Bob Weinstock (October 2, 1928 – January 14, 2006) was an American record producer best known for his label Prestige Records, established in 1949, which was responsible for many significant jazz recordings during his more than two decades operating the firm. Early life Born to a Jewish family, Weinstock's interest in music began at the age of eight when bought "armfuls of records" by jazz artists at nine cents each, opening up "a new world of music" for him. As a teenager growing up in Manhattan, on the Upper West Side, Weinstock started a business selling jazz records through advertisements in the pages of Record Changer magazine from his family's apartment, with the support of his father and uncle. He couldn't play or read music, but he had an ear that enabled him to pick up the nuances of jazz. He later rented some space in the Jazz Record Center on 47th Street. Bebop drummer Kenny Clarke was among those who visited his store, promising that when Weinstock opened a record label "he would get all the jazz greats to record" for him, and introducing him to artists including Thelonious Monk. Prestige Records In January 1949 Weinstock created a label called New Jazz, with its first release a recording by the Lennie Tristano quintet. Later that year he formed Prestige Records, with its logo representing the surfeit of saxophonists he had been recording and releasing. With assistance from his father, and much traveling across the United States by bus, Weinstock was able to promote his company and gain air play and sales for jukeboxes for his releases from artists including Stan Getz, Annie Ross, and Sonny Stitt. One of his early and much-needed financial successes was a release of "Moody's Mood for Love" recorded by King Pleasure, which became a nationwide hit in 1954. In 1953 Charlie Parker recorded for Prestige using the alias "Charlie Chan" to skirt contractual issues. Weinstock was known for having artists record with almost no rehearsal time, recording large quantities of music from the jazz groups in New York City for Prestige and later its Bluesville, Moodsville, Par, Swingville and Tru-Sound imprints. He would have musicians record on one take, insisting that the additional takes were less spontaneous and that recording engineer Rudy Van Gelder did not need extra takes to adjust balance, and would reuse tapes if he thought that another take was needed.