Quotes and excerpts must be cited as follows: Oral history interview with Leroy Davis and Cecily Langdale, 2007 June 26-August 7. Archives of American Art, Smithsonian Institution.
Topic:
Art dealers -- New York (State) -- New York -- Interviews Search this
Gallery owners -- New York (State) -- New York -- Interviews Search this
Art dealers -- New York (State) -- New York -- Interviews Search this
Gallery owners -- New York (State) -- New York -- Interviews Search this
Floyd Levin was a Los Angeles textile manufacturer who turned his passion for jazz into a second career as an influential jazz journalist and historian. The collection consists of research materials including biographical files. In addition, there are numerous photographs that were taken and collected by Levin.
Scope and Contents:
Research materials on jazz, jazz artists, jazz festivals and jazz organizations compiled by Levin over several decades. The richest portion is the series of biographical files on jazz artists, with emphasis on lesser known but influential artists, and includes such things as obituaries, memorial programs, press releases, concert programs, and newsletters. Photographs are also widely found in this series, many of them inscribed to, or taken with Levin and his wife Lucille, as well as posters, recordings, letters and other correspondence, awards and plaques, Levin's writings, business cards, newspaper articles, advertisements, and miscellaneous ephemeral items. Artists who are strongly represented include one-time Ellington Orchestra clarinetist "Barney" (Albany Leon) Bigard, who was a close personal friend of the Levins and whose personal papers are in the collection; Louis Armstrong; "Jelly Roll" (Ferdinand Lemott) Morton; "Wild" Bill Davison; "Duke" (Edward Kennedy) Ellington; Joe Darensbourg; Edward Bertram "Montudie" Garland; "Kid" (Edward) Ory; "Eubie" (James Herbert) Blake; and "Rosy" (James) McHargue.
Arrangement:
The collection is divided into ten series.
Series 1, Personal Papers, 1920-2010, undated
Series 2, Correspondence, 1948-2006, undated
Series 3, Research Materials, 1914-2006, undated
Series 4, Writings, 1949-2006, undated
Series 5, Artists Files, 1880-2010, undated
Subseries 5.1, General Materials, 1880-2010, undated
Subseries 5.2, Obituaries, 1941-2004
Subseries 5.3, Interviews, 1969-2001
Series 6, Subject Files, 1916-2004, undated
Series 7, General Materials, 1908-2006, undated
Series 8, Jazz Organizations and Publications, 1943-2010, undated
Series 9, Photographs, 1939-2001, undated
Series 10, Audiovisual Materials, 1964-1997, undated
Floyd Levin (1922 - 2007) was a Los Angeles textile manufacturer who turned his passion for jazz into a second, contemporaneous, career as an influential jazz journalist and historian. His numerous reviews, profiles, and articles were published in magazines such as Down Beat, Jazz Journal International, Metronome, and American Rag. He also authored Classic Jazz: A Personal View of the Music and the Musicians (University of California Press, 2000), which –like his articles – chronicled his first-hand encounters with countless jazz musicians. In 1949, he co-founded the Southern California Hot Jazz Society, the second-oldest jazz appreciation club in the country. Levin led the drive to create the Louis Armstrong Park and statue in New Orleans in the 1970s. During his career, he conducted scores of oral history interviews with jazz musicians, which he donated to NMAH and to Tulane University's jazz archive. He received several awards for his work, including the Leonard Feather Communicator Award, given annually by the Los Angeles Jazz Society. Levin died in 2007.
Provenance:
Donated to the Archives Center in 2011 by Floyd Levin's widow, Lucille Levin.
Restrictions:
The collection is open for research. Only reference copies of audiovisual materials may be used.
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.
Audiotapes, CDs and digital files: an ongoing project to interview and preserve the memories of people important in the jazz world, including jazz musicians, singers, dancers, producers, arrangers, and others. A list of interviewees and interviewers follows.
The following is a list of the individuals who conducted the interviews.
1. Brown, Anthony
2. Baker, Lida
3. Burstein, Julie
Interviewer
2. Bluiett, Hamiet
Arrangement:
This collection is arranged into six series.
