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Jazz Music and Film Clips

Creator:
Cooper Hewitt, Smithsonian Design Museum  Search this
Type:
Youtube videos
Uploaded:
2017-04-05T15:33:30Z
Topic:
Design  Search this
Youtube Category:
Education  Search this
See more by:
cooperhewitt
YouTube Channel:
cooperhewitt
Data Source:
Cooper Hewitt, Smithsonian Design Museum
EDAN-URL:
edanmdm:yt_4BhDnCJS3oI

Mack Gordon Papers

Composer:
Myrow, Josef  Search this
Revel, Harry -- 20th century  Search this
Warren, Harry, 1893-1981 -- 20th century  Search this
Creator:
Gordon, Mack, 1904-1959  Search this
Actor:
Berle, Milton  Search this
Dailey, Dan  Search this
Dunne, Irene -- 20th century  Search this
Faye, Alice -- 20th century  Search this
Gable, Clark, 1901-1960 -- 20th century  Search this
Henie, Sonja, 1912-1969 -- 20th century  Search this
Lombard, Carole -- 20th century  Search this
O'Hara, Maureen -- 20th century  Search this
Oakie, Jack, 1903-1978 -- 20th century  Search this
Payne, John -- 20th century  Search this
Power, Tyrone, 1914-1958 -- 20th century  Search this
Taylor, Robert -- 20th century  Search this
Singer:
Cantor, Eddie, 1892-1964  Search this
Crosby, Bing, 1904-1977  Search this
Fisher, Eddie -- 20th century  Search this
Jolson, Al, d. 1950 -- 20th century  Search this
Langford, Frances -- 20th century  Search this
Merman, Ethel -- 20th century  Search this
Dancer:
Castle, Nick -- 20th century  Search this
Producer:
Grainger, Edmund -- 20th century  Search this
Director:
Taurog, Norman -- 20th century  Search this
Extent:
1 motion picture film
3 Cubic feet (9 boxes)
Type:
Collection descriptions
Archival materials
Motion picture films
Motion pictures (visual works)
Motion picture stills
Passports
Contracts
Correspondence
Clippings
Business records
Photographs
Scrapbooks
Photograph albums
Songs
Writings
Scripts (documents)
Sheet music
Date:
1926-1977, undated
Summary:
Mack Gordon (1904-1959) was a prolific and successful songwriter, lyricist, and composer. He composed songs for stage and screen. He and Harry Warren won the Academy Award for Best Song in 1943.
Scope and Contents:
The papers document the life and career of songwriter Mack Gordon. They include business records, both personal and business correspondence, contracts, royalty statements, commercially published sheet music, a script for the motion picture Three Little Girls in Blue, photograph albums, a scrapbook of clippings, original music manuscripts, notes and writings that may have served as mnemonic devices for song ideas, an excerpt from the Paramount short film, The Collegians, funeral materials, name change documents, and a passport. The production and creative files give insight into Gordon's creative process, and ideas for lyrics, song titles, and word play are found throughout these files.

The collection is organized in seven series.

Series 1: Production and Creative Files, 1931-1950, undated. This series contains files relating to motion picture and theatrical productions, both produced and unproduced. This series also contains unidentified lyric notes, instrumental sketches, and themes.

Series 2: Business Records, 1931-1975, undated. This series contains business records, royalty contracts, telegrams, correspondence and other business records pertaining to Gordon and his work for theatrical and motion picture companies.

Series 3: Original Music Manuscripts, 1940-1952, undated. This series contains original music manuscripts written by Gordon.

Series 4: Commercial Sheet Music, 1928-1959, undated. This series contains commercially published sheet music. The sheet music was bound by Gordon into volumes he titled, Majors & Minors, there is also a folder of unbound sheet music.

Series 5: Personal and Family, 1935-1977, undated. This series contains personal documents such as passports, life insurance documents, name change documents, the auction catalogue from the sale of furnishings at Gordon's Pacific Palisades home. This series also contains personal correspondence from singer Sandra Werner to Gordon.

Series 6: Photographs, 1933-1956, undated

Series 7: Audio-Visual, 1926
Arrangement:
The collection is organized in seven series.

Series 1: Production and Creative Files, 1931-1950, undated

Series 2: Business Records, 1931-1975, undated

Series 3: Original Music Manuscripts, 1940-1952, undated

Series 4: Commercial Sheet Music, 1928-1959, undated

Series 5: Personal and Family, 1935-1977, undated

Series 6: Photographs, 1933-1956, undated

Series 7: Audio-Visual, 1926
Biographical / Historical:
Mack Gordon was a prolific and successful songwriter, lyricist, and composer who composed songs for stage and screen. Born Morris Gitler (he legally changed his name to Mack Gordon in later life) in Poland on June 21, 1904, his family immigrated to the United States in 1908 and settled in New York. His early career was as a performer in vaudeville and minstrel shows, but by the early 1930s he had formed a songwriting partnership with pianist Harry Revel. Gordon wrote for the Broadway stage and eventually made his way to Hollywood where he worked at a number of different motion picture studios.

In addition to Revel, Gordon worked with such well-known composers as Harry Warren, with whom he won his only Academy Award for Best Song for "You'll Never Know" from Hello Frisco Hello, and Josef Myrow, to name just three. Some of his more famous songs are "Chattanooga Choo Choo," "At Last," and "Did You Ever See a Dream Walking?". He was nominated for the Academy Award nine times and became a member of the Songwriters Hall of Fame. He died on February 28, 1959 in New York City (some biographies have his date of death as March 1), and is entombed at the Corridor of Immortality at the Home of Peace Memorial Park, Los Angeles, California.
Provenance:
Collection donated to the Archives Center, National Museum of American History, Smithsonian Institution by Jack Gordon, son of Mack Gordon, in 2015.
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:
Motion pictures -- 1930-1940  Search this
Motion pictures, American  Search this
Motion pictures and music -- 1930-1970  Search this
Motion picture actors and actresses  Search this
Theater  Search this
Musicals  Search this
Music -- 20th century  Search this
Motion pictures  Search this
Musical theater  Search this
Music -- United States  Search this
Composers  Search this
Genre/Form:
Motion pictures (visual works) -- 1930-1950
Motion picture stills
Passports
Contracts -- 20th century
Correspondence -- 20th century
Clippings -- 20th century
Business records -- 20th century
Photographs -- Black-and-white photoprints -- Silver gelatin -- 20th century
Scrapbooks -- 1930-1940
Photograph albums -- 20th century
Songs
Writings
Scripts (documents)
Sheet music -- 20th century
Citation:
Mack Gordon Papers, 1926-1977, undated, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.1363
See more items in:
Mack Gordon Papers
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-1363

