Audiotapes, CDs and digital files: an ongoing project to interview and preserve the memories of people important in the jazz world, including jazz musicians, singers, dancers, producers, arrangers, and others. A list of interviewees and interviewers follows.
The following is a list of the individuals who conducted the interviews.
1. Brown, Anthony
2. Baker, Lida
3. Burstein, Julie
Interviewer
2. Bluiett, Hamiet
Arrangement:
This collection is arranged into six series.
Series 1, DAT and CD Original Interview Recordings, 1992-2012
Series 2, Cassette Reference and Master Interview Tapes, 1992-2012
Series 3, Audio CD Reference Copies, 2000-2012
Series 4, Video/CD, 1994-2012
Series 5, Transcripts and Abstracts, 1992-2014
Series 6, Supplemental Documentation, 1992-2012
Biographical / Historical:
The Smithsonian Jazz Oral History Program, a project of "America's Jazz Heritage, A Partnership of the Lila Wallace-Reader's Digest Fund and the Smithsonian Institution" initiative was created in 1992. More than 150 in-depth oral history interviews were conducted from 1992 through 2002. The collection was transferred to the Archives Center of the National Museum of American History in 2000. Now part of the National Museum of American History's American Music History Initiatives, the Smithsonian Jazz Oral History Program continues to conduct interviews as funding is available.
The Smithsonian Jazz Oral History Program was established to document significant jazz musicians, performers, producers, and business associates in their own words and voices. Program staff contacted and worked with potential interviewees to arrange for interviews. Each interview was conducted by a jazz authority and was recorded on digital audiotape by a professional audio engineer. The interviews averaged 6 hours in length and covered a wide range of topics including early years, initial involvement in music, generally, and jazz specifically, as well as experiences in the jazz music world, including relationships to musicians. The original DAT interview tapes were then dubbed to audiocassettes and CD to create protection and access copies. More recent interviews have been recorded using fully digital technology and the interviews are preserved and made availbel as digital files.
A number of the interviews were conducted as part of the Ella Fitzgerald Oral History Project of the Jazz Oral History Program. Funded by the Ella Fitzgerald Charitable Foundation, these interviews focus on the life and work of Ella Fitzgerald. The National Endowments for the Arts Jazz Masters Oral Histories Program continues to support new interviews with NEA Jazz Masters.
For more information about jazz concerts, education, collections, Jazz Appreciation Month, and the Jazz Master orchestra, visit Smithsonian Jazz.
Provenance:
The interviews were made for the Smithsonian Institution under the auspices of the Smithsonian Jazz Oral History Program supported by America's Jazz Heritage, funded by the Lila Wallace-Reader's Digest Fund, the Smithsonian Institution, and the National Endowment for the Arts Jazz Masters Oral Histories Program. Additional interviews were conducted with support from the Ella Fitzgerald Charitable Foundation.
Restrictions:
Collection is open for research. Researchers must use reference copies.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions. Release forms exist for most interviews.
[Interviewee name] Interview, Smithsonian Jazz Oral History Program Collection, 1992-2014, Archives Center, National Museum of American History.
Sponsor:
The interviews were made for the Smithsonian Institution under the auspices of the Smithsonian Jazz Oral History Program and supported by America's Jazz Heritage, funded by the Lila Wallace-Reader's Digest Fund, the Smithsonian Institution, and the National Endowment for the Arts Jazz Masters Oral Histories Program. Additional interviews were conducted with support from the Ella Fitzgerald Charitable Foundation.
Smithsonian Institution. Program in African American Culture Search this
Container:
Box 26, Folder 4
Type:
Archival materials
Date:
2002 April 25
Scope and Contents:
The Duke Ellington Youth Festival is an evening of performances and presentations in the visual arts by students from the Distinct of Columbia Public Schools as part of the Duke Ellington Youth Program. The Duke Ellington Youth Program was created in 1991 as an educational outreach program aimed at introducing students to the life and work of Duke Ellington using the resources of the Ellington Collection. The program aims to promote knowledge of Duke Ellington and his contributions to the field of music with consideration to the impact that his culture had on his work. The curriculum of the program uses Ellington's music to study a variety of disciplines including music, art, English, social studies and foreign language. The Duke Ellington Youth Festival is a presentation of the projects that have been completed over the course of the Duke Ellington Youth Project.
