Epic: as a cheap sublabel of Columbia, Epic was not really considered to be on the top. They produced some nice albums though: Horace Silver, Phil Woods, the Rhythm Section etc. The so-called radial labels, fetch much more than the plain yellow/black labels.
mayby some of you have already seen this, but for those who haven’t: i listen to 50 and 60 jazz, but sometimes i listen to the genius of the eighties..i stumbled on these 2 video’s …
Arne Domnerus – Antiphone Blues Lp (Proprius 7744). I have this lp, with the white cover with golden lettering. Does anybody know if this was ever reissued with this cover? The runouts mention PROP 7744 A CR GP 2 and PROP 7744 B CR GP 1. The labels are red and white. Is this an original 70s pressing or a reissue?
a question. I have some dutch pressings of prestige (manufactured by Artone-holland), most of them from the ’60. Some have the “RVG” ‘handwritten’ in run-out (Tenor madness- S.R.) , some have machine-stamp “RVG” or “vangelder” .(kenny burrel quintet/coltrane)..and the PRLP number
The same with the Danish “Metronome” label. I have “workin” and “relaxin’ (miles davis) on Metronome with RVG.I think these are late ’50 pressings.
. Does this mean Artone/Metronome would get a copy of an original stamper or where they pressed in the U.S? Rudolf mayby? The sound is exellent..Thanks
Maarten: that is an interesting question, which I asked myself on a number of occasions.
I don’t have the Artone pressings, but I do have Metronomes. The markings in the dead wax of the Metronome pressings are the same as in the US pressings (RVG and Prestige catalogue number).
The conclusion must be that they flew over a matrix from the US in order to press in Europe.
My Vogue pressings of Blue Notes don’t have the same markings in the dead wax as the US originals. So they followed an other route, since Vogue apparently made their own matrix, without RVG and the Blue Note catalogue number.
Anyone around to shed some light on this???
Another inquiry concerning Blue Note minutiae. I’m attempting to weed my collection and it’s next to impossible to get rid of my “babies”. However in light of this herculean task I’ve come across Blue Notes with what appears to be “9 M” in the runoff. Please explain its significance.
Al- you published twelve tips to collecting Blue note some time ago.
Under point five it says “if you find a title earlier than 4059 with only one or No deep groove …….. this is a later pressing.”
The pictures do not show a deep groove.
Al- I had a second look on the pictures and you may be right. Maybe the lucky winner is out there reading this and we will find out in a few days when he receives his record.
In response to Robert Orenstein’s question re: The 9M in the runoffs, here is a quote from some of Larry / Fred Cohen’s research:
“9M appears on the Masters and very rarely just the stampers in the specific case of McLean 4024 (NOT a function of the Master though I always assumed they were!) of early Blue Notes 12” LPs and some 10” LPs too, usually at 3:00 in the runoff, when the catalog number is viewed in its usual 6:00 position. Fred Cohen speculated that this is an identification of Mastercraft , a mastering company. Prestige Records sometimes have a 7M so it could be a “meta” code, not referring to a record company but back at the manufacturing level. The significance of the 9M still remains is a mystery.”
yesterday the dutch jazz composer and player Willem Breuker died in Amsterdam at the age of 65.
He was one of the most importend dutch/european jazz composer of the last 50 years, someone who dared to do things different, not in line with the traditional (american) (be) bop ideom. Someone who listened a lot to Avant-garde, Schonberg and Mahler. He created the ICP (instant composers pool) together with Misha Mengelberg and Han Bennink.
After that he formed the Willem Breuker Collectief (of wich Garry Giddens wrote: “by God, this is a band you must see!” ) and the record-company B.V.Haast.
He was one of the founders of the ‘Bimhuis” the most famous and interesting jazz club in holland,still going strong.
A man who did things in his own way and trying to be original.
Altough i am much more a traditionalist then he was, i appreciated his work always because he was needed and he had a hart for music. http://www.youtube.com/watch?v=u60JyAFYe_M
Saw a great documentary (“Jazz Sees”) on Ovation cable on the jazz photographer William Claxton. Had a some great access and relationships with some key players like Parker and Baker. The documentary was from 2001 and he died in 2008 I believe.
