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Chico O'Farrill Papers

Creator:
O'Farrill, Chico, 1921-2001  Search this
O'Farrill, Lupe  Search this
Stravinsky, Igor, 1882-1971  Search this
Extent:
1 Cubic foot (5 boxes)
Type:
Collection descriptions
Archival materials
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
Online Media:

Smithsonian Jazz Oral History Program Collection

Collector:
National Museum of American History (U.S.). Archives Center  Search this
Producer:
National Museum of American History (U.S.). Dept. of Public Programs  Search this
America's Jazz Heritage  Search this
Smithsonian Institution. Traveling Exhibition Service  Search this
Funder:
Lila Wallace-Reader's Digest Fund  Search this
Ella Fitzgerald Charitable Foundation  Search this
National Endowment for the Arts  Search this
Lila Wallace-Reader's Digest Fund  Search this
National Endowment for the Arts  Search this
Creator:
Smithsonian Institution  Search this
Interviewee:
Adams, Joe, 1922-  Search this
Aguabella, Francisco, 1925-  Search this
Akiyoshi, Toshiko, 1929-  Search this
Alvarado, Alfredo  Search this
Anderson, Chris, 1926-  Search this
Armenteros, Chocolate, 1928-  Search this
Armstrong, Howard, 1909-  Search this
Ashby, Harold  Search this
Atkins, Clarence, 1921-  Search this
Avakian, George, 1919-  Search this
Baker, David, 1931-  Search this
Bank, Danny, 1922-  Search this
Barker, Danny, 1909-  Search this
Barker, Louise, 1913-  Search this
Barron, Kenny  Search this
Bass, Fontella  Search this
Bates, Peg Leg, 1907-  Search this
Bauza, Mario, 1911-  Search this
Belli, Remo  Search this
Bellson, Louis  Search this
Benson, George, 1943-  Search this
Berger, Ed  Search this
Bert, Eddie, 1922-  Search this
Betts, Keter, 1928-  Search this
Bey, Chief (James), 1913-  Search this
Bishop, Walter, 1927-  Search this
Brooks, Cecil  Search this
Brown, Oscar, Jr., 1926-  Search this
Brown, Velzoe, 1910-  Search this
Brubeck, Dave  Search this
Bryant, Ardie, 1929-  Search this
Bryant, Clora  Search this
Bryant, Ray, 1931-  Search this
Bufalino, Brenda, 1937-  Search this
Bunnett, Jane  Search this
Burns, Ralph, 1922-  Search this
Burrell, Kenny  Search this
Butts, Jimmy, 1917-  Search this
Byrd, Charlie, 1925-  Search this
Calloway, Cab, 1907-  Search this
Camero, Candido, 1921-  Search this
Carbonell, Luis  Search this
Carrington, Terri Lyne  Search this
Carter, Benny, 1907-2003  Search this
Carter, Ron, 1937-  Search this
Casey, Al, 1915-  Search this
Cheatham, Doc, 1905-1997  Search this
Cheatham, Jeannie, 1917-  Search this
Cheatham, Jimmy, 1924-  Search this
Claxton, William  Search this
Cobb, Jimmy, 1929-  Search this
Cohen, Martin, 1939-  Search this
Collins, John, 1913-  Search this
Columbus, Chris, 1902-  Search this
Conover, Willis, 1920-  Search this
Costello, Diosa  Search this
Cruz, Alfredo  Search this
Cruz, Celia, 1920-  Search this
Cugat, Xavier, 1900-  Search this
D'Rivera, Paquito, 1948-  Search this
De Franco, Buddy, 1923-  Search this
DeJohnette, Jack  Search this
Dejan, Harold, 1909-  Search this
Del Puerto, Carlos, 1951-  Search this
Di Novi, Gene, 1928-  Search this
Diaz Ayala, Cristobal  Search this
Donegan, Dorothy, 1922-  Search this
Driggs, Frank, 1930-  Search this
Dudley, Bessie, 1902-  Search this
Edison, Harry, 1915-  Search this
Egũes, Richard, 1923-2006  Search this
Farmer, Art, 1928-  Search this
Favors, Malachi  Search this
Fernandez, Rosita, 1918-2006  Search this
Fernandez, Ruth  Search this
Finegan, Bill, 1917-  Search this
Flynn, Frank (Marimba player)  Search this
Foster, Frank, 1928-  Search this
Fournier, Vernel, 1928-  Search this
Freeman, Von, 1922-  Search this
Fuller, Curtis, 1934-  Search this
Fuller, Gil, 1920-  Search this
Gensel, John  Search this
Gilbert, Peggy  Search this
Golson, Benny  Search this
Gonzalez, Celina  Search this
Goodson, Sadie, 1904-  Search this
Green, Urbie  Search this
Guerrero, Felix, 1916-2001  Search this
Guines, Tata  Search this
Hamilton, Chico, 1921-  Search this
Hampton, Slide  Search this
Harris, Joe  Search this
Harrison, Nelson  Search this
Haynes, Roy, 1926-  Search this
Heath, Jimmy, 1926-  Search this
Heath, Percy, 1923-2005  Search this
Hemphill, Julius, 1938-  Search this
Henderson, Bill, 1930-  Search this
Henderson, Luther  Search this
Hendricks, Jon, 1921-  Search this
Hentoff, Nat  Search this
Hill, Roger, 1928-  Search this
Hinton, Milt, 1910-  Search this
Holman, Bill, 1927-  Search this
Horn, Shirley, 1934-  Search this
Humphries, Roger  Search this
Hutcherson, Bobby  Search this
Jarvis, Jane, 1915-  Search this
Jimenez, Flaco  Search this
Johnson, J.J., 1924-  Search this
Jones, Elvin  Search this
Jones, Hank, 1918-2010  Search this
Jones, Jonah  Search this
Jones, Quincy, 1933-  Search this
Jordan, Kidd, 1935-  Search this
Jordan, Sheila, 1928-  Search this
Keepnews, Orrin, 1923-  Search this
Kimball, Narvin, 1909-  Search this
Klein, Manny, 1908-  Search this
Konitz, Lee  Search this
Lateef, Yusef, 1920-  Search this
Laws, Hubert  Search this
LeGon, Jeni, 1916-  Search this
LeRoy Neiman  Search this
Leonard, Herman, 1923-2010  Search this
Levy, John, 1912-2012  Search this
Lewis, Edna, 1907-  Search this
Lewis, Ramsey  Search this
Liebman, Dave  Search this
Lincoln, Abbey, 1930 -  Search this
Liston, Melba  Search this
Livelli, VIncent  Search this
Longoria, Valerio, 1924-200  Search this
Lopez, Israel, 1918-  Search this
Lucie, Lawrence, 1907-  Search this
Lutcher, Nellie, 1912-  Search this
Lynton, Charles, 1904-  Search this
Mandel, Johnny  Search this
Manning, Frank, 1914-  Search this
Marsalis, Delfeayo  Search this
Marsalis, Ellis  Search this
Marsalis, Jason  Search this
McGettigan, Betty  Search this
McIntosh, Tom, 1927-  Search this
McKibbon, Al, 1919-  Search this
McKusick, Hal, 1924-  Search this
McPartland, Marian  Search this
Mendoza, Lydia  Search this
Miller, Eric  Search this
Miller, Norma, 1919-  Search this
Mondello, Toots, 1911-  Search this
Moody, James, 1925-  Search this
Morgenstern, Dan  Search this
Murray, Albert, 1916-  Search this
Myers, Amina  Search this
Nicholas, Fayard, 1918-  Search this
Nicholas, Harold, 1924-  Search this
Norvo, Red, 1908-1999  Search this
O'Brien, Peter F.  Search this
O'Farrill, Chico, 1921-2001  Search this
Owens, Jimmy, 1943-  Search this
Palmier, Remo, 1923-  Search this
Peraza, Armando, 1924-  Search this
Perez, Graciela  Search this
Peterson, Oscar, 1925-  Search this
Puente, Tito  Search this
Pullen, Don, 1941-  Search this
Rachell, Yank  Search this
Ray, Carline, 1925-  Search this
Reed, Leonard, 1907-  Search this
Richards, Red, 1912-  Search this
Rivers, Sam  Search this
Robinson, Charles  Search this
Robinson, Les, 1912-  Search this
Rogers, Shorty, 1924-  Search this
Rollins, Sonny  Search this
Ross, Annie, 1930-  Search this
Royal, Marshall, 1912-  Search this
Rugolo, Pete, 1915-  Search this
Russell, George, 1923-2009  Search this
Rutherford, Rudy  Search this
Sager, Jane, 1914-  Search this
Santamaria, Mongo, 1917-  Search this
Scott, Jimmy  Search this
Settle, Cucell, 1914-  Search this
Shaw, Artie, 1910-2004  Search this
Slyde, Jimmy, 1927-  Search this
Smith, Hale G.  Search this
Smith, Johnny  Search this
Stoll, Jerry, 1923-  Search this
Taylor, Arthur, 1929-  Search this
Taylor, Billy  Search this
Teagarden, Norma, 1911-  Search this
Terry, Clark  Search this
Thielemans, Toots  Search this
Tinney, Al, 1921-  Search this
Toro, Yomo  Search this
Tucker, Bobby, 1923-2008  Search this
Tyner, McCoy  Search this
Valdes, Bebo, 1918-  Search this
Valdez, Carlos, 1926-  Search this
Valdez, Chucho, 1941-  Search this
Valentin, Val, 1920-  Search this
Valeria, Chuy  Search this
Van Gelder, Rudy  Search this
Van Lake, Turk, 1918-  Search this
Viola, Al, 1919-  Search this
Walton, Cedar, 1934-  Search this
Wein, George  Search this
Wess, Frank, 1922-  Search this
Weston, Randy, 1926-  Search this
White, Andrew, 1942-  Search this
Wilder, Joe, 1922-  Search this
Willcox, Spiegle, 1902-  Search this
Williams, Claude, 1908-  Search this
Williams, John, 1905-  Search this
Wilson, Gerald, 1918-  Search this
Wilson, Nancy, 1937-  Search this
Wofford, Mike  Search this
Woods, Phil  Search this
Ybarra, Eva  Search this
Yoshida, George, 1922-  Search this
Young, Al (Saxophinist)  Search this
Young, Lee, 1917-  Search this
Young, Webster, 1932-  Search this
Interviewer:
Baker, Lida  Search this
Bluiett, Hamiett  Search this
Brower, William  Search this
Brown, Anthony  Search this
Burstein, Julie  Search this
Carner, Gary  Search this
Cole, Tom  Search this
Coleman, Steve  Search this
Corporan, Hector  Search this
Crease, Bob  Search this
Dantzler, Russ  Search this
Elie, Lolis  Search this
Fernandez, Raul  Search this
Fochios, Steve  Search this
Frank, Rusty  Search this
Geremia, Paul, 1944-  Search this
Haddix, Chuck  Search this
Harris, Barry  Search this
Holley, Eugene  Search this
Jackson, Reuben  Search this
Jenkins, Willard  Search this
Kimery, Kennith  Search this
Kirchner, Bill  Search this
Levin, Floyd  Search this
Lopez, Rene  Search this
McDaniel, Ted  Search this
McDonough, John  Search this
Murphy, Molly  Search this
Newton, James  Search this
O'Meally, Bob  Search this
Ouelette, Dan  Search this
Pelote, Vincent  Search this
Placksin, Sally  Search this
Porter, Lewis  Search this
Pullman, Peter  Search this
Ritz, David  Search this
Rodrique, Jessie  Search this
Schoenberg, Loren  Search this
Schwartz, Scott  Search this
Smith, Ernie  Search this
Sneed, Ann  Search this
Stitt, Katea  Search this
Talbot, Bruce  Search this
Tucker, Sherrie  Search this
Watson, Matt  Search this
White, Michael  Search this
Whitfield, Weslia  Search this
Willard, Patricia  Search this
Williams, James  Search this
Wong, Herb  Search this
Yamazaki, Paul  Search this
Zimmerman, James  Search this
Extent:
39 Cubic feet
Type:
Collection descriptions
Archival materials
Compact discs
Sound recordings
Oral history
Audiotapes
Interviews
Date:
1992-2012
Scope and Contents:
Audiotapes, CDs and digital files: an ongoing project to interview and preserve the memories of people important in the jazz world, including jazz musicians, singers, dancers, producers, arrangers, and others. A list of interviewees and interviewers follows.

