National Portrait Gallery, Smithsonian Institution; Gift from the Trustees of the Corcoran Gallery of Art (Gift of Betsy Karel) The Corcoran Gallery of Art, one of the country’s first private museums, was established in 1869 to promote art and American genius. In 2014 the Works from the Corcoran Collection were distributed to institutions in Washington, D.C.
God's and gone--Wish I could shimmy like my Sister Kate--Panama
Local Numbers:
FW-ASCH-7RR-0603
General:
CDR copy
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Winter nights/ Stumbling--Original Dixieland Jazz Band one-stomp--When the saints go marching in--Old Green River--My Josephine--Ode to Joy--Tocatta and fugue in Dm--Classcal piece (2x)--Norwegian dance opus 35, no. 2
Local Numbers:
FW-ASCH-7RR-1894
General:
CDR copy
Folkways 2671
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.
National Portrait Gallery, Smithsonian Institution; partial gift of Lynda Lanker and a museum purchase made possible with generous support from Robert E. Meyerhoff and Rheda Becker, Agnes Gund, Kate Kelly and George Schweitzer, Lyndon J. Barrois Sr. and Janine Sherman Barrois, and Mark and Cindy Aron
Includes one sound cassette containing a recorded interview.
Container:
Box 5, Folder 13
Type:
Archival materials
Date:
1995-1997
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings and born-digital records with no duplicate copies requires advance notice.
Collection Citation:
Ed Clark papers, 1923-2017. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Henry Luce Foundation.
This collection contains open reel recordings made by noted jazz scholar Frederic Ramsey during his tour of the American South in the 1950s.
Scope and Contents:
The collection includes 400? Open reel audio tapes. They are from Ramsey's fieldwork and various projects, many for Folkways Records. The bulk of the recordings come from Ramsey's fieldwork in Alabama, Mississippi, and Louisiana in 1954-56.
Arrangement:
The tapes are organized and shelved by accession number.
Biographical / Historical:
Frederic Ramsey Jr. (1915-1995), son of painter Charles Frederic Ramsey, was a jazz scholar and author who worked with a number of musicians in the South and the New York/New Jersey area, notably Lead Belly. After receiving a Guggenheim Fellowship in 1953, Ramsey undertook a tour of the South in order to explore and document the African-American music environment. His goal was to record the speech and music of persons at least sixty years of age or older in an attempt to trace the evolution of the musical genre that would become jazz. Ramsey produced a number of recordings for the Folkways label in the 1950s-1960s.
[From Jeff:
Frederic Ramsey Jr. (1915-1995) was a jazz critic, scholar, fieldworker and record producer. He was the author of a number of books on jazz, including Jazzmen (with Charles Edward Smith) and the Jazz Record Book. He became one of the main producers for Moses Asch at Asch, Disc, and Folkways Records of jazz and blues.
Ramsey was one of the first to deploy an open reel tape recorder using it in New York City in 1949 to record Lead Belly in a set of sessions at his apartment, that were to be Lead Belly's last. What was noteworthy about this is that a reel to reel deck allowed one to record a longer recording than the previous 4 minutes on instantaneous discs. This allowed Led Belly to stretch out and do his extended rhymes and longer songs and to tell stories of his life. It was released by Folkways as a 2 LP 2-records each set. Each side was one track so more material could be fit in.
The new LP format allowed for Folkways to create anthologies of music with multiple tracks per side. This allowed Ramsey the ability to create a 11-volume anthology of jazz in the early 1950s. It was the first of many anthologies for Folkways.
He also received a Guggenheim fellowship in 1954-56 to go to Alabama, Mississippi, and Louisiana to record vernacular African American music. This included field hollers, spirituals, and brass bands. It was Ramsey's desire to find the roots of jazz in early African-American music forms. He recorded hundreds of tapes they make up the bulk of Ramsey Tape Collection. A 10 LP set Music from the South was released from these trips. Also, there was a book Been Here and Gone with his magnificent photographs from the trip.
