Search Results

Creator:

National Association of Civilian Conservation Corps Alumni  Search this

Ward, C.E.  Search this

Civilian Conservation Corps (U.S.)  Search this

Bidwell, Timothy  Search this

Bires, Andrew, G.  Search this

Extent:

155 Cubic feet (331 boxes, 57 map folders)

Type:

Collection descriptions

Archival materials

Panoramas

Photographs

Newspapers

Pamphlets

Audiovisual materials

Newsletters

Books

Blueprints

Cartoons (humorous images)

Logs (records)

Manuals

Magazines (periodicals)

Menus

Memoirs

Rosters

Poems

Sheet music

Date:

1853-2009, undated

bulk 1933-1942

Summary:

The Archival collections of the National Association of Civilian Conservation Corps Alumni (NACCCA) donated in 2006. The Civilian Conservation Corps (CCC), created as part of the New Deal legislation initiated by President Franklin D. Roosevelt in 1933, was a public work relief program for unemployed men designed to reduce high unemployment during the Great Depression. The CCC carried out a broad natural resource conservation program on national, state, and municipal lands from 1933 to 1942. This collection contains papers, photographs, and ephemera collected and created by alumni of the CCC and donated to the NACCCA archives.

Scope and Contents:

This material was acquired by the National Association of Civilian Conservation Corps Alumni (NACCCA)from CCC alumni and originally housed in the NACCCA archives in St. Louis, Missouri. Photographic materials, including loose photos, slides, snapshots, group photos, panoramic photos, and albums and binders of photographs; printed materials, including newspapers published by individual companies, camps and districts, and the national CCC newspaper, Happy Days; materials documenting each camp, including camp histories, personal memoirs, blueprints of camps and projects worked on; the papers of C.E. Ward, Educational Director of the CCC's 3rd Corps, which document the planning and implementation of educational activities in that region; miscellaneous materials, including camp rosters, cartoons, menus, poems, pamphlets, booklets, magazines, manuals, enrollee discharge papers, work logs, and sheet music; and other more recent materials such as research papers, books on the CCC, selected audiotape and video interviews with some of the alumni; and other miscellaneous items. The collection is arranged into nine series.

Arrangement:

The collection is divided into nine series.

Series 1: Scrapbooks, 1853-2003, undated

Series 2: State Material, 1922-2008, undated

Series 3: Publications, 1924-2006, undated

Series 4: C.E. Ward, 3rd Corps, 1933-2001, undated

Series 5: Photographs, 1929-2008, undated

Series 6: General Ephemera, 1915-2006, undated

Series 7: Bidwell Addendum, 1933-1987, undated

Series 8: Bires Addendum, 1934-1985, undated

Series 9: Audiovisual Materials, 1933-2009, undated

Biographical / Historical:

The Civilian Conservation Corps (CCC) was a New Deal era program, created in 1933 to reduce unemployment, a direct result of the Great Depression. The CCC provided national conservation work across the United States for young, unmarried men. Veterans could be enrolled in the CCC after verification of their service by the Veteran's Administration. Veterans were exempt from the age and marriage restriction. Projects included planting trees, bulding flood barriers, combatting forest fires, maintaining forest roads and trails, and building recreational facilities in the National Park system and a host of other projects. There were separate CCC programs for Native Americans of recognized tribes and African Americans. In 1942, with the waning of the Great Depression and America's entry into World War II in December 1941, resources devoted to the CCC (men and materials) were diverted to the war effort. Congress ceased funding for the CCC and liquidation of the CCC was included in the Labor-Federal Security Appropriation Act (56 Stat. 569) on July 2, 1942, and for the most part completed by June 30, 1943. Appropriations for the liquidation of the CCC continued through April 20, 1948.

Related Materials:

Materials at Other Organizations

National Archives and Records Administration

Record Group 35, Civilian Conservation Corps

Provenance:

Collection donated by National Association of Civilian Conservation Corps Alumni in 2006.

Restrictions:

This collection is open for research use.

Researchers must handle unprotected photographs with cotton gloves. Researchers may 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 and as resources allow.

