This collection contains open reel recordings made by noted jazz scholar Frederic Ramsey during his tour of the American South in the 1950s.
Scope and Contents:
The collection includes 400? Open reel audio tapes. They are from Ramsey's fieldwork and various projects, many for Folkways Records. The bulk of the recordings come from Ramsey's fieldwork in Alabama, Mississippi, and Louisiana in 1954-56.
Arrangement:
The tapes are organized and shelved by accession number.
Biographical / Historical:
Frederic Ramsey Jr. (1915-1995), son of painter Charles Frederic Ramsey, was a jazz scholar and author who worked with a number of musicians in the South and the New York/New Jersey area, notably Lead Belly. After receiving a Guggenheim Fellowship in 1953, Ramsey undertook a tour of the South in order to explore and document the African-American music environment. His goal was to record the speech and music of persons at least sixty years of age or older in an attempt to trace the evolution of the musical genre that would become jazz. Ramsey produced a number of recordings for the Folkways label in the 1950s-1960s.
[From Jeff:
Frederic Ramsey Jr. (1915-1995) was a jazz critic, scholar, fieldworker and record producer. He was the author of a number of books on jazz, including Jazzmen (with Charles Edward Smith) and the Jazz Record Book. He became one of the main producers for Moses Asch at Asch, Disc, and Folkways Records of jazz and blues.
Ramsey was one of the first to deploy an open reel tape recorder using it in New York City in 1949 to record Lead Belly in a set of sessions at his apartment, that were to be Lead Belly's last. What was noteworthy about this is that a reel to reel deck allowed one to record a longer recording than the previous 4 minutes on instantaneous discs. This allowed Led Belly to stretch out and do his extended rhymes and longer songs and to tell stories of his life. It was released by Folkways as a 2 LP 2-records each set. Each side was one track so more material could be fit in.
The new LP format allowed for Folkways to create anthologies of music with multiple tracks per side. This allowed Ramsey the ability to create a 11-volume anthology of jazz in the early 1950s. It was the first of many anthologies for Folkways.
He also received a Guggenheim fellowship in 1954-56 to go to Alabama, Mississippi, and Louisiana to record vernacular African American music. This included field hollers, spirituals, and brass bands. It was Ramsey's desire to find the roots of jazz in early African-American music forms. He recorded hundreds of tapes they make up the bulk of Ramsey Tape Collection. A 10 LP set Music from the South was released from these trips. Also, there was a book Been Here and Gone with his magnificent photographs from the trip.
Other notable recordings released by Folkways include an interview album of Baby Dodds, a box set of shape-note singing, and recordings of a, then, teenaged Michael Hurley.
In 1975, with other grant from the National Endowment for the Humanities and Ford Foundation, he researched the life of Buddy Bolden.
After the death of Frederic Ramsey Jr., folklorist Kip Lornell arranged the donation of Ramsey's tape and record collection to the Smithsonian.]
Shared Stewardship of Collections:
The Center for Folklife and Cultural Heritage acknowledges and respects the right of artists, performers, Folklife Festival participants, community-based scholars, and knowledge-keepers to collaboratively steward representations of themselves and their intangible cultural heritage in media produced, curated, and distributed by the Center. Making this collection accessible to the public is an ongoing process grounded in the Center's commitment to connecting living people and cultures to the materials this collection represents. To view the Center's full shared stewardship policy, which defines our protocols for addressing collections-related inquiries and concerns, please visit https://folklife.si.edu/archives#shared-stewardship.
Related Materials:
Frederic Ramsey's personal papers are available at Rutgers University Institute of Jazz Studies.
Ramsey's photograph collection (many from the same field projects) can be found in the collections of the Hogan Jazz Archive at Tulane University.
Provenance:
This collection was donated by Frederic Ramsey's daughter Alida Porter in 1996.
Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
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.
Currently stored in box 1.2.9 [14], moved from [13].
Similar to RSN 1387. Orig. no. 23. Underwood & Underwood cat. p. 14 (ends with 13817).