Series 1, DAT and CD Original Interview Recordings, 1992-2012
Series 2, Cassette Reference and Master Interview Tapes, 1992-2012
Series 3, Audio CD Reference Copies, 2000-2012
Series 4, Video/CD, 1994-2012
Series 5, Transcripts and Abstracts, 1992-2014
Series 6, Supplemental Documentation, 1992-2012
Biographical / Historical:
The Smithsonian Jazz Oral History Program, a project of "America's Jazz Heritage, A Partnership of the Lila Wallace-Reader's Digest Fund and the Smithsonian Institution" initiative was created in 1992. More than 150 in-depth oral history interviews were conducted from 1992 through 2002. The collection was transferred to the Archives Center of the National Museum of American History in 2000. Now part of the National Museum of American History's American Music History Initiatives, the Smithsonian Jazz Oral History Program continues to conduct interviews as funding is available.
The Smithsonian Jazz Oral History Program was established to document significant jazz musicians, performers, producers, and business associates in their own words and voices. Program staff contacted and worked with potential interviewees to arrange for interviews. Each interview was conducted by a jazz authority and was recorded on digital audiotape by a professional audio engineer. The interviews averaged 6 hours in length and covered a wide range of topics including early years, initial involvement in music, generally, and jazz specifically, as well as experiences in the jazz music world, including relationships to musicians. The original DAT interview tapes were then dubbed to audiocassettes and CD to create protection and access copies. More recent interviews have been recorded using fully digital technology and the interviews are preserved and made availbel as digital files.
A number of the interviews were conducted as part of the Ella Fitzgerald Oral History Project of the Jazz Oral History Program. Funded by the Ella Fitzgerald Charitable Foundation, these interviews focus on the life and work of Ella Fitzgerald. The National Endowments for the Arts Jazz Masters Oral Histories Program continues to support new interviews with NEA Jazz Masters.
For more information about jazz concerts, education, collections, Jazz Appreciation Month, and the Jazz Master orchestra, visit Smithsonian Jazz.
Provenance:
The interviews were made for the Smithsonian Institution under the auspices of the Smithsonian Jazz Oral History Program supported by America's Jazz Heritage, funded by the Lila Wallace-Reader's Digest Fund, the Smithsonian Institution, and the National Endowment for the Arts Jazz Masters Oral Histories Program. Additional interviews were conducted with support from the Ella Fitzgerald Charitable Foundation.
Restrictions:
Collection is open for research. Researchers must use reference copies.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions. Release forms exist for most interviews.
[Interviewee name] Interview, Smithsonian Jazz Oral History Program Collection, 1992-2014, Archives Center, National Museum of American History.
Sponsor:
The interviews were made for the Smithsonian Institution under the auspices of the Smithsonian Jazz Oral History Program and supported by America's Jazz Heritage, funded by the Lila Wallace-Reader's Digest Fund, the Smithsonian Institution, and the National Endowment for the Arts Jazz Masters Oral Histories Program. Additional interviews were conducted with support from the Ella Fitzgerald Charitable Foundation.
An exhibition to commemorate the 40th anniversary of the founding of the Anacostia Community Museum, formerly known as the Anacostia Neighborhood Museum, organized by the museum and held there September 15, 2007 through November 9, 2008. The exhibit explored the development of community life of neighborhoods east of the Anacostia River, beginning with the original inhabitation by Native Americans up to the present.
Scope and Contents note:
These records document the planning, organizing, execution, and promotion of the exhibition. Materials include research files, compact disc, and photo copies.
Restrictions:
Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.
An interview of Leroy Davis and Cecily Langdale conducted 2007 June 26-August 7, by Avis Berman, for the Archives of American Art, in New York, New York.