Other notable recordings released by Folkways include an interview album of Baby Dodds, a box set of shape-note singing, and recordings of a, then, teenaged Michael Hurley.
In 1975, with other grant from the National Endowment for the Humanities and Ford Foundation, he researched the life of Buddy Bolden.
After the death of Frederic Ramsey Jr., folklorist Kip Lornell arranged the donation of Ramsey's tape and record collection to the Smithsonian.]
Shared Stewardship of Collections:
The Center for Folklife and Cultural Heritage acknowledges and respects the right of artists, performers, Folklife Festival participants, community-based scholars, and knowledge-keepers to collaboratively steward representations of themselves and their intangible cultural heritage in media produced, curated, and distributed by the Center. Making this collection accessible to the public is an ongoing process grounded in the Center's commitment to connecting living people and cultures to the materials this collection represents. To view the Center's full shared stewardship policy, which defines our protocols for addressing collections-related inquiries and concerns, please visit https://folklife.si.edu/archives#shared-stewardship.
Related Materials:
Frederic Ramsey's personal papers are available at Rutgers University Institute of Jazz Studies.
Ramsey's photograph collection (many from the same field projects) can be found in the collections of the Hogan Jazz Archive at Tulane University.
Provenance:
This collection was donated by Frederic Ramsey's daughter Alida Porter in 1996.
Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Introduction:
The Olympic Games join athletes from across the globe in the highest levels of competition and excellence. The games have included, since their inception, a cultural component, but never before as extensively as in Atlanta in 1996. The Centennial Olympic Games brought together musical and dramatic performances, exhibitions, and artists from around the world. But most importantly, the Olympic Arts Festival highlighted the American South.
Southern culture was born from the interactions over past centuries of Native Americans, European settlers, and peoples from Africa. In the South, various forms of expression have arisen and transcended boundaries of race, gender, religion, and geography. So powerful have these expressions been - jazz, blues, gospel, rock 'n' roll, civil rights songs, Southern oratory, and food - that they have constituted unique American contributions to world culture. At the 1996 Festival on the National Mall, these forms of expressive culture were celebrated. Later the same summer in Atlanta during the Olympic Games, the program was the core of Southern Crossroads, a festival of Southern culture mounted in the new Centennial Olympic Park - the gathering spot for several hundred thousand visitors a day and billions more through television coverage. An Enhanced-CD Smithsonian Folkways recording with Internet connections and other educational material derived from the Festival program reached countless more after the Olympic Games.
The 1996 program not only exposed regional cultural roots but also showed how many of them have become part of traditions known to America and the world. Technology amplified the stories and songs of Southern rivers and roads, travails and struggles - as documenters recorded, disk jockeys broadcast, and performers toured these cultural expressions, helping them bridge race, gender, class, and ethnicity and producing forms of music now identified with American culture as a whole.
The world of Southern culture celebrated in the 1996 Festival was one of family, home, and community. The program explored new points of juncture and the evolution of new identities. In these could be discovered in today's South the roots of a new, evolving American culture.
Philippa Thompson Jackson was Program Curator and Phyllis K. Kimbrough was Program Coordinator.
The American South was made possible by and was produced in collaboration with The Atlanta Committee for the Olympic Games Cultural Olympiad and in cooperation with the Southern Arts Federation. Additional support was provided by The Recording Industries Music Performance Trust Funds.