Collection Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. The original glass plate is available for inspection if necessary in the Archives Center. A limited number of fragile glass negatives and positives in the collection can be viewed directly in the Archives Center by prior appointment. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
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.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Introduction:
Wisconsin's industrial towns and cities are a patchwork of urban ethnic villages, neighborhoods comprising blocks of well-kept, modest frame houses with churches and taverns on the street corners. The church basement and the corner bar, much like the churches and crossroads taverns in Wisconsin's rural areas, have served their communities as twin hubs of social life. Those communities often have an ethnic dimension.
Whether expressed through church, tavern, or home, the role of ethnic identity remains prominent in Wisconsin. Fourth- and fifth-generation Americans in Wisconsin are still quite cognizant of their ethnic origins, as pure or as varied as they may be. It is very common in Wisconsin to be asked when first meeting someone the ethnic provenance of one's last name. Not only are there recent immigrants who speak Spanish, Lao, or Hmong, but German, Polish, Norwegian, and the Walloon dialect of French are still spoken in some Wisconsin homes by families whose forbears immigrated generations ago. In folk dance groups and ethnic orchestras, ethnic identity is taught to Wisconsin children, an important reason why ethnicity remains so pervasive in the state.
The varied traditions of the people who have made the state their home have influenced one another. The Belgians of southern Door County have embraced the brass-band dance music of their Czech neighbors in Kewaunee County, while the Czech Catholic parish picnics in the area serve up the Belgians' booyah soup from 60-gallon cauldrons. Some Old World folkways such as the making of Norwegian Hardanger fiddles and the weaving of Latvian sashes have been preserved or revived. Other traditions such as polka music and dancing or quilting are truly American, having developed from a mixture, a creolization of the contributions of various culture groups now living side by side in Wisconsin.
Wisconsin folklife continues to evolve and to be enriched by new immigration. Refugees from wars and political oppression continue to find a haven in the state. Wisconsin in 1998 had America's second largest population of Hmong, Southeast Asian refugees who actively pursued their unique music, craft, and social customs in the new homeland, as well as one of the major settlements of Tibetans. Latino populations in the state had increased markedly in preceding decades, the largest being of Mexican origin.
The Wisconsin program at the Smithsonian Folklife Festival in Washington, D.C., and its restaging in Madison as the Wisconsin Folklife Festival were auspicious events to honor the many people who preserve Wisconsin's folklife and to observe Wisconsin's sesquicentennial of statehood. It was a challenging task to represent the folklife of the five million residents of Wisconsin in a single event involving only ten or twelve dozen people. The program participants were all considered to be outstanding bearers of traditions significant in Wisconsin, all evidence of the natural, cultural, and historical forces that have molded Wisconsin's unique and vital folklife.
Richard March and Thomas Vennum were Curators, and Ruth Olson, Anne Pryor, and Arlene Reiniger were Program Coordinators.
The Wisconsin program was made possible by and was produced in cooperation with the Wisconsin Arts Board and the Wisconsin Sesquicentennial Commission on the occasion of Wisconsin's 150th anniversary of statehood. Wisconsin corporate contributors included AT&T, SC Johnson Wax, and The Credit Unions of Wisconsin.
