Lee Morgan on Blue Note: A Collector's Guide to the Original Pressings

Lee Morgan (1938–1972) recorded some of the most electrifying hard bop of the late 1950s and '60s, and his Blue Note albums are among the most actively collected jazz LPs on the market. Whether you're chasing his raw 1957 sessions or his crossover hit The Sidewinder, here's what separates an original pressing from a reissue — and what to look for in each.

The Blue Note Pressing Hierarchy: What Collectors Prioritize

Blue Note originals from the 1950s and early '60s share a set of authentication markers that collectors use to rank pressings. In rough order of importance:

• Label address: The earliest pressings carry 47 West 63rd St., N.Y.C. Later originals shift to 61 West 62nd St., then to Liberty Records branding after the 1966 acquisition.
• Deep groove: A concentric groove pressed into the label area (not the playing surface) on the earliest Blue Note pressings. Highly prized by collectors as a first-pressing indicator.
• RVG / Van Gelder stamp: Hand-etched "RVG" or "VAN GELDER" in the matrix runout confirms Rudy Van Gelder cut the lacquer. On 1950s pressings, look for the additional "ear" symbol and "P" symbol alongside RVG.
• "INC." under the Blue Note logo: Absent on the earliest pressings; its presence indicates a later issue.
• Laminated cover: Original covers are laminated front; later reissues are not.
• Mono vs. stereo: Most 1950s Blue Note sessions were recorded and issued in mono. Stereo versions (prefix BST) were often electronically rechanneled and are generally less desirable to collectors than true mono originals.

Key Lee Morgan Blue Note Albums: What to Look For

City Lights (BLP 1575) — 1957

Recorded August 25, 1957 at Van Gelder's Hackensack studio, City Lights features George Coleman on tenor and alto saxophone, Curtis Fuller on trombone, Ray Bryant on piano, Paul Chambers on bass, and Art Taylor on drums. Cover design by Reid Miles; cover photo by Francis Wolff.

What to look for: First pressings carry the 47 West 63rd address, deep groove on both sides, no "INC." under the Blue Note logo, and a laminated front cover. Matrix runout reads P RVG BN-LP-1575-A — the "P" and "ear" symbols alongside RVG confirm an original Van Gelder cut. Standout tracks: City Lights, Tempo De Waltz, Just By Myself.

The Cooker (BLP 1578) — 1957

Recorded September 29, 1957, The Cooker is one of Morgan's most ferocious sessions. The lineup: Pepper Adams on baritone saxophone, Bobby Timmons on piano, Paul Chambers on bass, and Philly Joe Jones on drums. Another Reid Miles cover, Francis Wolff photo.

What to look for: Same first-pressing markers as City Lights — 47 West 63rd label, deep groove, no INC., laminated cover. Matrix: P RVG BN-LP-1578-A 9M. The "9M" suffix is a Van Gelder lacquer cut designation. Standout tracks: A Night In Tunisia, Just One Of Those Things, Lover Man.

Candy (BLP 1590) — 1957–58

Recorded in two sessions — November 18, 1957 and February 2, 1958 — Candy is Morgan's most lyrical early Blue Note date. Sonny Clark on piano, Doug Watkins on bass, Art Taylor on drums. Cover photo by Emerick Bronson.

What to look for: Matrix reads RVG P BN-LP-1590-A 9M. Note the RVG and P appear in different order than on City Lights and The Cooker — both are authentic Van Gelder cuts. Standout tracks: Candy, Since I Fell For You, All The Way.

The Sidewinder (BST 84157) — 1963

Morgan's commercial breakthrough and one of the best-selling jazz albums of the 1960s. Joe Henderson on tenor saxophone, Barry Harris on piano, Bob Cranshaw on bass, Billy Higgins on drums. The title track became a genuine pop crossover hit.

What to look for: The Sidewinder was issued in stereo (BST prefix). Original pressings carry the Plastylite "ear" symbol in the runout alongside BNST-84157•A• VAN GELDER STEREO. The ear symbol pressed into the vinyl (not just etched) is a key first-pressing indicator for Blue Note stereo issues of this era. Standout tracks: The Sidewinder, Totem Pole, Gary's Notebook.

The Rumproller (BST 84199) — 1965

A later Morgan date with Joe Henderson again on tenor, Ronnie Mathews on piano, Victor Sproles on bass, Billy Higgins on drums. Produced by Alfred Lion; cover by Reid Miles; photo by Francis Wolff.

What to look for: The copy in our inventory is a Liberty-era reissue (matrix: BNST 84199-A VAN GELDER), identifiable by the Liberty Records inner sleeve and label layout. True original Blue Note pressings predate the Liberty acquisition and carry the 61 West 62nd St. address. Standout tracks: The Rumproller, Desert Moonlight, Eclipso.

The Mosaic Perspective: Complete Sessions

For collectors who want everything in one place, two Mosaic box sets cover Morgan's Blue Note work comprehensively:

• The Complete Blue Note Lee Morgan Fifties Sessions (MD4-162) — 4 CDs, limited to 5,000 copies (promo). Covers all the 1956–58 sessions including City Lights, The Cooker, Candy, and more, with previously unissued takes.
• The Complete Vee Jay Lee Morgan–Wayne Shorter Sessions (MD6-202) — 6 CDs, copy 835 of 5,000. Covers Morgan's Vee Jay work alongside Wayne Shorter, with an all-star cast including Art Blakey, Cedar Walton, and Wynton Kelly.

Browse Lee Morgan Pressings

Every pressing in our collection is described with full matrix runout, label address, condition grade, and pressing notes so you can evaluate before you buy. Browse the Lee Morgan collection →