Jazz and Big Band Collection

Creator:
Morrow, Buddy  Search this
Mooney, Art  Search this
Timbrell, Tiny, 1917-1992  Search this
Stacy, Jess, 1904-1995  Search this
Wilson, Teddy, 1912-1986  Search this
Glen Gray Band  Search this
Gabler, Milt  Search this
Fields, Shep  Search this
Dick Jurgens  Search this
James, Harry  Search this
Horace Heidt  Search this
Lombardo, Guy  Search this
Kay Kyser  Search this
Duchin, Eddy, 1909-1951  Search this
Goodman, Benny (Benjamin David), 1909-1986  Search this
McIntyre, Hal, -1959  Search this
Krupa, Gene, 1909-1973  Search this
Barron, Blue, 1912-2005  Search this
Elman, Ziggy  Search this
Cohasco, Inc.  Search this
Cugat, Xavier, 1900-1990  Search this
Names:
Anthony, Ray, 1922-  Search this
Armstrong, Louis, 1901-1971  Search this
Barnet, Charlie  Search this
Beneke, Tex  Search this
Brown, Les, 1912-2001  Search this
Brubeck, Dave  Search this
Calloway, Cab, 1907-  Search this
Christy, June, 1925-  Search this
Cole, Nat King, 1917-1965  Search this
Dorsey, Tommy, 1905-1956  Search this
Ellington, Duke, 1899-1974  Search this
Fitzgerald, Ella, 1917-1996  Search this
Frankie Laine  Search this
Garner, Erroll  Search this
Getz, Stan, 1927-1991  Search this
Gillespie, Dizzy, 1917-1993  Search this
Gray, Glen, 1906-1963  Search this
Henderson, Fletcher, 1897-1952  Search this
Herman, Woody, 1913-1987  Search this
Jordan, Louis, 1908-1975  Search this
Kaye, Sammy, 1910-1987  Search this
Kenton, Stan  Search this
Lee, Peggy  Search this
Lopez, Vincent, 1894-1975  Search this
Lunceford, Jimmie  Search this
MacRae, Gordon  Search this
Martin, Freddy, 1906-1983  Search this
May, Billy  Search this
Mercer, Johnny, 1909-1976  Search this
Miller, Glenn  Search this
Monroe, Vaughn, 1911-1973  Search this
Mulligan, Gerry  Search this
Norvo, Red  Search this
Page, Patti  Search this
Ray McKinley  Search this
Rich, Buddy  Search this
Shaw, Artie, 1910-2004  Search this
Shore, Dinah, 1917-1994  Search this
Sinatra, Frank, 1915-1998  Search this
Spivak, Charlie  Search this
Vallée, Rudy, 1901-1986  Search this
Vaughan, Sarah, 1924-1990  Search this
Waring, Fred, 1900-1984  Search this
Webb, Chick, 1909-1939  Search this
Weems, Ted  Search this
Welk, Lawrence, 1903-1992  Search this
Whiteman, Paul, 1890-1967  Search this
Whiting, Margaret  Search this
Extent:
1.5 Cubic feet (1 box, 1 map folder)
Type:
Collection descriptions
Archival materials
Contracts
Postcards
Posters
Publicity photographs
Programs
Menus
Magazines (periodicals)
Tickets
Matchcovers
Motion picture stills
Handbills
Signatures (names)
Sheet music
Date:
1927 - 1966
Scope and Contents:
The collection consists of 235 pieces of music ephemera assembled by an anonymous California musicologist over several decades. The contents include such things as concert ticket stubs; show programs; handbills; publicity stills; record store posters; nightclub souvenirs; autographs; contracts, lobby cards; movie stills; postcards; fan and record industry magazines; sheet music; an oversize RKO theatre owners' advertising book for the 1942 sensation "Syncopation," starring Charlie Barnet, Benny Goodman, Harry James, Gene Krupa, et al; and miscellany such as matchbook covers and novelty promotional pieces. There are just a few letters in the collection. The collection contains materials representing both bands and band members, and individual artists. In many cases, there are only one or a few relevant items. Persons and acts represented include: Ray Anthony, Louis Armstrong, Charlie Barnet, Tex Beneke, Les Brown, Dave Brubeck, Cab Calloway, June Christy, Nat King Cole, Tommy Dorsey, Duke Ellington, Ella Fitzgerald, Erroll Garner, Stan Getz, Dizzy Gillespie, Benny Goodman, Glen Gray, Fletcher Henderson, Woody Herman, Harry James, Louis Jordan, Sammy Kaye, Stan Kenton, Gene Krupa, Kay Kyser, Frankie Laine, Peggy Lee, Guy Lombardo, Vincent Lopez, Jimmy Lunceford, Gordon MacRae, Freddy Martin, Billy May, Johnny Mercer, Glenn Miller, Vaughn Monroe, Gerry Mulligan, Red Norvo, Patti Page, Buddy Rich, Artie Shaw, Dinah Shore, Frank Sinatra, Charlie Spivak, Rudy Vallee, Sarah Vaughan, Fred Waring, Chick Webb, Ted Weems, Lawrence Welk, Paul Whiteman, Margaret Whiting, and Benny Goodman. In other cases, the collection contains an item or items (such as menus) that have been autographed. The collection contains autographs or autographed items for the following: Gene Krupa, Jess Stacy, Teddy Wilson, Blue Barron, Eddie Duchin, Shep Fields, Ziggy Elman, Glen Gray Band, Milt Gabler, Horace Heidt, Dick Jurgens, Kay Kyser, Guy Lombardo, Xavier Cugat, Hal McIntyre, Art Mooney, Buddy Morrow, Harry James and "Tiny" Timbrell.
Arrangement:
: 1 series.
Provenance:
Cohasco, Inc.,Purchase.,2016,ACNMAH 1388; Nonacc. No. pending.
Restrictions:
UNPROCESSED COLLECTION.
Unrestricted research 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:
Jazz musicians -- United States  Search this
Musicians  Search this
Popular music  Search this
Music -- 20th century  Search this
Big band music  Search this
Jazz  Search this
Genre/Form:
Contracts
Postcards
Posters
Publicity photographs
Programs -- Concerts
Menus
Magazines (periodicals)
Tickets
Matchcovers
Motion picture stills
Handbills
Signatures (names)
Sheet music
Citation:
Jazz and Big Band Collection, 1927-1966, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.1388
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-1388
Online Media:

Shirley Leonard Papers

Creator:
Jones, Shirley May, 1922-2004  Search this
Leonard, Shirley, 1922-2004  Search this
Donor:
Connick, Kathleen D.  Search this
Extent:
4 Cubic feet (16 boxes)
Type:
Collection descriptions
Archival materials
Motion pictures (visual works)
Audiotapes
Photographs
Correspondence
Scrapbooks
Sheet music
Date:
1931-1998
bulk 1938-1957
Summary:
Papers documenting the life and career of Shirley May Jones, stage name Shirley Leonard, an exotic dancer from Cincinnati, Ohio. The papers, photographs, and clippings document her childhood, early life, and professional career.
Scope and Contents:
Papers documenting the life and career of exotic dancer Shirley May Jones, stage name Shirley Leonard, of Cincinnati, Ohio. Leonard performed primarily throughout the Midwest but also worked in Florida, California, and Louisiana. The collection includes family, performance, venue, and publicity photographs, photographs of other entertainers (some inscribed), correspondence, clippings, a childhood scrapbook, sheet music, recorded music, printed materials, home movies, and financial and business records such as contracts and wage slips.
Arrangement:
The papers are divided into five series.

