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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).

“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.

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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 the early Seventies..

Label colour variation Three (possibly two) colour variations are found: Egg-Yolk, Lemon, and Ochre – questions are raised over whether the Ochre-tint is actually egg-yolk seen under different lighting conditions.

Lemon and egg-yolk seem the definitive variation, and lemon yellow associated with earlier manufacture.

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″ format, marked by Prestige with the Yellow/Black “Fireworks” Label.

(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.

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