In December 1938, German immigrant and jazz enthusiastic Alfred Lion attended a now-famous concert at Carnegie Hall organized by John Hammond—“From Spirituals to Swing.” Just two weeks later, Lion and his friend Max Margulis booked time in a studio to record some of the artists at Hammond’s concert, and Blue Note Records was born. Margulis wrote up a mission statement that was to guide Blue Note through the coming decades: “Blue Note Records are designed simply to serve the uncompromising expressions of hot jazz or swing, in general.” Margulis, Lion, and many jazz musicians at the time felt that the major labels’ jazz records did not accurately reflect the genre, so Blue Note sought to capture the sounds of many of the great bebop players of the day, like Tadd Dameron, Fats Navarro, and others. Blue Note quickly became an innovator in jazz, a leader that other independent labels like Prestige, Keynote, and HRS often followed. For example, Blue Note pioneered late-night recording sessions, bringing in players at three or four in the morning, when they were still energized and excited after their nighttime club gigs. Unlike their competitors, Blue Note paid for rehearsals before recording sessions in an effort to capture a tune at its very best. As the years went by, Blue Note remained more committed to high-quality music than to commercial success, and these priorities threatened the financial stability of the label more than once. Many artists who critics now consider visionary pioneers, like Thelonius Monk, recorded first with Blue Note, but their releases flopped. When the recording industry went from 78s to 10-inch LPs in 1949, and then from 10-inch to 12-inch LPs in 1954, the label—already strapped for cash—lagged behind and almost went bankrupt trying to make the transition. In the 1950s, however, Blue Note began to get its first taste of real success, as various pieces of the enterprise began to come together. The label began recording with engineer Rudy Van Gelder, legendary today for developing techniques that captured jazz the way it actually sounded live—rich, full, and vivid. Blue Note hired designer Reid Miles to design Blue Note’s cover images. Leonard Feather, Ira Gitler, Robert Levine, Nat Hentoff, and others wrote liner notes, and Lion’s business partner, Francis Wolff, took photos. At roughly the same time, Blue Note began recording Art Blakey and the Jazz Messengers, a cooperative group that included Horace Silver, Hank Mobley, Kenny Dorham, Doug Watkins, and, of course, Art Blakey. The Jazz Messengers reached back into the blues and gospel in effort to make accessible yet authentic jazz that would appeal to larger audiences. Other key records from this golden age included John Coltrane’s “Blue Train” (1957) and Cannonball Adderley’s “Somethin’ Else” (1958). The 1960s, however, saw the start of Blue Note’s decline. With huge crossover hits like Lee Morgan’s “The Sidewinder” and Horace Silver’s “Song for My Father,” record distributors began dragging their feet when they owed money to Blue Note as a way of demanding more hits from the label, even as the jazz audience was shrinking. Blue Note became unable to weather the dry spells between hits, and Lion was forced to sell Blue Note to Liberty Records in 1966. Many members of the old Blue Note managerial team stopped working for the label, replaced by unwieldy bureaucratic committees. With the rise of progressive rock in the 1970s and the eventual slump of the record market as a whole, Blue Note released what seemed to be its last record in 1981, Horace Silver’s “Silver ’N Strings Play the Music of the Spheres.” EMI brought Blue Note back to life in 1985 under the direction of Bruce Lundvall, thanks largely to pressure from Michael Cuscuna and Charlie Lourie. Since then, the label has continued to release new jazz and has achieved commercial success through artists like Norah Jones.