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Creator:

Pepper, Jim  Search this

Names:

Fund for the Borough of Brooklyn  Search this

Lee, Gordon, 1953-  Search this

Extent:

0.5 Linear feet

Container:

Box 1

Culture:

Kaw (Kansa)  Search this

Oklahoma Muskogee (Creek)  Search this

Type:

Collection descriptions

Archival materials

Sheet music

Date:

1983-1984

1990

Summary:

This collection includes a selection of handwritten and original sheet music written by Native jazz musician Jim Pepper (Kaw/Oklahoma Muskogee [Creek]).

Scope and Contents:

The Jim Pepper sheet music collection contains a selection of music composed and arranged by native American jazz musician Jim Pepper. This includes five out of the six compositions Jim Pepper was commissioned to create by the Fund for the Borough of Brooklyn through a grant awarded by the Mary Flagler Cary Charitable Trust. These include jazz song "Reflections of Monk", orchestral arrangements "Remembrance" and "Four Winds" and dance scores "Dance #1" and "Feather Dance" all of which were written in 1990. Also included are handwritten copies two earlier compositions "Lakota Song", written in 1984, and a revised composition of "Witchi-Tai-To" from 1983. Additionally there is an undated orchestral arrangement of "Witchi-Tai-To" written by Pepper and orchestrated by Gordon Lee. Several copies of Pepper's business cards from his time touring Europe are also in this collection.

Arrangement:

The music in this collection is arranged alphabetically by song title.

Biographical note:

Jim Pepper was born in 1941 to an Oklahoma Muskogee (Creek) mother and Kaw father in Salem, Oregon. Early influences from his grandfather Ralph Pepper and his father Gilbert led Jim Pepper to learn traditional Kaw music at a young age. However, being raised in Portland exposed Pepper to the jazz of musicians like Sonny Rollins and John Coltrane leading to a fusion of jazz and traditional Native American music in Pepper's compositions. Pepper started playing saxophone at age 15 and moved to New York City in 1964 and played in the jazz rock group "Free Spirits." Pepper album, "Pepper's Pow-Wow" was produced in 1971 and included his first singing effort "Witchi-Tai-To" a peyote chant his grandfather used to sing. After spending several year in Alaska and San Francisco away from the music business, Pepper returned to New York City in 1982 and toured the United Stated and Europe with several groups including the Charlie Haden Liberation Music Orchestra, The Paul Motian Quintet and the Don Cherry Ensemble. Pepper also served at the Music Director for "Night of the First Americans" a benefit concert at the Kennedy Center that included both Native American performers and celebrity entertainers. in 1990 Pepper was the recipient of the "Mary Flagler Charitable Trust" grant. Under this grant Pepper composed 2 jazz songs, 2 scores for Symphony Orchestra and 2 scores for dance in the idiom of Native American music. Pepper died in 1992 of lymphoma in Portland Oregon. Pepper was posthumously granted the Lifetime Musical Achievement Award by First Americans in the Arts in 1999, and in 2000 he was inducted into the Native American Music Awards Hall of Fame.

Related Materials Note:

Along with the original sheet music sent to the Archive Center, the National Museum of the American Indian received several objects from the Pepper family related to Jim Pepper's music career. These objects include Pepper's saxophone and can be found in NMAI's Modern and Contemporary Arts collection with object numbers 26/6293 through 26/6302. For more information on these objects please contact NMAICollection@si.edu.

Provenance:

The Jim Pepper sheet music collection was donated to NMAI in 2007 by Jim Pepper's mother, Floy Childers Pepper, his sister, Suzie Pepper Henry, and Suzie's son James Pepper Henry.

Restrictions:

Access to NMAI Archive Center collections is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).

Rights:

Single photocopies may be made for research purposes. Permission to publish or broadcast materials from the collection must be requested from National Museum of the American Indian Archive Center. Please submit a written request to nmaiarchives@si.edu.

Topic:

Jazz  Search this

Arrangement (Music)  Search this

Genre/Form:

Sheet music

Citation:

Identification of specific item; Date (if known); Jim Pepper Sheet Music Collection, Box and Folder Number; National Museum of the American Indian Archive Center, Smithsonian Institution.

Identifier:

NMAI.AC.062

Archival Repository:

National Museum of the American Indian

EDAN-URL:

ead_collection:sova-nmai-ac-062

Photographer:

Leonard, Herman, 1923-2010  Search this

Names:

Birdland (New York, N.Y.)  Search this

Parker, Charlie, 1920-1955  Search this

Collection Creator:

Leonard, Herman, 1923-2010  Search this

Collection Source:

Musical History, Division of (NMAH, SI)  Search this

Extent:

1 Item (Silver gelatin on paper.)

Container:

Box 1, Folder 23

Culture:

African Americans  Search this

Type:

Archival materials

Photographs

Date:

1949

Scope and Contents:

Parker playing saxophone, dramatically photographed from a low angle. Title, signature, date in lower margin.

Arrangement:

Box No. 1

Local Numbers:

AC0445-0000008.tif (AC Scan No.)

Collection Restrictions:

Collection is open for research.

Collection 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 to: Herman Leonard Photography, LLC, 530 South Lake Avenue #503, Pasadena, CA 91101 (818) 509-8987.

Topic:

Saxophone  Search this

African American musicians  Search this

Jazz  Search this

Musicians -- 1950-2000  Search this

Collection Citation:

Herman Leonard Photographic Collection, 1948-1993, Archives Center, National Museum of American History.

See more items in:

Herman Leonard Photographic Collection

Herman Leonard Photographic Collection / Series 1: 11" x 14" Prints

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-0445-ref38

Photographer:

Leonard, Herman, 1923-2010  Search this

Names:

Young, Lester, 1909-1959  Search this

Collection Creator:

Leonard, Herman, 1923-2010  Search this

Collection Source:

Musical History, Division of (NMAH, SI)  Search this

Extent:

1 Item (Silver gelatin on paper.)

Container:

Box 1, Folder 34

Culture:

African Americans  Search this

Type:

Archival materials

Photographs

Place:

Paris (France)

Date:

1958

Scope and Contents:

Lester Young is holding his saxophone. Title, date, signature in lower margin.

Local Numbers:

AC0445-0000010.tif (AC Scan No.)

