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for colored girls who have considered suicide / when the rainbow is enuf

Published by:
Playbill, American, founded 1884  Search this
Subject of:
Dr. Ntozake Shange, American, 1948 - 2018  Search this
Used by:
Booth Theatre, American, founded 1913  Search this
Medium:
ink on paper, metal
Dimensions:
9 x 5 5/8 x 1/8 in. (22.9 x 14.3 x 0.3 cm)
Type:
magazines (periodicals)
playbills
Place used:
New York City, New York, United States, North and Central America
Date:
November 1977
Topic:
African American  Search this
Drama (Theatre)  Search this
Feminism  Search this
Gender  Search this
Identity  Search this
Sexuality  Search this
Women  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Dow B. Ellis
Object number:
2012.152.1213
Restrictions & Rights:
Playbill used by permission. All rights reserved, Playbill Inc.
See more items in:
National Museum of African American History and Culture Collection
Classification:
Documents and Published Materials-Published Works
Memorabilia and Ephemera
Exhibition:
A Changing America: 1968 and Beyond
On View:
NMAAHC (1400 Constitution Ave NW), National Mall Location, Concourse 1, C1 053
Data Source:
National Museum of African American History and Culture
EDAN-URL:
edanmdm:nmaahc_2012.152.1213
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Playbill for Bubbling Brown Sugar

Published by:
Playbill, American, founded 1884  Search this
Used by:
ANTA Theatre, American, founded 1925  Search this
Subject of:
Avon Long, American, 1910 - 1984  Search this
Josephine Premice, American, 1926 - 2001  Search this
Vivian Reed, American  Search this
Joseph Attles, American, 1903 - 1990  Search this
Medium:
ink on paper
Dimensions:
H x W: 9 3/8 x 5 7/8 in. (23.8 x 14.9 cm)
Type:
theater programs
Place depicted:
New York City, New York, United States, North and Central America
Date:
1976
Topic:
African American  Search this
Blues (Music)  Search this
Broadway Theatre  Search this
Jazz (Music)  Search this
Musical Theatre  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Kayla Deigh Owens
Object number:
2011.45.16
Restrictions & Rights:
Playbill used by permission. All rights reserved, Playbill Inc.
See more items in:
National Museum of African American History and Culture Collection
Classification:
Memorabilia and Ephemera
Data Source:
National Museum of African American History and Culture
EDAN-URL:
edanmdm:nmaahc_2011.45.16
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Playbill for Five Guys Named Moe

Published by:
Playbill, American, founded 1884  Search this
Created by:
Eugene O'Neill Theatre, American, founded 1925  Search this
Subject of:
Jerry Dixon  Search this
Doug Eskew  Search this
Milton Craig Nealy  Search this
Kevin Ramsey  Search this
Jeffrey D. Sams, American, born 1966  Search this
Glen Turner  Search this
Medium:
ink on paper
Dimensions:
H x W: 8 1/2 x 5 5/8 in. (21.6 x 14.3 cm)
Type:
theater programs
Place used:
New York City, New York, United States, North and Central America
Date:
1992
Topic:
African American  Search this
Broadway Theatre  Search this
Jazz (Music)  Search this
Musical Theatre  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Kayla Deigh Owens
Object number:
2011.45.30.1
Restrictions & Rights:
Playbill used by permission. All rights reserved, Playbill Inc.
See more items in:
National Museum of African American History and Culture Collection
Classification:
Memorabilia and Ephemera
Data Source:
National Museum of African American History and Culture
EDAN-URL:
edanmdm:nmaahc_2011.45.30.1
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for colored girls who have considered suicide / when the rainbow is enuf

Created by:
Playbill, American, founded 1884  Search this
Used by:
Booth Theatre, American, founded 1913  Search this
Subject of:
Dr. Ntozake Shange, American, 1948 - 2018  Search this
Janet League, American  Search this
Aku Kadogo, American  Search this
Trezana Beverley, American, born 1945  Search this
Paula Moss  Search this
Risë Collins  Search this
Laurie Carlos, American, 1949 - 2016  Search this
Medium:
ink on paper
Dimensions:
H x W: 9 x 5 1/2 in. (22.9 x 14 cm)
Type:
playbills
theater programs
Place depicted:
New York City, New York, United States, North and Central America
Date:
1978
Topic:
African American  Search this
Actors  Search this
Broadway Theatre  Search this
Comedy (Theatre)  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Kayla Deigh Owens
Object number:
2011.45.32
Restrictions & Rights:
Playbill used by permission. All rights reserved, Playbill Inc.
See more items in:
National Museum of African American History and Culture Collection
Classification:
Memorabilia and Ephemera
Data Source:
National Museum of African American History and Culture
EDAN-URL:
edanmdm:nmaahc_2011.45.32
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Playbill for The Life

Published by:
Playbill, American, founded 1884  Search this
Used by:
Ethel Barrymore Theatre, American, founded 1928  Search this
Subject of:
Pamela Isaacs  Search this
Kevin Ramsey  Search this
Lillias White, American, born 1951  Search this
Chuck Cooper, American, born 1954  Search this
Bellamy Young, American, born 1970  Search this
Vernel Martin Bagneris, American, born 1949  Search this
Rich Hebert, American, born 1956  Search this
Gordon Joseph Weiss, American  Search this
Sam Harris, American, born 1961  Search this
Medium:
ink on paper
Dimensions:
H x W: 8 1/2 x 5 3/8 in. (21.6 x 13.7 cm)
Type:
theater programs
Place used:
New York City, New York, United States, North and Central America
Date:
1997
Topic:
African American  Search this
Actors  Search this
Broadway Theatre  Search this
Musical Theatre  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Kayla Deigh Owens
Object number:
2011.45.53
Restrictions & Rights:
Playbill used by permission. All rights reserved, Playbill Inc.
See more items in:
National Museum of African American History and Culture Collection
Classification:
Memorabilia and Ephemera
Data Source:
National Museum of African American History and Culture
EDAN-URL:
edanmdm:nmaahc_2011.45.53
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Hampton Classes 1871-1898

Created by:
Hampton University, American, founded 1868  Search this
Medium:
ink on paper
Dimensions:
H x W: 9 1/4 x 6 in. (23.5 x 15.2 cm)
Type:
paperbacks
Place depicted:
Hampton, Virginia, United States, North and Central America
Date:
1898
Topic:
African American  Search this
Education  Search this
HBCUs (Historically Black Colleges and Universities)  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture
Object number:
2010.54.3
Restrictions & Rights:
Collection of the Smithsonian National Museum of African American History and Culture
See more items in:
National Museum of African American History and Culture Collection
Classification:
Documents and Published Materials-Published Works
Data Source:
National Museum of African American History and Culture
EDAN-URL:
edanmdm:nmaahc_2010.54.3
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Les Collégiens 1945