. For the eleventh anniversary of the Duke Ellington Youth Festival, Jazz Appreciation Month was celebrated on Thursday, April 25, 2002, in the Carmichael Auditorium, National Museum of American History, Behring Center, Smithsonian Institution. The program included opening remarks from Niani Kilkenny and Edward Kennedy Ellington II; a welcome from Marc Pachter; greetings from Anthony A. Williams, Paul Vance, Tonya Jordan, and Luvenia A. George; presentation of awards; and performances. The honorary festival co-chairs were Gaye Ellington and Edward Kennedy Ellington II. The special awardees were Lilla Smith, Marie R. Johnson, Delois Jones, Barbara Lois Fullard, Samuel L. E. Bonds, Edward Anderson, James Cunningham, and Reuben M. Jackson.
The schools that participated in the program included Fillmore Arts Center, Hardy Middle School, Fletcher-Johnson Educational Centers, P. R. Harris Educational Centers, Garfield Elementary School, Garrison Elementary School, Janney Elementary School, Kimball Elementary School, John O. Wilson Elementary School, Lucy Moten Elementary School, McCogney Elementary School, Rudolph Elementary School, Simon Elementary School, Thomson Elementary School, Thurgood Marshall Elementary School, Evans Middle School, Garnet-Patterson Middle School, Kramer Middle School, Lincoln Multicultural Middle School, MacFarland Middle School, Ronald Brown Middle School (formerly Roper), John Phillip Sousa Middle School, Stuart-Hobson Museum Magnet School, Browne Junior High School, Alice Deal Junior High School, Frederick Douglass Junior High School, Eliot Junior High School, Hart Junior High School, Hine Junior High School, Jefferson Junior High School, J. H. Johnson Junior High School, Kelly Miller Junior High School, Shaw Junior High School, Anacostia Senior High School, Ballou Senior High School, Banneker Senior High School, Bell Multicultural Senior High School, Cardozo Senior High School, Coolidge Senior High School, Duke Ellington School of the Arts, Paul Laurence Dunbar Senior High School, Eastern Senior High School, McKinley/Penn Senior High School, Roosevelt Senior High School, School Without Walls, Spingarn Senior High School, and Woodrow Wilson Senior High School.
Performances (listed in order of appearance)
Junior High and Middle School Band
Salute to the Duke, arranger, Michael Sweeny
"Satin Doll"
"Mood Indigo"
"It Don't Mean a Thing (If It Ain't Got that Swing)"
Richard Gill, Music Director
Senior High Jazz Orchestra with Strings
"Such Sweet Thunder" (from Shakespearean Suite) Duke Ellington and Billy Strayhorn
"Things Ain't What They Used to Be" Mercer Ellington, arranger by Duke Ellington
Davey S. Yarborough, Music Director
Eddie Drennon, String Instructor and Arranger
Junior High, Middle School and Elementary School Choir
"Take the "A" Train" Billy Strayhorn
"I Like the Sunrise" (from Liberian Suite) Duke Ellington
A Salute to Louis Armstrong
"Hello, Dolly" Jerry Herman
"When the Saints Go Marching In" Traditional
Thomasena Allen, Coordinator
Diedre Neal Choreography
Mark Tatum, Drums
Senior High School Choir
"New York State of Mind" Billy Joel
"Undecided" Sid Robin and Charles Shavers
"Ain't Misbehavin" Andy Razaf, Thomas "Fats" Waller, Harry Brooks
Samuel L.E. Bonds, Music Director
Jazz Dance Celebration
"Cresendo in Tap" Music by Duke Ellington
Maud Arnold, Dancer
Charles Augins, Instructor
Duke Ellington School of the Arts Show Choir
Selections from Black, Not So Blue
A musical and dramatic review of African American success stories in the 20th century. From the original play by Fred Leigh
Samuel L. E. Bonds, Music Director
Program number AC408.118.