Davis speaks of losing his parents at a young age; attending music school in Philadelphia; studying at Tyler School of Fine Arts and the Barnes Foundation; usage of the word "art" in terms of music and painting; being drafted into the Air Force during World War II; opening a gallery in New York City; working as a framer on the side; working on the White House Fine Arts Commission; selling English watercolors. Langdale speaks of focusing on history, literature, and art history in college; working on shows at Hirschl & Adler gallery; opening a gallery with Davis; writing a book on monotypes. Davis also recalls Aaron Shikler, Boris Bly, Arthur Penn, Violette de Mazia, Albert C. Barnes, Louis Bouché, Terry Ritter Davis, David Levine, Herman Gundersheimer, Arthur Penn, Minnie Cushing, Paul Mellon, Jackie Kennedy, Jock Whitney, and others. Langdale also recalls Robert Walker, Richard Cowdery, Meredith Long, Seymour Remenick, Dr. Thomas Conroy, and others.
Biographical / Historical:
Leroy Davis (1922- ) is an art dealer from New York, New York. Cecily Langdale is an art dealer from New York, New York and Avis Berman is a writer and art historian from New York, New York.
General:
Originally recorded on 1 sound cassette, 3 sound discs, and 3 data compact discs. Reformatted in 2010 as 4 digital wav files. Duration is 4 hr., 50 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.
Restrictions:
The transcript and recording are open for research. Contact Reference Services for more information.
Topic:
Art dealers -- New York (State) -- New York -- Interviews Search this
Gallery owners -- New York (State) -- New York -- Interviews Search this
Art dealers -- New York (State) -- New York -- Interviews Search this
Gallery owners -- New York (State) -- New York -- Interviews Search this
Genre/Form:
Sound recordings
Interviews
Sponsor:
Funding for this interview was provided by the Widgeon Point Charitable Foundation.
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.
This collection, which dates from circa 1961-2006, contains audiorecordings from the UNESCO Collection of Traditional Music of the World, as well as related business records. Includes recordings of tradition and sacred music from Benin, Cameroon, Central African Republic, Côte d'Ivoire, Ethiopia, Madagascar, Malawi, Niger, Sudan, Argentina, Bolivia, Brazil, Chile, Cuba, Peru, Afghanistan, Australia, Cambodia, China, Korea, the Solomon Islands, India, Bali, Java, Japan, Laos, Mongolia, Uzbekistan, Pakistan, Thailand, Vanuatu, Vietnam, Algeria, Bahrain, Egypt, Iraq, Morocco, Oman, Syria, and Turkey.
Biographical/Historical note:
The UNESCO Collection of Traditional Music of the World included more than a hundred pioneering audio recordings of the world's traditional music published from 1961 to 2003 on a number of different recording labels. The series was launched in 1961 in collaboration with ethnomusicologist Alain Daniélou (1907-1994) and the International Music Council (created by UNESCO in 1949). The recordings in the Collection are mostly field recordings made in situ, in their original context. Each recording is accompanied by scholarly annotations and photographs. Together, these discs are a reflection of the immense variety of music making and of the position music holds within cultures around the globe.
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://doi.org/10.25573/data.21771155.
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.
311 Solo de Mridangam / Muttu Kumaram. Cymbals,Mridanga,NaÕogasvaram.
312 Jinana Vinayakane / Rada Shri Ram. Flute,Cymbals,Mridanga,Violin,Mukhavadyam (Mouth harp).
Local Numbers:
UN-COMM-CD-08267-9
UNESCO.8267
Publication, Distribution, Etc. (Imprint):
Paris, France Audivis 1997
General:
Commercial
Vocal and instrumental music. "This is a re-issue of the first recordings made in India by Danierlou himself under the patronage of UNESCO and the International Music Council"--Booklet, p. 5. Compact discs. Program notes and biographical notes in English and French and vocal texts with English and French translations (43 p. : ill., music) inserted in container. Vocal works sung in Hindi and Telugu.
Restrictions:
Restrictions on access. Listening only. No Duplication Allowed.
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.
