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.
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.
El amor no se vende / Eloy Saldivar -- Me voy lejos / Jesús Fabela, Felipe Valdez Leal -- Ni el oro ni las piedras de colores / Pablino Vargas -- Besitos de mujer / Felipe Padilla -- Tierra mala / Pedro Salazar -- Quiero verte otra vez / Felipe Valdez Leal -- Tu nuevo cariñito / Tomás Ortiz -- La tumba será el final / Ramón Ortega Contreras -- Mi castigo / Espino Ponce -- Cuarenta cartas / Rosalio Luera.
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.
Mujer casada (2:45) -- La paloma (2:30) -- El rosalito (3:15) -- El cerrito (2:05) -- Ni el dinero ni nada (4:05) -- Angel mio (3:20) -- Gritenme piedras del campo (3:25) -- Tu nuevo carinito (2:40) -- El gallito (2:20) -- Morenita mia (3:50) -- La piedrera (2:10) -- Dos corazones (2:40) -- Spanish ice (3:30) -- Vuelve a quererme (3:05).
Local Numbers:
FP-ARH-LP-3014
Arhoolie.3014
Publication, Distribution, Etc. (Imprint):
El Cerrito, CA Arhoolie 1980
Participant or Performer Note:
Flaco Jiménez, vocals and accordion, with other vocalists and instrumentalists.
Date/Time and Place of an Event Note:
Recorded 1979 at ZAZ Studios, San Antonio.
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.
117 Quejas de Zenaida, Las (Zenaida's Complaints) / Andrés Berlanga. Bajo sexto.
118 Camioncito Pasajero (The Little Bus) / Conjunto Tamaulipas. Accordion.
119 Al Pie de la Tumba (By Your Tomb) / Conjunto Tamaulipas. Accordion.
120 Troquero, El (The Truck Driver) / Conjunto Tamaulipas. Accordion.
121 En Cada Vida Hay Un Momento (In Everyone's Life There Is a Moment) / Leo Garza, Noe Rocha. Accordion,Bajo sexto,Bass,Drum.
122 Quiero Que Sepas (I Want You to Know) / Chavela Ortiz, Raymond Flores. Accordion,Bajo sexto.
123 Besos y Copas (Kisses and Drinks) / Chavela Ortiz, Brown Express (Musical group). Accordion,Bajo sexto.
124 Nubes, Las (The Clouds) / Familia (Musical group), Little Joe & La Familia, Little Joe Hernandez. Accordion,Bajo sexto.
Local Numbers:
Arhoolie.425; Arhoolie.3015
FP-ARH-CD-425
Publication, Distribution, Etc. (Imprint):
1994 El Cerrito, California Arhoolie
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only; No Duplication.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
107 I'm Gonna Love You, Like There is No Tomorrow / Accordion.
108 Jennette / Accordion.
109 Mi Primer Amor / Accordion.
110 Yo Quisiera Saber / Accordion.
111 Poquita Fe / Accordion.
112 Atotonilco / Accordion.
113 Te Quiero Mas / Accordion.
114 La Feria Polka / Accordion.
Local Numbers:
FP-ARH-CD-0031-7
Arhoolie.3027
Publication, Distribution, Etc. (Imprint):
El Cerrito, CA Arhoolie 1988
Date/Time and Place of an Event Note:
Recorded in: Texas, United States.
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 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.
110 Esta Noche Me la Paso Vacilando / Accordion,Bajo sexto.
111 Ya No Le Hagas Corazon / Accordion,Bajo sexto.
112 Falsa Promesa / Accordion,Bajo sexto.
113 Estando Yo Contigo / Accordion,Bajo sexto.
114 El Circo / Accordion,Bajo sexto.
115 Paloma Sin Nido / Accordion,Bajo sexto.
116 Negra Traicion / Accordion,Bajo sexto.
117 Nunca Pense / Accordion,Bajo sexto.
118 Se Acabo Mi Amor / Accordion,Bajo sexto.
119 Solito Lloro / Accordion,Bajo sexto.
120 Cartas Marcadas / Accordion,Bajo sexto.
121 Tienes Que Ser Mia / Accordion,Bajo sexto.
122 Corazon de Hierro / Accordion,Bajo sexto.
123 Ya Nunca Vuelvas / Accordion,Bajo sexto.
124 Siempre Hace Frio / Accordion,Bajo sexto.
125 Nada Perdi / Accordion,Bajo sexto.
126 Nuestros Amigos / Accordion,Bajo sexto.
127 Raquel Polka / Accordion,Bajo sexto.
128 Te Pido Que Me Quieras / Accordion,Bajo sexto.
129 Zancudo Electrico / Accordion,Bajo sexto.
130 Quisiera Verte / Accordion,Bajo sexto.
Local Numbers:
FP-ARH-CD-0102-7
Arhoolie.370
Publication, Distribution, Etc. (Imprint):
El Cerrito, CA Arhoolie 1995
Date/Time and Place of an Event Note:
Recorded in: Texas, United States.
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.
Recorded in: San Antonio (Tex.), United States, Texas.
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 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.
Collection is open for research. Researchers must use reference copies.
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. Release forms exist for most interviews.
Collection Citation:
[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.
National Portrait Gallery, Smithsonian Institution; acquisition made possible through the Smithsonian Latino Initiatives Pool, administered by the Smithsonian Latino Center.
Collection is open for research. Researchers must use reference copies.
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. Release forms exist for most interviews.
Collection Citation:
[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.