Fieldworkers:
Lisa Akey, Terese Allen, Mike Chiarappa, Janet C. Gilmore, Gina Grumke, Michelle Hartley, Anita Hecht, Cindy Kerchmar, Andy Kraushaar, Barbara Lau, Jim Leary, Richard March, Ruth Olson, Anne Pryor, Lynn Ramsey, Bob Rashid, Pete Roller, Craig Stinson, Evelyn Terry, Bob Teske, Thomas Vennum, Mai Zong Vue, Thomas U. Walker
Presenters:
David Bisonette, Mike Chiarappa, Cindy Kerchmar, Barbara Lau, Richard March, Ruth Olson, Anne Pryor, Bob Rashid, Pete Roller, Erin Roth, Gary Sturm, Evelyn Terry, Bob Teske, Mai Zong Vue, Mark Wagler, Joe Bee Xiong, Thomas Vennum
Linda Hartwich, polka dancer, Trempealeau, Wisconsin
Randy Thull, polka dancer, River Falls, Wisconsin
KARL & THE COUNTRY DUTCHMEN, DUTCHMAN MUSIC -- KARL & THE COUNTRY DUTCHMEN, DUTCHMAN MUSICNic Dunkel, trumpet, Black Earth, WisconsinKarl Hartwich, concertina, Trempealeau, WisconsinTony Kaminski, tuba, Trempealeau, WisconsinJeff Langen, drums, LaCrescent, MinnesotaFrank Melmer, banjo, Owatonna, MinnesotaGary Schroeder, trumpet, Fairfax, Minnesota
Frank Montano, Woodland flute, Bayfield
NORM DOMBROWSKI & THE HAPPY NOTES, POLISH POLKA -- NORM DOMBROWSKI & THE HAPPY NOTES, POLISH POLKAKen Camlek, trumpet, vocals, Stevens Point, WisconsinJoe Dombrowski, trumpet, vocals, Stevens Point, WisconsinMark Dombrowski, saxophone, clarinet, vocals, Stevens Point, WisconsinNorm Dombrowski, drums, vocals, Stevens Point, WisconsinMarie Kubowski, piano, concertina, violin, vocals, Stevens Point, WisconsinJoe Larson, bass, Stevens Point, Wisconsin
Jennifer Ceman, Christopher Goss, Amy Krier, Missy Mayer
Saxophone
Ben Bares, Brianna Benjamin, Tracy Daluge, Mike Dettman, Christopher Herlache, Andrew Klaetsch, Nicole Kreuziger, Amanda Newby, Laurie Strobel
Trumpet
Anne Abrahamson, Nicole Ammerman, Franz Arvold, Jon Berge, Rachel Berger, Ryan Beverung, Erika Breiby, Scott Brown, Jonathan Claas, Ryan Cook, Jolene Crosby, Derek Daun, Robert Detlefson, Pat Feldhausen, Mark Flanner, Steve Geiger, Merris Gullickson, Melissa Hampton, Paul Henslin, Scott Hurley, Raymond Konyn, Rob Koth, Jennifer Lange, Chad Leblanc, Steve Lindley, Paul Lindorf, Sarah Macleish, Scott Magee, Melissa Martin, Maureen McDonald, Nicholas Myhre, Chris Nelson, Jill Newman, Cara Olbrantz, Heidi Platt, Adam Plotkin, Brad Pope, Brian Pope, T. Gregory Reed, Kristen Riebau, Daniel Ries, Jason Reisterer, Neal Rozga, Jason Rymer, Heidi Salzmann, Chris Sawyer, Kimberly Scheidegger, Steve Schmitt, Cathie Schallue, Anna Sics, Benjamin Socie, Erica St. John, Chris Stillwell, Mathew Sullivan, Bill Utter, Stephanie Volden, Katie Wachowski, Justin Woodley
Fluegelhorn
Bob Bailey, Joel Dreier, Nathan Lukecart
Mellophonium
Emily Engel, Ellen Ezerins, Elizabeth Mergener, Laura Pedersen, Chris Remington, Rae Dawn Rippchen, Jamie Ruprecht, Raechal Sager, Steve Schrammel, Sara White
Trombone
Damon Bach, Geoff Bares, Derek Berget, John Buchholz, Cassie Carbon, Karey Clark, Tony Diehl, Tim Drews, Jeff Gentile, Laura Hageman, Erik Hoven, Gregory Ingersoll, Brad Knoll, Chris Knudson, Natalie Krueger, Kyle Manske, Edward Niles, Tim Nowaczyk, Daniel Olson, Craig Parker, Sue Peck, Greg Piefer, Eric Plate, Erin Pyzik, Amy Quackenbush, Kim Rauwald, Daniel Rooney, Gretchen Scheidler, Zac Schultz, Sarah Simonis, Brian Skinner, Brett Slaney, Joel Sohre, Ray Tainter, Jake Thull, William Tills, Geoffrey Wawrzyniak, Michael Whisler, Marie Zimmer, Brian Zweig
Euphonium
Andy Forster, Ann Kaminski, Rob Konitzer, Kevin Krause, Branden Linley, Michael Tessmer, Dan Uttech, David Wirch
Tuba
Zachery Dachel, Daniel Evans, Hugh Francis, Shane Haack, Carl Jo Keller, Hans Peterman, Mark Pronovici, Michael Schmidt, Kyle Schneider, Rob Scholl, Andy Schuh, Mindy Tempelis
Percussion
Aaron Faessler, Brian Frailing, Tricia Horwitz, Joel Jacklin, Tony Larocca, Brent Lavin, David Muencheberg, Kristin Sebranek, Geoff Seufert, Kevin Sprewer
Field Assistants
Sean Chandler, Bill Garvey, Carl Gitchel, Mark Messer, Cindy Schwibinger, Fritz Statz, Michael Stone, Janice Stone, Matthew Whiting
Collection Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
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.