163 reel to reel tapes,136 VHS tapes, 188 cassette tapes, 100 DAT tapes, 20 467 tapes, 6 compact discs, 16 miscellaneous audio materials, all are mostly recordings of Fast Folk events or Fast Folk recording artists; 604 folders containing information and materials relating to magazines, recordings, events and business; objects related to the Fast Folk Musical Magazine
The Fast Folk Musical Magazine records, which date from 1982-2002, document the activities of Fast Folk Musical Magazine. The collection is comprised chiefly of audio/video materials and the paper business records of the company. Audio and video materials include phonograph records, reel-to-reel tapes, VHS videotapes, audiocassettes, digital audiotapes, compact discs and miscellaneous audio material. The paper records include press materials related to Fast Folk and Fast Folk recording artists, magazine source materials, recording agreements, lyrics, artist biographies, photographs, financial documents, correspondence, planning for events and other miscellany. Additionally, there is a Fast Folk t-shirt and a bag of Fast Folk pencils, pens and erasers.
Scope and Contents:
There are two main components of the Fast Folk Musical Magazine Collection: the audio and video materials and the paper records of the company. This finding aid is a guide to the paper records and related materials.
Biographical / Historical:
The Fast Folk Musical Magazine, previously known as The CooP, was a non-profit organization that published recordings with an accompanying magazine from 1982-1996. Fast Folk began as an outlet through which singer-songwriters could perform, as there were few venues that booked folk singers in New York City during that time period. Jack Hardy (1948-2011) headed this endeavor in the Speakeasy club, sharing space with a belly dance club and a falafel restaurant. A musician's co-op was created at the Speakeasy, meaning that everything in the club was to be done by the musicians, from booking to cleaning. The first show by the musicians' co-op at the Speakeasy was in September of 1982. It was considered the best place for a musician to get a gig if he or she did not already have a record deal.
Richard Meyer (1952-2012), who eventually became editor of Fast Folk in 1985, joined the project a couple months after its inception as a performer, writer and graphic designer for the magazine. Jack Hardy introduced himself to Meyer at a concert and invited him to sign up for the Songwriter's Exchange; another project organized by Hardy in which musicians performed songs for each other that they had recently written. Slowly, the number of people working on Fast Folk grew and Meyer trained others to do what he did. An important part of the organization was its community-oriented system; it was almost entirely run by an ever-changing group of volunteers. As the staff at Fast Folk increased, it became continuously involved in shows such as the Greenwich Village Folk Festivals which were used as fundraisers.
Fast Folk provided a good way for musicians to be able to make their own record or to be part of a record, since making a record on one's own was more difficult in that era. Many commercial recording artists such as Lyle Lovett, Tracy Chapman, Michelle Shocked, Christine Lavin, Suzanne Vega and Shawn Colvin recorded some of their first songs with Fast Folk. While some musicians eventually became commercially successful, Fast Folk consistently stressed that this was not their organization's objective. By releasing many different artists' work on each recording, Fast Folk strove to expand the collective horizons of their audience and spread the power of individual songs as opposed to individual artists. Songwriters were incorporated into an issue of Fast Folk by sending in demo tapes or by being heard by Hardy and Meyer at a Songwriters' Exchange or other performance. The Fast Folk committee also had a significant input as to who was on each album. The magazine was used as an outlet for discussing current issues of songs and songwriting across the country, as well as reviewing albums and interviewing artists. Many issues were devoted to the music of different sections of the United States such as Boston, Los Angeles and the Pioneer Valley in Massachusetts. The issues of Fast Folk were sold mostly through subscription, but also at the Speakeasy club. Around the time Richard Meyer contacted the Smithsonian, Fast Folk stopped producing records and magazines, mostly due to a lack of volunteers with enough time to devote to a business of Fast Folk's size.
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://doi.org/10.25573/data.21771155.
Provenance:
The Smithsonian Ralph Rinzler Folklife Archives and Collections acquired these materials in 1999, when Fast Folk Musical Magazine donated its records to the Center for Folklife and Cultural Heritage. In 1996, Richard Meyer, on behalf of Fast Folk Musical Magazine, contacted Anthony Seeger, then Director of Smithsonian Folkways Records, offering the Fast Folk materials to the Smithsonian. After several years of correspondence, the Smithsonian received the collection. The Center for Folklife and Cultural Heritage agreed to keep the recordings available commercially and to retain the records in the archive, as well as to leave Fast Folk with the option to restart publication of the magazine.
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.
