This curated group of British and transatlantic 78 rpm records documents the crucial moment when American jazz reshaped popular dance music in Britain. Spanning the late 1920s to mid-1930s, the selection highlights early British responses to jazz syncopation, blues form and modern harmony, with key appearances by Ambrose and Jack Hylton alongside influential American recordings by Paul Whiteman. Particularly notable are Ellington-derived material, Gershwin compositions and early Latin-inflected jazz, illustrating how jazz moved from novelty to a defining musical language within the dance-band era. The records are in VG+ to EX condition. Ambrose and His Orchestra – Cotton Pickers’ Congregation / Caravan – Decca F.6458 – UK – c.1934 Ellington-derived jazz – highest significance. “Caravan” (Tizol / Ellington) is a landmark modern jazz composition, introducing exotic harmony, ostinato rhythm and modal colour. Ambrose’s version documents one of the earliest British responses to Ellington’s advanced jazz language, adapted to dance-band form while preserving its distinctive atmosphere. Paul Whiteman and His Orchestra – That Certain Feeling / Sweet and Low Down – HMV B.5109 – UK – c.1928 Gershwin jazz-pop crossover. “That Certain Feeling” is an early Gershwin Broadway song built on jazz harmony and rhythmic looseness. Whiteman’s polished orchestral jazz style played a crucial role in legitimising jazz-influenced popular music for international audiences. Ambrose and His Orchestra – The Peanut Vendor / Lady, Play Your Mandoline – HMV B.5979 – UK – c.1931 Latin-derived / Afro-Cuban influence. “El Manisero” brought Afro-Cuban rhythm into mainstream jazz and dance-band repertoire. Ambrose’s recording reflects early British assimilation of Latin-derived material into jazz-oriented popular music, predating later swing-era Latin jazz trends. Ambrose and His Orchestra – Lost in a Fog / Stars Fell on Alabama – Decca F.5282 – UK – c.1932 American jazz standards. Both titles are harmonically rich American jazz ballads. Ambrose’s Embassy Club performances emphasise mood, phrasing and subtle swing, demonstrating British sensitivity to contemporary American jazz songwriting. Jack Hylton and His Orchestra – Doo-Dah Blues / Syncopation on the Brain – HMV B.1775 – UK – c.1928 Blues-based early jazz. Strongly rhythm-focused sides reflecting British engagement with American jazz syncopation in the late 1920s. Blues structure and rhythmic novelty dominate, filtered through dance-band precision. Jack Hylton and His Orchestra – My Ideal / Mean to Me – HMV B.5657 – UK – c.1930 American jazz-pop repertoire. Both songs became jazz standards, with “Mean to Me” especially favoured by jazz vocalists. Hylton’s restrained but authentic approach illustrates early British absorption of American jazz idioms. Ambrose and His Orchestra – Laughing at the Rain / I Surrender, Dear – HMV B.6009 – UK – c.1931 Jazz ballad emphasis. “I Surrender, Dear” is a significant American jazz ballad, here treated with rich harmony and understated swing. The coupling balances light fox-trot rhythm with expressive jazz phrasing. Ambrose and His Orchestra – Tarantula / Champagne Cocktail – Decca F.6282 – UK – c.1933 Jazz-driven dance-band material. Brisk fox-trots characterised by syncopated rhythm and confident ensemble work. While not core jazz repertoire, both sides show strong American jazz influence in arrangement and feel. Roy Fox and His Band – I Saw Stars / Ole Faithful – Decca F.5212 – UK – c.1932 Early-1930s British dance jazz. Smooth, modern dance-band recordings shaped by American models, combining light swing, vocal refrains and polished orchestration typical of the period. Roy Fox and His Band – June in January / With Every Breath I Take – Decca F.5351 – UK – c.1933 Jazz-influenced ballad fox-trots. Warm, melodic performances with relaxed rhythmic flow and jazz-inflected harmony, reflecting the growing dominance of American popular jazz style in British ballrooms. Paul Whiteman and His Orchestra – If You Don’t Love Me / Wake Up and Dream – Columbia 5331 – UK – c.1929 Symphonic jazz-pop. Polished American dance jazz combining fox-trot rhythm with orchestral colour. Whiteman’s approach bridges popular song and jazz-derived harmony rather than improvisation. Ambrose and His Orchestra – Gertie, the Girl with the Gong / She Wore a Little Jacket of Blue – Decca F.5486 – UK – c.1932 Novelty-leaning jazz-styled dance music. “Gertie” uses novelty rhythm and playful syncopation, while the reverse is a smoother fox-trot. Jazz serves primarily as stylistic colour rather than lineage. Jack Hylton and His Orchestra – Sunshine / Ramona – HMV B.5474 – UK – c.1930 Popular repertoire with jazz inflection. Melodic, sentimental material shaped by contemporary jazz phrasing but firmly rooted in mainstream popular taste rather than jazz tradition. The Hannan Dance Band – Shanghai Fox-Trot / Sweet Little You – Columbia 3612 – UK – c.1929 Exotic-themed dance-band music. Reflects late-1920s fashion for “oriental” colour and light syncopation. Jazz influence is secondary to novelty and ballroom appeal. Ambrose and His Orchestra – My Mother / Lullaby of the Leaves – HMV B.6191 – UK – c.1932 Atmospheric jazz-influenced fox-trots. “Lullaby of the Leaves” in particular shows jazz harmonic richness and moody phrasing, anticipating later swing-era interpretations. Jack Hylton and His Orchestra – Tiddle-Iddle-Um-Pum / Under the Sweetheart Tree – HMV B.5897 – UK – c.1931 Up-to-date dance jazz. Light, rhythmically alert performances demonstrating Hylton’s ability to modernise novelty and popular songs through jazz phrasing and ensemble drive. Ambrose and His Orchestra – What Good Am I Without You / Go Home and Tell Your Mother – HMV B.5042 – UK – c.1930 Jazz-styled popular fox-trots. Early examples of Ambrose adapting American jazz-inflected popular material into polished British hotel-orchestra style, with limited broader jazz significance.