Series 1: Personal Papers

Series 2: Business, Financial, and Legal Records

Series 3: Performance Materials

Series 4: Photographs

Series 5: Audiovisual Materials
Biographical / Historical:
Exotic dancer, active during the 1940s and 1950s.
Separated Materials:
The Division of Culture and the Arts holds artifacts related to this collection including some of Jones' costumes and accessories.
Provenance:
Purchased by the National Museum of American History from Cowan's Historic Americana Auction in 2005. Addendum donated to the Archives Center in 2006 by Kathleen D. Connick, a relative of Shirley May Jones.
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. Researchers must use photocopies of scrapbooks due to the fragility of the originals, unless special access is approved.

Technical Access: Viewing film and listening to audio disc recordings is only possible by special arrangement, please inquire.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Reproduction permission from Archives Center: fees for commercial use.

All requests for permission to use these photographs for non-museum purposes must be addressed directly to the Archives Center. All duplication requests must be reviewed and approved by Archives Center staff.
Topic:
Burlesque shows -- 1920-1970  Search this
Burlesque (Theater) -- 1920-1970  Search this
Striptease -- 1920-1970  Search this
Stripteasers -- 1920-1970  Search this
Genre/Form:
Motion pictures (visual works)
Audiotapes
Photographs -- 20th century
Correspondence -- 20th century
Scrapbooks -- 20th century
Sheet music
Citation:
The Shirley Leonard Papers, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0919
See more items in:
Shirley Leonard Papers
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0919
Online Media:

Milt Gabler Papers

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-  Search this
Commodore Records.  Search this
Feather, Leonard  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  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
EDAN-URL:
ead_collection:sova-nmah-ac-0849
Online Media:

Don't Forget the Salvation Army (My Doughnut Girl) [sheet music]

Collector:
Steinberg, Sally L. (Sally Levitt)  Search this
Lyricist:
Leffingwell, Elmore  Search this
Lucas, James  Search this
Composer:
Brown, Robert  Search this
Frisch, William  Search this
Collection Collector:
Steinberg, Sally L. (Sally Levitt)  Search this
Extent:
1 Item (Ink on paper., 11.9" X 9.1".)
Culture:
Salvation Army -- 1910-1920  Search this
Type:
Archival materials
Sheet music
Date:
1919
Scope and Contents:
Music by Robert Brown and William Frisch. Words by Elmore Leffingwell and James Lucas. "The only song ever officially recognized and adopted by The...Salvation Army."
Arrangement:
In Box 3, Folder 13.
Local Numbers:
AC0439-0000040.tif (AC Scan)
Collection Restrictions:
Collection is open for research.
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.
Topic:
Food  Search this
Doughnuts  Search this
Food habits -- United States  Search this
Genre/Form:
Sheet music -- 1910-1920
Collection Citation:
Sally L. Steinberg Collection of Doughnut Ephemera, 1920s-1987, Archives Center, National Museum of American History.
See more items in:
Sally L. Steinberg Collection of Doughnut Ephemera
Sally L. Steinberg Collection of Doughnut Ephemera / Series 4: Other Donut Companies / Sheet Music
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0439-ref608

Cyrus Trobbe Music Collection

Collector:
Trobbe, Cyrus (musician)  Search this
Names:
Curran Theater  Search this
Geary Theater  Search this
KFRC (radio station)  Search this
San Francisco Light Opera  Search this
San Francisco Symphony Orchestra  Search this
Extent:
300 Cubic feet (322 record boxes)
Type:
Collection descriptions
Archival materials
Scrapbooks
Programs
Disc recordings
Card catalog
Sheet music
Place:
San Francisco (Calif.)
Date:
ca. 1900-1982.
Scope and Contents:
Includes: published music scores (1920-1980) collected by Cy Trobbe, scrapbooks documenting his music career (1919-1980), programs from musical presentations in San Francisco (1913-1980), disc recordings of Trobbe's radio broadcasts on KFRC in 1938; and a card catalog assembled by Trobbe of his collection, arranged by type of music.
Arrangement:
Divided into 5 series: (1) Collected music, (2) Scrapbooks, (3) Printed Programs, (4) Disc Recordings, (5) Card Catalog.
Biographical / Historical:
Trobbe was a musician and a leader of musical groups in the San Francisco Bay area for some sixty years. He was born in London and came to the U.S. shortly before 1920. Trobbe found regular work as a violinist and a group leader, assembling musical groups varying in size from small dance orchestras to large theater orchestras. He became a faculty member of what is now San Francisco State University soon after WW II.
Provenance:
Collection donated by Mrs. Cyrus Trobbe, 1986,September 30.
Restrictions:
Collection stored off site. Call 202-633-3270 to inquire about special arrangements to view 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.
Topic:
Radio broadcasts  Search this
Sound Recordings and Reproductions  Search this
Musicians -- 20th century  Search this
Musical performances  Search this
Bands (Music) -- 20th century  Search this
Theater  Search this
Genre/Form:
Scrapbooks -- 20th century
Programs
Disc recordings
Card catalog
Sheet music
Citation:
Cyrus Trobbe Music Collection, 1913-1982, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0242
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0242

Willie Smith Collection

Composer:
Smith, Willie, 1910-1967 (musician)  Search this
Names:
Harry James Orchestra  Search this
Jimmie Lunceford Orchestra  Search this
Ellington, Duke, 1899-1974  Search this
James, Harry, 1916-  Search this
Lunceford, Jimmie  Search this
Extent:
0.25 Cubic feet (2 boxes)
Type:
Collection descriptions
Archival materials
Sheet music
Programs
Photographs
Correspondence
Date:
1945-1987
Summary:
Collection documents Willie Smith's career as a musician and arranger between 1945 and 1958.
Scope and Contents:
The Willia Smith Collection consits of correspondence, event programs, a periodical entitled Musikkunde in beispielen, thirty-siz black and white photograph, and nine music arrangements documenting Smith's career as a musician and arranger between 1945 and 1958.
Arrangement:
The collection is arranged into three series.