Topic:
Popular music -- Writing and publishing Search this
Popular music -- 20th century -- United States Search this
Naghma Jabali wa Binafsher (23:26) --Mawal wa raqsa : [daytime music] (4:45) --Mawal wa raqsa : [nightime music] (6:55) --Lo delal Sherin Hayat (11:50) --Sar hawa (10:44).
Track Information:
101 Naghma Jabali wa Binafsher / Said Hassan, Mohammed-Ali Tedjo. Saz music,Tanb-ura.
102 Mawal wa raqsa : [daytime music] / Hamo Hassan Rasho, Hussein Mohamed Rasho, Mohammed Ahmed Rasho. Z-urn-a,Drum.
103 Mawal wa raqsa : [nightime music] / Ahmed Hanan Nasser, Hanan Ahmed Nasser, Hussein Hanan Nasser, Hussein Ahmed Abdo. N-ay,Kettledrum.
104 Lo delal Sherin Hayat / Said Hassan, Mohammed-Ali Tedjo. Saz music,Tanb-ura.
105 Sar hawa / Said Youssef. Tanb-ura.
Local Numbers:
UNESCO.8023
Publication, Distribution, Etc. (Imprint):
Paris, France Audivis
General:
Commercial
Field recordings by Christian Pocher of Kurdish music, principally instrumental; the 4th selection sung in Kurdish, Kurmanchi dialect. Originally issued: Paris : International Music Council, p1974. Compact disc, analog recording. Includes commentary by C. Pocher in English and French.
Restrictions:
Restrictions on access. SI Permission.
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.
Sanctus (Anaphora=Anaphore) --Qolo (At the Outer Door=Sur la porte exterrieure) --Takhshefto (The days pass like a shadow=Les jours passent comme l'ombre) --Gnizo (Glory to the Magnanimous One=Gloire au Bon) --Breviary=Breviaire (Adoration of the Cross and Our Father=Adoration de la Croix et Notre Perre) --Communion chant=Chant de communion (He Whom the Seraphim Fear to Behold=Celui que les serraphins craignent de regarder) --Takhshefto (Like the merchants=Commes les commerc.ants) --Madrosh / Madroshe (To Describe Thy Beauty=Dercrire ta beauter).
Local Numbers:
UNESCO.8039
Publication, Distribution, Etc. (Imprint):
Parism France Audivis
Date/Time and Place of an Event Note:
Recorded in: Syria.
General:
Commercial
Compact disc. Program notes in English and French by Christian Pocher with texts (11 p.) inserted in container. Reissue by Auvidis of the Album Antioch Syrian Orthodox Church realized by the International Institute for Comparative Music Studies and Documentation (IICMSD), Berlin, for the International Music Council (Conseil International de la Musique)-Container
Restrictions:
Restrictions on access. SI Permission.
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.
An interview of Clara Diament Sujo conducted 2010 June 8-16, by Avis Berman, for the Archives of American Art's Elizabeth Murray Oral History of Women in the Visual Arts project, at Sujo's home, in New York, New York.
Diament speaks of her childhood in Argentina; her father's early influence; working with Abbott Industries; her travels with her father as a child to Punta del Este in Urguay, and Mar del Plata; her experiences in the United States; life under Juan Perón and how political events helped shape her education; teaching in Venezuela; collecting art for the Venezuelan science museum; her views on art; the artists that she has worked with and represented; the opening of her first gallery in Venezuela; her gallery in New York City; the influence of Jorge Romero Brest; and her work with the museum network to represent Latin American artists. She recalls Katharine Kuh, Jackson Pollock, Willem de Kooning, Richard Wright, Langston Hughes, Jesus Rafael Soto, Arturo de Cordova, Alejandro Otero, Victor Valera, Armando Reverón, Mercedes Pardo, Wilfredo Lam, Alfred Barr, Rene d'Harnoncourt, Dorothy Miller, Thomas Messer, Marcel Duchamp, Hedda Sterne, Robert Rauschenberg, Jasper Johns, Marisol Escobar, and others.