Viewing film portions of the collection requires special appointment, please inquire; listening to LP recordings is only possible by special arrangement.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view materials in cold storage. Using cold room materials requires a three hour waiting period. Contact the Archives Center at 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:

Conservation of natural resources -- 1930-1950  Search this

Depressions -- 1929 -- United States  Search this

National parks and reserves  Search this

New Deal, 1933-1939  Search this

State parks  Search this

Genre/Form:

Panoramas

Photographs -- 20th century

Newspapers

Pamphlets

Audiovisual materials

Newsletters

Books

Blueprints -- 20th century

Cartoons (humorous images)

Logs (records)

Manuals

Magazines (periodicals) -- 20th century

Menus

Memoirs

Rosters

Poems

Sheet music -- 20th century

Citation:

Civilian Conservation Corps Collection, Archives Center, National Museum of American History

Identifier:

NMAH.AC.0930

See more items in:

Civilian Conservation Corps (CCC) Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8f608a47e-d1a4-4b39-8a85-c1a7bf9c84b6

EDAN-URL:

ead_collection:sova-nmah-ac-0930

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:

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:

Lanza, Kenneth  Search this

Lanza, Anthony, 1925-1995  Search this

Extent:

1.33 Cubic feet (2 boxes)

Type:

Collection descriptions

Archival materials

Drawings

Diaries

Letters (correspondence)

Photographs

Place:

Japan -- World War, 1939-1945

Hiroshima-shi (Japan) -- History -- Bombardment, 1945

Date:

1925-1946

undated

bulk 1940-1946

Summary:

World War II personal papers, photographs, and printed material of Anthony R. Lanza, who served in the U.S. Army in Japan between 1944 and 1946.

Scope and Contents:

The collection documents Anthony Lanza's United States Army service in Japan during World War II, mostly through letters and photographs. Also included are miscellaneous items such as newsletters, clippings, drawings, Japanese travel and language guides, and official military papers. Particular research value lies in the photographic documentation of Hiroshima shortly after the atomic bomb was dropped, photographs of the Enola Gay, and an eyewitness account by a survivor.

Series 1, Photographs, 1925, 1944, 1945, 1946, undated, contains documentation of Lanza's time in Japan during World War II, divided by subject matter. Many of the photographs are annotated on the reverse side. Included in the collection are photographs of the Enola Gay, Hiroshima shortly after the atomic bomb was dropped, and the 308th General Hospital in Japan. There are also several photographs of landscapes and Japanese citizens. The folder containing street scenes includes one formal portrait of a Japanese family Lanza encountered in his travels. There are also photographs not taken in Japan, including images of Niagara Falls.

Series 2, Personal Papers, 1940s, undated, contains various papers that belonged to Lanza, including his diary, several letters to his mother written from Japan, a scrapbook, a first person account of the Hiroshima bombing written by Reverend John A. Siemes, military papers (special orders, immunization records, payroll information, and discharge papers), military newsletters, newspaper and magazine clippings, and various sketches and notes. The newspaper and magazine subjects contain information regarding a relative, a blurb about a DDT insecticide experiment, and information regarding musical performances.

Series 3, Materials Related to Japan, 1945, undated, contains two Japanese language books, a tourist magazine, and a book created for tourism about Japan dated 1945.

Arrangement:

The collection is arranged in three series.

Series 1, Photographs, 1925, 1944, 1945, 1946, undated

Series 2, Personal Papers, 1940s, undated

Series 3, Materials Related to Japan, 1945, undated

Biographical / Historical:

Dr. Anthony R. Lanza was born July 20, 1925, in New York City. He was inducted into the United States Army in March of 1944, worked at the 308th General Hospital in Japan, and received an honorable discharge in May of 1946. He attained the rank of Master Sergeant and received the American Campaign Medal, Good Conduct Medal, Asiatic Pacific Campaign Medal, and World War II Victory Medal. Lanza later worked as a public school teacher in Union, New Jersey, and Valley Stream, New York, as well as a faculty member of the School of Education at New York University. He also served as Chief of the NESA Education Branch in AID/Washington, as an Education Advisor in Turkey for nine years, and as a USAID Chief Education Officer in Guatemala, Afghanistan, and Pakistan for twelve years. He went on to work as Regional Education Officer for Africa for the Office of Overseas Schools in the U.S. State Department.

Related Materials:

World War II Bomb Damage Photographs contains photographs of the aftermath of the bombings in Nagasaki, Japan, and Manila in the Philippines. Emilio Segre Collection documents research relating to the development of the atomic bomb.

Provenance:

Anthony Lanza's son, Kenneth Lanza, donated this collection in 2005 and additional materials were donated in 2007.

Restrictions:

The collection is open for research use. 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:

Atomic bomb  Search this

Japanese language -- 1940-1950  Search this

Nuclear warfare  Search this

Military occupation -- Japan  Search this

Travel -- Japan  Search this

World War, 1939-1945  Search this

Genre/Form:

Drawings -- 1940-1950

Diaries -- 1940-1950

Letters (correspondence) -- 20th century.

