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Gillis, Verna  Search this
Bronson, Audrey F.  Search this
Nevaquaya, Doc Tate, 1932-1996  Search this
Guillén, Nicolás , 1902-1989  Search this
24 Sound tape reels (Tapes VG-0001 - VG-0021 have been digitally transferred at 96kHz/24-bit with the exception of tapes VG-0018 and VG-0019. Tape VG-0018 has been transferred poorly. Tapes VG-0019, VG-0022, VG-0023, VG-0024 require conservation prior to transfer.)
Archival materials
Collection descriptions
Sound tape reels
Undated, 1968-1979
The Verna Gillis audio recordings consist of 24 open-reel tapes. The field recordings document work done by folklorist Verna Gillis in Haiti, Oklahoma, Philadelphia, and Cuba.
Scope and Contents:
The Verna Gillis audio recordings consist of 24 open-reel tapes. The field recordings document work done by folklorist Verna Gillis in Haiti, Oklahoma, Philadelphia, and Cuba between 1968-1979. Most recordings are of vodou ceremonies recorded in Haiti and church services led by Bishop Audrey F. Bronson. Also notable are performances by Comanche artist Joyce Lee "Doc" Tate Nevaquaya, an American Indian flute player.
The Verna Gillis audio recordings are arranged according to numbers assigned to the open reel tapes by the RRFAC. Where more than one tape from the same day or event exists, those tapes are kept together in the overall arrangement.
Biographical / Historical:
Verna Gillis (b. 1942) is a New York-based music producer and holds a Ph.D. in ethnomusicology. She is known for her successful efforts to bring musicians from various immigrant communities to the forefront of the New York City music scene, helping to usher music from the Carribean, Africa, and Latin America into the mainstream of American life during the 1970s and 80s. She was an Assistant Professor at Brooklyn College from 1974 to 1980 and at Carnegie Mellon University from 1988 to 1990. From 1972 to 1979, Gillis recorded traditional music in Afghanistan, Iran, Kashmir, Haiti, the Dominican Republic, Cuba, Peru, Surinam, and Ghana. In 1979, she opened Soundscape, a non-profit multi-cultural performance space in New York City, on west 52nd Street which she directed for the next five years. A New York Times profile from 1990 described the energy and importance of the performance space at this time: Gillis would book "lectures by the jazz saxophonist Archie Shepp, voodoo ceremonies by the Haitian ensemble Troupe Makandal, art rock by the guitarist Arto Lindsay. David Byrne, Hal Wilner and Bill Laswell of the downtown musical crowd were regular listeners. The two giants of free jazz, Cecil Taylor and Ornette Coleman, collaborated for the first time ever in Soundscape, playing informally together over a two-week span of 1980." [1] Gillis had to close Soundscape in 1987 after it went too deeply into debt, but she continued to be a force in the music community of the city. Gillis began a new career managing and producing international musicians including Youssou N'dour from Senegal, Yomo Toro from Puerto Rico, Salif Keita form Mali, and Carlinhos Brown from Brazil. Gillis produced sixteen albums on Folkways/Smithsonian Folkways Recordings, which include music from the Dominican Republic, Ghana, Haiti, Cuba, the Gambia, and Philadelphia, PA, as well as American Indian music and spoken word. She was nominated for two GRAMMYs for her work as a producer: in 2000 for the Archie Shepp/Roswell Rudd Quartet Live in New York, and again in 2001 for Roswell Rudd's MALIcool. [1]
Scope and Contents notes for each tape are composed of transcribed notes from the recto and verso of tape boxes. Archivist notes are in brackets.
Access by appointment only. Contact the Ralph Rinzler Folklife Archives and Collections at (202) 633-7322 or for additional information.
Copyright restrictions apply. Contact archives staff for information.
Native American flute  Search this
Church music  Search this
Vodou -- Haiti -- Rituals.  Search this
Verna Gillis audio recordings, Ralph Rinzler Folklife Archives, Smithsonian Institution.
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Verna Gillis audio recordings
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Ralph Rinzler Folklife Archives and Collections