Biographical / Historical:
Clara Diament Sujo (1921-) is an Argentinian born owner and director of CDS Gallery in New York, New York. Avis Berman (1949-) is a scholar in New York, New York.
General:
Originally recorded on 1 compact disc. Reformatted in 2010 as 3 digital wav files. Duration is 5 hr., 10 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.
Occupation:
Gallery owners -- New York (State) -- New York Search this
Gallery directors -- New York (State) -- New York Search this
Art dealers -- New York (State) -- New York Search this
Collectors -- New York (State) -- New York Search this
Down South blues (2:08) -- Country blues (3:48) -- Pretty Polly (2:52) -- Coal Creek march (1:53) -- My old horse died (1:43) -- Wild Bill Jones (2:08) -- Rowan County crew (6:06) -- New prisoner's song (2:51) -- Oh, death (3:15) -- Prodigal son (3:52) -- Mother's advice (3:38) -- Drunkard's lone child (4:04) -- Bright sunny South (3:36) -- Mistreated mama blues (1:49) -- Harvey Logan (3:24) -- Mixed blues (3:49) -- Old Joe's barroom (2:46) -- Danville girl (2:33) -- Cole Younger (1:48) -- Schottische time (1:13) -- Papa, build me a boat (2:40) -- Little black train (2:51) -- No disappointment in heaven (2:28) -- Glory land (4:00) -- Banjo clog (1:47) -- Wise County jail (1:48) -- Sugar baby (2:50) -- The death of Jerry Damron (4:13) -- Railroad tramp (3:10) -- Poor boy in jail (2:54) -- Brother Jim got shot (1:56) -- John Henry (3:27) -- Davenport (1:41) -- Dying ranger (3:25) -- Little Omie Wise (3:23) -- Sugar blues (1:22) -- Loving Nancy (2:26) -- Cuba (1:26) -- John Hardy (2:02) -- Peggy Walker (2:52) -- I hope I live a few more days (4:07) -- Turkey in the straw (:47) -- Calvary (3:30) -- Roses while I'm living (3:21) -- Leave it there (3:20) -- Prayer of a miner's child (3:17) -- Coke oven march (1:00) -- Ruben's train (2:19) -- Cumberland Gap (2:26) -- Careless love (4:05).
Track Information:
101 Down South Blues / Banjo.
102 Country Blues / Banjo.
103 Pretty Polly / Banjo.
104 Coal Creek March / Banjo.
105 My Old Horse Died / Banjo.
106 Wild Bill Jones / Banjo.
107 Rowan County Crew / Banjo.
108 New Prisoner's Song / Banjo.
109 Oh, Death / Banjo.
110 Prodigal Son / Banjo.
111 Mother's Advise / Banjo.
112 Drunkard's Lone Child / Banjo.
113 Bright Sunny South / Banjo.
114 Mistreated Mama Blues / Banjo.
115 Harvey Logan / Banjo.
116 Mixed Blues / Banjo.
117 Old Joe's Barroom / Banjo.
118 Danville Girl / Banjo.
119 Cole Younger / Banjo.
120 Schottische Time / Banjo.
121 Papa, Build Me a Boat / Banjo.
122 Little Black Train / Banjo.
123 No Disappointment in Heaven / Banjo.
124 Glory Land / Banjo.
201 Banjo Clog / Banjo.
202 Wise County Jail / Banjo.
203 Sugar Baby / Banjo.
204 The Death of Jerry Damron / Banjo.
205 Railroad Tramp / Banjo.
206 Poor Boy in Jail / Banjo.
207 Brother Jim Got Shot / Banjo.
208 John Henry / Banjo.
209 Davenport / Banjo.
210 Dying Ranger / Banjo.
211 Little Omie Wise / Banjo.
212 Sugar Blues / Banjo.
213 Loving Nancy / Banjo.
214 Cuba / Banjo.
215 John Hardy / Banjo.
216 Peggy Walker / Banjo.
217 I Hope I Live a Few More Days / Banjo.
218 Turkey in the Straw / Banjo.
219 Calvary / Banjo.
220 Roses While I'm Living / Banjo.
221 Leave it There / Banjo.
222 Prayer of a Miner's Child / Banjo.
223 Coke Oven March / Banjo.
224 Ruben's Train / Banjo.
225 Cumberland Gap / Banjo.
226 Careless Love / Banjo.
Local Numbers:
FW-COMM-CD-40108-7
FLP.125949
FLP.125949 ;.Smithsonian Folkways.40108
Publication, Distribution, Etc. (Imprint):
Washington, D.C. Smithsonian Folkways 1998
Date/Time and Place of an Event Note:
Recorded in: Norton (Va.), United States, Virginia.
