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Thelonious Monk Music Manuscript

Donor:
Monk, Thelonious, Jr.  Search this
Monk, Thelonious, Jr.  Search this
Creator:
Monk, Thelonious  Search this
Extent:
1 Item
Type:
Archival materials
Collection descriptions
Manuscripts
Parts (musical)
Date:
1951.
Scope and Contents:
The tenor saxophone part for "4 in 1".
Arrangement:
Single item.
Biographical / Historical:
Jazz pianist and composer.
Provenance:
Donated by Thelonious Monk, Jr. in 2006.
Restrictions:
Copy available for general research use. Original available by special request only.
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
Genre/Form:
Manuscripts -- Music -- 20th century
Parts (musical)
Citation:
Thelonious Monk Music Manuscript, 1951, Archives Center, National Museum of American History. Gift of Thelonious Monk, Jr.
Identifier:
NMAH.AC.0914
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0914
Additional Online Media:

William Russo Transcription and Arrangement of Duke Ellington's First Concert of Sacred Music

Creator:
Ellington, Duke, 1899-1974  Search this
Russo, William, 1928-2003  Search this
Names:
Columbia College (Chicago). Contemporary American Music Program  Search this
Extent:
0.5 Cubic feet (1 box)
Type:
Archival materials
Collection descriptions
Transcriptions
Parts (musical)
Manuscripts
Scores
Date:
circa 1967-1968
Scope and Contents:
William Russo Transcription and Arrangement of Duke Ellington's First Concert of Sacred Music consists of the full conductor score, orchestral parts, and choral parts to "In the Beginning God," "Tell Me It's the Truth," "Come Sunday," "The Lord's Prayer," "Will You Be There?" "Ain't But the One," and "David Danced." The transcription and arrangement were created by Professor Russo, who spent some time working with Ellington on the project during the late sixties or early seventies.
Arrangement:
Collection is arranged into one series.
Biographical / Historical:
William Russo was the Director of the Contemporary American Music Program at Columbia College, Chicago. Active in music from 1947 until his death in 2003, he toured Europe as the leader of a quintet; lived in London, where he conducted the London Jazz Orchestra and worked with the BBC; and lived and taught in New York and Chicago. Russo was noted in the fifties as a composer of experimental music for Stan Kenton's orchestra and Third Stream Music for the Russo orchestra. He has been a trombonist, composer, arranger, and conductor.
General:
Russo stated that Duke Ellington loaned him the music in 1967-1968.
Related/Analytical Title:
In the Beginning God

Tell Me It's the Truth

The Lord's Prayer

Ain't But the One

First Sacred Concert
Provenance:
The materials were donated to the Archives Center by Prof. Russo during a January, 1991 conference of the International Association of Jazz Educators held in Washington, D.C.
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:
Conductors -- 20th century  Search this
Choruses, Sacred (Mixed voices) with instrumental ensemble  Search this
Musicians -- 20th century  Search this
Choral music  Search this
Church music  Search this
Genre/Form:
Transcriptions
Parts (musical)
Manuscripts -- Music -- 20th century
Scores
Citation:
William Russo Transcription and Arrangement of Duke Ellington's First Concert of Sacred Music, 1967-1968, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0406
See more items in:
William Russo Transcription and Arrangement of Duke Ellington's First Concert of Sacred Music
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0406

Boyd Raeburn Papers

Creator:
Mandel, Johnny  Search this
Raeburn, Boyd,, 1913-1966  Search this
Kleeb, Milt,, 1919-2015  Search this
Johnson, Budd  Search this
Gillespie, Dizzy, 1917-1993  Search this
Williams, George D.,, 1917-1988  Search this
Handy, George  Search this
Flanagan, Ralph  Search this
Villepigue, Paul,, 1919-1953  Search this
Tizol, Juan  Search this
Richards, Johnny,  Search this
Finckel, Edwin A.  Search this
Dameron, Tadd,, 1917-1965  Search this
Baum, Stanley  Search this
Donor:
Raeburn, Susan  Search this
Raeburn, Bruce Boyd,, 1948-  Search this
Names:
Boyd Raeburn Orchestra  Search this
Extent:
9 Cubic feet
Type:
Archival materials
Collection descriptions
Scrapbooks
Clippings
Music
Scores
Parts (musical)
Date:
circa 1942-1949
Scope and Contents:
The collection consists primarily of the "band library" for the Boyd Raeburn Orchestra, containing arrangements of musical numbers performed by the Orchestra. The arrangers included Ed Finckel, Juan Tizol, George Handy, Budd Johnson, Johnny Richards, Stanley Baum, Ralph Flanagan, Johnny Mandel, George "The Fox" Williams, Milt Kleeb, Tadd Dameron, and others. The parts for instruments are in the composer/arranger's hand, in most cases. Also included are two scrapbooks containing mostly clippings from entertainment magazines such as Down Beat and Variety.
Arrangement:
The collection is arranged into one series. Musical parts are arranged by title.
Biographical / Historical:
Raeburn was a society band leader who began his career after winning a contest for a year-long engagement at the 1933 Chicago World's Fair, while a student at the University of Chicago. In the 1940s he led a swing band in Chicago and from 1942-1949 led of a racially mixed bebop oriented band, which at various times included Roy Eldridge, Dizzy Gillespie, Oscar Pettiford, and numerous others.
Provenance:
Donated to the Archives Center by Raeburn's son and daughter, Bruce and Susan Raeburn, 2017.
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:
Music -- 20th century -- United States  Search this
Orchestras -- 1940-1950  Search this
Swing (Music)  Search this
Jazz -- 20th century -- United States  Search this
Genre/Form:
Scrapbooks -- 1940-1950
Clippings -- 1940-1950
Music
Scores
Parts (musical)
Citation:
Boyd Raeburn Papers, ca. 1942-1949, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.1431
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-1431

Doc Cheatham Papers

Creator:
Cheatham, Doc, 1905-1997  Search this
Cheatham, Amanda  Search this
Extent:
11 Cubic feet
Type:
Archival materials
Collection descriptions
Home movies
Interviews
Parts (musical)
Passports
Photographs
Posters
Programs
Motion pictures (visual works)
Sheet music
Appointment books
Address books
Clippings
Awards
Date:
1939-1998
Summary:
Papers documenting Cheatham's career as a jazz trumpeter. The papers include passports, appointment and address books; photographs, both personal and professional; a transcript of an interview of Cheatham; sheet music, including parts for various instruments; home movies from Cheatham's travels; awards and certificates; printed material including posters, programs, clippings.
Scope and Contents:
The Adolphus "Doc" Cheatham Papers contain publications, photographs, correspondence, memorabilia, autobiographical materials, music, awards, and audio and visual recordings documenting his life and career as a big band and jazz trumpeter.