Created by:
Harris-Stowe State University, American, founded 1857  Search this
Medium:
ink on paper
Dimensions:
H x W: 10 1/2 x 8 in. (26.7 x 20.3 cm)
Type:
yearbooks
Place depicted:
Saint Louis, Missouri, United States, North and Central America
Date:
1945
Topic:
African American  Search this
Education  Search this
HBCUs (Historically Black Colleges and Universities)  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture
Object number:
2010.54.9
Restrictions & Rights:
public domain
See more items in:
National Museum of African American History and Culture Collection
Classification:
Documents and Published Materials-Published Works
Data Source:
National Museum of African American History and Culture
EDAN-URL:
edanmdm:nmaahc_2010.54.9
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English 7-Keyed Flute

Maker:
Saust, Charles  Search this
Physical Description:
rosewood (overall material)
silver (overall material)
Measurements:
overall: 26 in x 1 1/2 in x 1 3/4 in; 66.04 cm x 3.81 cm x 4.445 cm
Object Name:
flute
Place made:
United Kingdom: England, London
Date made:
1795-1805
Credit Line:
Gift of James M. Swain
ID Number:
1985.0016.24
Accession number:
1985.0016
Catalog number:
1985.0016.24
See more items in:
Cultural and Community Life: Musical Instruments
Music & Musical Instruments
Flutes
Data Source:
National Museum of American History
EDAN-URL:
edanmdm:nmah_606234

After all [music]

Collection Collector:
Musical History, Division of (NMAH, SI)  Search this
Collection Creator:
Ellington, Duke, 1899-1974  Search this
Extent:
10 Items (parts, 31 cm.)
Container:
Box 10, Folder 4
Type:
Archival materials
Copy scores
Manuscripts
Music
Parts (musical)
Scope and Contents:
see also Subseries 1.3
10 parts
3 folders containing 10 parts in key of Bb Major? -- in black ink, pencil, and photocopy -- for reeds, brass, and drums -- in unidentified copyists' hand (one is probably Whaley).
folder A: 5 parts from the Mercer Ellington Library -- 1 reed -- Jimmy/tenor; 1 trumpet -- Terry; 2 trombones -- Britt, Butter -- 4 parts in this folder appear to be by the same copyist -- 1 sketch in unidentified hand labeled - "After all - Bridge" -- the parts are probably in the hand of copyist Tom Whaley; folder B: 3 parts from the Duke Ellington Library -- Jimmy, Sears, drums -- all parts appear to be by Tom Whaley -- in ink; folder C: 2 parts from the Duke Ellington Library -- Johnny, Tricky -- parts appear to be in the same hand -- in pencil -- probably same arrangement
folders appear to contain at least two different arrangements -- music is related.
General:
Handwriting and other details have been reported based on the notes of David Berger, Andrew Homzy, Dr. Theodore Hudson, Walter van de Leur, and Mark Tucker. Prof. Homzy and Dr. Tucker have been consultants on this project. Dr. Hudson is a knowledgeable member of the Duke Ellington Society, and Walter van de Leur is a budding Strayhorn scholar. David Berger is affiliated with the Lincoln Center jazz program in New York City, and has worked with Ellington music as a conductor and transcriber for many years.
Condition: good, worn. Folder A -- 3p., folder B -- 1p. . Folder A -- 5p., folder B -- 3p., folder C -- 2p.
Collection Restrictions:
The collection is open for research.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Copyright restrictions. Consult the Archives Center at archivescenter@si.edu or 202-633-3270.

Paul Ellington, executor, is represented by:

Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.
Topic:
Music -- United States -- 20th century  Search this
Genre/Form:
Copy scores
Manuscripts
Music
Parts (musical)
Collection Citation:
Duke Ellington Collection, Archives Center, National Museum of American History
See more items in:
Duke Ellington Collection
Duke Ellington Collection / Series 1: Music Manuscripts / 1.1: Music Manuscripts / 1.1.2: A Titles
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0301-ref36966

Benny Carter Collection

Creator:
Carter, Benny, 1907-1997  Search this
Extent:
67.5 Cubic feet (182 boxes, 3 oversize folders)
Type:
Archival materials
Collection descriptions
Awards
Clippings
Scrapbooks
Scores
Posters
Photographs
Music
Manuscripts
Date:
1928-2000
Scope and Contents:
The majority of the material in the Benny Carter Collection is dated from the late 1920s through the later half of the 1990s. Donated to the Smithsonian Institution in December, 2000, the bulk of the collection is comprised of original music manuscripts (full scores and parts), band books, and published sheet music from Benny Carter's prolific career as a jazz composer and musician. The collection also contains newspaper clippings, correspondence, photographs, scrapbooks, awards, posters, commercial sound recordings, a few jazz related journals and some personal ephemera documenting Benny Carter's personal life and career as a composer, arranger, bandleader, trumpeter and alto saxophonist.
Arrangement:
The collection is organized into six series

Series 1: Music Manuscripts, 1928-1990s

Series 2: Newspaper Clippings and Magazine Clippings, 1928-2000

Series 3: Photographs, 1928-1998

Series 4: Awards and Proclamations, 1961-1999

Series 5: Sound Recordings, 1958-1989

Series 6: Ephemera, 1952-2000

Series 7: 2004 Photographs Addenda

Series 8: 2004 Ephemera Addenda

Series 9: 2004 Magazine and Newsclippings Addenda

Series 10: 2004 Awards and Proclamations Addenda
Biography:
Bennett Lester Carter, better known as "Benny," was born on August 8, 1907 in New York City. The Carter's were quite a musical family - - Benny's father played guitar, his mother played piano, and a cousin, Theodore ("Cuban") Bennett, played the trumpet professionally - - so it was no surprise that Benny also became a musician, beginning his musical training at the age of ten. He first played the trumpet and then C-melody saxophone before changing to alto saxophone, which became his chief instrument.

Benny Carter began his professional career around the young age of seventeen, when he joined a local group as an alto saxophonist. He subsequently played with various other groups, including Billy Paige and Louis Deppe, until attending Wilberforce College in Ohio to study seminary in 1925. Finding music more enticing than theology, Carter left college and instead toured with Horace Henderson's Wilberforce Collegians intermittently between 1925 and 1928.

Carter's musical talents began attracting widespread attention in 1930 during a year-long stint with Fletcher Henderson's orchestra, to which he contributed many important arrangements. As word of his talent continued to spread, Carter played with such notables as William "Chick" Webb (1931) and served as musical director of William McKinney's Cotton Pickers (1931-1932) in Detroit. Upon returning to New York in 1932, Carter formed his own highly-respected orchestra. In its two years of existence, the Benny Carter Orchestra included several major pioneers in early swing style, such as Bill Coleman, Dicky Wells, Ben Webster, Chu Berry, Teddy Wilson, and Sid Catlett. Months after playing the inaugural show in New York City at Harlem's Apollo Theater in 1934, Carter disbanded the orchestra and, one year later, sailed to Europe to spread jazz across the globe.

After arriving in Europe, Carter first performed with Willie Lewis in Paris, France, and then, during 1936 -1938, served as staff arranger for the BBC Dance Orchestra in London, England. As he continued to tour throughout his stay in Europe (even leading his own interracial band in the Netherlands in 1937), he met with even greater success than in the United States. By this point, Carter was well-known for his arrangements and for his alto saxophone and clarinet playing. He was also recognized for his talented singing and tenor saxophone, trumpet, and piano playing.

