Ellington, Mercer Kennedy, 1919-1996 (musician) Search this
Strayhorn, Billy (William Thomas), 1915-1967 Search this
Collector:
National Museum of American History (U.S.). Division of Musical History 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 (now Division of Cultural and Community Life) and include trophies, plaques, and medals. See accessions: 1989.0369; 1991.0808; 1993.0032; and 1999.0148.
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Provenance:
The collection was purchased through an appropriation of Congress in 1988.
Restrictions:
Collection is open for research but the original and master audiovisual materials are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
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.
More than 300 reels of 16mm black and white and color film, silent and sound, fiction and documentary motion picture film documenting jazz and related musical performances, social and popular dance styles and performances, jazz musicians, performance locales, and documentation of African-American popular culture. A list of featured performers in the collection is shown below. The films are frequently compilations produced by Smith for lectures.
Scope and Contents:
The collection consists of 352 reels of 16mm motion picture film. Most of the film is 16mm black and white and sound (composite optical track print), although a few titles are silent or in color. The collection is comprised of compilation reels created by Ernie Smith to accompany his lectures, topical compilation reels created by Ernie Smith, compilation reels created by the Archives Center, and single title reels. The Archives Center produced master and reference video copies using a wet-gate telecine film-to-tape transfer system. Titles were often combined to allow for increased ease of handling, storage, and duplication.
The collection is strongest in the areas of jazz dance styles including Lindy Hop and tap, overviews of jazz musical performers and styles; specific jazz musicians and performers including Duke Ellington, Louis Armstrong, Cab Calloway, Woody Herman, Artie Shaw, Bob Crosby, Lionel Hampton, Count Basie, Jack Teagarden as well as a wide range of female vocalists; and documentation of the New York jazz and club scene. The collection includes feature films and excerpts from feature films, Soundies and other film shorts, television kinescopes, and documentary films.
Arrangement:
The collection is arranged into one series and is not arranged in accordance with standard archival procedures. The breadth of the collection and the existence of so many multiple topic and/or performer compilation reels made it impossible to impose traditional archival series order. Therefore, each reel is described at the item level in the container list.
Biographical:
Ernest (Ernie) Smith began collecting jazz and jazz dance films during the mid-1950s. An Art Director for a New York advertising agency, Smith had a long-standing interest in jazz and jazz dance that began during his youth in Pittsburgh, Pa. Early on, Smith discovered that jazz music was best appreciated while dancing. He became an accomplished Lindy Hopper, frequenting both white and African American ballrooms.
His job at the advertising agency supported Smith's two passions - painting and jazz dance and music. Smith was also a film enthusiast so, in 1954, after taking a jazz class at the New School taught by Marshall Stearns, a leading jazz scholar, he began collecting examples of jazz and jazz dance on film. In the process of creating his film collection, Smith became one of the leading authorities on jazz and jazz dance films. He collaborated with Stearns on the 1964 book Jazz Dance, compiling the book's jazz dance film listing. He also wrote the extensive entry on jazz film for the 1988 edition of New Grove Dictionary of Jazz .
Smith built his film collection by identifying films of potential interest and acquiring them through trade and purchase. He created lecture reels on specific topics -- the history of jazz, social dance, tap dance, Duke Ellington, Lindy Hop -- and presented lecture/screenings nationally and internationally. He also provided footage for numerous documentaries and maintained active relationships with filmmakers, other film collectors, jazz scholars, the swing dance community, and musicians.
Ernie Smith donated his film collection to the Archives Center in 1993. He continues to lecture and participate in swing dance activities, but he devotes the majority of his time to painting and related artistic pursuits.
Provenance:
The Archives Center acquired the collection from Ernie Smith in 1993.
Restrictions:
Collection is open for research but the films are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
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.
African Americans in the performing arts -- 1930-1970 Search this
Genre/Form:
Motion pictures (visual works) -- 20th century
Citation:
Ernie Smith Jazz Film Collection, Archives Center, National Museum of American History.