The collection is 11 cubic feet and is organized into five series: Series 1: Publications, Series 2: Photographs and Artwork, Series 3: Personal Papers and Memorabilia, Series 4: Music and Awards, and Series 5: Audioviusal Materials. The majority of the material dates from the mid-1930s to the late 1990s.
Arrangement:
The collection is arranged into five series.

Series 1: Publications, circa 1950s-1990s

Series 2: Photographs and Artwork, 1930s-1990s

Series 3: Personal Papers and Memorabilia, circa 1930s-1990s

Series 4: Music and Awards, circa 1940s-1990s ' Series 5: Audiovisual Materials, circa 1930s-1990s
Biographical / Historical:
Adolphus "Doc" Cheatham (1905-1997) was born in Nashville, Tennessee. He grew up playing trumpet and saxophone in the pit orchestra of the Bijou Theater where he accompanied such blues artists as Ma Rainey and Bessie Smith. His first professional break was with Marion Hardy's band for the Sunshine Sammy Revue.

After touring with Hardy's band in 1924, Cheatham taught himself to read music and moved to Chicago, where he became acquainted with Louis Armstrong. Under the influence of Armstrong, Cheatham decided to play trumpet exclusively and eventually subbed for Armstrong. While in Chicago, Cheatham also worked with Wilbur De Paris and Chick Webb. Between 1927 and 1930 he toured Europe as the lead trumpet player for Sam Wooding.

When Cheatham returned to the United States in 1930, he joined Marion Hardy's Alabamians, but eventually took a position in McKinney's Cotton Pickers. In 1933 he joined Cab Calloway's Orchestra and toured with him for nine years, including a tour of South America. Cheatham took a few months off in 1933 but soon found himself in recording studios with such jazz legends as Count Basie and Billie Holiday. During recording sessions and performances throughout the 1940s Cheatham continued to develop his skills as a trumpet soloist in big bands and smaller ensembles.

The eventual decline of big bands in the 1950s led Cheatham to explore Latin music. As a result, he performed with Marcelino Guerra, Perez Prado, and Machitos Band. Cheatham reunited with Wilbur De Paris in 1957 for a tour of Africa and in the following year he toured Europe with Sammy Price. In 1960 he returned to Africa with Herbie Mann and later moved to New York where he led his own band.

During the 1960s Cheatham decided to build on his past music influences to improve himself as a soloist and improviser. Consequently, he gained an international reputation as a trumpet soloist. It was at this time that he also began singing on his recordings. Throughout the rest of his career he remained in high demand on the concert and festival circuit.

Cheatham continued performing and recording into the 1990s. Every Sunday for the last years of his life he played at Sweet Basil, his "hangout" club in New York. In 1996 he recorded an album with then newcomer Nicholas Payton. However, the morning after a 1997 concert with Payton in Washington, D.C. Cheatham suffered a fatal stroke. He did not live to see his collaboration with Payton receive a Grammy for Best Jazz Instrumental Performance in 1998.
Separated Materials:
The Division of Culture and the Arts, National Museum of American History holds related artifacts: a trumpet, trumpet mutes, bowtie, and pair of glasses.
Provenance:
The collection was donated to the Archives Center by Amanda N. Cheatham, widow of Doc Cheatham, June, 2002.
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 musicians -- United States  Search this
Trumpet players -- 20th century  Search this
Genre/Form:
Home movies
Interviews
Parts (musical)
Passports
Photographs -- 20th century
Posters -- 20th century
Programs -- Concerts
Motion pictures (visual works)
Sheet music
Appointment books
Address books
Clippings -- 20th century
Awards
Citation:
Doc Cheatham Papers, 1939-1998, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0814
See more items in:
Doc Cheatham Papers
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0814
Additional Online Media:

Richard Becker Collection of Alex Bradford Gospel Music Materials

Creator:
Becker, Richard  Search this
Bradford, Alex  Search this
Extent:
0.25 Cubic feet (2 boxes)
Type:
Archival materials
Collection descriptions
Sheet music
Songbooks
Sound recordings
Theater programs
Parts (musical)
Playbills
Programs
Scripts (documents)
Clippings
Music
Date:
1950-1997
undated
Summary:
Papers relating to Alex Bradford's career as a composer of Gospel music. Included among the materials are playbills, published sheet music, music manuscripts, gospel song books, play scripts, newspaper clippings and articles, and one LP record.
Scope and Contents:
The collection documents the career of Alex Bradford as a composer of gospel music. Most of these materials relate to the musical production Your Arms Too Short to Box with God including playbills and an LP. There is a small amount of music manuscripts and published sheet music of songs written by Bradford. His music is also included in three Gospel song books that form part of this collection. In addition, there is one folder of playscripts for some of Bradford's other musical productions. Biographical information about Bradford and the importance of his work to the African American community is found in the newspaper clippings and articles in the collection. There are playbills from the League of New York Theatres and Producers Antoinette Perry Award (Tony Awards) ceremonies. The materials are arranged in chronological order.
Arrangement:
The collection is arranged into one series.
Biographical / Historical:
Alex Bradford was a musical and theater legend who served as a bridge between the gospel and secular worlds in music and performance. Bradford was responsible for the rise and popularity of the mass gospel choir. Alex Bradford was born in Bessemer, Alabama in the late 1920s during an era of racial segregation. A racially-motivated altercation eventually led his mother to send him to New York. Before he left Alabama, Bradford performed on stage and sang in various children's choirs. Bradford was a talented and influential gospel singer, performer, song writer, and stage play author. Richard Becker, an accomplished music producer, worked with the Beatles and the Rolling Stones. Becker's first collaboration with Bradford resulted in their production of Black Nativity, based on a play by Langston Hughes. Commissioned to do a second stage musical, the two created Your Arms Too Short to Box With God, based on the Biblical book of Matthew. Your Arms was the first musical production fully funded at the Ford's Theatre in Washington, DC. The musical made its debut on Broadway at the Lyceum Theatre, on December 22, 1976. The original cast included Al Green, Patti LaBelle, and newcomer Jennifer Holliday.
Related Materials:
Program in African American Culture, 1850-2003
Provenance:
Richard Becker donated the materials to the Museum in January 2001
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.