Presenters:
Dori Addison, Tara Browner, Katherine Hagedorn, Joyce Jackson, Worth Long, Derek Lowery, Tim Patridge, Henry Willett Ill, Otis Williams, Joe Wilson
Particpants:
Performance Traditions
BEAUSOLEIL AVEC MICHAEL DOUCET
Jimmy Breaux, Acadian accordion, Lafayette, Louisiana
David Doucet, lead and backing vocals, acoustic guitar, Lafayette, Louisiana
Michael Doucet, lead vocals, fiddle, Lafayette, Louisiana
Al Tharp, vocals, banjo, bass, fiddle, Lafayette, Louisiana
Billy Ware, percussion, Lafayette, Louisiana
THE BIRMINGHAM SUNLIGHTS
Reginald Speight, tenor, Birmingham, Alabama
Barry Taylor, bass, Birmingham, Alabama
James Taylor, light tenor, Birmingham, Alabama
Steve Taylor, bass, Birmingham, Alabama
Wayne Williams, tenor, Birmingham, Alabama
CALLIOPE HIGHSTEPPERS
Henry Freeman, dancer, New Orleans, Louisiana
Johnny Stevenson, dancer, New Orleans, Louisiana
James Taylor, dancer, New Orleans, Louisiana
THE FREEDOM SINGERS
Betty Mae Fikes, 1946-, vocals
Rutha Harris, vocals
Charles Neblett, 1941-, vocals
Cordell Hull Reagon, 1943-1996, vocals
GENO DELAFOSE & FRENCH ROCKIN' BOOGIE
Geno Delafose, diatonic, Acadian & piano accordion, vocals, Eunice, Louisiana
Bobby Broussard, guitar, Eunice, Louisiana
John Espre, bass, Eunice, Louisiana
Germaine Jack, drums, Eunice, Louisiana
Steven Nash, rub board, Eunice, Louisiana
IFÉ ILÉ
Philbert Armenteros, congas, Miami, Florida
Rodolfo L. Caballero, vocals, Miami, Florida
Catalino Diaz, dancer, Miami, Florida
Ruben Romeu, congas, Miami, Florida
Luis E. Torres, bata, congas, chekere, Miami, Florida
Neri Torres, lead dancer, Miami, Florida
Tony Littleturtle Clark, Lumberton, North Carolina
Kat and Ray Littleturtle, Lumberton, North Carolina
Willie Lowery, Lumberton, North Carolina
MAGGIE LEWIS WARWICK WITH TILLMAN FRANKS' OLD TIME LOUISIANA HAYRIDE BAND
Maggie Lewis Warwick, guitar, vocals, Shreveport, Louisiana
Larry Wietstruck, food demon¬strations, Katy, Texas
Sara Wilson, food demonstrations, St. Helena, South Carolina
Gospel Sing
THE CHAPLIERS, UNION CHAPEL BAPTIST CHURCH
Rev. Jimmy Strickland, minister, Pembroke, North Carolina
PROSPECT UNITED METHODIST CHURCH CHOIR
Rev. Bill James Locklear, minister, Maxton, North Carolina
Harold Dean Jacobs, diatonal minister, Maxton, North Carolina
THE SPIRITUAL TONES, WEEPING MARY FULL GOSPEL BAPTIST CHURCH
Rev. Henson F. Brooks, pastor, Salisbury, Maryland
Rev. Russell Campars, Sr., Salisbury, Maryland
Timothy Waters, II, manager, Salisbury, Maryland
WESLEY TEMPLE GOSPEL CHOIR, UNITED METHODIST CHURCH
Rev. Grant Johnson, minister, Salisbury, Maryland
Diane West, choir director, Salisbury, Maryland
Mary Winder, pianist, Salisbury, Maryland
Janet Ames, president and business manager, Salisbury, Maryland
WHITE HILLS FREE WILL BAPTIST CHURCH CHOIR
Rev. Jerry Locklear, minister, Maxton, North Carolina
Eddie Carter, music director, Maxton, North Carolina
Collection Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Smithsonian Folklife Festival records: 1996 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Symphonic raps --Knockin' a jug --I can't give you anything but love --S'posin --To be in love --Ain't misbehavin --True blue Lou --Some of these days --When you're smiling --You're driving me crazy --Wrap your troubles in dreams --Star dust -- Between the devil and the deep blue sea.
