Search Results

Creator:

Kent, Rockwell, 1882-1971  Search this

Names:

American Artists' Congress  Search this

Artists League of America  Search this

Artists' Union (New York, N.Y.)  Search this

Citizens' Committee for Government Arts Projects  Search this

Farmers Union of the New York Milk Shed  Search this

Federal Art Project  Search this

Federal Writers' Project  Search this

International Workers Order  Search this

Macbeth Gallery  Search this

National Farmers' Union (U.S.)  Search this

National Maritime Union of America  Search this

United American Artists  Search this

United Office and Professional Workers of America  Search this

United Scenic Artists  Search this

Boyesen, Bayard  Search this

Chamberlain, J. E.  Search this

Chase, William Merritt, 1849-1916  Search this

Cleland, T. M. (Thomas Maitland), 1880-1964  Search this

Daniel, Charles, 1878-1971  Search this

Davies, Arthur B. (Arthur Bowen), 1862-1928  Search this

DuBois, W.E.B. (William Edward Burghardt), 1868-1963  Search this

Fitzgerald, James, 1899-1971  Search this

Freuchen, Peter, 1886-1957  Search this

Gellert, Hugo, 1892-1985  Search this

Gottlieb, Harry, 1895-  Search this

Hartley, Marsden, 1877-1943  Search this

Hays, Lee, 1914-1981  Search this

Henri, Robert, 1865-1929  Search this

Jones, Dan Burne  Search this

Keller, Charles, 1914-2006  Search this

Miller, Kenneth Hayes, 1876-1952  Search this

Nearing, Helen  Search this

Nearing, Scott, 1883-1983  Search this

Pach, Walter, 1883-1958  Search this

Phillips, Duncan, 1886-1966  Search this

Rasmussen, Knud, 1879-1933  Search this

Reeves, Ruth, 1892-1966  Search this

Robeson, Paul, 1898-1976  Search this

Roosevelt, Franklin D. (Franklin Delano), 1882-1945  Search this

Ruggles, Carl, 1876-1971  Search this

Seeger, Pete, 1919-2014  Search this

Stefansson, Vilhjalmur, 1879-1962  Search this

Untermeyer, Louis, 1885-1977  Search this

Wildenstein, Felix, 1883-1952  Search this

Zigrosser, Carl, 1891-  Search this

Extent:

88 Linear feet

Type:

Collection descriptions

Archival materials

Poems

Sketches

Business records

Photographs

Drawings

Date:

circa 1840-1993

bulk 1935-1961

Summary:

The Rockwell Kent papers measure 88.0 linear feet and date from circa 1840 to 1993 with the bulk of the collection dating from 1935 to 1961. The collection provides comprehensive coverage of Kent's career as a painter, illustrator, designer, writer, lecturer, traveler, political activist, and dairy farmer.

Scope and Content Note:

The Rockwell Kent papers measure 88 linear feet and date from circa 1840 to 1993 with the bulk of the collection dating from 1935 to 1961. The collection provides comprehensive coverage of Kent's career as a painter, illustrator, designer, writer, lecturer, traveler, political activist, and dairy farmer.

Circumstances surrounding the acquisition of the papers are highlighted in an article by Garnett McCoy ("The Rockwell Kent Papers," in the Archives of American Art Journal, 12, no. 1 [January 1972]: 1-9), recommended reading for researchers interested in the collection. The collection is remarkably complete, for in the mid 1920s Kent began keeping carbon copies of all outgoing letters, eventually employing a secretary (who became his third wife and continued her office duties for the remainder of Kent's life).

Series 1: Alphabetical Files contain Kent's personal and professional correspondence, along with business records of the dairy farm and associated enterprises; also included are printed matter on a wide variety of topics and promotional literature relating to organizations and causes of interest to him. Voluminous correspondence with his three wives, five children, and other relatives, as well as with literally hundreds of friends, both lifelong and of brief duration, illuminates Kent's private life and contributes to understanding of his complex character. Among the many correspondents of note are: his art teachers William Merritt Chase, Robert Henri, and Kenneth Hayes Miller; fellow artists Tom Cleland, Arthur B. Davies, James Fitzgerald, Hugo Gellert, Harry Gottleib, Marsden Hartley, Charles Keller, and Ruth Reeves; collectors Duncan Phillips and Dan Burne Jones; critics J. E. Chamberlain and Walter Pach; and dealers Charles Daniel, Felix Wildenstein, and Macbeth Galleries. Kent corresponded with such diverse people as Arctic explorers Peter Freuchen, Knud Rasmussen, and Vilhjalmar Steffanson; composer Carl Ruggles and songwriters Lee Hays and Pete Seeger; civil rights pioneers Paul Robeson and Dr. W. E. B. Du Bois; writers Bayard Boyesen, Scott and Helen Nearing, and Louis Untermeyer; and art historian and print curator Carl Zigrosser.

Kent's interest and involvement in the labor movement are reflected in correspondence with officials and members of a wide variety and large number of unions and related organizations, among them: the Farmers' Educational and Cooperative Union of America, Farmers' Union of the New York Milk Shed, International Workers Order, National Maritime Union, and United Office and Professional Workers of America. Of special interest is his participation, often in leadership roles, in various attempts to organize artists. Files on the American Artists' Congress, Artists League of America, The Artists Union, United American Artists, and United Scenic Artists contain particularly valuable material on the movement.

A supporter of New Deal efforts to aid artists, Kent was actively interested in the various programs and often was critical of their limitations; he advocated continuing federal aid to artists after the Depression abated. The Kent papers include correspondence with the Federal Arts Project, Federal Fine Arts Project, Federal Writers Project, and the War Department, as well as correspondence with the Citizens' Committee for Government Art Projects and President Franklin D. Roosevelt on the subject.

Kent's professional correspondence documents exhibitions, sales, consignments, and reproduction of prints and paintings. He kept meticulous records of his advertising commissions and illustration work. Detailed correspondence with publishers and printers indicates Kent's involvement in the technical aspects of production and provides a good overview of the publishing industry during the mid-twentieth century.

Business records of Asgaard Farm include records of the dairy and transfer of ownership to its employees, tax and employee information, and documents concerning several related business ventures such as distributor ships for grain, feed, and farm implements.

Series 2: Writings consists of notes, drafts, and completed manuscripts by Rockwell Kent, mainly articles, statements, speeches, poems, introductions, and reviews. The Kent Collection given to Friendship House, Moscow, in 1960, was augmented later by a set of his publications and the illustrated manuscripts of many of his monographs. Also included are a small number of manuscripts by other authors.

Series 3: Artwork consists mainly of drawings and sketches by Kent; also included are works on paper by other artists, many of whom are unidentified, and by children.

Series 4: Printed Matter consists of clippings, exhibition catalogs and announcements, brochures, broadsides, programs, and newsletters. These include items by and about Kent and his family, as well as articles written and/or illustrated by him, and reviews of his books. There is also material on a variety of subjects and causes of interest to him. Additional printed matter is included among the alphabetical files, mainly as attachments to correspondence.

Series 5: Miscellaneous includes biographical material, legal documents, and memorabilia. Artifacts received with papers include textile samples, a silk scarf, dinnerware, ice bucket, and rubber stamp, all featuring designs by Rockwell Kent. Also with this series are a variety of documents including a phrenological analysis of an ancestor, lists of supplies for expeditions, a hand-drawn map of an unidentified place, and technical notes regarding art materials and techniques.

Series 6: Photographs includes photographs of Kent, his family and friends, travel, and art number that over one thousand. Also included here are several albums of family and travel photographs.

Arrangement:

The collection is arranged into six series. Series 1 is arranged alphabetically. The arrangement of the remaining series is explained in each series description. Note that sealed materials that became available in 2000 were microfilmed separately on reels 5740-5741, but have integrated into this finding aid.

Missing Title

Series 1: Alphabetical Files, circa 1900-1971, undated (Reels 5153-5249, 5256, 5740-5741)

Series 2: Writings, 1906-1978, undated (Reels 5249-5252, 5741)

Series 3: Art Work, 1910-1972, undated (Reels 5252, 5741)

Series 4: Printed Matter, 1905-1993, undated (Reels 5252-5254)

Series 5: Miscellaneous, 1859-1969, undated (Reels 5254, 5741)

Series 6: Photographs, circa 1840-1970, undated (Reels 5254-5255, 5741)

Biographical Note:

Rockwell Kent (1882-1971), an energetic and multitalented man, pursued many interests and careers during his very long and active life. At various times he was an architect, draftsman, carpenter, unskilled laborer, painter, illustrator, printmaker, commercial artist, designer, traveler/explorer, writer, professional lecturer, dairy farmer, and political activist.

While studying architecture at Columbia University, Kent enrolled in William Merritt Chase's summer school at Shinnecock Hills, Long Island. He then redirected his career ambitions toward painting and continued to study with Chase in New York. Kent spent a summer working and living with Abbott H. Thayer in Dublin, New Hampshire, and attended the New York School of Art, where Robert Henri and Kenneth Hayes Miller were his teachers.

Critically and financially, Kent was a successful artist. He was very well known for his illustration work--particularly limited editions of the classics, bookplates, and Christmas cards. He was a prolific printmaker, and his prints and paintings were acquired by many major museums and private collectors. During the post-World War II era, Kent's political sympathies resulted in the loss of commissions, and his adherence to artistic conservatism and outspoken opposition to modern art led to disfavor within art circles. After many years of declining reputation in this country and unsuccessful attempts to find a home for the Kent Collection, Kent gave his unsold paintings--the majority of his oeuvre--to the Soviet Union, where he continued to be immensely popular.

An avid traveler, Kent was especially fascinated by remote, Arctic lands and often stayed for extended periods of time to paint, write, and become acquainted with the local inhabitants. Between 1918 and 1935, he wrote and illustrated several popular books about his experiences in Alaska, Tierra del Fuego, and Greenland. In the 1930s and 1940s, Kent was much in demand as a lecturer, making several nationwide tours under the management of a professional lecture bureau; he spoke mainly about his travels, but among his standard lectures were some on "art for the people."