Series 1: Music Manuscripts, 1945-1947

Series 2: Photographs, 1938-1958

Series 3: Ephemera, 1945-1987
Biographical / Historical:
Willie Smith, aleading alto saxophonist and arranger of the swing period, was born in Charkeston, South Carolina on November 25, 1910 and died in Los Angeles on March 7, 1967. He attended Nashville Tennessee's Fisk University during the 1920s and played with the Jimmy Lunceford Orchestra between 1929 and 1942. After a brief period performing with Charlie Spivak's band between 1942 and 1943, Smith began his tenure with the Harry James Orchestra in 1944. Hew remained with the Harry James Orchestra until 1964 with brief interruptions between 1951 and 1953 performing with the Duke Ellington Orchestra, Jazz at the Philharmonic, and leading several of his own small ensembles in Los Angeles. In addition to Smith's reputation as a section leader and soloist, he is best known for his arrangmenets of Sophisticated Lady and Rose Rooom for the Jimmie Lunceford Orchestra.
Provenance:
Collection donated by Fischella Smith, August 14, 1990.
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:
Music -- 20th century  Search this
Jazz musicians -- United States  Search this
Jazz  Search this
Genre/Form:
Sheet music -- Manuscripts -- 20th century
Programs -- 1940-1990
Photographs -- 20th century
Correspondence -- 1940-2000
Citation:
Willie Smith Collection, 1945-1987, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0382
See more items in:
Willie Smith Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0382

Bill Holman Collection

Creator:
Holman, Bill, 1927-  Search this
Kenton, Stan  Search this
Monk, Thelonious  Search this
Basie, Count, 1904-  Search this
Herman, Woody  Search this
Extent:
12 Cubic feet (68 boxes)
Type:
Collection descriptions
Archival materials
Music
Posters
Business records
Scores
Date:
1951-2000
Scope and Contents:
The Bill Holman Collection consists of original music compositions and arrangements, posters, performance contracts and a photograph dating from 1952 to 1999. The collection is organized into two series: Series 1: Music Manuscripts; and Series 2: Photographs and Business Records.
Arrangement:
The collection is organized into two series.

Series 1: Music Manuscripts, 1952-1999

Series 2: Photographs and Business Records, 1975-1997
Biographical / Historical:
Born Willis Leonard Holman on May 21 in Olive, California, Bill Holman is considered one of the great jazz composers of the last half of the twentieth century. He is best known as one of the architects of the style of jazz defined as "West Coast" and as the major arranger for the Stan Kenton Orchestra from 1952 - 1955.

Holman began playing clarinet in junior high school and tenor saxophone while in high school eventually leading his own band. After serving in the Navy and studying engineering, he chose a career in music instead and attended Westlake College of Music in California from 1948-1950. While attending Westlake, he studied counterpoint with Russ Garcia and one hallmark of a Holman work continues to be the distinguished use of that compositional element.

While performing as a tenor and baritone saxophonist for Charlie Barnet & His Orchestra in 1951, Holman submitted his first composition for a name band to Woody Herman. Originally titled Prez Conference in honor of Lester Young, the piece - which featured solos for four tenors - was recorded in 1954 with a baritone and trumpet introduction and ending tagged on by Herman and re-titled Mulligantawny Stew.

From 1952 - 1954, Holman performed in the reed section of the Stan Kenton Orchestra and there he received international recognition. Within six months, Kenton encouraged Holman's voice as a composer and arranger and he quickly became a principal. His distinctive swinging approach was always evident resulting in songs still beloved by Kenton fans all over the world such as Stomping At The Savoy and Whats New. Taking advantage of his clout in the industry, Stan Kenton facilitated Holman's first recording as a leader in 1954 (Kenton Presents Jazz B Bill Holman: Bill Holman Octet) as one in a series of Capitol recordings featuring Kenton's sidemen as bandleaders. Unfortunately, this was not released until five years later. After returning to the West Coast in 1955, Holman continued as a Kenton staff arranger until 1956 and contributed compositions and arrangements on an occasional basis until the late 1950s.

Upon his return to Los Angeles, California in 1955, Holman B as an instrumentalist, composer and arranger B helped shape the sound later dubbed West Coast Jazz. At first, Holman worked in small groups for others including Conte Candoli (1955), Shelly Manne (1955), and Art Pepper (1957) but in 1957 Holman longed to Amake a statement@ for himself and formed his own big band. The band eventually recorded three albums that have become collector=s items among jazz aficionados: The Fabulous Bill Holman (1957), Big Band In A Jazz Orbit, (1958) and Bill Holman's Great Big Band. (1960) Holman continued to work in small group settings as well recording Jive For Five with a quintet co-led by Mel Lewis and Jazz Erotica (re-titled in CD release as West Coast Jazz) in an octet featuring Richie Kamuca.

In 1960, Holman entered into a twenty-seven year hiatus from recording. However, he remained active in the business and was continually sought out as a composer and arranger for both jazz and popular music. His arrangements for Gerry Mulligan, Count Basie, Woody Herman, and Shorty Rogers, among others, are considered the pinnacle of jazz composition and orchestration. Holman=s occasional forays into film, television and popular music include Aquarius as recorded by the Fifth Dimension and The Association=s Never My Love and Cherish. A long relationship with the Tonight Show band directed by Doc Severinson (1967 B 1992) developed eventually awarding him with his first Grammy award for an arrangement of Billy Strayhorn=s Take The >A= Train.

Bill McKay, the co-owner of a Los Angeles night club Donte's, encouraged Holman to re-form his band in 1975 leading to his legendary rehearsal band which still meets most weeks at the Hollywood Musician=s Union. However, the Bill Holman Band did not record until the release of World Class: The Bill Holman Big Band in 1987, followed by A View From the Side. (for which Holman earned a Best Instrumental Composition Grammy for the title track) in 1995. Although Holman's arranging style matured, his characteristic use of line writing, unison sections, uneven bar lengths, and reference for rhythm were distilled and refined rather than complicated in the interim.

Beginning in 1980, Holman received regular commissions from the WDR band in Cologne Germany including ones for extended works and special programs featuring noted jazz instrumentalists such as Lee Konitz, Al Cohn and Phil Woods. Since 1990, he has been conducting that renowned Orchestra. In 1997, Holman embarked on what has become an annual European trip B as a composer/conductor for the Netherlands Metropole Orchestra B and in that same year recorded Further Adventures with them. Holman continues to work extensively in Europe and in 2001 will conduct orchestras in Sweden, Austria and the Netherlands.

Continually sought after by contemporary vocalists, Holman supplied the arrangements (with the exception of the title tune) for Natalie Cole=s 1991 Unforgettable B a tribute to her father Nat King Cole. He continues to provide settings for elite jazz vocalists including Tony Bennett and Carmen McRae. Holman remains active. In 1998, he received a composer=s grant from the International Association of Jazz Educators. The Bill Holman Band still rehearses weekly and appears periodically in the Los Angeles area. Brilliant Corners: The Music of Thelonius Monk is a big band and arrangers tour-de-force and garnered Holman his third Grammy award in 1997.
Restrictions:
Collection is open for research.
Rights:
The Archives Center does not own the reproduction rights to the music of the Bill Holman Collection. All requests for performance or publication of Mr. Holman's compositions and/or arrangements should be directed to Bill Holman at 323-466-8809.
Topic:
Music -- 20th century  Search this
Musical arrangers  Search this
Composers -- 20th century  Search this
Jazz  Search this
Genre/Form:
Music -- Manuscripts
Posters -- 20th century
Business records -- 1950-2000
Scores
Citation:
Bill Holman Collection, 1951-2000, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0733
See more items in:
Bill Holman Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0733
Online Media:

Ray Brown Papers

Creator:
Brown, Ray (Jazz musician)  Search this
Composer:
Allen, Steve, 1921-2000  Search this
Musician:
Clarke, Kenny, 1914-1985  Search this
Clayton, John  Search this
Ellis, Herb  Search this
Harris, Gene, 1933-2000  Search this
Jackson, Milt  Search this
Lewis, John, 1920-2001  Search this
Peterson, Oscar, 1925-  Search this
Shank, Bud  Search this
Singer:
Fitzgerald, Ella, 1917-1996  Search this
Producer:
Granz, Norman  Search this
Extent:
8 Cubic feet (8 boxes)
Type:
Collection descriptions
Archival materials
Photographic prints
Posters
Clippings
Music
Audiotapes
Awards
Scrapbooks
Correspondence
Business records
Date:
undated
circa 1940-2010
Summary:
Ray Brown was an African-American musician, composer, bandleader, manager, music teacher and promoter. He became best known for his collaborative work with Dizzy Gillespie, Oscar Peterson, Ella Fitzgerald, the Oscar Peterson Trio and Norman Granz' s Jazz at the Philharmonic. Over the course of his career, Brown received awards and accolades from the National Academy of Recording Arts and Sciences, the National Endowment for the Arts, the Jazz Hall of Fame, Down Beat and Playboy. Brown's papers document his professional music career from 1944 to 2002 and include music compositions and notes, publicity materials, photographs and some recordings of his performances.
Scope and Contents:
The collection primarily documents the near sixty-year music career of upright bass player, bandleader, composer, and instructor Raymond Matthews (Ray) Brown and the various bands that he played with. The materials consist of music manuscripts, musical arrangements, published sheet music, photographs, programs, newspaper clippings, magazine articles, posters, audio and video recordings, honors and awards, correspondence, and publications. There is very little information about Brown's education, family or other aspects of his personal life.
Arrangement:
The collection is arranged into five series.

Series 1, Musical Compositions and Notes, 1940s-2000s, undated

Series 2, Publicity Materials, 1950s-2002, undated

Series 3, Photographic Materials, 1940-2003, undated

Series 4, Personal Papers, 1954-2010

Series 5, Audiovisual Materials, 1978-1993, undated
Biographical / Historical:
Raymond Matthews Brown was an African-American musician (double bass and cello) born on October 13, 1926 in Pittsburgh, Pennsylvania. He became known for his collaborative work with Dizzy Gillespie, Oscar Peterson, Ella Fitzgerald (to whom he was married for a few years) and others. He was a composer, bandleader, manager, music teacher and promoter. His professional music career lasted almost sixty years, dating from 1944 to 2002.

Brown's career began with a risky move to New York City in 1945, as a recent high school graduate, which resulted in his being hired on the spot to play with Dizzy Gillespie. Brown continued to play with Gillespie and others in various groups, recording songs such as "One Bass Hit" and "Night in Tunisia," before leaving in 1947. Brown married notable jazz singer Ella Fitzgerald that same year. He and Fitzgerald adopted a son, Raymond Matthew Brown Jr., and performed together in Norman Granz's Jazz at the Philharmonic. Granz's tours, which Brown participated in from around 1949 to 1958, allowed him to travel and play all around the world. After being introduced to Oscar Peterson during a Philharmonic tour, Brown became a founding member of the Oscar Peterson Trio in 1952. His growing commitment to the group, along with other factors, led to Brown and Fitzgerald's divorce in 1953. However, the two would continued to collaborate and perform together, as friends and colleagues.

Brown worked with Peterson and other prominent jazz musicians to found the Advanced School of Contemporary Music in Toronto, which lasted from 1960 to 1965. He left the Peterson trio in the late 1960s and moved to Los Angeles to work as a composer, manager, educator, and publisher. In California, he worked for several movie and television show orchestras, became bassist for all of Frank Sinatra's television specials, and accompanied some noted singers, including Fitzgerald, Sarah Vaughan and Tony Bennett. He composed the theme song to Steve Allen's show, "Gravy Waltz," for which they both won a Grammy Award in 1964. He also managed the Modern Jazz Quartet, and Quincy Jones. In the 1980s, he formed the Ray Brown Trio with pianist Gene Harris, which lasted nine years. He also directed events such as the Monterey Jazz and Concord Summer Festivals, and consulted for the Hollywood Bowl Association. Brown continued to play and record with his trio and various other groups, such as the Oscar Peterson Trio and the Modern Jazz Quartet, for the rest of his life. He also published an instructional book for the bass, Ray Brown's Bass Method, through his own company in 1999. Over the course of his career, Brown received awards and accolades from the National Academy of Recording Arts and Sciences, the National Endowment for the Arts, the Jazz Hall of Fame, Down Beat, Playboy, and many more. Ray Brown died in 2002 at the age of seventy five.
Provenance:
The collection was donated to the Archives Center in 2015 by Ray Brown's widow, Cecilia Brown.
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 Americans -- Music  Search this
Music -- Performance  Search this
Music -- Songs  Search this
Musicians  Search this
Musicians -- United States  Search this
Jazz musicians -- United States  Search this
African American music -- 20th century  Search this
Jazz  Search this
African American musicians  Search this
Music -- 20th century  Search this
Genre/Form:
Photographic prints
Posters
Posters -- 20th century
Clippings
Music -- Manuscripts
Audiotapes
Awards
Scrapbooks -- 20th century
Correspondence -- 20th century
Business records -- 20th century
Citation:
Ray Brown Papers, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.1362
See more items in:
Ray Brown Papers
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-1362

Published Music

Collection Creator:
Carter, Benny, 1907-2003  Search this
Type:
Archival materials
Scope and Contents:
Subseries 1.5 contains published music, including a personal library of various tune titles and individual pieces of published music. Arranged by title after the listing of the library.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Reproduction restricted due to copyright.
Collection Citation:
Benny Carter Collection, 1928-2000, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0757, Subseries 1.5
See more items in:
Benny Carter Collection
Benny Carter Collection / Series 1: Music Manuscripts
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0757-ref1974

American Society of Music Arrangers: Happy Birthday, framed

Collection Creator:
Carter, Benny, 1907-2003  Search this
Container:
Box 135, Folder 2
Type:
Archival materials
Date:
1987
Collection Restrictions:
Collection is open for research.
Collection Rights:
Reproduction restricted due to copyright.
Collection Citation:
Benny Carter Collection, 1928-2000, Archives Center, National Museum of American History.
See more items in:
Benny Carter Collection
Benny Carter Collection / Series 4: Awards and Proclamations
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0757-ref3854

Rawls, Lou Music (arrangements by BC for LR)

Collection Creator:
Carter, Benny, 1907-2003  Search this
Container:
Box 49, Folder 6
Type:
Archival materials
Collection Restrictions:
Collection is open for research.
Collection Rights:
Reproduction restricted due to copyright.
Collection Citation:
Benny Carter Collection, 1928-2000, Archives Center, National Museum of American History.
See more items in:
Benny Carter Collection
Benny Carter Collection / Series 1: Music Manuscripts / 1.1: Original Music
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0757-ref437