Sponsor:
America's Jazz Heritage: A Partnership of the The Lila Wallace-Reader's Digest Fund and the Smithsonian Institution provided the funding to produce many of the video master and reference copies.
The Norma Merrick Sklarek Archival Collection documents the prestigious and groundbreaking career of one of the early women architects who also broke ground for African American architects as well. The collection highlights Sklarek's journey and accomplishments as she paved the way for future women architects and architects of color. The collection is comprised of family records, resumes, business ephemera, photographs, correspondence, publications, clippings, architectural drawings, as well as her many awards and accolades.
Arrangement:
The materials in this collection have been separated into eight series. The materials have been ordered and organized based on the content and chronology. Within each series and subseries, the folders are organized as close to the collection's original order as when it was acquired.
Biographical / Historical:
Norma Merrick Sklarek was a renowned architect and a woman of firsts who broke racial and gender barriers earning her place in the male-dominated world of architecture. She was the first Black woman member and esteemed fellow of the highly respected architectural professional organization, American Institute of Architects (AIA). Norma was distinguished in her career for leading challenging assignments and managing large, complex construction projects.
Norma Merrick was born April 15, 1926 to Dr. Walter Ernest Merrick, and Amelia (Amy) Willoughby in Harlem, New York City, New York. Her parents had emigrated from Trinidad, though her father was born in St. Vincent, West Indies. Norma's parents were a part of the first significant Caribbean immigration waves to the United States in the early 20th century. Arriving just a year before her birth, her parents saw possibility and education there. Her father, Walter attended Howard University and eventually became a physician. While her mother, Amy worked as a seamstress in a factory to make ends meet as Walter "wasn't much of a businessman" as described by Norma in an oral history interview. He practiced medicine in Harlem, New York. Norma stated that her father often served as a physician to African American celebrities such as Hazel Scott, Ethel Waters and Art Tatum. Walter was also a talented musician and carpenter that supported his daughter's love of art and math and encouraged her to pursue a career in architecture.
Around 1940, Norma was enrolled at the prestigious Hunter College High School for the intellectually gifted and "Ivy League-bound" young women. Excelling academically, Norma attended Barnard University, the prestigious women's college formerly administered by Columbia University. She attended Barnard initially in order to gain a year of a liberal arts education so that she could be accepted into then-known Columbia University School of Architecture. In 1947, she met and married, Dumas Flagg Ransom, law student at nearby Wagner University. She subsequently gave birth to her first son, Gregory Merrick Ransom shortly thereafter. She graduated from Columbia in 1950 with a Bachelor of Architecture (B.Arch.) degree. She was one of only two women and the only African American in her graduating class.
Despite her Columbia University pedigree, her race and gender made it predictably difficult to obtain employment. Norma easily recalls in an oral history interview later in life that she was turned down by nineteen prospective employers. It was on the twentieth interview with the Department of Public Works (DPW) that she was hired as a junior draftsperson for New York City. She passed her architecture licensing examination in 1954 becoming the first Black woman believed to be licensed to practice architecture in New York. Despite a poor recommendation from her DPW supervisor, she worked briefly at Katz, Waisman, Blumenkranz, Stein and Weber as a junior associate. She felt stifled and unchallenged and left that firm to do some rendering coloring work with notable New York architect, Bob Schwartz. In 1955, she started working at notable architectural firm, Skidmore, Owings, and Merrill (SOM) in New York City where she was given larger-scale projects. At the same time, she taught architecture courses at New York City Community College (presently called the New York City College of Technology) located in Brooklyn, NY. She was the school's first woman faculty member. It was also during her tenure at SOM that Norma joined AIA and inadvertently became the organization's first African American woman member. She was a member of the Council for the Advancement of the Negro in Architecture, a New York-based group. During all this groundbreaking work, Norma was a twice-divorced mother of two sons with the birth of her second son, David Merrick Fairweather from her union with Benjamin Fairweather. Norma depended on the assistance of her family in raising her sons while she worked and advanced her career.