In 1927, Kent purchased Asgaard Farm at AuSable Forks, New York, in the Adirondacks, where he lived for the remainder of his life, operating a modern dairy farm on a modest scale for many years.

As a young man, Kent met Rufus Weeks, became committed to social justice, and joined the Socialist Party. Throughout his life, he supported left-wing causes and was a member or officer of many organizations promoting world peace and harmonious relations with the Soviet Union, civil rights, civil liberties, antifascism, and organized labor. Kent was frequently featured as a celebrity sponsor or speaker at fund-raising events for these causes. In 1948, he ran unsuccessfully as the American Labor Party's candidate for Congress. Kent's unpopular political views eventually led to the dissolution of his dairy business, resulted in a summons to appear before the House Un-American Activities Committee, and prompted the U.S. State Department to deny him a passport, an action that subsequently was overturned by the U.S. Supreme Court.

Kent wrote two autobiographies, This Is My Own (1940) and It's Me, O Lord (1955). In 1969, he was the subject of an oral history interview conducted by Paul Cummings for the Archives of American Art.

Provenance:

In 1969, Rockwell Kent donated his papers to the Archives of American Art; textile samples were received in 1979, and his widow gave additional papers in 1971 and 1996. Letters to Rockwell Kent from wives Frances and Sally, sealed during Sally Kent Gorton's lifetime, became available for research after her death in 2000, and further material was donated to the Archives of American Art in 2001 by the Estate of Sally Kent [Shirley Johnstone] Gorton.

Restrictions:

The microfilm of this collection has been digitized and is available online via AAA's website. Use of material not microfilmed or digitized requires an appointment.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Painters -- New York (State)  Search this

Topic:

Designers -- New York (State)  Search this

Mural painting and decoration  Search this

Politics and culture  Search this

Authors -- New York  Search this

Art, Modern -- 20th century -- United States -- Political aspects  Search this

Dairy farms  Search this

Federal aid to the arts  Search this

Illustrators -- New York (State)  Search this

Illustration of books  Search this

Works of art  Search this

Art and war  Search this

Commercial art  Search this

World War, 1939-1945 -- Art and the war  Search this

Function:

Labor unions

Genre/Form:

Poems

Sketches

Business records

Photographs

Drawings

Citation:

Rockwell Kent papers, circa 1840-1993, bulk 1935-1961. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.kentrock

See more items in:

Rockwell Kent papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw97edd9940-eb61-4562-9583-def2da778b6a

EDAN-URL:

ead_collection:sova-aaa-kentrock

Creator:

Hultberg, John, 1922-  Search this

Names:

Martha Jackson Gallery  Search this

Drexler, Lynne Mapp, 1928-1999  Search this

Jackson, Martha Kellogg  Search this

Kantor, Morris, 1896-1974  Search this

Spohn, Clay Edgar, 1898-1977  Search this

Extent:

1.4 Linear feet ((partially microfilmed on 3 reels))

1.8 Linear feet (Addition)

Type:

Collection descriptions

Archival materials

Date:

1942-1993

Scope and Contents:

Correspondence; biographical and journal notes; writings; photos; catalogs and announcements; a biographical sketch; and typescripts.

REEL N70/5: Correspondence with: Martha Jackson, whose gallery handled his work; various public museums and galleries, several in California and Hawaii, universities and personal friends, including Claire Falkenstein and Louis Calcagno. There are also drafts of his own letters, written from periodic residences in Paris, San Francisco, Hawaii, Monhegan Island, Maine. The remaining material includes class lectures, biographical and journal notes on various literary and art subjects, clippings, photos, catalogs, and announcements.

REEL 295: Correspondence with Martha Jackson, Clay Spohn and others, and a few miscellanous items.

REEL 2346: Letters and postcards from Clay Spohn to Hultberg and his wife Lynne Drexler; photographs of Spohn's work; an electrocardiogram; and a printed cartoon. (Incorrectly microfilmed as: Clay Spohn papers).

Addition Correspondence, 1971-1996, n.d., notes; writings; gallery lists of Hultberg's artwork; and printed material. Professional and personal letters and memos from Elaine Weschler, 1990-1996, n.d. (Manuscripts include "Collected Poems, 1952-1996," "Two Plays for Reading," 1990, "Crying at the Lock," 1991, "Half Truths," 1997, and "Dredgings," 1997.

UNMICROFILMED: A brief biographical sketch; personal and business correspondence; exhibition catalogs and announcements; press releases and clippings; and typescripts by Hultberg including "Stone Farm Journal," 1972, and "Breaking the Picture Plane: A Meditation On Modern Art," 1976. Also included is a xerox copy of a six-page letter from Hultberg to Harry Rand describing Morris Kantor, 1980.

ADDITIONS: Personal and business correspondence, 1942-1997, including letters from his dealer and wife, Elaine Wechsler; clippings; exhibition invitations and announcements; clippings; lists of work; and notes. Much of the addition reflects Hultberg's writing career and includes plays, poems, and other unpublished manuscripts.

Biographical / Historical:

Painter, writer; New York, N.Y. Born 1922. Died 2005.

Provenance:

Donated 1969-1997 by John Hultberg. Material on reel 2346 donated 1981 by Hultberg and his wife Lynne Drexler.

Restrictions:

This collection is temporarily closed to researchers due to archival processing. Contact Reference Services for more information

Occupation:

Painters -- New York (State) -- New York  Search this

Topic:

Painting, Modern -- 20th century -- New York (State) -- New York  Search this

Identifier:

AAA.hultjohn

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw922381def-4c54-4abe-9c33-80107e80aabf

EDAN-URL:

ead_collection:sova-aaa-hultjohn

Creator:

Becker, Richard  Search this

Bradford, Alex  Search this

Extent:

0.66 Cubic feet (2 boxes)

Type:

Collection descriptions

Archival materials

Sheet music

Songbooks

Sound recordings

Theater programs

Parts (musical)

Playbills

Programs

Scripts (documents)

Clippings

Music

Date:

1950-1997, undated

Summary:

Papers relating to Alex Bradford's career as a composer of Gospel music. Included among the materials are playbills, published sheet music, music manuscripts, gospel song books, play scripts, newspaper clippings and articles, and one LP record.

Scope and Contents:

Collection documents the career of Alex Bradford as a composer of gospel music. Most of the materials relate to the musical production Your Arms Too Short to Box with God and include playbills and an LP. There are music manuscripts, published sheet music, and three Gospel song books of Bradford's music. In addition, there are playscripts for some of Bradford's other musical productions. Newspaper clippings and magazine articles document the importance of Bradford's creative work to the African American community. Lastly, playbills from the League of New York Theatres and Producers Antoinette Perry Award (Tony Awards) ceremonies are also found among the materials. The materials are arranged in chronological order.

Arrangement:

The collection is arranged into one series.

Biographical / Historical:

Alex Bradford was a musical and theater legend who served as a bridge between the gospel and secular worlds in music and performance. Bradford was responsible for the rise and popularity of the mass gospel choir. Alex Bradford was born in Bessemer, Alabama in the late 1920s during an era of racial segregation. A racially motivated altercation eventually led his mother to send him to New York. Before he left Alabama, Bradford performed on stage and sang in various children's choirs. Bradford was a talented and influential gospel singer, performer, song writer, and stage play author. Richard Becker, an accomplished music producer, worked with the Beatles and the Rolling Stones. Becker's first collaboration with Bradford resulted in their production of Black Nativity, based on a play by Langston Hughes. Commissioned to do a second stage musical, the two created Your Arms Too Short to Box With God, based on the Biblical book of Matthew. Your Arms was the first musical production fully funded at the Ford's Theatre in Washington, DC. The musical made its debut on Broadway at the Lyceum Theatre, on December 22, 1976. The original cast included Al Green, Patti LaBelle, and newcomer Jennifer Holliday.

Related Materials:

Materials in the Archives Center, National Museum of American History

Eugene D. Smallwood Gospel Music Collection NMAH.AC.0456

Martin and Morris Company Records NMAH.AC.0492

Wade in the Water Radio Series Collection NMAH.AC.0516

Program in African American Culture NMAH.AC.0408

Sam DeVincent Collection of Illustrated American Sheet Music, Series 36: Folios and Songbooks NMAH.AC.0300

Warshaw Collection of Business Americana, Series: Music NMAH.AC.0060

Duke Ellington Collection NMAH.AC.0301

Provenance:

Richard Becker donated the materials to the Archives Center, National Museum of American History in January 2001.

Restrictions:

Collection is open for research.

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.

Reproduction restricted due to copyright or trademark.

Topic:

Gospel music  Search this

Genre/Form:

Sheet music -- 20th century

Songbooks

Sound recordings -- 1930-1990

Theater programs -- 1970-1980

Parts (musical)

Playbills

Programs

Scripts (documents)

Clippings -- 20th century

Music -- Manuscripts

Citation:

Richard Becker Collection of Alex Bradford Gospel Music Materials, 1950-1997, undated Archives Center, National Museum of American History

Sponsor:

Processing and encoding funded by a grant from the Council on Library and Information Resources.

Identifier:

NMAH.AC.0761

See more items in:

Richard Becker Collection of Alex Bradford Gospel Music Materials

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8349b0fa0-fd12-4c71-96d5-64f3fd2bfa6d

EDAN-URL:

ead_collection:sova-nmah-ac-0761

Creator:

Gray, Cleve, 1918-2004  Search this

Subject:

Richter, Hans  Search this

Marin, John  Search this

Lipchitz, Jacques  Search this

Pollock, Jackson  Search this

Grace, Louise N.  Search this

Gray, Francine du Plessix  Search this

Duchamp, Marcel  Search this

Dillenberger, Jane  Search this

Gabo, Naum  Search this

Ernst, Jimmy  Search this

Davis, Jim  Search this

Calder, Alexander  Search this

Barzun, Jacques  Search this

Weber, Nicholas Fox  Search this

Smith, David  Search this

Villon, Jacques  Search this

Pratt Institute  Search this

Rhode Island School of Design  Search this

Neuberger Museum of Art  Search this

Jacques Seligmann & Co  Search this

Betty Parsons Gallery  Search this

Connecticut. Commission on Arts, Tourism, Culture, History and Film  Search this

Princeton University  Search this

Berry-Hill Galleries  Search this

Type:

Poems

Articles

Photographs

Reviews (documents)

Notes

Illustrations

Notebooks

Sketches

Drafts (documents)

Video recordings

Sound recordings

Interviews

Manuscripts

Paintings

Prints

Watercolors

Drawings

Lectures

Citation:

Cleve Gray papers, 1933-2005. Archives of American Art, Smithsonian Institution.