Photographs -- Black-and-white photoprints -- Silver gelatin -- 1940-1950

Citation:

Anthony Lanza World War II Papers, Archives Center, National Museum of American History

Identifier:

NMAH.AC.0910

See more items in:

Anthony Lanza World War II Letters and Photographs

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep89becc5b3-fb32-4904-8c51-4647468a7677

EDAN-URL:

ead_collection:sova-nmah-ac-0910

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

Creator:

Smothers Brothers  Search this

Names:

Paulsen, Pat  Search this

Seeger, Pete, 1919-2014  Search this

Extent:

7 Cubic feet (21 boxes, 1 map-folder)

Type:

Collection descriptions

Archival materials

Biography files

Clippings

Color slides

Contact sheets

Contracts

Itineraries

Legal records

Letters (correspondence)

Photograph albums

Photographs

Color prints (photographs)

Programs

Press releases

Scrapbooks

Scripts (documents)

Date:

1959-2008, undated

Summary:

The collection documents the lives and careers of the Smothers Brothers, with emphasis on their 1960s television variety show, The Smothers Brothers Comedy Hour.

Scope and Contents:

Collection documents the private lives and professional careers of Tom and Dick Smothers, with emphasis on their television variety show, The Smothers Brothers Comedy Hour. The largest portion of the collection contains photographic materials. Publicity materials including press releases, programs, newspaper clippings, and magazine articles; correspondence containing fan mail (some from famous persons such as Lucille Ball, Jack Paar, and others), letters from viewers both complimentary and critical of shows, and letters from members of Congress; business records including contracts, tour itineraries, talent agency materials, scripts, and scrapbooks; and legal documents relating to the lawsuit against Columbia Broadcasting System (CBS) are also found in the collection. Collection is arranged into three series: Series 1, Photographs, 1961-2007, undated; Series 2, Business Records, 1959-2002, undated; and Series 3, Personal Papers, 1966-2008, undated.

Arrangement:

Collection is arranged into three series:

Series 1: Photographic Materials, 1961-2007, undated

Subseries 1.1: Television Shows, 1966-1989, undated

Subseries 1.2: Specials, Tours, and Public Appearances, 1964-1988, undated

Subseries 1.3: Motion Picture Films and Theatre, 1969-1982

Subseries 1.4: General, 1961-2007, undated

Subseries 1.5: Promotional, 1961-2003, undated

Series 2: Business Records, 1959-2002, undated

Subseries 2.1: Press, 1960-2002, undated

Subseries 2.2: Employee Files, 1959-1999, undated

Subseries 2.3: Smothers Brothers v. Columbia Broadcasting System, Incorporated (CBS), 1966-1972, undated

Subseries 2.4: Correspondence, 1960-1996

Subseries 2.5: Performance Materials, 1962-1993, undated

Subseries 2.6: Fan Club, 1990-1992, undated

Series 3: Personal Papers, 1966-2008, undated

Related Materials:

Materials in the Archives Center, National Museum of American History

Duncan Family Yo-Yo Collection NMAH.AC.0807

Colonna, Farrell Wine Label Collection NMAH.AC.0626

Sam DeVincent Collection of Illustrated American Sheet Music, Series 16: Country, Western and Folk Music NMAH.AC.0300

Bob Rule Papers, NMAH.AC.0855

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:

Comedy  Search this

Folk singers  Search this

Television personalities  Search this

Television  Search this

Variety shows (Television programs) -- Production and direction  Search this

Genre/Form:

Biography files

Clippings -- 20th century

Color slides -- 20th century

Contact sheets

Contracts

Itineraries

Legal records

Letters (correspondence) -- 20th century.

Photograph albums

Photographs -- 20th century

Color prints (photographs) -- 20th century

Photographs -- Black-and-white photoprints -- 20th century

Photographs -- Black-and-white negatives -- 20th century

Photographs -- Black-and-white negatives -- Acetate film

Programs

Press releases

Scrapbooks

Scripts (documents)

Citation:

Smothers Brothers Collection, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.1437

See more items in:

Smothers Brothers Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep83ece83d3-a6c8-44b1-8d02-c25507efbd68

EDAN-URL:

ead_collection:sova-nmah-ac-1437

Creator:

Norvo, Red, 1908-1999  Search this

Donor:

Corlin, Portia Norvo  Search this

Extent:

4 Cubic feet (7 boxes)

Type:

Collection descriptions

Archival materials

Awards

Biographies

Correspondence

Photographs

Clippings

Interviews

Date:

1932-1998

Summary:

Correspondence, transcripts of interviews, photographs, a biography, a discography, an award, printed material and other miscellany documenting the life and career of Red Norvo.