Collection Restrictions:

Collection is open for research.

Collection 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 to: Herman Leonard Photography, LLC, 530 South Lake Avenue #503, Pasadena, CA 91101 (818) 509-8987.

Topic:

Saxophone  Search this

African American musicians  Search this

Jazz  Search this

Musicians -- 1950-2000  Search this

Collection Citation:

Herman Leonard Photographic Collection, 1948-1993, Archives Center, National Museum of American History.

See more items in:

Herman Leonard Photographic Collection

Herman Leonard Photographic Collection / Series 1: 11" x 14" Prints

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-0445-ref50

Collector:

Musical History, Division of (NMAH, SI)  Search this

Musical History, Division of (NMAH, SI)  Search this

Creator:

Ellington, Duke, 1899-1974  Search this

Names:

Duke Ellington Orchestra  Search this

Washingtonians, The.  Search this

Ellington, Mercer Kennedy, 1919-1996 (musician)  Search this

Strayhorn, Billy (William Thomas), 1915-1967  Search this

Extent:

400 Cubic feet

Type:

Collection descriptions

Archival materials

Phonograph records

Papers

Photographic prints

Posters

Sound recordings

Scrapbooks

Music

Clippings

Awards

Audiotapes

Place:

New York (N.Y.) -- 20th century

Harlem (New York, N.Y.) -- 20th century

Washington (D.C.) -- 20th century

Date:

1903 - 1989

Summary:

The collection documents Duke Ellington's career primarily through orchestrations (scores and parts), music manuscripts, lead sheets, transcriptions, and sheet music. It also includes concert posters, concert programs, television, radio, motion picture and musical theater scripts, business records, correspondence, awards, as well as audiotapes, audiodiscs, photographs, tour itineraries, newspaper clippings, magazines, caricatures, paintings, and scrapbooks.

Scope and Contents:

Dating approximately from the time Duke Ellington permanently moved to New York City in 1923 to the time the material was transferred to the Smithsonian Institution in 1988, the bulk of the material in the Duke Ellington Collection is dated from 1934-1974 and comprises sound recordings, original music manuscripts and published sheet music, hand-written notes, correspondence, business records, photographs, scrapbooks, news clippings, concert programs, posters, pamphlets, books and other ephemera. These materials document Ellington's contributions as composer, musician, orchestra leader, and an ambassador of American music and culture abroad. In addition, the materials paint a picture of the life of a big band maintained for fifty years and open a unique window through which to view an evolving American society.

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

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

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

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

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

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

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

Arrangement:

Series 1: Music Manuscripts, circa 1930-1981, undated

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

Series 3: Business Records, 1938-1988

Series 4: Scripts and Transcripts, 1937-1970

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

Series 6: Sound Recordings, 1927-1974

Series 7: Photographs, 1924-1972, undated

Series 8: Scrapbooks, 1931-1973

Series 9: Newspaper Clippings, 1939-1973, undated

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

Series 11: Publicity, 1935-1988

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

Series 13: Awards, 1939-1982

Series 14: Religious Material, 1928-1974

Series 15: Books, 1903-1980

Series 16: Miscellaneous, 1940-1974

Biographical / Historical:

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

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

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

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

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

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

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

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

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

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

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

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

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

Related Materials:

Materials in the Archives Center

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

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

Duke Ellington Oral History Project (AC0368)

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

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

Robert Udkoff Collection of Duke Ellington Ephemera (AC0388)

Frank Driggs Collection of Duke Ellington Photographic Prints (AC0389)

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

Earl Okin Collection of Duke Ellington Ephemera (AC0391)

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

Ruth Ellington Collection of Duke Ellington Materials (AC0415)

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

Carter Harman Collection of Interviews with Duke Ellington (AC0422)

Betty McGettigan Collection of Duke Ellington Memorabilia (AC0494)

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

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

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

John Gensel Collection of Duke Ellington Materials (AC0763)

Al Celley Collection of Duke Ellington Materials (AC1240)

Materials at Other Organizations

Institute of Jazz Studies

Separated Materials:

Artifacts related to this collection are in the Division of Culture and the Arts and include trophies, plaques, and medals. See accessions: 1989.0369; 1991.0808; 1993.0032; and 1999.0148.

Provenance:

The collection was purchased through an appropriation of Congress in 1988.

Restrictions:

The collection is open for research.

Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

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

Paul Ellington, executor, is represented by:

Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.

Occupation:

Composers -- 20th century  Search this

Topic:

Big bands  Search this

Pianists  Search this

Bandsmen -- 20th century  Search this

Jazz -- 20th century -- United States  Search this

Musicians -- 20th century  Search this

Music -- Performance  Search this

African American entertainers -- 20th century  Search this

African Americans -- History  Search this

Popular music -- 20th century -- United States  Search this

Music -- 20th century -- United States  Search this

African American musicians  Search this

Genre/Form:

Phonograph records

Papers

Photographic prints

Posters

Sound recordings

Scrapbooks -- 20th century

Music -- Manuscripts

Clippings

Awards

Audiotapes

Citation:

Duke Ellington Collection, Archives Center, National Museum of American History

Sponsor:

Processing and encoding partially funded by a grant from the Council on Library and Information Resources.

Identifier:

NMAH.AC.0301

See more items in:

Duke Ellington Collection

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_collection:sova-nmah-ac-0301

Photographer:

Seidel, Wayne  Search this

Publisher:

Concord Records  Search this

Names:

Carter, Benny, 1907-2003  Search this

McPartland, Marian  Search this

Collection Interviewee:

Sun Ra  Search this

Gaskin, Leonard, 1920-  Search this

Taylor, Billy  Search this

Sullivan, Maxine, 1911-1987  Search this

Wells, Ronnie  Search this

Whiting, Margaret  Search this

Towers, Jack  Search this

Venuti, Joe, 1903-1978  Search this

Pullen, Don, 1941-  Search this

Roney, Wallace  Search this

Pizzarelli, Bucky, 1926-  Search this

Pizzarelli, John, 1960-  Search this

Shaw, Artie, 1910-2004  Search this

Shepp, Archie, 1937-  Search this

Sanders, Pharaoh  Search this

Grant, Felix, 1918-1993  Search this

Scott, Jimmy  Search this

McPhail, Jimmy  Search this

McPartland, Marian  Search this

McFerrin, Bobby  Search this

Krall, Diana  Search this

O'Connell, Helen  Search this

Mulligan, Gerry  Search this

Metheny, Pat  Search this

McShann, Jay  Search this

Horn, Shirley, 1934-  Search this

Hinton, Milt, 1910-  Search this

Hill, Andrew, 1937-  Search this

Hendricks, Jon, 1921-  Search this

Keane, Helen  Search this

Kaminsky, Max, 1908-  Search this

Jordan, Sheila, 1928-  Search this

Humes, Helen, 1913-1981  Search this

Hampton, Lionel  Search this

Harris, Eddie, 1934-  Search this

Heath, Jimmy, 1926-  Search this

Frishberg, Dave  Search this

Ennis, Ethel  Search this

Farmer, Art, 1928-  Search this

Flanagan, Tommy, 1930-  Search this

Hampton, Slide  Search this

D'Rivera, Paquito, 1948-  Search this

Daniels, Billy  Search this

Davison, Bill  Search this

Donegan, Dorothy, 1922-  Search this

Crouch, Stanley, 1945-  Search this

Conyers, John, 1929-  Search this

Cruz, Celia, 1920-  Search this

Byard, Jaki  Search this

Brown, Ruth  Search this

Carter, Betty, 1930-  Search this

Byron, Don  Search this

Betts, Keter, 1928-  Search this

Bellson, Louis  Search this

Bowie, Lester, 1941-  Search this

Blakey, Art, 1919-1990  Search this

Allen, Steve, 1921-2000  Search this

Adderly, Nat, 1931-  Search this

Bailey, Benny, 1925-  Search this

Collection Collector:

Stokes, W. Royal, Dr., 1930-  Search this

Extent:

1 Item (Silver gelatin on paper., 10" x 8".)

Culture:

African Americans  Search this

Type:

Archival materials

Photographs

Publicity photographs

Scope and Contents:

Marian McPartland sitting at piano with Benny Carter standing behind. Photo credit at right edge: "Photo by Wayne Seidel, Vanguard Photography." Concord Records imprint at lower right.

Local Numbers:

AC0766-0000029.tif (AC Scan No.)

General:

Archives Center's Women in Jazz

In Box 2, Folder 11.

Collection Restrictions:

Collection is open for research.

Collection Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Women in music  Search this

African American musicians  Search this

Women musicians  Search this

Piano  Search this

Jazz  Search this

Women in jazz  Search this

Genre/Form:

Photographs -- 1950-2000 -- Black-and-white photoprints -- Silver gelatin

Publicity photographs

Collection Citation:

W. Royal Stokes Collection of Jazz Musicians' Photographs, ca. 1970-2000, Archives Center, National Museum of American History.

See more items in:

W. Royal Stokes Collection of Music Photoprints and Interviews

W. Royal Stokes Collection of Music Photoprints and Interviews / Series 1: Photographs of Musicians and Ensembles / 1.1: Musicians and Ensembles / Names beginning with Cart-Cat: Benny Carter to Dave Catney. Includes Betty Carter, Regina Carter, Ron Carter

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-0766-ref735

Collection Collector:

Musical History, Division of (NMAH, SI)  Search this

Collection Creator:

Ellington, Duke, 1899-1974  Search this

Container:

Box 478, Folder 27

Type:

Archival materials

Scope and Contents:

saxophone, Copyist Juan Tizol.

Collection Restrictions:

The collection is open for research.

Collection Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

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

Paul Ellington, executor, is represented by:

Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.

Collection Citation:

Duke Ellington Collection, Archives Center, National Museum of American History

Sponsor:

Processing and encoding partially funded by a grant from the Council on Library and Information Resources.

See more items in:

Duke Ellington Collection

Duke Ellington Collection / Series 1: Music Manuscripts / 1.4: Unidentified Music

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-0301-ref60523

Interviewee:

Frimkess, Michael, 1937-  Search this

Interviewer:

Frimkess, Magdalena Suarez  Search this

Subject:

Rosen, Clara  Search this

Voulkos, Peter  Search this

Clay Art Center  Search this

University of California, Berkeley. History of Art Dept.  Search this

Otis Art Institute  Search this

Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this

Type:

Sound recordings

Interviews

Topic:

Art -- Study and teaching -- Chile  Search this

Potters -- California -- Interviews  Search this

Pottery -- Study and teaching -- United States.  Search this

Ceramicists -- California -- Interviews  Search this

Decorative arts  Search this

Record number:

(DSI-AAA_CollID)13128

(DSI-AAA_SIRISBib)226187

AAA_collcode_frimke01

Theme:

Craft

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_226187

Interviewee:

Frimkess, Michael, 1937-  Search this

Frimkess, Magdalena Suarez  Search this

Interviewer:

Karlstrom, Paul J.  Search this

Names:

Clay Art Center -- Students  Search this

Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this

Otis Art Institute -- Faculty  Search this

Otis Art Institute -- Students  Search this

University of California, Berkeley. History of Art Dept. -- Students.  Search this

Rosen, Clara  Search this

Voulkos, Peter, 1924-2002  Search this

Extent:

83 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

2001 March 8-April 17

Scope and Contents:

An interview of Michael Frimkess and his wife, Magdalena Suarez Frimkess, conducted 2001 March 3-April 17, by Paul Karlstrom, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in the Frimkesses' studio/home, Venice, California.