The following is a list of the individuals who conducted the interviews.

1. Brown, Anthony

2. Baker, Lida

3. Burstein, Julie

Interviewer

2. Bluiett, Hamiet
Arrangement:
This collection is arranged into six series.

Series 1, DAT and CD Original Interview Recordings, 1992-2012

Series 2, Cassette Reference and Master Interview Tapes, 1992-2012

Series 3, Audio CD Reference Copies, 2000-2012

Series 4, Video/CD, 1994-2012

Series 5, Transcripts and Abstracts, 1992-2014

Series 6, Supplemental Documentation, 1992-2012
Biographical / Historical:
The Smithsonian Jazz Oral History Program, a project of "America's Jazz Heritage, A Partnership of the Lila Wallace-Reader's Digest Fund and the Smithsonian Institution" initiative was created in 1992. More than 150 in-depth oral history interviews were conducted from 1992 through 2002. The collection was transferred to the Archives Center of the National Museum of American History in 2000. Now part of the National Museum of American History's American Music History Initiatives, the Smithsonian Jazz Oral History Program continues to conduct interviews as funding is available.

The Smithsonian Jazz Oral History Program was established to document significant jazz musicians, performers, producers, and business associates in their own words and voices. Program staff contacted and worked with potential interviewees to arrange for interviews. Each interview was conducted by a jazz authority and was recorded on digital audiotape by a professional audio engineer. The interviews averaged 6 hours in length and covered a wide range of topics including early years, initial involvement in music, generally, and jazz specifically, as well as experiences in the jazz music world, including relationships to musicians. The original DAT interview tapes were then dubbed to audiocassettes and CD to create protection and access copies. More recent interviews have been recorded using fully digital technology and the interviews are preserved and made availbel as digital files.

A number of the interviews were conducted as part of the Ella Fitzgerald Oral History Project of the Jazz Oral History Program. Funded by the Ella Fitzgerald Charitable Foundation, these interviews focus on the life and work of Ella Fitzgerald. The National Endowments for the Arts Jazz Masters Oral Histories Program continues to support new interviews with NEA Jazz Masters.

For more information about jazz concerts, education, collections, Jazz Appreciation Month, and the Jazz Master orchestra, visit Smithsonian Jazz.
Provenance:
The interviews were made for the Smithsonian Institution under the auspices of the Smithsonian Jazz Oral History Program supported by America's Jazz Heritage, funded by the Lila Wallace-Reader's Digest Fund, the Smithsonian Institution, and the National Endowment for the Arts Jazz Masters Oral Histories Program. Additional interviews were conducted with support from the Ella Fitzgerald Charitable Foundation.
Restrictions:
Collection is open for research. Researchers must use reference copies.
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. Release forms exist for most interviews.
Topic:
Dancers  Search this
Music -- 20th century  Search this
Jazz  Search this
Musicians -- United States  Search this
Jazz musicians -- United States  Search this
Genre/Form:
Compact discs
Sound recordings
Oral history -- 1990-2000
Audiotapes -- 1990-2000
Interviews -- 2000-2010
Interviews -- 1990-2000
Citation:
[Interviewee name] Interview, Smithsonian Jazz Oral History Program Collection, 1992-2014, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0808
See more items in:
Smithsonian Jazz Oral History Program Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0808
Online Media:

Love is the Message: An Evening with Arthur Jafa

Creator:
Hirshhorn Museum and Sculpture Garden  Search this
Type:
Youtube videos
Uploaded:
2018-03-16T18:18:23Z
Topic:
Art, modern  Search this
Youtube Category:
Education  Search this
See more by:
hirshhornmuseum
YouTube Channel:
hirshhornmuseum
Data Source:
Hirshhorn Museum and Sculpture Garden
EDAN-URL:
edanmdm:yt_yOYd_IAPIe0

Hugh Masekela Speaking at the Smithsonian Center for Folklife and Cultural Heritage

Creator:
Smithsonian Center for Folklife and Cultural Heritage  Search this
Type:
Youtube videos
Uploaded:
2018-01-24T22:31:33Z
Topic:
Cultural property  Search this
Youtube Category:
People & Blogs  Search this
See more by:
smithsonianfolklife
YouTube Channel:
smithsonianfolklife
Data Source:
Smithsonian Center for Folklife and Cultural Heritage
EDAN-URL:
edanmdm:yt_oXx7flAqN-c

Jazz and Big Band Collection

Creator:
Morrow, Buddy  Search this
Mooney, Art  Search this
Timbrell, Tiny, 1917-1992  Search this
Stacy, Jess, 1904-1995  Search this
Wilson, Teddy, 1912-1986  Search this
Glen Gray Band  Search this
Gabler, Milt  Search this
Fields, Shep  Search this
Dick Jurgens  Search this
James, Harry  Search this
Horace Heidt  Search this
Lombardo, Guy  Search this
Kay Kyser  Search this
Duchin, Eddy, 1909-1951  Search this
Goodman, Benny (Benjamin David), 1909-1986  Search this
McIntyre, Hal, -1959  Search this
Krupa, Gene, 1909-1973  Search this
Barron, Blue, 1912-2005  Search this
Elman, Ziggy  Search this
Cohasco, Inc.  Search this
Cugat, Xavier, 1900-1990  Search this
Names:
Anthony, Ray, 1922-  Search this
Armstrong, Louis, 1901-1971  Search this
Barnet, Charlie  Search this
Beneke, Tex  Search this
Brown, Les, 1912-2001  Search this
Brubeck, Dave  Search this
Calloway, Cab, 1907-  Search this
Christy, June, 1925-  Search this
Cole, Nat King, 1917-1965  Search this
Dorsey, Tommy, 1905-1956  Search this
Ellington, Duke, 1899-1974  Search this
Fitzgerald, Ella, 1917-1996  Search this
Frankie Laine  Search this
Garner, Erroll  Search this
Getz, Stan, 1927-1991  Search this
Gillespie, Dizzy, 1917-1993  Search this
Gray, Glen, 1906-1963  Search this
Henderson, Fletcher, 1897-1952  Search this
Herman, Woody, 1913-1987  Search this
Jordan, Louis, 1908-1975  Search this
Kaye, Sammy, 1910-1987  Search this
Kenton, Stan  Search this
Lee, Peggy  Search this
Lopez, Vincent, 1894-1975  Search this
Lunceford, Jimmie  Search this
MacRae, Gordon  Search this
Martin, Freddy, 1906-1983  Search this
May, Billy  Search this
Mercer, Johnny, 1909-1976  Search this
Miller, Glenn  Search this
Monroe, Vaughn, 1911-1973  Search this
Mulligan, Gerry  Search this
Norvo, Red  Search this
Page, Patti  Search this
Ray McKinley  Search this
Rich, Buddy  Search this
Shaw, Artie, 1910-2004  Search this
Shore, Dinah, 1917-1994  Search this
Sinatra, Frank, 1915-1998  Search this
Spivak, Charlie  Search this
Vallée, Rudy, 1901-1986  Search this
Vaughan, Sarah, 1924-1990  Search this
Waring, Fred, 1900-1984  Search this
Webb, Chick, 1909-1939  Search this
Weems, Ted  Search this
Welk, Lawrence, 1903-1992  Search this
Whiteman, Paul, 1890-1967  Search this
Whiting, Margaret  Search this
Extent:
1.5 Cubic feet (1 box, 1 map folder)
Type:
Collection descriptions
Archival materials
Contracts
Postcards
Posters
Publicity photographs
Programs
Menus
Magazines (periodicals)
Tickets
Matchcovers
Motion picture stills
Handbills
Signatures (names)
Sheet music
Date:
1927 - 1966
Scope and Contents:
The collection consists of 235 pieces of music ephemera assembled by an anonymous California musicologist over several decades. The contents include such things as concert ticket stubs; show programs; handbills; publicity stills; record store posters; nightclub souvenirs; autographs; contracts, lobby cards; movie stills; postcards; fan and record industry magazines; sheet music; an oversize RKO theatre owners' advertising book for the 1942 sensation "Syncopation," starring Charlie Barnet, Benny Goodman, Harry James, Gene Krupa, et al; and miscellany such as matchbook covers and novelty promotional pieces. There are just a few letters in the collection. The collection contains materials representing both bands and band members, and individual artists. In many cases, there are only one or a few relevant items. Persons and acts represented include: Ray Anthony, Louis Armstrong, Charlie Barnet, Tex Beneke, Les Brown, Dave Brubeck, Cab Calloway, June Christy, Nat King Cole, Tommy Dorsey, Duke Ellington, Ella Fitzgerald, Erroll Garner, Stan Getz, Dizzy Gillespie, Benny Goodman, Glen Gray, Fletcher Henderson, Woody Herman, Harry James, Louis Jordan, Sammy Kaye, Stan Kenton, Gene Krupa, Kay Kyser, Frankie Laine, Peggy Lee, Guy Lombardo, Vincent Lopez, Jimmy Lunceford, Gordon MacRae, Freddy Martin, Billy May, Johnny Mercer, Glenn Miller, Vaughn Monroe, Gerry Mulligan, Red Norvo, Patti Page, Buddy Rich, Artie Shaw, Dinah Shore, Frank Sinatra, Charlie Spivak, Rudy Vallee, Sarah Vaughan, Fred Waring, Chick Webb, Ted Weems, Lawrence Welk, Paul Whiteman, Margaret Whiting, and Benny Goodman. In other cases, the collection contains an item or items (such as menus) that have been autographed. The collection contains autographs or autographed items for the following: Gene Krupa, Jess Stacy, Teddy Wilson, Blue Barron, Eddie Duchin, Shep Fields, Ziggy Elman, Glen Gray Band, Milt Gabler, Horace Heidt, Dick Jurgens, Kay Kyser, Guy Lombardo, Xavier Cugat, Hal McIntyre, Art Mooney, Buddy Morrow, Harry James and "Tiny" Timbrell.
Arrangement:
: 1 series.
Provenance:
Cohasco, Inc.,Purchase.,2016,ACNMAH 1388; Nonacc. No. pending.
Restrictions:
UNPROCESSED COLLECTION.
Unrestricted research access on site by appointment.,Unprotected photographs must be handled with gloves.
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
Musicians  Search this
Popular music  Search this
Music -- 20th century  Search this
Big band music  Search this
Jazz  Search this
Genre/Form:
Contracts
Postcards
Posters
Publicity photographs
Programs -- Concerts
Menus
Magazines (periodicals)
Tickets
Matchcovers
Motion picture stills
Handbills
Signatures (names)
Sheet music
Citation:
Jazz and Big Band Collection, 1927-1966, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.1388
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-1388
Online Media:

Francis Wolff Jazz Photoprints

Donor:
Cuscuna, Michael  Search this
Cuscuna, Michael  Search this
Photographer:
Wolff, Francis  Search this
Names:
Blue Note Records  Search this
Coltrane, John, 1926-1967  Search this
Davis, Miles  Search this
Monk, Thelonious  Search this
Extent:
0.5 Cubic feet (1 box)
Type:
Collection descriptions
Archival materials
Photographs
Date:
1953-1966
1953-1966
Summary:
Collection consists of photographic prints from negatives by the eminent jazz photographer Francis Wolff, depicting such greats as Miles Davis, John Coltrane, Thelonious Monk, and other important artists.
Scope and Contents:
Twenty-five silver gelatin photographic prints (on fiber-based paper, 20" x 16") from negatives by the eminent jazz photographer Francis Wolff, depicting such greats as Miles Davis, John Coltrane, Thelonious Monk, and other important artists. Descriptions of prints supplied by the donor, Michael Cuscuna.
Arrangement:
Collection is arranged into one series.