Topic:

Art, Modern -- 20th century -- United States  Search this

Vietnam War, 1961-1975 -- Protest Movements -- United States  Search this

Designers  Search this

Women artists  Search this

Women painters  Search this

Women sculptors  Search this

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)9567

(DSI-AAA_SIRISBib)211768

AAA_collcode_grayclev

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211768

Creator:

Williams, Claude, 1908-2004  Search this

Fouse-Williams, Blanche Y.  Search this

Extent:

1 Electronic discs (CD)

13 Cassette tapes

4.66 Cubic feet (14 boxes, 3 map- folders)

Container:

Map-folder 1

Map-folder 3

Type:

Collection descriptions

Archival materials

Electronic discs (cd)

Cassette tapes

Letters (correspondence)

Photographs

Programs

Posters

Scrapbooks

Financial records

Awards

Business records

Audiotapes

Articles

Manuscripts

Date:

1920-2005

Summary:

Business and personal papers, photographs, and audio recordings of Claude "Fiddler" Williams, an award-winning jazz fiddler. Although Williams played music for almost a century the materials in this collection date largely from 1970 to 2005.

Scope and Contents:

This collection documents the later life and career of jazz violinist Claude "Fiddler" Williams. Materials include correspondence, photographs, unpublished writings, awards, business records, financial records, programs and a few music manuscripts. There is one scrapbook and several audio recordings. There are also an autographed poster from 1997 honoring five inductees to the Oklahoma Music Hall of Fame, including Claude Williams, Merle Haggard, Patti Page, Woody Guthrie and Eddie Burris. While there are some materials from Williams's youth, the vast majority of the collection dates from 1970. Williams's second wife, Blanche Y. Fouse-Williams, was vigilant about saving his papers. She also managed his career for the last few years of his life. This accounts for the increased volume of materials documenting his later years. Materials generally are arranged in chronological order within series and subseries.

Series 1, Business Records, 1973-2005, undated, is divided into seven subseries and includes business records, information relating to tours and performances, awards and certificates, business and personal correspondence, financial papers, articles and newspaper clippings, and biographical information.

Subseries 1, Events, 1977-2004, undated, includes contracts, copies of newspaper clippings, performance programs, brochures, ticket stubs, travel itineraries, travel receipts, correspondence, materials regarding his work as a fiddle teacher, advertisements for performances, a certificate of recognition, and napkins saved from a Washington Education Television Association (WETA) performance at the White House in 1998. Materials are arranged in chronological order.

Subseries 2, Itineraries, 1990-2001, includes lists and correspondence detailing locations, musicians, travel and lodging plans, and financial compensation for William's performances. Materials are arranged in chronological order.

Subseries 3, Awards and Certificates, 1978-2002, contains awards and certificates of appreciation from the Steamboat Delta Queen, Annual Black Musicians Conference, Kansas City Chapter of the International Association of Jazz Record Collectors, and the Manhattan School of Music, as well as an invitation to a reception honoring Kansas City Jazz musicians from the Consul General of Japan. Materials are arranged in chronological order.

Subseries 4, Correspondence, 1975-2004, consists of information relating to travel arrangements, tours, remuneration, music recordings, press kits, contracts, public television performances, involvement with the National Endowment for the Arts and the National Endowment for the Humanities, as well as Williams's Smithsonian Folkways recording. Materials are arranged in chronological order.

Subseries 5, Financial Papers, 1990-2005, includes information about travel and payment, hotel bills and receipts, invoices for performances, music recordings sales, royalty statements and copies of checks. Materials are arranged in chronological order.

Subseries 6, Press, 1973--005, undated, includes magazines, newspaper clippings and articles, about Williams's performances and music, appearances and jazz festivals, as well as the Kansas City Jazz scene. Magazine titles include Kansas City Magazine , Missouri Alumnus , The Masters Traditional Arts Apprenticeship Program , Jazz Ambassador Magazine , Kansas City Ambassador to Jazz , The Mississippi Rag , Fiddler Magazine , Jazz News , Jazz Times , Living Blues , Blues Access , and Kansas City . Materials are arranged by type and then in chronological order.

Subseries 7, Music, 1989-1995, undated, contains thirteen audio tape recordings, one CD, sheet music and set lists of music performed by Williams. There is an audio recording of Black and Blue: A Musical Revue , a Folk Master performance at Carnegie Hall. Williams's work with James Chirillo, an appearance on Birdflight , as well as recordings of live and studio performances are also included among these materials. There is a copy of Williams's CD Swingtime in New York and an interview from1992. Materials are arranged in chronological order.

Series 2, Personal Papers, 1978--005, undated, is divided into two subseries and contains letters, cards, postcards, invitations, copies of email, and requests for information and interviews. Most of the correspondence was addressed to Williams but there are materials that were sent to Blanche Williams. The correspondence is generally from fans, friends and family.

Subseries 1, Correspondence, 1978-2005, undated, consists of birthday cards from school age children, postcards, copies of newspaper clippings, White House and other government correspondence, congratulations or birthday wishes, as well as personal correspondence from friends inquiring about Williams's health and well-being. Also included is a draft for a chapter in a book on Claude Williams's contributions to jazz. Requests relating to research about Williams are also included. Materials are arranged in chronological order. Materials are arranged first by type followed by general correspondence in chronological order.

Subseries 2, Miscellaneous, undated, contains ephemera, autographs, affiliates list, well-wishes to Blanche Williams, a funeral program, mailing lists, lists of affiliated organizations, and a Count Bassie autograph.

Series 3, Photographs, 1977-2004, undated, includes personal and professional photographic prints and negatives of Williams. Subjects include performances and festivals, headshots and publicity, images of other musicians, family, friends, and posters with photographs created for his funeral. The majority of these photographs are of performances. Materials are arranged by subject.

Arrangement:

The collection is arranged into three series.

Series 1, Business Records, 1973-2005, undated

Subseries 1.1, Events, 1977-2004, undated

Subseries 1.2, Itineraries, 1990-2001

Subseries 1.3, Awards and Certificates, 1978-2002

Subseries 1.4, Correspondence, 1975-2004

Subseries 1.5, Financial Papers, 1990-2005

Subseries 1.6, Press, 1973-2005, undated

Subseries 1.7, Music; 1989-1995, undated

Series 2, Personal Papers, 1978-2005, undated

Subseries 2.1, Correspondence, 1978-2005, undated

Subseries 2.2, Miscellaneous, undated

Series 3, Photographs, 1977-2004, undated

Biographical / Historical:

Claude "Fiddler" Williams, 1908-2004, was born in Muskogee, Oklahoma, the son of a blacksmith. His musical gifts developed at a very early age, and he quickly became adept at the guitar, banjo, mandolin and cello, learning mostly by ear, without formal training. After hearing the jazz violinist Joe Venuti, the violin became his instrument of choice, and it remained so for the rest of his life. He migrated to Kansas City in 1927 and toured with several territory bands. Additionally Williams toured with the Twelve Clouds of Joy and the Cole Brothers, and in 1936, joined Count Basie's band as the first guitarist. After he was fired from Count Basie's band because John Hammond thought Williams's guitar solos were taking too much attention away from Basie, he went back to the violin (or "fiddle" as he preferred to call it) and focused exclusively on it for the rest of his life. Later he started his own band and toured with several jazz groups working for a short time with the Works Progress Administration (WPA). His band appeared at the Monterey Jazz Festival, the Nice Jazz Festival, and the Smithsonian Institution's Festival of American Folk Life. Williams received numerous honors and awards, including induction into the Oklahoma Jazz Hall of Fame, a proclamation from the city of Kansas City, and a 1998 National Heritage Fellowship which included a $10,000 award. President Bill Clinton invited him to perform at one of the parties celebrating his first inauguration. Williams continued to tour and perform until well into his nineties. He also gave instruction at Mark O'Connor's annual fiddle camp to young violinists. Mr. Williams died in April 2004.

Separated Materials:

Artifacts donated to the Museum's Division of Culture and the Arts (now Division of Cultural and Community Life) include a suit and violin. See accession numbers: 2005.3105 and 2007.3020.

Provenance:

This collection was donated by Claude Williams's widow, Blanche Y. Fouse-Williams, in 2005.

Restrictions:

The collection is open for research use.

Physical Access: 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.

Technical Access: Do not use original materials when available on reference audio tapes.

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.

Topic:

Music -- 20th century -- United States  Search this

Jazz -- 20th century -- United States  Search this

Jazz musicians -- United States  Search this

Violinists  Search this

Musicians -- United States  Search this

Genre/Form:

Letters (correspondence) -- 20th century.

Photographs -- 2000-2010

Programs

Posters -- 1950-2000

Scrapbooks

Financial records

Awards

Business records -- 20th century

Audiotapes

Articles

Photographs -- 20th century

Manuscripts -- Music -- 20th century

Citation:

Claude Williams Papers, Archives Center, National Museum of American History

Identifier:

NMAH.AC.0909

See more items in:

Claude Williams Papers

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep82736f8a2-824b-43e6-96c8-6449a163c087

EDAN-URL:

ead_collection:sova-nmah-ac-0909

Creator:

D'Rivera, Paquito, 1948-  Search this

Extent:

0.3 Cubic feet (1 box)

Type:

Collection descriptions

Archival materials

Photographs

Manuscripts

Date:

1988-2000

Summary:

Collection consists of three music manuscripts created by Cuban-born musician and composer Paquito D'Rivera and a photograph.