Out of the Blue [sheet music]

Topic:
Ethnic Imagery Project, Archives Center
Advertiser:
Bird of Paradise  Search this
Series Creator:
DeVincent, Sam, 1918-1997  Search this
Extent:
1 Item (Ink on paper.)
Container:
Box 10, Folder R
Culture:
Hispanics  Search this
Type:
Archival materials
Sheet music
Date:
1932
Scope and Contents:
Dolores Del Rio in dress covered with flowers, also featuring Joel McCrea.
Arrangement:
Box No. 10, Folder No. R.
Local Numbers:
AC0300-0001391-01.tif

AC0300-0001391-02.tif

AC0300-0001391-03.tif
Publication:
Mexico City., Sothern Music Publ. Co., 1932
Series Restrictions:
Collection is open for research.
Series 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:
Ethnic imagery  Search this
Motion pictures  Search this
Genre/Form:
Sheet music
Series Citation:
The Sam DeVincent Collection of Illustrated American Sheet Music, Archives Center, National Museum of American History, Smithsonian Institution
See more items in:
Sam DeVincent Collection of Illustrated American Sheet Music, Series 6: Moving Pictures and Movie Stars
Sam DeVincent Collection of Illustrated American Sheet Music, Series 6: Moving Pictures and Movie Stars / 6.5: Female Stars / Dolores Del Rio
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0300-s06-ref2592
Online Media:

My Forest Flower Red Skin Rose [sheet music]

Publisher:
Francklyn Wallace  Search this
Series Creator:
DeVincent, Sam, 1918-1997  Search this
Extent:
1 Item (Ink on paper.)
Culture:
Indians of North America -- 1920-1930  Search this
Type:
Archival materials
Sheet music
Scope and Contents:
Cover illustration portrays "Red Skin Rose" in the foreground next to a moonlit lake with trees and teepees. Composer unidentified.
Arrangement:
Box 340A, unprocessed.
Local Numbers:
AC0300-0000113.tif (AC Scan No.: cover)
Series Restrictions:
Collection is open for research.
Series 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.
Genre/Form:
Sheet music -- 1910-1920
Series Citation:
The Sam DeVincent Collection of Illustrated American Sheet Music, Archives Center, National Museum of American History, Smithsonian Institution
See more items in:
Sam DeVincent Collection of Illustrated American Sheet Music, Series 22: American Indian
Sam DeVincent Collection of Illustrated American Sheet Music, Series 22: American Indian / 22.1: Songs / Songs, F-In, includes "Heart of Wetona" and "Her Home on the Banks of the Mississinewa."
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0300-s22-ref541

Tomahawk Dance [sheet music]

Composer:
Payne, Cora Sadler  Search this
Publisher:
Schaum Publications, Inc.  Search this
Series Creator:
DeVincent, Sam, 1918-1997  Search this
Extent:
1 Item (Ink on paper.)
Culture:
Indians of North America  Search this
Type:
Archival materials
Sheet music
Scope and Contents:
"Piano solo by Cora Sadler Payne." Cover illustration: a Native American man dancing with a tomahawk, inside a drawing of a spear head. Printed in red and green.
Arrangement:
Box 339B, unprocessed.
Local Numbers:
AC0300-0000107.tif (AC Scan No.: cover)
Series Restrictions:
Collection is open for research.
Series 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.
Genre/Form:
Sheet music -- 1940-1950
Series Citation:
The Sam DeVincent Collection of Illustrated American Sheet Music, Archives Center, National Museum of American History, Smithsonian Institution
See more items in:
Sam DeVincent Collection of Illustrated American Sheet Music, Series 22: American Indian
Sam DeVincent Collection of Illustrated American Sheet Music, Series 22: American Indian / 22.1: Songs / Songs, T-Y titles, "That Kickapoo Indian Man" and "Waters of the Perkiomen."
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0300-s22-ref542

Tony Alderman Country Music Collection

Source:
Musical Instruments, Division of (NMAH, SI)  Search this
Community Life, Div. of, NMAH, SI  Search this
Creator:
Alderman, Alonzo (Tony) Elvis, 1900-1983 (musician)  Search this
Former owner:
Community Life, Div. of, NMAH, SI  Search this
Musical Instruments, Division of (NMAH, SI)  Search this
Names:
Hill Billies (Musical group)  Search this
Old Fiddler's Convention  Search this
Stoneman, Ernest V.  Search this
Extent:
4 Cubic feet (5 boxes)
Type:
Collection descriptions
Archival materials
Correspondence
Audiotapes
Clippings
Papers
Sheet music
Date:
1927-1983
Summary:
Alonzo Elvis "Tony" Alderman played country music with the Galax Dixie Concert Band and The Hill Billies. During the 1950s through 1970s he recorded old-time and early country music, primarily at festivals and conventions. Alderman recorded many of the open-reel audiotapes in the collection at the Old Time Fiddlers Convention in Galax, Virginia.
Scope and Contents:
The collection is divided into two series. Series one contains 98 1/4" open reel audiotapes primarily of the Galax Fiddler's Convention (1959-1963) made by Tony Alderman and three audio disc recordings. Series two contains manuscript materials including bills and receipts, correspondence, sheet music, newspaper clippings, performance announcements, and publications.
Arrangement:
The collection is organized into two series.

Series 1, Audiovisual, 1950-circa 1970

Series 2, Manuscript Materials, 1927-1976
Biographical / Historical:
Alonzo Elvis "Tony" Alderman, (1900-1983) was introduced to old-time music at an early age by his relatives in Galax, Virginia. Alderman learned to play trumpet, French horn, and, inspired by Earnest "Pop" Stoneman, the country fiddle. He first performed publicly with the Galax Dixie Concert (brass)Band.

In the late spring of 1924, he formed a group with John Rector, Al Hopkins, and Joe Hopkins. Rector convinced the band to record a record. Unfortunately, due to technical problems the recording session was unsuccessful.

Undaunted, the quartet travelled to OKeh Studios in January of 1925 where they recorded six songs under the supervision of Ralph Peer. When Peer asked the band's name Al Hopkins replied, "We're nothing but a bunch of hill billies from North Carolina and Virginia. Call us anything." Reportedly Inspired by his reply, Peer named the group "The Hill Billies."

"The Hill Billies" released their first record in February 1925. In May of that year while performing at a fiddler's convention sponsored by the Ku Klux Klan in Montana, Tennesee, they recruited Charlie Bowman from Gray Station, Tennessee to join them. Later that year 'The Hill Billies' left OKeh and joined the Combined Vocalion Brunswick Company to work with artist and repertoire man Jim O'Keefe. On the Vocalion label the band's name remained the same, but on the Brunswick label it changed to "Al Hopkins and His Buckle Busters."