Scope and Contents:

The Red Norvo Papers consist of correspondence, transcripts of interviews with Red Norvo, miscellaneous publications (catalogues, monographs, newsletters, pamphlets, programs), periodicals, articles and clippings, photographs, and several miscellaneous documents: various advertisements, a hotel receipt, liner notes, an award from Metronome, a biography prepared by Capitol Records, a Red Norvo discography, a concert engagement advertisement in the form of a postcard, a poster (Benny Goodman), and a Red Norvo concert tour itinerary.

Arrangement:

Divided into 7 series: Series 1: Correspondence, 1939-1997; Series 2: Red Norvo Interview Transcripts, 1991-1993; Series 3: Miscellaneous Publications; Series 4: Miscellaneous Documents; Series 5: Periodicals, Series 6: Periodical Articles and News Clippings; Series 7: Photographs.

Biographical / Historical:

Along with Lionel Hampton, Red Norvo stands as one of the most celebrated and influential figures in the history of Jazz vibraphone. Norvo was born Kenneth Norville in Beardstown, Illinois on March 31, 1908. He began studying marimba at an early age and played in a rhumba band in 1925. After a brief stint as a tap dancer and conductor on the Vaudeville circuit, Norvo played xylophone with the Paul Whiteman Orchestra. He later married the band's singer, Mildred Bailey, and together they were known as Mr. and Mrs. Swing. From the late 1930's through the early 1940's Norvo lead his own orchestra (with arrangements by Eddie Sauter) and his own sextet.

In 1944 Norvo switched permanently to vibraphone and joined the Benny Goodman Sextet. In 1945 the Red Norvo Selected Sextet (featuring Charlie Parker and Dizzy Gillespie) recorded Hallelujah, Get Happy, Slam Slam Blues, and Congo Blues—an event that many critics regard as helping to commence the bebop era and the establishment of modern jazz. In 1946 Norvo played with Woody Herman's First Herd. But in Norvo's formative years it was the improvisational piano style of Teddy Wilson that most influenced his own style of play. In 1950 Norvo founded the Red Norvo Trio, which included Tal Farlow on guitar and Charles Mingus on bass. Norvo also performed and recorded with a quintet. He settled in Santa Monica, California and became a prolific recording musician with Capitol and other labels. Most of the essential singers of the period either performed or recorded with him: Frank Sinatra, Billie Holiday and Peggy Lee to name a few. Norvo notably backed Sinatra on his Australian tour in 1959 and appeared with him in the 1960 film, Ocean's Eleven. In 1961 Norvo began to suffer hearing loss, a condition which worsened throughout the remainder of his life. In the 1970's he performed mainly in Las Vegas. He died April 6, 1999 in Santa Monica.

Related Materials:

Materials in the Archives Center

Benny Carter Collection (NMAH.AC.0757)

Milt Gabler Papers (NMAH.AC.0849)

Jazz Oral History Program Collection(NMAH.AC.0808)

William Russo Music and Personal Papers(NMAH.AC.0845) Jack Siefert/Woody Herman Collection(NMAH.AC.0659) Ernie Smith Jazz Film Collection (NMAH.AC.0491)

Provenance:

The collection was donated to the Archives Center by Portia Norvo Corlin on April 1, 2004.

Restrictions:

Collection is open for research and access on site by appointment. Unprotected photographs must be handled 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:

Periodicals  Search this

Vibraphone  Search this

Jazz  Search this

Jazz musicians -- United States  Search this

Music -- 20th century  Search this

Genre/Form:

Awards

Biographies

Correspondence -- 20th century

Photographs -- 20th century

Clippings -- 20th century

Interviews -- 1990-2000

Citation:

Red Norvo Papers, 1932-1997, Archives Center, National Museum of American History. Gift of Portia Norvo Corlin.

Identifier:

NMAH.AC.0858

See more items in:

Red Norvo Papers

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8b2c9ef61-86a8-4078-bfa5-98cf05e3fad7

EDAN-URL:

ead_collection:sova-nmah-ac-0858

Author:

LeGon, Jeni, 1916-  Search this

Names:

Robinson, Bill, 1878-1949  Search this

Extent:

1 Cubic foot (3 boxes, includes photographs)

Type:

Collection descriptions

Archival materials

Letters (correspondence)

Programs

Photographs

Clippings

Itineraries

Advertisements

Date:

1930-2002, undated

Summary:

Collection documents the career of Jeni LeGon as a dancer, dance instructor, and actress.

