is essential.
Label Addresses
Blue Note’s address changed over time, and the label reflects this:
767 Lexington Avenue, New York: Albums 1501-1563 (early 1500 series)
47 West 63rd, New York: Albums 1564-1599 and 4001-4080
“New York, USA” labels: Albums 4081 through 4226
If the label reads “A Division Of Liberty Records, Inc” or “A Division Of United Artists,” you’re looking at a later repress. Not original.
The “Ear” Mark
This is crucial: all original pre-Liberty Blue Note pressings have a small “ear” mark in the dead wax—the area between the last groove and the label. It looks like a cursive “P.”
No ear mark means not an original pressing, regardless of what the label looks like. This single check eliminates most fakes and later pressings.
Deep Grooves
Many originals feature a noticeable “deep groove”—a wide, ungrooved area around the label. But you can’t determine vintage by deep grooves alone. Some originals don’t have them; some reissues do.
Deep grooves are one data point, not proof.
Label Colors
- Blue and white: Original era
- Black and light blue: Late 1960s (Liberty era)
- All blue: Mid-to-late 1970s
The Most Valuable Blue Notes
Nearly all original Blue Notes are valuable, but some stand above:
True Blue by Tina Brooks: The white whale. The label reportedly pressed fewer than 1,000 copies. Finding one in any condition is noteworthy; finding one in excellent condition is a collector’s dream achieved.
Soul Station by Hank Mobley: Tied for the second most expensive Blue Note ever sold on Discogs. Musical greatness meets pressing rarity.
Other high-value titles: Eric Dolphy’s Out to Lunch!, Herbie Hancock’s Maiden Voyage, Lee Morgan’s The Sidewinder, Wayne Shorter’s Speak No Evil, Art Blakey’s Moanin’.
Practical Collecting Wisdom
Start with what you love. Don’t buy based solely on value. The best collections reflect genuine musical passion. If you don’t love jazz, Blue Note collecting will feel like expensive homework.
Learn the labels. Study Blue Note’s label evolution until you can identify eras at a glance. This knowledge protects you from overpaying.
Inspect the dead wax. Matrix numbers and ear marks tell the real story. Sellers can claim anything; the vinyl itself reveals the truth.
Condition is everything. A VG original isn’t necessarily better than a NM reissue for listening purposes. Know what you’re optimizing for.
Consider Japanese pressings. King Records and Toshiba Japanese pressings are highly regarded for both sound and packaging. They’re more affordable than US originals while delivering excellent audio.
Be patient. The right copy at the right price will appear. Don’t overpay out of impatience. Collectors who rush accumulate regrets.
Build relationships. Established jazz dealers can source records and alert you to opportunities. Being known and trusted opens doors.
Modern Reissues
For collectors who love the music but can’t afford originals, excellent options exist.
Tone Poet Series: Blue Note’s audiophile reissue program—180g vinyl, all-analog mastering, gatefold sleeves, superior packaging. Curated by Joe Harley. These are genuinely excellent.
Classic Vinyl Series: Mid-priced 180g pressings, curated by Don Was and Cem Kurosman. Good quality at accessible prices.
Music Matters: An audiophile label that released stunning Blue Note reissues on 45 RPM across two discs. Expensive but sonically remarkable.
For pure listening enjoyment, modern reissues can be hard to beat. They use high-quality vinyl, careful mastering, and often sound better than worn original pressings.
Building Your Collection
For beginners: Start with well-regarded reissues to learn the music. Note which albums you return to repeatedly. Upgrade those specific titles to better pressings over time.
For serious collectors: Define your scope—era, artist, budget. Track prices across platforms. Attend record shows and estate sales. Join collector communities for alerts.
For completists: Accept that you’re chasing something difficult. Budget accordingly. Accept condition compromises for rare titles. Document everything.
The Investment
Blue Note collecting isn’t cheap. Original pressings of desirable titles represent serious financial commitments. But for those who love this music, who appreciate the artistry of the design and engineering, who want to own pieces of jazz history—there’s nothing quite like it.
The records in a Blue Note collection aren’t just albums. They’re artifacts from one of the most creative periods in American music, pressed on vinyl, waiting to be played.
That’s worth something.
Sources: LondonJazzCollector, Discogs, JazzCollector, uDiscover Music