Reproduction restricted due to copyright or trademark.
Topic:
Gospel music  Search this
Genre/Form:
Sheet music -- 20th century
Songbooks
Sound recordings -- 1930-1990
Theater programs -- 1970-1980
Parts (musical)
Playbills
Programs
Scripts (documents)
Clippings -- 20th century
Music -- Manuscripts
Citation:
Richard Becker Collection of Alex Bradford Gospel Music Materials, 1950-1997, undated Archives Center, National Museum of American History
Identifier:
NMAH.AC.0761
See more items in:
Richard Becker Collection of Alex Bradford Gospel Music Materials
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0761

Sales Register

Collection Creator:
Oldman, W. O. (William Ockleford), 1879-1949  Search this
Extent:
255 Digital images
Type:
Archival materials
Digital images
Date:
1904-1910
Collection Restrictions:
Digital access only. For physical access see the Museum of New Zealand Te Papa Tongarewa website. https://collections.tepapa.govt.nz/agent/4913
Collection Rights:
Copyright in the business records is owned by the Estate of W. O. Oldman represented by the Museum of New Zealand Te Papa Tongarewa, permission for commercial use of the digital images may be requested from the Museum of New Zealand Te Papa Tongarewa, Media Licensing, at: mediasalesandlicensing@tepapa.govt.nz.

For personal or classroom use, users are invited to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not changedand the source of the image is identified as the Museum of New Zealand Te Papa Tongarewa/National Museum of the American Indian, Smithsonian Institution.
Collection Citation:
William Ockleford Oldman Archive research materials, Museum of New Zealand Te Papa Tongarewa and the National Museum of the American Indian, Smithsonian Institution.
Identifier:
NMAI.RM.001, Item CA000228/001/0001
See more items in:
William Ockleford Oldman Archive research materials
Archival Repository:
National Museum of the American Indian
EDAN-URL:
ead_component:sova-nmai-rm-001-ref1
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Sales Register

Collection Creator:
Oldman, W. O. (William Ockleford), 1879-1949  Search this
Extent:
252 Digital images
Type:
Archival materials
Digital images
Date:
1910-1914
Collection Restrictions:
Digital access only. For physical access see the Museum of New Zealand Te Papa Tongarewa website. https://collections.tepapa.govt.nz/agent/4913
Collection Rights:
Copyright in the business records is owned by the Estate of W. O. Oldman represented by the Museum of New Zealand Te Papa Tongarewa, permission for commercial use of the digital images may be requested from the Museum of New Zealand Te Papa Tongarewa, Media Licensing, at: mediasalesandlicensing@tepapa.govt.nz.

For personal or classroom use, users are invited to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not changedand the source of the image is identified as the Museum of New Zealand Te Papa Tongarewa/National Museum of the American Indian, Smithsonian Institution.
Collection Citation:
William Ockleford Oldman Archive research materials, Museum of New Zealand Te Papa Tongarewa and the National Museum of the American Indian, Smithsonian Institution.
Identifier:
NMAI.RM.001, Item CA000228/001/0002
See more items in:
William Ockleford Oldman Archive research materials
Archival Repository:
National Museum of the American Indian
EDAN-URL:
ead_component:sova-nmai-rm-001-ref2
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Duke Ellington Collection

Collector:
Musical History, Division of (NMAH, SI)  Search this
Musical History, Division of (NMAH, SI)  Search this
Creator:
Ellington, Duke, 1899-1974  Search this
Names:
Duke Ellington Orchestra  Search this
Washingtonians, The.  Search this
Ellington, Mercer Kennedy, 1919-1996 ((musician))  Search this
Strayhorn, Billy (William Thomas), 1915-1967  Search this
Extent:
400 Cubic feet
Type:
Archival materials
Collection descriptions
Phonograph records
Papers
Photographic prints
Posters
Sound recordings
Scrapbooks
Music
Clippings
Awards
Audiotapes
Place:
New York (N.Y.) -- 20th century
Harlem (New York, N.Y.) -- 20th century
Washington (D.C.) -- 20th century
Date:
1903 - 1989
Summary:
The collection documents Duke Ellington's career primarily through orchestrations (scores and parts), music manuscripts, lead sheets, transcriptions, and sheet music. It also includes concert posters, concert programs, television, radio, motion picture and musical theater scripts, business records, correspondence, awards, as well as audiotapes, audiodiscs, photographs, tour itineraries, newspaper clippings, magazines, caricatures, paintings, and scrapbooks.
Scope and Contents:
Dating approximately from the time Duke Ellington permanently moved to New York City in 1923 to the time the material was transferred to the Smithsonian Institution in 1988, the bulk of the material in the Duke Ellington Collection is dated from 1934-1974 and comprises sound recordings, original music manuscripts and published sheet music, hand-written notes, correspondence, business records, photographs, scrapbooks, news clippings, concert programs, posters, pamphlets, books and other ephemera. These materials document Ellington's contributions as composer, musician, orchestra leader, and an ambassador of American music and culture abroad. In addition, the materials paint a picture of the life of a big band maintained for fifty years and open a unique window through which to view an evolving American society.

The approximate four hundred cubic feet of archival materials have been processed and organized into sixteen series arranged by type of material. Several of the series have been divided into subseries allowing additional organization to describe the content of the material. For example, Series 6, Sound Recordings, is divided into four subseries: Radio and Television Interviews, Concert Performances, Studio Dates and Non-Ellington Recordings. Each series has its own scope and content note describing the material and arrangement (for example; Series 10, Magazines and Newspaper Articles, is organized into two groups, foreign and domestic, and arranged chronologically within each group). A container list provides folder titles and box numbers.