They had some scenes of him and his common law wife, Peggy Moffitt. I’m like, she looks familiar, where have I seen her before? Seems she was the cover model for Lou Donaldson’s Alligator Bugaloo back in the 60s.
i think that happened regualary in those days.. the model on ‘moods’ by the 3 sounds (bn4044) is ruth mason, the wife to be for Alfred lion if i am correct…and aren’t there lot’s of wifes and girlfriends of miles davis on his own covers….(ESP i know of..)
There is some amazing jazz collectible pieces on ebay under the name bookcrates…I emailed the seller and had a wonderful diologue about how he acquired the items…including a rare Dolphy autograph…definately check it out…the story and signed letter to him (at 15) by Charles Mingus is well worth the look!
Deal or No Deal
I recently acquired a original of True Blue that looks vg++, label has many spindle marks and plays with continuous surface noise just under the music. I only paid 300 but I didn’t know how it played when I bought it. cover is near mint.
did I over pay? I don’t know whether to return it or not. any thoughts?
did he say it was “visualy” graded? ..then there is a risk that a ‘glossy shiny mint looking lp can have (surface) noise.
If he says ply-graded then he should have mentioned it.
If they don’t mention how they grade, and i am spending hundreds of dollars i would ask specificly..
Besides that: 300 dollars for True Blue is a bargain, so something is wrong with the lp or the seller doesn’t know what he has sold..
I have two copies of Art Blakey et les Jazz-Messengers au club St. Germain Vol. 2 (RCA 430.044). Amazing live session! I was wondering though, which of them is the original – one has a black label (flat edge, deep groove, thick vinyl) and the other has a yellow one (thinner vinyl). Both are French pressings and neither mentions mono or stereo.
Funny/sad story yesterday. I responded to an ad on Craigslist for some jazz records for sale. Seller said he had some BN, Prestige, Riverside, etc. and could I meet him at a storage shed where he had about 10,000 records.
Of course I was salivating and when I got there, he directed me to bins full of jazz records. After I pulled out 5 Lex/63rd (including a Lee Morgan and a Mobley), 25 Impulse and about 10 NYC and Bergens, plus 20 others, we both look at each other trying to decide who makes the first offer. I finally said “well it looks like I have 40 or records, how about $5 each” hoping that worst case he asks for $10 each and I am all happy. He goes quiet and says I need more than that. I said, well what are you looking for? He goes, well that deep groove Morgan books for over $1,200, and that first press Open Sesame by Hubbard probably goes for $600 on Popsike. And that Sonny Rollins Prestige NYC, although it is only VG, is worth at least $200.
By then I realize that I was not going to walk out of there with a quick score, let alone anything. I debated whether to continue to play dumb or actually come clean that not only did I understand what a “deep groove” was, but I am avid reader of the JazzCollector blog. I decided to play dumb, and subjected myself to his well-intentioned lectures on record labels. I asked him why he hadn’t sold his stuff on eBay and he said that he once sent a $1,000 record to Italy and was screwed when the buyer claimed it never arrived. Guess he felt selling out a storage locker was a better avenue.
Walked out of there with Caddy for Daddy for $25 just so that my time and gas money wasn’t a total loss.
Great story, Dave. Was there no bargaining possible? Jazz Collector readers around the world are now madly clicking on Craigslist. Except for me. I’m calm for now. Or at least for the next 10 minutes.
I tried Al, I tried. I probably could have picked up the Impulses for $25-40 each, but I pretty much already had all the ones he had, and that price isn’t a bargain.
Plus I only had $300 with me. I tend to avoid going into strange storage lockers with people I don’t know carrying lots of cash.
For an interesting look at the art of record preservation,check out the New York Times http://www.nytimes.com/2010/08/17/arts/music/17jazz.html?pagewanted=1&_r=-. There is an article(complete w/ video) on the jazz collection of William Savory,recently acquired by the National Jazz Musuem(in Harlem). Music recorded direct-to-disc by Basie,Prez,Duke,the Hawk,etc. The video is a must-see for an example of how science and the digital process can sometimes salvage music more than 70 years old!
Maarten,thank YOU for the informative link on the late,great Herman Leonard. The website there linked to another with video interviews done in recent years. I especially liked the one from the Today show,which showed how he was affected by Katrina,but kept his art (and heart)strong. A poster of Miles-“New York City,1948”- has a prominent place on my wall. I’ll put on ‘Moon Dreams’ or’Boplicity’ later on today, then tip my hat to the artistry of Mr.Leonard.