In 1938, Carter sailed back to the United States and formed a new orchestra which regularly played at Harlem's Savoy Theater until 1940. He toured the United States during the next few years, both with small groups and with his big band, finally settling in Los Angeles in 1945. There he continued to lead his band (band members included modern jazz greats such as Miles Davis and J. J. Johnson), but turned increasingly to writing and arranging music for films and television productions. His film scores include Stormy Weather (1943), A Man Called Adam (1966), Red Sky at Morning(1970), and Buck and the Preacher (1972). "Ironside," "Bob Hope Presents," and the Alfred Hitchcock show were among the television programs for which he wrote music.

Carter had stopped performing with a regular orchestra by 1946, but he remained active up through the 1960s both by playing at Norman Granz's Jazz at the Philharmonic shows and with Duke Ellington, among others. He also continued to arrange music for various singers, including Sarah Vaughan, Ella Fitzgerald, Ray Charles, Peggy Lee, and Louis Armstrong. During the 1970s he began performing again, touring in Europe, Asia and Australia; in 1976 he toured the Middle East under sponsorship of the U.S. Department of State. Carter also became involved with academia, serving as visiting professor or workshop consultant at universities such as Yale, Cornell, Princeton, and Duke. He remained active in the music business well into the 1990s and still resides in California.

Benny Carter is regarded as "one of the most versatile musicians of his time." As a musician, he made major contributions to several areas of jazz and, as an arranger, he helped to construct the big-band swing style. He has received many awards throughout his career. The more prestigious honors included a Lifetime Achievement Award from the National Academy of Recording Arts and Sciences and a 1994 Grammy Award for the album "Elegy in Blue."

Footnotes

[1 ] Biographical note derived from Benny Carter: A Life in American Music, by Monroe and Edward Berger, and James Patrick (New York: Scarecrow Press and the Institute of Jazz Studies, Rutgers University, 1982).

[2] J. Bradford Robinson, "John Kirby," The New Grove Dictionary of Jazz, vol 1, 1986: 653-54.
Provenance:
The Benny Carter Collection was donated by Bennett Carter in December 2000.
Restrictions:
Collection is open for research.
Rights:
Reproduction restricted due to copyright.
Topic:
African American musicians  Search this
Jazz -- 20th century -- United States  Search this
Genre/Form:
Awards
Clippings -- 20th century
Scrapbooks -- 20th century
Scores
Posters -- 20th century
Photographs -- 20th century
Music -- Manuscripts
Manuscripts -- Music -- 20th century
Citation:
Benny Carter Collection, 1928-2000, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0757
See more items in:
Benny Carter Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0757
Additional Online Media:

MS 4690 Manuscripts relating to the study of Seminole Music

Creator:
Densmore, Frances, 1867-1957  Search this
Drew, Frank  Search this
Moore-Willson, Minnie, 1859-1937  Search this
MacCauley, Clay, 1843-1925  Search this
Extent:
2 Boxes
Culture:
Seminole Indians  Search this
Indians of North America -- Southern States  Search this
Type:
Archival materials
Collection descriptions
Newsclippings
Date:
1931-1942
Scope and Contents:
Contents include: ---- Correspondence with editor of Bureau of American Ethnology and list of illustrations used in Bureau of American Ethnology Bulletin 161. ---- "Seminole Music." 374 page carbon copy of manuscript and a few miscellaneous pages, roughs of music transcriptions, arranged music transcriptions of 243 songs as published. Submitted December 18, 1942. ---- "Seminole Music." Approximately 250 page manuscript. Incomplete manuscript submitted by Frances Densmore, May 16, 1940. This manuscript and the manuscript finally published in Bureau of American Ethnology Bulletin 161 are compilations of previous manuscripts submitted by the author, 1931-1933, 1936, 1941. (Old Number) 1787 "Seminole Hunting and Alligator Dance Songs." 22 page manuscript, 28 pages tabulated analyses of 13 songs. (Transcriptions and 10 illustrations mentioned on old catalog card are not present. See original prints file for illustrations in part.) Submitted February 1, 1932.
Submitted April 21, 1932. (Old Number) 3228 "Seminole Songs connected with Legends and Dances." 38 page manuscript including descriptive analysis of songs, tabulated analyses of 31 songs. (transcriptions of 31 songs, recorded on old catalog card, are not present.) Submitted September 30, 1932. (Old Number) 3259-a "Chitimacha, Choctaw and Seminole Music, with a comparative survey of Indian music in the Gulf States." 75 page manuscript, including descriptive analyses of 23 songs, tabulated analyses for 13 Seminole songs. (Tabulated analyses for Chitimacha and Choctaw songs, 20 pages transcriptions, 18 photos and 2 figures, recorded on old catalog card, are not present. See original print file for part of the illustrations.) Submitted main portion of the manuscript to the Bureau of American Ethnology June 17, 1933. The comparative survey part was a report submitted to the National Research Council, May 15, 1933. (Old Number) 3259-b (part) Seminole text from manuscript "Choctaw and Seminole Songs." 8 page manuscript Submitted June 14, 1939. The Choctaw material is separately filed under Choctaw, Bureau of American Ethnology Ms Number 3258 (Old Manuscript Number 3259-b, part.) (Old Number) 3260 "Dance Songs of the Seminole Indians." 19 page manuscript including descriptive analyses of 20 songs, tabulated analyses. (Transcriptions and 9 photos sent with this manuscript, recorded on old catalog card, are not present.)
(Old Number) 3197 "The Seminole Indians." 43 page manuscript including descriptive analyses of 7 songs, tabulated analyses of 8 songs. (8 transcriptions and 36 photos and 1 sketch illustration, recorded on old catalog card, are not present.) See original prints file for part of illustrations.) Submitted March 3, 1931. (Old Number) 3208 "Seminole Bird Dance and their Songs." 31 page manuscript including descriptive analyses of songs, tabulated analyses for 18 songs. (18 song transcriptions and 42 photo illustrations, recorded on old catalog card, are not present). Submitted January 18, 1932. (Old Number) 3209 "Buffalo Dance and Corn Dance." 30 page manuscript including descriptive analyses of 12 songs, 12 tabulated analyses. (12 transcriptions and 12 photo illustrations, recorded on old catalog card, are not present. See original print file for part of the photo illustrations.) Submitted December 12, 1931. (Old Number) 3211 "A comparison between the structure of Nootka and Quileute songs and that of songs previously analyzed, also a description of a Seminole flute and Seminole customs." 57 page manuscript, from which pages 4-10 were taken out by F. D. for incorporation in Nootka and Quileute Music. No Nootka and Quileute material remains in this manuscript. (17 photo illustrations, map and diagram, recorded on old catalog card, are not present. See original print file for some of the illustrations.)
Submitted November 30, 1932. (Old Number) 3262 "Caloosa and Seminole Corn Dance and Hunting Dance Songs." 28 page manuscript, including descriptive analyses of 25 songs, tabulated analyses of 25 songs. (11 pages transcriptions, 1 sketch, 13 photos, recorded on old catalog card, are not present. See original print file for some of the photos.) Submitted May 28, 1932. (Old Number) 3407 "Dance Songs of the Seminole Indians." 2 page list of Seminole transcriptions and cylinder records. (7 sheets transcriptions, recorded on old catalog card, are not present.) All these songs were recorded at Brighton, Florida, by Billie Stewart in February 1932. Submitted by F.D. March 16, 1936. (Old Number) 4083 "Songs of the Seminole in Florida." 28 page manuscript (71 transcriptions of songs, recorded on old catalog card, are not present.) Submitted by F.D. March 20, 1941.
The following Seminole material was received from the Densmore estate, ca. 1962. Three notebooks in F. Densmore's handwriting, dated: 1931, 1932 and 1933 (Brighten), and 1933. These notebooks contain material on Seminole songs and dances. Miscellaneous fieldnotes including "Last of Josie Billie" and "Discended from Osceola". Reading notes from Frank Drew, Minnie Moore-Willson, Clay McCauley, and others. 2 notebooks and several miscellaneous pages. "Annual Report, Narrative Section, 1935, Seminole Agency Dania, Fla." Prepared by J.L. Glenn, Officer in Charge. 18 page mimeo. Clippings: "Indian Buried Unmourned; Tribesmen at Paleface Rites," February 25, 1938, The Herald; photographs of Seminole Indians, page 10, April 25, 1937, The Herald, Miami, Florida, with typed note: "Do these scenes remind you of 'Days of (not so) long ago?' Chas." Various reprints re Seminole Indians: "Souvenir of the Original Musa Isle Seminole Indian Village, Miami, Fla." No date, 12 pages. Publishers announcement of Grant Forman's book, Indian Removal. "Musa Isle Seminoles and Alligators" by James Lowther Berkebile, 1929, Phoenix Printing Co., Augusta, Georgia. 35 pages and 23 illustrations of Seminole Indians.
"Seminole Indians: Survey of the Seminole Indians of Florida," presented by Mr. Fletcher, 71st Congress, 3rd Session, Doc. No. 314, GPO, 1931. 88 pages and map. Announcement of lectures W. Stanley Hanson, Secretary Seminole Indian Association, and article from The American Eagle, "Seminole Indian Association Reorganized", September, 1933.
Local Numbers:
NAA MS 4690
Other Title:
Seminole Music
Seminole Hunting and Alligator Dance Songs
The Seminole Indians
Seminole Bird Dance and their Songs
Buffalo Dance and Corn Dance
A comparison between the structure of Nootka and Quileute songs and that of songs previously analyzed, also a description of a Seminole flute and Seminole customs
Seminole Songs connected with Legends and Dances
Chitimacha, Choctaw and Seminole Music, with a comparative survey of Indian music in the Gulf States
Seminole text from manuscript "Choctaw and Seminole Songs"
Dance Songs of the Seminole Indians
Caloosa and Seminole Corn Dance and Hunting Dance Songs
Songs of the Seminole in Floria
Last of Josie Billie
Discended from Osceola
Annual Report, Narrative Section, 1935, Seminole Agency Dania, Fla.
Indian Buried Unmourned; Tribesmen at Paleface Rites
Souvenir of the Original Musa Isle Seminole Indian Village, Miami, Fla.
Musa Isle Seminoles and Alligators
Seminole Indians: Survey of the Seminole Indians of Florida
Topic:
Music -- Seminole  Search this
Language and languages -- Documentation  Search this
Genre/Form:
Newsclippings
Citation:
Manuscript 4690, National Anthropological Archives, Smithsonian Institution
Identifier:
NAA.MS4690
Archival Repository:
National Anthropological Archives
EDAN-URL:
ead_collection:sova-naa-ms4690