Scope and Contents:

Collection documents LeGon's career as a dancer, dance instructor, and actress. Materials include biographical information, correspondence, photographs, early travel itineraries, schedules, personal calendars, printed advertisements, invitations to dance events, programs, newspaper clippings, magazine articles, and awards. The collection is arranged into four series: Series 1, Biographical Information and Publicity, 1930s; Series 2, Theatre and Motion Picture Film, 1935-1945, undated; Series 3, Dance Instruction and Performances, 1953-2002, undated; and Series 4: Tributes and Awards, 1979-2002.

Arrangement:

The collection is arranged into four series:.

Series 1, Biographical Information and Publicity

Series 2, Theatre and Motion Picture Film, 1935-1945

Series 3, Dance Instruction and Performances, 1953-2002, undatred

Series 4, Tributes and Awards, 1979-2002

Biographical / Historical:

Jeni LeGon was born in Chicago, Illinois in 1916. Her long, successful career as an African American dancer and actress began in musical theatre and vaudeville. In the 1930s she traveled across the southern United States performing first with the Whitman Sisters company and then with her half-sister, Willa Mae Lane, as the LeGon and Lane song-and-dance team. By 1935, LeGon was working under contract with Fox Studios, RKO Pictures, and MGM performing with Bill "Bojangles" Robinson, Waters and Al Jolson, and Fred Astaire. Throughout the years she performed on Broadway and in other theaters and clubs including the Apollo, Cafe de Paris, Howard, Paramount, and Lincoln. Beginning in the 1950s she offered dance instruction in Los Angeles, California at the Jeni LeGon Dance Studio and Drama and Dance Playhouse; and in Vancouver, British Columbia, where she taught tap and pointe. She died on December 7, 2012 at the age of ninety-six.

Related Materials:

Archives Center, National Museum of American History

Smithsonian Jazz Oral History Program Collection (AC0808)

Ernie Smith Jazz Film Collection (AC0491)

Program in African American Culture Collection (AC0408)

Frank Schiffman Apollo Theatre Collection (AC0540)

Provenance:

The collection was donated to the Archives Center by Jeni LeGon in 2002.

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:

African American women entertainers  Search this

African American women  Search this

Dance in motion pictures, television, etc.  Search this

Dance, Black  Search this

Dancers  Search this

Actresses  Search this

Tap dancing  Search this

Genre/Form:

Letters (correspondence) -- 20th century.

Programs -- 1930-2000

Photographs -- 20th century

Clippings

Itineraries

Advertisements -- 20th century

Citation:

Jeni LeGon Papers, 1930s-2002, undated, Archives Center, National Museum of American History, Smithsonian Institution

Identifier:

NMAH.AC.0829

See more items in:

Jeni LeGon Papers

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8b5972ffb-e9ea-40ec-baa7-7fc43d772a76

EDAN-URL:

ead_collection:sova-nmah-ac-0829

Creator:

Cheatham, Doc, 1905-1997  Search this

Cheatham, Amanda  Search this

Extent:

11 Cubic feet (23 boxes)

Type:

Collection descriptions

Archival materials

Home movies

Interviews

Parts (musical)

Passports

Photographs

Posters

Programs

Motion pictures (visual works)

Sheet music

Appointment books

Address books

Clippings

Awards

Date:

1939-1998

Summary:

Papers documenting Cheatham's career as a jazz trumpeter. The papers include passports, appointment and address books; photographs, both personal and professional; a transcript of an interview of Cheatham; sheet music, including parts for various instruments; home movies from Cheatham's travels; awards and certificates; printed material including posters, programs, clippings.

Scope and Contents:

The Adolphus "Doc" Cheatham Papers contain publications, photographs, correspondence, memorabilia, autobiographical materials, music, awards, and audio and visual recordings documenting his life and career as a big band and jazz trumpeter.

The collection is 11 cubic feet and is organized into five series: Series 1: Publications, Series 2: Photographs and Artwork, Series 3: Personal Papers and Memorabilia, Series 4: Music and Awards, and Series 5: Audioviusal Materials. The majority of the material dates from the mid-1930s to the late 1990s.

Arrangement:

The collection is arranged into five series.