Local Numbers:
FP-RINZ-LP-0432
CBS.65251
Publication, Distribution, Etc. (Imprint):
Netherlands CBS 1973
General:
Jazz ensemble; featuring Louis Armstrong, trumpet and vocals ; with Carroll Dickerson's Savoyagers ; Seger Ellis, vocals ; Sebastian New Cotton Club Orchestra. Production notes: Recorded 1928-1932.
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.
You're a real sweetheart -- Too busy -- Was it a dream? -- Last nigght I dreamed you kissed me -- I can't give you anything but love -- Baby -- Sweethearts on parade -- I must have that man (Lillie Delk Christian, vocal) -- Pratt's City blues -- Pleadin' the blues -- Trouble in mind -- Lovesick blues --- Lonesome weary blues --- Low land blues -- Georgia man -- Mess Katie mess (Bertha Chippie Hill, vocal).
Local Numbers:
FP-RINZ-LP-0434
CBS.65380
Publication, Distribution, Etc. (Imprint):
Netherlands CBS 1972
General:
These historical recordings are transcriptions of the originals on 78 rpm.
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.
Lazy woman's blues -- Lonesome lovesick -- You've got to go home on time -- What kind o' man is that? -- Deep water blues -- Listen to ma -- Lonesome hours -- Lonesome, all alone and blue -- A jealous woman like me -- The mail train blues -- I feel good -- A man for every day in the week -- Dead drunk blues -- Lazy man blues -- Funny feathers -- How do you do it that way.
Local Numbers:
FP-RINZ-LP-0433
CBS.65421
Publication, Distribution, Etc. (Imprint):
Netherlands CBS 1973
General:
Title on container: Louis Armstrong with Blanche Calloway, Baby Mack, Hociel Thomas, Bertha "Chippie" Hill, Sippie Wallace, Victoria Spivey. Notes by H. Renaud on 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.
Eh la bas -- Gulf Coast blues -- Some of these days -- You can depend on me -- The peanut vendor -- Jelly Roll -- Mama don't allow -- Nobody knows you when you're down and out -- Going back to Florida -- Panama -- St. James Infirmary -- John Henry.
Track Information:
101 Eh La-Bas / Billie Pierce, Brother Randolph, Lucius Bridges, De De Pierce.
102 Gulf Coast Blues / Billie Pierce, Brother Randolph, Lucius Bridges, De De Pierce.
103 Some of These Days / Billie Pierce, Brother Randolph, Lucius Bridges, De De Pierce.
104 You Can Depend On Me / Billie Pierce, Brother Randolph, Lucius Bridges, De De Pierce.
105 The Peanut Vendor / Billie Pierce, Brother Randolph, Lucius Bridges, De De Pierce.
106 Jely Roll / Billie Pierce, Brother Randolph, Lucius Bridges, De De Pierce.
201 Mama Don't 'Low / Billie Pierce, Brother Randolph, Lucius Bridges, De De Pierce.
202 Nobody Know You When You're Down And Out / Billie Pierce, Brother Randolph, Lucius Bridges, De De Pierce.
203 Goin' Back To Florida / Billie Pierce, Brother Randolph, Lucius Bridges, De De Pierce.
204 Panama / Billie Pierce, Brother Randolph, Lucius Bridges, De De Pierce.
205 St. James Infirmary / Billie Pierce, Brother Randolph, Lucius Bridges, De De Pierce.
206 John Henry / Billie Pierce, Brother Randolph, Lucius Bridges, De De Pierce.
Local Numbers:
FP-RINZ-LP-0729
Folklyric.110
Publication, Distribution, Etc. (Imprint):
Folklyric
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.
Dowbush kozak / Ukrainska Selska Orchestra -- Tanec pid werbamy / Pawlo Humeniuk -- PidkamecOEka kolomyjka / Josef Pizio -- Tarantella / Michiele Lentine, Antonio Papariello -- California cotillion / The Bog Trotters -- Oua, oua / Kanui and Lula -- Minnehaha / Andy Iona and his Islanders -- Blan-Olles ganglat / Edwin Johnson Swedish Trio -- Kansas City dog walk / Charlie Turner -- Acorn stomp / East Texas Serenaders -- Frog hop / Clifford Hayes' Louisville Stompers -- Haven't got a dollar to pay your house rent man / Genevieve Davis -- Arkansas shout / Sammie Lewis and his Bamville Syncopators -- I can't be satisfied ; Who walks in when I walk out / Bob Wills and his Texas Playboys -- Rolling mill stomp / State Street Stompers.