The bulk of the material is located in Series 1, Music Manuscripts, and consists of compositions and arrangements by Duke Ellington, Billy Strayhorn and other composers. Series 6, Sound Recordings also provides a record of the performance of many of these compositions. The materials in Series 2, Performances and Programs, Series 3, Business Records, Series 8, Scrapbooks, Series 9, Newspaper Clippings, Series 11, Publicity and Series 12, Posters provide documentation of specific performances by Duke Ellington and His Orchestra. Ellington was a spontaneous and prolific composer as evidenced by music, lyrical thoughts, and themes for extended works and plays captured on letterhead stationery in Series 3, Business Records, in the margin notes of individual books and pamphlets in Series 14, Religious Materials and Series 15, Books, and in the hand-written notes in Series 5, Personal Correspondence and Notes.

During its fifty-year lifespan, Duke Ellington and His Orchestra were billed under various names including The Washingtonians, The Harlem Footwarmers and The Jungle Band. The soloists were informally called "the band", and Series 3 includes salary statements, IOU's, receipts and ephemera relating to individual band members. Series 1, Music Manuscripts contains the soloists' parts and includes "band books" of several soloists (for example; Harry Carney and Johnny Hodges) and numerous music manuscripts of Billy Strayhorn. The changing role of Strayhorn from arranger hired in 1938 to Ellington's main collaborator and composer of many well-known titles for Duke Ellington and His Orchestra including "Take The A' Train" and "Satin Doll" can be traced in these music manuscripts. Series 7, Photographs and Series 2, Performances and Programs contain many images of the band members and Strayhorn. This Collection also documents the business history of Duke Ellington and His Orchestra. Series 3, Business Records contains correspondence on letterhead stationery and Series 11, Publicity contains promotional material from the various booking agencies, professional companies, and public relations firms that managed the Orchestra.

The materials in the Duke Ellington Collection provide insight into public and institutional attitudes towards African Americans in mid-twentieth-century America. The business records in Series 3 beginning in 1938 and published sheet music in Series 1 depict Duke Ellington's progression from an African-American musician who needed "legitimization" by a white publisher, Irving Mills, to a businessmen who established his own companies including Tempo Music and Duke Ellington, Incorporated to control his copyright and financial affairs. Programs from the segregated Cotton Club in Series 2, Performances And Programs and contracts with no-segregation clauses in Series 3: Business Records further illustrate racial policies and practices in this time period. The public shift in perception of Duke Ellington from a leader of an exotic "Jungle Band" in the 1930s to a recipient of the Congressional Medal Of Freedom in 1970 is evidenced in Series 2, Performances And Programs, Series 12, Posters, Series 7, Photographs and Series 13, Awards. Reviews and articles reflecting Ellington's evolving status are also documented in Series 8, Newspaper Clippings, Series 9, Scrapbooks, Series 10, Newspaper and Magazine Articles.

The materials in the Duke Ellington Collection reflect rapid technological changes in American society from 1923-1982. Sound recordings in Series 6 range from 78 phonograph records of three minutes duration manufactured for play on Victrolas in monaural sound to long-playing (LP) phonograph records produced for stereo record players. Television scripts in Series 4, programs in Series 2 and music manuscripts (for example, Drum Is A Woman) in Series 1 demonstrate how the development of television as a means of mass communication spread the Orchestra's sound to a wider audience. The availability of commercial air travel enabled the Ellington Orchestra to extend their international performances from Europe to other continents including tours to Asia, Africa, South America and Australia and archival material from these tours is included in every series.

Series 4, Scripts and Transcripts and Series 6, Audio Recordings contain scripts and radio performances promoting the sale of United States War bonds during World War II, and Series 7, Photographs includes many images of Duke Ellington and His Orchestra's performances for military personnel revealing the impact of historic events on Duke Ellington and His Orchestra. Series 2: Programs and Performances, Series 9, Newspaper clippings and Series 8, Scrapbooks document the 1963 Far East tour aborted as a result of President John F. Kennedy's assassination.

The Duke Ellington Collection contains works by numerous twentieth-century music, literature, and art luminaries. Series 1, Music Manuscripts contains original music manuscripts of William Grant Still, Eubie Blake, Mary Lou Williams, and others. Series 4, Scripts and Transcripts contains a play by Langston Hughes, and Series 12, Posters contains many original artworks.
Arrangement:
Series 1: Music Manuscripts, circa 1930-1981, undated

Series 2: Performances and Programs, 1933-1973, undated

Series 3: Business Records, 1938-1988

Series 4: Scripts and Transcripts, 1937-1970

Series 5: Personal Correspondence and Notes, 1941-1974, undated

Series 6: Sound Recordings, 1927-1974

Series 7: Photographs, 1924-1972, undated

Series 8: Scrapbooks, 1931-1973

Series 9: Newspaper Clippings, 1939-1973, undated

Series 10: Magazine Articles and Newspaper Clippings, 1940-1974

Series 11: Publicity, 1935-1988

Series 12: Posters and Oversize Graphics, 1933-1989, undated

Series 13: Awards, 1939-1982

Series 14: Religious Material, 1928-1974

Series 15: Books, 1903-1980

Series 16: Miscellaneous, 1940-1974
Biographical / Historical:
A native of Washington, DC, Edward Kennedy Ellington was born on April 29, 1899. Edward was raised in a middle-class home in the Northwest section of Washington described by his sister Ruth--younger by sixteen years--as a "house full of love." Ellington himself wrote that his father J.E. (James Edward) raised his family "as though he were a millionaire" but Edward was especially devoted to his mother, Daisy Kennedy Ellington. In 1969, thirty-four years after his mother's death, Ellington accepted the Presidential Medal of Freedom with these words, "There is nowhere else I would rather be tonight but in my mother's arms." Both his parents played the piano and Ellington began piano lessons at the age of seven, but like many boys he was easily distracted by baseball.

In his early teens, Ellington sneaked into Washington clubs and performance halls where he was exposed to ragtime musicians, including James P. Johnson, and where he met people from all walks of life. He returned in earnest to his piano studies, and at age fourteen wrote his first composition, "Soda Fountain Rag" also known as "Poodle Dog Rag." Ellington was earning income from playing music at seventeen years of age, and around this time he earned the sobriquet "Duke" for his sartorial splendor and regal air. On July 2, 1918, he married a high school sweetheart, Edna Thompson; their only child, Mercer Kennedy Ellington, was born on March 11, 1919. Duke Ellington spent the first twenty-four years of his life in Washington's culturally thriving Negro community. In this vibrant atmosphere he was inspired to be a composer and learned to take pride in his African-American heritage.