For the next several years, the "Pine Hill Billies" performed across the country, made several more records, and broadcast on WRC radio in Washington, D.C. After the group disbanded in 1932,Tony Alderman moved to Washington, D.C. to work as an x-ray technician, as well as an investor, and he experimented with aerial photography.

In 1970, Alderman retired to Golden Beach in St. Mary's County, Maryland. He joined the "Over the Hill Gang" and played at local celebrations, including solos for the National Council for Traditional Arts festivals, the Smithsonian Institution's Festival of American Folklife, and various holiday celebrations held by the Smithsonian Institution, National Museum of American History.
Related Materials:
University of North Carolina. Southern Folklife Collection

Letter. Tony Alderman to Archie Green, 1961. Archie Green Collection (#20002).
Restrictions:
Collection is open for research. Only reference copies of the audiotapes and audio discs may be used.
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:
Country music  Search this
Music -- Performance  Search this
Musical saw music  Search this
Musicians  Search this
Genre/Form:
Correspondence -- 1930-1950
Audiotapes
Clippings
Papers
Sheet music
Citation:
Tony Alderman Country Music Collection, 1927-1976, Archives Center, National Museum of American History, Smithsonian Institution.
Identifier:
NMAH.AC.0211
See more items in:
Tony Alderman Country Music Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0211

Eugene D. Smallwood Gospel Music Collection

Composer:
Frye, Theodore M. (singer)  Search this
Dorsey, Thomas A. (choral director)  Search this
Collector:
Community Life, Div. of, NMAH, SI  Search this
Reagon, Bernice Johnson, 1942-  Search this
Creator:
Smallwood, Eugene D., Rev., -2005 (composer, music director)  Search this
Names:
Universal Gospel Singers  Search this
Bouldin, Ione B. (singer)  Search this
Martin, Sallie (singer)  Search this
Pleasant, Earl (singer)  Search this
Extent:
0.15 Cubic feet (1 box)
Type:
Collection descriptions
Archival materials
Sheet music
Place:
Oklahoma
Tulsa (Oklahoma)
Date:
1931-1945
Scope and Contents:
The Eugene D. Smallwood Gospel Music Collection consists of an album of Gospel music scores collected or composed by Reverend Eugene D. Smallwood andnineteen additional loose scores published by Rev. Smallwood's company. The publication dates range from 1931 to 1945. The scores were performed by Reverend Smallwood's choirs. As a composer/arranger, Rev. Smallwood was often able to "correct" or re-arrange the compositions of others to suit his own style. If he felt the music was in the "wrong key", he transposed it himself. Some compositions were the work of such well known artists as Dr. Thomas A. Dorsey and Theodore Frye, whose portraits appear in the collection. The published music includes some additional illustrations of Gospel musicians, e.g. Rev.Smallwood; Ione B. Bouldin, Gospel singer; Earl Pleasant, Gospel singer; and the Universal Gospel singers. Many of the works are numbered according to the system that Rev. Smallwood used in the album, or dated according to his use of the arrangements.

Dr. Bernice Johnson Reagon, a staff member in the Division of Community Life, National Museum of American History, was instrumental in the acquisition of the collection. According to Dr. Reagon, the collection is unique because of Rev. Smallwood's use of an album of music which he kept intact. Although the music has been removed from the original album cover for the preservation purposes, this album is a written record of the performance of Gospel music by Reverend Smallwood and his choirs. The collection should prove to be of interest to anyone studying Gospel music and its creators.
Arrangement:
The collection is divided into two series.

Series 1: Scrapbook album, 1931-1942

Series 2: Sheet music, 1939-1945
Biographical / Historical:
Reverend Eugene D. Smallwood is a Gospel musician and choir leader who owned his own music publishing company. Some of the more famous Gospel musicians with whom he worked were Mahalia Jackson and the Roberta Martin Singers.
Related/Analytical Title:
Jesus Lives In Me,[song]

I'm Just A Sinner Saved by Grace,[song]

Heaven's Radio,[song]

Lead Me To Calvary,[song]

No Disappointment In Heaven,[song]

The Little Wooden Church on the Hill,[song]
Provenance:
The Smallwood collection was acquired through Dr. Bernice Reagon. While doing research on Gospel music with the support of a MacArthur Foundation grant, from 1991 to 1992, she made several contacts with the originators of the Black Gospel music movement in the Americas. Dr. Smallwood was one of those contacts.
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.

Use of this collection for performance purposes requires notification of Smallwood's daughter. Contact the Archives Center staff for more information.
Topic:
Gospel music  Search this
Choral music  Search this
Church music  Search this
Genre/Form:
Sheet music
Citation:
Eugene D. Smallwood Gospel Music Collection, 1931-1945, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0456
See more items in:
Eugene D. Smallwood Gospel Music Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0456

Kenneth H. Sparnon Collection

Collector:
Community Life, Div. of, NMAH, SI  Search this
Sparnon, Kenneth H., 1895-1972  Search this
Donor:
Sparnon, Arabella S.  Search this
Sparnon, Arabella S.  Search this
Extent:
0.33 Cubic feet (2 boxes)
Type:
Collection descriptions
Archival materials
Scrapbooks
Clippings
Photographs
Place:
Rochester (N.Y.)
Syracuse (N.Y.)
Date:
1912-1961
Summary:
Kenneth Sparnon, entertainer, musician and arranger was also an orchestra leader and musical director of radio station WSYR in Syracuse and WHEC in Rochester, New York. This collection includes scrapbooks of newspaper clippings, photographs of himself and other performers, advertising, programs, some correspondence, and broadcast transcriptions (acetate).
Scope and Contents:
The Sparnon collection consists of four scrapbooks, some loose news clippings, a music cue sheet for a movie, a script for the orchestra to follow in a "strike" comedy routine used in September 1931, a folder of programs for events at which Sparnon played, and articles written by Sparnon concerning his work.

The scrapbooks contain advertisements of movies at which Sparnon played, radio schedules and announcements, and newspaper write-ups of Sparnon. The movie and play reviews, while he was in both Dover, N.J. and in Syracuse, cover both silent films and the early talkies. The vaudeville announcements include personalities such as Kate Smith, Burns and Allen, and Edgar Bergen and his friend, Charlie.

The four scrapbooks within themselves are not in chronological order. However the first one, 1912-1930 is arranged in four sections: news clippings, announcements, school recitals and programs, and letters of reference and appreciation.

The Sparnon Collection is of value to those interested in: the early film years, the synchronization of music with film, musical programs on radio, and the biography of Kenneth H. Sparnon.
Arrangement:
Arranged topically.
Biographical / Historical:
Kenneth H. Sparnon was born December 8, 1895 in Chatham, New Jersey. He was the son of the Reverend Robert 0. Sparnon, pastor of the West Avenue Methodist Episcopal Church in Rochester, New York from 1913 to 1916.

Sparnon grew up in Rochester. He studied harmony and theory at the New York Conservatory of Music and he studied piano and organ under James W. Bleecker, founder of the New York Settlement School of Music.