Collection Citation:
Smithsonian Folklife Festival records: 1998 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
4 slicks, mechanical with detached photograph and detached pieces.
Cover Design: Ronald Clyne
Photographer: Frederic Ramsey Jr.
Collection Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
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.
Collection Citation:
Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Record labels, cover reproductions, photograph, liner notes (draft, final)
Collection Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
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.
Collection Citation:
Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Record labels, correspondence, liner notes (final). See also oversized folder for photograph and proofs
Collection Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
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.
Collection Citation:
Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Label copy, production notes, cover copy, credits, liner notes/script (draft). See also oversized folder for photograph and proofs
Collection Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
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.
Collection Citation:
Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Photographs See also oversized folder for photograph and proofs
Cover proofs and photographs rehoused to OS01-06
Collection Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
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.
Collection Citation:
Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
CD 1. Friday night. Ay te deo en San Antonio ; Viva Seguín / Santiago Jimenez Jr. with La Familia Peña-Govea -- Voy caminando ; El Chuchumbé / Los Cenzontles -- Vigilante man ; Wooly bully / Ry Cooder -- Let me fall ; Long lost lover blues ; C-U-B-A ; I've got what it takes / Any Old Time String Band -- Bee la manche ; La valse a pop ; Boudreaux/J'ai été au zydeco / David Doucet -- The free Mexican air force ; Break my heart again / Peter Rowan -- O my Malissa ; Here today ; Sally Gooden / Laurie Lewis & The Right Hands. CD 2. Texas bluebonnets / Laurie Lewis & The Right Hands-- I bid you goodnight / Friday night ensemble -- Saturday night. Oh by jingo ; Pasadena ; Oakland ; Step it up and go / Goodtime Washboard 3 -- Le fond de culottes & La danse de la misere ; Separation waltz ; Tes parents ne veulent plus me voir ; Joe Simien special / The Creole Belles -- My bucket's got a hole in it ; Make me a pallet on the floor ; Milenburg joys ; Trouble in mind / Barbara Dane with Bob Mielke's All Stars -- Midnight blues/Closer to the ground / Toni Brown and Terry Garthwaite -- Port Arthur blues ; Marie / The Savoy-Doucet Cajun Band. CD 3. Midland two step ; I made a big mistake ; Amede two step / The Savoy-Doucet Cajun Band -- Parading to Freight & Salvage ; A jazz funeral ; My bucket's got a hole in it ; Welfare blues ; When the saints go marching in / The Treme Brass Band. -- Sunday night. I don't drink no whiskey ; In the pines ; In my girlish days ; Lake Arthur stomp / Eric & Suzy Thompson -- I feel like I'm fixin' to die rag ; Save the whales ; Oklahoma hills / Country Joe McDonald -- End of my journey / The Campbell Brothers. CD 4. Going home on the morning train ; Jump for joy / The Campbell Brothers -- México Americano ; Prenda del alma ; Arizona, estado de vergüenza ; Puño de tierra / Los Cenzontles -- Lapin dans son nique ; 'Tits yeux noirs ; Quo' faire ; Reno waltz ; Eunice two step / Savoy Family Band -- Blues with a feeling ; Roscoe's mule down in Roscoe's barn ; Fishing blues ; Corinna ; The new hula blues / Taj Mahal -- Goodnight, Irene / Ensemble of Sunday night's performers plus Chris Strachwitz.
