Lawyers and more lawyers:

“Music
Granz Settles His $6,000 Disk Royalties Suit
NEW YORK, March 1. – Suit filed last October by Norman Granz against Moe Asch, of the Asch diskery, and Irving Prosky and Herbert Harris, of Stinson Trading Company, was settled out of U.S. District Court here.

Granz sued for royalties due him under an agreement with Asch made for the sale of the initial Jazz at the Philharmonic disk album. Asch, without consulting Grantz, is alleged to have turned over all rights to the album to Stinson, which paid Granz $1,500 in royalties, altho the claim was that the firm should have paid $7,500. Granz, thru attorney Andrew Weinberger, sued for the $6,000 balance. According to papers filed for discontinuance of the case, a substantial settlement was made.”
[Billboard 8 March 1947, p.17]


“Stinson Brings Out Line of Old Masters
NEW YORK, May 3. – Latest diskery to capitalize on old masters by an artist made popular on another label is the smaller Stinson Trading Company here. Latter is releasing a $2.225 album of Phil Harris sides, including What's the Matter With Dixie?, Just A-Whistlin' and A-Whistlin, Careless and Rose Bloom.

Quaint background to Stinson's cash-in on the current RCA Victor build-up for Harris is that the masters were bought from the old U.S. Record Company, which was owned by Eli Oberstein. Oberstein, now recording director for Victor, was instrumental in bringing Harris under the major company's wing.”
[Billboard, 10 May 1947, p.18, c1]

Note: The Harris reissues were a way to get around the latest union recording ban. Harris sued, the settlement was about the same as Grantz.

Asch & Stinson both took each other to court again during the last days of their existing court settlement(s.)

By sometime in early 1948, Stinson Trading had their new studio and trained engineers and Moe Asch was officially off the Stinson payroll for good. One of those new sound engineers was co-owner Herbert Harris' son Robert.