I am going to visit New York for the first time next week and I hope to bring home some nice LPs.
Please tell me the adress of the Jazz record center and academy LPs (the one with the Jazz section)
Many thanks!
Hi, I’m a relatively new vinyl jazz collector and this site (and all your comments) has been a boon as I make my way through life’s endless crate. So thanks much for that. Quick question (I hope): Why are 1200s series Blue Notes not as collectable as the 1500 series issues? I came across an inexpensive, clean, original pressing of Sidney Bechet’s Giant of Jazz V.1 (BLP 1203) that I was happy to snap up, but I was surprised to subsequently find this record listed in several places online at prices that seemed downright reasonable as compared to almost any original 1500 or 4000 series title. I’ll acknowledge that Mr. Bechet, while quite the talent, lacks the cache of Miles, Monk, Morgan, or Mobley, and that the pre-Reid Miles art doesn’t have the same zest, but it still seems like these earliest of Blue Note 12″ LPs should be more sought after. Regardless, I’m happy with the record, but I wonder if anyone could shed some light on this for me. Thanks in advance.
could you share with us how the hunt went down… for us not-New yorkers it’s nice to know how the jazz vinyl climate is there, especially from someone who is also a outsider..
Jan-regarding your NYC visit,here’s some info:
Jazz Record Center-236 west 26th street,rm.804(212-675-4480)
Academy Records-415 east 12th street,212-780-9166.
Incidentally,Academy has several other stores that specialize in vinyl(not just this location).If it’s cds,the 18th street store is a must. Enjoy your trip-including a night at the Vanguard,I’d hope?
Maarten,Re:BN 78 prices-they are NOT so expensive,generally speaking. I’d say from this person’s listings (of granddad’s goodies) that someone has come down with a severe case of ‘greed-itis’. Hopefully,if no sucke-oops,I meant bidders- take the bait,a quick recovery will follow!
Keeping in mind Al’s recent ‘best ballads’ posting,here’s a tribute to the late Abbey Lincoln by Nate Chinen. Nate also highlights Lincoln’s influence among some newer singers worth checking out-http://www.nytimes.com/2010/08/28/arts/music/28abbey.html?_r=1
i noticed that on some BN record covers there is NO name of the ‘designer’. No reid miles or hermansader.
For ex. Louis Smith-Smithsville and Jimmy smith-groovin’ at smalls…, Bennie Green -Soul stirrin’..
In the BN cover album books there is also no mentioning of designer.Where they done by somebody else (Wolff?) or did they not think about it once a while..?
for those who not knew this site about japanese blue notes (chronologie, labels etc), ..
the master site is also interesting. http://microgroove.jp/bluenote-jpn/
Epic: as a cheap sublabel of Columbia, Epic was not really considered to be on the top. They produced some nice albums though: Horace Silver, Phil Woods, the Rhythm Section etc. The so-called radial labels, fetch much more than the plain yellow/black labels.
mayby some of you have already seen this, but for those who haven’t: i listen to 50 and 60 jazz, but sometimes i listen to the genius of the eighties..i stumbled on these 2 video’s …
…
http://www.youtube.com/watch?v=bK-SHuHCrsU0
…
http://www.youtube.com/watch?v=U93StFul0HU&feature=related
Maarten: since you are a photographer, Jazz Record Centre has got photos for sale by Jim Marshall. Starting bids at $ 29,500.00!
Arne Domnerus – Antiphone Blues Lp (Proprius 7744). I have this lp, with the white cover with golden lettering. Does anybody know if this was ever reissued with this cover? The runouts mention PROP 7744 A CR GP 2 and PROP 7744 B CR GP 1. The labels are red and white. Is this an original 70s pressing or a reissue?
a question. I have some dutch pressings of prestige (manufactured by Artone-holland), most of them from the ’60. Some have the “RVG” ‘handwritten’ in run-out (Tenor madness- S.R.) , some have machine-stamp “RVG” or “vangelder” .(kenny burrel quintet/coltrane)..and the PRLP number
The same with the Danish “Metronome” label. I have “workin” and “relaxin’ (miles davis) on Metronome with RVG.I think these are late ’50 pressings.
. Does this mean Artone/Metronome would get a copy of an original stamper or where they pressed in the U.S? Rudolf mayby? The sound is exellent..Thanks
Maarten: that is an interesting question, which I asked myself on a number of occasions.