Scope and Contents:

The collection consists of three music manuscripts created by D'Rivera including A Song of Peace commissioned by the New York Festival of Songs for its annual concert series in 2000. Annie Colina wrote the lyrics for this song. There are also two other music manuscripts including I Remember Diz written by D'Rivera for Dizzy Gillespie shortly after his death. In addition, there is a photograph of D'Rivera's birthday celebration with Dizzy Gillespie in 1988. The materials are arranged in chronological order.

Arrangement:

The collection is arranged in three folders.

Biographical / Historical:

Paquito D'Rivera, born in 1948, is a Cuban musician and composer of both jazz and classical music. He plays both the clarinet and the alto saxophone. In his teen years, D'Rivera became a founding member of the Orquesta Cubana de Musica Moderna, directing the group for two years. At the same time, he played both the clarinet and saxophone with the Cuban National Symphony Orchestra. D'Rivera was also a founding member and co-director of the musical group Irakere, a band that played a mixture of jazz, rock, classical and traditional Cuban music. In 1980, he sought asylum in Spain at the United States Embassy. He moved to New York and played with Dizzy Gillespie's last big band. D'Rivera has won several Grammy awards, including Best Latin Jazz Album in 2003 and 2008 and best classical album at the Latin Grammy awards in 2003 and 2005. In addition, D'Rivera was nominated for Grammy awards in 1979 and 1980. He received the National Medal for the Arts in 2005 and was named one of the 2005 National Endowment for the Arts Jazz Masters.

D'Rivera is also a composer of music. In 2007, he received a John Simon Guggenheim Fellowship in Music Composition. He also received the 2007-2008 appointment as Composer-in-Residence at the Caramoor Center for Music and the Arts. D'Rivera's compositions reflect his widespread musical interests combining Afro-Cuban rhythms and melodies with classical origins.

Related Materials:

Archives Center, National Museum of American History

Tito Puente Papers (AC0894)

Chico O'Farrill Papers (AC0892)

Mongo Santamaria Papers (AC0893)

Smithsonian Jazz Oral History Program Collection (AC0808)

Charismic Production Records of Dizzy Gillespie (AC0979)

Separated Materials:

The Museum's Division of Culture and the Arts (now Division of Cultural and Community Life) holds artifacts related to this collection including a Panama hat, white tuxedo, and D'Rivera's first clarinet. See accession number: 2005.3048.

Provenance:

Paquito D'Rivera donated the collection to the Archives Center in 2005.

Restrictions:

The collection is open for research use.

Physical Access: Researchers must handle unprotected photographs with gloves.

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.

Topic:

Jazz musicians -- United States  Search this

Jazz  Search this

Music -- 20th century  Search this

Musicians -- United States  Search this

Genre/Form:

Photographs -- Black-and-white photoprints -- Silver gelatin -- 1980-2000

Manuscripts -- Music -- 20th century

Citation:

Paquito D'Rivera Music Manuscripts and Photograph, Archives Center, National Museum of American History

Identifier:

NMAH.AC.0891

See more items in:

Paquito D'Rivera Papers

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8f5b82ece-a10d-4907-a9f7-d39b5ab1484c

EDAN-URL:

ead_collection:sova-nmah-ac-0891

Creator:

O'Farrill, Chico, 1921-2001  Search this

O'Farrill, Lupe  Search this

Stravinsky, Igor, 1882-1971  Search this

Extent:

1 Cubic foot (5 boxes)

Type:

Collection descriptions

Archival materials

Photographs

Videotapes

Scores

Date:

1975 - 1975

1999 - 1999

1949

Summary:

The collection documents the professional career of Chico O'Farrill, Cuban-born trumpet player, composer and arranger of Afro Cuban, bebop, and other styles of jazz.

Scope and Contents:

The collection consists of materials documenting the musical career of Chico O'Farrill. There are no personal papers, and there is very little information about his life.

Arrangement:

The collection is arranged into two series.

Series 1, Music Manuscripts, undated

Series 2, Other Materials, 1949, 1975, 1999

Biographical / Historical:

: Arturo (Chico) O' Farrill was born October 28, 1921, into an Irish-German Cuban family in Havana, Cuba. He learned to play trumpet while attending Riverside Military Academy in Gainesville, Georgia. O'Farrill later returned to Havana and studied composition. He arranged and composed classical music and jazz for mainstream and Latin musicians. He played trumpet throughout the mid-forties with various Cuban bands, including the Lecuna Cuban Boys. In 1948, O'Farrill moved to New York to study at The Julliard School. Later he composed and arranged music for Benny Goodman, Count Basie, Machito, Stan Kenton, Dizzy Gillespie, and Gato Barbieri. He collaborated with impresario Norman Granz, who helped put together a recording session including Machito, alto saxophonist Charlie Parker, tenor saxophonist Flip Phillips and drummer Buddy Rich. They recorded Afro Cuban Jazz Suite in 1950, a successful blend of the bebop sound he arranged for Benny Goodman and Latin jazz rhythms. O'Farrill formed his own band and toured the United States and Cuba, returning to Havana around 1955, subsequently relocating to Mexico City. O'Farrill moved to Los Angeles in 1965. He recorded Afro Cuban Moods with Dizzy Gillespie in 1975. Around this time, he began to compose commercial music for advertising and television. From 1998 until 2000, he conducted the Lincoln Center Latin Jazz Orchestra and the Chico O'Farrill Afro-Cuban Jazz Big Band in New York. O'Farrill died on June 27, 2001 in New York City.

Materials in the Archives Center, National Museum of American History:

Paquito D'Rivera Music Manuscripts and Photograph (AC0891)

Tito Puente Papers (AC0894)

Mongo Santamaria Papers (AC0893)

Charismic Productions Records of Dizzy Gillespie (AC0979)

Latino Music Collection (AC0852)

Provenance:

Guadalupe Valero O'Farrill, widow of Chico O'Farrill, donated the collection in 2005.

Restrictions:

Collection is open for research.

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.

Topic:

Jazz  Search this

Music -- 20th century  Search this

Jazz musicians -- United States  Search this

Musicians -- United States  Search this

Genre/Form:

Photographs -- 20th century

Videotapes

Scores

Citation:

Chico O'Farrill Papers, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0892

See more items in:

Chico O'Farrill Papers

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8cd9290a4-a56d-40e6-9586-e5bdb6eac67f

EDAN-URL:

ead_collection:sova-nmah-ac-0892

Creator:

Santamaria, Mongo, 1917-  Search this

Extent:

2 Cubic feet (4 boxes)

Type:

Collection descriptions

Archival materials

Articles

Passports

Photographs

Manuscripts

Concert programs

Date:

1950s-1996

Summary:

Collection includes music manuscripts, articles and clippings, concert programs, passports, and photographs.

Scope and Contents:

This collection documents, mostly in photographs, the musical career of Mongo Santamaria. Other materials include music manuscripts, magazine and newspaper articles, flyers, posters, and passports.

Series 1, Photographs, circa 1950s–1990s, includes primarily black and white and some color images of Mongo Santamaria. There is a photograph of Santamaria with the first Congo he brought from Cuba to the United States. Of particular interest is Santamaria performing with Tito Puente and Cal Tjada's bands. Some of the earlier photographs document performances at the Palladium Nightclub and Apollo Theatre. There are publicity photographs of Santamaria and his band created by the recording studios. The photographs also include award ceremonies, bar scenes and concert appearances. The materials are arranged in chronological order.

Series 2, Music Manuscripts, 1958-1985; undated, includes music created by Santamaria and music performed by him but written by other composers. Escena Afro-Cubanas composed and arranged by Valerie Capers (1985), Just Say Good-by by Rodgers Grant, Mambo Olga Pachanga by Nicolas Martinez (1961) and Peace by Horace Silver are included among these materials. The materials are arranged in alphabetical order by title.

Series 3, Personal and Background Information, 1945-1996; undated, include a profile of Santamaria and other musicians written in Japanese. There are also magazine articles documenting the development of Santamaria's career and his public appearances. Articles from the Miami Herald and the Chicago Tribune are also included among the materials. Personal items consist of Santamaria's Cuban and American passports. The materials are arranged in alphabetical order by type.

Series 4, Performance Materials, 1977-1996; undated, includes the National Academy of Recording Arts and Sciences Certificate to Mongo Santamaria and his Latin-Jazz Orchestra in recognition of nomination for the Best Tropical Latin Performance for Free Spirit, Espirito Libre, 1985. There are also flyers and an entertainment guide, some in Spanish, advertising public appearances for concert performances. A program in French for a jazz festival in Vienna includes profiles of the performers. There are posters including a black and white drawing of jazz musicians by Robert Leonard (1985) and appearances at the Miami Jazz and Heritage Festival, Apollo Theatre, Oberlin College and the Blue Note. Materials are arranged in alphabetical order by type.

Arrangement:

The collection is divided into 4 series.

Series 1: Photographs, circa 1950s-1990

Series 2, Music Manuscripts, 1958-1985 and undated

Series 3, Personal and Background Information, 1945-1996 and undated

Series 4, Performance Materials, 1977-1996 and undated

Biographical / Historical:

Cuban-born percussionist, composer, arranger, and bandleader.

Related Materials:

The materials in this collection complement the Latino Music Collection, Tito Puente Papers, Chico O'Farrill Papers, Dizzy Gillespie Collection and Paquito d'Rivera Music Manuscripts and Photograph.

Provenance:

Donated to the Archives Center by Mongo Santamaria's daughter, Nancy Anderson.

Restrictions:

Collection is open for research.

Rights:

Fees for commercial reproduction. Reproduction restricted due to copyright or trademark.

Topic:

Music -- 20th century  Search this

Jazz musicians -- United States  Search this

Jazz  Search this

Drummers (Musicians)  Search this

Musicians -- United States  Search this

Genre/Form:

Articles

Passports

Photographs -- 1950-2000

Manuscripts -- Music -- 20th century

Concert programs

Citation:

Mongo Santamaria Papers, 1965-2001, Archives Center, National Museum of American History. Gift of Nancy Anderson.