Eubie Blake Letter and Music Manuscripts

Composer:
Blake, Eubie, 1883-1983  Search this
Donor:
Dwyer, Lawrence  Search this
Extent:
0.15 Cubic feet (1 folder)
Type:
Archival materials
Collection descriptions
Manuscripts
Music
Correspondence
Date:
1969 - 1969
Summary:
Collection consists of one letter and six music manuscripts by James H. "Eubie" Blake.
Scope and Contents:
The collection consists of one handwritten letter by Eubie Blake to Professor John Garvey, director of the University of Illinois Jazz Band, dated August 3, 1969. There are five undated manuscripts in Blake's hand of his arangements for the songs Manda, Poor Archie, Brittwood Rag, March of the Senegalese, and the W.C. Handy song, Yellow Dog Blues. In the letter Blake requests that Garvey, when playing any of these songs (for which he enclosed the manuscripts,) please mention his (Blake's) name as the arranger.

In the letter Blake also mentions Here Tis, but that manuscript was not included in this donation.
Arrangement:
Collection is arranged in one series.

Series 1: Letter and Music Manuscripts, 1969
Biographical / Historical:
James Herbert "Eubie" Blake, noted ragtime pianist, was born February 7, 1883 in Baltimore, Maryland. Some government records show his birth year as 1887. His parents Emily "Emma" Johnston and James Sumner Blake had formerly been enslaved. Blake was their only child to live to maturity. Blake learned to play the pump organ and the piano while still a young child. Blake began his career as a pianist, songwriter, and arranger in 1915 in Baltimore playing piano in Aggie Shelton's bordello. He formed a songwritng partnership with Noble Sissle in 1915. In 1921, their musical Shuffle Along became a hit on Broadway and ran for fourteen months. Blake's career spanned his entire life. Perhaps his most recognizable song, I'm Just Wild About Harry, is considered a standard of the American musical canon. His life was the subject of the Broadway musical, Eubie, that premiered in 1978.

Blake married twice first to Avis Elizabeth Cecelia Lee (1881-1939) the daughter of Lawrence and Florence Lee. After her death from tuberculosis in March 1939, Blake married Marion Gant Tyler (1896-1982), widow of Willie Tyler, violinist, and daughter of James H. Gant and Nattie Thomas, on December 27, 1945 in Norfolk, Virginia. Marion acted as his business manager until her death.

Blake died in Brooklyn, New York, on 1983 February 12. He and Marion are both buried in Cypress Hills Cemetery, Brooklyn, New York.

Sources

The New Grove Dictionary of Jazz, page 114. Death certificate for Avis Blake, dated 1939, New York, New York City Municipal Deaths, 1795-1949," database Family Search, accessed July 5, 2019

Certificate of Marriage for James Hubert Blake and Marion Louise Gant, dated 1945 December 27, Virginia Marriage Certificates, 1936-1988, Family Search, accessed July 5, 2019
Provenance:
Donated to the Archives Center, National Museum of American History, Smithsonian Institution by Lawrence Dwyer in 2016.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Arrangement (Music)  Search this
Jazz  Search this
Genre/Form:
Manuscripts -- Music -- 1960-1970
Music -- Manuscripts
Correspondence -- 1960-1970
Citation:
Eubie Blake Letter and Music Manuscripts, Archives Center, National Museum of American History, Smithsonian Institution.
Identifier:
NMAH.AC.1400
See more items in:
Eubie Blake Letter and Music Manuscripts
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-1400