In an effort to advance her career, Norma moved to Los Angeles, California to work with architectural firm, Gruen Associates in 1960. A requisite for an architect in California, Norma became the first Black woman to be a licensed architect in the state. Gruen Associates, founded by visionary Austrian architect Victor Gruen, was notable for their pioneering work with shopping malls and multi-use buildings. At Gruen, in 1965 she earned the director of architecture position where she was responsible for hiring and overseeing multiple staff members as well as serving as project manager on several high-profile projects for the firm.
Her projects included the high-rise multi-use building California Mart (1963), now known as California Market Center; skyscraper Fox Plaza (1966) in San Francisco and some of Norma's most notable work for Gruen, The Pacific Design Center (1975), a multi-use facility utilized by the California's bustling apparel and fashion industry. Norma's contributary design is affectionately known by California's locals as the "Blue Whale." Norma worked on the latter project with Gruen's lead architect at the time, Cesar Pelli, known for some of the world's tallest buildings, most notably World Finance Center (Brookfield Place) in New York City. Pelli also shared his credit with Norma for her exemplary contribution to the renovation and redesign of the San Bernardino City Hall (1972) in California as well as their work on the U.S. Embassy (1976) in Tokyo, Japan. While at Gruen, Norma married Rolf Sklarek, a fellow architect at the firm. She also taught architecture courses at the University of California Los Angeles (UCLA) and the University of Southern California (USC). At UCLA, she was the first African American member of the faculty.
In 1980, she was finally recognized for all of her trailblazing and innovative work, when she became the first African American woman elected to the AIA College of Fellows. The highest honor within the architecture profession. This prestigious award gave her assurance that she could take her career to another level. She departed Gruen for Welton Becket & Associates, a prominent California firm renowned for iconic music and cultural centers, including the iconic Capitol Records building in Los Angeles. Norma was appointed as the vice president of the firm and lead project manager on one of her most notable works, Terminal One at the Los Angeles International Airport. She was recognized for the timely completion of the project as preparation for the influx of travelers to Los Angeles the for the 1984 Olympic Games. Norma also suffered the loss of her husband, Rolf Sklarek, the same year.
It was her work from the Los Angeles Airport project that empowered Norma to break yet another barrier. 1985 proved to be significant year as she became first African American woman to found and co-own a woman-owned architectural firm. Norma collaborated with fellow veteran architects Margot Siegal and Katherine Diamond to create Siegel-Sklarek-Diamond (SSD). SSD was one of the largest woman-owned architecture firms at the time. Their largest project was the Tarzana Promenade, a 90,000 sq. ft. medical and retail center, and the remodel and renovation of the Lawndale Civic Center; both located in California. Norma also designed work for the proposed Marva Collins Preparatory School in Compton, CA. The school was named after seminal educator, Marva Collins that had revolutionized education for low-income students in a crime-ridden area in Chicago, Ill. The hope was the replicate Collins' important work for children in Compton.
Being a new firm amidst the prevalence of racism and sexism within the profession left SSD at a disadvantage. Their projects were mainly residential and smaller commercial projects that didn't bring the income and accompanying challenges like larger scaled projects. Sklarek left SSD in 1989 for Jerde Partnership, an established innovator in the design and construction of shopping malls around the world. Norma was hired as the principal on the project management for the design and construction of the Mall of America. Located in Bloomington, Minnesota, it is considered to be the largest shopping mall in United States.
In 1992, Norma retired from the profession but did not resign herself to stop working. Norma became an active advocate in broadening the profession to include more women and people of color. She focused her work on teaching, lecturing, and mentoring. Over the years, she served as faculty and lecturer at several universities including UCLA, USC, University of Iowa, Kansas State University, California Polytechnic as well as her alma mater Columbia University. In an effort to inspire Black architects, Norma regularly lectured at HBCUs including Howard University, Hampton University, Tuskegee University, and Southern University.