204 Haven't Got a Dollar to Pay Your House Rent Man / Genevieve Davis. Banjo,Clarinet,Saxophone,Trombone,Piano,Cornet,Drum. English language.
205 Arkansas Shout / Sammie Lewis. Banjo,Clarinet,Saxophone,Trombone,Piano,Cornet,Drum. English language.
206 I Can't Be Satisfied / Texas Playboys, Bob Wills. Bass,Fiddle,Banjo,Saxophone,Trombone,Piano,Electric guitar. English language.
207 Who Walks In When I Walk Out / Texas Playboys, Bob Wills. Bass,Fiddle,Banjo,Saxophone,Trombone,Piano,Electric guitar. English language.
208 Rolling Mill Stomp / State Street Stompers. Guitar,Saxophone,Piano,Drum. English language.
Local Numbers:
FP-RINZ-LP-0938
Library of Congress.LBC 5
Publication, Distribution, Etc. (Imprint):
Washington, D.C. Library of Congress 1976
Date/Time and Place of an Event Note:
Recorded in: New Orleans (La.), Louisiana, Chicago (Ill.), Illinois, Dallas (Tex.), Texas, Richmond (Ind.), Indiana, Saint Paul (Minn.), Minnesota, Los Angeles (Calif.), California, Galax (Va.), Virginia, New York (N.Y.), New York, Camden (N.J.), United States, New Jersey.
General:
"A bicentennial project: Library of Congress Archive of Folk Song" ; includes recordings from field and commercial sources. Notes include words of the songs, and bibliographical and discographical references.
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.
Peanut vendor (3:31) -- Just a closer walk with thee (7:35) -- Just a little while to stay here (4:35) -- St. James Infirmary (3:35) -- Et la has [i.e., bas] (3:31) -- Sallee Dame (3:34) -- Lonesome road (6:45) -- Put on your old grey bonnet (3:10) -- Freight train blues (5:34) -- Let me call you sweetheart (3:40).
Track Information:
101 Peanut Vendor / Billie Pierce, De De Pierce.
102 Just a Closer Walk With Thee / Billie Pierce, De De Pierce.
103 Just a Little While To Stay Here / Billie Pierce, De De Pierce.
104 St. James Infirmary / Billie Pierce, De De Pierce.
105 Eh La Bas / Billie Pierce, De De Pierce.
201 Sallee Dame / Billie Pierce, De De Pierce.
202 Lonesome Road / Billie Pierce, De De Pierce.
203 Put on Your Grey Bonnet / Billie Pierce, De De Pierce.
205 Let Me Call You Sweetheart / Billie Pierce, De De Pierce.
Local Numbers:
FP-RINZ-LP-0714
Preservation Hall.3
Publication, Distribution, Etc. (Imprint):
New Orleans, LA Preservation Hall 1966
Date/Time and Place of an Event Note:
Recorded in: Louisiana, United States.
General:
Jazz ensembles and blues; some with vocals. Program notes on 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.
Bull fiddle blues -- Blue washboard stomp -- Weary city -- Bucktown stomp -- Pencil papa -- Sweet Lorraine -- Heah' me talkin' -- My little Isabel -- Goober dance -- Too tight -- Indigo stomp -- Blue clarinet stomp -- Blue piano stomp -- Carpet alley-breakdown -- Memphis shake -- Hen party blues.