Ellington moved to New York City in 1923 to join and eventually lead a small group of transplanted Washington musicians called "The Washingtonians," which included future Ellington band members, Sonny Greer, Otto Hardwicke and "Bubber" Miley. Between 1923 and 1927, the group played at the Club Kentucky on Broadway and the ensemble increased from a quintet to a ten-piece orchestra. With stride pianist Willie "The Lion" Smith as his unofficial guide, Ellington soon became part of New York's music scene; Smith proved to be a long-lasting influence on Duke's composing and arranging direction. At the Club Kentucky, Ellington came under the tutelage of another legendary stride pianist, "Fats" Waller. Waller, a protege of Johnson and Smith, played solos during the band's breaks and also tutored Ellington who began to show progress in his compositions. In November 1924, Duke made his publishing and recording debut with "Choo Choo (I Got To Hurry Home)" released on the Blu-Disc label. In 1925, he contributed two songs to Chocolate Kiddies, an all-black revue which introduced European audiences to black American styles and performers. By this time Ellington's family, Edna and Mercer, had joined him in New York City. The couple separated in the late 1920's, but they never divorced or reconciled.

Ellington's achievements as a composer and bandleader began to attract national attention while he worked at the Cotton Club in Harlem, New York City, from 1927 to 1932. The orchestra developed a distinctive sound that displayed the non-traditional voicings of Ellington's arrangements and featured the unique talents of the individual soloists. Ellington integrated his soloists' exotic-sounding trombone growls and wah-wahs, their high-squealed trumpets, their sultry saxophone blues licks and Harlem's street rhythms into his arrangements. In the promotional material of the Cotton Club, the band was often billed as "Duke Ellington and His Jungle Band." With the success of compositions like "Mood Indigo," and an increasing number of recordings and national radio broadcasts from the Cotton Club, the band's reputation soared.

The ten years from 1932 to 1942 are considered by some major critics to represent the "golden age" for the Ellington Orchestra, but it represents just one of their creative peaks. These years did bring an influx of extraordinary new talent to the band including Jimmy Blanton on double bass, Ben Webster on tenor saxophone, and Ray Nance on trumpet, violin and vocals. During this ten year span Ellington composed several of his best known short works, including "Concerto For Cootie," "Ko-Ko," "Cotton Tail," "In A Sentimental Mood," and Jump For Joy, his first full-length musical stage revue.

Most notably, 1938 marked the arrival of Billy Strayhorn. While a teenager in Pittsburgh, Pennsylvania, Strayhorn had already written "Lush Life," "Something To Live For" and a musical, Fantastic Rhythm. Ellington was initially impressed with Strayhorn's lyrics but realized long before Billy's composition "Take the A' Train" became the band's theme song in 1942 that Strayhorn's talents were not limited to penning clever lyrics. By 1942, "Swee' Pea" had become arranger, composer, second pianist, collaborator, and as Duke described him, "my right arm, my left arm, all the eyes in the back of my head, my brain waves in his head, and his in mine." Many Ellington/Strayhorn songs have entered the jazz canon, and their extended works are still being discovered and studied today. Strayhorn remained with the Ellington Organization until his death on May 30, 1967.

Ellington had often hinted of a work in progress depicting the struggle of blacks in America. The original script, Boola, debuted in Carnegie Hall in November of 1943, retitled Black, Brown and Beige. The performance met with mixed reviews, and although Ellington often returned to Carnegie Hall the piece was never recorded in a studio, and after 1944 was never performed in entirety again by the Ellington Orchestra. Nonetheless, it is now considered a milestone in jazz composition.

After World War II the mood and musical tastes of the country shifted and hard times befell big bands, but Ellington kept his band together. The band was not always financially self-sufficient and during the lean times Ellington used his songwriting royalties to meet the soloists' salaries. One could assign to Ellington the altruistic motive of loyalty to his sidemen, but another motivation may have been his compositional style which was rooted in hearing his music in the formative stage come alive in rehearsal. "The band was his instrument," Billy Strayhorn said, and no Ellington composition was complete until he heard the orchestra play it. Then he could fine tune his compositions, omit and augment passages, or weave a soloist's contribution into the structure of the tune.

In 1956, the American public rediscovered Duke and the band at the Newport Jazz Festival in Rhode Island. The searing performances of tenor saxophonist Paul Gonsalves on "Diminuendo and Crescendo In Blue," his premiere soloist, alto saxophonist Johnny Hodges on "Jeep's Blues", and the crowd's ecstatic reaction have become jazz legend. Later that year Duke landed on the cover of Time magazine. Although Ellington had previously written music for film and television (including the short film, Black and Tan Fantasy in 1929) it wasn't until 1959 that Otto Preminger asked him to score music for his mainstream film, Anatomy of a Murder, starring Jimmy Stewart. Paris Blues in 1961, featuring box-office stars Paul Newman and Sidney Poitier in roles as American jazz musicians in Paris, followed.

Ellington's first performance overseas was in England in 1933, but the 1960s brought extensive overseas tours including diplomatic tours sponsored by the State Department. Ellington and Strayhorn composed exquisite extended works reflecting the sights and sounds of their travels, including the Far East Suite, 1966. They wrote homages to their classical influences; in 1963, they adapted Tchaikovsky's Nutcracker Suite and celebrated Shakespeare's works with the suite Such Sweet Thunder in 1957. With Ella Fitzgerald, they continued the Norman Granz Songbook Series. Ellington also began to flex his considerable pianist skills and recorded albums with John Coltrane (1963), Coleman Hawkins (1963), Frank Sinatra, and Money Jungle (1963) with Charles Mingus and Max Roach. The First Sacred Concert debuted in San Francisco's Grace Cathedral in 1965. In his final years, Ellington's thoughts turned to spiritual themes and he added a Second (1968) and Third (1973) Concert of Sacred Music to his compositions.

In his lifetime, Duke received numerous awards and honors including the highest honor bestowed on an American civilian, the Congressional Medal Of Freedom. In 1965, Ellington was recommended for a Pulitzer Prize to honor his forty years of contribution to music but the recommendation was rejected by the board. Most likely he was disappointed, but his response at the age of sixty-six was, "Fate is being kind to me. Fate doesn't want me to be famous too young."