I don’t have the Artone pressings, but I do have Metronomes. The markings in the dead wax of the Metronome pressings are the same as in the US pressings (RVG and Prestige catalogue number).
The conclusion must be that they flew over a matrix from the US in order to press in Europe.
My Vogue pressings of Blue Notes don’t have the same markings in the dead wax as the US originals. So they followed an other route, since Vogue apparently made their own matrix, without RVG and the Blue Note catalogue number.
Anyone around to shed some light on this???
I have an LP by Chaney Scott titled “Sings Billie Holiday”.
Arock label 1001. Have you ever heard of her?
I was also looking at The Prestigee Labl link and noticed that #170 is missing. It is an early MJQ 10″.
Another inquiry concerning Blue Note minutiae. I’m attempting to weed my collection and it’s next to impossible to get rid of my “babies”. However in light of this herculean task I’ve come across Blue Notes with what appears to be “9 M” in the runoff. Please explain its significance.
Does anybody understand why this record is getting these high bids ?
It is not a first pressing isn t it ?
http://cgi.ebay.de/PAUL-CHAMBERS-QUINTET-BLUE-NOTE-UNPLAYED-47W-63RD-NYC-/350372754565?cmd=ViewItem&pt=Music_on_Vinyl&hash=item5193d7f485
Jan: in my view this PC album from “donhorsto” is an original first pressing.
possibly a Liberty pressing with early label on it. doesn’t look like deep groove which an original would have. no mention of ear either.
Jan — what is it about the Paul Chambers listing that makes you think it is not an original? It definitely looks like one to me.
Robert: you say 9 M, why not 6 W ?
Your question remains very valid anyway.
Al- you published twelve tips to collecting Blue note some time ago.
Under point five it says “if you find a title earlier than 4059 with only one or No deep groove …….. this is a later pressing.”
The pictures do not show a deep groove.
Jan — when I look at the picture, especially the one of the label enlarged, it looks like a deep groove pressing to me.
Al- I had a second look on the pictures and you may be right. Maybe the lucky winner is out there reading this and we will find out in a few days when he receives his record.
In response to Robert Orenstein’s question re: The 9M in the runoffs, here is a quote from some of Larry / Fred Cohen’s research:
“9M appears on the Masters and very rarely just the stampers in the specific case of McLean 4024 (NOT a function of the Master though I always assumed they were!) of early Blue Notes 12” LPs and some 10” LPs too, usually at 3:00 in the runoff, when the catalog number is viewed in its usual 6:00 position. Fred Cohen speculated that this is an identification of Mastercraft , a mastering company. Prestige Records sometimes have a 7M so it could be a “meta” code, not referring to a record company but back at the manufacturing level. The significance of the 9M still remains is a mystery.”
yesterday the dutch jazz composer and player Willem Breuker died in Amsterdam at the age of 65.
He was one of the most importend dutch/european jazz composer of the last 50 years, someone who dared to do things different, not in line with the traditional (american) (be) bop ideom. Someone who listened a lot to Avant-garde, Schonberg and Mahler. He created the ICP (instant composers pool) together with Misha Mengelberg and Han Bennink.
After that he formed the Willem Breuker Collectief (of wich Garry Giddens wrote: “by God, this is a band you must see!” ) and the record-company B.V.Haast.
He was one of the founders of the ‘Bimhuis” the most famous and interesting jazz club in holland,still going strong.
A man who did things in his own way and trying to be original.
Altough i am much more a traditionalist then he was, i appreciated his work always because he was needed and he had a hart for music.
http://www.youtube.com/watch?v=u60JyAFYe_M
Saw a great documentary (“Jazz Sees”) on Ovation cable on the jazz photographer William Claxton. Had a some great access and relationships with some key players like Parker and Baker. The documentary was from 2001 and he died in 2008 I believe.
They had some scenes of him and his common law wife, Peggy Moffitt. I’m like, she looks familiar, where have I seen her before? Seems she was the cover model for Lou Donaldson’s Alligator Bugaloo back in the 60s.
i think that happened regualary in those days.. the model on ‘moods’ by the 3 sounds (bn4044) is ruth mason, the wife to be for Alfred lion if i am correct…and aren’t there lot’s of wifes and girlfriends of miles davis on his own covers….(ESP i know of..)
I read somewhere that it was a whole lot cheaper for them to get wives and girlfriends to model versus paying for professionals.