Track Information:
101 Bull Fiddle Blues / Johnny Dodds' Washboard Band, Baby Dodds, Honore Dutrey.
102 Blue Washboard Stomp / Johnny Dodds' Washboard Band, Baby Dodds, Honore Dutrey.
103 Weary City / Johnny Dodds' Washboard Band, Baby Dodds, Honore Dutrey.
107 Heah' Me Talkin' / Baby Dodds, Honore Dutrey, Johnny Dodds Orchestra.
108 My Little Isabel / Baby Dodds, Honore Dutrey, Johnny Dodds Orchestra.
201 Goober Dance / Baby Dodds, Honore Dutrey, Johnny Dodds Hot Six.
202 Too Tight / Baby Dodds, Honore Dutrey, Johnny Dodds Orchestra.
203 Indigo Stomp / Johnny Dodds Trio, Bill Johnson, Lil Hardin Armstrong.
204 Blue Clarinet Stomp / Johnny Dodds Trio, Bill Johnson, Charlie Alexander.
205 Blue Piano Stomp / Johnny Dodds Trio, Bill Johnson, Charlie Alexander.
206 Carpet Alley-Breakdown / Dixieland Jug Blowers, Earl McDonald, Johnny Dodds.
207 Memphis Shake / Dixieland Jug Blowers, Earl McDonald, Johnny Dodds.
208 Hen Party Blues / Dixieland Jug Blowers, Earl McDonald, Johnny Dodds.
Local Numbers:
FP-RINZ-LP-0731
RCA Victor.558
Publication, Distribution, Etc. (Imprint):
RCA Victor 1968
General:
Program notes by Herb Schultz on 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.
Polka dot stomp -- I had it but it's all gone now -- Spreading joy -- Kansas City man blues -- What a dream -- Chant in the night -- Jungle drums -- Hold tight -- Just one of those things -- Laura -- Shake 'em up -- Love for sale -- The song of songs -- My woman's blues -- Buddy Bolden stomp.
Local Numbers:
FP-RINZ-LP-2064
CBS.62636
Publication, Distribution, Etc. (Imprint):
Netherlands CBS 1973
General:
Notes in English and French by Jacques B. Hess on container. Sidney Bechet; Bob Wilber; Wildcats (Jazz group); Sidney Bechet Quartet.
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.
Wild cat blues; Kansas City man blues; New Orleans hop scop blues; Shreveport blues; Old fashioned love; Texas moaner blues; Of all the wrongs you done to me; Everybody loves my baby (Clarence Williams' Blue Five) -- Everybody loves my baby (Alberta Hunter with Red Onion Jazz Babies) -- Of all the wrongs you done to me (Red Onion Jazz Babies) -- Everybody loves my baby; Mandy, make up your mind (Fletcher Henderson Orchestra) -- Anybody here want to try my cabbage?; Screamin' the blues; Good time flat blues (Maggie Jones) -- Mandy, make up your mind; I'm a little blackbird looking for a bluebird (Clarence Williams' Blue Five) -- Early every morn; Cake walking babies from home (Alberta Hunter with Red Onion Jazz Babies) -- Cake walking babies from home; Pickin' on your baby (Clarence William's blue five) -- Alabamy bound (Fletcher Henderson's Orchestra) -- Papa de-da-da (Clarence William's Blue Five) -- The world's jazz crazy and so am I; Railroad blues (Trixie Smith and her Down Home Syncopators) -- Money blues (Fletcher Henderson's Orchestra) -- Come on, Coot do that thing (Grant and Wilson) -- Livin' high; Coal cart blues; Santa Claus blues (Clarence William's Blue Five) -- Lucy Long; I ain't gonna play no second fiddle (Perry Bradford's Jazz Phools).
Local Numbers:
FP-RINZ-LP-2141
Smithsonian Collection of Recordings.026
Publication, Distribution, Etc. (Imprint):
United States Smithsonian Collection of Recordings 1981
Date/Time and Place of an Event Note:
Recorded in: New York, United States.
General:
Program notes by Lewis Porter (8 p.) bound 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.
Restrictions on access. No duplication allowed listening and viewing for research pureposes 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.