Sklarek's work was recorded and recognized by the black press and publishers, such as her being included in Ebony magazine as early as 1958, in their article on "Successful Young Architects." In 2008, the AIA awarded her with the Whitney M. Young, Jr. Award that recognizes architects who represented the profession's responsibility to address social issues. She also served on multiple professional boards and committees, such as the California Architects Board, Professional Qualifications Committee, California State Board of Architectural Examiners, the AIA National Ethics Council and many more.
On February 6, 2012, Sklarek died in the Pacific Palisades, California at the age of 85. She was survived by her husband Cornelius Welch, whom she married in 1985; her son, David Merrick Fairweather, stepdaughter Susan Welch as well as three grandchildren. She was predeceased by her son Gregory Merrick Ransom in 2006.
Historical Timeline
1926 -- Norma Merrick was born to Amy Willoughby and Walter Merrick in Harlem, New York.
1944 -- Graduated from Hunter College High School, New York, NY
1944-1945 -- Attended Barnard College, New York, NY
1945-1950 -- Attended Columbia University in New York City earning a bachelor's degree in architecture (B.Arch.).
1947 -- Married Dumas Flagg Ransom and had son, Gregory Merrick Ransom. They later divorced.
1950 -- Married Elwyn (Benjamin) Fairweather and had son, David Merrick Fairweather. They later divorced.
1950-1955 -- Worked at the Department of Public Works, New York, NY
1954 -- Licensed in the state of New York; believed to be the first black woman architect licensed in New York
1959 -- First African American woman member of the American Institute of Architects (AIA).
1955-1960 -- Worked at Skidmore, Owings, and Merrill in New York, NY
1957-1960 -- Architecture faculty member at New York City Community College, Brooklyn, NY
1960 -- Married Francis "Harry" Pena in New York, NY. Moved to California and began working at Gruen Associates and served as the Director of Architecture until 1980.
1962 -- First African American woman architect licensed in California
1963 -- Sklarek coordinated the design and construction of the California Mart, Los Angeles, CA.
1966 -- Sklarek coordinated the design and construction Fox Plaza in San Francisco, CA.
1967 -- Sklarek divorced Pena and married Rolf Sklarek, a fellow architect at Gruen Associates.
1970 -- Sklarek coordinated the design and construction of the Park Center Commercial Complex in San Jose, CA .
1972-1973 -- Sklarek coordinated the design and construction of the San Bernardino, City Hall in San Bernardino, CA.
1973 -- Sklarek coordinated the design and construction of Commons-Courthouse Center in Columbus, IN.
1973-1978 -- Served as faculty member in the UCLA School of Architecture and Urban Planning
1976 -- Sklarek coordinated the design and construction of the U. S. Embassy in Tokyo, Japan.
1978 -- Sklarek coordinated the design and construction of Pacific Design Center in Los Angeles, CA.
1980 -- First African American woman fellow of the AIA
1980-1985 -- Worked as VP and project manager at Welton Becket & Associates in Santa Monica, CA
1984 -- Sklarek working with Welton Becket Associates coordinated the design and construction of Terminal One at the Los Angeles International Airport, Los Angeles, CA. Rolf Sklarek died in February.
1985 -- Sklarek along with Margot Siegal and Katherine Diamond formed their own firm, Siegel- Sklarek-Diamond. Sklarek married Dr. Cornelius Welch.
1989 -- Left the Siegel-Sklarek-Diamond and joined The Jerde Partnership, in Venice, CA, as the principal project manager.
1989-1992 -- Sklarek coordinated the design and construction of the Mall of America in Minneapolis, MN.
1992 -- Retired from The Jerde Partnership
2003-2007 -- Served as commissioner on the California State Board of Architectural Examiners
2008 -- Awarded American Institute of Architects' Whitney M. Young Jr. Award
2012 -- Norma Merrick Sklarek died in the Pacific Palisades, California at the age of 85.
