HUMPHREY LYTTELTON ORIGINAL STUDIO MASTERS 1948-1950

	£		326
	$		431

philanddiana Store

HUMPHREY LITTELTON ORIGINAL STUDIO MASTERS 1948-1950

Description:

  HUMPHREY LITTELTON ORIGINAL STUDIO MASTERS 1948-1950 FROM THE LONDON JAZZ RECORDS SESSIONS   26 original recordings on 13 lacquer on metal discs. These were recorded in the studio direct to disc on recording blanks. These are the Humphrey Littelton Band’s very first recordings, made in 1948 (the year of the band’s formation) and 1949. These include out-takes and rejected tracks that were never issued. 24 of the tracks were recorded in 1948 and 1949 and 2 in 1950. The 1948-49 recordings were made for Littelton’s “London Jazz Records” label, a company he formed in an effort to promote the band on record. London Jazz produced 5 discs (LJ-1 to LJ-5) from these sessions which were issued in fairly small numbers and were sold at ‘The Swing Shop’ in Mitcham Lane, Streatham in South London. The London Jazz label folded when the band were signed to EMI’s Parlophone in 1949. The masters of the London Jazz recordings were sold to Esquire Records who reissued some of the tracks in the mid-1950s. With these masters is the original correspondence between Humphrey Littelton and Carlo Krahmer of Esquire, dated between August and October 1954. These include a minor argument about Humph wanting a 7 guinea fee for the sleeve drawing and cover notes. The exact dates of the recordings are given on a pencil note (some of the recordings themselves are also dated in yellow crayon). The full list of the discs and their contents is as follows:   Disc 1 Side 1: THIN RED LINE RPL 114B (18/11/48) Disc 1 Side 2: THIN RED LINE? (rejected take with the word “no” in yellow crayon) Disc 2 Side 1: MELANCHOLY BLUES RPL 115B (18/11/48) Disc 2 Side 2: 3 UNKNOWN TRACKS indistinctly marked “WEARY NOISY” Disc 3 Side 1: PANAMA RPL 142A (2/12/48) Disc 3 Side 2: 3 UNKNOWN TRACKS (rejected takes marked through in yellow) Disc 4 Side 1: WORKING MAN BLUES 170D Disc 4 Side 2: WORKING MAN BLUES (rejected take marked through in yellow). Disc 5 Side 1: WORKING MAN BLUES 170A (20/4/49) Disc 5 Side 2: WORKING MAN BLUES 170B (rejected take marked through in yellow). Disc 6 Side 1: WEARY BLUES RPL 171C Disc 6 Side 2: 3 UNKNOWN TRACKS marked through in yellow and with the words “Do not use this side” Disc 7 Side 1: WEARY BLUES RPL 171A (20/4/49) Disc 7 Side 2: WEARY BLUES RPL 171B Disc 8 Side 1: FIDGETY FEET (20/4/49) Disc 8 Side 2: FIDGETY FEET Disc 9 Side 1: FIDGETY FEET RPL 173B Disc 9 Side 2: 5 UNKNOWN TRACKS (Fidgety Feet? Rejected takes marked through in yellow) Disc 10 Side 1: PANAMA RPL 306A Disc 10 Side 2: 2 UNKNOWN TRACKS (rejected takes marked through in yellow) Disc 11 Side 1: VOX HUMANA BLUES. TAKE I HUMPHREY LITTELTON (26/5/49) Disc 11 Side 2: VOX HUMANA BLUES. TAKE 2 H.L. Disc 12 Side 1: MEZZ’S TUNE FEB 1950 Disc 12 Side 2: HIGH SOCIETY   The discs are contained in a metal Emidiscs Recording Blanks tin, together with the original correspondence between Littelton and notes relating to them. The tin is somewhat rusted and oxidised on the outer surface but fairly clean inside. The discs are in plain brown paper sleeves and have some scuffs and small surface scratches and blemishes but appear to be in reasonable condition and are still glossy and bright.   These unique recordings are Littelton’s first work in the recording studio. He had formed his first band in 1948 and although they had immediate success performing live, they had not yet been signed by a record label. The musicians on the discs are the original line-up of the band (Humphrey Littelton, Wally Fawkes, Harry Brown, George Webb, N. Skrimshire, Dave Carey and Les Rawlings). From a note with the discs it appears that a Ben Saywood was also involved on one of the tracks. This band was prominent in the British revival of traditional jazz and these first recordings are of considerable historical interest and importance.   The discs are heavy and the packed weight is approx 4 kilos. Consequently they will be expensive to ship abroad. Buyers both in the UK and overseas might prefer to have the items insured in transit and, if so, they should please contact us to arrange this.   Please see our other listings this week for a Jess Stacy Acetate transcription disc cut for an album we have been unable to identify (assuming it was released). From the same source we also have around 400 Jazz LPs, mostly quite rare Vinyl 1950s-1980s, including white label pressings, demos, private label and limited editions – all in excellent or mint condition. If there is enough interest we propose to list these on ebay over the coming weeks.


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