Frimkess speaks of his early life in East Los Angeles, growing up in a multi-ethnic neighborhood, and later moving with his family to Hollywood; his interest in modeling figures beginning at age 3; studying with Peter Voulkos at Otis Art Institute beginning in 1955; his animation for United Productions of America, where he worked on Mr. Magoo as an "in-betweener"; his drug use; playing the saxophone and his goal to "blow" like Charlie Parker; Voulkos's "pot shop" at Otis; following Voulkos to the University of California at Berkeley to learn bronze casting; and Vouklos's teaching methods. Frimkess also discusses his interest in classical Greek and Chinese proportions and simplicity of design in his ceramics; how playing music has helped him to be more ambidextrous and develop dry throwing; Clara Rosen as a mentor; his spiritual connection to other dimensions when throwing; his isolation from the craft community because of his multiple sclerosis and the controversy over his technique; the article he wrote "The Importance of Being Classical" (Craft Horizons, March/April 1966) and its impact on his career; Super Mud and other conferences; using his ceramics to express his political ideas about America as a melting pot; his imagery; plans for his upcoming exhibition in Korea; and his lack of production over the past 20 years. Michael Frimkess recalls Paul Soldner, Michael Cardew, Ken Price, Garth Clark, James Melchert, Ron Nagel, Richard Shaw, and others. There is also a discussion with his wife Magdalena including such topics as her childhood in an orphanage in Caracas, Venezuela, where she began painting; her studies in Chile with artists Sewell Semen, Norman Calber, and Paul Harris; her scholarship to the Clay Art Center in Port Chester, N.Y., in 1963; meeting Michael at the Clay Art Center and their relationship; their financial difficulties; setting up joint studio in which he threw pots and she glazed them; Michael's lack of participation in the craft community; and the state of his health.

Magdalena Frimkess also provided another informed perspective on the events described by her husband.

Biographical / Historical:

Michael Frimkess (1937- ) is a ceramist from Venice, California. Magdalena Frimkess is a ceramist from Venice, California. Paul J. Karlstrom is the director of the West Coast Resource Center, Archives of American Art, San Marino, California. Michael Frimkess was a leading innovator of the California fine art clay movement that grew up around Peter Voulkos and his "pot shop" at the Otis Art Institute. An element that distinguished the vessels that made Michael Frimkess's reputation was the surface decoration based on popular culture and a Pop Art sensibility. This signature style, consisting of small figures mimicking classical or pre-Columbian friezes, was further developed by Frimkess's wife Magdalena (Suarez Frimkess) who eventually, as Michael's multiple sclerosis progressed, did most of the painting of the vessels.

Magdalena was born in Venezuela and was sent to an orphanage at age 7, when her mother died and her father was unable to support her. Later she moved to Chile where her two children were born. When she was offered a fellowship to the Clay Art Center in New York her companion told her she would have to choose between that and him and the children. She reluctantly chose art, but kept up with her offspring who eventually moved to California. Her sculpture career was to a large extent subsumed after she met and married Michael Frimkess.

General:

Originally recorded on 6 sound cassettes. Reformatted in 2010 as 12 digital wav files. Duration is 6 hr., 2 min.

Provenance:

This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.

Topic:

Art -- Study and teaching -- Chile  Search this

Potters -- California -- Interviews  Search this

Pottery -- Study and teaching -- United States.  Search this

Ceramicists -- California -- Interviews  Search this

Decorative arts  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

Funding for this interview was provided by the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America.

Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.

Identifier:

AAA.frimke01

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-frimke01

Collection Collector:

Musical History, Division of (NMAH, SI)  Search this

Collection Creator:

Ellington, Duke, 1899-1974  Search this

Container:

Box 1 (Series 12), Folder 4

Type:

Archival materials

Scope and Contents note:

N.P.; undated

Pastel drawing. Artist unknown.

Collection Restrictions:

The collection is open for research.

Collection Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

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

Paul Ellington, executor, is represented by:

Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.

Collection Citation:

Duke Ellington Collection, Archives Center, National Museum of American History

Sponsor:

Processing and encoding partially funded by a grant from the Council on Library and Information Resources.

See more items in:

Duke Ellington Collection

Duke Ellington Collection / Series 12: Posters and Oversize Graphics / 12.4: Oversized Graphics / 12.4.5: Drawings

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-0301-ref21795

Composer:

Ellington, Duke, 1899-1974  Search this

Strayhorn, Billy (William Thomas), 1915-1967  Search this

Still, William Grant, 1895-1978  Search this

Blake, Eubie (James Herbert), 1883-1983  Search this

Hamilton, Jimmy  Search this

Lacy, Steve  Search this

Williams, Mary Lou, 1910-  Search this

Collector:

Ellington, Duke, 1899-1974  Search this

Robison, Willard (orchestra conductor)  Search this

Musical History, Division of (NMAH, SI)  Search this

Creator:

Whaley, Thomas L. (copyist)  Search this

Robison, Willard  Search this

Brown, Lawrence  Search this

Carney, Harry  Search this

Redman, Don  Search this

Names:

Duke Ellington Orchestra  Search this

Ellington, Mercer Kennedy, 1919-1996 (musician)  Search this

Collection Collector:

Musical History, Division of (NMAH, SI)  Search this

Collection Creator:

Ellington, Duke, 1899-1974  Search this

Extent:

212 Cubic feet (Approx.; 530+ boxes)

Type:

Archival materials

Music

Sheet music

Scores

Lead sheet

Notebooks

Parts (musical)

Piano vocal scores

Date:

circa 1930-1981, undated

Scope and Contents:

Includes original manuscripts (parts and scores), copy scores, lead, lyric and copyright sheets, published music and arrangements of compositions by Duke Ellington and his main collaborator, Billy Strayhorn. This series also contains arrangements by Ellington, Strayhorn, Tom Whaley and others for songs encompassing African-American spirituals and traditional songs from the nineteenth century, pre-World War II standards, Broadway tunes, film themes and pop songs from the 1950s to 1970s. Original manuscripts of compositions and arrangements created for Duke Ellington and His Orchestra by Mary Lou Williams and Don Redman among others can be found in this series. Of particular interest are original manuscripts of twentieth-century notable composers including Eubie Blake and William Grant Still that were not created for or used by Duke Ellington and His Orchestra. Scattered throughout the Collection are early works by contemporary jazz artists including Quincy Jones and Steve Lacy. Scores and parts for a 1982 posthumous Broadway musical tribute, Sophisticated Ladies, based on Ellington/Strayhorn compositions, is also included in this series.

The music manuscripts were the ephemera of Ellington and the band's life on the road and reflect their peripatetic existence. Frequently there are phone numbers, personal notes, and shopping lists jotted on the original manuscripts. The music manuscripts were not deliberately collected for posterity but maintained by band members or assembled by a "band boy" for distribution to band members for performances. Individual arrangements are not necessarily complete. Each title has been separated by arrangement and key when possible, but for most titles additional research is necessary to complete the arrangement or to document a specific performance or recording.