Bobby Tucker Papers

Donor:
Tucker, Irma  Search this
Tucker, Irma  Search this
Author:
Tucker, Bobby, 1923-2008  Search this
Creator:
Eckstine, Billy  Search this
Jones, Quincy, 1933-  Search this
Extent:
36 Cubic feet (88 boxes)
Type:
Archival materials
Collection descriptions
Orchestrations
Programs
Sheet music
Clippings
Photographs
Date:
1883-2007, undated
Summary:
The collection documents the life and musical career of Robert "Bobby" Tucker. The collection particularly emphasizes Tucker's close collaboration with Billy Eckstine over a forty-year period from approximately 1949-1990, and includes original orchestrations of arrangements by Tucker and other arrangers, a complete set of commercial recordings by Eckstine for which Tucker served as arranger, and ephemeral material including photographs, concert programs and news clippings.
Scope and Contents:
The collection primarily documents the close collaboration between Tucker and Billy Eckstine over a forty-year period, circa 1949-1990. It articulates the growth and development of a working jazz master—Eckstine—and the diversity of the musical repertoire he performed as he cultivated new audiences throughout his career. The collection includes original orchestrations of arrangements by Tucker and other well regarded arrangers such as Billy Beyers, Quincy Jones, Bob Enevoldsen, Marty Paich, Sammy Nestico, and Artie Butler. All of these materials found their way into Eckstine's recording and concert repertoire, which is evidenced by the approximately twenty cubic feet of sheet music arrangements that form the bulk of the collection. They illustrate the pivotal role Tucker played as the arranger, who interpreted and adapted original compositions to suit Eckstine's vocal style and capabilities, resulting in one of the longest-running successful collaborations in modern American musical history.

In addition, the sheet music contains Tucker's arrangements for Quincy Jones's music score for the 1978 film The Wiz.
Arrangement:
The collection is arranged into three series.

Series 1: Professional Materials, 1883-1992, undated

Subseries 1.1: Music Scores, undated

Subseries 1.2: Published Sheet Music, 1883-1992

Series 2: Other Materials, 1940-2007, undated

Series 3: Audiovisual Materials, undated
Biographical / Historical:
Robert Nathaniel "Bobby" Tucker Jr. was born in Morristown, New Jersey, January 8, 1923 and died there on April 12, 2007. He was an accomplished pianist, arranger, and accompanist. He began performing at the age of fourteen and later studied in New York at the Institute of Musical Art. In 1946, he became accompanist to jazz vocalist Mildred Bailey and later that year, to renowned jazz vocalist Billie Holiday, with whom he remained until 1949 and with whom he had a strong and enduring, platonic friendship. Tucker continued to make recordings with Holiday into the 1950s.

Beginning in 1949, Tucker embarked on a lifetime collaboration as accompanist and musical director for the great African American balladeer and recording artist Billy "Mr. B" Eckstine. After leading a highly-acclaimed band from 1944-1947, Eckstine returned to a career as a solo singer, becoming the country's most popular vocalist in 1949-1950 and signing a lucrative five-year contract with Metro-Goldwyn-Mayer Studios, Incorporated (MGM). Although his popularity waned after 1951, he continued to play in major nightclubs in the United States and abroad for the next several decades and to release several popular albums. As his piano accompanist for over forty years, Tucker helped build and sustain the singer's career, reinventing Eckstine as the nation's musical tastes changed, and the music industry evolved. During his stint with Eckstine, Tucker worked on concerts—planning, arranging music, transcribing, and transposing works for performances; on recordings—preparing written arrangements, working integrally with recording companies. Engagements included recordings and performances with the Count Basie Orchestra; recordings under the direction of Quincy Jones; performances in Las Vegas; and band tours of Europe, Australia, and Japan.

Tucker was a renowned piano accompanist, and while working for Eckstine he was eagerly sought out by other singers, including Johnny Hartman, Lena Horne, Tony Bennett, and Sarah Vaughan. He also collaborated with other jazz accompanists such as Jimmy Jones, Jimmy Rowles, and John Malachi. In his autobiography, Quincy Jones says that Tucker inspired him to begin studying music after they met in Seattle, while Jones was touring with Billie Holiday. Jones attributed all of the success he garnered in his career to the core skills he developed as a result of Tucker's inspiration. Tucker worked with Jones to arrange and conduct the music for the 1978 film The Wiz, which received an Academy Award nomination for best original music score.
Related Materials:
Materials in the Archives Center

Smithsonian Jazz Oral History Program Collection (AC0808)

Contains an oral history interview with Bobby Tucker, February 27-28, 2004
Provenance:
Donated to the Archives Center in 2008 by Tucker's widow, Irma J. Tucker.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Musical arrangers  Search this
Music -- 20th century -- United States  Search this
Pianists  Search this
Musicians -- 20th century  Search this
Genre/Form:
Orchestrations
Programs -- Concerts
Sheet music
Clippings
Photographs -- 20th century
Citation:
Bobby Tucker Papers, 1883-1990, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.1141
See more items in:
Bobby Tucker Papers
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-1141
Additional Online Media:

Chico O'Farrill Papers

Creator:
O'Farrill, Chico, 1921-  Search this
O'Farrill, Lupe  Search this
Stravinsky, Igor, 1882-1971  Search this
Extent:
1 Cubic foot (5 boxes)
Type:
Archival materials
Collection descriptions
Photographs
Videotapes
Scores
Date:
1975 - 1975
1999 - 1999
1949
Summary:
The collection documents the professional career of Chico O'Farrill, Cuban-born trumpet player, composer and arranger of Afro Cuban, bebop, and other styles of jazz.
Scope and Contents:
The collection consists of materials documenting the musical career of Chico O'Farrill. There are no personal papers, and there is very little information about his life.
Arrangement:
The collection is arranged into two series.

Series 1, Music Manuscripts, undated

Series 2, Other Materials, 1949, 1975, 1999
Biographical / Historical:
: Arturo (Chico) O' Farrill was born October 28, 1921, into an Irish-German Cuban family in Havana, Cuba. He learned to play trumpet while attending Riverside Military Academy in Gainesville, Georgia. O'Farrill later returned to Havana and studied composition. He arranged and composed classical music and jazz for mainstream and Latin musicians. He played trumpet throughout the mid-forties with various Cuban bands, including the Lecuna Cuban Boys. In 1948, O'Farrill moved to New York to study at The Julliard School. Later he composed and arranged music for Benny Goodman, Count Basie, Machito, Stan Kenton, Dizzy Gillespie, and Gato Barbieri. He collaborated with impresario Norman Granz, who helped put together a recording session including Machito, alto saxophonist Charlie Parker, tenor saxophonist Flip Phillips and drummer Buddy Rich. They recorded Afro Cuban Jazz Suite in 1950, a successful blend of the bebop sound he arranged for Benny Goodman and Latin jazz rhythms. O'Farrill formed his own band and toured the United States and Cuba, returning to Havana around 1955, subsequently relocating to Mexico City. O'Farrill moved to Los Angeles in 1965. He recorded Afro Cuban Moods with Dizzy Gillespie in 1975. Around this time, he began to compose commercial music for advertising and television. From 1998 until 2000, he conducted the Lincoln Center Latin Jazz Orchestra and the Chico O'Farrill Afro-Cuban Jazz Big Band in New York. O'Farrill died on June 27, 2001 in New York City.
Materials in the Archives Center, National Museum of American History:
Paquito D'Rivera Music Manuscripts and Photograph (AC0891)