Ellington never rested on his laurels or stopped composing. Whenever he was asked to name his favorite compositions his characteristic reply was "the next five coming up," but to please his loyal fans Ellington always featured some of his standards in every performance. Even on his deathbed, he was composing the opera buffo called Queenie Pie.

Duke Ellington died on May 24, 1974 at seventy-five years of age. His funeral was held in New York's Cathedral of St. John The Divine; he was buried in Woodlawn Cemetery. His long-time companion Beatrice "Evie" Ellis was buried beside him after her death in 1976. He was survived by his only child, Mercer Kennedy Ellington, who not only took up the baton to lead the Duke Ellington Orchestra but assumed the task of caring for his father's papers and his legacy to the nation. Mercer Ellington died in Copenhagan, Denmark on February 8, 1996, at the age of seventy-six. Ruth Ellington Boatwright died in New York on March 6, 2004, at the age of eighty-eight. Both Mercer and Ruth were responsible for shepherding the documents and artifacts that celebrate Duke Ellington's genius and creative life to their current home in the Smithsonian Institution's National Museum of American History.
Related Materials:
Materials in the Archives Center

William H. Quealy Collection of Duke Ellington Recordings (AC0296)

Rutgers University Collection of Radio Interviews about Duke Ellington (AC0328)

Duke Ellington Oral History Project (AC0368)

Duke Ellington Collection of Ephemera and realated Audiovisual Materials (AC0386)

Annual International Conference of the Duke Ellington Study Group Proceedings (AC0385)

Robert Udkoff Collection of Duke Ellington Ephemera (AC0388)

Frank Driggs Collection of Duke Ellington Photographic Prints (AC0389)

New York Chapter of the Duke Ellington Society Collection (AC390)

Earl Okin Collection of Duke Ellington Ephemera (AC0391)

William Russo Transcription and Arrangement of Duke Ellington's First Concert of Sacred Music (AC0406)

Ruth Ellington Collection of Duke Ellington Materials (AC0415)

Music manuscripts in the Ruth Ellington Collection complement the music manuscripts found in the Duke Ellington Collection.

Carter Harman Collection of Interviews with Duke Ellington (AC0422)

Betty McGettigan Collection of Duke Ellington Memorabilia (AC0494)

Dr. Theodore Shell Collection of Duke Ellington Ephemera (AC0502)

Edward and Gaye Ellington Collection of Duke Ellington Materials (AC0704)

Andrew Homzy Collection of Duke Ellington Stock Music Arrangements (AC0740)

John Gensel Collection of Duke Ellington Materials (AC0763)

Al Celley Collection of Duke Ellington Materials (AC1240)

Materials at Other Organizations

Institute of Jazz Studies

Websites

Billy Strayhorn Website

Duke Ellington Society
Separated Materials:
Artifacts related to this collection are in the Division of Culture and the Arts and include trophies, plaques, and medals. See accessions: 1989.0369; 1991.0808; 1993.0032; and 1999.0148.
Provenance:
The collection was purchased through an appropriation of Congress in 1988.
Restrictions:
The 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.

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:
Big bands  Search this
Pianists  Search this
Composers -- 20th century  Search this
Bandsmen -- 20th century  Search this
Jazz -- 20th century -- United States  Search this
Musicians -- 20th century  Search this
Music -- Performance  Search this
African American entertainers -- 20th century  Search this
African Americans -- History  Search this
Popular music -- 20th century -- United States  Search this
Music -- 20th century -- United States  Search this
African American musicians  Search this
Genre/Form:
Phonograph records
Papers
Photographic prints
Posters
Sound recordings
Scrapbooks -- 20th century
Music -- Manuscripts
Clippings
Awards
Audiotapes
Citation:
Duke Ellington Collection, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0301
See more items in:
Duke Ellington Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0301
Additional Online Media:

Take the A train [music]

Composer:
Strayhorn, Billy (William Thomas), 1915-1967  Search this
Collection Collector:
Musical History, Division of (NMAH, SI)  Search this
Collection Creator:
Ellington, Duke, 1899-1974  Search this
Extent:
1 Item (manuscript, 32 cm.)
Type:
Archival materials
Music
Parts (musical)
Manuscripts
Scope and Contents:
1 part.
Take the A train is contained in one folder consisting of 1 part in Eb Major concert -- in pencil -- in unidentified hand.
Part for 1 trumpet - Rex. Part is noted on the verso of the trombone part for "Indiana," Folder C, grouping i. -- from the Duke Ellington Library.
Biographical / Historical:
Statement of responsibility taken from Popular Music, 1920-1979, ed. Nat Shapiro.
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 Dr. Mark Tucker.
Unsigned Strayhorn composition.
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:
Music
Parts (musical)
Manuscripts -- Music -- 20th century
Collection Citation:
Duke Ellington Collection, Archives Center, National Museum of American History
See more items in:
Duke Ellington Collection
Duke Ellington Collection / Series 6: Sound Recordings / Perdido/Take The A Train - Oscar Pettiford, 301.21-.22
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0301-ref51823

Untitled [music]

Collection Collector:
Musical History, Division of (NMAH, SI)  Search this
Collection Creator:
Ellington, Duke, 1899-1974  Search this
Extent:
1 Item (mixed score(s) and/or part(s) (holograph), 32 cm.)
1 Item (manuscript, 32 cm.)
Type:
Archival materials
Manuscripts
Holographs
Music
Parts (musical)
Scope and Contents:
2 parts
This untitled piece is contained in one folder consisting of 2 parts in G Major concert (?) -- in pencil -- in unidentified hands (DE, other?).
Parts for unidentified treble instruments. Parts are noted on the verso of "Falling like a raindrop." -- from the Duke Ellington Library.
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 Dr. Mark Tucker.
Condition: fair.
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:
Manuscripts -- Music -- 20th century
Holographs
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
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0301-ref53211

Untitled [music]