Series 1: Photoprints, 1953-1966
Biographical / Historical:
Wolff (born 1907 or 1908 in Berlin, Germany, died March 8, 1971 in New York City) was a record company executive, photographer and record producer. After a career as a commercial photographer in Germany, Wolff emigrated to the United States in 1939. In New York his childhood friend Alfred Lion, had co-founded Blue Note Records in the same year, and Wolff joined Lion in running the company. During Lion's war service, Wolff worked for Milt Gabler at the Commodore Music Store, and together they maintained the company's catalog until Lion was discharged. Until Lion retired in 1967, Wolff concentrated on the financial affairs of the business and only supervised occasional recording sessions produced during his visits to Europe. For the last four years of his life, when Blue Note was no longer an independent label, Wolff shared production responsibilities with pianist and arranger Duke Pearson. Wolff took photographs during the recordings sessions, usually shot during session rehearsals, throughout the period of Lion's involvement in Blue Note Records. They were used on publicity material and LP album sleeves, and have continued to be used in CD reissue booklets. [Redacted from Wikipedia entry.]
Provenance:
Gift of Michael Cuscuna, Mosaic Images, June 3, 2011.
Restrictions:
Collection is open for research.
Rights:
Michael Cuscuna retains copyright. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Jazz  Search this
Jazz musicians -- 1950-2000 -- United States  Search this
Genre/Form:
Photographs -- Black-and-white photoprints -- Silver gelatin -- 1950-2000
Citation:
Francis Wolff Jazz Photoprints, Archives Center, National Museum of American History. Gift of Michael Cuscuna.
Identifier:
NMAH.AC.1238
See more items in:
Francis Wolff Jazz Photoprints
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-1238
Online Media:

William Russo Music and Personal Papers

Creator:
Strayhorn, Billy (William Thomas), 1915-1967  Search this
Russo, William, 1928-2003  Search this
Photographer:
Claxton, William  Search this
Leonard, Herman, 1923-2010  Search this
Composer:
Kenton, Stan  Search this
Musician:
Mulligan, Gerry  Search this
Names:
Chicago Jazz Ensemble  Search this
Ellington, Duke, 1899-1974  Search this
Extent:
87 Cubic feet (188 boxes)
Type:
Collection descriptions
Archival materials
Motion pictures (visual works)
Music
Audiotapes
Business records
Photographs
Correspondence
Librettos
Awards
Posters
Programs
Scrapbooks
Scores
Lecture notes
Date:
1920-2002
Summary:
Papers and audiovisual materials documenting Russo's career in music.
Scope and Contents:
The collection includes Russo's original and published music scores, parts and arrangements; audiovisual materials including recordings of broadcasts of Russo's radio show, performances of Russo's compositions, including performances by Duke Ellington, and film and video recordings of Russo's productions in theater and opera; and personal papers such as correspondence, photographs, scrapbooks, publicity files, contracts, etc. Among the most significant items in the collection are experimental jazz arrangements for Stan Kenton in the late 1940s-early 1950s, undated arrangements for Gerry Mulligan, Russo's original arrangement of Duke Ellington's Sacred Concert, scores to his first and second symphonies, and scores and libretti to several early rock operas. The photographs include images of persons such as Ellington, Kenton, and Billy Strayhorn, and photographs by jazz photographers Herman Leonard and William Claxton. 2007 addendum includes correspondence, mostly between Russo and his family; eighteen diaries for 1946-1967 (not all years are present) with sparse entries, some in Italian; and additional music manuscripts, parts, scores and libretti.
Arrangement:
The collection is arranged into nine series.

Series 1: William Russo's Music

Series 2: Teaching Notes

Series 3: Correspondence

Series 4: Publicity, Programs, and Reviews

Series 5: Posters and Artwork

Series 6: Photographs

Series 7: Books and Lecture Notebooks

Series 8: Memorabilia

Series 9: Audiovisual Materials
Biographical / Historical:
William Russo, renowned American jazz composer, arranger, and founder of the Chicago Jazz Ensemble, had a music career that spanned five decades and included performance, conducting and composition. During his career he worked with such diverse talents as Duke Ellington, Billy Strayhorn, Leonard Bernstein, Cannonball Adderly, Yehuidi Menuhin, Dizzy Gillespie, Seiji Ozawa, and Billie Holiday. Although critics acknowledged Russo mainly for his pioneering contributions to the big-band jazz canon, his talents extended to a far wider range of musical styles, creating groundbreaking jazz scores, rock operas, classical works, film scores, and educational textbooks on jazz orchestration and arrangement. In all, he composed over 200 pieces for jazz orchestra with more than 25 recordings of his work. In 1990, Russo received a Lifetime Achievement award from NARAS, the organization that presents the Grammy Awards.

As a young trombonist, Russo studied with Lennie Tristano, the pianist and theorist who became a leader in the progressive jazz movement. During the late 1940s, Russo led the revolutionary Experiment in Jazz band. At age 21, he became one of the chief composers/arrangers for the Stan Kenton Orchestra, one of the most innovative and influential jazz orchestras of the postwar era. In his four years with Kenton, Russo penned such classic Kenton works as "23° North – 82° West," and "Frank Speaking."

Russo made several major jazz recordings under his own name before his classical "Symphony No. 2 in C (TITANS)" received a Koussevitsky award in 1959; it was performed by the New York Philharmonic that same year under Leonard Bernstein, who had commissioned the work. This award marked Russo's "official" entry into the world of classical music. Russo continued to write major symphonic works throughout his career, including his 1992 grand opera, "Dubrovsky."

After his tenure with Kenton, in the early 1950s, Russo led his own successful bands, The Russo Orchestra in New York, and the London Jazz Orchestra, before returning to Chicago to form the Chicago Jazz Ensemble in 1065. With the Ensemble, he presented Duke Ellington's "First Concert of Sacred Music" in 1967. This was one of the rare times when Ellington allowed one of his compositions to be arranged and performed by a jazz orchestra other than his own, and was a reflection of Ellington's respect for Russo. Shortly after this performance, Russo composed a rock cantata, "The Civil War," that led him into the field of rock opera. After concentrating on classical music again in the 1970s, in the late 1980s, Russo began to re-explore the history of jazz through his revived Chicago Jazz Ensemble. In 1995, the Chicago Jazz Ensemble made history with the first-ever complete live performance of Gil Evans' and Miles Davis' "Sketches of Spain" in its original form. Recent Russo works that premiered in Chicago included "Chicago Suite No. 1," and "Chicago Suite No. 2," a recording that was published posthumously in the spring of 2003.
Related Materials:
Materials in the Archives Center

William Russo Transcription and Arrangement of Duke Ellington's First Concert of Sacred Music, 1967-1968 (AC0406)
Provenance:
Bequeathed to the Smithsonian by William Russo. Papers collected after Russo's death in 2003. The 2007 addendum sent by Russo's sister and daughter were also part of the bequest.
Restrictions:
Collection is open for research by appointment. Unprotected photographs must be handled with gloves.
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:
Composers -- 20th century  Search this
Opera  Search this
Jazz musicians -- United States  Search this
Jazz  Search this
Music -- 20th century  Search this
Genre/Form:
Motion pictures (visual works)
Music -- Manuscripts
Audiotapes
Business records -- 20th century
Photographs -- 20th century
Correspondence -- 20th century
Librettos
Awards
Posters -- 20th century
Programs
Scrapbooks
Scores
Lecture notes
Citation:
William Russo Music and Personal Papers, 1920s-2002, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0845
See more items in:
William Russo Music and Personal Papers
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0845
Online Media:

Milt Gabler Papers

Creator:
Armstrong, Lucille  Search this
Bechet, Sidney, 1897-1959  Search this
Armstrong, Louis, 1901-1971  Search this
Condon, Eddie, 1905-1973  Search this
Calloway, Cab, 1907-  Search this
Commodore Records.  Search this
Feather, Leonard  Search this
Gabler, Milt  Search this
Davis, Sammy, 1925-  Search this
Decca (recording company).  Search this
Granz, Norman  Search this
Hawkins, Coleman  Search this
Kaempfert, Bert, 1923-1980  Search this
Ives, Burl, 1909-  Search this
Holiday, Billie, 1915-1959  Search this
Norvo, Red, 1908-1999  Search this
Mills Brothers.  Search this
Krupa, Gene, 1909-1973  Search this
Kelly, Peck, 1898-  Search this
Williams, Cootie  Search this
United Hot Clubs of America.  Search this
Stewart, Rex (William), Jr., 1907-1967 (cornetist)  Search this
Jordan, Louis, 1908-1975  Search this
Goodman, Benny (Benjamin David), 1909-1986  Search this
Names:
Crosby, Bing, 1904-1977  Search this
Goodman, Benny (Benjamin David), 1909-1986  Search this
Extent:
25 Cubic feet (75 boxes )
Type:
Collection descriptions
Archival materials
Legal records
Magazines (periodicals)
Catalogs
Correspondence
Financial records
Music
Bank statements
Autobiographies
Articles
Tax records
Business records
Newsletters
Photographs
Recordings
Sheet music
Date:
1895-2001
Summary:
The collection documents Gabler's involvement in the recording industry and the evolution of Commodore Records. The documentation begins with the Commodore Radio Shop through its evolution to Commodore Music Shop. The collection also includes the beginnings of the Commodore record label and information detailing Gabler's 30 years as staff producer and later Vice-President in Charge of Artists and Repertoire at Decca Records (1941-1974). There is a small collection of black and white photographs chronicling the early years at the Commodore Music Shop, as well as jam sessions, often held at Jimmy Ryan's on 52nd Street. The collection also includes a vast array of audio recordings (mainly audiodiscs).
Scope and Contents:
Papers documenting Gabler's life and career, including: correspondence with family members, friends and people in the music business such as Sammy Davis, Jr. and Lucille Armstrong (Louis' wife); Gabler's writings, including an autobiography and numerous articles; music manuscripts and sheet music, the lyrics for some of which were written by Gabler, and other compositions written by others, including Red Norvo, Eddie Condon and others; legal and financial records, including royalty statements, tax papers and banking records; business records for Commodore and Decca, including correspondence from persons such as Norman Granz, Burl Ives, and Leonard Feather; Commodore and Decca legal records including licensing and trademark documents; publicity materials; production records, such as production logs and liner notes; printed materials such as catalogs, newsletters, magazines, and periodicals; papers relating to Gabler's affiliation with Bert Kaempfert, including correspondence, sheet music and lyrics, and production records; photographs of Gabler and his family and of numerous others in the music industry, including Bing Crosby, Billie Holiday, Sammy Davis Jr., Bert Kaempfert, the Mills Brothers, Rex Stewart, Cootie Williams, Benny Goodman, Coleman Hawkins, Gene Krupa, Louis Jordan, Peck Kelly, Sidney Bechet, Cab Calloway, Louis Armstrong, and numerous others, many taken in the studio during recording sessions; and audio recordings.
Arrangement:
The collection is arranged into twenty-seven series.

Series 1: Personal Correspondence

Series 2: Writings by Milt Gabler

Series 3: Music Manuscripts and Sheet Music

Series 4: Personal Financial and Legal Records

Series 5: Commodore and Decca Correspondence and Gabler Rolodex

Series 6: Commodore and Decca Legal Records

Series 7: Commodore and Decca Financial

Series 8: Publicity

Series 9: Commodore and Decca Projects

Series 10: Production Records

Series 11: Commodore General Correspondence

Series 12: Commodore Financial Records

Series 13: Commodore Legal Records

Series 14: Commodore Production Records

Series 15: Commodore, Various Projects and Topical Files

Series 16: Commodore Publicity Records

Series 17: Business Cards

Series 18: Catalogs

Series 19: Newsletters

Series 20: Serials

Series 21: Monographs

Series 22: Newsclippings, Periodical Articles, and Advertisements

Series 23: Correspondence with Organizations

Series 24: Organization Membership cards

Series 25: Bert Kaempfert

Series 26: Photographs

Series 27: Audio Discs
Biographical / Historical:
Milt Gabler was born in Harlem, New York on May 20, 1911. He began managing his father's radio and small appliance store, the Commodore Radio Shop, while still a teen. Gabler convinced his father to expand the business and sell audio recordings. Soon Gabler pioneered the concept of marketing reissues by leasing discontinued masters from various record companies (mainly Victor, Columbia, Vocalion, and Brunswick). Eventually the Gablers changed the name of the family business to the Commodore Music Shop. By the early 1930's Gabler founded the first mail order record label, United Hot Clubs of America, to reach an even greater audience of jazz enthusiasts. In 1935 Gabler began publicizing the music shop by staging a series of Sunday afternoon jam sessions at several different recording studios along 52nd Street. Later the jam sessions moved to the nearby jazz club, Jimmy Ryan's.