Tito Puente Papers (AC0894)

Mongo Santamaria Papers (AC0893)

Charismic Productions Records of Dizzy Gillespie (AC0979)

Latino Music Collection (AC0852)
Provenance:
Guadalupe Valero O'Farrill, widow of Chico O'Farrill, donated the collection in 2005.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Jazz  Search this
Music -- 20th century  Search this
Jazz musicians -- United States  Search this
Musicians -- United States  Search this
Genre/Form:
Photographs -- 20th century
Videotapes
Scores
Citation:
Chico O'Farrill Papers, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0892
See more items in:
Chico O'Farrill Papers
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0892
Additional Online Media:

Martin and Morris Music Company Records

Creator:
Martin and Morris Music Company  Search this
Morris, Necey, Mrs.  Search this
Martin, Sallie  Search this
Morris, Kenneth, 1917-  Search this
Names:
O'Neal Twins, The  Search this
Rasberry (Raymond) Singers  Search this
Singing Caravan, The  Search this
Ward (Clara) Singers, The  Search this
Bowles, Lillian  Search this
Bradford, Alex  Search this
Cleveland, James  Search this
Crouch, Andrae  Search this
Extent:
8.7 Boxes (27 boxes)
Type:
Archival materials
Collection descriptions
Ephemera
Sheet music
Advertisements
Photographs
Songbooks
Correspondence
Business records
Date:
circa 1930-1985
Scope and Contents:
Scope and Content Note

The Martin and Morris Company Records date from ca. 1930 to 1985 and document a neglected part of the American music historical record. The collection is particularly important because of the company's contributions to the field of Gospel music. According to Horace Boyer (in We'll Understand It Better....), Martin and Morris Music Company was the only music house that would publish compositions by others than themselves during the heyday years of Gospel music (ca.1945-1965). From the collection it can be noted also that Gospel music in the United States was a grass roots activity. Insight as to its development and distribution can be gained through study of the firm's records.

Some of the more well known musicians whose compositions were published by Martin and Morris include: William H. Brewster, Dorothy Love Coates, Lucie Campbell, Alex Bradford, Sam Cook, and Raymond Rasberry. In addition to the noted musicians, several lesser-known artists and members of churches and pastorates from around the nation were published by Martin and Morris and their music was distributed throughout the country and around the world.

Included in the collection are printed Gospel sheet music and music song books, photographs, and business records and ephemera that illustrate the company's business operations. The collection is arranged in six series.

Series 1: CORRESPONDENCE, 1941 1980, consists of four document boxes of materials dating from 1941 through 1980. The correspondence relates to arrangement, cost, and publication of songs from other music companies and individual composers and songwriters. Also included in this series is information pertaining to copyright of song titles, settlements of law suits, and other correspondence concerning disagreements between Martin and Morris and songwriters. The correspondence is arranged by year, and thereafter alphabetically by last names within each period.

Series 2: BUSINESS And FINANCIAL RECORDS, 1940 1978, documents the ordering, sales, publication, and distribution processes of the Martin and Morris Music Company, Inc. Consisting of four document and three flat storage boxes, the materials include bank books, order books, ledgers, and journals. Also contained within this series is one document box of materials consisting of agreements and contracts between Martin and Morris and others; copyright and permissions documents; company invoices; corporate income tax returns; financial statements, and business advertising ephemera, such as programs, calendars, catalogs, and receipts. Many of the books ledgers and journals in this series had bits of paper stuck between the pages. They have been filed in "ephemera folders" of the same number as the book. Items are tagged with information indicating original locations.

Series 3: SHEET MUSIC, ca. 1930 1985, consists of nine document boxes and one flat storage box of song sheets in octavo and full size. Dating from the 1940's to the 1980's, the series comprises music published by Martin and Morris (3A), music distributed by Martin and Morris (3B), and works produced and distributed by other publishers (3C and 3D). Materials are arranged by publisher. Under each publisher, materials are arranged alphabetically by title.

There are two boxes of song titles in Subseries 3A: Music Published by Martin and Morris. Some of the more recognizable ones are: Go down Moses, God be with you till we meet again, I couldn't hear nobody pray, I want two wings, I'm Climbin' Up on the rough side of the mountain, Lead me, guide me, No cross, no crown, Stand by me, What do you know about Jesus ( He's alright). Composers and performers include Doris Akers, Rev. James Cleveland, Thomas Dorsey, Mahalia Jackson, C. A. Tindley.

Subseries 3B: Publishers Distributed by Martin and Morris is in two parts. The first is arranged by publisher, including the Lion, Savgos, and Savoy companies. The second comprises miscellaneous copyright owners & publishers distributed by Martin and Morris. Many of the titles in this section were arranged by Kenneth Morris. Included in this group, which is arranged by title, are compositions performed by artists such as Alex Bradford, The Mighty Clouds of Joy, AndraÇ Crouche, Rev. J. G. Moore, The O'Neal Twins, The Raymond Rasberry Singers, and Donald Vails. Some illustrations of the above groups are included in this section.

Representative publishers included in Subseries 3C: Other Publishers are: Margaret Aikens, Boosey & Hawkes, Bowles, Lucie Campbell, Theodore Frye, Frazier-Cleveland, Roberta Martin, Sallie Martin, Chas. Pace, Theodore Presser, Raymond Rasberry, and Dorothy Akers. The oversized materials from this series appear in Box 9.

Subseries 3D: Miscellaneous Publishers consists of compositions from publishing companies that have three or less sheet music titles appearing in the Martin and Morris Music Company Records. The compositions are arranged alphabetically by title. Compositions range in date from 1930's to the 1980's and include works written or performed by such greats as the Clara Ward Singers, the Davis Sisters, The Golden Tone Singers, Cleavant Derricks, and Eddie Simmons. There are dozens of titles included in this section. Among them are: He is my all and all, If I can help somebody, and Rock of Ages. Also included in this section are Christmas titles and some pop tunes. The oversized materials from this series appear in Box 9 which consists of folio sized music. Among the composers is Thomas Dorsey. Donald Vails is numbered among the performers. Many of the pieces in folder 2 contain color illustrations. A listing of titles and composers also has been compiled for this folder and is included therein.

Series 4: SONG BOOKS, ca. 1930 1985, consists of 5 document boxes of song books in octavo and full size. Dating from the 1940's to the 1980's, the series comprises music published or distributed by Martin and Morris (4A), and works produced and distributed by other publishers (4B and 4C). Materials are arranged by publisher. When needed, under each publisher, materials are listed alphabetically by title. Composers and performers include Alex Bradford, James Cleveland, The Davis Sisters, Sallie Martin, The Roberta Martin Singers, The Singing Caravans, and The Clara Ward Singers. There are lesson books included in the boxes marked Other Publishers, and the final box of miscellaneous publishers includes lesson books for jazz and blues piano, and guitar. The oversized materials from this series appear in Box 9.

Series 4C: Miscellaneous Publishers, comprises miscellaneous copyright owners and publishers, and is arranged by title. It consists of song books from publishing companies that have three or less titles appearing in the Martin and Morris Music Company Records. The books are arranged in alphabetical order by publisher.