The manuscripts provide documentation that Ellington wrote his arrangements for his individual band members. Directions on the scores and most of the parts indicate the soloist's name or nickname rather than the instrument he played (for example; Johnny Hodges's parts are usually indicated by "Johnny" or "Rab" for his nickname "Rabbit" instead of Alto Saxophone).

The bulk of the scores and parts are hand-written by Ellington, Strayhorn or Tom Whaley (Ellington's chief copyist, circa 1942-1969); in many instances identifications are attached to the music or listed on the folder. A reference notebook available to researchers identifies the handwriting of composers, arrangers, and copyists found in the Collection.

The titles range from short songs to large-scale, multi-movement works and are arranged alphabetically. The title list is not a definitive research document. However, alternate titles provided by reference publications and research by Ellington scholars or Archives Center staff suggest a relationship between certain titles. Titles in italics indicate that there is additional music, in a separate location, which might be of interest to the researcher.

There are four reference abbreviations used in the title list: see, sa (see also), aka (also known as), and verso. Title fragments, abbreviations, working titles, or nicknames which are written on the music are cross-referenced to the proper title. They are distinguished by the use of "see" followed by the proper title to indicate the location of the music (for example; Mon-Sat see Never On A Sunday). Some songs are known by more than one title and the different titles denote a change significant enough to warrant its listing under two separate titles (for example; "Concerto For Cootie" was an instrumental arrangement which became Do Nothing Til You Hear From Me when words were added). In this and similar cases, the music is located under both titles and the reference "sa" with the alternate title in italics designates an alternate location (for example; "Do Nothing Til You Hear From Me" sa "Concerto For Cootie"). Some identical songs were recorded and performed under two different titles. In this instance, the music will be found under one title with reference to the alternate title (for example; Altitude see "Main Stem", "Main Stem" aka "Altitude"). Some titles have akas (also known as) and in this document "aka" is used to indicate that there is no music under the other known title (for example; "Merry-Go-Round" aka "Ace Of Spades"). Some music is located on the reverse side of a score or part with a different title. In this instance "verso" indicates that there is additional music with this title located elsewhere (for example; "Eggo" verso "Kick").

Sixty-seven extended works by Ellington and other collaborators, composers, arrangers, and lyricists---most notably Billy Strayhorn---have been identified and filed alphabetically. The extended works are distinguished in the finding aid by capital letters and bold text (for example; FAR EAST SUITE). The individual titles which are elements of an extended work have been relocated to their respective suites (for example: Agra see FAR EAST SUITE). Series 1 also contains ten non-Ellington extended works. These are distinguished by lower-case bold lettering (for example: Mikado Swing).

One box of songbooks containing published sheet music of Ellington and Strayhorn compositions is physically located at the end of Subseries 1.1: Oversize scores are physically located at the end of this series but are listed alphabetically and indicated in the title list by the abbreviation OS (for example; I Fell And Broke My Heart sa OS).

The music manuscripts in Series 1 have been organized into eight subseries. Each subseries has its own container list, but titles in Subseries 1.2, 1.3, and 1.4 are referenced in the Subseries 1.1 title list (for example: Caravan see also 1.2).

The bulk of the material is located in Subseries 1.1, Music Manuscripts, consisting of scores and parts composed and arranged by Duke Ellington, Billy Strayhorn and others for performance by Duke Ellington and His Orchestra. Scattered throughout this series are arrangements by Tom Whaley for bands that performed during his tenure as musical director of various Harlem Theatres including the Apollo Theatre, circa 1930-1942. Eubie Blake manuscripts of his original compositions contained in this series also were not created for performance by Duke Ellington and His Orchestra. Contained within this series are complete unpublished and unrecorded scores and parts by composers, most notably Mary Lou Williams, submitted to Ellington for possible performance or recording. Subseries 1.2, Manuscript Sketchbooks consists of three cubic feet of bound manuscript notebooks including ones by Ellington, Strayhorn, Jimmy Hamilton and Tom Whaley. These "sketchbooks" are particularly valuable and fragile and may not be photocopied. The notebooks are available to researchers with special instructions for handling. Subseries 1.3, Sidemen's Books consists of ten cubic feet of parts for individual soloists, including Lawrence Brown and Harry Carney, or for a specific instrument.

Subseries 1.4, Unidentified Music consists of five cubic feet of untitled and unidentified parts and scores including original Ellington and Strayhorn manuscripts.

Subseries 1.5, Willard Robison Arrangements consists of nine cubic feet of scores and parts that were arranged for Robison's Deep River Orchestra and in particular for the Deep River Hour, a weekly radio show broadcast from New York City that aired from 1929 to 1932. Most of these arrangements are original manuscripts of William Grant Still (1895-1978) who is considered one of the most significant African-American classical composers of the twentieth century.

Subseries 1.6, Published Sheet Music consists of nine cubic feet of published sheet music unrelated to the titles in Subseries 1.1 including one-half cubic feet of published songs in Spanish and Portuguese that were most likely presented to Ellington during his 1967 Latin American tour.

The bulk of the material in Subseries 1.2, Music Manuscript Sketchbooks consists of spiral-bound notebooks or "sketchbooks" containing original scores, incomplete scores, sketches and lyrics by Duke Ellington, Billy Strayhorn, Tom Whaley and Ellington band members Jimmy Hamilton and John Sanders. There is one notebook created by Ann Michlau. The material is very fragile and valuable.

Titles or title fragments are listed in the order they appear. In some notebooks, researchers' notes identifying the material are included, and special care is necessary to maintain this order. Each folder contains one notebook or loose pages grouped for creation or copyright. The creator of each notebook is identified by name and underlined at the beginning of the folder; change of creator within each folder is also designated. Most of the folders contain untitled works.

Subseries 1.3, Sidemen's Books consists of parts for Ellington Orchestra soloists including Johnny Hodges, Barney Bigard, Harry Carney and Lawrence Brown. In the early years, Duke Ellington's band members maintained their own "books" for performances; later the "books" were distributed by a band manager. A new band member inherited the "book" of the sideman he replaced, therefore each "book" frequently contains parts originally written for a former band member (for example, Barney Bigard clarinet parts can be found in Jimmy Hamilton's "book"). The material is in fair to poor condition.