In 1938 Gabler founded the Commodore music label. It was the first American recording label created exclusively for jazz music. A recording session for Eddie Condon's Windy City Seven at Brunswick Studios was the first original Commodore recording. In 1939 Gabler recorded Billie Holiday's controversial "Strange Fruit", which became Commodore's first major commercial success. Other notable Commodore artists include Sidney Bechet, Jonah Jones, Peck Kelley, Red Norvo, Ralph Sutton, and Teddy Wilson. Gabler began as a staff producer at Decca Records in 1941 and worked with artists from many different musical genres: Ella Fitzgerald, Bing Crosby, Judy Garland, Brenda Lee, the Weavers, and Louis Jordan, among others. Gabler also began writing lyrics in collaboration with Decca songwriters/composers. In 1954 Gabler produced the first recordings by Bill Haley and the Comets. In addition, Gabler continued to run the Commodore recording label until 1957. Gabler also managed the Commodore Music Shop until 1958, when he began working full-time at Decca as Vice-President in Charge of Artists and Repertoire. Throughout the 1960's Gabler served as lyricist in a number of collaborations with Bert Kaempfert and Herbert Rehbein. Gabler retained his influential position at Decca until 1974 when the corporation moved to the West Coast. Through the Decca years, Gabler had saved the Commodore masters and in 1974 began to reissue the recordings through Atlantic, Columbia Special Products, and finally United Hot Clubs of America. In 1987 Mosaic Records also began to reissue the entire catalog of Commodore recordings.

In the last decades of his life Gabler remained active in a number of professional organizations, most notably the National Academy of Recording Arts and Sciences, which bestowed upon him a Grammy lifetime achievement award in 1991. Gabler died in New York on July 20, 2001.
Provenance:
Collection donated by Milt Gabler estate, through Lee Gabler.
Restrictions:
The collection is open for research use. Some materials restricted; but most are available for unrestricted research access on site by appointment.

Several items of personal correspondence contained private medical information about living individuals. The originals were removed and will remain sealed until 2030. Copies with the sensitive information redacted are available for research use in the collection.

Access to audio recordings for which no reference copy exists requires special arrangements with Archives Center staff. Please ask the reference archivist for additional information.
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 publishers  Search this
Jazz musicians -- United States  Search this
Jazz -- 20th century -- United States  Search this
Composition (Music)  Search this
Music trade  Search this
Music -- 20th century -- United States  Search this
Musicians -- United States  Search this
Genre/Form:
Legal records
Magazines (periodicals) -- 20th century
Catalogs
Correspondence -- 20th century
Financial records
Music -- Manuscripts
Bank statements
Autobiographies
Articles
Tax records
Business records -- 20th century
Newsletters -- 20th century
Photographs -- 20th century
Recordings
Sheet music -- 20th century
Citation:
Milt Gabler Papers, 1927-2001, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0849
See more items in:
Milt Gabler Papers
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0849
Online Media:

Fletcher and Horace Henderson Music and Photographs

Creator:
Henderson, Horace, 1904-1988  Search this
Lewis, Barbara  Search this
Lewis, Barry  Search this
Henderson, Fletcher, 1897-1952  Search this
Extent:
22.5 Cubic feet (82 boxes)
Type:
Collection descriptions
Archival materials
Audiocassettes
Audiotapes
Manuscripts
Parts (musical)
Photographs
Date:
1930s-1980s
Scope and Contents:
The Fletcher and Horace Henderson Collection contains original scores and band books, loose sheet music, both original and published, from both Fletcher and Horace's libraries, playlists, lyrics, photographs, personal papers and correspondences, newspaper clippings, jazz publications, an oral history manuscript of an interview with Horace, audio tapes, and other personal memorabilia documenting the lives and careers of the two brothers as pianists, band leaders, and arrangers. The majority of the material dates from the mid 1920s to the early 1980s.

Series 1: Fletcher and Horace Henderson's Music ca. 1930s - 1980s Boxes 1-68. Original band books and scores, lyrics, playlists, loose music, and published music either arranged or used by Fletcher or Horace Henderson during their careers as pianists, band leaders, and arrangers. The series is organized into six subseries: Subseries 1A: Horace's Band Books, Subseries 1B: Loose Music, Subseries 1C: Original Scores, Subseries 1D: Lyrics, Suberies 1E: Playlists, and Suberies 1F: Published Music.

Suberies 1A, ca. 1940s -1980s, boxes 1-21. Horace Henderson Band Books. Each Band Book stands on its own, and is identified by the musician who used it or the location where the music was performed. Some performers include Gail Brochman, Eddie Calhoun, and George Reed. Many of the band books were used for performances at the Trianon Ballroom in Chicago.

Subseries 1B, ca. 1930s - 1980s, boxes 22-58. Music in boxes 22-54 comes from Horace Henderson's band library, and boxes 55-58 from Fletcher Henderson's band library. The music consists of full scores, piano scores, and parts arranged or used by Horace or Fletcher Henderson. Arranged alphabetically by title; FS - Full Score, PS - Piano Score, and P - Parts. * Indicates an overlap between loose music, and music known to have been performed at the Trianon Ballroom in Chicago. **Indicates an overlap between Horace and Fletcher's Libraries. The music is arranged alphabetically by music title.

Subseries 1C, ca. 1930s - 1940s, boxes 59-60. Original scores arranged by Fletcher Henderson, many for Benny Goodman and other bandleaders, including AHoneysuckle Rose@, AKing Porter's Stomp@, and AStealin' Apples@. There is also a complete band book written and arranged by Fletcher. Arranged alphabetically by title.

Subseries 1D, ca. 1940s - 1980s, box 61. Original lyrics used in performances by Horace Henderson's bands. Arranged alphabetically by title where identified.

Subseries 1E, ca. 1940s - 1980s, boxes 62-63. Playlists compiled in preparation for performances by Horace Henderson's orchestras, listing titles played at various performances. Un-arranged.

Subseries 1F, ca. 1920s-1980s, boxes 64-68. Published sheet music and books for piano/vocal parts. Includes art music, method books, popular music, fake books, and music book covers. Folders are arranged by type of publication, and the music is arranged alphabetically by title within each folder.

Series 2: Photographs, ca. 1920s - 1980s Boxes 69-70. Photographs documenting the lives of both Fletcher and Horace Henderson's personal lives and careers. Photographs are arranged by category including Fletcher Henderson Candids with Friends, Horace Henderson Candids, Performance Marquees, and both brothers with their orchestra. Some unique pictures include portraits of Mr. and Mrs. Henderson (Fletcher and Horace's parents), candids of Fletcher with Benny Goodman, and Horace with Lena Horne.

Series 3: Personal Papers and Correspondences, ca. 1920s - 1980s Boxes 71-78. Programs and broadsides, newspaper articles, letters, essays, publications, and other personal documents tracing the lives of Horace and Fletcher, as well as some personal items of their parents. The series is divided into six subseries: Subseries 3A: Programs and Broadsides, Subseries 3B: Newspaper Articles and Clippings, Subseries 3C: Personal Papers and Correspondences, Subseries 3D: Miscellaneous Publishings, Subseries 3E: Transcript of an Oral History Interview, and Subseries 3F: Henderson Family Scrapbook.

Subseries 3A, ca 1930s - 1980s Boxes 71-72. Contains broadsides and ad clippings promoting both Horace and Fletcher's performances, along with programs for various jazz festivals. There are also three sets of Las Vegas Programs, advertising the weekly happenings during the years Horace was performing there, mainly at the Riviera Hotel and Casino (1959-1961). These include; Ken's Spotlight Las Vegas, Fabulous Las Vegas Magazine, On The Go, and other miscellaneous circulations. Arranged by category (Fletcher's broadsides, Horace's broadsides, Programs), and by date within each set of publications or programs.

Subseries 3B, ca. 1950s - 1980s, Boxes 73 & 78. Contains newspapers, articles, and clippings, ranging from 1951 to 1986, documenting the lives of Fletcher, Horace, and some of their contemporaries (ie: Duke Ellington) through the eyes of the media. Arranged by categories; reference to Fletcher, Horace, or Miscellaneous. Box 73 contains the oversized articles.

Subseries 3C, ca. 1920s-1980s, Box 74. Contains letters, contracts, and other personal documents of Fletcher, Horace, and their parents. Also contains a copied photo collection of Horace, a manuscript of AHorace Henderson Presents his Interpretation of Jazz@, and an essay (author unknown) about Fletcher's influence on jazz.

Subseries 3D, ca. 1960s - 1980s, Box 75. Contains miscellaneous publishings collected from the various locations Horace lived and worked. Includes weekly circulations from Denver and the surrounding area where Horace lived from the mid sixties until his death, along with various music magazines that he subscribed to (ADownbeat@, AInternational Musician@). Arranged by date within each category.

Subseries 3E, ca. 1975, box 76. Contains the original transcript of the Oral History Interview of Horace Henderson, for the Smithsonian Institution, performed by Tom MacCluskey on April 9-12, 1975.

Subseries 3F, box 77. Contains a Henderson Family Scrapbook which includes photographs of Fletcher's and Horace's father and mother, and various newspaper clippings commending the careers of Mr. Henderson, Horace, and Fletcher. The scrapbook's original order has been maintained.

Series 4: Audio Tape Recordings ca.1970s - 1980s Boxes 79-80. Contains a collection of recordings of live performances of Horace's orchestra in various Denver area locations such as the Esquire Supper Club and the Petroleum Club. Also includes a sample tape, a brief Atest@ recording by Horace and Angel, a radio tribute to Horace, and a few miscellaneous mix tapes. The tapes are arranged by date when available. Box 79 contains the original copies, and box 80 contains the duplicates.
Arrangement:
The collection is arranged into four series.

Series 1: Horace and Fletcher Henderson's Music

Series 2: Photographs

Series 3: Personal Papers

Series 4: Horace Henderson Audio Tapes
Biographical / Historical:
Fletcher Hamilton Henderson, Jr. (a.k.a. Smack) was born on December 18, 1897 in Cuthbert, Georgia. He was born into a middle class black family, and as a child studied European art music with his mother, a piano teacher. His sister later became the head of the music department at the Tuskeegee Institute in Alabama, and his younger brother, Horace, would eventually follow in his footsteps as a jazz musician, arranger, and band leader. Horace W. Henderson (a.k.a. Little Smack) was born on November 22, 1904. He also studied piano with his mother and sister, and like his brother, began formal music training as a teenager. Fletcher Henderson attended Atlanta University where he earned a degree in chemistry and math in 1919.

In 1920, Fletcher Henderson moved to New York City to find a job as a chemist. Because employment in this field was hard to come by, especially for African Americans, he began working as a song demonstrator for the Pace Hardy Music Company. Shortly after Fletcher Henderson's arrival Harry Pace founded Pace Phonograph Corporation to produce records on the Black Swan label in 1921. Fletcher joined Pace's music team and was responsible for contracting and leading a jazz bands to accompany the label's singers.

In 1924, Fletcher's orchestra, under the direction of Don Redman, began to perform at Club Alabam (sic) on New York City's Broadway Avenue. That same year he and the band was offered a job performing at the Roseland Ballroom, where the band remained for ten years and gained national fame. His band was no different than the hundreds of dance bands, springing up across the country in response to the growing demand for social dance music, such as Count Basie's Orchestra, King Oliver and his Dixie Syncopators, and McKinney's Cotton Pickers. Don Redman left the Fletcher Henderson Orchestra in 1927 to direct McKinney's Cotton Pickers. However the music collaboration of Redman and Henderson had by then established what would become the "standard" big band arrangement for several decades, specifically the dynamic interplay between the brass and reed sections of the orchestra that included interspersed solos made famous by such esteemed soloists of the band as Louis Armstrong and Coleman Hawkins. Some of the band's most notable recordings made between 1924 and 1925 include Copenhagen and Sugarfoot Stomp.

