Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Tell me why you like Roosevelt (Reliable Jubilee Singers?)--Joe Louis was a fighting man (Dixieaires)--Wasn't that a time- (Pearl Harbor)-God save America, irf you please--God's got a television (Charles Taylor)--Atomic telephone-(Spirit of Memphis Quartet) -God made the moon to rule the night--Soldier not in uniform (Sensational Nightingales)--He'll hit like an atomic bomb (Pilgrim Travelers)--Jesus is God's atomic bomb (Swan Silvertone Sngers)--Death of Emmitt Till- (ramparts) -Story of Martin Luther King--We all praise him, Martin Luther King (Norfleet Brothers)--Freedom after awhile---God's gonna ring those freedom bells after awhile--My God don't like it--Shout school children (Will Hairston)--Alabama bus (Will Hairston)--We are freedom marching--President Kennedy lost his life (Southern Bells?)
Local Numbers:
FW-ASCH-7RR-1633
General:
CDR copy
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
117 Whoopie Ti-Yi-Yo, Get Along Little Dogies / Guitar.
118 The Streets of Laredo / Guitar.
119 Chisholm Trail / Guitar.
120 The Rebel Soldier / Guitar.
121 Trail to Mexico / Guitar.
122 Bury Me Not on the Lone Prairie / Guitar.
Local Numbers:
FW-ASCH-7RR-2643
Date/Time and Place of an Event Note:
Recorded in: New York, United States.
General:
CDR copy
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
The collection has been digitized and is available online via AAA's website.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Jackson Pollock and Lee Krasner papers, circa 1914-1984. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art.
The collection has been digitized and is available online via AAA's website.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Jackson Pollock and Lee Krasner papers, circa 1914-1984. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art.
Duncan Schiedt (1921-2014) was a jazz scholar, writer, photographer, film maker, researcher and pianist. He authored four books relating to jazz history. Many of his photographs and articles were featured in magazines, periodicals and documentaries. Schiedt also collected the work of other photographers on the subject of jazz. The collection primarily consists of photographs created by or collected by Mr. Schiedt.
Scope and Contents:
The collection consists of Schiedt's own photographs of jazz performers, photographs of jazz performers taken by other photographers, research notes, films, and recordings of jazz.
Arrangement:
Collection is arranged into five series.
Series 1: Background Information and Research Materials, 1915-2012, undated
Series 2: Photographic Materials, 1900-2012, undated
Subseries 2.1: Historical Photographs and Negatives, 1915-2012
Subseries 2.2: Artist Files Photographs, 1900-2000, undated
Subseries 2.4: Roscoe Allen Photographic Prints, undated
Subseries 2.5: Individual Instrumentalists Photographic Prints and Negatives, 1938-1990, undated
Subseries 2.6: John Minor Negatives, undated
Subseries 2.7: Indianapolis Theater Photographic Prints and Negatives, 1935-1956, undated
Subseries 2.8: Theater and Vaudeville Negatives, 1910-1948, undated
Subseries 2.9: Glass Plate Negatives and Copy Prints, undated
Subseries 2.10: Publicity and Festival Negatives, 1930-1962, undated
Series 3: Charles T (Ted) Grubb Papers, 1919-1999, undated
Series 4: Scrapbooks, 1901-1950, undated
Series 5: Audiovisual Materials, undated
Biographical / Historical:
For over sixty-five years, professional photographer Duncan Preston Schiedt combined his love of jazz with his love of photography. Born in 1921 in Atlantic City, New Jersey to Jacob and Kitty Schiedt, he later moved with his family to New York City. In the mid-1930s, he discovered the two loves of his life. Ironically, he first heard jazz or "swing music" as it was then known in a radio broadcast while attending a boys' school in England in 1936. Back in the States by 1938, he was enthralled when a friend showed him his basement darkroom and taught him how to develop film. He soon bought his own camera and began taking pictures in the Times Square movie palaces, nightclubs, and big band shows of New York. In World War II, he served as a cameraman in the Army Air Force, where he recorded atomic bomb tests in the western Pacific area, including Bikini Atoll.
In 1950, Schiedt married Betty Benjamin and moved to Hollywood where he worked at the Atomic Energy Commission's film laboratory for eight months. After returning to civilian life, he worked as a photographer in advertising in New York before moving in 1951 to Pittsboro, Indiana, where his parents had relocated. He had two children, Cameron and Leslie.
Thereafter, his interests in jazz and photography merged and became more than a hobby, as he transformed himself into one of the country's leading jazz historians and photographers. He traveled the country to photograph performers in movie houses, night clubs, big-band shows, jazz festivals, and other venues. Schiedt always shot in black and white, since to him that was the essence of jazz. As he wrote in the introduction to his book, Jazz in Black and White: The Photographs of Duncan Schiedt, "Jazz is a black and white music. Its range, from blinding brilliance to deepest shadings, seems to demand the drama that black and white can so easily provide. Consequently, when I take a photograph of a jazz subject, I see it in those terms."
He processed all his own film in his own darkroom so that any picture bearing his name was totally his own work. His photographs have been exhibited in numerous galleries, including the Birmingham Civil Rights Museum, the Chicago Public Library, the Indianapolis Museum of Art, and the Pensacola Art Museum. While shooting, Schiedt also interviewed his subjects, and those interviews added to his ever-growing scholarship in the field. He was the author of three books, The Jazz State of Indiana, Twelve Lives in Jazz,and Jazz in Black and White: The Photographs of Duncan Schiedt, and co-author of Ain't Misbehavin': The Story of Fats Waller. His photographs and articles have been published in the leading jazz periodicals and magazines. Over the years, he also amassed a first-rate collection of historical photographs of jazz musicians. Both his historical photographs and his original work were featured extensively in Ken Burns' Public Broadcasting Station series "Jazz." Duncan Schiedt died on March 12, 2014.
Related Materials:
Materials in the Archives Center
Leonard Gaskin Papers, NMAH.AC.0900
Provenance:
Donated to the Archives Center in 2014 by Duncan Schiedt's daughter and son, Leslie Michel and Cameron Schiedt.
Restrictions:
Collection is open for research.
Rights:
Reproduction restricted due to copyright or trademark. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