The folders are arranged alphabetically by band members' last name, followed by folders with parts for specific instruments. The titles in each folder are filed alphabetically. To reduce handling of the material a title guide directs the researcher to a specific soloist. The title guide identifies the set number and copyist - when known-for researchers to determine if the material in this subseries corresponds with their search in Subseries 1.1, The container list marks the location of the material.

Subseries 1.4, Untitled Scores and Parts consists of untitled complete and incomplete scores and parts. The material is arranged by type of material (for example Duke Ellington scores, alto sax parts). There is no container list available for this subseries.

Subseries 1.5, Scores and Parts for Willard Robison's Deep River Orchestra, circa 1929-1931 consists of scores and parts arranged for Willard Robison's Deep River Orchestra. The bulk of these scores were created for Robison's radio show Deep River Hour. Many of the scores are the seminal arrangements of William Grant Still who was later crowned the "Dean Of Afro-American Classical Composers". The material is arranged alphabetically. Oversize scores are interfiled alphabetically but are physically located in Subseries 1.1 oversize boxes.

Subseries 1.6, Arrangements for Della Reese consists of music parts arranged by instrument.

Subseries 1.7, Non-Ellington Published Music consists of published sheet music never performed by Duke Ellington and his Orchestra. The individual titles are arranged alphabetically, followed by published songbooks. This subseries contains foreign language material; of particular interest is the material in Spanish which was most likely presented to Duke Ellington on his 1967 Latin American tour.

Subseries 1.8, Ephemera contains Duke Ellington's discography, Mercer Ellington's discography, and assorted lyrics and set lists.

Collection Restrictions:

The collection is open for research.

Collection Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

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

Paul Ellington, executor, is represented by:

Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.

Occupation:

Composers -- 20th century  Search this

Topic:

Jazz -- 20th century -- United States  Search this

Big bands  Search this

African American musicians  Search this

Popular music -- 20th century -- United States  Search this

Music -- 20th century -- United States  Search this

African Americans -- History  Search this

Piano music (Jazz)  Search this

Musicians  Search this

Genre/Form:

Music -- Manuscripts

Sheet music

Scores

Lead sheet

Notebooks

Parts (musical)

Piano vocal scores

Collection Citation:

Duke Ellington Collection, Archives Center, National Museum of American History

Sponsor:

Processing and encoding partially funded by a grant from the Council on Library and Information Resources.

Identifier:

NMAH.AC.0301, Series 1

See more items in:

Duke Ellington Collection

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-0301-ref36665

Composer:

Miles, Alfred H.  Search this

Creator:

Zimmermann, Chas. A.  Search this

Arranger:

Skinner, Frank  Search this

Collection Collector:

Musical History, Division of (NMAH, SI)  Search this

Collection Creator:

Ellington, Duke, 1899-1974  Search this

Extent:

10 Items (conductor score and/or parts (Published sheet music), 31 cm.)

2 Items (copy scores, 31 cm.)

1 Item (conductor score, 31 cm.)

Container:

Box 20 (Series 1), Folder 1

Type:

Archival materials

Conductor scores

Copy scores

Music

Published sheet music

Manuscripts

Date:

1907

Scope and Contents:

see also oversize

11 parts.

Anchors aweigh is contained in two folders consisting of ten published parts and two manuscript parts, and one conductor score -- key of Eb Major concert.

Parts for violin 1, saxophones 2, 3, & 4; trumpet 3; trombones 1 & 2 (2), guitar, bass, piano, and drums.

General:

Advertisement for Duke Ellington's "Piano Method for Blues" appears on the back cover of piano part.

Other Title:

The song of the Navy.

Publication:

New York, Robbins Music Corp., 1907

Collection Restrictions:

The collection is open for research.

Collection Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

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

Paul Ellington, executor, is represented by:

Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.

Topic:

Music -- United States -- 20th century  Search this

Genre/Form:

Conductor scores

Copy scores

Music

Published sheet music

Manuscripts -- Music -- 20th century

Collection Citation:

Duke Ellington Collection, Archives Center, National Museum of American History

Sponsor:

Processing and encoding partially funded by a grant from the Council on Library and Information Resources.

See more items in:

Duke Ellington Collection

Duke Ellington Collection / Series 1: Music Manuscripts / 1.1: Music Manuscripts / 1.1.2: A Titles

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-0301-ref37211

Collection Collector:

Musical History, Division of (NMAH, SI)  Search this

Collection Creator:

Ellington, Duke, 1899-1974  Search this

Extent:

1 Item (manuscript, 24 cm.)

1 Item (manuscript, 35 cm.)

9 Items (copy scores, 31 cm.)

Container:

Box 30 (Series 1), Folder 1-4

Type:

Archival materials

Manuscripts

Conductor scores

Copy scores

Music

Parts (musical)

Piano vocal scores

Scope and Contents:

8 parts and an indefinite number of scores

Barber shop is contained in four folders consisting of 1 one page conductor score, 1 fifty-five page conductor score, and 8 parts in Eb Major concert, and 1 piano vocal score in G major concert -- in ink and pencil -- in unidentified hand (Whaley?).

Folder A contains one page conductor score which does not include instrumentation.

Folder B contains 1 two page piano vocal score, identified as the verse. Cover includes what appear to be performance cues.

Folder C contains parts for 1 reed - alto 1; 2 trumpets - 1, 2; piano; 4 voices - tenor 1, tenor 2, baritone, bass.

Folder D contains fifty-five page conductor score for 4 saxophones - 1, 2, 3, 4; voice; 3 trumpets - 1, 2, 3; 1 trombone; bass; piano. -- from the Duke Ellington Library.

Biographical / Historical:

There appear to be numbers from the Duke Ellington Band Book on the scores: 127, 25.

General:

There appear to be performance notes for Sandman on the verso of the piano vocal score. Unidentified part for Afro-cuban also appears on verso of piano vocal score. Handwriting and other details have been reported based on the notes of David Berger, Andrew Homzy, Dr. Theodore Hudson, Walter van de Leur, and Dr. Mark Tucker.

Condition: fair, tape. Folder A -- 1p., folder B -- 2p., folder C -- 15p. , folder D -- 55p. Folder C -- 18p.

Collection Restrictions:

The collection is open for research.