Series 1: Publications, circa 1950s-1990s

Series 2: Photographs and Artwork, 1930s-1990s

Series 3: Personal Papers and Memorabilia, circa 1930s-1990s

Series 4: Music and Awards, circa 1940s-1990s ' Series 5: Audiovisual Materials, circa 1930s-1990s

Biographical / Historical:

Adolphus "Doc" Cheatham (1905-1997) was born in Nashville, Tennessee. He grew up playing trumpet and saxophone in the pit orchestra of the Bijou Theater where he accompanied such blues artists as Ma Rainey and Bessie Smith. His first professional break was with Marion Hardy's band for the Sunshine Sammy Revue.

After touring with Hardy's band in 1924, Cheatham taught himself to read music and moved to Chicago, where he became acquainted with Louis Armstrong. Under the influence of Armstrong, Cheatham decided to play trumpet exclusively and eventually subbed for Armstrong. While in Chicago, Cheatham also worked with Wilbur De Paris and Chick Webb. Between 1927 and 1930 he toured Europe as the lead trumpet player for Sam Wooding.

When Cheatham returned to the United States in 1930, he joined Marion Hardy's Alabamians, but eventually took a position in McKinney's Cotton Pickers. In 1933 he joined Cab Calloway's Orchestra and toured with him for nine years, including a tour of South America. Cheatham took a few months off in 1933 but soon found himself in recording studios with such jazz legends as Count Basie and Billie Holiday. During recording sessions and performances throughout the 1940s Cheatham continued to develop his skills as a trumpet soloist in big bands and smaller ensembles.

The eventual decline of big bands in the 1950s led Cheatham to explore Latin music. As a result, he performed with Marcelino Guerra, Perez Prado, and Machitos Band. Cheatham reunited with Wilbur De Paris in 1957 for a tour of Africa and in the following year he toured Europe with Sammy Price. In 1960 he returned to Africa with Herbie Mann and later moved to New York where he led his own band.

During the 1960s Cheatham decided to build on his past music influences to improve himself as a soloist and improviser. Consequently, he gained an international reputation as a trumpet soloist. It was at this time that he also began singing on his recordings. Throughout the rest of his career he remained in high demand on the concert and festival circuit.

Cheatham continued performing and recording into the 1990s. Every Sunday for the last years of his life he played at Sweet Basil, his "hangout" club in New York. In 1996 he recorded an album with then newcomer Nicholas Payton. However, the morning after a 1997 concert with Payton in Washington, D.C. Cheatham suffered a fatal stroke. He did not live to see his collaboration with Payton receive a Grammy for Best Jazz Instrumental Performance in 1998.

Separated Materials:

The Division of Culture and the Arts (now Division of Cultural and Community Life) holds related artifacts: a trumpet, trumpet mutes, bowtie, and pair of glasses.

Provenance:

The collection was donated to the Archives Center by Amanda N. Cheatham, widow of Doc Cheatham, June, 2002.

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 musicians -- United States  Search this

Trumpet players -- 20th century  Search this

Genre/Form:

Home movies

Interviews

Parts (musical)

Passports

Photographs -- 20th century

Posters -- 20th century

Programs -- Concerts

Motion pictures (visual works)

Sheet music

Appointment books

Address books

Clippings -- 20th century

Awards

Citation:

Doc Cheatham Papers, 1939-1998, Archives Center, National Museum of American History

Identifier:

NMAH.AC.0814

See more items in:

Doc Cheatham Papers

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep83f5c787e-004e-4ef7-aacf-d2032e6b0930

EDAN-URL:

ead_collection:sova-nmah-ac-0814

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

Creator:

Kliman, Jeffrey, 1942-  Search this

Names:

District Curators Jazz Arts Festival.  Search this

District Curators.  Search this

Extent:

0.25 Cubic feet (11 boxes)

Type:

Collection descriptions

Archival materials

Contact prints

Black-and-white photographic prints

Photographs

Place:

Washington (D.C.) -- 1990-2000

Date:

1993 - 2001

Scope and Contents:

This collection documents the District Curators Jazz Arts Festivals held in Washington, D.C. between 1993 and 1998 and the Kennedy Center's Mary Lou Williams' Women in Jazz Series, 1996-2000. The subjects of the District Curators Festivals include the Steve and Iqua Colson Sextet, Sonny Sharrock Band, Don Bryon Quartet, David Sanchez, David Murray, Danilo Perez Trio, Reggie Workman, Andrew White, Wayne Shorter, Roy Hargrove, Sonny Sumter, and the Roy Haynes Quartet. Subjects of the Kennedy Center's Series include Jerri Allen, Dorothy Donogan, Dottie Dodgion, the Maria Schneider Jazz Orchestra, Shirley Scott, Ann Patterson and the all-women band "Maiden Voyage," Roberta Piket, Vanessa Reuben, Jamie Baum, Chris Connor, Claire Dale, Sherrie Maricle and "Diva," and Marian McPartland.