Probably also kept Mrs. Lion happy too.
Dave: Peggy is on the cover of World Pacific Hi Fi Sampler HS-2 entitled “Music for both ears”.
Cover art by William Claxton.
Could that be her on the jack sheldon w/ zoot sims jazz west album? I absolutely love that album cover.
There is some amazing jazz collectible pieces on ebay under the name bookcrates…I emailed the seller and had a wonderful diologue about how he acquired the items…including a rare Dolphy autograph…definately check it out…the story and signed letter to him (at 15) by Charles Mingus is well worth the look!
Deal or No Deal
I recently acquired a original of True Blue that looks vg++, label has many spindle marks and plays with continuous surface noise just under the music. I only paid 300 but I didn’t know how it played when I bought it. cover is near mint.
did I over pay? I don’t know whether to return it or not. any thoughts?
actually the surface noise competes with the music in all but loud parts
did he say it was “visualy” graded? ..then there is a risk that a ‘glossy shiny mint looking lp can have (surface) noise.
If he says ply-graded then he should have mentioned it.
If they don’t mention how they grade, and i am spending hundreds of dollars i would ask specificly..
Besides that: 300 dollars for True Blue is a bargain, so something is wrong with the lp or the seller doesn’t know what he has sold..
‘plAy graded’
stumbled on this site: http://www.sweedeedee.com/archives/jazz.csp
for those who didn.t knew it, verry nice pictures of rare jazz covers..
Happy birthday ‘Pops’ !!!
I have two copies of Art Blakey et les Jazz-Messengers au club St. Germain Vol. 2 (RCA 430.044). Amazing live session! I was wondering though, which of them is the original – one has a black label (flat edge, deep groove, thick vinyl) and the other has a yellow one (thinner vinyl). Both are French pressings and neither mentions mono or stereo.
Anybody out here who can help me out? Thank you!
Btw: nice site Maarten!
Thrill of the Hunt (and the Loss of the Prize)
Funny/sad story yesterday. I responded to an ad on Craigslist for some jazz records for sale. Seller said he had some BN, Prestige, Riverside, etc. and could I meet him at a storage shed where he had about 10,000 records.
Of course I was salivating and when I got there, he directed me to bins full of jazz records. After I pulled out 5 Lex/63rd (including a Lee Morgan and a Mobley), 25 Impulse and about 10 NYC and Bergens, plus 20 others, we both look at each other trying to decide who makes the first offer. I finally said “well it looks like I have 40 or records, how about $5 each” hoping that worst case he asks for $10 each and I am all happy. He goes quiet and says I need more than that. I said, well what are you looking for? He goes, well that deep groove Morgan books for over $1,200, and that first press Open Sesame by Hubbard probably goes for $600 on Popsike. And that Sonny Rollins Prestige NYC, although it is only VG, is worth at least $200.
By then I realize that I was not going to walk out of there with a quick score, let alone anything. I debated whether to continue to play dumb or actually come clean that not only did I understand what a “deep groove” was, but I am avid reader of the JazzCollector blog. I decided to play dumb, and subjected myself to his well-intentioned lectures on record labels. I asked him why he hadn’t sold his stuff on eBay and he said that he once sent a $1,000 record to Italy and was screwed when the buyer claimed it never arrived. Guess he felt selling out a storage locker was a better avenue.
Walked out of there with Caddy for Daddy for $25 just so that my time and gas money wasn’t a total loss.
Sometimes you win and sometimes you lose.
Great story, Dave. Was there no bargaining possible? Jazz Collector readers around the world are now madly clicking on Craigslist. Except for me. I’m calm for now. Or at least for the next 10 minutes.
I tried Al, I tried. I probably could have picked up the Impulses for $25-40 each, but I pretty much already had all the ones he had, and that price isn’t a bargain.
Plus I only had $300 with me. I tend to avoid going into strange storage lockers with people I don’t know carrying lots of cash.
again, for those who do not already know this site: Nice site with old jazz covers and more…
http://lpcoverlover.com/category/jazz/
a great jazz photographer is no more:
Herman Leonard 1923-2010
.Who doesn’t have a album with his picture on it!
http://www.hermanleonard.com/
For an interesting look at the art of record preservation,check out the New York Times http://www.nytimes.com/2010/08/17/arts/music/17jazz.html?pagewanted=1&_r=-. There is an article(complete w/ video) on the jazz collection of William Savory,recently acquired by the National Jazz Musuem(in Harlem). Music recorded direct-to-disc by Basie,Prez,Duke,the Hawk,etc. The video is a must-see for an example of how science and the digital process can sometimes salvage music more than 70 years old!
great link ceedee! ..a great video also…altough i was a little shocked when i saw mr.Pomeroy attack the discs;-)
Maarten,thank YOU for the informative link on the late,great Herman Leonard. The website there linked to another with video interviews done in recent years. I especially liked the one from the Today show,which showed how he was affected by Katrina,but kept his art (and heart)strong. A poster of Miles-“New York City,1948”- has a prominent place on my wall. I’ll put on ‘Moon Dreams’ or’Boplicity’ later on today, then tip my hat to the artistry of Mr.Leonard.
I am going to visit New York for the first time next week and I hope to bring home some nice LPs.
Please tell me the adress of the Jazz record center and academy LPs (the one with the Jazz section)
Many thanks!
Hi, I’m a relatively new vinyl jazz collector and this site (and all your comments) has been a boon as I make my way through life’s endless crate. So thanks much for that. Quick question (I hope): Why are 1200s series Blue Notes not as collectable as the 1500 series issues? I came across an inexpensive, clean, original pressing of Sidney Bechet’s Giant of Jazz V.1 (BLP 1203) that I was happy to snap up, but I was surprised to subsequently find this record listed in several places online at prices that seemed downright reasonable as compared to almost any original 1500 or 4000 series title. I’ll acknowledge that Mr. Bechet, while quite the talent, lacks the cache of Miles, Monk, Morgan, or Mobley, and that the pre-Reid Miles art doesn’t have the same zest, but it still seems like these earliest of Blue Note 12″ LPs should be more sought after. Regardless, I’m happy with the record, but I wonder if anyone could shed some light on this for me. Thanks in advance.
could you share with us how the hunt went down… for us not-New yorkers it’s nice to know how the jazz vinyl climate is there, especially from someone who is also a outsider..
ok, who’s got the complete collection ??! 🙂
http://cgi.ebay.com/Freddie-Hubbard-Hub-Tones-Blue-Note-new-cassette-/390230820828?pt=Music_Cassettes&hash=item5adb91c7dc#ht_500wt_928
Jan-regarding your NYC visit,here’s some info:
Jazz Record Center-236 west 26th street,rm.804(212-675-4480)
Academy Records-415 east 12th street,212-780-9166.
Incidentally,Academy has several other stores that specialize in vinyl(not just this location).If it’s cds,the 18th street store is a must. Enjoy your trip-including a night at the Vanguard,I’d hope?
nice to see such an old one..
http://cgi.ebay.com/ALBERT-AMMONS-BLUE-NOTE-21-ORIGINAL-/170534475165?pt=Music_on_Vinyl&hash=item27b4a5959d#ht_500wt_1154
didn’t knew they where so expensive..Does anybody on the forum also collect 78rpm BN’s?
Did they always come in brown paper sleeve?
I play classical music on 78rpm discs reguelarly, but for me BN is a 33rpm thing….
Maarten,Re:BN 78 prices-they are NOT so expensive,generally speaking. I’d say from this person’s listings (of granddad’s goodies) that someone has come down with a severe case of ‘greed-itis’. Hopefully,if no sucke-oops,I meant bidders- take the bait,a quick recovery will follow!
Keeping in mind Al’s recent ‘best ballads’ posting,here’s a tribute to the late Abbey Lincoln by Nate Chinen. Nate also highlights Lincoln’s influence among some newer singers worth checking out-http://www.nytimes.com/2010/08/28/arts/music/28abbey.html?_r=1
I’m looking for a good scans of the back cover of this:
http://mingus.onttonen.info/details/st1010.html
Can someone help me?
Thanks in advance.
i noticed that on some BN record covers there is NO name of the ‘designer’. No reid miles or hermansader.
For ex. Louis Smith-Smithsville and Jimmy smith-groovin’ at smalls…, Bennie Green -Soul stirrin’..
In the BN cover album books there is also no mentioning of designer.Where they done by somebody else (Wolff?) or did they not think about it once a while..?
for those who not knew this site about japanese blue notes (chronologie, labels etc), ..
the master site is also interesting.
http://microgroove.jp/bluenote-jpn/