Collection Restrictions:
Collection is open for research. Use of reference audio and video cassette copies only.
Collection Rights:
Reproduction fees for commercial use. Copyright restrictions. Contact staff for information.
Collection Citation:
Program in African American Culture Collection, Archives Center, National Museum of American History.
Black print on cream paper. Dizzy Gillespie composed "Night in Tunisa" in 1942.
Arrangement:
Box No. 21.
Local Numbers:
AC0979-0000005.tif (AC Scan No.)
Exhibitions Note:
Included in Archives Center Jazz Appreciation Month display, April 1-May 31, 2010, "Jazz at the Philharmonic--Bringing Jazz to the World," curated by Wendy Shay.
Collection Restrictions:
The collection is open for research. Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Included in Archives Center Jazz Appreciation Month display, April 1-May 31, 2010, "Jazz at the Philharmonic--Bringing Jazz to the World," curated by Wendy Shay.
Restrictions:
Unrestricted research access on site by appointment. Gloves required with unprotected photographs.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Included in Archives Center Jazz Appreciation Month display, April 1-May 31, 2010, "Jazz at the Philharmonic--Bringing Jazz to the World," curated by Wendy Shay.
Restrictions:
Unrestricted research access on site by appointment. Gloves required with unprotected photographs.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Subject is sitting in chair with his legs crossed.
Local Numbers:
AC0979-0000008.tif (AC Scan No.)
Exhibitions Note:
Included in Archives Center Jazz Appreciation Month display, April 1-May 31, 2010, "Jazz at the Philharmonic--Bringing Jazz to the World," curated by Wendy Shay.
Restrictions:
Unrestricted research access on site by appointment. Gloves required with unprotected photographs.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Photographer unidentified, possibly Gillespie? Commercially processed snapshot with deckled edges.
Arrangement:
Box No.1.
Local Numbers:
AC0979-0000009.tif (AC Scan No.)
Exhibitions Note:
Included in Archives Center Jazz Appreciation Month display, April 1-May 31, 2010, "Jazz at the Philharmonic--Bringing Jazz to the World," curated by Wendy Shay.
Restrictions:
Unrestricted research access on site by appointment. Gloves required with unprotected photographs.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Photographer unidentified. Commercially processed snapshot with deckled edges.
Arrangement:
Box No.1.
Local Numbers:
AC0979-0000010.tif (AC Scan No.)
Exhibitions Note:
Included in Archives Center Jazz Appreciation Month display, April 1-May 31, 2010, "Jazz at the Philharmonic--Bringing Jazz to the World," curated by Wendy Shay.
Restrictions:
Unrestricted research access on site by appointment. Gloves required with unprotected photographs.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Photographer unidentified. Commercially processed snapshot print with deckled edges.
Arrangement:
Box No.1.
Local Numbers:
AC0979-0000011.tif (AC Scan No.)
Exhibitions Note:
Included in Archives Center Jazz Appreciation Month display, April 1-May 31, 2010, "Jazz at the Philharmonic--Bringing Jazz to the World," curated by Wendy Shay.
Restrictions:
Unrestricted research access on site by appointment. Gloves required with unprotected photographs.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Photographer unidentified. Commercially processed snapshot print with deckled edges.
Arrangement:
Box No.1.
Local Numbers:
AC0979-0000012.tif (AC Scan No.)
Exhibitions Note:
Included in Archives Center Jazz Appreciation Month display, April 1-May 31, 2010, "Jazz at the Philharmonic--Bringing Jazz to the World," curated by Wendy Shay.
Restrictions:
Unrestricted research access on site by appointment. Gloves required with unprotected photographs.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
