Aladdin Records

Aladdin Records was an American independent record company and label founded in Los Angeles in 1945 by brothers Eddie Mesner and Leo Mesner. It emerged during the expansion of the postwar independent-record sector, when smaller labels increasingly recorded and distributed African American music, jazz, rhythm and blues, and related popular styles outside the major-label system. The company initially operated under the name Philo Records. The name was changed after the United States Patent Office objected to the similarity between Philo and Philco, a radio corporation that also manufactured record-industry blanks. The owners briefly announced the alternative name Medlee in Billboard, but soon issued a correction identifying the company as Aladdin Records. Existing release numbering was carried forward, and earlier Philo recordings were subsequently reissued under the Aladdin name. Aladdin developed a broad catalog rather than concentrating on a single genre. Its releases included jazz, rhythm and blues, rock, and popular music, with artists and musicians such as Illinois Jacquet, Wynonie Harris, Helen Humes, Jay McShann, Lester Young, Nat King Cole, Red Callender, Amos Milburn, Ernie Andrews, Charles Brown, Thurston Harris, Maxwell Davis, Al Hibbler, Billie Holiday, Lynn Hope, Jimmy Liggins, Gene and Eunice, Lightnin’ Hopkins, and Louis Jordan associated with the label or its recordings. The label’s first album was credited to Lester Young. It also worked beyond Los Angeles: a number of recordings were produced in New Orleans by Cosimo Matassa, connecting the company to an important regional recording center. Aladdin broadened its activities through subsidiary or affiliated imprints, including Score, Intro, 7-11, Ultra, Jazz: West, and Lamp. Jazz: West was a short-lived imprint oriented toward jazz albums and releases. These labels allowed the Mesners’ operation to organize different parts of its catalog and experiment with repertoire, formats, and market segments. The company remained active primarily through the 1940s and 1950s. In 1961, Aladdin was sold to Imperial Records. Imperial later became part of Liberty Records, which was acquired by Capitol Records in 1979. Subsequent reissues appeared through Blue Note Records. Aladdin is therefore no longer an operating label, but its recordings remain historically important to the documentation and circulation of postwar jazz and rhythm and blues. Its legacy rests on the breadth of its catalog, its support for influential performers, and its role in the independent-label network that helped bring regional and African American musical styles to a wider audience.

Aladdin Records began in Los Angeles in 1945 as Philo Records, established by brothers Eddie Mesner and Leo Mesner. Its creation coincided with the rapid growth of independent American record companies after the Second World War. These labels often operated with more flexible artist rosters and repertoire policies than the largest record corporations, and many became important outlets for jazz, blues, rhythm and blues, and other forms of African American popular music. The original Philo name soon became impractical. The United States Patent Office objected to registering it because of its resemblance to Philco, a radio corporation that supplied blanks used in record manufacturing. The Mesners briefly attempted to use Medlee; an advertisement in Billboard announced that name on March 2, 1946. The following week, however, the company published a correction identifying the new trade name as Aladdin Records. The label retained its existing release numbering, and earlier Philo issues were republished under the Aladdin name. Aladdin’s catalog covered a wide musical range. Early Philo and Aladdin releases included 78 rpm singles by Illinois Jacquet, Wynonie Harris, Helen Humes with the Bill Doggett Octet, Jay McShann, and Lester Young. The company also issued a multi-disc album set featuring Lester Young, Nat King Cole, and Red Callender. Aladdin’s first album was associated with Lester Young, and the label subsequently became linked to a substantial roster of jazz, rhythm and blues, and popular performers. Artists associated with the company included Amos Milburn, Ernie Andrews, Charles Brown, Thurston Harris, Maxwell Davis, Al Hibbler, Billie Holiday, Lynn Hope, Jimmy Liggins, Gene and Eunice, Lightnin’ Hopkins, and Louis Jordan. Although based in Los Angeles, Aladdin participated in a wider recording network. Some of its recordings were produced in New Orleans by Cosimo Matassa, whose studio work connected the label with the city’s distinctive rhythm and blues scene. This combination of Los Angeles management, national distribution, and regional recording activity helped Aladdin operate as more than a purely local label. The Mesners also created or operated several subsidiary imprints. Score appeared in 1948, followed by Intro in 1950, 7-11 in 1952, Ultra in 1955, Jazz: West in 1955, and Lamp in 1956. Jazz: West was a short-lived imprint focused on jazz material and albums. The subsidiary structure reflected the label’s effort to segment its catalog and serve different audiences while continuing to release music in changing formats and styles. Aladdin was most active during the 1940s and 1950s, a period in which rhythm and blues developed into a major force in American popular music. The label’s recordings documented performers, session musicians, and regional styles that were central to that transition. Its catalog also illustrates how independent companies connected jazz traditions with newer rhythm and blues and rock markets. In 1961, Aladdin was sold to Imperial Records. Imperial was later acquired by Liberty Records, and Liberty was acquired by Capitol Records in 1979. Aladdin recordings subsequently appeared in reissue programs associated with Blue Note Records. The original company is defunct, but the catalog continues to have archival and historical value. Aladdin’s significance lies in its role as a durable independent outlet for jazz and rhythm and blues, its broad artist network, its New Orleans recording connections, and its contribution to the recorded history of postwar American popular music.