Identifier:

NMAH.AC.0893

See more items in:

Mongo Santamaria Papers

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep86da90852-d80c-4f01-b373-10272925814e

EDAN-URL:

ead_collection:sova-nmah-ac-0893

Creator:

Armstrong, Lucille  Search this

Bechet, Sidney, 1897-1959  Search this

Armstrong, Louis, 1901-1971  Search this

Condon, Eddie, 1905-1973  Search this

Calloway, Cab, 1907-1994  Search this

Commodore Records.  Search this

Feather, Leonard, 1914-1994  Search this

Gabler, Milt  Search this

Davis, Sammy, 1925-  Search this

Decca (recording company).  Search this

Granz, Norman  Search this

Hawkins, Coleman  Search this

Kaempfert, Bert, 1923-1980  Search this

Ives, Burl, 1909-  Search this

Holiday, Billie, 1915-1959  Search this

Norvo, Red, 1908-1999  Search this

Mills Brothers.  Search this

Krupa, Gene, 1909-1973  Search this

Kelly, Peck, 1898-  Search this

Williams, Cootie, 1911-1985  Search this

United Hot Clubs of America.  Search this

Stewart, Rex (William), Jr., 1907-1967 (cornetist)  Search this

Jordan, Louis, 1908-1975  Search this

Goodman, Benny (Benjamin David), 1909-1986  Search this

Names:

Crosby, Bing, 1904-1977  Search this

Goodman, Benny (Benjamin David), 1909-1986  Search this

Extent:

25 Cubic feet (75 boxes )

Type:

Collection descriptions

Archival materials

Legal records

Magazines (periodicals)

Catalogs

Correspondence

Financial records

Music

Bank statements

Autobiographies

Articles

Tax records

Business records

Newsletters

Photographs

Recordings

Sheet music

Date:

1895-2001

Summary:

The collection documents Gabler's involvement in the recording industry and the evolution of Commodore Records. The documentation begins with the Commodore Radio Shop through its evolution to Commodore Music Shop. The collection also includes the beginnings of the Commodore record label and information detailing Gabler's 30 years as staff producer and later Vice-President in Charge of Artists and Repertoire at Decca Records (1941-1974). There is a small collection of black and white photographs chronicling the early years at the Commodore Music Shop, as well as jam sessions, often held at Jimmy Ryan's on 52nd Street. The collection also includes a vast array of audio recordings (mainly audiodiscs).

Scope and Contents:

Papers documenting Gabler's life and career, including: correspondence with family members, friends and people in the music business such as Sammy Davis, Jr. and Lucille Armstrong (Louis' wife); Gabler's writings, including an autobiography and numerous articles; music manuscripts and sheet music, the lyrics for some of which were written by Gabler, and other compositions written by others, including Red Norvo, Eddie Condon and others; legal and financial records, including royalty statements, tax papers and banking records; business records for Commodore and Decca, including correspondence from persons such as Norman Granz, Burl Ives, and Leonard Feather; Commodore and Decca legal records including licensing and trademark documents; publicity materials; production records, such as production logs and liner notes; printed materials such as catalogs, newsletters, magazines, and periodicals; papers relating to Gabler's affiliation with Bert Kaempfert, including correspondence, sheet music and lyrics, and production records; photographs of Gabler and his family and of numerous others in the music industry, including Bing Crosby, Billie Holiday, Sammy Davis Jr., Bert Kaempfert, the Mills Brothers, Rex Stewart, Cootie Williams, Benny Goodman, Coleman Hawkins, Gene Krupa, Louis Jordan, Peck Kelly, Sidney Bechet, Cab Calloway, Louis Armstrong, and numerous others, many taken in the studio during recording sessions; and audio recordings.

Arrangement:

The collection is arranged into twenty-seven series.

Series 1: Personal Correspondence

Series 2: Writings by Milt Gabler

Series 3: Music Manuscripts and Sheet Music

Series 4: Personal Financial and Legal Records

Series 5: Commodore and Decca Correspondence and Gabler Rolodex

Series 6: Commodore and Decca Legal Records

Series 7: Commodore and Decca Financial

Series 8: Publicity

Series 9: Commodore and Decca Projects

Series 10: Production Records

Series 11: Commodore General Correspondence

Series 12: Commodore Financial Records

Series 13: Commodore Legal Records

Series 14: Commodore Production Records

Series 15: Commodore, Various Projects and Topical Files

Series 16: Commodore Publicity Records

Series 17: Business Cards

Series 18: Catalogs

Series 19: Newsletters

Series 20: Serials

Series 21: Monographs

Series 22: Newsclippings, Periodical Articles, and Advertisements

Series 23: Correspondence with Organizations

Series 24: Organization Membership cards

Series 25: Bert Kaempfert

Series 26: Photographs

Series 27: Audio Discs

Biographical / Historical:

Milt Gabler was born in Harlem, New York on May 20, 1911. He began managing his father's radio and small appliance store, the Commodore Radio Shop, while still a teen. Gabler convinced his father to expand the business and sell audio recordings. Soon Gabler pioneered the concept of marketing reissues by leasing discontinued masters from various record companies (mainly Victor, Columbia, Vocalion, and Brunswick). Eventually the Gablers changed the name of the family business to the Commodore Music Shop. By the early 1930's Gabler founded the first mail order record label, United Hot Clubs of America, to reach an even greater audience of jazz enthusiasts. In 1935 Gabler began publicizing the music shop by staging a series of Sunday afternoon jam sessions at several different recording studios along 52nd Street. Later the jam sessions moved to the nearby jazz club, Jimmy Ryan's.

In 1938 Gabler founded the Commodore music label. It was the first American recording label created exclusively for jazz music. A recording session for Eddie Condon's Windy City Seven at Brunswick Studios was the first original Commodore recording. In 1939 Gabler recorded Billie Holiday's controversial "Strange Fruit", which became Commodore's first major commercial success. Other notable Commodore artists include Sidney Bechet, Jonah Jones, Peck Kelley, Red Norvo, Ralph Sutton, and Teddy Wilson. Gabler began as a staff producer at Decca Records in 1941 and worked with artists from many different musical genres: Ella Fitzgerald, Bing Crosby, Judy Garland, Brenda Lee, the Weavers, and Louis Jordan, among others. Gabler also began writing lyrics in collaboration with Decca songwriters/composers. In 1954 Gabler produced the first recordings by Bill Haley and the Comets. In addition, Gabler continued to run the Commodore recording label until 1957. Gabler also managed the Commodore Music Shop until 1958, when he began working full-time at Decca as Vice-President in Charge of Artists and Repertoire. Throughout the 1960's Gabler served as lyricist in a number of collaborations with Bert Kaempfert and Herbert Rehbein. Gabler retained his influential position at Decca until 1974 when the corporation moved to the West Coast. Through the Decca years, Gabler had saved the Commodore masters and in 1974 began to reissue the recordings through Atlantic, Columbia Special Products, and finally United Hot Clubs of America. In 1987 Mosaic Records also began to reissue the entire catalog of Commodore recordings.

In the last decades of his life Gabler remained active in a number of professional organizations, most notably the National Academy of Recording Arts and Sciences, which bestowed upon him a Grammy lifetime achievement award in 1991. Gabler died in New York on July 20, 2001.

Provenance:

Collection donated by Milt Gabler estate, through Lee Gabler.

Restrictions:

The collection is open for research use. Some materials restricted; but most are available for unrestricted research access on site by appointment.

Several items of personal correspondence contained private medical information about living individuals. The originals were removed and will remain sealed until 2030. Copies with the sensitive information redacted are available for research use in the collection.

Access to audio recordings for which no reference copy exists requires special arrangements with Archives Center staff. Please ask the reference archivist for additional information.

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.

Topic:

Music publishers  Search this

Jazz musicians -- United States  Search this

Jazz -- 20th century -- United States  Search this

Composition (Music)  Search this

Music trade  Search this

Music -- 20th century -- United States  Search this

Musicians -- United States  Search this

Genre/Form:

Legal records

Magazines (periodicals) -- 20th century

Catalogs

Correspondence -- 20th century

Financial records

Music -- Manuscripts

Bank statements

Autobiographies

Articles

Tax records

Business records -- 20th century

Newsletters -- 20th century

Photographs -- 20th century

Recordings

Sheet music -- 20th century

Citation:

Milt Gabler Papers, 1927-2001, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0849

See more items in:

Milt Gabler Papers

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep844dc4ee2-1f0b-43c1-9566-5dc6b5b62ee2

EDAN-URL:

ead_collection:sova-nmah-ac-0849

Donor:

Riva, Julia  Search this

Jones, Jophe  Search this

Composer:

Warren, Harry, 1893-1981  Search this

Extent:

32 Cubic feet (70 boxes, 26 folders)

Type:

Collection descriptions

Archival materials

Business records

Memorabilia

Awards

Sheet music

Correspondence

Scripts (documents)

Posters

Theater programs

Legal records

Programs

Date:

1894-2000, undated

bulk 1926-1980, undated

Summary:

The papers of popular songwriter Harry Warren, three time Academy Award winner and prolific contributer to the American songbook.

Scope and Contents:

The Harry Warren Papers consists of original music manuscripts, scores, song sheets, commercial sheet music, bound scores, scripts, business records, correspondence (business, personal and fan), clippings, magazines, photographs, cassette tapes, LP records, posters and programs and personal memorabilia. The material documents the personal life and professional career of composer, songwriter and lyricist Harry Warren from 1894 to 1981 and to a lesser extent the operation of his Four Jays Music Corporation, circa 1954-2000. The bulk of the collection covers the years 1927-1980. The collection is organized into eight series.

Arrangement:

The collection is divided into eight series.