Provenance:
Collection of the Smithsonian National Museum of African American History and Culture, Gift of David Merrick Fairweather and Yvonne Goff
Restrictions:
Collection is open for research. Access to collection materials requires an appointment.
Rights:
The NMAAHC Archives can provide reproductions of some materials for research and educational use. Copyright and right to publicity restrictions apply and limit reproduction for other purposes.
Lyrics about an African American in Harlem who longs for the South.
Local Numbers:
040300121.tif (AC Scan No. for front cover)
040300122.tif (AC Scan No. for music and ads on p. 2)
040300123.tif (AC Scan No. for music and lyrics p. 3)
040300124.tif (AC Scan No. for music and lyrics pp. 4-5)
040300125.tif (AC Scan No. for back cover)
General:
From series 3.4, African American.
Publication:
New York., Mills Music Inc., 1933
Series Restrictions:
Collection is open for research.
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.
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.
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.
1 Item (conductor score and/or parts (Published sheet music))
Container:
Box 25 (Series 1), Folder 3
Type:
Archival materials
Music
Sheet music
Piano vocal scores
Manuscripts
Place:
Harlem (New York, N.Y.) -- 20th century
Date:
1943
Scope and Contents:
1 score
At hi-de-ho in Harlem is contained in one folder consisting of 1 published sheet in C Major concert -- in ink.
From the Duke Ellington Library.
Local Numbers:
Min 169
General:
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.
Publication:
Advanced Music Corporation, 1943
Collection Restrictions:
Collection is open for research but the original and master audiovisual materials are stored off-site and special arrangements must be made to work with it. 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.
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:
Music
Sheet music -- 1940-1950
Piano vocal scores
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.
Harlem -- a tone parallel to Harlem is contained in twelve folders consisting of 1 three page-short score, 1 forty-five-page short score, 1 twenty-nine-page short score, 2 fifteen-page piano conductor scores and 67 parts in F Major concert -- in ink, pencil and photocopy -- in identified hands (Whaley, Benjamin, Fleagle) and unidentified hands (DE, others?).
Folder A contains three-page short score. Short score indicates parts for alto, tenor, baritone, brass.
Folder B contains forty-five-page short score. Short score indicates parts for Rab, Proc, Paul, baritone, Cat, Fats, Baker, Williams, Brown, Jackson, percussion.
Folder C contains twenty-nine page short score. Short score indicates parts for flute, altos, clarinet, tenors, bass clarinet, baritone, trumpets, trombones, violins.
Folder D contains piano conductor scores. Scores indicate parts for tenors, bass clarinet, trumpet, bass, drums.
Folder E contains parts for 1 reed - clarinet 1; 2 trumpets - 1, Cat (2); 3 trombones - 1, 2, Brown.
Folder F contains parts for 1 reed - Carney; 4 trumpets - Fats, Baker, Nelson, Nance.
Folder G contains parts for 5 trumpets - Cat, 2, 3, 4, 5; 2 trombones - 2, 3.
Folder H contains parts for 1 reed - clarinet 1; 1 trumpet - 2 (2).
Folder I contains parts in 2 groupings -- (i) Parts for 2 violins - 1, 2; viola; cello; bass; percussion. -- (ii) Part for 1 trumpet - 1.
Folder J contains part for 2 violins - 1, 2; viola; cello; bass (2).
Folder K contains parts in 3 groupings -- (i) Parts for 10 reeds - flute 1, flute 2, oboe 1, english horn, clarinet 1, clarinet 2, clarinet 3, bass clarinet, bassoon 1, bassoon 2; 3 horns - 1, 2, 3; 3 trombones - 1, 2, 3; tuba; harp; percussion (2). -- (ii) Part for 1 trumpet - 1. -- (iii) Part for piano. Part appears incomplete.
Folder L contains parts for 2 violins - 1 (2), 2 (2); viola (2); cello (2); bass (2).
