Beschreibung:

Very early Autograph letter signed (“Brian Jones”), to Doreen Pettifer (an early supporter), 9-pages, octavo, London, May 4, 1963, address envelope. One can scarce imagine a more important Rolling Stones letter, penned entirely in the hand of the band’s original founder who died tragically in 1969, a couple of months after being forced out of the group. Jones described in detail his vision for the band, the nature and duties of the personnel, and what he hopes to accomplish. In effect it forms a blueprint of what the Rolling Stones would become. In full: “Dear Dorren / Many thanks for your letter and for the great interest you have shown in the band. It’s very gratifying that you should be so willing to help us to the extent you are doing so. Some information. Personell Keith Richards – Guitar – 19 years old – went to Art School, then straight into rythmn and blues. Mick Jagger – Vocal Harmonica 19 years old. London School of Economics. Charlie Watts, 21 worked in advertising for some years – now full-time musician. (Drummer) Jan Stewart – Piano, 23 works with I.C.I. as a Shipping Clerk during the day (known affectionately as “Stu”) Bill Wyman – Bass – 23, works during the day as a storekeeper or something equally horrible. Only member of the band married – only one who’ll ever be married. Proud father of a baby son (or daughter) Myself, Brian Jones – Guitar and Harmonica, 21 was studying Architecture – more artistic satisfaction from R & B. {Mick, Keith, and myself as I expect you noticed, wear our hair out long, the others being more conventional)” After running down the personnel, Jones turns to the mission statement for the band. Formation & History The band is really an amalgamation of two bands. The one being an R & B band I formed about a year ago, and the other being a group run by Mick and Keith in S.E. London. I was introduced to Keith and we decided to pool our resources, so with Stu from my band, and Mick from Keith’s we became the nucleus of the “Stones.” The first job we did was a half an evening at the Marquee, Oxford Street standing in for Alexis Komer’s Blues Inc. Our first residency was at the Ealing Club, Ealing Boy, which we still do most weeks, unless we are playing elsewhere. Charlie joined us at this point & Bill a bit later. … By now we have carried our banner to most parts of London, though by no means every area. We are finding our style of rhythm and blues more readily acceptable than most others in the country at the moment. … We are doing a series of Saturday dates at the Poole, Dorset, starting next week. We play the Ken Coyler Club and every Sunday evening play the Station Hotel, Richmond which has been described as one of the most hip sessions …. We have, I may add, a habit a breaking attendance records. We have signed an agreement with an independent recording company, I.B.C who channel their releases through the major company labels. We have already cut quite a few sides, all on the commercial side. … Jerry Grant, producer of ‘Saturday Club’ has heard and apparently impressed by an LP of ours, and is coming to hear the band in action at Richmond. … You raised a point in your letter about Blues material. You must appreciate that blues are not easy to put over to the average club audience. They prefer something more in the twisting, jumping line. However at the Ken Coyler club – we always stick in a host of blues material. This is the only place we ever push this type of material with any success. Unlike most forms of jazz the accent in R & B should not be on soloists but on an overall integrated group sound – hence the absence of the strings of solos. Your point of getting our name known before a record is released is a really good one. We must really work together on this. At the moment we haven’t a suitable photograph to send, but this can soon be rectified. Well, I think that’s about all. Once again thank you for your interest in Rhythm and Blues and ourselves. It’s wonderful music and deser