Series 1: Music Manuscripts, 1928-1987

Subseries 1.1: Original Holographic Theatre and Motion Picture Music Manuscripts, 1930-1960

Subseries 1.2: Bound Presentation Scores, 1931-1982

Subseries 1.3: Original Individual Song Manuscripts, 1938-1965

Subseries 1.4: Published Sheet Music, 1930-1980

Subseries 1.5: Published Songs, Instrumentals, and Song Collections, 1928-1987

Series 2: Correspondence, 1930-1994

Series 3: Business Records, 1894-1996

Series 4: Scripts, 1946-1958

Series 5: Theatre Programs and Posters, 1915-1999

Series 6: News Clippings and Magazines, 1934-2000

Series 7: Recordings, Audio-Visual Materials, and Photographs, 1926-1977

Subseries 7.1: Recordings, Playback Discs, 1934-1961

Subseries 7.2: Cassette Tapes, 1933-1981, undated

Subseries 7.3: Photographs, 1930-1977, undated

Subseries 7.4: Reference Video Tapes, 1933-1957

Subseries 7.5: Compact Discs, undated

Subseries 7.6: Film, 1927-1964

Series 8: Memorabilia, 1918-1990

Biographical / Historical:

With the possible exception of Irving Berlin, no one has contributed as much material to the canon of American popular song in the 20th century as Harry Warren (1893-1981). Warren was born in Brooklyn, New York, December 24, 1893, to Italian immigrant parents. His birth name was Salvatore Anthony Guaragna. By the time he graduated from grade school, he was known as "Harry Warren". He legally changed his name in 1938. He was educated in the public schools of New York but had no formal musical training. He taught himself to play the organ and piano and also sang in the church choir. Both Warren's sister and brother were performers so the theatrical world was not unknown to him. He worked as an actor and assistant director for the Vitagraph film studio in New York and played mood music for actress Corinne Griffith. During World War I, Warren served in the United States Navy at Montauk Point, New York. For a few weeks after the war, he worked as an insurance examiner for The Travellers Agency.

In December 1918, Warren married Josephine Wensler (1897-1993). Their first child was a son named Harry Warren, Jr. (1920-1937). In 1920, Warren became a song plugger for the music publishing firm of Stark & Cowan. Warren continued writing and in 1922 along with lyricist Edgar Leslie produced his first song hit, "Rose of the Rio Grande." From that point on, Warren composed a continuous stream of hits introduced by such artists as Paul Whiteman and others. By 1925, a second child, Joan (1924-1991), nicknamed "Cookie", was born. Warren continued his success with such songs as "I Love My Baby (My Baby Loves Me)," "In My Gondola" and the very popular 1928 hit "Nagasaki."

By 1929, Warren was the director of the American Society of Composers, Authors, and Publishers (ASCAP). He held that position until 1933. He also served on the ASCAP Board of Directors. During this time Warren worked with various musicians including Gus Kahn, Bert Kalmer, and Harry Ruby. In 1930, he wrote his first motion picture score for the film Spring is Here. Al Jolson asked him to compose a song for the show, Wonder Bar (1931). During the 1930s, Warren composed three other Broadway shows, Sweet and Low (1930), Crazy Quilt (1931) featuring Fanny Brice, and Laugh Parade (1931) starring Ed Wynn.

In 1932, Warren was hired by Warner Brothers Studios to help write songs for the Dick Powell, Ruby Keeler film 42nd Street (1933). Along with lyricist, Al Dubin, Warren wrote such hits as "We're in the Money" and "The Shadow Waltz". Warren continued composing memorable songs for motion pictures such as Gold Diggers of 1933, The Singing Marine (1937), and Footlight Parade (1933). Gold Diggers of 1935 included Warren's first Academy Award winning song, "Lullaby of Broadway". Warren made cameo appearances in a few films during his stay at Warner Brothers. He and lyricist Dubin can be seen in 42nd Street, Go Into Your Dance (1935), and A Very Honorable Guy (1934). He also appeared in a Vitaphone short entitled Harry Warren: America's Foremost Composer.

Warren left Warner Brothers for 20th Century Fox in 1940. At Fox he helped compose the scores for such motion pictures as, Sun Valley Serenade (1941), Orchestra Wives (1942), and The Gangs All Here (1943) that included the Carmen Miranda standard, "The Lady in the Tutti-Frutti Hat". During this period, he worked with lyricists Ralph Rainger, Mack Gordon and Leo Robin, and others. Hello Frisco, Hello (1943) garnered Warren his second Academy Award for the song, "You'll Never Know". While at Fox, Warren composed "Chattanooga Choo Choo" a song that became the first gold record in the history of the recording industry.

In 1945, legendary musical film producer Arthur Freed at Metro-Goldwyn-Mayer courted Warren for his MGM production unit. Freed quipped that Warren would have the office right next door to his--and he did. For Warren the offer to write music at the studio that practically invented the movie musical was irresistible and he left 20th Century Fox for MGM. He joined Freed in writing the songs for Yolanda and the Thief (1945) starring Fred Astaire and Freed's protégée Lucille Bremer. The film was directed by the incomparable Vincent Minnelli. His next high profile score was for The Harvey Girls (1946) composed with renowned lyricist Johnny Mercer. The picture starred Judy Garland and John Hodiak. Directed by George Sidney, it was a major success, due in part to Warren's tuneful "On the Atchison, Topeka and Santa Fe". This song brought Warren his third and what would be his final Academy Award.

While at MGM, Warren worked with lyricists Mack Gordon, Ralph Blane, and others. In 1948, he and Blane composed the song score for Freed and director Rouben Mamoulian's ambitious film adaptation of Eugene O'Neills stage play Ah Wilderness entitled Summer Holiday (1948) starring Mickey Rooney and Gloria DeHaven. This is reported to have been Warren's favorite film assignment, but the film was not an unqualified success. Warren remained at MGM until the 1950s composing for such films as The Barkleys of Broadway (1949), starring Astaire and Rogers, Summer Stock (1950), starring Judy Garland and Gene Kelly and his final film for MGM, Skirts Ahoy! (1952), starring Esther Williams and Vivian Blane. After leaving MGM, Warren wrote the score for the Bing Crosby film, Just for You at Paramount. Warren also served on the Board of Directors for the Academy of Motion Picture Arts and Sciences.

Warren went on to write the music for two Jerry Lewis and Dean Martin films, The Caddy (1953) for which he composed "That's Amore", Artists and Models (1955) and for three Jerry Lewis films, Rock-a-Bye Baby (1958), Cinderfella (1960), and The Ladies Man (1961). Warren also composed instrumental pieces one being a "Mass in Honor of St. Anthony".

Warren returned to Broadway in 1956 with the musical Shangri-La, based on the novel Lost Horizon. The show was not a success and closed after fewer than thirty performances. He composed the title song for the Cary Grant, Deborah Kerr film, An Affair to Remember (1957); this song brought him his last nomination for an Academy Award. The song was later used in the motion picture Sleepless in Seattle (1993) starring Tom Hanks and Meg Ryan.

During the 1950s, Warren started his own music publishing company, Four Jays Music Corporation. After writing the songs for The Ladies Man, Warren retired from films but continued to write for piano, even composing the song for the Miss Oklahoma Pageant. His last film effort was to compose one song for the motion-picture Rosie (1968). During the last years of his life Warren composed and ran his music publishing business, but remained largely forgotten as the man who had composed a great deal of America's musical heritage.

With the resurgence in the appreciation of the movie musical in the early 1970s, the tunes composed during Warren's heyday were back in vogue, brought on in a large part by the phenomenal success of MGM's That's Entertainment! (1974). In 1980, he was asked to compose the musical numbers for an upcoming movie musical entitled, Manhattan Melody but it was never produced. 1980 brought the Warren name back to the marquees of Broadway with the David Merrick production of 42nd St.. The full budgeted big Broadway musical used the basic storyline from the 1933 film and drew upon the whole of the Warren and Dubin catalogue for the score. The production proved to be wildly popular, running in excess of five years on Broadway. Warren died in California on September 22, 1981. He was interred in the Sanctuary of Tenderness at Westwood Memorial Park in Los Angeles beside his wife and son. After Warren's death, his daughter Joan "Cookie" Warren Jones administered the music publishing company until her death in 1991.

Key:

OF = Original Film, RV = Reference Video, MV = Master Video

Separated Materials:

The Division of Cultural History (now Division of Cultural and Community Life) has three dimensional objects related to Harry Warren.

Provenance:

Donated to the Archives Center, National Museum of American History, Smithsonian Institution by Julia Riva and Jophe Jones, granddaughters of Harry Warren, on December 15, 2000.

Restrictions:

Collection is open for research but the audiovisual materials are stored off-site and special arrangements must be made to work with it. Researchers must use reference copies of audio-visual materials. When no reference copy existsContact 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.

Occupation:

Composers -- 20th century  Search this

Topic:

Musical films  Search this

Popular music -- Writing and publishing  Search this

Musical reviews, comedies, etc.  Search this

Genre/Form:

Business records -- 20th century

Memorabilia -- 20th century

Awards

Sheet music -- Manuscripts -- 20th century

Correspondence -- 20th century

Scripts (documents)

Posters -- 20th century

Theater programs -- 1910-1990

Legal records

Programs

Citation:

Harry Warren Papers, 1909-2000, Archives Center, National Museum of American History. Gift of Jophe Jones and Julia Riva.

Identifier:

NMAH.AC.0750

See more items in:

Harry Warren Papers

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep866a68fa0-73e3-4c39-9ce1-9425e269f431

EDAN-URL:

ead_collection:sova-nmah-ac-0750

Collector:

McNally, George E.  Search this

McNally, Neva Satterlee, -1909  Search this

Donor:

LaClair, Beatrice M.  Search this

Names:

Browning, Frances H. "Peaches", 1910-1956  Search this

Tovell, Albert  Search this

Extent:

1 Cubic foot (1 box)

Type:

Collection descriptions

Archival materials

Manuscripts

Sheet music

Photographs

Date:

1889-2000, undated

Summary:

Collection consists of photographs, commercially published sheet music, and original music manuscripts from the McNallys' vaudeville careers. Materials include minstrel show and blackface material; photo of Albert Tovell, once the master of ceremonies for Frances H. "Peaches" Browning; and a photograph of "Gov. Jordan," a blackface female impersonator.

Scope and Contents:

Series 1: Original Music Manuscripts/Arrangements contains original manuscripts used in the Hokem is Hokem act orchestrated by Neva Satterlee Mello. There are parts scores for five musical instruments and various instruments have additional music scores as well for individual selections. The series is arranged alphabetically.