Local Numbers:
FP-ARH-CD-540
Arhoolie.540
Publication, Distribution, Etc. (Imprint):
El Cerrito, CA Arhoolie 2012
Participant or Performer Note:
photographs by Mike Melnyk ; commentary written by Chris Strachwitz with Adam Machado.
General:
Live sound recordings and photographs from the 3 day benefit concert for the Arhoolie Foundation, celebrating the 50th anniversary of Arhoolie Records. Event notes: Recorded live at the Freight & Salvage Coffeehouse in Berkeley, California, February 4-6, 2011. All introductions by Nick Spitzer.
192 pages : color illustrations, portraits ; 25 x 30 cm + 4 audio discs (digital ; 4 3/4 in.)
commercial
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.
Unrestricted research use on site. Researchers must handle unprotected photographs with gloves.
Collection Rights:
Archives Center cost-recovery and use fees may apply when requesting reproductions.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.
Collection Citation:
Hazen Collection of Band Photographs and Ephemera, ca. 1818-1931, Archives Center, National Museum of American History.
Unrestricted research use on site. Researchers must handle unprotected photographs with gloves.
Collection Rights:
Archives Center cost-recovery and use fees may apply when requesting reproductions.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.
Collection Citation:
Hazen Collection of Band Photographs and Ephemera, ca. 1818-1931, Archives Center, National Museum of American History.
Unrestricted research use on site. Researchers must handle unprotected photographs with gloves.
Collection Rights:
Archives Center cost-recovery and use fees may apply when requesting reproductions.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.
Collection Citation:
Hazen Collection of Band Photographs and Ephemera, ca. 1818-1931, Archives Center, National Museum of American History.
Unrestricted research use on site. Researchers must handle unprotected photographs with gloves.
Collection Rights:
Archives Center cost-recovery and use fees may apply when requesting reproductions.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.
Collection Citation:
Hazen Collection of Band Photographs and Ephemera, ca. 1818-1931, Archives Center, National Museum of American History.
Unrestricted research use on site. Researchers must handle unprotected photographs with gloves.
Collection Rights:
Archives Center cost-recovery and use fees may apply when requesting reproductions.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.
Collection Citation:
Hazen Collection of Band Photographs and Ephemera, ca. 1818-1931, Archives Center, National Museum of American History.
Unrestricted research use on site. Researchers must handle unprotected photographs with gloves.
Collection Rights:
Archives Center cost-recovery and use fees may apply when requesting reproductions.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.
Collection Citation:
Hazen Collection of Band Photographs and Ephemera, ca. 1818-1931, Archives Center, National Museum of American History.
Unrestricted research use on site. Researchers must handle unprotected photographs with gloves.
Collection Rights:
Archives Center cost-recovery and use fees may apply when requesting reproductions.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.
Collection Citation:
Hazen Collection of Band Photographs and Ephemera, ca. 1818-1931, Archives Center, National Museum of American History.
Unrestricted research use on site. Researchers must handle unprotected photographs with gloves.
Collection Rights:
Archives Center cost-recovery and use fees may apply when requesting reproductions.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.
Collection Citation:
Hazen Collection of Band Photographs and Ephemera, ca. 1818-1931, Archives Center, National Museum of American History.
Worcester (Mass.) Brass Band. Advertising card for appearances at the Worcester Skating Rink, 1884. Card also lists the Worcester Cadet Band. Negative #87-14273. (BE 10)
Unrestricted research use on site. Researchers must handle unprotected photographs with gloves.
Collection Rights:
Archives Center cost-recovery and use fees may apply when requesting reproductions.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.
Collection Citation:
Hazen Collection of Band Photographs and Ephemera, ca. 1818-1931, Archives Center, National Museum of American History.
Photograph shows bandsmen posed casually in outdoor setting. On Postcard paper, addressed to Mrs. C. D. Prue, Copenhagen, N.Y., with no message.
General:
In box 10, series 1, sub-series 7.
Restrictions:
Unrestricted research use on site. Unprotected photographs must be handled with white cotton gloves provided by Archives Center staff.
Collection Rights:
Archives Center cost-recovery and use fees may apply when requesting reproductions.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.