Folder C and Folders E - L from the Duke Ellington Library.
Biographical / Historical:
Folder A from the Presentation Album, vol. N, p. 11. Folder B from the Presentation Album, vol. O, p. 15. Folder D from the Presentation Album, vol. O.
General:
A part for "Sing that song" is noted on the verso of the short score in Folder B. 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.
Other Title:
Harlem.
Collection Restrictions:
Collection is open for research but the original and master audiovisual materials are stored off-site and special arrangements must be made to work with it. 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.
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:
Copy scores
Holographs
Music
Parts (musical)
Photocopies
Piano conductor scores
Short scores
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.
Harlem air shaft is contained in four folders consisting of 1 eight-page conductor score, 2 ten-page conductor scores, 1 one- page conductor score, 1 seven-page conductor score, 1 fourteen-page conductor score, 1 one-page short score, 1 four-page short score, 1 lead sheet and 33 parts in Ab Major concert -- in ink, pencil and photocopy -- in unidentified hands (DE, Whaley, Tizol, Henderson, other?).
Folder A contains conductor scores. Scores do not indicate instrumentation.
Folder B contains items in 4 groupings -- (i) Parts for 3 reeds - alto 1, alto 3, baritone; bass. -- (ii) Parts for 3 reeds - Rab (2), tenor 2 (2), Carney; 1 trumpet - 3; unidentified instrument. Part for unidentified instrument appears incomplete. -- (iii) Parts for 4 trumpets - 1, 2, 3, 4; 3 trombones - Britt, Tricky, John. -- (iv) Lead sheet for unidentified treble instrument. Parts for 1 reed - Carney; 3 trumpets - trumpet, 2, 4; 1 trombone - Butter.
Folder C contains one-page short score and remaining parts. Short score does not indicate instrumentation. Parts for 3 reeds - Otto, Johnny, Carney; 3 trumpets - Wallace, Cooty, Rex; 2 trombones - Tizol, Tricky; bass; guitar.
Folder D contains four-page short score. Short score indicates parts for Rab, clarinet, tenor, baritone, Rex, Cooty, Tricky.
Folder A, Folder B, grouping iv, and Folder C from the Duke Ellington Library.
Biographical / Historical:
Folder B, groupings i-iii from the Mercer Ellington Library. Folder D from the Presentation Album, vol. O, p. 21. Statement of responsibility taken from Popular Music, 1920-1979, ed. Nat Shapiro. There appears to be a number from the Duke Ellington Band Book: 10.
General:
Parts for an untitled work, "All too soon," and "I don't mind" are noted on the verso fo the parts in Folder C. 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.
Unsigned Ellington-Strayhorn composition.
Other Title:
Once over lightly.
Air shaft.
Collection Restrictions:
Collection is open for research but the original and master audiovisual materials are stored off-site and special arrangements must be made to work with it. 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.
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
Holographs
Lead sheet
Music
Parts (musical)
Short scores
Photocopies
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.
Harlem blues is contained in one folder consisting of 16 parts in F Major concert -- in ink -- in unidentified hand.
Parts for 6 reeds - clarinet 1, clarinet 2, clarinet 3, clarinet, bass clarinet, bassoon; trumpet (2); euphonium; drums; 2 violins - 1, 2; viola; cello; bass; piano. -- from the Duke Ellington Library.
General:
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.
Collection Restrictions:
Collection is open for research but the original and master audiovisual materials are stored off-site and special arrangements must be made to work with it. 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.
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:
Copy scores
Music
Parts (musical)
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.
Harlem fantasy is contained in one folder consisting of 1 three-page short score, 1 two-page short score and 7 parts in Bb Major concert -- in ink and pencil -- in unidentified hands (Whaley, other?).
Three-page short score indicates parts for female voices (2), male voices (2). Lyrics are syllables only. Two-page short score does not indicate instrumentation. Score appears to be for voices. Score includes lyrics (syllables only). Parts for 6 voices - soprano (2), alto, tenor, tenor 2, baritone, bass. -- from the Duke Ellington Library.
