| Prestige Records |
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| american record labels | |
| jazz record labels | |
| record labels established in 1949 | |
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For most of the 1950s and 1960s , the recording engineer Rudy Van Gelder was responsible for recording the companys releases and Ira Gitler occasionally fulfilled the role of producer in the early 1950s. Around 1958 , Prestige began to diversify, reviving the New Jazz name, usually for recordings by emerging musicians, and introduced the '''Swingsville''' and '''Moodsville''' lines, though these were relatively shortlived, many albums being re-released later in the 1960s on Prestige itself. '''Bluesville''' was also a subsidiary label of Prestige. During this period, Weinstock ceased supervising recording sessions directly, employing Chris Albertson , Ozzie Cadena , Esmond Edwardes and Don Schlitten , among others, to fulfil this function. Musicians recording for the label at this time, including Jaki Byard and Booker Ervin , were perhaps less celebrated than their predecessors in the labels existence, but Prestige remained commercially viable by recording a number of soul jazz artists like Charles Earland . Bob Weinstock has been criticised over the years for apparently sharp business practices. Jackie McLean in A.B. Spellman's ''Four Lives in the Bebop Business'' (1966) is particularly outspoken, but others, including Albertson and Miles Davis in his autobiography, have defended him. The " Junkie s label" tag was applied to Prestige, although the problem of Drug Addiction was so widespread in the jazz world that this reputation may not be justified. The company was purchased in 1971 by Fantasy Records , and original releases on the label have formed a significant proportion of their Original Jazz Classics line. SEE ALSO |
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