Collection Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

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

Paul Ellington, executor, is represented by:

Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.

Topic:

Music -- United States -- 20th century  Search this

Genre/Form:

Manuscripts -- Music -- 20th century

Conductor scores

Copy scores

Music

Parts (musical)

Piano vocal scores

Collection Citation:

Duke Ellington Collection, Archives Center, National Museum of American History

Sponsor:

Processing and encoding partially funded by a grant from the Council on Library and Information Resources.

See more items in:

Duke Ellington Collection

Duke Ellington Collection / Series 1: Music Manuscripts / 1.1: Music Manuscripts / 1.1.3: B Titles

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-0301-ref37513

Names:

Ellington, Duke, 1899-1974  Search this

Ellington, Mercer Kennedy, 1919-1996 (musician)  Search this

Collection Collector:

Musical History, Division of (NMAH, SI)  Search this

Collection Creator:

Ellington, Duke, 1899-1974  Search this

Extent:

1 Item (Silver gelatin on paper.)

Culture:

African Americans  Search this

Type:

Archival materials

Date:

[ca. 1950s.]

Scope and Contents:

Duke at piano; Mercer holding saxophone. Photograph scanned from copy print in photo notebooks in reading room. Photographer unidentified?

Local Numbers:

AC0301-0000008.tif (AC Scan No.)

Series Restrictions:

Unrestricted research access on site by appointment. Unprotected photographs must be handled with gloves.

Collection Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

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

Paul Ellington, executor, is represented by:

Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.

Topic:

Saxophone  Search this

Piano  Search this

African American musicians  Search this

Musicians  Search this

African American composers  Search this

Collection Citation:

Duke Ellington Collection, Archives Center, National Museum of American History

Sponsor:

Processing and encoding partially funded by a grant from the Council on Library and Information Resources.

See more items in:

Duke Ellington Collection

Duke Ellington Collection / Series 7: Photographs, Duke Ellington Collection / 7.7.21: Ellington Family

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-0301-ref53232

Names:

Boyd, Bobby  Search this

Gonsalves, Paul  Search this

Hamilton, Jimmy  Search this

Collection Collector:

Musical History, Division of (NMAH, SI)  Search this

Collection Creator:

Ellington, Duke, 1899-1974  Search this

Extent:

1 Item (Silver gelatin on paper.)

Type:

Archival materials

Photographs

Arrangement:

Box No. 1.

Local Numbers:

AC0301-0000015.tif (AC Scan No.)

Series Restrictions:

Unrestricted research access on site by appointment. Unprotected photographs must be handled with gloves.

Collection Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

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

Paul Ellington, executor, is represented by:

Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.

Topic:

Jazz  Search this

Musicians -- 1950-1960 -- United States  Search this

Saxophone  Search this

Genre/Form:

Photographs -- 1950-1960 -- Black-and-white photoprints -- Silver gelatin

Collection Citation:

Duke Ellington Collection, Archives Center, National Museum of American History

Sponsor:

Processing and encoding partially funded by a grant from the Council on Library and Information Resources.

See more items in:

Duke Ellington Collection

Duke Ellington Collection / Series 7: Photographs, Duke Ellington Collection / 7.7.8: Candid Shots

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-0301-ref53238

Names:

Savoy Ballroom (Lenox Avenue, Harlem, New York)  Search this

Hodges, Johnny  Search this

Collection Collector:

Musical History, Division of (NMAH, SI)  Search this

Collection Creator:

Ellington, Duke, 1899-1974  Search this

Extent:

1 Item (Silver gelatin on paper., 8" x 10".)

Culture:

African Americans  Search this

Type:

Archival materials

Photographs

Scope and Contents:

Photographer unidentified.

Arrangement:

Box No. 1.

Biographical / Historical:

The famed Savoy Ballroom, on Lenox Avenue in Harlem, New York, opened in 1926 and closed in 1958. Owned by Moe Gale, a Jewish man, and managed by Charles Buchanan, a black man, the Savoy Ballroom opened its doors on March 12, 1926 right in the middle of Harlem, between 140th and 141st Streets on Lenox Avenue. The vision of the two young men created one of the first racially integrated public places in the country. The ballroom was on the second floor of a two-story building stretching the entire block. The ground floor housed the entrance to the ballroom at the center of the block signified by the marquee extending out over the sidewalk and various stores. The spacious basement checkrooms could serve up to 5,000 patrons. Billed as the "World's finest ballroom," the Savoy was complete with large luxurious carpeted lounges and mirrored walls. The block-long ballroom had two bandstands, colored spotlights and a spring-loaded wooden dance floor. Approximately 700,000 patrons visited the ballroom annually; and the floor had to be completely replaced every three years. The Savoy was appropriately nicknamed "The home of happy feet," and it was also known among the regular patrons as "the Track" for the elongated shape of the dance floor. The staff of 90 permanent employees at the Savoy included musicians, waiters, cashiers, floor attendants, porters and administrative assistants. There were also hostesses with whom a visitor, mostly from downtown, could dance for a dime or be tutored on the latest steps, as well as a team of bouncers clad in black tuxedos and bow ties. The bouncers were ex-boxers, basketball players etc., who would rush in on a moment's notice and put out any person. (Adapted from http://www.savoyplaque.org/about_savoy.htm.)

Local Numbers:

AC0301-0000019.tif (AC Scan No.)

Series Restrictions:

Unrestricted research access on site by appointment. Unprotected photographs must be handled with gloves.

Collection Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

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

Paul Ellington, executor, is represented by:

Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.

Topic:

Saxophone  Search this

Ballrooms  Search this

Genre/Form:

Photographs -- 20th century -- Black-and-white photoprints -- Silver gelatin

Collection Citation:

Duke Ellington Collection, Archives Center, National Museum of American History

Sponsor:

Processing and encoding partially funded by a grant from the Council on Library and Information Resources.

See more items in:

Duke Ellington Collection

Duke Ellington Collection / Series 7: Photographs, Duke Ellington Collection / 7.7.6: Band Members

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-0301-ref53242

Names:

Procope, Russell  Search this

Collection Collector:

Musical History, Division of (NMAH, SI)  Search this

Collection Creator:

Ellington, Duke, 1899-1974  Search this

Extent:

1 Item (Silver gelatin on paper.)

Culture:

African Americans  Search this

Type:

Archival materials

Photographs

Arrangement:

Box No. 1.