Series 2: Commercial Sheet Music contains commercially printed sheet music, mostly from the vaudeville era with a few exceptions such as Hello Dolly and others. The series contains some well worn sheet music selections, some of which were presumably used by Neva's orchestra or the Hokem is Hokem troupe. One piece, Lily of the Valley, has been sewn along its spine by a sewing machine to help keep it together. The series is arranged alphabetically.

Series 3: Photographs contains photographs of George Mello and some of the Mello's/McNally's vaudeville contemporaries. Of special interest is one photograph of a man dressed in drag and blackface and a photograph of Albert Tovell, one time master of ceremonies for the somewhat infamous Frances H. Browning aka Peaches Browning (1910-1956). There is also another photograph of two men dressed in blackface.

Series 4: Memorabilia contains the music covers for the Hokem is Hokem act and one publication.

Arrangement:

Collection is divided into four series.

Series 1: Original Sheet Music

Series 2: Commercial Sheet Music

Series 3: Photographs

Series 4: Memorabilia

Biographical / Historical:

According to family history, Neva Satterlee at the age of seventeen formed an orchestra and was its leader for many years. At one time she was under contract with Charles Hoyt Productions, probably the same Hoyt of Morgan & Hoyt's who boasted a Ladies Band and Imperial Singing Orchestra on their bill. She was an accomplished musician and actress. Neva married George McNally and they took the stage surname of Mello. Neva did all the musical arrangements as she was the only one of the pair who could read music. Their home base was the town of Fulton, New York. The couple remained on the vaudeville circuit as entertainers until Neva's death during child birth in 1909. The couple had at least one child, Angeline McNally. George continued to work in vaudeville. The act was under the direction of George Mello and Eddie Shaw. The act, titled Hokem is Hokem, was a minstrel, musical revue style show and apparently consisted of at least five musical selections; the opening Hot-Time, followed by He's Goin' to Hab a Hot Time Bye an' Bye termed (the greatest coon song ever published), Tall Girl (arranged by Neva Satterlee Mello), Snaps, and The Man Behind the Plow. The act's band consisted of a piano, violin, cornet, trombone, drums, clarinet, and flute but may have included other instruments. According to family tradition, Mello ceased his vaudeville career by 1928.

The vaudeville tradition began in the aftermath of the Civil War when numerous minstrel companies began touring the country in minstrel shows presenting songs and comedy in an easily accessible format. Vaudeville became the staple American family entertainment during the late 19th and early 20th centuries. Tony Pastor gave the first big time vaudeville show in New York City in 1881 and by 1919 there were reportedly 900 vaudeville theatres in the country. Featuring a collection of sketches, short plays, popular songs, and simple comedy routines, the show often featured minstrel-type acts presented by actors in blackface. With the influx of immigrants in the latter 19th century, the tradition continued but was changed by European and ethnic influences. Booking agents operated in the major cities of New York, Chicago and San Francisco promoting and developing their own Vaudeville Acircuits. Booking agents booked small troupes of actors, specialty acts and musical performers to tour the circuit traveling from one town's vaudeville house to the next. (Encarta Encyclopedia, IATSE)

Provenance:

Collection donated to the Archives Center by the granddaughter of the McNallys, Beatrice M. LaClair, in 2000.

Restrictions:

Collection is open for research.

Rights:

Rights situation uncertain. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Blackface entertainers  Search this

Female impersonators  Search this

Minstrel shows -- 1900-1960  Search this

Musicians  Search this

Vaudeville  Search this

Genre/Form:

Manuscripts

Sheet music -- Manuscripts -- 19th century

Sheet music

Photographs -- 1890-1900

Photographs -- 1900-1950

Photographs -- Black-and-white photoprints -- 1910-1930

Citation:

George E. "Mello" and Neva Satterlee McNally Vaudeville Collection, 1889-1964, Archives Center, National Museum of American History. Gift of Beatrice M. LaClair.

Identifier:

NMAH.AC.0760

See more items in:

George E. "Mello" and Neva Satterlee McNally Vaudeville Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep880a70718-30df-4e5b-8d63-1c008a0a1c05

EDAN-URL:

ead_collection:sova-nmah-ac-0760

Author:

Via, Adina Mae, 1937-1966  Search this

Names:

Robinson, Franklin A., Sr., 1932-2023  Search this

Collection Collector:

Robinson, Franklin A., Jr., 1959- (actor)  Search this

Collection Creator:

Quinn, Terry (photographer)  Search this

Extent:

1 Item (Ink on paper., 10-1/2" x 8".)

Container:

Box 5, Folder 5

Type:

Archival materials

Letters (correspondence)

Holographs

Date:

[Jan. 15, 1951.]

Local Numbers:

AC0475-0000158.tif (AC Scan No.)

Collection Restrictions:

Collection is open for research but negatives and audiovisuial materials are stored off-site and special arrangements must be made to work with it. Some papers of living persons are restricted. Access to restricted portions may be arranged by request to the donor. Gloves required for unprotected photographs. Viewing film portions of the collection and listening to LP recording requires special appointment. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

Collection Rights:

The Archives Center does not own exclusive rights to these materials. Copyright for all materials is retained by the donor, Franklin A. Robinson, Jr.; permission for commercial use and/or publication may be requested from the donor through the Archives Center. Military Records for Franklin A. Robinson (b. 1932) and correspondence from Richard I. Damalouji (1961-2014) are restricted; written permission is needed to research these files. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Courtship  Search this

Genre/Form:

Letters (correspondence) -- 20th century.

Holographs -- 20th century

Collection Citation:

The Robinson and Via Family Papers, Archives Center, National Museum of American History, Smithsonian Institution

Sponsor:

Preservation of the 8mm films in this collection was made possible, in part, by a grant from the National Film Preservation Fund.

See more items in:

Robinson and Via Family Papers

Robinson and Via Family Papers / Series 2: Robinson Family / 2.6: Robinson, Franklin A. / 2.6.1: Correspondence, diaries, personal ephemera / Correspondence received from Via, Adina M.

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8792f1465-4761-4138-960d-89ab33581f1f

EDAN-URL:

ead_component:sova-nmah-ac-0475-ref1509

Author:

Via, Adina Mae, 1937-1966  Search this

Names:

Robinson, Franklin A., Sr., 1932-2023  Search this

Collection Collector:

Robinson, Franklin A., Jr., 1959- (actor)  Search this

Collection Creator:

Quinn, Terry (photographer)  Search this

Extent:

1 Item (Ink on paper., 10-1/4" x 8-1/2".)

Container:

Box 6, Folder 5

Type:

Archival materials

Letters (correspondence)

Holographs

Date:

[March 14, 1956.]

Scope and Contents:

Pencil, in brackets: "[April 1.]"

Local Numbers:

AC0475-0000163.tif (AC Scan No.)

Collection Restrictions:

Collection is open for research but negatives and audiovisuial materials are stored off-site and special arrangements must be made to work with it. Some papers of living persons are restricted. Access to restricted portions may be arranged by request to the donor. Gloves required for unprotected photographs. Viewing film portions of the collection and listening to LP recording requires special appointment. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

Collection Rights:

The Archives Center does not own exclusive rights to these materials. Copyright for all materials is retained by the donor, Franklin A. Robinson, Jr.; permission for commercial use and/or publication may be requested from the donor through the Archives Center. Military Records for Franklin A. Robinson (b. 1932) and correspondence from Richard I. Damalouji (1961-2014) are restricted; written permission is needed to research these files. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Courtship  Search this

Genre/Form:

Letters (correspondence) -- 20th century.

Holographs -- 20th century

Collection Citation:

The Robinson and Via Family Papers, Archives Center, National Museum of American History, Smithsonian Institution

Sponsor:

Preservation of the 8mm films in this collection was made possible, in part, by a grant from the National Film Preservation Fund.

See more items in:

Robinson and Via Family Papers

Robinson and Via Family Papers / Series 2: Robinson Family / 2.6: Robinson, Franklin A. / 2.6.1: Correspondence, diaries, personal ephemera / Correspondence received from Via, Adina M.

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep88ff79ca3-134b-497c-8a32-394e2de217f9

EDAN-URL:

ead_component:sova-nmah-ac-0475-ref1512

Creator:

Harper, Marion, 1916-1989 (advertising executive)  Search this

Names:

Interpublic.  Search this

McCann Erickson  Search this

Extent:

27 Cubic feet (51 boxes)

Type:

Collection descriptions

Archival materials

Papers

Notes

Family papers

Essays

Correspondence

Clippings

Awards

Personal papers

Date:

circa 1920-1995, undated

Summary:

Notes, clippings, published and unpublished manuscripts on business and marketing; but primarily personal materials.

Scope and Contents:

The collection primarily documents Harper's personal life, rather than his advertising career. It includes documents from Harper's years at boarding school and college and from the twenty years in Oklahoma City after his resignation from Interpublic. Only an occasional item illuminates the advertising agency years.

During the earliest years of his retirement, Harper was interested in finding a new niche on the business world, and the notes and manuscripts on business and marketing reflect his efforts to form new advertising agency partnerships. Unpublished manuscripts, proposals, clippings and reading notes in this period are largely concerned with scientific management theory and how semantics and marketing procedures can be used to help managers better achieve their objectives.

The remainder of the collection reflects Harpers' interest in developing a book or syndicated newspaper series advising the "mature, achieving woman" on how to achieve her full potential. Several complete versions of the manuscript, some in longhand, are supplemented by notes, corrections, comments, reading notes, clippings and other materials.

The material is arranged into five series. Series one is personal papers dating from 1924-1964. Series two consists of correspondence dating from 1920-1989. Professional materials dating from 1940-1986 are contained in series three. Series four is research notes and unpublished manuscripts dating from 1924-1990. The unpublished manuscript On Reaching for What You Can Become dating from 1984-1989 is in series five.