Series 5: ADVERTISING PHOTOGRAPHS, nd., contains photos that were often submitted for publication on the covers of music or flyers or other advertising materials distributed by the Martin and Morris Music Company. This half document box of materials includes photos of Kenneth Morris, Joe May, the Spirit of Memphis Quartette, the Raymond Rasberry Singers, the Singing Caravan, and Martin & Morris Studios' personnel, among others. Materials are undated, and some remain unidentified.

Series 6: ADVERTISING EPHEMERA, ca. 1935-1979, the final series of the Martin and Morris Music Company Records, also comprises one half document box. It contains ephemera such as newspaper clippings, calendars, publicity materials, and programs. Click here to go to provenance.
Arrangement:
The collection is divided into six series.

Series 1: Correspondence, 1941-1980

Series 2: Business and Financial Records, 1940-1978

Series 3: Sheet Music, circa 1930-1985

Series 4: Song Books, circa 1930-1985

Series 5: Advertising Photographs, undated

Series 6: Advertising Ephemera, circa 1935-1979
Biographical / Historical:
Kenneth Morris (1917-1988) and Sallie Martin (1896-1988) were co-owners of the nation's oldest continuously-running Black Gospel music publishing company. Martin and Morris established the firm in Chicago, Illinois and it remained in operation from 1940 until the 1980's. Martin spent most of her time on the road with her singers advertising the compositions published by the firm. Morris remained in Chicago arranging, composing, and notating music. Along with his wife, Necie, Morris also handled most of the company's paperwork.

Kenneth Morris (8/28/1917-1988), Gospel music publisher, arranger, composer, and innovator, was born in New York. Although he began making music in church as a youngster, he commenced his professional career as a jazz musician. In high school, and later while studying at the Manhattan Conservatory of Music, the ever changing Kenneth Morris Band was often billed at hotels, restaurants, and lounges. He and others of his band traveled to the "Chicago World's Fair" in 1934 to perform dance music for the day and evening concerts. Because of the heavy schedule, Morris became ill, and was forced to leave the band. However, he decided to stay in Chicago, and there met members of the Gospel music community. Among them were Lillian Bowles and Charles Pace. He spent six years with Lillian Bowles Music House, and in 1940, partnered with Sallie Martin to form Martin and Morris Music Company.

Kenneth Morris' partner, Sallie Martin (11/20/1896-6/8/1988) was a noted Gospel musician as well. Born in Pittfield, Georgia, her mother was a traveling musician. After her mother's death (ca. 1912), Martin moved to Atlanta, then to Cleveland, Ohio (1917), and finally settled in Chicago, Illinois (1919). In each of these cities, she sang in church choirs. In 1932, she auditioned for and joined the Pilgrim Baptist Church chorus lead by Thomas Dorsey. And in 1933 she began traveling with Dorsey to help promote his songs. Together they founded the National Convention of Gospel Choirs and Choruses. Martin left Dorsey and toured briefly as a soloist. She partnered with Roberta Martin for a short time, then went on to form her own women's group (The Sallie Martin Singers). She continued with the group and in 1940 she joined Kenneth Morris to form Martin and Morris Music Company.

Martin retired from music in 1970 and sold her portion of the business to Morris in 1973. A pioneering Gospel musician, she was widely known through the tours made by the Sallie Martin Singers. Their performance style influenced musicians across the country and around the world. Among her students were Dinah Washington, Jessy Dixon, Delois Barrett Campbell, and Alex Bradford.

The Martin and Morris Music Company (1940-ca. 1988) was a long awaited "dream come true" for Sallie Martin. As a frequent attendee of the First Church of Deliverance, pastored by Reverend Clarence H. Cobb, Ms. Martin often relayed her desire to him. A popular minister known as "the preacher," Cobb hired Kenneth Morris as his choir director. Morris became a pioneering and innovative Gospel musician. He is noted for the introduction of the Hammond organ to the Gospel music sound. Sallie Martin often sang with Kenneth Morris's Choir. And Cobb persuaded Morris to go into business with Sallie Martin. Martin was a great natural talent, but had no formal music training. She needed a partner who could write and arrange music.

Morris bought out Martin in 1973. And about 1978, he acquired the Theodore Frye and the Roberta Martin catalogues. The Bowles and the Beatrice Brown catalogues were also added to the firm's inventory before Mr. Morris's passing. When he died, Martin and Morris Publishing was the only surviving Black Gospel sheet music distribution house in the nation. His widow continued the business for some time after his death. There was little interest in the company by other family members, and requests for materials were dropping off. With little help and lighter profits, in 1993 Necie Morris began packing up and disposing of the company's records. For more information see We'll Understand It Better By and By, Bernice Johnson Reagon, ed., 1992, SI Press. Clickhere to go to scope and content.
Provenance:
The collection's acquisition was facilitated through Dr. Bernice Johnson Reagon's long-time research on Gospel music. Among the contacts made in her research was the late Kenneth Morris. Dr. Reagon made it known to Chief Archivist, John Fleckner that the Morris family was clearing out the building which the firm had occupied since the 1940's. Mr. Fleckner made contact with Morris' widow, Mrs. Necie Morris, and selected the collection materials for the Museum during an August, 1993 visit to Chicago. Related objects, a large building sign and a banner advertisement, were acquired by the Division of Cultural History.
Restrictions:
Collection is open for research.
Rights:
Copyright restrictions. Contact Martin and Morris Music Company Records: Kenneth Morris, Jr., 913 Cordoba, University Park, IL 60466.

For performance rights contact Reginald Morris, 7400 S. Euclid Ave., Chicago, IL 60649 (773) 643-9492, e-mail: 4morreg@att.net

For clearance of Martin and Morris Music compositions on television contact Otubusin and Associates, Kristina Monkel, 77 W. Washington Blvd., #1204, Chicago, IL 60602 (312) 251-1480; e-mail: kristinamonkel@aol.com.
Topic:
Gospel music -- 1930-1990  Search this
Genre/Form:
Ephemera -- 20th century
Sheet music
Advertisements -- 20th century
Photographs -- 20th century
Songbooks
Correspondence -- 20th century
Business records -- 20th century
Citation:
Martin and Morris Music Company Records, ca. 1930-1985, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0492
See more items in:
Martin and Morris Music Company Records
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0492
Additional Online Media:

The long road to freedom : an anthology of Black music

Author:
De Paur, Leonard arr cnd  Search this
Evans, Mari 1919-2017 wam  Search this
Belafonte, Harry 1927- wam  Search this
Gilbert, Gil  Search this
Belafonte Enterprises pro  Search this
Gil Gilbert Productions  Search this
Physical description:
5 audio discs : digital ; 4 3/4 in. + 1 book (138 pages : illustrations (some color) ; 21 x 28 cm) + 1 videodisc (4 3/4 in.)
Type:
Music
Work songs
Spirituals (Songs)
Folk songs
Folk music
Blues (Music)
Criticism, interpretation, etc
Place:
Africa
United States
Date:
2001
1961
Topic:
African Americans  Search this
African Americans--Music--History and criticism  Search this
Folk music  Search this
Spirituals (Songs)  Search this
Blues (Music)  Search this
Work songs  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1089829