Collection Collector:
Musical History, Division of (NMAH, SI)  Search this
Collection Creator:
Ellington, Duke, 1899-1974  Search this
Extent:
4 Items (manuscripts, 31 cm.)
Type:
Archival materials
Manuscripts
Music
Parts (musical)
Scope and Contents:
4 parts
This untitled piece is contained in one folder consisting of 1 part in Db Major concert (?), 1 part in Bb Major concert (?), 1 part in F Major concert (?) and 1 part in G Major concert (?) -- in pencil -- in unidentified hand (Tizol?).
Parts for unidentified treble instruments (2) and unidentified bass instrument (2). Parts are noted on the verso of parts for "Farewell blues." -- from the Duke Ellington Library.
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 Dr. Mark Tucker.
Condition: fair, torn.
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:
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
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0301-ref53213

Johnny peddler [music]

Collection Collector:
Musical History, Division of (NMAH, SI)  Search this
Collection Creator:
Ellington, Duke, 1899-1974  Search this
Extent:
1 Item (manuscript, 32 cm.)
Type:
Archival materials
Manuscripts
Music
Parts (musical)
Scope and Contents:
1 part
Johnny peddler is contained in one folder consisting of 1 part in F Major concert -- in pencil -- in unidentified hand.
Part for guitar. Part is noted on the verso of a fourteen page conductor score for "Fat and forty," Folder B, grouping ii. -- from the Duke Ellington Library.
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 Dr. Mark Tucker.
Condition: fair.
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:
Manuscripts -- Music -- 20th century
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
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0301-ref53217

Untitled [music]

Collection Collector:
Musical History, Division of (NMAH, SI)  Search this
Collection Creator:
Ellington, Duke, 1899-1974  Search this
Extent:
1 Item (manuscript, 32 cm.)
Type:
Archival materials
Manuscripts
Music
Parts (musical)
Scope and Contents:
1 part
This untitled piece is contained in one folder consisting of 1 part in D Major concert (?) -- in pencil -- in unidentified hand.
Part for unidentified treble instrument. Part is noted on the verso of a part for unidentified treble instrument for "Fanfare," Folder B, grouping iii. -- from the Duke Ellington Library.
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 Dr. Mark Tucker.
Condition: torn.
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:
Manuscripts -- Music -- 20th century
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
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0301-ref53220

Wonder [music]

Collection Collector:
Musical History, Division of (NMAH, SI)  Search this
Collection Creator:
Ellington, Duke, 1899-1974  Search this
Extent:
6 Items (copy scores, 31 cm.)
Container:
Box 412, Folder 2
Type:
Archival materials
Copy scores
Manuscripts
Music
Parts (musical)
Scope and Contents:
see also Subseries 1.3
6 parts
Wonder is contained in one folder consisting of 6 parts in C Major concert -- in ink -- in unidentified hand.
Parts for 2 reeds - tenor 2, baritone; 3 trombones - 1, 2, 3; unidentified Bb treble instrument. -- All items except part for unidentified instrument from the Duke Ellington Library.
Biographical / Historical:
Part for unidentified instrument from the Mercer Ellington Library.
General:
Handwriting and other details have been reported based on the notes of David Berger, Andrew Homzy, Dr. Theodore Hudson, Walter van de Leur, Wayne Shirley, and Dr. Mark Tucker.
Condition: fair, torn, tape.
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 / 1.1.23: W
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0301-ref47161

The Wonder of you [music]

Composer:
Ellington, Duke, 1899-1974  Search this
Hodges, Johnny  Search this
Lyricist:
George, Don  Search this
Arranger:
Jones, Jimmy, 1918-  Search this
Collection Collector:
Musical History, Division of (NMAH, SI)  Search this
Collection Creator:
Ellington, Duke, 1899-1974  Search this
Extent:
2 Items (mixed score(s) and/or part(s) (holographs), 32 cm.)
34 Items (copy scores, 32 cm.)
1 Item (conductor score and/or parts (Published sheet music), 29 cm.)
Container:
Box 412, Folder 3-6
Type:
Archival materials
Copy scores
Holographs
Lead sheet
Manuscripts
Music
Parts (musical)
Piano vocal scores
Published sheet music
Short scores
Date:
1945
Scope and Contents:
see also Subseries 1.3
34 parts and an indefinite number of scores
The wonder of you is contained in four folders consisting of 1 four page short score and 7 parts in Db Major concert, 1 six page short score and 7 parts in Ab Major concert, 1 part in Eb Major concert, 5 parts in F Major concert, and 1 published two page piano vocal score, 1 lead sheet and 13 parts in G Major concert -- in ink and pencil -- in identified hands (DE, BS) and unidentified hands (Whaley, Hamilton?).
Folder A contains short scores and lead sheet. Short score in Ab Major indicates parts for Rabbit, Otto, Sears, Jimmy, baritone, Cat, Rex. Short score in Db Major indicates parts for alto, tenor, saxes, trumpets, Tricky, Jones. Short scores are unrelated. Lead sheet for voice. Lyrics begin "I've steered an ocean liner ...".
Folder B contains parts in 4 groupings -- (i) Parts in Db Major for 1 reed - Jimmy; 4 trumpets - Ray, Taft, Cat, Scad; 2 trombones - Jones, Brown. Parts in Db Major correspond to short score in Db Major in Folder A. Part in Eb Major for 1 trombone - Brown. -- (ii) Parts in Ab Major for 1 reed - Carney; 3 trumpets - Taft, Cat, Scad; 3 trombones - Tricky, Brown, Jones. Parts correspond to short score in Ab Major in Folder A. -- (iii) Parts in F Major for 1 trumpet - 3; 2 trombones - 1, 2. -- (iv) Parts in F Major for 2 reeds - alto 3, tenor 4.
Folder C contains published piano vocal score. Lyrics begin as above.
Folder D contains parts in G Major for 5 reeds - Rabbit, alto 1, alto 2, tenor, baritone; 3 trumpets - Ernie, 2, 3; trombone; bass; drums; guitar; piano. -- All items except Folder C from the Duke Ellington Library.
Biographical / Historical:
Folder C from the Presentation Album, vol. H. There appear to be numbers from the Duke Ellington Band Book: 148, 390.
General:
Handwriting and other details have been reported based on the notes of David Berger, Andrew Homzy, Dr. Theodore Hudson, Walter van de Leur, Wayne Shirley, and Dr. Mark Tucker.
Condition: fair, torn, worn, brittle, tape.
Other Title:
Wonder.
Publication:
New York, NY, Grand Music Corporation, 1945
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
Holographs
Lead sheet
Manuscripts
Music
Parts (musical)
Piano vocal scores
Published sheet music
Short scores
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 / 1.1.23: W
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0301-ref47165