1. 1979Liberty is acquired by Capitol Records

   After the Aladdin catalog's passage through Imperial and Liberty, Liberty is acquired by Capitol Records; later reissues appear through Blue Note Records.

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2. 1961Aladdin is sold to Imperial Records

   The independent label is sold to Imperial Records.

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3. 1956Lamp subsidiary is launched

   Lamp becomes another imprint associated with the Aladdin operation.

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4. 1955Ultra and Jazz: West imprints are introduced

   The company adds Ultra and Jazz: West, the latter serving as a short-lived jazz-oriented imprint.

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5. 19527-11 subsidiary is launched

   Aladdin continues building a multi-imprint structure with the 7-11 label.

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6. 1950Intro subsidiary is launched

   The label adds Intro to its group of subsidiary imprints.

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7. 1948Score subsidiary is launched

   Aladdin expands its imprint portfolio with Score.

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8. 1946The company adopts the Aladdin name

   Following a naming dispute involving the Philo name, the company abandons the brief Medlee alternative and announces Aladdin Records. Earlier release numbering continues under the new name.

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9. 1945Philo Records is founded in Los Angeles

   Eddie Mesner and Leo Mesner establish the company that would become Aladdin Records.

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A postwar American independent record label with a broad jazz, rhythm and blues, rock, and popular-music catalog.

• 78 rpm singlesRecorded music1945

  Aladdin and its predecessor Philo issued shellac 78 rpm singles, the dominant commercial record format of the 1940s and early 1950s. The singles covered jazz, rhythm and blues, and related popular styles, and included recordings by performers such as Illinois Jacquet, Wynonie Harris, Helen Humes, Jay McShann, and Lester Young.

• Jazz and rhythm and blues catalogMusic catalog1945

  The label's central offering was a broad catalog of jazz and rhythm and blues recordings. It associated Aladdin with artists including Amos Milburn, Charles Brown, Billie Holiday, Lightnin’ Hopkins, Louis Jordan, and many other performers and session musicians active in postwar American music.

• Aladdin albumsAlbums1945

  Aladdin issued albums as well as singles, including multi-disc sets made from 78 rpm records. Its first album was associated with Lester Young, and an early set brought together Lester Young, Nat King Cole, and Red Callender.

• Jazz: WestJazz imprint1955

  Jazz: West was a short-lived Aladdin-associated imprint created in 1955. It was used for jazz-oriented releases and albums, giving the company a more clearly defined outlet for part of its jazz catalog.

• Aladdin catalog reissuesReissues

  After Aladdin was sold and its corporate lineage passed through Imperial, Liberty, and Capitol, selected recordings were reissued through later catalog programs, including releases associated with Blue Note Records.

• 1961Sell Aladdin Records to Imperial RecordsM&A

  After its principal period of activity in the 1940s and 1950s, Aladdin no longer continued as an independent label.

  What changed. The company was sold to Imperial Records.

  Aftermath. Imperial later became part of Liberty Records, which was acquired by Capitol Records in 1979. Aladdin recordings subsequently entered later reissue programs.

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• 1948Develop a network of subsidiary labelsStrategy

  Aladdin served several musical styles and market segments during a period of rapid growth in independent record companies.

  What changed. The company introduced Score, Intro, 7-11, Ultra, Jazz: West, and Lamp over the following years.

  Aftermath. The imprint network gave Aladdin separate outlets for portions of its jazz, rhythm and blues, and popular-music catalog.

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• 1946Resolve the Philo naming conflict by adopting AladdinStrategy

  The Patent Office declined to register Philo because the name was considered too similar to Philco, a radio corporation connected to the manufacture of record blanks.

  What changed. The company briefly announced Medlee, then corrected the announcement and selected Aladdin Records as its trade name. Existing release numbering was retained and earlier Philo releases were reprinted as Aladdin issues.

  Aftermath. The Aladdin name became the enduring identity of the company and its catalog.

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• 1979Aladdin catalog reaches later reissue channels

  After Liberty Records was acquired by Capitol Records, later Aladdin reissues appeared through Blue Note Records.

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• 1961Aladdin Records is sold to Imperial Records

  Aladdin Records was sold to Imperial Records, ending its period as an independent operating label. Imperial subsequently became part of Liberty Records.

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• 1950Aladdin Records expands its subsidiary-label network

  The company added Intro and later other imprints to support different parts of its music catalog.

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• 1948Aladdin Records launches the Score subsidiary

  The label expanded its imprint structure with the introduction of Score.

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• 1946Philo Records adopts the Aladdin name after a naming dispute

  The company moved away from its original Philo name after the United States Patent Office raised concerns about its similarity to Philco. A brief announcement of the name Medlee was followed by a correction announcing Aladdin Records.

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1. Aladdin Records
2. Aladdin Records in the Internet Archive's Great 78 Project