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https://en.wikipedia.org/wiki/Category:Blue_Note_Records_artists
The Blue Note 7; Willie Bobo; Flavio Boltro; George Braith; Randy Brecker; Jeff Bridges; Tina Brooks; Clifford Brown; Kenny Burrell; Buscemi (DJ) Donald Byrd; Don Byron
https://www.udiscovermusic.com/stories/underrated-blue-note-musicians/
Oct 02, 2020 · Underrated Blue Note Musicians: 12 Artists Worth Rediscovering Johnny Coles (1926-1997) This New Jersey-born trumpeter only made one album for Blue Note, 1963’s Little Johnny C. A hidden gem in the...Author: Charles Waring
https://www.bluenote.com/artist/joe-chambers/
In the mid-’60s, Chambers played with a number of the more progressively inclined musicians associated with the Blue Note label, such as vibist Bobby Hutcherson and saxophonists Joe Henderson, Wayne Shorter, and Sam Rivers. In 1970, Chambers joined Max Roach’s percussion ensemble, M’Boom, as an original member.
https://www.bluenote.com/artist/blue-note-all-stars/
The band was launched to celebrate the 75 th anniversary of the legendary jazz label Blue Note Records where such future giants as Thelonious Monk, Herbie Hancock, Wayne Shorter, Freddie Hubbard and Joe Henderson, among many others, made their debut recordings.
https://www.bluenote.com/artist/lee-morgan/
Lee Morgan - Blue Note Records. B i o g r a p h y. Biography. A cornerstone of the Blue Note label roster prior to his tragic demise, Lee Morgan was one of hard bop’s greatest trumpeters, and indeed one of the finest of the ’60s. An all-around master of his instrument modeled after Clifford Brown, Morgan boasted an effortless, virtuosic technique and a full, supple, muscular tone that was just as powerful in the high …
https://londonjazzcollector.wordpress.com/record-labels-guide/labelography-2/the-blue-note-labels/
The Blue Note etchings. Below are the main etchings commonly found in the vinyl run-out of most Blue Note records: Rudy Van Gelder mastering (initials, later stamp), Plastylite pressing inverted cursive “P”, the custom-client metal “9M”, and van Gelder STEREO master .
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