By this time Horace Henderson had formed his own college jazz band in 1924, The Wilberforce Collegians, after transferring from Atlanta University to Wilberforce University to pursue a music degree. His older brother sent him arrangements and piano parts used by the Fletcher Henderson Orchestra for performances by the Collegians. Later that year Horace Henderson left the university to travel and perform with his band in New York City. His newly formed band included such notable musicians as Benny Carter and Ben Webster. While in New York he also began playing as a guest musician in his brother's band and learning from such legends of jazz as Coleman Hawkins, Buster Bailey, Louis Armstrong, and Don Redman that were working for the Fletcher Henderson Orchestra. During a Smithsonian Institution sponsored oral history interview with Tom MacCluskey, Horace recalled late night jam sessions at Hawkins' (Hawk) apartment where they would play through pieces from "Fletch's" library and analyze each individual's performance. We would "stop and discuss what had transpired during that session, you know, that particular tune. And man, that was a lesson...It was a session that was actually to help everybody, so that they would try things out and take another tune, and use these particular little points that Hawk would tell 'em.'"

Until the 1930s, the Fletcher Henderson Orchestra was the principal model for big jazz bands. However, his management of the band and its finances led to frequent band break-ups. In 1934, severe financial problems forced Fletcher to sell some of his best arrangements to Benny Goodman. Horace Henderson and others suggested Goodman's rapid rise in popularity among swing bands for white audiences was largely due to Fletcher Henderson's innovative band arrangements. Fletcher Henderson continued to lead bands until 1939 when he joined Goodman's orchestra as a full time staff arranger. In 1941 he returned to band leading and arranging, but suffered a severe stroke in 1950. Fletcher was partially paralyzed from the stroke, and died on December 29, 1952.

Horace, also, formed many bands throughout the 1930s and 40s, and became a sideman for leaders such as Don Redman (1931-33) and, most notably, his brother. He was a pianist and arranger for Fletch's band intermittently between 1931 and 1947. During this time, Horace spent a lot of time in Chicago with Fletcher's band at the Grand Terrace, and formed his own band at Swingland. Horace also worked as a freelance arranger for Benny Goodman, Charlie Barnet, and Earl Hines3. From November 1942 through August 1943, Horace was the leader of the 732nd Military Police Band in Joliet, Illinois. The position was first offered to Louis Armstrong, who turned it down and recommended Horace for the position. After leaving the army, he played with Fletcher's band for two years. Horace began writing for Charlie Barnet in 1944, where he first came across Lena Horne. During a job at the Paramount, Charlie had Called Horace to say that his vocalist had laryngitis, and he needed a new singer. Horace went to the Apollo in Harlem in search of some talent, and they sent him to the Regent where he could find Lena Horne. She joined Charlie's show the next day, and from there went on to fame. Horace joined her for an extended tour as a pianist and arranger, and later worked with Billie Holiday3.

Horace moved to Denver with his wife, Angel, in the late 1960s. The Horace Henderson Combo performed at many nightclubs and resorts in the Denver area, including Estes Park, the Broadmoor Hotel, and the Petroleum Club. He began playing the organ in 1970 because the clubs didn't want to pay for four or five piece bands, and with an organ to replace the piano, a bass player was no longer necessary3. Horace continued to lead bands in the Denver area until his death on August 29, 1988.

Although both brothers had a major impact on the future of jazz, Horace is often thought of merely as a shadow to his more celebrated brother. Fletcher Henderson's career as a pianist, bandleader, and arranger is one of the most important in jazz history. Bands of leaders such as Count Basie, Charlie Barnet, Tommy and Jimmy Dorsey, and Benny Goodman all played arrangements, which were either written or influenced by Fletcher Henderson. Fletcher constantly surrounded himself with the most talented musicians of his era, and patterned the basic formula, which were imitated throughout the big band era. However, at least thirty of Fletcher's arrangements, many for Benny Goodman, are accredited as Horace's work. His arrangement Hot and Anxious was based on the traditional riff that later became the basis for Glenn Miller's In the Mood. Christopher Columbus is the most notable example of Horace's potent piano style, which is often noted to be stronger than his brother's. Although the brothers had differences, Horace insists that they did not involve music. Fletcher's style and success had a huge influence on Horace's career, and he was incredibly grateful for all his brother taught him. In an interview in April of 1975, he was quoted as saying, "I idolize his way of thinking because he was successful. You don't fight success, you join it." 3

Sources

1. Biographical information derived from The New Grove Dictionary of Jazz, edited by Barry Kernfeld (New York: Macmillan Press Ltd, 1988). 2. The Pace Phonograph corporation was the first African-American-owned recording company in the United States. Historical information derived from The Greenwood Encyclopedia of Black Music; Biographical Dictionary of Afro-American and African Musicians, by Eileen Southern (USA: Greenwood Press, 1982).

3. Interview with Horace Henderson, April 2-12, 1975, Smithsonian Institution, Washington, DC.
Provenance:
The Fletcher and Horace Henderson collection was acquired by the museum in December of 2001, donated by Barbara and Barry Lewis.
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
Genre/Form:
Audiocassettes
Audiotapes
Manuscripts -- Music -- 20th century
Parts (musical)
Photographs -- 20th century
Citation:
Fletcher and Horace Henderson Music and Photographs, 1930s-1980s, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0797
See more items in:
Fletcher and Horace Henderson Music and Photographs
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0797
Online Media:

Jeffrey Kliman Photographs

Creator:
Kliman, Jeffrey, 1942-  Search this
Names:
District Curators Jazz Arts Festival.  Search this
District Curators.  Search this
Extent:
0.25 Cubic feet (11 boxes)
Type:
Collection descriptions
Archival materials
Contact prints
Photographs
Place:
Washington (D.C.) -- 1990-2000
Date:
1993 - 2001
Scope and Contents:
This collection documents the District Curators Jazz Arts Festivals held in Washington, D.C. between 1993 and 1998 and the Kennedy Center's Mary Lou Williams' Women in Jazz Series, 1996-2000. The subjects of the District Curators Festivals include the Steve and Iqua Colson Sextet, Sonny Sharrock Band, Don Bryon Quartet, David Sanchez, David Murray, Danilo Perez Trio, Reggie Workman, Andrew White, Wayne Shorter, Roy Hargrove, Sonny Sumter, and the Roy Haynes Quartet. Subjects of the Kennedy Center's Series include Jerri Allen, Dorothy Donogan, Dottie Dodgion, the Maria Schneider Jazz Orchestra, Shirley Scott, Ann Patterson and the all-women band "Maiden Voyage," Roberta Piket, Vanessa Reuben, Jamie Baum, Chris Connor, Claire Dale, Sherrie Maricle and "Diva," and Marian McPartland.

The collection is organized into four series: Series One, District Curators Jazz Arts Festival Contact Sheets (1993-1998); Series Two, District Curators Jazz Arts Festival Prints (1993-1998), and Series Three, Kennedy Center's Women in Jazz Series (1996-2000).

Series 1, Contact Sheets (1993-1998), is comprised of seventy-one 11x14-inch black-and-white contact sheets of 10 photo shoots of the District Curators Jazz Arts Festivals, 1993-1998. The contact sheets provide an overall context for the shoots. Each contact sheet has been numbered by the photographer, indicating its place among the contact sheets for the shoot, e.g., 1/7, 2/7, etc. The contact sheets are arranged chronologically by event date. N.B.: The photographer has numbered the contact sheets for the "Jazz Arts, July 1997" shoot 1/17 through 16/17. The contact sheets for the "Trane was Spiritual, September 1997" shoot are numbered 1/8 through 7/8.

Series 2, Prints (1993-1998, undated), is comprised of fifty-one 5x7-inch black-and-white images printed on 8x10-inch paper. The prints in Series Two are largely of frames from the contact sheets in Series One. A small number of prints in this series are not taken from the contact sheets and are undated. Each print in the series has been numbered by the photographer. For each print, the container list gives the photographer's number in brackets as well as the contact sheet from which the image is taken. The series is arranged chronologically.

Series 3, Kennedy Center's Mary Lou Williams' Women in Jazz Series Contact Sheets (1996-2000), contain fifty-six 8x10-inch black-and-white contact sheets of photo shoots of the Women in Jazz series. The photographs focus on female performers both on and off stage. All contact sheets are arranged chronologically by year.
Arrangement:
Collection arranged into four series.

Series 1:District Curators Jazz Arts Festivals Contact Sheets, 1993-1998

Series 2: District Curators Jazz Arts Festivals Prints, 1993-1998, undated

Series 3: Kennedy Center's Mary Lou Williams "Women in Jazz" Contact Sheets, 1996-2000

Series 4: Kennedy Center's Mary Lou Williams "Women in Jazz" Exhibition Prints, 1994-2001

Series 5: Kennedy Center Jazz Programming, 1996-2000
Biographical / Historical:
Jeffrey Kliman was born in Everett, Massachusetts, March 5, 1942, son of Harry Kliman, one half of the Herschel & Lewis tap-dancing, roller skating team that worked on Broadway and the "Metro Circuit" between 1930 and 1937. Jeffrey Kliman's mother was Janette "Netty" Harris. Reared in middle-class Massachusetts, Jeffrey encountered an eclectic range of music that included opera -- his grandfather sang in the chorus of the Metropolitan Opera in the 1920s—the "race music" of Wolfman Jack, and the Symphony Syd Turin gospel radio show where he first heard the music of Dizzy Gillespie. In 1956 he took a job in the record department of Boston's Lechmere Department Store and listened to the music of Count Basie, Gerry Mulligan, Duke Ellington, and Stan Kenton.

Between 1959 and 1963 Kliman attended the University of Massachusetts as a pre-veterinary major. In 1960 he hosted a two-hour jazz radio show for WMUA, the university's radio station. Failing grades forced him to withdraw from the veterinary program. Eventually Kliman completed a degree as a film and TV major. He left for New York City in February, 1964, to begin a career in television advertising. In 1965 he borrowed a 35mm camera and began taking photographs of various musicians who played at the Fillmore. Kliman did free-lance work by night as a photographer for Rolling Stone, Family Circus, and Zigot while he continued to work by day as a producer for Dolphin Productions.

Kliman worked predominantly in advertising until 1986, when he relocated to Baltimore, Maryland, to start a new career as photographer of jazz musicians. "Anytime I saw jazz I would go and shoot -- Left Bank, DC Jazz Curators, street events." Currently he works as a free-lance photographer for Jazz Times and Down Beat. His primary interest is photographing up-and-coming jazz musicians performing in the Baltimore/Washington region.
Provenance:
The first portion of this collection was donated to the Archives Center by Jeffrey Kliman on December 22, 1997.
Restrictions:
Unrestricted research use on site by appointment. Unprotected photographs must be handled with cotton gloves.
Rights:
Jeffrey Kliman retains copyright. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Jazz musicians -- American -- 1990-2000  Search this
African American musicians  Search this
Music -- 20th century  Search this
Musicians  Search this
Jazz -- 1990-2000  Search this
Music festivals -- 1990-2000  Search this
Genre/Form:
Contact prints -- 1990-2000
Photographs -- Black-and-white photoprints -- Silver gelatin -- 1950-2000
Photographs -- Black-and-white photoprints -- Silver gelatin -- 1980-2000
Citation:
Jeffrey Kliman Photographs, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0628
See more items in:
Jeffrey Kliman Photographs
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0628
Online Media:

Ken Rattenbury Collection

Composer:
Strayhorn, Billy (William Thomas), 1915-1967  Search this
Collector:
Rattenbury, Ken, 1920-  Search this
Interviewee:
Anderson, William "Cat", 1916-1981 ((musician))  Search this
Ellington, Duke, 1899-1974  Search this
Extent:
0.16 Cubic feet (1 box)
Type:
Collection descriptions
Archival materials
Transcriptions
Audiotapes
Theses
Date:
1967-1991
Scope and Contents:
Five cassette audiotapes, master's degree thesis, and Billy Strayhorn music transcription to Duke Ellington's "Lotus Blossom.",Material documents the career and compositional techniques of Duke Ellington, and interviews with Duke Ellington and Cat Anderson.
Arrangement:
1 series. Unarranged.
Biographical / Historical:
Professional musician, author of "Duke Ellington Jazz Composer", editor of "Crescendo International", and member/organizer of the music group "Jazz Five."
Provenance:
Collection donated by Ken Rattenbury, June 15, 1991.
Restrictions:
Collection is open for research.
Rights:
Copyright restrictions. Contact staff for information.
Topic:
Musicians -- United States  Search this
Jazz musicians -- United States  Search this
Music -- 20th century -- United States  Search this
Jazz -- 20th century -- United States  Search this
Genre/Form:
Transcriptions
Audiotapes
Theses
Citation:
Ken Rattenbury Collection, 1967-1992, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0432
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0432