General:
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.
Collection Restrictions:
Collection is open for research but the original and master audiovisual materials are stored off-site and special arrangements must be made to work with it. 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.
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:
Copy scores
Music
Parts (musical)
Short scores
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.
Harlem flat blues is contained in one folder consisting of 1 part in Eb Major concert -- in pencil -- in unidentified hand (DE?).
Part for banjo. -- from the Duke Ellington Library.
Biographical / Historical:
Statement of responsibility taken from Popular Music, 1920-1979, ed. Nat Shapiro.
General:
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.
Unsigned Ellington-Strayhorn composition.
Collection Restrictions:
Collection is open for research but the original and master audiovisual materials are stored off-site and special arrangements must be made to work with it. 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.
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:
Holographs
Music
Parts (musical)
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.
Harlem goes Paree is contained in one folder consisting of 5 parts in F Major concert -- in ink -- in unidentified hand.
Parts for 3 reeds - alto 1, tenor 1, baritone; 2 trumpets - 1, 2. Parts subtitled "Finale." -- from the Duke Ellington Library.
General:
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.
Collection Restrictions:
Collection is open for research but the original and master audiovisual materials are stored off-site and special arrangements must be made to work with it. 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.
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:
Copy scores
Music
Parts (musical)
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.
Harlem heat is contained in one folder consisting of 2 parts in Eb Major concert -- in ink -- in unidentified hand (Parker?).
Parts for drums; piano. -- from the Duke Ellington Library.
General:
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.
Collection Restrictions:
Collection is open for research but the original and master audiovisual materials are stored off-site and special arrangements must be made to work with it. 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.
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:
Copy scores
Music
Parts (musical)
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.
Harlem is heaven is contained in one folder consisting of 1 ten-page short score in G Major concert, and 1 part in Eb Major concert -- inink and pencil -- in unidentified hands (Whaley, other?).
Short score does not indicate instrumentation. Score appears incomplete. Part for piano. Part appears incomplete. -- from the Duke Ellington Library.
General:
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: worn, torn.
Other Title:
Heaven is Harlem.
Inside Harlem.
Collection Restrictions:
Collection is open for research but the original and master audiovisual materials are stored off-site and special arrangements must be made to work with it. 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.
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:
Copy scores
Music
Parts (musical)
Short scores
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.
Harlem lullaby is contained in two folders consisting of 1 twenty-two-page conductor score, 1 twenty-one- page conductor score, 1 six-page piano conductor score, 2 six-page piano vocal scores, and 34 parts in F Major concert -- in ink and pencil -- in unidentified hands (Parker, Kondziela, Brave, other?).
Folder B contains items in 3 groupings -- (i) Parts for 3 reeds - flute, clarinet, bass clarinet; horn; trumpet; 3 violins - 1, 2, 3; viola; cello; bass. -- (ii) Piano conductor score, 1 piano vocal score and parts. Piano conductor score indicates parts for flute, oboe, bass clarinet, trumpet, strings, voice. Piano vocal score lyrics begin "Out on Sugar Hill at the close of day ...". Parts for 6 reeds - flute, oboe, alto 1, alto 2, tenor 3, bass clarinet; horn; 3 trumpets - 1, 2, 3; celeste; drums; 3 violins - 1, 2, 3; viola; cello; bass; guitar. -- (iii) 1 piano vocal score and parts. Piano vocal score lyrics as above. Parts for 2 reeds - clarinet 2, bassoon; percussion; harp. -- from the Duke Ellington Library.
Biographical / Historical:
There appear to be numbers from the Duke Ellington Band Book: 37, 45.
General:
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.
Collection Restrictions:
Collection is open for research but the original and master audiovisual materials are stored off-site and special arrangements must be made to work with it. 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.
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
Parts (musical)
Piano conductor scores
Piano vocal scores
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.