The collection is organized into four series: Series One, District Curators Jazz Arts Festival Contact Sheets (1993-1998); Series Two, District Curators Jazz Arts Festival Prints (1993-1998), and Series Three, Kennedy Center's Women in Jazz Series (1996-2000).

Series 1, Contact Sheets (1993-1998), is comprised of seventy-one 11x14-inch black-and-white contact sheets of 10 photo shoots of the District Curators Jazz Arts Festivals, 1993-1998. The contact sheets provide an overall context for the shoots. Each contact sheet has been numbered by the photographer, indicating its place among the contact sheets for the shoot, e.g., 1/7, 2/7, etc. The contact sheets are arranged chronologically by event date. N.B.: The photographer has numbered the contact sheets for the "Jazz Arts, July 1997" shoot 1/17 through 16/17. The contact sheets for the "Trane was Spiritual, September 1997" shoot are numbered 1/8 through 7/8.

Series 2, Prints (1993-1998, undated), is comprised of fifty-one 5x7-inch black-and-white images printed on 8x10-inch paper. The prints in Series Two are largely of frames from the contact sheets in Series One. A small number of prints in this series are not taken from the contact sheets and are undated. Each print in the series has been numbered by the photographer. For each print, the container list gives the photographer's number in brackets as well as the contact sheet from which the image is taken. The series is arranged chronologically.

Series 3, Kennedy Center's Mary Lou Williams' Women in Jazz Series Contact Sheets (1996-2000), contain fifty-six 8x10-inch black-and-white contact sheets of photo shoots of the Women in Jazz series. The photographs focus on female performers both on and off stage. All contact sheets are arranged chronologically by year.

Arrangement:

Collection arranged into four series.

Series 1:District Curators Jazz Arts Festivals Contact Sheets, 1993-1998

Series 2: District Curators Jazz Arts Festivals Prints, 1993-1998, undated

Series 3: Kennedy Center's Mary Lou Williams "Women in Jazz" Contact Sheets, 1996-2000

Series 4: Kennedy Center's Mary Lou Williams "Women in Jazz" Exhibition Prints, 1994-2001

Series 5: Kennedy Center Jazz Programming, 1996-2000

Biographical / Historical:

Jeffrey Kliman was born in Everett, Massachusetts, March 5, 1942, son of Harry Kliman, one half of the Herschel & Lewis tap-dancing, roller skating team that worked on Broadway and the "Metro Circuit" between 1930 and 1937. Jeffrey Kliman's mother was Janette "Netty" Harris. Reared in middle-class Massachusetts, Jeffrey encountered an eclectic range of music that included opera -- his grandfather sang in the chorus of the Metropolitan Opera in the 1920s—the "race music" of Wolfman Jack, and the Symphony Syd Turin gospel radio show where he first heard the music of Dizzy Gillespie. In 1956 he took a job in the record department of Boston's Lechmere Department Store and listened to the music of Count Basie, Gerry Mulligan, Duke Ellington, and Stan Kenton.

Between 1959 and 1963 Kliman attended the University of Massachusetts as a pre-veterinary major. In 1960 he hosted a two-hour jazz radio show for WMUA, the university's radio station. Failing grades forced him to withdraw from the veterinary program. Eventually Kliman completed a degree as a film and TV major. He left for New York City in February, 1964, to begin a career in television advertising. In 1965 he borrowed a 35mm camera and began taking photographs of various musicians who played at the Fillmore. Kliman did free-lance work by night as a photographer for Rolling Stone, Family Circus, and Zigot while he continued to work by day as a producer for Dolphin Productions.

Kliman worked predominantly in advertising until 1986, when he relocated to Baltimore, Maryland, to start a new career as photographer of jazz musicians. "Anytime I saw jazz I would go and shoot -- Left Bank, DC Jazz Curators, street events." Currently he works as a free-lance photographer for Jazz Times and Down Beat. His primary interest is photographing up-and-coming jazz musicians performing in the Baltimore/Washington region.

Provenance:

The first portion of this collection was donated to the Archives Center by Jeffrey Kliman on December 22, 1997.

Restrictions:

Unrestricted research use on site by appointment. Unprotected photographs must be handled with cotton gloves.