Herman Leonard Photographic Collection

Creator:
Leonard, Herman, 1923-2010  Search this
Source:
Musical History, Division of (NMAH, SI)  Search this
Former owner:
Musical History, Division of (NMAH, SI)  Search this
Names:
Armstrong, Louis, 1901-1971  Search this
Baker, Chet  Search this
Bennett, Tony, 1926-  Search this
Blakey, Art, 1919-1990  Search this
Brown, Clifford Mr  Search this
Camero, Candido, 1921-  Search this
Cole, Nat King, 1917-1965  Search this
Cole, Nat King, 1917-1965  Search this
Davis, Miles  Search this
Davis, Miles  Search this
Eckstine, Billy  Search this
Ellington, Duke, 1899-1974  Search this
Fitzgerald, Ella, 1917-1996  Search this
Garner, Erroll  Search this
Getz, Stan, 1927-1991  Search this
Gillespie, Dizzy, 1917-  Search this
Gordon, Dexter, 1923-1990  Search this
Haig, Al, 1924-1982  Search this
Heath, Percy, 1923-2005  Search this
Holiday, Billie, 1915-1959  Search this
Horne, Lena  Search this
Marsalis, Wynton, 1961-  Search this
Monk, Thelonious  Search this
Mulligan, Gerry  Search this
Parker, Charlie, 1920-1955  Search this
Pettiford, Oscar, 1922-1960  Search this
Roach, Max  Search this
Russell, Curly  Search this
Sims, Zoot  Search this
Sinatra, Frank, 1915-1998  Search this
Stitt, Sonny  Search this
Strayhorn, Billy (William Thomas), 1915-1967  Search this
Terry, Clark  Search this
Washington, Dinah, 1924-1963  Search this
Webster, Ben  Search this
Young, Lester, 1909-1959  Search this
Extent:
5.6 Cubic feet (10 boxes)
Type:
Collection descriptions
Archival materials
Photographs
Date:
1948-1993
Scope and Contents:
This collection consists of 110 black-and-white photographic prints depicting musicians performing at various American and European jazz clubs between 1948 and 1991. The collection contains mounted and unmounted 11" x 14" and 16" x 20" prints made by Leonard. Artists represented among these photographs are Billie Holiday, Charlie Parker, Dizzy Gillespie, Duke Ellington, Frank Sinatra, Lester Young, Louis Armstrong, Miles Davis, and Thelonious Monk. The photographs are organized into three series: Series 1: 11"x 14" prints, Series 2: 16" x 20" prints, and Series 3: Addenda. The series are arranged alphabetically by performer's last name. Unmatted 16" x 20" prints can be found in box 2 but are listed alphabetically by performer.
Biographical / Historical:
Herman Leonard (1923‑ ) was born in Allentown, Pennsylvania and served as a military photographer in Burma during World War II. He earned his Bachelor of Fine Arts Degree in photography from Ohio University and began working with Yousuf Karsh, a Canadian portraitist. Settling in New York in 1949, Leonard began photographing jazz musicians at various jazz clubs on Broadway and Fifty‑Second Streets, and in Harlem for such publications as Cosmopolitan, Esquire, Life, Look, Playboy, and Time. He later to Paris to begin a fashion and advertising business. He also continued photographing jazz musicians. In 1988 Leonard presented his first exhibition, "Images of Jazz," in London. This show established his reputation as a leading photographer of jazz and sparked further shows and publications.
Provenance:
The Herman Leonard Photographs were donated to the National Museum of American History by Mr. Leonard on December 17, 1991 and in 2006.
Restrictions:
Collection is open for research.
Rights:
The Archives Center does not own the rights to the Leonard photographs. All requests for permission to use these photographs for non‑museum purposes must be addressed directly to Herman Leonard at (504) 286‑2444.
Topic:
Jazz musicians -- United States  Search this
Jazz  Search this
Music -- 20th century  Search this
Genre/Form:
Photographs -- Black-and-white photoprints -- Silver gelatin -- 19th-20th century
Citation:
Herman Leonard Photographic Collection, 1948-1993, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0445
See more items in:
Herman Leonard Photographic Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0445
Online Media:

Ruth Ellington Collection of Duke Ellington Materials

Creator:
Boatwright, Ruth Ellington, 1914-2004  Search this
Names:
Tempo Music, Inc.  Search this
Ellington, Duke, 1899-1974  Search this
Extent:
33 Cubic feet (77 boxes, 3 oversize folders)
Type:
Collection descriptions
Archival materials
Business records
Correspondence
Audiotapes
Music
Photographs
Date:
1923–1992
Summary:
The collection consists of correspondence, appointment books, business records, music manuscripts, sound recordings, photographs, and ephemera documenting the activities of Duke Ellington and the management of Tempo Music, Incorporated. There is a small amount of material relating to the Ellingotn family.
Scope and Contents:
The Ruth Ellington Collection of Duke Ellington Materials includes music manuscripts (circa 1930-1981), sound recordings, Duke and Ruth Ellington's business and personal correspondence (1942-1991), business records covering the years 1923-1988, performances and programs covering the years 1951-1989, numerous awards and honors to Ellington and the orchestra, and personal papers relating to the Ellington family. Also among the materials are minutes of business meetings, letters, and newspaper clippings relating to the Duke Ellington Society in New York city, the certificate of incorporation and invitations for the Ellington Cancer Center, and slides, film, and home videos. The collection is arranged into eleven series.
Arrangement:
Divided into eleven series:

Series 1: Music Manuscripts, Scripts and Compositional Materials, 1930-1981, undated

Subseries 1.1: Music Manuscripts, undated

Subseries 1.2: Published Books, 1943-1986, undated

Subseries 1.3: Oversize Materials, undated

Subseries 1.4: Music Manuscript Notebooks and Untitled Music, undated

Subseries 1.5: Tempo Music, Incorporated Copyright Sheets of Non-Ellington Material, undated

Subseries 1.6: Uncopyrighted Submissions, 1958-2002, undated

Subseries 1.7: Notes, Scripts and Compositions, 1958-1969, undated

Series 2: Business Records, 1923-1988, undated

Series 3: Performance Materials, 1951-1989, undated

Series 4: Publicity, 1935-1992, undated

Series 5: Awards and Recognition, 1936-1989, undated

Series 6: Correspondence, 1942-1991, undated

Series 7: Photographs, 1937-1990, undated

Series 8: Family Papers, 1911-1981, undated

Series 9: Other Artists, 1955-1986, undated

Series 10: Harry Carney Materials, 1938-1959

Series 11: Audiovisual Materials, circa 1946-1970

Subseries 11.1: Sound Recordings, circa 1946-1970

Sub-subseries 11.1.1: Duke Ellington Concerts

Sub-subseries 11.1.2: Duke Ellington Volumes 1 through 58

Sub-subseries 11.1.3: Duke Ellington and His Orchestra

Sub-subseries 11.1.4: Duke Ellington Jazz Society Guest Talks

Sub-subseries 11.1.5: Interviews

Sub-subseries 11.1.6: Miscellaneous

Sub-subseries 11.1.7: Non-Ellington Materials

Sub-subseries 11.1.8: 16" Transcription Discs

Subseries 11.2: Moving Images, 1929 - 1970
Biographical / Historical:
Born in 1915, Ruth Dorothea Ellington Boatwright was the sister and only sibling of Edward Kennedy "Duke" Ellington. Sheltered and doted upon, she was almost sixteen years younger than her brother. She attended elementary and junior high schools in the Washington Metropolitan area and finished her basic schooling in New York City where the family moved in the early 1930s. Her mother, Daisy, died there in 1935, followed by her father, J. E. in 1937. Sometime after those life altering events, Ms. Ellington graduated from the New College program at Columbia University with a degree in biology.

In 1941, Duke Ellington established Tempo Music, and surprised his sister Ruth, by installing her as president of the company. He had a strong desire to maintain control of his own publishing, television, and recording rights, and after his sister's graduation, Duke felt that she could assist in accomplishing this goal.

Ruth's duties at Tempo included signing contracts, arranging some travel at Duke's request, and, most importantly, keeping Duke's music copyrighted. According to her own interview statement, she never arranged bookings. Other interests included hosting a Sunday salon for musicians, appearing at and listening to recording studio sessions once or twice a year, and keeping in touch with the older band members' wives. The older band members (i. e., Johnny Hodges, Harry Carney, Otto Hardwick, and Arthur Wetsol) along with the earlier singers (Ivie Anderson, Joya Sherrill, Marie Cole, and Kay Davis) were like family to Ruth.

In the 1950's, she was host of a radio program on WLIB in New York on which she interviewed guests including the writer Ralph Ellison.

Ruth Ellington's first marriage to Daniel James, a journalist and political scientist, produced two sons Michael and Stephen James. This marriage ended in divorce and she later married McHenry Boatwright, an operatic baritone. Boatright died in 1994.

Ruth was active in the National Association for the Advancement of Colored People. She was a founder of the jazz ministry of St. Peter's Lutheran Church in Manhattan and a friend of the first designated jazz pastor, the Reverend John Garcia Gensel.

After Duke's death in 1974, Ruth maintained Tempo until 1995 when she sold fifty one percent of the company to a New York publishing firm, Music Sales. Ruth Dorothea Ellington Boatwright died in 2004 at the age of 88 in Manhattan. She was survived by her two sons.
Provenance:
The collection was donated to the National Museum of American History in 1991. A second set of materials was received from Ruth Ellington Boatwright in 1993.
Restrictions:
Collection is open for research. Researchers must handle unprotected photographs with gloves. Copyright restrictions. Contact staff for information. Only reference copies of audiovisual materials are available for use.
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
Jazz  Search this
Music -- 20th century  Search this
Musicians -- United States  Search this
Genre/Form:
Business records -- 20th century
Correspondence -- 1930-1950
Audiotapes
Music
Photographs -- 20th century
Citation:
Ruth Ellington Collection, 1923-1992, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0415
See more items in:
Ruth Ellington Collection of Duke Ellington Materials
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0415
Online Media:

Ray McKinley Music and Ephemera

Collector:
McKinley, Ray, 1910-1995 (musician, bandleader)  Search this
Names:
Dorsey, Jimmy, Orchestra  Search this
McKinley, Ray, Orchestra  Search this
Miller, Glenn, Orchestra  Search this
Extent:
19.5 Cubic feet (56 boxes)
Type:
Collection descriptions
Archival materials
Photographs
Ephemera
Music
Scrapbooks
Clippings
Date:
1945-1994
Scope and Contents:
The Ray McKinley Music and Ephemera consists of music, scores, sideman books, photographs, correspondence, news clippings and magazine articles, business records, awards, audio and videotapes, 45 rpm commercial recordings, and miscellaneous biographical notes. The records date from the the late nineteenth century to 1996 and document the professional music career and personal life of Ray McKinley (drummer, band leader, and vocalist). The collection is organized into three series; Series 1: Music ca. 1942-1990, Series 2: Ephemera ca. 1870-1996, and Series 3: Miscellaneous ca. 1943-1993. Materials in each series are arranged either alphabetically by music title or chronologically by date.

The following reference abbreviations are used in the container list to facilitate cross-referencing of materials in different subseries:

see: look for this title or material in the following location sa: see also: additional or related material is available in the following location aka: also known as OS: oversize score OP: oversize photograph
Arrangement:
The collection is divided into three series.

Series 1: Music

Series 2: Ephemera

Series 3: Audio Visual Materials
Biographical / Historical:
Ray McKinley was born on June 18, 1910 in Fort Worth, Texas, the son of Flora Newell McKinley and Raymond Harris McKinley, Sr. McKinley, Jr. entertained himself at an early age by "drumming" on whatever was available, and he received his first drum set at age nine from a family friend. His performing career had begun even earlier, at age six, with a snare drum solo for several thousand at the Elks Circus in the North Fort Worth Coliseum. At twelve he started playing professionally with local bands and orchestras. In an April, 1986 article in Modern Drummer, McKinley commented, "I wasn't that terrific, but everyone thought I was" (see Subseries 2B: Newsclippings and Magazine Articles). Whether deserved or not, his reputation was good enough that when the Jimmy Joy Orchestra came to town and was strapped for a substitute drummer, twelve-year-old McKinley got the job.