Arrangement:

Collection is arranged in five series:

Series 1, Personal Papers, 1926-1964, undated

Series 2, Correspondence, 1920-1989, undated

Series 3, Professional Materials, 1925-1988, undated

Series 4, Research Notes and Unpublished Manuscripts, 1947-1995, undated

Series 5, On Reaching for What You Can Become, 1982-1988, undated

Biographical/Historical note:

Marion Harper, Jr. (1916-1989) won distinction as founder of Interpublic, at one time the worlds' largest advertising agency conglomerate, and as a recognized innovator in the use of research in the preparation of effective advertising. His meteoric career terminated soon after his removal as Chairman and Chief Executive Officer of Interpublic in 1968. Harper devoted his remaining twenty years to other interests.

Harper was born in Oklahoma City on May 14, 1916. He attended Philips Academy in Andover, Massachusetts, and Yale University, where he majored in psychology and graduated tenth in the class of 1938. After college, he decided to follow the example of his father, an advertising executive with General Foods. His assignment to the McCann Erickson mailroom was the first step in an executive training program at the agency.

Known in the industry as the "boy wonder," Harper advanced in nine years from the mailroom to president of McCann Erickson, then the sixth largest advertising agency in America. In the succeeding ten years, his success in attracting new business and in acquiring smaller agencies made McCann Erickson second only to J. Walter Thompson in billings.

Harper saw an expanding role for advertising agencies using global communications and facilities to market "world brands." To achieve this he pioneered important structural changes. One was the agency holding company, The Interpublic Group, which circumvented the prevailing ethic that agencies should not represent competing accounts. Another was the elimination of a taboo which forbade agencies from raising capital by selling their common stock to the public. By the time Harper was deposed as chair in 1968, Interpublic had become a model for Saatchi & Saatchi and other advertising agencies to expand worldwide.

Harper's reputation as a "boy wonder" rested on more than his skill in acquiring new accounts and agencies. He was a voracious reader of scientific materials related to human motivation. At McCann Erickson he was noted for employing people without regard to race, creed or gender a rarity in advertising agencies of that era. He wrote and talked about the scientific application of semantics in the management of businesses and preparation of more effective advertising.

In 1942, he was named manager of copy research and in 1947, assistant to the president of the agency. The following year, at the age of 32, he was named president of the agency. In 1958, Harpers was named Chairman of the company, which changed its name to Interpublic three years later. By 1967, bankers had become concerned about declining Interpublic profits and on November 7, the six directors turned his power over to Robert Healy, a McCann Erickson executive recalled from semi retirement. On February 2, 1968, Marion Harper resigned.

Except for two brief and unsuccessful efforts to form new partnerships in advertising, Harper remained in seclusion in Oklahoma City. During those years, he returned to his voracious reading and his interest in semantics and human potential. Much of his effort during the last 10 years of his life was devoted to writing a manuscript advising "the well functioning" mature woman on ways to "reach her possibilities." Harper died on October 25, 1989.

Harper was the author of Getting Results from Advertising. He served as chair of the American Association of Advertising Agencies and the Advertising Research Foundation. He received the Parlin Award of the American Marketing Association Hall for contributions to the advancement of marketing, and was elected to the Market Research Council's Hall of Fame in the 1980s.

Related Materials:

Archives Center, National Museum of American History

AC421 Barton Cummings Papers, 1938-1991, undated

Provenance:

Collection donated by Ellen Harper Bridges,1990.

Restrictions:

Collection is open for research but is 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.

Topic:

Marketing  Search this

advertising  Search this

Advertising executives  Search this

Genre/Form:

Papers

Notes

Family papers

Essays

Correspondence -- 1930-1950

Clippings

Awards

Personal papers -- 20th century

Citation:

Marion Harper Papers, circa 1920-1995, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0394

See more items in:

Marion Harper Papers

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep800c1e719-e19c-4291-a1f4-e8b49c0ac32f

EDAN-URL:

ead_collection:sova-nmah-ac-0394

Creator:

Ellington, Duke, 1899-1974  Search this

Names:

Duke Ellington Orchestra  Search this

Washingtonians, The.  Search this

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.

"

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.

Occupation:

Composers -- 20th century  Search this

Topic:

Big bands  Search this

Pianists  Search this

Bandsmen -- 20th century  Search this

Jazz -- 20th century -- United States  Search this

Musicians -- 20th century  Search this

Music -- Performance  Search this

African American entertainers -- 20th century  Search this

African Americans -- History  Search this

Popular music -- 20th century -- United States  Search this

Music -- 20th century -- United States  Search this

African American musicians  Search this

Genre/Form:

Phonograph records

Papers

Photographic prints

Posters

Sound recordings

Scrapbooks -- 20th century

Music -- Manuscripts

Clippings

Awards

Audiotapes

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.

Identifier:

NMAH.AC.0301

See more items in:

Duke Ellington Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep850a376a1-6b6d-48bc-9076-cffef76fea2c

EDAN-URL:

ead_collection:sova-nmah-ac-0301

Composer:

Williams, Mary Lou, 1910-1981  Search this

Wells, Henry  Search this

Creator:

Strayhorn, Billy (William Thomas), 1915-1967  Search this

Collection Creator:

Ellington, Duke, 1899-1974  Search this

Extent:

13 Items (manuscripts, 32 cm.)

1 Item (copy score, 32 cm.)

Type:

Archival materials

Conductor scores

Copy scores

Manuscripts

Music

Parts (musical)

Place:

Chicago (Ill.)

Scope and Contents:

13 parts and 1 score.

Little Joe from Chicago is contained in one folder consisting of 1 two-page conductor score in Bb Major concert, and 13 parts in G Major concert -- in ink and pencil -- in unidentified hand (Whaley, other?).

Score indicates parts for alto 1, alto 3, tenor, tenor 2, baritone, trumpet. Score appears incomplete. Parts for 4 reeds - alto 1, alto 3, tenor, alto 4; 3 trumpets - 1, 2, 3; 3 trombones - 1, 2, 3; bass; guitar; piano. -- from the Duke Ellington Library.

Biographical / Historical:

Statement of responsibility taken from Popular Music, 1920-1979, ed. by Nat Shapiro.

Local Numbers:

AC0301-0000078.tif (AC Scan No.?)

General:

A part for "I'll see you in my dreams" is noted on the verso of the bass part. 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 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:

Conductor scores

Copy scores

Manuscripts

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.

See more items in:

Duke Ellington Collection

Duke Ellington Collection / Series 1: Music Manuscripts / 1.1: Music Manuscripts / 1.1.13: L / Little Joe From Chicago

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep84871ffd6-8fa3-4397-ad28-9fe6685d06ba

EDAN-URL:

ead_component:sova-nmah-ac-0301-ref51879

Composer:

Ellington, Duke, 1899-1974  Search this

Collection Creator:

Ellington, Duke, 1899-1974  Search this

Extent:

1 Item (Pencil on paper.)

Type:

Archival materials

Manuscripts

Place:

Chicago (Ill.)

Scope and Contents:

1 page. In pencil, with blue Tom Whaley stamp, upper right.

Local Numbers:

AC0301-0000078.tif (AC Scan No.)

General:

From 0301.Min 1839? See Bib. #169206.

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.

Genre/Form:

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.

See more items in:

Duke Ellington Collection

Duke Ellington Collection / Series 1: Music Manuscripts / 1.1: Music Manuscripts / 1.1.13: L / Little Joe From Chicago

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8b4739cee-371a-4bd9-beaa-125279e561f7

EDAN-URL:

ead_component:sova-nmah-ac-0301-ref53224

Composer:

Ellington, Duke, 1899-1974  Search this

Collection Creator:

Ellington, Duke, 1899-1974  Search this

Extent:

1 Item (Ink on paper.)

Container:

Box 227

Type:

Archival materials

Manuscripts

Holographs

Scope and Contents:

Note: this record duplicates part of the complete record for this composition.

Fragment, piano score.

Local Numbers:

AC0301-0000001.tif (AC Scan No.)

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.

Genre/Form:

Manuscripts -- Music -- 20th century

Holographs

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.

See more items in:

Duke Ellington Collection

Duke Ellington Collection / Series 1: Music Manuscripts / 1.1: Music Manuscripts / 1.1.14: M / Mood Indigo

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8fd8d0392-e776-4e8e-aa40-f3ff36234754

EDAN-URL:

ead_component:sova-nmah-ac-0301-ref53225

Composer:

Ellington, Duke, 1899-1974  Search this

Lyricist:

Hughes, Langston, 1902-1967  Search this

Collection Creator:

Ellington, Duke, 1899-1974  Search this

Extent:

1 Item (1 page, Ink on paper.)

Container:

Box 144 (Series 1)

Type:

Archival materials

Manuscripts

Holographs

Place:

Harlem (New York, N.Y.)

Scope and Contents:

Note: this record duplicates part of the complete record for this composition.

Local Numbers:

AC0301-0000003.tif (AC Scan No., first page)

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.

Genre/Form:

Manuscripts -- Music -- 20th century

Holographs

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.

See more items in:

Duke Ellington Collection

Duke Ellington Collection / Series 1: Music Manuscripts / 1.1: Music Manuscripts / 1.1.9: H / Heart Of Harlem verso You Can Count On Me

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep81e342612-1e82-4855-ac33-46d2968bce2c

EDAN-URL:

ead_component:sova-nmah-ac-0301-ref53227

Creator:

Ellington, Duke, 1899-1974  Search this

Collection Creator:

Ellington, Duke, 1899-1974  Search this

Extent:

1 Item (Pencil and ink on paper.)

Container:

Box 227

Type:

Archival materials

Manuscripts

Holographs

Scope and Contents:

Note: this record duplicates part of the complete record for this composition.

In Ellington's hand.

Local Numbers:

AC0301-0000005.tif (AC Scan No.)

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.

Genre/Form:

Manuscripts -- Music -- 20th century

Holographs

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.

See more items in:

Duke Ellington Collection

Duke Ellington Collection / Series 1: Music Manuscripts / 1.1: Music Manuscripts / 1.1.14: M / Mood Indigo

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8be0df023-5308-4779-ab37-b20a7f9c4615

EDAN-URL:

ead_component:sova-nmah-ac-0301-ref53229