Rights:

Jeffrey Kliman retains copyright. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Jazz musicians -- American -- 1990-2000  Search this

African American musicians  Search this

Music -- 20th century  Search this

Musicians  Search this

Jazz -- 1990-2000  Search this

Music festivals -- 1990-2000  Search this

Genre/Form:

Contact prints -- 1990-2000

Black-and-white photographic prints -- Silver gelatin -- 1950-2000

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

Citation:

Jeffrey Kliman Photographs, Archives Center, National Museum of American History

Identifier:

NMAH.AC.0628

See more items in:

Jeffrey Kliman Photographs

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8beed5663-2639-40f2-b63f-c42b9ac290f0

EDAN-URL:

ead_collection:sova-nmah-ac-0628

Creator:

Nordskog, Arne, 1885-1962  Search this

Names:

Behymer, Lynden Ellsworth, 1862-1947  Search this

Cadman, Charles Wakefield, 1881-1946  Search this

Cohen, Sol B., 1891-  Search this

Gentle, Alice  Search this

Hayes, Roland, 1887-1977  Search this

Noack, Sylvain  Search this

Oberhoffer, Emil, 1867-1933  Search this

Ory, Edward "Kid", 1886-1973  Search this

Sarli, Antonio  Search this

Schumann-Heink, Ernestine, 1861-1936  Search this

Tanguay, Eva, 1878-1947  Search this

Tsianina, Princess  Search this

Extent:

0.3 Cubic feet (1 box, 1 map-folder)

Type:

Collection descriptions

Archival materials

Photographs

Programs

Correspondence

Business records

Drawings

Date:

1915-1924

Scope and Contents:

Papers relating to the early musical history of Los Angeles, California, and Nordskog's work in promoting it. Includes letters, drawings, writings, photographs, business records, and printed material. The names listed below are represented in the collection by letters or photographs.

Arrangement:

Divided into 6 series.

Biographical / Historical:

Los Angeles music promoter, he also owned a recording studio and record label, Nordskog Records.

Provenance:

Gift.

Restrictions:

Collection open for research on site by appointment. Unprotected photographs must be handled 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:

Music -- California -- Los Angeles  Search this

Music -- Performance -- California -- Los Angeles  Search this

Music trade  Search this

Promoters  Search this

Genre/Form:

Photographs -- 1900-1950

Programs -- Concerts

Correspondence -- 1900-1950

Business records -- 1910-1930

Drawings -- 20th century

Citation:

Arne Nordskog Collection, 1915-1924, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0539

See more items in:

Arne Nordskog Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep88d4e830a-eb52-4668-b0ae-ea5baedfbb2d

EDAN-URL:

ead_collection:sova-nmah-ac-0539

Creator:

Vip (Virgil Franklin Partch), 1916-  Search this

Partch, Virgil Franklin, 1916-  Search this

Goodman, Benjie  Search this

Addams, Charles, 1912-1988  Search this

Names:

Gibson Co.  Search this

Jubilee Singers  Search this

Northeast Conservatory of Music.  Search this

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

Norton, I.F. (trumpeter) -- Etching  Search this

Former owner:

National Museum of American History (U.S.). Division of Musical History  Search this

Extent:

1 Boxe

Container:

Box 1

Type:

Collection descriptions

Archival materials

Photograph albums

Etchings

Diplomas

Cartoons (humorous images)

Albums

Drawings

Sheet music

Programs

Date:

1872-1984

Scope and Contents note:

Miscellaneous documents and pictorial items related to music, and a set of documents associated with Gibson banjoes.

Series 1:,The first group includes a diploma from the Northeast Conservatory of Music (1872); a painted etching of I. F. Norton, trumpeter; a drawing of Benny Goodman's studio by Benjie Goodman (1984); a photograph of Benny Goodman; original ink cartoons by Charles Addams and Virgil Partch; a newspaper advertisement for the Jubilee singers; sheet music; and memorabilia from a vaudeville act.

Series 2:The banjo material includes tickets, letters, programs, and photograph albums.

Arrangement:

2 series. Unarranged.

Biographical / Historical:

This collection contains musical history documents and graphics.

Provenance:

Collection donated to the Division of Musical History, National Museum of American History.

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:

Clarinetists -- 20th century  Search this

Banjo music  Search this

Vaudeville  Search this

Trumpet players -- 20th century  Search this

Studios and workshops -- Drawings  Search this

Musicians -- 20th century  Search this

Genre/Form:

Photograph albums

Etchings

Diplomas

Cartoons (humorous images) -- 1940-1980

Albums

Drawings -- 1980-1990

Sheet music

Programs -- Concerts

Identifier:

NMAH.AC.0485

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8624c8ad8-9f60-49d3-b14b-9ee220d5eb2d

EDAN-URL:

ead_collection:sova-nmah-ac-0485

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