McKinley left town for the first time on a tour with the Duncan-Marin band in 1926. While performing in a Chicago nightclub, he was caught in the crossfire of a gang shoot-out and shot in the leg. During his convalescence, he wandered the clubs and listened in on sets. He met "Benny Pollack, Benny Goodman, Glenn Miller and others" (Ray McKinley, see Subseries 2F: Biographical Materials). He left the Duncan-Marin group in 1927 for the Beasley Smith orchestra, and joined the Tracy-Brown Orchestra in 1929. He played with Milt Shaw's Detroiters for a time in 1930, followed by a stint with Dave Bernie's band. With Bernie, he made two trips to England, "where he acquired a set of neckties and a Southern accent" (McKinley, Biographical Materials).

Glenn Miller asked McKinley to join him in Smith Ballew's band in 1932, and Miller later placed McKinley and four others with the Dorsey Brothers' Orchestra. When the Dorseys split, McKinley stayed with Jimmy Dorsey, although he was heavily recruited by other band leaders, including Tommy Dorsey and Benny Goodman. He became known as a vocalist as well as drummer in Jimmy Dorsey's band, and had Bing Crosby name him "one of the ten best vocalists in the country" (All-American Band Leaders, July, 1942). In 1939, at the suggestion of booking agent Willard Alexander, McKinley joined forces with Will Bradley (formerly Wilber Schwitsenberg) to form the "Will Bradley Orchestra featuring Ray McKinley." With McKinley on vocals and drums, the band's several hits included Beat Me Daddy, Eight to the Bar, Down the Road Apiece and Celery Stalks at Midnight. McKinley left in 1942 to form his own group, The Ray McKinley Orchestra. The band was very well-recieved, but broke up after only 8 months due to external factors including the outbreak of the second World War. McKinley placed many of his players with the Tommy Dorsey Orchestra just before he was drafted.

McKinley's old association with Glenn Miller paid off when Glenn took him on for his famous Army Air Force Band. McKinley says that Glenn Miller's band "was one of the two best musical organizations I had anything to do with as a player" (Modern Drummer). The Glenn Miller Band was sent to England in June, 1944. After Miller disappeared in 1944, McKinley fronted the band until its return to the United States in 1945. At this point, McKinley handed the reins to Tex Benecke and formed a new Ray McKinley Orchestra.

McKinley's new orchestra enjoyed great success, partially due to its young talent, including that of arrangers Eddie Sauter and Deane Kincaide. McKinley's showmanship and skills as leader, vocalist, and drummer also earned the band many fans. Some of their hits included Red Silk Stockings and Green Perfume, You Came a Long Way From St. Louis, and Arizay. Unfortunately, the group's inception coincided with the end of the big band era. McKinley adjusted the size and style of the band in attempts to satisfy public demand, but he finally disbanded the group when he suffered an attack of amoebic dysentery in 1951.

After his recovery, McKinley freelanced with different bands and in radio and television, mostly accepting appearances that kept him near his home in Connecticut. His last extended stint with any band came in 1956, when Willard Alexander persuaded the Glenn Miller Estate to sponsor a New Glenn Miller Orchestra with McKinley as its leader. The band played arrangements of old Miller favorites from the original music as well as more contemporary hits. This orchestra, like McKinley's earlier ones, was very successful, performing on television and travelling all over the world. In 1966, McKinley tired of the road and "retired". For the next thirty years, McKinley again stayed close to home, playing "gigs" with various bands, working as a musical consultant for Walt Disney World in 1971, and doing some television and recordings.

McKinley is remembered as a loving family man, screwball showman, and dedicated musician. In January, 1950,InternationalMusician said that McKinley was "known in the trade as a 'drummer's drummer'--just about the highest accolade one can receive." Many of his fellow musicians attest that his clean, energetic style of drumming provided the drive behind many of the bands he played with, while his technical skill and sense of humor produced the exciting solos that made him popular with the public. According to drummer Cliff Leeman, "Unlike many of the highly technical, showman drummers, McKinley combined elements of showmanship and thoughtful, feeling performance. He never ignored his timekeeping duties" (Modern Drummer, 1986). Both on the drums and as band leader, McKinley was a bit of a clown. For instance, the "vocal" in Celery Stalks at Midnight originated when McKinley, for no particular reason, "instead of playing a two bar solo on the drums...just yelled out, 'Celery Stalks along the highway!'" (McKinley, Big Band Jump Newsletter). Still, despite his antics and the fun he obviously had while on the stand, McKinley was deadly serious about music. His thoughts on drumming are evidence of this: "Once you have the techniques down and combine them with an inherent sense of rhythim--I believe you have to be born with it--you're well on your way to becoming a good drummer. If you don't have that bone-deep rhythmic sense, or 'feel', you should be doing something else. That may sound autocratic. But that's the way it is, as far as I'm concerned"( ModernDrummer).

McKinley was married in 1937 but divorced by 1942. He then married ballet dancer Gretchen Havemann in 1943, a few months into his tenure with the Glenn Miller Band. On April 7, 1949, they had daughter for whom Gretchen coined the name Jawn. A loving, happy couple, he and Gretchen celebrated their fiftieth wedding anniversary in 1993. In 1983, he and Gretchen began spending half of their year in a home in Florida and half in Canada. He died in 1995.
Separated Materials:
Ray McKinley drumset and two band stands are located in the Division of Music History.
Provenance:
Donated by Gretchen McKinley and Jawn McKinley Neville on February 2, 1998.
Restrictions:
Collection is open for research.
Rights:
Copyright restrictions. Contact the Archives Center for information.
Topic:
Big band music -- 1940-2000  Search this
Jazz musicians  Search this
Musicians  Search this
Music -- 20th century  Search this
Genre/Form:
Photographs -- 20th century
Ephemera -- 20th century
Music -- 1940-2000
Scrapbooks -- 20th century
Clippings -- 20th century
Citation:
Ray McKinley Music and Ephemera, ca 1945-1994, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0635
See more items in:
Ray McKinley Music and Ephemera
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0635
Online Media:

Mongo Santamaria Papers

Creator:
Santamaria, Mongo, 1917-  Search this
Extent:
2 Cubic feet (4 boxes)
Type:
Collection descriptions
Archival materials
Articles
Passports
Photographs
Manuscripts
Concert programs
Date:
1950s-1996
Summary:
Collection includes music manuscripts, articles and clippings, concert programs, passports, and photographs.
Scope and Contents:
This collection documents, mostly in photographs, the musical career of Mongo Santamaria. Other materials include music manuscripts, magazine and newspaper articles, flyers, posters, and passports.

Series 1, Photographs, circa 1950s–1990s, includes primarily black and white and some color images of Mongo Santamaria. There is a photograph of Santamaria with the first Congo he brought from Cuba to the United States. Of particular interest is Santamaria performing with Tito Puente and Cal Tjada's bands. Some of the earlier photographs document performances at the Palladium Nightclub and Apollo Theatre. There are publicity photographs of Santamaria and his band created by the recording studios. The photographs also include award ceremonies, bar scenes and concert appearances. The materials are arranged in chronological order.

Series 2, Music Manuscripts, 1958-1985; undated, includes music created by Santamaria and music performed by him but written by other composers. Escena Afro-Cubanas composed and arranged by Valerie Capers (1985), Just Say Good-by by Rodgers Grant, Mambo Olga Pachanga by Nicolas Martinez (1961) and Peace by Horace Silver are included among these materials. The materials are arranged in alphabetical order by title.

Series 3, Personal and Background Information, 1945-1996; undated, include a profile of Santamaria and other musicians written in Japanese. There are also magazine articles documenting the development of Santamaria's career and his public appearances. Articles from the Miami Herald and the Chicago Tribune are also included among the materials. Personal items consist of Santamaria's Cuban and American passports. The materials are arranged in alphabetical order by type.

Series 4, Performance Materials, 1977-1996; undated, includes the National Academy of Recording Arts and Sciences Certificate to Mongo Santamaria and his Latin-Jazz Orchestra in recognition of nomination for the Best Tropical Latin Performance for Free Spirit, Espirito Libre, 1985. There are also flyers and an entertainment guide, some in Spanish, advertising public appearances for concert performances. A program in French for a jazz festival in Vienna includes profiles of the performers. There are posters including a black and white drawing of jazz musicians by Robert Leonard (1985) and appearances at the Miami Jazz and Heritage Festival, Apollo Theatre, Oberlin College and the Blue Note. Materials are arranged in alphabetical order by type.
Arrangement:
The collection is divided into 4 series.

Series 1: Photographs, circa 1950s-1990

Series 2, Music Manuscripts, 1958-1985 and undated

Series 3, Personal and Background Information, 1945-1996 and undated

Series 4, Performance Materials, 1977-1996 and undated
Biographical / Historical:
Cuban-born percussionist, composer, arranger, and bandleader.
Related Materials:
The materials in this collection complement the Latino Music Collection, Tito Puente Papers, Chico O'Farrill Papers, Dizzy Gillespie Collection and Paquito d'Rivera Music Manuscripts and Photograph.
Provenance:
Donated to the Archives Center by Mongo Santamaria's daughter, Nancy Anderson.
Restrictions:
Collection is open for research.
Rights:
Fees for commercial reproduction. Reproduction restricted due to copyright or trademark.
Topic:
Music -- 20th century  Search this
Jazz musicians -- United States  Search this
Jazz  Search this
Drummers (Musicians)  Search this
Musicians -- United States  Search this
Genre/Form:
Articles
Passports
Photographs -- 1950-2000
Manuscripts -- Music -- 20th century
Concert programs
Citation:
Mongo Santamaria Papers, 1965-2001, Archives Center, National Museum of American History. Gift of Nancy Anderson.
Identifier:
NMAH.AC.0893
See more items in:
Mongo Santamaria Papers
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0893
Online Media:

Willie Smith Collection

Composer:
Smith, Willie, 1910-1967 (musician)  Search this
Names:
Harry James Orchestra  Search this
Jimmie Lunceford Orchestra  Search this
Ellington, Duke, 1899-1974  Search this
James, Harry, 1916-  Search this
Lunceford, Jimmie  Search this
Extent:
0.25 Cubic feet (2 boxes)
Type:
Collection descriptions
Archival materials
Sheet music
Programs
Photographs
Correspondence
Date:
1945-1987
Summary:
Collection documents Willie Smith's career as a musician and arranger between 1945 and 1958.
Scope and Contents:
The Willia Smith Collection consits of correspondence, event programs, a periodical entitled Musikkunde in beispielen, thirty-siz black and white photograph, and nine music arrangements documenting Smith's career as a musician and arranger between 1945 and 1958.
Arrangement:
The collection is arranged into three series.