Local Numbers:

AC0301-0000020.tif (AC Scan No.)

Series Restrictions:

Unrestricted research access on site by appointment. Unprotected photographs must be handled with gloves.

Collection Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

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

Paul Ellington, executor, is represented by:

Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.

Topic:

Jazz musicians  Search this

Saxophone  Search this

Genre/Form:

Photographs -- 20th century -- Black-and-white photoprints -- Silver gelatin

Collection Citation:

Duke Ellington Collection, Archives Center, National Museum of American History

Sponsor:

Processing and encoding partially funded by a grant from the Council on Library and Information Resources.

See more items in:

Duke Ellington Collection

Duke Ellington Collection / Series 7: Photographs, Duke Ellington Collection / 7.7.8: Candid Shots

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-0301-ref53243

Names:

Gonsalves, Paul  Search this

Hamilton, Jimmy  Search this

Hodges, Johnny  Search this

Procope, Russell  Search this

Collection Collector:

Musical History, Division of (NMAH, SI)  Search this

Collection Creator:

Ellington, Duke, 1899-1974  Search this

Extent:

1 Item (Silver gelatin on paper.)

Culture:

African Americans  Search this

Type:

Archival materials

Photographs

Date:

1956

Arrangement:

Box No. 1.

Local Numbers:

AC0301-0000022.tif (AC Scan No.)

Series Restrictions:

Unrestricted research access on site by appointment. Unprotected photographs must be handled with gloves.

Collection Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

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

Paul Ellington, executor, is represented by:

Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.

Topic:

Saxophone  Search this

Genre/Form:

Photographs -- 20th century -- Black-and-white photoprints -- Silver gelatin

Collection Citation:

Duke Ellington Collection, Archives Center, National Museum of American History

Sponsor:

Processing and encoding partially funded by a grant from the Council on Library and Information Resources.

See more items in:

Duke Ellington Collection

Duke Ellington Collection / Series 7: Photographs, Duke Ellington Collection / 7.7.6: Band Members

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-0301-ref53245

Names:

Larney, Harry  Search this

Collection Collector:

Musical History, Division of (NMAH, SI)  Search this

Collection Creator:

Ellington, Duke, 1899-1974  Search this

Extent:

1 Item (Silver gelatin on paper.)

Culture:

African Americans  Search this

Type:

Archival materials

Photographs

Arrangement:

Box No. 1.

Local Numbers:

AC0301-0000024.tif (AC Scan No.)

Series Restrictions:

Unrestricted research access on site by appointment. Unprotected photographs must be handled with gloves.

Collection Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

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

Paul Ellington, executor, is represented by:

Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.

Topic:

Saxophone  Search this

Musicians  Search this

Genre/Form:

Photographs -- 20th century -- Black-and-white photoprints -- Silver gelatin

Collection Citation:

Duke Ellington Collection, Archives Center, National Museum of American History

Sponsor:

Processing and encoding partially funded by a grant from the Council on Library and Information Resources.

See more items in:

Duke Ellington Collection

Duke Ellington Collection / Series 7: Photographs, Duke Ellington Collection / 7.7.6: Band Members

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-0301-ref53247

Photographer:

Boulat, Pierre  Search this

Publisher:

Gay Life Magazine  Search this

Names:

Ellington, Duke, 1899-1974  Search this

Collection Collector:

Musical History, Division of (NMAH, SI)  Search this

Collection Creator:

Ellington, Duke, 1899-1974  Search this

Extent:

1 Item (Ink on paper.)

Culture:

African Americans  Search this

Type:

Archival materials

Date:

1971

Scope and Contents:

On the verso, stamped "Life Photo by Pierre Boulat" and dated September 30, 1971. Another stamp: "Property of Time Incorporated."

Arrangement:

Box No. 12.

Local Numbers:

AC0301-0000042.tif (AC Scan No.)

Series Restrictions:

Unrestricted research access on site by appointment. Unprotected photographs must be handled with gloves.

Collection Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

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

Paul Ellington, executor, is represented by:

Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.

Topic:

Saxophone  Search this

Musicians  Search this

African American musicians  Search this

Musicians -- 1950-2000  Search this

Collection Citation:

Duke Ellington Collection, Archives Center, National Museum of American History

Sponsor:

Processing and encoding partially funded by a grant from the Council on Library and Information Resources.

See more items in:

Duke Ellington Collection

Duke Ellington Collection / Series 7: Photographs, Duke Ellington Collection / Album from the Editors and Photographers of Life

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-0301-ref53261

Photographer:

Scurlock Studio (Washington, D.C.)  Search this

Creator:

Eastman Kodak Company (film manufacturer)  Search this

Names:

Ebony Magazine  Search this

Williams Rev  Search this

Subseries Creator:

Scurlock, Robert S. (Saunders), 1917-1994  Search this

Custom Craft  Search this

Scurlock, Addison N., 1883-1964  Search this

Scurlock, George H. (Hardison), 1919-2005  Search this

Scurlock Studio (Washington, D.C.)  Search this

Extent:

1 Item (Silver gelatin on cellulose acetate film sheet, 2.5" x 2.5" (#120 film).)

Culture:

African Americans -- Washington (D.C.)  Search this

Type:

Archival materials

Photographs

Place:

Washington (D.C.) -- African Americans

Date:

undated

Scope and Contents:

Reverend Williams's son and unidentified woman playing saxophone and piano. "Discards do not print" on original envelope. "KODAK SAFETY FILM" edge imprint. No ink on negative, no Scurlock number.

Subseries Restrictions:

Collection is open for research.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.

Subseries Rights:

When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

African American musicians  Search this

Music -- Performance  Search this

Piano  Search this

Saxophone  Search this

Genre/Form:

Photographs -- Black-and-white negatives -- Acetate film

Subseries Citation:

Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution

Sponsor:

The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.

See more items in:

Scurlock Studio Records, Subseries 4.6: Black and white negatives in cold storage arranged by client

Scurlock Studio Records, Subseries 4.6: Black and white negatives in cold storage arranged by client / 4.6.1: Black and white negatives Part 1 / Ebony Magazine Series

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-0618-s04-06-ref27371