Jim Pepper Sheet Music Collection

Creator:
Pepper, Jim  Search this
Names:
Fund for the Borough of Brooklyn  Search this
Lee, Gordon, 1953-  Search this
Extent:
0.5 Linear Feet
Container:
Box 1
Culture:
Kaw (Kansa)  Search this
Oklahoma Muskogee (Creek)  Search this
Type:
Archival materials
Collection descriptions
Sheet music
Date:
1983-1984
1990
Summary:
This collection includes a selection of handwritten and original sheet music written by Native jazz musician Jim Pepper (Kaw/Oklahoma Muskogee [Creek]).
Scope and Contents:
The Jim Pepper sheet music collection contains a selection of music composed and arranged by native American jazz musician Jim Pepper. This includes five out of the six compositions Jim Pepper was commissioned to create by the Fund for the Borough of Brooklyn through a grant awarded by the Mary Flagler Cary Charitable Trust. These include jazz song "Reflections of Monk", orchestral arrangements "Remembrance" and "Four Winds" and dance scores "Dance #1" and "Feather Dance" all of which were written in 1990. Also included are handwritten copies two earlier compositions "Lakota Song", written in 1984, and a revised composition of "Witchi-Tai-To" from 1983. Additionally there is an undated orchestral arrangement of "Witchi-Tai-To" written by Pepper and orchestrated by Gordon Lee. Several copies of Pepper's business cards from his time touring Europe are also in this collection.
Arrangement:
The music in this collection is arranged alphabetically by song title.
Biographical note:
Jim Pepper was born in 1941 to an Oklahoma Muskogee (Creek) mother and Kaw father in Salem, Oregon. Early influences from his grandfather Ralph Pepper and his father Gilbert led Jim Pepper to learn traditional Kaw music at a young age. However, being raised in Portland exposed Pepper to the jazz of musicians like Sonny Rollins and John Coltrane leading to a fusion of jazz and traditional Native American music in Pepper's compositions. Pepper started playing saxophone at age 15 and moved to New York City in 1964 and played in the jazz rock group "Free Spirits." Pepper album, "Pepper's Pow-Wow" was produced in 1971 and included his first singing effort "Witchi-Tai-To" a peyote chant his grandfather used to sing. After spending several year in Alaska and San Francisco away from the music business, Pepper returned to New York City in 1982 and toured the United Stated and Europe with several groups including the Charlie Haden Liberation Music Orchestra, The Paul Motian Quintet and the Don Cherry Ensemble. Pepper also served at the Music Director for "Night of the First Americans" a benefit concert at the Kennedy Center that included both Native American performers and celebrity entertainers. in 1990 Pepper was the recipient of the "Mary Flagler Charitable Trust" grant. Under this grant Pepper composed 2 jazz songs, 2 scores for Symphony Orchestra and 2 scores for dance in the idiom of Native American music. Pepper died in 1992 of lymphoma in Portland Oregon. Pepper was posthumously granted the Lifetime Musical Achievement Award by First Americans in the Arts in 1999, and in 2000 he was inducted into the Native American Music Awards Hall of Fame.
Related Materials Note:
Along with the original sheet music sent to the Archive Center, the National Museum of the American Indian received several objects from the Pepper family related to Jim Pepper's music career. These objects include Pepper's saxophone and can be found in NMAI's Modern and Contemporary Arts collection with object numbers 26/6293 through 26/6302. For more information on these objects please contact NMAICollection@si.edu.
Provenance:
The Jim Pepper sheet music collection was donated to NMAI in 2007 by Jim Pepper's mother, Floy Childers Pepper, his sister, Suzie Pepper Henry, and Suzie's son James Pepper Henry.
Restrictions:
Access to NMAI Archive Center collections is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).
Rights:
Single photocopies may be made for research purposes. Permission to publish or broadcast materials from the collection must be requested from National Museum of the American Indian Archive Center. Please submit a written request to nmaiarchives@si.edu.
Topic:
Jazz  Search this
Arrangement (Music)  Search this
Genre/Form:
Sheet music
Citation:
Identification of specific item; Date (if known); Jim Pepper Sheet Music Collection, Box and Folder Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
Identifier:
NMAI.AC.062
Archival Repository:
National Museum of the American Indian
EDAN-URL:
ead_collection:sova-nmai-ac-062

Douglass' Monthly, Vol.III, No. IV

Container:
Box 1, Folder 1
Type:
Archival materials
Date:
1860-09
Collection Restrictions:
Use of the materials requires an appointment. Please contact the archivist at acmarchives@si.edu.
Collection Citation:
Collection of Frederick Douglass materials, Anacostia Community Museum Archives, Smithsonian Institution.
See more items in:
Collection of Frederick Douglass' Monthly's, booklets, and other materials
Archival Repository:
Anacostia Community Museum Archives
EDAN-URL:
ead_component:sova-acma-06-112-ref2
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  • View Douglass' Monthly, Vol.III, No. IV digital asset number 1

Pearl Divers of Japan ca. 1960s

Creator:
Linker, Hal 1916  Search this
Physical description:
archival original 1 film reel (910 feet) sound color 16mm
Type:
Television programs
Travelogs
Place:
Japan
Asia
Date:
ca 1960s
Topic:
Cities and towns  Search this
Pearl divers  Search this
Pearl industry and trade  Search this
Tourism  Search this
Petroleum industry and trade  Search this
Tea houses  Search this
Farming  Search this
Flower arrangement  Search this
Festivals  Search this
Clothing and dress  Search this
Dance  Search this
Music--singing  Search this
Local number:
HSFA 2002.16.94
Restrictions & Rights:
OK:0 Information on reproduction and fees available from Human Studies Film Archives
See more items in:
Hal Linker Film and Video Collection, ca. 1955-1985
Data Source:
Human Studies Film Archives
EDAN-URL:
edanmdm:siris_arc_370610

Festival Recordings: Home Narrative: Flower Arranging; Basket Making; What the Blues Can Tell You [sound recording]

Creator:
Smithsonian Institution. Festival of American Folklife. Mississippi Delta Program 1997 Washington, D.C  Search this
Recorder:
Mullen, Mary  Search this
Townes, Eugene 1933-  Search this
Performer:
Virden, Alice  Search this
Wilson, Tampa  Search this
Cusic, Eddie 1926-2015  Search this
Hatten, Veeta  Search this
Physical description:
1 sound cassette : analog
Culture:
Americans  Search this
African American  Search this
Type:
Musical sound recordings
Place:
United States
Washington (D.C.)
Mississippi
Greenville (Miss.)
Louisiana
Winnsboro (La.)
Jackson (Miss.)
Date:
1997
Topic:
Oral history  Search this
Blues (Music)  Search this
Florists  Search this
Gardens  Search this
Flower arranging  Search this
Dressmaking  Search this
Crafts & decorating  Search this
Basket making  Search this
Music  Search this
Local number:
FP-1997-CT-0053-7
Restrictions & Rights:
Restrictions on access. SI Permission
See more items in:
Smithsonian Folklife Festival records, 1967-2010 228797
Data Source:
Ralph Rinzler Folklife Archives and Collections
EDAN-URL:
edanmdm:siris_arc_349596

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