Woodchopper's ball [music]

Composer:
Herman, Woody  Search this
Bishop, Joe  Search this
Arranger:
Osser, Glenn  Search this
Collection Collector:
Musical History, Division of (NMAH, SI)  Search this
Collection Creator:
Ellington, Duke, 1899-1974  Search this
Extent:
1 Item (mixed score(s) and/or part(s) (holograph), 32 cm.)
19 Items (conductor score and/or parts (Published sheet music), 31 cm.)
Container:
Box 412, Folder 7-8
Type:
Archival materials
Conductor scores
Holographs
Manuscripts
Music
Parts (musical)
Piano conductor scores
Published sheet music
Short scores
Date:
1943
Scope and Contents:
17 parts and an indefinite number of scores
Woodchopper's ball is contained in two folders consisting of 1 two page short score, 1 published three page conductor score, 1 published five page piano conductor score and 17 published parts in C Major concert -- in ink and pencil -- in unidentified hand (DE?).
Folder A contains short score. Short score indicates parts for Rab, clarinet, Ray, Chuck, Brown.
Folder B contains published items in 2 groupings -- (i) Parts for piano (3). -- (ii) Conductor score, piano conductor score and remaining parts. Conductor score indicates parts for sax, tenor, trumpet, bass. Piano conductor score indicates parts for sax, tenor, trumpet, bass. Parts for 4 reeds - alto 1, tenor 2, tenor 4, baritone; 3 trumpets - 1, 2, 3; 3 trombones - 1, 2, 3; tuba; bass; drums; guitar. -- from the Duke Ellington Library.
General:
Handwriting and other details have been reported based on the notes of David Berger, Andrew Homzy, Dr. Theodore Hudson, Walter van de Leur, Wayne Shirley, and Dr. Mark Tucker.
Condition: fair, worn.
Other Title:
Wood.
Publication:
New York, NY, Leeds Music Corp., 1943
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:
Conductor scores
Holographs
Manuscripts
Music
Parts (musical)
Piano conductor scores
Published sheet music
Short scores
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 / 1.1.23: W
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0301-ref47171

Woof [music]

Collection Collector:
Musical History, Division of (NMAH, SI)  Search this
Collection Creator:
Ellington, Duke, 1899-1974  Search this
Extent:
1 Item (mixed score(s) and/or part(s) (holograph), 32 cm.)
11 Items (copy scores, 32 cm.)
Container:
Box 412, Folder 9
Type:
Archival materials
Copy scores
Holographs
Manuscripts
Music
Parts (musical)
Short scores
Scope and Contents:
11 parts and 1 score
Woof is contained in one folder consisting of 1 four page short score and 11 parts in Eb Major concert -- in ink and pencil -- in unidentified hands (DE, Whaley?).
Short score indicates parts for saxes, Paul, baritone, Terry, trumpets, trombones. Parts for 5 reeds - alto 1, alto 3, Jimmy, Paul, Carney; 3 trumpets - Terry, 3, 4; 3 trombones - 1, 2, 3. -- from the Duke Ellington Library.
General:
Handwriting and other details have been reported based on the notes of David Berger, Andrew Homzy, Dr. Theodore Hudson, Walter van de Leur, Wayne Shirley, and Dr. Mark Tucker.
Condition: fair, worn, tape.
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
Holographs
Manuscripts
Music
Parts (musical)
Short scores
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 / 1.1.23: W
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0301-ref47174

Wool [music]

Collection Collector:
Musical History, Division of (NMAH, SI)  Search this
Collection Creator:
Ellington, Duke, 1899-1974  Search this
Extent:
4 Items (copy scores, 32 cm.)
Container:
Box 412, Folder 10
Type:
Archival materials
Copy scores
Manuscripts
Music
Parts (musical)
Scope and Contents:
4 parts
Wool is contained in one folder consisting of 4 parts in C Major concert -- in ink -- in unidentified hand.
Parts for 1 reed - tenor; 2 trumpets - Cooty, Rex; 1 trombone - 1. -- from the Duke Ellington Library.
General:
Handwriting and other details have been reported based on the notes of David Berger, Andrew Homzy, Dr. Theodore Hudson, Walter van de Leur, Wayne Shirley, and Dr. Mark Tucker.
Condition: worn.
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 / 1.1.23: W
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0301-ref47175

Work song [music]

Topic:
My people
Collection Collector:
Musical History, Division of (NMAH, SI)  Search this
Collection Creator:
Ellington, Duke, 1899-1974  Search this
Extent:
14 Items (copy scores, 31 cm.)
Container:
Box 412, Folder 10
Type:
Archival materials
Copy scores
Manuscripts
Music
Parts (musical)
Scope and Contents:
see BLACK, BROWN AND BEIGE see MY PEOPLE
14 parts
Work song is contained in one of thirty four folders for "My people" consisting of 14 parts in C Major concert -- in ink -- in unidentified hand (Whaley?).
Parts for 5 reeds - alto, clarinet, tenor 2, tenor 4, baritone; 4 trumpets - 1, 2, 3, 4; 3 trombones - 1, 2, 3; bass; drums. -- from the Duke Ellington Library.
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.
Condition: fair, worn.
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 / 1.1.23: W
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0301-ref47180

World [music]

Collection Collector:
Musical History, Division of (NMAH, SI)  Search this
Collection Creator:
Ellington, Duke, 1899-1974  Search this
Extent:
1 Item (manuscript, 32 cm.)
Container:
Box 412, Folder 11
Type:
Archival materials
Manuscripts
Music
Parts (musical)
Scope and Contents:
1 part
World is contained in one folder consisting of 1 part in F Major concert -- in pencil -- in unidentified hand (Tizol?).
Part for 1 trumpet - 1. Part is contained with "Waltz toot fleur," from "Nutcracker suite." -- from the Duke Ellington Library.
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.
Condition: fair.
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:
Manuscripts -- Music -- 20th century
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 / 1.1.23: W
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0301-ref47186

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