Series 1: Music Manuscripts, 1945-1947

Series 2: Photographs, 1938-1958

Series 3: Ephemera, 1945-1987
Biographical / Historical:
Willie Smith, aleading alto saxophonist and arranger of the swing period, was born in Charkeston, South Carolina on November 25, 1910 and died in Los Angeles on March 7, 1967. He attended Nashville Tennessee's Fisk University during the 1920s and played with the Jimmy Lunceford Orchestra between 1929 and 1942. After a brief period performing with Charlie Spivak's band between 1942 and 1943, Smith began his tenure with the Harry James Orchestra in 1944. Hew remained with the Harry James Orchestra until 1964 with brief interruptions between 1951 and 1953 performing with the Duke Ellington Orchestra, Jazz at the Philharmonic, and leading several of his own small ensembles in Los Angeles. In addition to Smith's reputation as a section leader and soloist, he is best known for his arrangmenets of Sophisticated Lady and Rose Rooom for the Jimmie Lunceford Orchestra.
Provenance:
Collection donated by Fischella Smith, August 14, 1990.
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  Search this
Jazz musicians -- United States  Search this
Jazz  Search this
Genre/Form:
Sheet music -- Manuscripts -- 20th century
Programs -- 1940-1990
Photographs -- 20th century
Correspondence -- 1940-2000
Citation:
Willie Smith Collection, 1945-1987, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0382
See more items in:
Willie Smith Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0382

Louis Armstrong [black-and-white photoprint]

Names:
Jazz Photographs: Composed and Improvised (Archives Center display cases, National Museum of American History, March 28-May 10, 2005).  Search this
Armstrong, Louis, 1901-1971  Search this
Collection Creator:
Armstrong, Lucille  Search this
Bechet, Sidney, 1897-1959  Search this
Armstrong, Louis, 1901-1971  Search this
Condon, Eddie, 1905-1973  Search this
Calloway, Cab, 1907-  Search this
Commodore Records.  Search this
Feather, Leonard  Search this
Gabler, Milt  Search this
Davis, Sammy, 1925-  Search this
Decca (recording company).  Search this
Granz, Norman  Search this
Hawkins, Coleman  Search this
Kaempfert, Bert, 1923-1980  Search this
Ives, Burl, 1909-  Search this
Holiday, Billie, 1915-1959  Search this
Norvo, Red, 1908-1999  Search this
Mills Brothers.  Search this
Krupa, Gene, 1909-1973  Search this
Kelly, Peck, 1898-  Search this
Williams, Cootie  Search this
United Hot Clubs of America.  Search this
Stewart, Rex (William), Jr., 1907-1967 (cornetist)  Search this
Jordan, Louis, 1908-1975  Search this
Goodman, Benny (Benjamin David), 1909-1986  Search this
Extent:
1 Photograph (Silver gelatin on paper, 8-1/16" x 10")
Culture:
African Americans  Search this
Type:
Archival materials
Photographs
Publicity photographs
Date:
1947
Scope and Contents:
Publicity photograph for United Artists Corp. Front contains handwritten note and autograph; note: "From Louis Armstong, to [Milt Gabler?], Commodore Music Shop." Photographer unidentified.
Local Numbers:
AC0849.0000004.tif (AC Scan, Front)
Exhibitions Note:
Shown in exhibition "Jazz Photographs: Composed and Improvised," Archives Center display cases, National Museum of American History, March 28-May 10, 2005.
Collection Restrictions:
The collection is open for research use. Some materials restricted; but most are available for unrestricted research access on site by appointment.

Several items of personal correspondence contained private medical information about living individuals. The originals were removed and will remain sealed until 2030. Copies with the sensitive information redacted are available for research use in the collection.

Access to audio recordings for which no reference copy exists requires special arrangements with Archives Center staff. Please ask the reference archivist for additional information.
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.
Topic:
Jazz musicians  Search this
Genre/Form:
Publicity photographs
Photographs -- 1950-2000 -- Black-and-white photoprints -- Silver gelatin
Collection Citation:
Milt Gabler Papers, 1927-2001, Archives Center, National Museum of American History.
See more items in:
Milt Gabler Papers
Milt Gabler Papers / 26: Photographs / 26.3: Jam Sessions and Performances / Duke Ellington, Ella Fitzgerald, Benny Goodman, Alexander King, Billy Kyle, Timmie Rosencrantz, Artie Shaw, Chick Webb, [Dickie Wells?], Brunswick Studios
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0849-ref2239

Chick Webb, Artie Shaw, and Duke Ellington [photoprint]

Names:
Jazz Photographs: Composed and Improvised (Archives Center display cases, National Museum of American History, March 28-May 10, 2005).  Search this
Ellington, Duke, 1899-1974  Search this
Shaw, Artie, 1910-2004  Search this
Webb, Chick, 1909-1939  Search this
Collection Creator:
Armstrong, Lucille  Search this
Bechet, Sidney, 1897-1959  Search this
Armstrong, Louis, 1901-1971  Search this
Condon, Eddie, 1905-1973  Search this
Calloway, Cab, 1907-  Search this
Commodore Records.  Search this
Feather, Leonard  Search this
Gabler, Milt  Search this
Davis, Sammy, 1925-  Search this
Decca (recording company).  Search this
Granz, Norman  Search this
Hawkins, Coleman  Search this
Kaempfert, Bert, 1923-1980  Search this
Ives, Burl, 1909-  Search this
Holiday, Billie, 1915-1959  Search this
Norvo, Red, 1908-1999  Search this
Mills Brothers.  Search this
Krupa, Gene, 1909-1973  Search this
Kelly, Peck, 1898-  Search this
Williams, Cootie  Search this
United Hot Clubs of America.  Search this
Stewart, Rex (William), Jr., 1907-1967 (cornetist)  Search this
Jordan, Louis, 1908-1975  Search this
Goodman, Benny (Benjamin David), 1909-1986  Search this
Extent:
1 Photograph (Silver gelatin on paper, 8" x 9-15/16")
Type:
Archival materials
Photographs
Date:
1937
Scope and Contents:
Photograph of 1937 jam session for Milt Gabler's Commodore Records, Brunswick Recording Studio, New York, New York. Photographer unidentified.
Local Numbers:
AC0849.0000001.tif (AC Scan, Front)
Exhibitions Note:
Shown in exhibition "Jazz Photographs: Composed and Improvised," Archives Center display cases, National Museum of American History, March 28-May 10, 2005.
Collection Restrictions:
The collection is open for research use. Some materials restricted; but most are available for unrestricted research access on site by appointment.

Several items of personal correspondence contained private medical information about living individuals. The originals were removed and will remain sealed until 2030. Copies with the sensitive information redacted are available for research use in the collection.

Access to audio recordings for which no reference copy exists requires special arrangements with Archives Center staff. Please ask the reference archivist for additional information.
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.
Topic:
African American composers  Search this
Jazz musicians  Search this
Genre/Form:
Photographs -- 1930-1940 -- Black-and-white photoprints -- Silver gelatin
Collection Citation:
Milt Gabler Papers, 1927-2001, Archives Center, National Museum of American History.
See more items in:
Milt Gabler Papers
Milt Gabler Papers / 26: Photographs / 26.3: Jam Sessions and Performances / Duke Ellington, Ella Fitzgerald, Benny Goodman, Alexander King, Billy Kyle, Timmie Rosencrantz, Artie Shaw, Chick Webb, [Dickie Wells?], Brunswick Studios
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0849-ref2240

Chick Webb, Artie Shaw, and Duke Ellington [photoprint]

Names:
Jazz Photographs: Composed and Improvised (Archives Center display cases, National Museum of American History, March 28-May 10, 2005).  Search this
Ellington, Duke, 1899-1974  Search this
Shaw, Artie, 1910-2004  Search this
Webb, Chick, 1909-1939  Search this
Collection Creator:
Armstrong, Lucille  Search this
Bechet, Sidney, 1897-1959  Search this
Armstrong, Louis, 1901-1971  Search this
Condon, Eddie, 1905-1973  Search this
Calloway, Cab, 1907-  Search this
Commodore Records.  Search this
Feather, Leonard  Search this
Gabler, Milt  Search this
Davis, Sammy, 1925-  Search this
Decca (recording company).  Search this
Granz, Norman  Search this
Hawkins, Coleman  Search this
Kaempfert, Bert, 1923-1980  Search this
Ives, Burl, 1909-  Search this
Holiday, Billie, 1915-1959  Search this
Norvo, Red, 1908-1999  Search this
Mills Brothers.  Search this
Krupa, Gene, 1909-1973  Search this
Kelly, Peck, 1898-  Search this
Williams, Cootie  Search this
United Hot Clubs of America.  Search this
Stewart, Rex (William), Jr., 1907-1967 (cornetist)  Search this
Jordan, Louis, 1908-1975  Search this
Goodman, Benny (Benjamin David), 1909-1986  Search this
Extent:
1 Photograph (Silver gelatin on paper, 4-13/16" x 3-1/4")
Type:
Archival materials
Photographs
Date:
1937
Scope and Contents:
Photograph taken at Brunswick Studio in connection with jam session for Milt Gabler's Commodore Records. Photographer unidentified.
Local Numbers:
AC0849.0000002.tif (AC Scan, Front)
Exhibitions Note:
Shown in exhibition "Jazz Photographs: Composed and Improvised," Archives Center display cases, National Museum of American History, March 28-May 10, 2005.
Collection Restrictions:
The collection is open for research use. Some materials restricted; but most are available for unrestricted research access on site by appointment.

Several items of personal correspondence contained private medical information about living individuals. The originals were removed and will remain sealed until 2030. Copies with the sensitive information redacted are available for research use in the collection.

Access to audio recordings for which no reference copy exists requires special arrangements with Archives Center staff. Please ask the reference archivist for additional information.
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.
Topic:
Jazz musicians  Search this
African American composers  Search this
Genre/Form:
Photographs -- 1950-2000 -- Black-and-white photoprints -- Silver gelatin
Collection Citation:
Milt Gabler Papers, 1927-2001, Archives Center, National Museum of American History.
See more items in:
Milt Gabler Papers
Milt Gabler Papers / 26: Photographs / 26.3: Jam Sessions and Performances / Duke Ellington, Ella Fitzgerald, Benny Goodman, Alexander King, Billy Kyle, Timmie Rosencrantz, Artie Shaw, Chick Webb, [Dickie Wells?], Brunswick Studios
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0849-ref2241

[Duke Ellington, unidentified trumpet player, and Chick Webb: photograph]

Names:
Jazz Photographs: Composed and Improvised (Archives Center display cases, National Museum of American History, March 28-May 10, 2005).  Search this
Ellington, Duke, 1899-1974  Search this
Collection Creator:
Armstrong, Lucille  Search this
Bechet, Sidney, 1897-1959  Search this
Armstrong, Louis, 1901-1971  Search this
Condon, Eddie, 1905-1973  Search this
Calloway, Cab, 1907-  Search this
Commodore Records.  Search this
Feather, Leonard  Search this
Gabler, Milt  Search this
Davis, Sammy, 1925-  Search this
Decca (recording company).  Search this
Granz, Norman  Search this
Hawkins, Coleman  Search this
Kaempfert, Bert, 1923-1980  Search this
Ives, Burl, 1909-  Search this
Holiday, Billie, 1915-1959  Search this
Norvo, Red, 1908-1999  Search this
Mills Brothers.  Search this
Krupa, Gene, 1909-1973  Search this
Kelly, Peck, 1898-  Search this
Williams, Cootie  Search this
United Hot Clubs of America.  Search this
Stewart, Rex (William), Jr., 1907-1967 (cornetist)  Search this
Jordan, Louis, 1908-1975  Search this
Goodman, Benny (Benjamin David), 1909-1986  Search this
Extent:
1 Photograph (Silver gelatin on paper, 3-1/4" x 4-3/4")
Culture:
African Americans  Search this
Type:
Archival materials
Photographs
Date:
1937
Scope and Contents:
Photograph taken at Brunswick Studio, jam session for Milt Gabler's Commodore Records.
Local Numbers:
AC0849.0000003.tif (AC Scan, Front)
Exhibitions Note:
Shown in exhibition "Jazz Photographs: Composed and Improvised," Archives Center display cases, National Museum of American History, March 28-May 10, 2005.
Collection Restrictions:
The collection is open for research use. Some materials restricted; but most are available for unrestricted research access on site by appointment.

Several items of personal correspondence contained private medical information about living individuals. The originals were removed and will remain sealed until 2030. Copies with the sensitive information redacted are available for research use in the collection.

Access to audio recordings for which no reference copy exists requires special arrangements with Archives Center staff. Please ask the reference archivist for additional information.
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.
Topic:
Jazz musicians  Search this
African American composers  Search this
Genre/Form:
Photographs -- 1950-2000 -- Black-and-white photoprints -- Silver gelatin
Collection Citation:
Milt Gabler Papers, 1927-2001, Archives Center, National Museum of American History.
See more items in:
Milt Gabler Papers
Milt Gabler Papers / 26: Photographs / 26.3: Jam Sessions and Performances / Duke Ellington, Ella Fitzgerald, Benny Goodman, Alexander King, Billy Kyle, Timmie Rosencrantz, Artie Shaw, Chick Webb, [Dickie Wells?], Brunswick Studios
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0849-ref2242

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