General:
Commercial
Smithsonian Folkways: SFW 40108 (on container: SF 40108). Blues, instrumentals, regional, and religious songs. Originally released as analog discs in 1963 (Folkways [FA] 2351), 1965 (Folkways [FA] 2392), and 1970 (Folkways [i.e. Asch Recordings AH] 3903). Compact disc. Program and biographical notes by Barry O'Connell and Mike Seeger, including bibliography and discography (34 p. : ports.) inserted in container.
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.
Compact disc. Originally released as analog discs on the Cook label. Notes by Kenneth Bilby and Keith Warner, and vocal texts in English, with bibliography and discography (29 p. : ill.) inserted in container.
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.
126 El Chicano / Nortenos de Nuevo Laredo (Musical group). Accordion,Fiddle,Guitar.
Local Numbers:
FP-ARH-CD-7001
Folklyric.7001
Publication, Distribution, Etc. (Imprint):
1994 El Cerrito, California Folklyric
General:
Previously released as 78- or 45-rpm recordings. Originally issued as compact disc. Program notes and English translations of texts (35 p. : ports.) inserted in container.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only; No Duplication.
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.
Northwest Bulgaria = Bulgarie du Nord-Ouest : Ocarina solo (1:26) ; Kaval solo (2:25) -- North-Central Bulgaria and region of Varna = Bulgarie du Centre-Nord et rergion de Varna : Bagpipe solo (4:33) ; Song for the Hayduk (5:30) -- Shope country = Pays chope : Harvest song (1:45) ; Lazarus day song (1:36) ; Harvest song (1:12) ; Harvest song (3:10) -- Pirin : Evening song (4:05) ; Dances from Russalia (2:40) ; Tambura solo (1:56) ; "High" song (1:06) -- Rodopi = Rhodopes : Bagpipe solo (3:37) -- Thrace : Kaval solo (3:00) ; Christmas song (1:45) ; "Slow" melody (3:55) -- Dobrudzha = Dobroudja : Gadulka solo (2:05).
Track Information:
101 Ocarina Solo / Velko Karnichev. Ocarina.
102 Kaval Solo / Iordan Todorov. Kaval.
103 Bagpipe Solo / Stoian Petrov. Bagpipe.
104 Song for the Hayduk / Georgi Radanski. Gu.dulka.
105 Harvest Song / Harvest Song
106 Lazurus Day Song / Velko Karnichev.
107 Lazurus Day Song.
108 Harvest Song / Sofika Liessichkovi, Trendelila Liessichkovi.
109 Harvest Song.
110 Evening Song.
111 Dances from Russailia / Schain Kurtov. cZ-urn-a.
112 Tambura Solo / Ivan Katierinin. Tambura.
113 High Song.
114 Bagpipe Solo / Stefan Zakhmanov. Bagpipe.
115 Kaval Solo / Kansho Tonev. Kaval.
116 Christmas Song.
117 Slow Melody / Ianka Rupkina. Kaval.
118 Gadulka Solo / Nedko Petrov. Gu.dulka.
Local Numbers:
UN-COMM-CD-08019-9
Audivis.8019
Publication, Distribution, Etc. (Imprint):
Paris, France Audivis 1983
General:
Commercial
Folk music. Compact disc. Program notes in English and French (11 p.) inserted in container.
Restrictions:
Restrictions on access. Listening only. No Duplication Allowed..
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.