At the age of 14 Sparnon gave a piano recital in Carnegie Hall. In 1912 he was a piano instructor in Bayonne, New Jersey and continued to teach piano when he worked in Dover, New Jersey. He also was the organist at the Rochester Emanuel Church in this year. His first professional engagement was as church organist in Orange, N.J. About 1913-1914, he directed the West High School Orchestra in Rochester and was leader of the boy's glee club.

At seventeen, Sparnon was the youngest orchestra leader on the Loew's vaudeville circuit, conducting the pit band in Loew's Palace in Brooklyn. In 1918 he started work at the Baker Theater in Dover, N.J. and remained in Dover until late in 1929. The Baker Theater showed movies, vaudeville, and legitimate stage plays. After December 1924 Sparnon conducted the New Baker Theater Orchestra. Sparnon played at all performances of vaudeville and movies calling his performances "Picture Play Concerts" or "Orchestral Photo Play Concerts." He played between the acts when legitimate plays were performed.

Before the "talkies" Sparnon specialized in synchronizing music to the silent pictures, newsreels, novelties, and features. Sparnon played overtures when talking pictures appeared in 1928.

During the summer of 1924 Sparnon was pianist on the Keith vaudeville circuit. He also directed the Metropolitan Concert Trio at the Estonia-Minot House, a resort hotel in Asbury Park where he played programs in the mornings for the guests.

In 1924 Sparnon helped to form and was director of a 45 piece band in Dover, New Jersey. The band played at charity concerts, parades and other occasions. It played on Sunday afternoons in the park, at Memorial Day parades, New Year's Eve, and for the hospital fund-raising. It played as Sparnon's Concert Band into 1929. While in Dover, Sparnon also directed music for the Elks' Memorial Services for several years and played for other events including the Chamber of Commerce, the Rotary Club, and at the 1929 local rally celebrating a Republican victory. In 1929, Sparnon played at the Saturday night dances held in the Bergen Building.

In 1926, Sparnon joined Radio Station WJZ in New York where he conducted the "Master Musician's Hour" for several years.

In 1930, Sparnon went to RKO Keith's in Syracuse where he led a group of 12 men for three years. They were known as "Ken Sparnon and his merry gang of RKOlians". As of that year, he had a library of 5,000 pieces of music which he had gathered because of his synchronization of motion pictures. Also, as of May 11,1930, Sparnon was an associate member of the National Academy of Music.

In Syracuse, Sparnon had a reputation for playing overtures with humor and novelty which were appropriate to the movie or the season. He did the unusual and the unexpected. One article described Sparnon's work as follows:

When Griffith made "Birth of a Nation", more than a tinkly, second-rate piano was needed to accompany it. So the theater orchestra was started. After that time, musical backgrounds (cueing) became essential for each film. Then came talkies which doomed the lavish orchestras. Some of the musicians went to work at the studios. Sparnon changed and when he went to Syracuse he gave the public what was almost an extra vaudeville act. His experience in synchronization was valuable for the vaudeville acts. His music also helped in the transition to the movie setting pace and mood.

In Syracuse, Sparnon played on Radio Station WSYR with the RKOlians from Keith's. On May 25, 1930, he also became Master of Ceremonies on Monday nights and Wednesday nights for the "Little Theater of the Air". Sparnon continued in radio for many years. When he started he went on radio to get wider exposure so that the people would then come to see him in person. Perhaps because of his experience with the movies, he was famous for timing out every show in the plotted period.

In Sept. 20, 1931, Sparnon said that "...there will always be music in the theater... the public will always want to see artists in the flesh." This remark alluded to movie theaters with vaudeville shows.

Sparnon married his harpist, Arabella Simiele, in July 1935. He was one of the first radio orchestra directors to feature the harp with all types of music from classical to jazz.

In September 1932 Sparnon became director of the RKO Palace Theater Orchestra in Rochester. In June 1933, he accompanied Arthur Tracy, "the Street Singer," on tour. On June 8, 1933 Sparnon was made musical director of Radio Station WSYR in Syracuse.

He also conducted the "Ken Sparnon String Orchestra" which was carried on the NBC Blue Network coast-to-coast. He had the string ensemble in Syracuse from 1934-1937. He also played dinner music from Schraff's Restaurant in Syracuse three times a week which was carried over the NBC network.

Sparnon became program director of Rochester Radio Station, WSAY in 1937. Sparnon was made the musical director of Radio Station WHEC in Rochester on February 23. Between 1937 and 1941 Sparnon played the "Twin Keyboards" with Matt Pierce over WHEC. Between 1937 and at least 1944 Ken Sparnon and his string orchestra played over WHEC. From 1938 to Oct. 3, 1946 Sparnon was with Radio Station WHEC. Among his programs, he conducted the Gold and Silver Orchestra on Sunday nights at 6:45 p.m. for people celebrating their anniversary. On July 7, 1939, while he was still at WHEC (which was a CBS affiliate), Sparnon opened at the Hotel Seneca Grill in Rochester. In August 1940, Sparnon directed and produced "This is My Land", a new series from Rochester on CBS. During World War II, Sparnon produced shows for service personnel.

While he was in Rochester, Sparnon was a member and on the board of directors of the Rochester Musician's Association, Local 66, American Federation of Musicians.

On October 3, 1946 Sparnon joined the station relations staff of Broadcast Music, Inc. to provide special service to musical directors and managers of BMI-licensed stations. BMI set up a model radio station library. Sparnon was placed in charge of the course on the organization and maintenance of such libraries at the participants' radio stations.

In 1959, Mr. and Mrs. Sparnon moved to Roanoke, Virginia where he was Eastern Regional Director of Station Relations for BMI.

In May 1965 Sparnon retired from BMI and he and his wife moved to Sarasota, Florida. He died on June 16, 1972 after a 10 month illness.
Provenance:
Collection donated by Arabella S. Sparnon, 1981, Febuary 18.
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:
Vaudeville  Search this
Radio -- 1910-1970  Search this
Musical arrangers  Search this
Theater -- 1910-1970  Search this
Musicians  Search this
Genre/Form:
Scrapbooks -- 20th century
Clippings -- 20th century
Photographs -- 19th century
Citation:
Kenneth H. Sparnon Collection, 1912-1961, Archives Center, National Museum of American History. Gift of Arabella S. Sparnon.
Identifier:
NMAH.AC.0064
See more items in:
Kenneth H. Sparnon Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0064

ASMA award, presented to Benny Carter

Referenced:
Carter, Benny  Search this
Measurements:
overall: 14 3/4 in x 16 3/4 in x 5/8 in; 37.465 cm x 42.545 cm x 1.5875 cm
overall: 5/8 in x 16 3/4 in x 14 3/4 in; 1.5875 cm x 42.545 cm x 37.465 cm
Object Name:
plaque
Date made:
1980
Credit Line:
Gift of Hilma Carter
ID Number:
2007.0013.03
Accession number:
2007.0013
Catalog number:
2007.0013.03
See more items in:
Cultural and Community Life: Musical Instruments
Music & Musical Instruments
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746ac-4adc-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1317653
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