108 The Red Mountain Ash / Rosa Jouk, Lioudmilla Tchijouk, Maria Dorodko. Ukrainian language.
109 Round: Spring Dance / Tatiana Orlenin, Nadeshda Shogol.
110 Slow melody from Thrace / Ianka Rupkina. Bulgarian language.
111 Zauerl (sung in the Inn) / Ernst Pfa.ndler.
112 Three katajjait from Baffin Land / Elijah Pudloo Mageeta, Quanak Martha Meekeega, Napache Samaejuk Pootogook, Napache Etidloie Toonoo.
113 Roiroa (women's song).
114 Buyeni: Kamwana kamwani (Somebody's little child)/ Kaya wiyo / Chewa dialect.
115 Nagara- Music of the Blue Nile Province / Lyre,Gourd.
116 Dikoboda sombe (Hut song).
117 Ulepa.
118 Ye zame andero (war chant).
119 Song for grinding millet.
Local Numbers:
UN-COMM-CD-08102-9
UNESCO.8104
Publication, Distribution, Etc. (Imprint):
Paris, France Audivis 1972
General:
Commercial
Compact disc. Compilation of songs recorded worldwide, sung in their original languages. Previously released. Program notes in English and French (15 p.) inserted in container.
Restrictions:
Restrictions on access. Listening only. No Duplication Allowed.
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.
Kpanda dance (3:27) --Song to conclude the Kpanda dance (2:28) --Dance for the Queens' masks (6:27) --Dance of the elephant mask (3:36) --Dance of the excised girls (2:52) -- Music of a guardian spirit (3:52) --Little girls' sung games (4:24) --Song with forked harp accompaniment (3:09) --Song accompanied on the musical bow (3:23) --War song (3:19) -- Song with harp-lute accompaniment (3:36) --Song with sanza accompaniment (3:03) --Song of two little girls (2:31)
Track Information:
101 Kpanda dance.
102 Song to conclude the Kpanda dance.
103 Dance for the Queens' masks.
104 Dance of the elephant mask.
105 Dance of the excised girls.
106 Music of a guardian spirit.
107 Little girls' sung games.
108 Song with forked harp accompaniment.
109 Song accompanied on the musical bow.
110 War song.
111 Song with harp-lute accompaniment.
112 Song with sanza accompaniment.
113 Song of two little girls.
Local Numbers:
UNESCO.8048
Publication, Distribution, Etc. (Imprint):
Paris, France Audivis
Date/Time and Place of an Event Note:
Recorded in: Côte d'Ivoire.
General:
Commercial
Reissue of the LP of the same title issued in 1972 in the Musical Atlas series. Compact disc. Descriptive and ethnographic notes in English and French by Hugo Zemp (11 p.) in container.
Restrictions:
Restrictions on access. SI Permission.
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.
Big chief (3:13) -- Her mind is gone (4:23) -- Something on your mind (4:10) -- You're driving me crazy (2:34) -- Red beans (4:09) -- Willie Fugal's blues (2:03) -- It's my fault, darling (4:54) -- In the wee wee hours (3:23) -- Cry to me (3:35) -- Bald head (2:58) -- Whole lotta loving (3:46) -- Crawfish fiesta (3:10).
Track Information:
101 Big Chief / Piano.
102 Her Mind is Gone / Piano.
103 Something on Your Mind / Piano.
104 You're Driving Me Crazy / Piano.
105 Red Beans / Piano.
106 Willie Fugal's Blues / Piano.
201 It's My Fault, Darling / Piano.
202 In the Wee Wee Hours / Piano.
203 Cry to Me / Piano.
204 Bald Head / Piano.
205 Whole Lotta Loving / Piano.
206 Crawfish Fiesta / Piano.
Local Numbers:
FP-RINZ-CT-0027
FLP.113343
Publication, Distribution, Etc. (Imprint):
Chicago , Ill. Alligator 1980
General:
Principally popular and blues songs. Compact disc. Biographical notes by Tad Jones and Mindy Giles included.
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.
Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.
Do not use original materials when available on reference video or audio tapes.
Series 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.
Series Citation:
Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution
Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.
Do not use original materials when available on reference video or audio tapes.
Series 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.
Series Citation:
Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution
