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Naomi Huber Brown Papers (Documenting Duke Ellington's Concert Tour of Asia)

Creator:
Brown, Naomi Huber  Search this
Names:
Armstrong, Louis, 1901-1971  Search this
Ellington, Duke, 1899-1974  Search this
Extent:
0.15 Cubic feet (1 box)
Type:
Collection descriptions
Archival materials
Notes
Business records
Photographs
Place:
Asia -- Concerts -- 1960-1970
Date:
1960-1963.
Summary:
Records document the preparation and management of Duke Ellington's 1963 tour of Asia.
Scope and Contents:
The Naomi Huber Brown Papers contain black and white photographs, correspondence, business contracts, travel itineraries, list of band members, newspaper reviews, a concert program and Brown's personal diary documenting Duke Ellington's 1963 State Department tour of the Middle East and Asia. The material is arranged alphabetically. Of particular interest is a program from a November 1 and 3 Karachi, Pakistan concert, and photographs autographed by Ellington, Louis Armstrong, and Isaac Stern.
Arrangement:
Collection is arranged into one series.
Biographical/Historical note:
Naomi Huber Brown was the United States Foreign Service officer that was responsible for the administration of Duke Ellington's State Department tour of the Middle East and Asia in 1963. Her duties included scheduling travel and making arrangements for the members of the Ellington Orchestra, and the distribution of appropriate currencies to the band members as they toured each country.
Provenance:
Collection donated by Naomi Huber Brown, July 15, 1991.
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 -- 1960-1970 -- United States  Search this
Jazz -- 1960-1970 -- United States  Search this
Music -- 20th century -- United States  Search this
Genre/Form:
Notes -- 1960-1970
Business records -- 1950-2000
Photographs -- 1960-1970
Citation:
Naomi H. Brown Papers Documenting Duke Ellington's Concert Tour of Asia, 1963, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0429
See more items in:
Naomi Huber Brown Papers (Documenting Duke Ellington's Concert Tour of Asia)
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8931af34b-2266-46cd-8bde-bb405b7d4658
EDAN-URL:
ead_collection:sova-nmah-ac-0429

W. Royal Stokes Collection of Music Photoprints and Interviews

Interviewee:
Sun Ra  Search this
Gaskin, Leonard, 1920-  Search this
Taylor, Billy  Search this
Sullivan, Maxine, 1911-1987  Search this
Wells, Ronnie  Search this
Whiting, Margaret  Search this
Towers, Jack  Search this
Venuti, Joe, 1903-1978  Search this
Pullen, Don, 1941-  Search this
Roney, Wallace  Search this
Pizzarelli, Bucky, 1926-  Search this
Pizzarelli, John, 1960-  Search this
Shaw, Artie, 1910-2004  Search this
Shepp, Archie, 1937-  Search this
Sanders, Pharaoh  Search this
Grant, Felix, 1918-1993  Search this
Scott, Jimmy  Search this
McPhail, Jimmy  Search this
McPartland, Marian  Search this
McFerrin, Bobby  Search this
Krall, Diana  Search this
O'Connell, Helen  Search this
Mulligan, Gerry  Search this
Metheny, Pat  Search this
McShann, Jay  Search this
Horn, Shirley, 1934-  Search this
Hinton, Milt, 1910-2000  Search this
Hill, Andrew, 1937-  Search this
Hendricks, Jon, 1921-  Search this
Keane, Helen  Search this
Kaminsky, Max, 1908-  Search this
Jordan, Sheila, 1928-  Search this
Humes, Helen, 1913-1981  Search this
Hampton, Lionel  Search this
Harris, Eddie, 1934-  Search this
Heath, Jimmy, 1926-  Search this
Frishberg, Dave  Search this
Ennis, Ethel  Search this
Farmer, Art, 1928-  Search this
Flanagan, Tommy, 1930-  Search this
Hampton, Slide  Search this
D'Rivera, Paquito, 1948-  Search this
Daniels, Billy  Search this
Davison, Bill  Search this
Donegan, Dorothy, 1922-  Search this
Crouch, Stanley, 1945-2020  Search this
Conyers, John, 1929-  Search this
Cruz, Celia, 1924-2003  Search this
Byard, Jaki  Search this
Brown, Ruth  Search this
Carter, Betty, 1930-  Search this
Byron, Don  Search this
Betts, Keter, 1928-  Search this
Bellson, Louis  Search this
Bowie, Lester, 1941-  Search this
Blakey, Art, 1919-1990  Search this
Allen, Steve, 1921-2000  Search this
Adderly, Nat, 1931-2000  Search this
Bailey, Benny, 1925-  Search this
Collector:
Stokes, W. Royal, Dr., 1930-  Search this
Names:
Armstrong, Louis, 1901-1971  Search this
Davis, Miles  Search this
Ellington, Duke, 1899-1974  Search this
Gillespie, Dizzy, 1917-  Search this
Extent:
10 Cubic feet (39 boxes)
Type:
Collection descriptions
Archival materials
Audiotapes
Black-and-white photographic prints
Publicity photographs
Date:
1940s-2005
Summary:
Publicity photographs of musicians and entertainers, mostly jazz musicians, such as Duke Ellington, Louis Armstrong, Miles Davis, and Dizzy Gillespie, but including many rock and even a few classical performers. The collection also contains tape recorded radio interviews conducted between 1970 and 2003. In addition there are posters relating to musical performances.
Scope and Contents:
This collection was formed by W. Royal Stokes in the course of his professional work as a music and arts critic. It is composed primarily of publicity portraits of musical performers, both single acts and groups. The emphasis is on jazz musicians and singers, although many rock stars and groups, and other popular musical performers are included. Even a few classical musicians are represented. The pictures are primarily mass-produced black and white publicity photographs distributed to newspapers, writers, etc., by agents for entertainment personalities. Some prints were made from the original negatives, while others clearly were made from copy negatives after typography was stripped together with a print and re-photographed. However, there are some rarer original photographs included in the collection, such as personal color snapshots, higher quality prints by art photographers, etc. Nearly all the prints are unmounted, and are 8 x 10 inches or smaller in size. The bulk of the photographs date from circa 1970 to 2000, however, a number of the earlier photographs are included as well as slightly later examples.
Arrangement:
The collection is divided into nine series.

Series 1, Photographs of Musicians and Ensembles, circa 1970-2000; undated

Subseries 1.1, Musicians and Ensembles

Subseries 1.2, Recording Company Photographs

Subseries 1.3, Unidentified Musicians

Series 2, Photographs of Performances, 1987-2002; undated

Subseries 2.1, Music Festivals, 1987-2002; undated

Subseries 2.2, Concerts, Music Clubs and Other Venues, 1920s-1940s and circa 1980s-1990s; undated

Series 3, Formal and Informal Groups, circa 1980s-2000; undated

Series 4, Photographs of Musicians in Films, Radio, Television and Theater, 1940s-2000; undated Series 5, Photographs of Subjects and Products related to Musicians and Music, 1970-2000; undated

Series 6, Photographs of Non-Musicians, circa 1980s-2000; undated

Series 7, Interviews with Musicians, 1970-2003

Series 8, Audiovisual Materials, 1970-2003

Subseries 8.1, Audio Recordings - Audiocassettes

Subseries 8.2, Audio Recordings-Audiotapes

Series 9, Posters, 1976-1990; undated
Biographical / Historical:
Born in Washington, D.C., W. Royal Stokes served in the Army and then embarked on an academic career, teaching at the University of Pittsburgh, Tufts University, Brock University and the University of Colorado. He left the academic profession in 1969 and become a writer, broadcaster and lecturer, journalist, and critic and authority on jazz music. A follower of jazz since his teens in the 1940s, Stokes has written about music for such publications as Down Beat, Jazz Times, and the Washington Post, and hosted the public radio shows "I Thought I Heard Buddy Bolden Say . . ." and "Since Minton's". Today he is the editor of the quarterly Jazz Notes, and is the author of The Jazz Scene: An Informal History From New Orleans to 1990 and Swing Era New York: The Jazz Photographs of Charles Peterson.. He is also the author of Living the Jazz Life: Conversations with Forty Musicians about Their Careers in Jazz (Oxford; New York: Oxford University Press, 2000). Dr. Stokes lives in Silver Spring, Maryland.
Materials in the Archives Center, National Museum of Ameican History:
Duke Ellington Collection, 1928-1988 (AC0301)

Herman Leonard Photoprints, 1948-1993

Frank Driggs Collection of Duke Ellington Photographic Reference Prints [copyprints], 1923-1972

Jazz Oral History Collection, 1988-1990

Ernie Smith Jazz Film Collection, 1910s-1970s (mostly 1930s-1960s)

Jeffrey Kliman Photographs

Stephanie Myers Jazz Photographs, 1984-1987, 2005

Chico O'Farrill Papers

Paquito D'Rivera Papers, 1989-2000.

Louis Armstrong Music Manuscripts, undated

Tito Puente Papers, 1962-1965.

Audrey Wells "Women in Jazz Radio Series, 1981-1982

Mongo Santamaria Papers, 1965-2001

Ramsey Lewis Collection, 1950-2007

Earl Newman Collection of Monterey Jazz Festival Posters, 1963-2009

James Arkatov Collection of Jazz Photographs, 1995-2003

Francis Wolff Jazz Photoprints, 1953-1966

Floyd Levin Jazz Reference Collection, circa 1920s-2006

Jazz Oral History Program Collection, 1992-2009

Leslie Schinella Collection of Gene Krupa Materials
Provenance:
Donated by W. Royal Stokes to the Archives Center in 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.
Topic:
Jazz musicians -- 1950-2000 -- United States  Search this
Musicians  Search this
Publicity  Search this
Portraits -- Musicians  Search this
Popular music -- 20th century -- United States  Search this
Entertainers  Search this
Rock music  Search this
Genre/Form:
Audiotapes
Black-and-white photographic prints -- Silver gelatin -- 1950-2000
Publicity photographs
Citation:
W. Royal Stokes Collection of Jazz Musicians' Photographs, ca. 1970-2000, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0766
See more items in:
W. Royal Stokes Collection of Music Photoprints and Interviews
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8b79b5a94-c967-451e-bafb-e62dc2d8ff45
EDAN-URL:
ead_collection:sova-nmah-ac-0766
Online Media:

William "Cat" Anderson Collection

Creator:
Anderson, William "Cat", 1916-1981 (musician)  Search this
Names:
Cat Anderson Quintet  Search this
Duke Ellington Orchestra  Search this
Lionel Hampton Orchestra  Search this
Mingus Quintet  Search this
Bechet, Sidney (musician)  Search this
Calloway, Cab, 1907-1994  Search this
Carter, Benny, 1907-2003  Search this
Ellington, Duke, 1899-1974  Search this
Fitzgerald, Ella, 1917-1996  Search this
Hampton, Lionel  Search this
Humphrey, Hubert H. (Hubert Horatio), 1911-1978  Search this
Humphrey, Muriel  Search this
Johnson, Lucy Bird  Search this
Johnson, Lyndon B. (Lyndon Baines), 1908-1973  Search this
Tatum, Art, 1909-1956  Search this
Webster, Ben  Search this
Extent:
5 Cubic feet (12 boxes)
Type:
Collection descriptions
Archival materials
Manuscripts
Transcripts
Oral histories (document genres)
Oral history
Phonograph records
Photographs
Recordings
Interviews
Clippings
Audiotapes
Awards
Audiocassettes
Articles
Date:
1940-1981
bulk 1963-1977
Scope and Contents note:
Primarily audiotapes, sheet music, and photographic images. Also: correspondence, newspaper clippings, magazine articles, itineraries, awards, and ephemera.,Of particular interest are recordings or photographic images, including the personalities listed below, and President and Mrs. Tubman of Liberia; also, two interviews and three recordings of Cat Anderson as guest with various university and college jazz bands.
Arrangement:
Collection is divided into four series.

Series 1: Music

Series 2: Original tapes and recordings

Series 3: Photographs

Series 4: Miscellaneous
Biographical/Historical note:
Cat Anderson (Sept 12, 1916 - April 29, 1981) was one of the premier trumpet players of the Duke Ellington Orchestra. Known for his effortless high notes, he was a strong section leader and a great soloist whose style exhibited humor and precision. He grew up in Jenkins= Orphanage in Charleston, SC, received basic music training there, and participated in many of their famous student ensembles. He formed and played with the Cotton Pickers, a group of orphanage teens while still a young man. Before joining Ellington in 1944, he played in several big bands, including Claude Hopkins and Lionel Hampton. Anderson left the Ellington organization from 1947 through 1949 again to lead his own group. From 1959 to1961 and after 1971 Anderson free lanced, working with the Ellington orchestra intermittently. He died in 1981 after receiving honors from the US Air Force, the Prix du Disque de Jazz, and the City of Los Angeles.
Related Archival Materials:
Related artifacts include: awards, plaques, mutes, trumpet mouth pieces, and the Jon Williams/Cat Anderson simulator in the Division of Cultural and Community Life (now Division of Cultural and Community Life). See accession: 1998.3074.
Provenance:
The collection was donated to the National Museum of American History in January 1998, by Dorothy Anderson, Cat Anderson's widow. It was acquired through negotiations with her, her brother, Mr. John Coffey and her nephew, Andrew Brazington. The materials were picked up from Mr. John Coffey of upper N.W. Washington, DC on January 21, 1998.
Restrictions:
Collection is open for research. Master tapes not available to researchers.
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 status of items varies. Signed copies of releases on file.
Occupation:
Composers -- 20th century  Search this
Topic:
Music -- 20th century  Search this
Music -- Acoustics and physics  Search this
Musicians -- 20th century  Search this
Piano and synthesizer music  Search this
Inventions -- 1980-2000  Search this
Synthesizer music  Search this
Electric engineering -- 1980-2000  Search this
Band musicians  Search this
African American musicians  Search this
Jazz musicians -- United States  Search this
Inventors -- 20th century  Search this
Genre/Form:
Manuscripts -- Music -- 20th century
Transcripts
Oral histories (document genres)
Oral history
Phonograph records
Photographs -- 20th century
Recordings
Interviews
Interviews -- 1950-2000
Clippings -- 20th century
Audiotapes -- 1940-1980
Awards
Audiocassettes
Audiotapes
Articles -- 1940-1980
Citation:
William "Cat" Anderson Collection, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0630
See more items in:
William "Cat" Anderson Collection
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep891a9a0e4-7c4f-4956-b81e-6d65c57e1f29
EDAN-URL:
ead_collection:sova-nmah-ac-0630
Online Media:

William Claxton Photographs

Creator:
Claxton, William  Search this
Names:
George Williams Brass Band.  Search this
Stan Kenton Band.  Search this
Armstrong, Louis, 1901-1971  Search this
Baker, Chet  Search this
Baker, Halima  Search this
Charles, Ray, 1930-2004  Search this
Charles, Roosevelt  Search this
Coleman, Ornette  Search this
Coltrane, John, 1926-1967  Search this
Davis, Miles  Search this
Ellington, Duke, 1899-1974  Search this
Evans, Bill, 1929-1980  Search this
Gillespie, Dizzy, 1917-1993  Search this
Jones, Elvin  Search this
Kenton, Stan  Search this
Monk, Thelonious  Search this
Mulligan, Gerry  Search this
Parker, Charlie, 1920-1955  Search this
Rollins, Sonny  Search this
Sinatra, Frank, 1915-1998  Search this
Washington, Dinah, 1924-1963  Search this
Webster, Ben  Search this
Williams, Cootie, 1911-1985  Search this
Williams, Joe, 1918-  Search this
Extent:
1 Cubic foot (28 items)
Type:
Collection descriptions
Archival materials
Black-and-white photographic prints
Date:
1951-1970
Summary:
Photographic prints taken by photographer William Claxton (October 12, 1927-October 11, 2008) of jazz musicians.
Scope and Contents:
Collection consists of twenty-eight photographic prints processed in 1999 by a professional laboratory for photographer William Claxton. The prints document jazz artists in recording sessions and performing throughout the United States. It is divided into two series: Series 1, Duke Ellington, 1955-1960, and Series 2, Other Artists, 1955-1970.
Arrangement:
The collection is divided into two series.

Series 1: Duke Ellington, 1955-1960

Series 2: Other Artists, 1951-1970
Materials in the Archives Center, National Museum of American History:
Archives Center, National Museum of American History

Duke Ellington Collection, NMAH.AC.0301

William H. Quealy Collection of Duke Ellington Recordings, NMAH.AC.0296

Duke Ellington Oral History Project, NMAH.AC.0368

Billy Strayhorn Ephemera Collection, NMAH.AC.0383

Collection of Duke Ellington Ephemera and Related Audio-visual Materials, NMAH.AC.0386

Robert Udkoff Collection of Duke Ellington Ephemera, NMAH.AC.0388

Frank Driggs Collection of Duke Ellington Photographic Reference Prints, NMAH.AC.0389

New York Chapter of the Duke Ellington Society Collection, NMAH.AC.O390

Felix Grant Collection, NMAH.AC.0410

Carter Harman Collection of Interviews with Duke Ellington, NMAH.AC.0422

Archives Center Collection of Music Transcriptions of Duke Ellington Compositions, Carter Harman NMAH.AC.0430

Jazz Oral History Collection about Duke Ellington, NMAH.AC.0431

Herman Leonard Photoprints, NMAH.AC.0445

Don Brown Collection of Duke Ellington Recordings, NMAH.AC.0472

Betty McGettigan Collection of Duke Ellington Memorabilia, NMAH.AC.0494

Dr. Theodore Shell Collection of Duke Ellington Ephemera, NMAH.AC.0502

Jay McCarter Phonograph Record Collection, NMAH.AC.0541

Tom Whaley Collection, NMAH.AC.0652

Edward and Gaye Ellington Collection of Duke Ellington Materials, NMAH.AC.0704

Andrew Homzy Collection of Duke Ellington Stock Arrangements, NMAH.AC.0740

John Gensel Collection of Duke Ellington Materials, NMAH.AC.0763

W. Royal Stokes Collection of Music Publicity Photoprints, Interviews and Posters, NMAH.AC.0766 Milt Gabler Papers, NMAH.AC.0849

Paquito D'Rivera Music Manuscripts and Photograph, NMAH.AC.0891

Charismic Productions Records of Dizzy Gillespie, NMAH.AC.0979

Floyd Levin Jazz Reference Collection, NMAH.AC.1222

Al Celley Collection of Duke Ellington Materials, NMAH.AC.1240

James Moody Papers, NMAH.AC.1405
Provenance:
The National Museum of American History purchased the collection on March 31, 1999.
Restrictions:
Collection is open for research. Gloves required with unprotected photographs.
Rights:
Copyright restrictions. Contact staff for information.
Topic:
Musicians -- 1950-1960 -- United States  Search this
Music -- West coast -- 1950-1960  Search this
Jazz  Search this
Genre/Form:
Black-and-white photographic prints -- Silver gelatin -- 1950-2000
Citation:
William Claxton Photographs, 1951-1971, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0695
See more items in:
William Claxton Photographs
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8f806c04e-a0d9-46c4-8765-417e8e2084e0
EDAN-URL:
ead_collection:sova-nmah-ac-0695
Online Media:

Louis Armstrong [black-and-white photoprint]

Names:
Jazz Photographs: Composed and Improvised (Archives Center display cases, National Museum of American History, March 28-May 10, 2005).  Search this
Armstrong, Louis, 1901-1971  Search this
Collection 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
Extent:
1 Photograph (Silver gelatin on paper, 8-1/16" x 10")
Culture:
African Americans  Search this
Type:
Archival materials
Photographs
Publicity photographs
Date:
1947
Scope and Contents:
Publicity photograph for United Artists Corp. Front contains handwritten note and autograph; note: "From Louis Armstong, to [Milt Gabler?], Commodore Music Shop." Photographer unidentified.
Local Numbers:
AC0849.0000004.tif (AC Scan, Front)
Exhibitions Note:
Shown in exhibition "Jazz Photographs: Composed and Improvised," Archives Center display cases, National Museum of American History, March 28-May 10, 2005.
Collection 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.
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:
Jazz musicians  Search this
Genre/Form:
Publicity photographs
Photographs -- 1950-2000 -- Black-and-white photoprints -- Silver gelatin
Collection Citation:
Milt Gabler Papers, 1927-2001, Archives Center, National Museum of American History.
See more items in:
Milt Gabler Papers
Milt Gabler Papers / 26: Photographs / 26.3: Jam Sessions and Performances / Duke Ellington, Ella Fitzgerald, Benny Goodman, Alexander King, Billy Kyle, Timmie Rosencrantz, Artie Shaw, Chick Webb, [Dickie Wells?], Brunswick Studios
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep81c99d07e-f8fb-451b-82dc-8cc77f2eed7a
EDAN-URL:
ead_component:sova-nmah-ac-0849-ref2239

Chick Webb, Artie Shaw, and Duke Ellington [photoprint]

Names:
Jazz Photographs: Composed and Improvised (Archives Center display cases, National Museum of American History, March 28-May 10, 2005).  Search this
Ellington, Duke, 1899-1974  Search this
Shaw, Artie, 1910-2004  Search this
Webb, Chick, 1909-1939  Search this
Collection 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
Extent:
1 Photograph (Silver gelatin on paper, 4-13/16" x 3-1/4")
Type:
Archival materials
Photographs
Date:
1937
Scope and Contents:
Photograph taken at Brunswick Studio in connection with jam session for Milt Gabler's Commodore Records. Photographer unidentified.
Local Numbers:
AC0849.0000002.tif (AC Scan, Front)
Exhibitions Note:
Shown in exhibition "Jazz Photographs: Composed and Improvised," Archives Center display cases, National Museum of American History, March 28-May 10, 2005.
Collection 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.
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:
Jazz musicians  Search this
African American composers  Search this
Genre/Form:
Photographs -- 1950-2000 -- Black-and-white photoprints -- Silver gelatin
Collection Citation:
Milt Gabler Papers, 1927-2001, Archives Center, National Museum of American History.
See more items in:
Milt Gabler Papers
Milt Gabler Papers / 26: Photographs / 26.3: Jam Sessions and Performances / Duke Ellington, Ella Fitzgerald, Benny Goodman, Alexander King, Billy Kyle, Timmie Rosencrantz, Artie Shaw, Chick Webb, [Dickie Wells?], Brunswick Studios
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8db7e1b85-4b8c-42be-9846-b017f6c8ef32
EDAN-URL:
ead_component:sova-nmah-ac-0849-ref2241

[Duke Ellington, unidentified trumpet player, and Chick Webb: photograph]

Names:
Jazz Photographs: Composed and Improvised (Archives Center display cases, National Museum of American History, March 28-May 10, 2005).  Search this
Ellington, Duke, 1899-1974  Search this
Collection 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
Extent:
1 Photograph (Silver gelatin on paper, 3-1/4" x 4-3/4")
Culture:
African Americans  Search this
Type:
Archival materials
Photographs
Date:
1937
Scope and Contents:
Photograph taken at Brunswick Studio, jam session for Milt Gabler's Commodore Records.
Local Numbers:
AC0849.0000003.tif (AC Scan, Front)
Exhibitions Note:
Shown in exhibition "Jazz Photographs: Composed and Improvised," Archives Center display cases, National Museum of American History, March 28-May 10, 2005.
Collection 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.
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:
Jazz musicians  Search this
African American composers  Search this
Genre/Form:
Photographs -- 1950-2000 -- Black-and-white photoprints -- Silver gelatin
Collection Citation:
Milt Gabler Papers, 1927-2001, Archives Center, National Museum of American History.
See more items in:
Milt Gabler Papers
Milt Gabler Papers / 26: Photographs / 26.3: Jam Sessions and Performances / Duke Ellington, Ella Fitzgerald, Benny Goodman, Alexander King, Billy Kyle, Timmie Rosencrantz, Artie Shaw, Chick Webb, [Dickie Wells?], Brunswick Studios
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8f0508fb1-4c7a-483a-89f4-7566fa0cccf1
EDAN-URL:
ead_component:sova-nmah-ac-0849-ref2242

Bill Holman Collection

Creator:
Holman, Bill, 1927-  Search this
Kenton, Stan  Search this
Monk, Thelonious  Search this
Basie, Count, 1904-1984  Search this
Herman, Woody, 1913-1987  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.
Occupation:
Composers -- 20th century  Search this
Topic:
Music -- 20th century  Search this
Musical arrangers  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
GUID:
https://n2t.net/ark:/65665/ep8ecf71aef-19e8-455b-bfb2-c604e11f2591
EDAN-URL:
ead_collection:sova-nmah-ac-0733
Online Media:

Alan Strauber Photoprints

Photographer:
Strauber, Alan  Search this
Names:
Bo Diddley, 1928-2008  Search this
Brown, Jerry, 1942-  Search this
Burrell, Kenny  Search this
Duke, David  Search this
Franklin, Aretha  Search this
Winfield, Dave  Search this
Extent:
0.2 Cubic feet (2 boxes)
Type:
Collection descriptions
Archival materials
Photographs
Place:
Ellis Island (New York, N.Y.)
Date:
ca. 1990-1999.
Summary:
Forty-one black and white photoprints, most of which are portraits of jazz, blues, Cajun, and zydeco musicians, plus a few additional subjects.
Scope and Contents:
These prints are all on fiber-based paper, unmounted. The subjects include jazz, blues, and zydeco musicians, politicians, and baseball players in action. All prints copyright 1994 by Alan Strauber, except as otherwise noted, and signed and dated on verso. All are 8" x 10" except for the 11" x 14" prints in box 2.

The majority of the photographs depict musicians in concert, but additional subjects include professional baseball players, politicians like Jerry Brown, and built structures in the American South and at Ellis Island.
Subjects include Marie Laveau's tomb, Aaron Neville, Irma Thomas, Dr. John, Michel Doucette, George Porter, Aretha Franklin, Willie Dixon, Koko Taylor, Johnny Copland, Clarence "Gatemouth" Brown, "Snooks" Eaglin, Robert Ward, Bo Diddley, Don Byron, Cajun dancers, David Duke, Jerry Brown, Boozoo Chavis, Terrence Simien, Chubby Carrier, C. J. Chevier, Dave Winfield, Rickey Henderson, Kenny Burrell, Robben Ford, Kenny Neal, Junior Wells, John Lee Hooker and Willie Dixon, a Mardi Gras "Indian," Walter "Wolfman" Washington, and Robert "Junior" Lockwood; Ellis Island; and "Little Wimp's Barbecue House."
Arrangement:
1 series.

Arranged topically.
Biographical / Historical:
Alan Strauber is a photojournalist whose work has been published in The New York Times, the Philadelphia Inquirer, Gannett Suburban Newspapers, Downbeat Magazine, and AKC Gazette, among others. His work is in the collections of Yad Vashem (Jerusalem, Israel), the Delta Blues Museum (Clarksdale, Mississippi), and the National Baseball Hall of Fame (Cooperstown, N.Y.). Among his special photographic interests are the photography of jazz musicians, professional baseball, and politicians; examples are contained in this collection. His e-mail address is meandgi@sabbatai.com

He is also a poet and art critic. An article by Mr. Strauber, "Art entices eyes, ears at Whitney Museum" from the Poughkeepsie (N.Y.) Journal, April 11, 2002, is posted on the World Wide Web at http://cityguide.pojonews.com/fe/DayTrips/stories/dt_whitney_museum.asp.

Mr. Strauber is mentioned in on a genealogical site listing his family background, posted in the "Phair Family Circle" at http://www.geocities.com/hmshultz/phair.html.
Provenance:
Collection donated by Alan Strauber, 1994, December 21.
Restrictions:
Collection is open for research.
Rights:
Alan Staruber retains copyright. At the time of donation, the Archives Center of the National Museum of American History obtained standard museum rights from the photographer to exhibit these photographs, lend them to other qualified museums, and publish them in its own publication program. These rights do not entitle the Archives Center to provide reproduction permission to third parties, which must contact the photographer for further information.
Topic:
Baseball players -- 1990-2000  Search this
Baseball -- 1990-2000  Search this
Jazz musicians -- 1950-2000 -- United States  Search this
Zydeco musicians  Search this
Musicians, Cajun  Search this
Blues musicians  Search this
Jazz -- 1990-2000  Search this
Carnival -- 1990-2000 -- New Orleans (La.)  Search this
Genre/Form:
Photographs -- Black-and-white photoprints -- Silver gelatin -- 1980-2000
Citation:
Alan Strauber Photoprints, 1990-1994, 1999, Archives Center, National Museum of American History. Gift of the artist.
Identifier:
NMAH.AC.0517
See more items in:
Alan Strauber Photoprints
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep827167a3f-07d7-40ef-9034-aa20fdda432b
EDAN-URL:
ead_collection:sova-nmah-ac-0517

John Marshall Ju/'hoan Bushman film and video collection

Collaborator:
McElwee, Ross  Search this
Blitz, Daniel  Search this
Bishop, John Melville  Search this
Baker, Peter  Search this
Ritchie, Claire  Search this
Young, Robert  Search this
Terry, John  Search this
Galvin, Frank  Search this
Bestall, Clifford  Search this
Gardner, Robert  Search this
Asch, Timothy, 1932-1994  Search this
Marshall, Lorna  Search this
Creator:
Marshall, John, 1932-2005  Search this
Extent:
2 Boxes (map drawers)
3 Video recordings (published videos or video series)
99 Linear feet (714,405 feet (332 hours) 16mm film, 435 hours video tape, 309 hours audio tape, 21 published film and video titles, 29 unpublished film and video titles, 14 linear feet paper records)
Culture:
San (African people)  Search this
Bushman  Search this
Type:
Collection descriptions
Archival materials
Video recordings
Documentary films
Place:
Namibia
Date:
1950-2000
Summary:
The John Marshall Ju/'hoan Bushman Film and Video Collection contains full film and video projects (outtake material), film production elements and edited films and videos, audio tapes, still photographs, negatives, transparencies, slides, published and unpublished writing by John Marshall and others, study guides for edited films, Nyae Nyae Development Foundation and Advocacy files, maps, and production files that include letters, shot logs, translations, transcriptions, editing logs, treatments, and proposals spanning from 1950-2000. This material comprises Marshall's long-term documentary record of the Ju/'hoansi of the Nyae Nyae region of the Kalahari Desert in northeastern Namibia. A great deal of the film and video footage focuses on one particular extended family, that of Toma Tsamko, whose ancestral home is at /Gautcha, an area with a large salt pan and a permanent waterhole. The life stories of some family members are captured in the footage; appearing as children in the 1950's, middle-aged parents in the 1980's, and pensioners in the final years of visual documentation. The Marshall Collection also documents other Ju/'hoansi living in Nyae Nyae and elsewhere, their relationships with neighboring ethnic groups, and national politics that affected Ju/'hoansi. Marshall also documented the local political body (the Nyae Nyae Farmers' Cooperative, or NNFC), the foundation he started (the Nyae Nyae Development Foundation of Namibia, or NNDFN), and the ways in which both groups worked with and were affected by international development organizations and foreign aid during the 1990's.
Scope and Contents:
The John Marshall Ju/'hoan Bushman Film and Video Collection contains full film and video projects (outtake material), film production elements and edited films and videos, audio tapes, still photographs, negatives, transparencies, slides, published and unpublished writing by John Marshall and others, study guides for edited films, Nyae Nyae Development Foundation and Advocacy files, maps, and production files that include letters, shot logs, translations, transcriptions, editing logs, treatments, and proposals spanning from 1950-2000.

This material comprises Marshall's long-term documentary record of the Ju/'hoansi of the Nyae Nyae region of the Kalahari Desert in northeastern Namibia. A great deal of the film and video footage focuses on one particular extended family, that of Toma Tsamko, whose ancestral home is at /Gautcha, an area with a large salt pan and a permanent waterhole. The life stories of some family members are captured in the footage; appearing as children in the 1950's, middle-aged parents in the 1980's, and pensioners in the final years of visual documentation. Beginning in 1978, Marshall often conducted lengthy and in depth interviews with many family members, in which they reflect on past, present, and future, and often comment on specific film footage from earlier years which was shown to them during the interviews. The collection is not limited to the /Gautcha family, however; it also documents other Ju/'hoansi living in Nyae Nyae and elsewhere, their relationships with neighboring ethnic groups, and national politics that affected Ju/'hoansi. Marshall also documented the local political body (the Nyae Nyae Farmers' Cooperative, or NNFC), the foundation he started (the Nyae Nyae Development Foundation of Namibia, or NNDFN), and the ways in which both groups worked with and were affected by international development organizations and foreign aid during the 1990's. The collection also documents changes to the landscape and wildlife of the Nyae Nyae region.
Arrangement:
This collection is arranged in 13 series: (1) Unedited Film and Video Projects, 1950-1978, 1981-2003; (2) Published Films and Videos, 1952-2002; (3) Unpublished Films and Videos, 1959-1962, circa 1965; (4) Audio, 1950s, 1978-1990; (5) Field Notes, Shot Logs, Translations, 1951-2000; (6) Production Files, 1952-2004; (7) Correspondence, 1968-2003 [bulk 1993-2000]; (8) Nyae Nyae Development Foundation & Advocacy Files, 1975-2003 [bulk 1984-2003]; (9) Published and Unpublished Writing, 1957-1958, 1980-1999, 2007; (10) Study Guides, 1974, 1982; (11) Writings by Others & Press, 1952-1953, 1965-2005; (12) Photographs, 1930s, 1946-2003; (13) Maps, 1872, 1879, 1914, 1933-1989.
Biographical / Historical:
John Marshall, filmmaker and activist, was born on November 12, 1932 in Boston, Massachusetts. He grew up in Cambridge, Massachusetts and on his family's farm in Peterborough, New Hampshire. Marshall first picked up a camera in 1950, at the age of 18, during the first of several expeditions to the Kalahari organized by his father, Laurence Marshall, the founding president of the Raytheon Corporation. The whole Marshall family - including John's mother, Lorna, and sister, Elizabeth Marshall Thomas - became engaged in a multi-disciplinary study of the Ju/'hoansi. Marshall's father assigned him the task of making a documentary film record of Ju/'hoan life and culture. Between 1950 and 1958, he shot over 300,000 feet of 16mm film (157 hours).

Marshall formed a close bond with many of his Ju/'hoan subjects, particularly with Toma "Stumpy" Tsamko, leader of the /Gautcha band. Amongst Ju/'hoansi, Marshall was known as Toma Xhosi, Toma "Longface". Probably because of this close relationship, he was forced to leave South West Africa in 1958 after his visa expired, and was not allowed back for twenty years.

During the 1960's and 1970's, Marshall became well-established as a cinema vérité filmmaker. After leaving the Film Study Center at Harvard, which he had co-directed with Robert Gardner, he worked briefly with Robert Drew and D.A. Pennebaker, and later collaborated with Fredrick Wiseman on Titicut Follies (1967). He forged friendships with leading documentary and ethnographic filmmakers, including Timothy Asch, Ricky Leacock, and Jean Rouch.

Throughout these years, Marshall continued to work with his extensive footage of Ju/'hoansi. He completed 15 short films, as well as the award-winning Bitter Melons. In 1968, Marshall partnered with Tim Asch to found Documentary Educational Resources (DER), to distribute and support the creation of ethnographic and educational film.

In 1978 Marshall was allowed to return to Nyae Nyae to shoot N!ai, the Story of a !Kung Woman. Finding his Ju/'hoan friends beset by illness, poverty, and growing social ills, John turned his attentions to development and advocacy work. Virtually abandoning his filmmaking career, Marshall started a foundation to assist Ju/'hoansi and spent most of the 1980's helping them establish water access, subsistence farming, and a local government. He began using film as an advocacy tool, and released several urgent, issuefocused videos to raise awareness of the Ju/'hoan struggle for self-determination.

Marshall continued his documentary record of Ju/'hoansi, directing his final shoot in 2000. A Kalahari Family (2002), his epic six-hour series, tells the story of the Ju/'hoansi from 1950-2000 and charts Marshall 's evolution from filmmaker to activist. He made his final visit to Nyae Nyae in 2004, and continued his advocacy work right up to his final days. John Marshall died due to complications from lung cancer on April 22, 2005.

John Marshall Chronology

1932 -- Born in Boston, Massachusetts

1950-1958 -- Marshall Family expeditions to study the Ju/'hoansi of Nyae Nyae

1957 -- Awarded B.A. in Anthropology from Harvard University The Hunters released

1958-1960 -- Associate Director (with Robert Gardner) of the Film Study Center, Peabody Museum, Harvard University

1960 -- Awarded G.S.A.S. in Anthropology from Yale University

1960-1963 -- Director, Bushmen Film Unit, Harvard University

1962 -- Sha//ge Curing Ceremony (early version of A Curing Ceremony), A Group of Women and Joking Relationship screened at Flaherty Seminar

1964-1965 -- Cameraman for NBC covering civil war in Cyprus

1966 -- Awarded M.A. in Anthropology from Harvard University

1967 -- Cameraman and Co-Director of Fredrick Wiseman's Titicut Follies

1968 -- Founded Documentary Educational Resources (DER) with Timothy Asch (first known as CDA, Center for Documentary Anthropology)

1968-1969 -- Cameraman and Director of film shoots for the Pittsburgh Police series, produced through the Center for Violence Studies at Brandeis University

1970-1974 -- Edited and released numerous short films, from both Ju/'hoan (!Kung) and Pittsburgh Police series

1972 -- Collaborated with Nicholas England (musicologist) on a film project documenting a family of drummers in Ghana (this film was never completed)

1972-1973 -- Travel to Botswana to film National Geographic's Bushmen of the Kalahari, produced by Wolper Productions

1974 -- If It Fits, documentary on failing shoe industry in Haverhill, MA, released

1976 -- Director and cameraman of film shoots for Smithsonian Festival of American Folklife

1978 -- Film shoot in Nyae Nyae for N!ai, The Story of a !Kung Woman

1980 -- N!ai, The Story of a !Kung Woman released and broadcast on PBS as partof the Odyssey series

1980-1982 -- Conducted genealogical survey in Nyae Nyae with Claire Ritchie

1982 -- Founded the Ju/wa Cattle Fund (later known as the Nyae Nyae Development Foundation of Namibia)

1985 -- Pull Ourselves Up or Die Out, Marshall's first "field report" edited on video, released

1989 -- Returns to Boston after Namibian independence

1991 -- To Hold Our Ground, another "field report" is aired on Namibian television shortly before a national Land Rights Conference

1993 -- The Cinema of John Marshall published

1995 -- Awarded Honorary M.F.A. from Rhode Island School of Design

2000 -- Final video shoot in Nyae Nyae

2002 -- A Kalahari Family premieres at the Margaret Mead Film Festival in New York City; released for general distribution in 2003

2004 -- Makes final visit to Nyae Nyae; presents proposal for water point protections

2005 -- Dies in Boston, Massachusetts
Orthography Note:
Ju/'hoansi are the speakers of the Ju/'hoan language. Various cultural descriptors used over the years include !Kung which is a language group containing three dialect groups, one of which is the Ju/'hoansi; San, which is now regarded by the Ju/'hoansi to have negative connotations; and Bushman, which ironically (given the derogatory history of this term) is now preferred by the Ju/'hoansi as a term of dignity. (Orthography information provided by Dr. Polly Wiessner, University of Utah anthropologist and longtime field worker among and researcher of the Ju/'hoansi.)

The orthography of the Ju/'hoan language has changed many times, though an official orthography was agreed upon and accepted by the Namibian government in 1991. The finding aid, cataloging records, and shot logs for the Marshall collection at Human Studies Film Archives continue to use the orthography used by the Marshall family beginning in 1950. These spellings are usually anglicized versions of the official orthography. For example, the name ≠Oma was usually rendered by the Marshalls as Toma; the place name /Aotcha as /Gautcha or Gautscha.

The majority of the footage was shot in a region of Namibia (formerly South West Africa) known as Nyae Nyae. In the 1960's, a portion of the Nyae Nyae area was officially established as a homeland for Ju/'hoansi by the South West African administration. This area, once called Eastern Bushmanland, is now known as Eastern Otjozondjupa, however it is still referred to as Nyae Nyae by Ju/'hoansi and others. The Nyae Nyae Conservancy, which encompasses a large portion of Eastern Otjozondjupa, was established in 1996.
Filmography:
JU/'HOAN BUSHMAN FILM SERIES

1952 -- First Film [also known as !Kung Bushmen of the Kalahari] (by Lorna Marshall)

1957 -- The Hunters

1959 -- A Curing Ceremony

1961 -- A Group Of Women

1962 -- A Joking Relationship

1966 -- !Kung Bushmen Hunting Equipment (directed by Lorna Marshall)

1969 -- N/um Tchai: The Ceremonial Dance of the !Kung Bushmen

1969 -- An Argument About A Marriage

1970 -- The Lion Game

1970 -- The Melon Tossing Game

1971 -- Bitter Melons

1972 -- Debe's Tantrum

1972 -- Men Bathing

1972 -- Playing With Scorpions

1972 -- A Rite of Passage

1972 -- The Wasp Nest

1974 -- Baobab Play

1974 -- Children Throw Toy Assegais

1974 -- The Meat Fight

1974 -- Tug-Of-War

1980 -- N!ai, the Story of a !Kung Woman

1985 -- Pull Ourselves Up Or Die Out

1990 -- To Hold Our Ground: A Field Report

1991 -- Peabody Museum !Kung San Exhibit Video

2002 -- A Kalahari Family

In addition to Marshall's many published films on the Ju/'hoansi, he was also involved in a variety of other film projects. He shot and co-directed Titicut Follies, a film by Fredrick Wiseman. Working in association with the Lemburg Center for Violence Studies at Brandeis University, he shot and directed a series of short films about a police squad in Pittsburgh, PA, known as the Pittsburgh Police series. He also shot and directed If It Fits, a film about the failing shoe industry in Haverhill, MA. Marshall was also the subject of two television programs: Bushmen of the Kalahari, a National Geographic special which aired in the United States, and a Japanese program called Forty Years in the Kalahari, part of the television series, Our Wonderful World. All of these, as well as Marshall's Ju/'hoan films, are included in this filmography.

PITTSBURGH POLICE SERIES

1970 -- Inside/Outside Station 9

1971 -- Three Domestics

1971 -- Vagrant Woman

1972 -- 901/904

1972 -- Investigation of a Hit and Run

1973 -- After the Game

1973 -- The 4th, 5th, & Exclusionary Rule

1973 -- A Forty Dollar Misunderstanding

1973 -- Henry Is Drunk

1973 -- The Informant

1973 -- A Legal Discussion of a Hit and Run

1973 -- Manifold Controversy

1973 -- Nothing Hurt But My Pride

1973 -- Two Brothers

1973 -- $21 or 21 Days

1973 -- Wrong Kid

1973 -- You Wasn't Loitering

OTHER FILMS

1967 -- Titicut Follies (Co-Director, Cinematographer; film by Fredrick Wiseman)

1972 -- Ghana Drumming (uncompleted; collaboration with Nicholas England)

1974 -- Bushmen of the Kalahari (by Wolper Productions for National Geographic)

1975 -- Vermont Kids (series of short films; released in 2007)

1976 -- Festival of American Folklife (uncompleted; shot for Smithsonian Institution)

1978 -- If It Fits

1988 -- Our Wonderful World: Forty Years in the Kalahari (by Nippon A-V Productions)
Related Materials:
The Human Studies Film Archives holds several related collections, including:

• The Nicholas England Collection, which consists of audio recordings from 1951-1961. This collection contains both originals and duplicates of audio tapes recorded during the Marshall Expeditions. (2005.9) • The Journal of Robert Gesteland, kept during the Marshall !Kung Expedition VI, 1957-58. (2007.17) • Master copies of the full film record of Bushmen of the Kalahari (1974), a television program featuring John Marshall's 1973 visit to the /Gwi San of Botswana, produced by Wolper Productions for National Geographic. (2008.12) • Reference copies of the full video record of Our Wonderful World: Forty Years in the Desert, Nippon A-V's 1988 Japanese television program about John Marshall and the Ju/Wa Bushman Development Foundation. (2009.2.1) • Master copies of the videotape "library" kept by John Marshall for reference and stock footage purposes. Compiled from various sources, the videos include news programs, documentaries, and raw footage of Ju/'hoansi and other San peoples from the 1920's --1990's, as well as interviews with John Marshall and his mother, Lorna Marshall. (2009.2) • Additional audio recordings, including interviews with Ju/'hoansi made by John Marshall and others. (2009.3) • Full film record of [Ghana Drumming, 1972], an uncompleted project undertaken by John Marshall and Nicholas England, which documents a family of musicians. (2008.11)

The Papers of Timothy Asch, held at the National Anthropological Archives, contain information on Asch's work with John Marshall at Harvard University from 1959-1963, their collaboration in founding DER, and details on the use of Marshall's Ju/'hoan footage in the development of MACOS (Man, A Course of Study).

There are also several closely related collections held at the Peabody Museum of Archaeology and Ethnology, Harvard University. These collections relate to the 1950's Marshall Expeditions and include: Expeditionary Notebooks and Journals of Lorna and Laurence Marshall; Journal of Elizabeth Marshall Thomas; the Marshall Family Photograph Collection; and the Records of the South West Africa Expeditions, 1950- 1959. The Harvard Film Archive, Harvard University, holds film prints of several of Marshall's published films on the Ju/'hoansi, including The Hunters.
Provenance:
The John Marshall Ju/'hoan Bushman Film and Video Collection was received over several years of accessioning from different parties.
Restrictions:
The John Marshall Ju/'hoan Bushman Film and Video Collection is open for research. Please contact the Archives for availabilty of access copies of audio visual recordings. Original audiovisual material in the Human Studies Film Archives may not be played. Materials relating to Series 6 Production Files are restricted and not available for research until 2048, 2063, 2072. Kinship diagrams in Series 13 are restricted due to privacy concerns. Various copyrights and restrictions on commercial use apply to the reproduction or publication of film, video, audio, photographs, and maps.
Rights:
Contact the repository for terms of use. Information on reproduction and fees available from repository.
Topic:
Anthropology  Search this
Genre/Form:
Documentary films
Citation:
The John Marshall Ju/'hoan Bushman Film and Video Collection, 1950-2000, Human Studies Film Archives, Smithsonian Institution.
Identifier:
HSFA.1983.11
See more items in:
John Marshall Ju/'hoan Bushman film and video collection
Archival Repository:
Human Studies Film Archives
GUID:
https://n2t.net/ark:/65665/pc9837628c2-5993-4cb8-8a98-9d1139f46452
EDAN-URL:
ead_collection:sova-hsfa-1983-11
Online Media:

Bitter Melons

Collection Collaborator:
McElwee, Ross  Search this
Blitz, Daniel  Search this
Bishop, John Melville  Search this
Baker, Peter  Search this
Ritchie, Claire  Search this
Young, Robert  Search this
Terry, John  Search this
Galvin, Frank  Search this
Bestall, Clifford  Search this
Gardner, Robert  Search this
Asch, Timothy, 1932-1994  Search this
Marshall, Lorna  Search this
Collection Creator:
Marshall, John, 1932-2005  Search this
Extent:
Film reels (sound, color reversal; 1,175 feet (32 minutes), 16mm)
Type:
Archival materials
Film reels
Date:
1971
Scope and Contents:
This film, shot in 1955, is about a small band of /Gwi San living in the arid landscape of the central Kalahari Desert (in present-day Botswana). The hardships of their everyday survival are woven into the songs of a blind musician, Ukxone, who composes music on a hunting bow. His songs evoke the /Gwi landscape and its diverse wildlife; they depict the routine of their daily lives: gathering food, collecting water, hunting for animals, and sharing as a community. Bitter Melons, his favorite song, is about a woman who learned from her Bantu neighbors to plant melon seeds despite the agriculturalists protesting that wild melons taste bitter.
Collection Restrictions:
The John Marshall Ju/'hoan Bushman Film and Video Collection is open for research. Please contact the Archives for availabilty of access copies of audio visual recordings. Original audiovisual material in the Human Studies Film Archives may not be played. Materials relating to Series 6 Production Files are restricted and not available for research until 2048, 2063, 2072. Kinship diagrams in Series 13 are restricted due to privacy concerns. Various copyrights and restrictions on commercial use apply to the reproduction or publication of film, video, audio, photographs, and maps.
Collection Rights:
Contact the repository for terms of use. Information on reproduction and fees available from repository.
Collection Citation:
The John Marshall Ju/'hoan Bushman Film and Video Collection, 1950-2000, Human Studies Film Archives, Smithsonian Institution.
Identifier:
HSFA.1983.11, File 2005.11.21
See more items in:
John Marshall Ju/'hoan Bushman film and video collection
John Marshall Ju/'hoan Bushman film and video collection / Series 2: Published Films and Videos
Archival Repository:
Human Studies Film Archives
GUID:
https://n2t.net/ark:/65665/pc9da8e6562-ee12-423c-ab31-44b3cae0d159
EDAN-URL:
ead_component:sova-hsfa-1983-11-ref108

Cosmos Andrew Sarchiapone papers

Creator:
Sarchiapone, Cosmos Andrew, 1931-2011  Search this
Names:
Parsons School of Design -- Faculty  Search this
Push Pin Studios  Search this
School of Visual Arts (New York, N.Y.) -- Faculty  Search this
Arbus, Diane, 1923-1971  Search this
Cage, John, 1912-1992  Search this
Glaser, Milton  Search this
Hay, Alex  Search this
Huebler, Douglas  Search this
Israel, Marvin  Search this
Johnson, Ray, 1927-  Search this
Kelly, Ellsworth, 1923-  Search this
Scull, Robert C.  Search this
Sonneman, Eve  Search this
Extent:
49.2 Linear feet
0.367 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Drawings
Ephemera
Illustrations
Music
Photocopies
Photographs
Posters
Prints
Sketchbooks
Sound recordings
Video recordings
Place:
New York (State) -- New York City -- Photographs
Date:
circa 1860-2011
bulk 1940-2011
Summary:
The papers of New York City photographer, conceptual artist, and musical composer Cosmos Sarchiapone measure 49.2 linear feet and 0.367 GB and date from circa 1860-2011, with the bulk of the materials dating from 1940-2011. The collection includes biographical material and personal business records; correspondence; extensive writings, including written and recorded music compositions; teaching files; printed material and published sound and video recordings; photographic material; artwork; artifacts; and unpublished sound recordings and born-digital material. Highlights of the collection are more than 40,000 photographic images documenting New York's avant-garde art scene of the 1970s, along with celebrity parties, concerts, exhibition openings and other occasions in the art, music, and theater world. Extensive and somewhat rare printed materials offer users a visual chronical of the downtown art world in the form of posters from the 1970s, including a number of Milton Glaser's, and hundreds of exhibition announcements, theater programs, and playbills.
Scope and Contents:
The papers of New York City photographer, conceptual artist, and musical composer Cosmos Sarchiapone measure 49.2 linear feet and 0.367 GB and date from circa 1860-2011, with the bulk of the materials dating from 1940-2011. The collection includes biographical material and personal business records; correspondence; extensive writings, including written and recorded music compositions; teaching files; printed material and published sound and video recordings; photographic material; artwork; artifacts; and unpublished sound recordings and born-digital material. Highlights of the collection are more than 40,000 photographic images documenting New York's avant-garde art scene of the 1970s, along with celebrity parties, concerts, exhibition openings and other occasions in the art, music, and theater world. Extensive and somewhat rare printed materials offer users a visual chronical of the downtown art world in the form of posters from the 1970s, including a number of Milton Glaser's, and hundreds of exhibition announcements, theater programs, and playbills.

Biographical material and personal business records include address books, calendars, legal paperwork, life documents, resumes, and other material. Correspondence is both personal and professional in nature. Personal correspondence is between Cosmos and friends, family, and pen pals. Professional correspondence is with curators, publishers, and estates and mostly concerns Cosmos's artwork, photographs, or objects he lent for exhibition or publication.

Writings include general writings and notes, including a book layout for a book never realized; fifteen notebooks containing Cosmos's writings about projects, dreams, and miscellany; music compositions in both written form and on sound recordings; and scattered writings by others, including manuscripts and theater scripts.

Teaching files document photography courses taught by Cosmos at the School of Visual Arts in 1974-1976, and the Parsons School of Design in 1980.

Printed materials and commercially published sound and video recordings in the collection are extensive and reflect Cosmos's unique interests and inspirations, and his tendency to save and collect material discarded or rejected by others. There are books and periodicals featuring Cosmos's work, annotated by Cosmos, or of special significance to Cosmos. There is also a list of books in Cosmos's library. Some of the periodicals concern Push Pin Studios and Milton Glaser. There is a large group of ephemera, such as announcements, catalogs, press releases, programs, playbills, posters, and assorted items covering several decades of New York exhibitions, events, concerts, and performances. There are posters for exhibitions, events, performances, film screenings, and concerts. Some of the clippings and other ephemera may have been removed from scrapbooks or other compilations, and some remain collated and mounted on mat board. Some of the printed materials may have been used by Cosmos as source materials.

Photographic material makes up a significant portion of the collection (14.5 linear feet), and illustrates the breadth of Cosmos's documentation of New York City, capturing the avant-garde art and theater worlds, the people and streets, self-portraits, and numerous other subjects. There are images of named people and people at parties, of exhibitions and performances, of New York City streets and buildings, of a more personal and family nature, of artwork, and of miscellaneous subjects. There are also collected photographs, some of which are vintage. There is a large group of unidentified and unsorted negatives, slides, and contact sheets. Where they existed, labeling and descriptive notes have been preserved with the unidentified materials.

Artwork is also quite extensive (10.5 linear feet) and found in a variety of genre, format, and media. There is also a small subseries of artwork by others. One group of artwork consists of titled or named art projects and series, often executed in the form of series that spanned decades. This group includes Cosmos's Reciprocal project that incorporated his photographic work. For this project, he would photograph notable figures, including John Cage, Robert Scull, and others, and ask them to photograph him. There are also several folders of Cosmos's work focusing on photographer Diane Arbus.

A group of artwork identified as "compilations" consist primarily of photocopies of compiled presentations of documents, photographs, fragments, writings, drawings, printed materials and ephemera, and bits and pieces of Cosmos's titled work. These compilations were prepared by Cosmos for individuals in the art world to whom he was close. The original compilations were then photocopied and presented to the intended receiver. The subseries of compilations contains both originals and photocopied versions that do not always correlate with one another. Also found among the artwork are drawings, illustrations, a few paintings, collages, and sketchbooks by Cosmos. Artwork by others includes an artist book, drawings, a sketchbook, and prints by Milton Glaser, Alex Hay, Douglas Huebler, Marvin Israel, Ray Johnson, Ellsworth Kelly, and Eve Sonneman.

Found within the collection are three dimensional artifacts, including eight cameras and other items Cosmos saved and collected to incorporate into his photographs.

There is a large series of unpublished sound recordings and born-digital material, some of which is clearly identified and labeled, and some of which is unidentified. When known, labeling has been incorporated into the folder titles in the container inventory. Users should note that sound recordings that were clearly identified and associated with other projects were arranged in context with those related materials.

Printed material (series 5), photographic material (series 6), and artwork (series 7), include many photocopies. Cosmos used the photocopy process to make copies of his work to share with others, and as a creative form of art in itself, experimenting with tonality, collage, and the degeneration of images from repeated copying. Photocopies were also made of articles, newspapers, and various source material and ephemera that he collected. Many photocopies have descriptive labeling on the back. For some photographs and projects, photocopies are the only form of documentation located in the collection.
Arrangement:
The collection is arranged as nine series

Missing Title

Series 1: Biographical Material and Personal Business Records, circa 1949-2011 (1 linear foot; Box 1, 44, OV 49)

Series 2: Correspondence, 1940s-2011 (.7 linear feet; Box 1-2)

Series 3: Writings, circa 1947-2000s (4.2 linear feet; Box 2-6, 44, OV 50-51)

Series 4: Teaching Files, 1970s-1980s (1.9 linear feet; Box 6-8, 44, OV 52)

Series 5: Printed Material, Published Sound, Video Recordings, 1894-2000s (8.3 linear feet; Box 8-13, 44-45, OV 53-73, RD 105)

Series 6: Photographic Material, circa 1860-2000s, bulk 1970-2010 (14.5 linear feet; Box 14-26, 46-47, OV 74-80)

Series 7: Artwork, 1947-2000s (10.5 linear feet; Box 27-34, 47-48, OV 81-104)

Series 8: Artifacts, 1960s-2000s (1.5 linear feet; Box 34-35)

Series 9: Sound Recordings and Born-Digital Material, 1950s-2000s (6.6 linear feet; Box 36-43, 0.367 GB; ER01-ER02)
Biographical / Historical:
Cosmos Andrew Sarchiapone (1931-2011) was a documentary photographer, musical composer, and conceptual artist who worked in New York City.

Cosmos Andrew Sarchiapone was named Cosime Sarchiapone at birth, and was also known as Cosmos, Cosmos Savage, and Richard Savage. His parents, Lois and Aldo, had seven children, including twins Cosmos and Damian. Born in Manhattan, Cosmos graduated from the La Guardia High School of Music and Art in New York City in 1948 and from Syracuse University in 1958 with a concentration in music composition and studio art. After college, he studied musical composition with John Cage at the New School in 1961, art history with Meyer Schapiro at Columbia University from 1963-1965, illustration with Marvin Israel from 1966-1971, design with Milton Glaser from 1968-1973, and photography with Diane Arbus from 1970-1971. He taught photography at the School of Visual Arts from 1974-1976, and at Parsons School of Design in 1980. In the early 1970s, he led experimental theater workshops at Columbia-Barnard University.

Between 1968-1969, Cosmos worked with Milton Glaser and Seymour Chwast at their Push Pin Studios, a graphic design and illustration studio.

Sometime between the late 1960s and the early 1970s, Cosmos began photographing New York City, capturing the art and theater worlds, the people and streets, self-portraits, and numerous other subjects. As a freelance photographer for New York magazine (founded by Milton Glaser) and other mass-market publications, Cosmos photographed Andy Warhol and his circle, Halloween parties at the Waldorf, the Rev. Sun Myung Moon convention, the Jesus Joy Jubilee at Carnegie Hall, the Beat Poets' reunion and private parties attended by Hollywood actors and directors, often capturing the overlapping worlds of art, movies and music. Cosmos's photographs have been published in numerous books and publications. His work was featured in several exhibitions in the 1970s, including shows at the Jamie Gallery, the Fine Arts Building, and the Baltimore Museum of Art. But he created the bulk of his work for himself and much of it remains unpublished.

Throughout the 1970s, Cosmos documented the avant-garde art scene in New York City. He captured performances at The Kitchen and La Mama, the offices of New York magazine and Push Pin Studios, Tom O'Horgan's Broadway and Off-Broadway productions, and much more. He photographed performances and installations at 112 Greene Street in SoHo, an interdisciplinary art space that nurtured the experiments of a number of now significant American artists, dancers and musicians, including Chris Burden, Vito Acconci, Suzanne Harris and Phillip Glass, all of whom were photographed by Cosmos. He also photographed numerous images of 112 Greene Street's sister space, Matta-Clark's FOOD, an artist-run eatery at the corner of Prince and Wooster Streets where exotic meals were offered up as both performance art and nourishment. Cosmos used his camera as a way to get close to artists he admired, including Diane Arbus, Milton Glaser, and Marvin Israel.

According to Milton Glaser, "Cosmos was a brilliant photographer who was never without a camera….He was always everywhere. In terms of documentation of that period, there was no one like him."

Cosmos often incorporated aspects of his photography into conceptual art pieces, including two serial works that Cosmos made from fragments of Diane Arbus' discarded photographs, transforming her iconic work. Many of Cosmos's conceptual art pieces often took the form of a series, and were continuously revisited. In Reciprocal, Cosmos photographed figures—including those he admired like John Cage, Meyer Schapiro, Robert Scull, and others—then asked each to photograph him. Many of Cosmos's art projects were based in photographic documentation of his "performances", as in Sheet Music, where he is seen tearing a white sheet outside Bloomingdale's during the 'white sale.' Cosmos's convictions about smoking, its hazards, and the nefarious actions of tobacco companies led to several related projects, among them, Photo Arrest, where Cosmos captured on camera people smoking illegally in hospitals, classrooms, grocery stores, and elevators.

Cosmos created scores for plays and dance performances, including Churchyard by the Paul Taylor Dance Company in 1970, and numerous Off-Off Broadway theater productions in the 1960s. He wrote an opera, Vox Humana #3. The opera is about three heroines of history: Antigone, Joan of Arc, and Patty Hearst, and synthesizes a variety of media, including music composition, stage direction, and video (Patty Hearst in Chains), into a four hour performance that was staged at La Mama in 1976 and The Kitchen in 1977.

Cosmos lived at Westbeth Artists' Community from 1970-2011, but had largely withdrawn from the world by the 2000s. Cosmos Sarchiapone died in 2011.
Provenance:
Donated to the Archives of American Art in 2015 by Tom Sarchiapone, Cosmos Sarchiapone's brother, via Catherine Morris, curator and friend of Cosmos.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.

Use of archival audiovisual recordings with no duplicate copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Composers -- New York (State) -- New York  Search this
Conceptual artists -- New York (State) -- New York  Search this
Photographers -- New York (State) -- New York  Search this
Topic:
Art -- New York (State) -- New York  Search this
Art -- Study and teaching  Search this
Conceptual art  Search this
Music--New York (State)--New York  Search this
Photographers -- New York (State) -- New York  Search this
Photography -- Study and teaching  Search this
Photography--New York (State)--New York  Search this
Theater--New York (State)--New York  Search this
Genre/Form:
Drawings
Ephemera
Illustrations
Music
Photocopies
Photographs
Posters
Prints
Sketchbooks
Sound recordings
Video recordings
Citation:
Cosmos Andrew Sarchiapone papers, circa 1860-2011, bulk 1940-2011. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.sarccosm
See more items in:
Cosmos Andrew Sarchiapone papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9bf441ea1-b8c9-46c4-a9ec-01ea133658fb
EDAN-URL:
ead_collection:sova-aaa-sarccosm
Online Media:

Benny Carter / Alto Saxophone / Marian McPartland / Piano [black and white photoprint]

Photographer:
Seidel, Wayne  Search this
Publisher:
Concord Records  Search this
Names:
Carter, Benny, 1907-2003  Search this
McPartland, Marian  Search this
Collection Interviewee:
Sun Ra  Search this
Gaskin, Leonard, 1920-  Search this
Taylor, Billy  Search this
Sullivan, Maxine, 1911-1987  Search this
Wells, Ronnie  Search this
Whiting, Margaret  Search this
Towers, Jack  Search this
Venuti, Joe, 1903-1978  Search this
Pullen, Don, 1941-  Search this
Roney, Wallace  Search this
Pizzarelli, Bucky, 1926-  Search this
Pizzarelli, John, 1960-  Search this
Shaw, Artie, 1910-2004  Search this
Shepp, Archie, 1937-  Search this
Sanders, Pharaoh  Search this
Grant, Felix, 1918-1993  Search this
Scott, Jimmy  Search this
McPhail, Jimmy  Search this
McPartland, Marian  Search this
McFerrin, Bobby  Search this
Krall, Diana  Search this
O'Connell, Helen  Search this
Mulligan, Gerry  Search this
Metheny, Pat  Search this
McShann, Jay  Search this
Horn, Shirley, 1934-  Search this
Hinton, Milt, 1910-2000  Search this
Hill, Andrew, 1937-  Search this
Hendricks, Jon, 1921-  Search this
Keane, Helen  Search this
Kaminsky, Max, 1908-  Search this
Jordan, Sheila, 1928-  Search this
Humes, Helen, 1913-1981  Search this
Hampton, Lionel  Search this
Harris, Eddie, 1934-  Search this
Heath, Jimmy, 1926-  Search this
Frishberg, Dave  Search this
Ennis, Ethel  Search this
Farmer, Art, 1928-  Search this
Flanagan, Tommy, 1930-  Search this
Hampton, Slide  Search this
D'Rivera, Paquito, 1948-  Search this
Daniels, Billy  Search this
Davison, Bill  Search this
Donegan, Dorothy, 1922-  Search this
Crouch, Stanley, 1945-2020  Search this
Conyers, John, 1929-  Search this
Cruz, Celia, 1924-2003  Search this
Byard, Jaki  Search this
Brown, Ruth  Search this
Carter, Betty, 1930-  Search this
Byron, Don  Search this
Betts, Keter, 1928-  Search this
Bellson, Louis  Search this
Bowie, Lester, 1941-  Search this
Blakey, Art, 1919-1990  Search this
Allen, Steve, 1921-2000  Search this
Adderly, Nat, 1931-2000  Search this
Bailey, Benny, 1925-  Search this
Collection Collector:
Stokes, W. Royal, Dr., 1930-  Search this
Extent:
1 Item (Silver gelatin on paper., 10" x 8".)
Culture:
African Americans  Search this
Type:
Archival materials
Photographs
Publicity photographs
Scope and Contents:
Marian McPartland sitting at piano with Benny Carter standing behind. Photo credit at right edge: "Photo by Wayne Seidel, Vanguard Photography." Concord Records imprint at lower right.
Local Numbers:
AC0766-0000029.tif (AC Scan No.)
General:
Archives Center's Women in Jazz
In Box 2, Folder 11.
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:
Women in music  Search this
African American musicians  Search this
Women musicians  Search this
Piano  Search this
Jazz  Search this
Women in jazz  Search this
Genre/Form:
Photographs -- 1950-2000 -- Black-and-white photoprints -- Silver gelatin
Publicity photographs
Collection Citation:
W. Royal Stokes Collection of Jazz Musicians' Photographs, ca. 1970-2000, Archives Center, National Museum of American History.
See more items in:
W. Royal Stokes Collection of Music Photoprints and Interviews
W. Royal Stokes Collection of Music Photoprints and Interviews / Series 1: Photographs of Musicians and Ensembles / 1.1: Musicians and Ensembles / Names beginning with Cart-Cat: Benny Carter to Dave Catney. Includes Betty Carter, Regina Carter, Ron Carter
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep85cfc93a2-2045-4207-be85-7bb91d705395
EDAN-URL:
ead_component:sova-nmah-ac-0766-ref735

Jeffrey Kliman Photographs

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
Online Media:

Francis Wolff Jazz Photoprints

Photographer:
Wolff, Francis, 1907?-1971  Search this
Names:
Blue Note Records  Search this
Coltrane, John, 1926-1967  Search this
Davis, Miles  Search this
Monk, Thelonious  Search this
Donor:
Cuscuna, Michael  Search this
Extent:
0.5 Cubic feet (1 box)
Type:
Collection descriptions
Archival materials
Black-and-white photographic prints
Date:
1953-1966
Summary:
Collection consists of photographic prints from negatives by the eminent jazz photographer Francis Wolff, depicting such greats as Miles Davis, John Coltrane, Thelonious Monk, and other important artists.
Scope and Contents:
Twenty-five silver gelatin photographic prints (on fiber-based paper, 20" x 16") from negatives by the eminent jazz photographer Francis Wolff, depicting such greats as Miles Davis, John Coltrane, Thelonious Monk, and other important artists. Descriptions of prints supplied by the donor, Michael Cuscuna.
Arrangement:
Collection is arranged into one series.

Series 1: Photoprints, 1953-1966
Biographical / Historical:
Wolff (born 1907 or 1908 in Berlin, Germany, died March 8, 1971 in New York City) was a record company executive, photographer and record producer. After a career as a commercial photographer in Germany, Wolff emigrated to the United States in 1939. In New York his childhood friend Alfred Lion, had co-founded Blue Note Records in the same year, and Wolff joined Lion in running the company. During Lion's war service, Wolff worked for Milt Gabler at the Commodore Music Store, and together they maintained the company's catalog until Lion was discharged. Until Lion retired in 1967, Wolff concentrated on the financial affairs of the business and only supervised occasional recording sessions produced during his visits to Europe. For the last four years of his life, when Blue Note was no longer an independent label, Wolff shared production responsibilities with pianist and arranger Duke Pearson. Wolff took photographs during the recordings sessions, usually shot during session rehearsals, throughout the period of Lion's involvement in Blue Note Records. They were used on publicity material and LP album sleeves, and have continued to be used in CD reissue booklets. [Redacted from Wikipedia entry.]
Provenance:
Gift of Michael Cuscuna, Mosaic Images, June 3, 2011.
Restrictions:
Collection is open for research.
Rights:
Michael Cuscuna retains copyright. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Jazz  Search this
Jazz musicians -- 1950-2000 -- United States  Search this
Genre/Form:
Black-and-white photographic prints -- Silver gelatin -- 1950-2000
Citation:
Francis Wolff Jazz Photoprints, Archives Center, National Museum of American History. Gift of Michael Cuscuna.
Identifier:
NMAH.AC.1238
See more items in:
Francis Wolff Jazz Photoprints
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8fe6cfc96-0f6c-4759-a2fe-e4d6a48a22e7
EDAN-URL:
ead_collection:sova-nmah-ac-1238
Online Media:

Dizzy Gillespie [black-and-white photoprint]

Photographer:
Bress, Pat  Search this
Donor:
Bress, Pat  Search this
Collection Donor:
Bress, Chuck  Search this
Bress, Pat  Search this
Extent:
1 Item (Silver gelatin on paper, unmounted., 8-7/8" 13-1/4" image on 11" x 14" paper.)
Culture:
African Americans  Search this
Type:
Archival materials
Photographs
Place:
Washington (D.C.) -- 1950-2000
Date:
[ca. 1984-1990]
Scope and Contents:
Gillespie playing trumpet.
Local Numbers:
AC1219-0000001.tif (AC Scan No.)
Exhibitions Note:
Displayed in Archives Center exhibition, "Gift of the Artist: Photographers as Donors," November, 2011-Feb. 29, 2012. David Haberstich, curator.
Collection Restrictions:
Collection is open for research on site by appointment. Unprotected photographs must be handled with gloves.
Collection Rights:
Pat and Chuck Bress retain copyright. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Trumpet  Search this
Jazz musicians  Search this
Genre/Form:
Photographs -- 1980-1990 -- Black-and-white photoprints -- Silver gelatin
Collection Citation:
Pat and Chuck Bress Jazz Portrait Photographs, Archives Center, National Museum of American History. Gift of the artists.
See more items in:
Pat and Chuck Bress Jazz Portrait Photographs
Pat and Chuck Bress Jazz Portrait Photographs / Series 4: Photographic Prints (11 x 14) / Dizzy Gillespie
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep83c183dba-811c-4d01-89a8-68bb2d3301e7
EDAN-URL:
ead_component:sova-nmah-ac-1219-ref519

Ernestine Anderson [black-and-white photoprint]

Photographer:
Bress, Pat  Search this
Donor:
Bress, Pat  Search this
Names:
Blues Alley (Washington, D.C.)  Search this
Charlie's Georgetown (Washington, D.C.)  Search this
Collection Donor:
Bress, Chuck  Search this
Bress, Pat  Search this
Extent:
1 Item (Silver gelatin on paper, unmounted., 13-3/4" x 10-1/2" image on 14" x 11" paper.)
Culture:
African Americans  Search this
Type:
Archival materials
Photographs
Place:
Washington (D.C.) -- 1950-2000
Date:
[ca. 1984-1990]
Scope and Contents:
Anderson singing into microphone. Made in either Charlie's Place or Blues Alley, Washington, D.C.
Local Numbers:
AC1219-0000002.tif (AC Scan No.)
Exhibitions Note:
Displayed in Archives Center exhibition, "Gift of the Artist: Photographers as Donors," November 11, 2011-Feburary 29, 2012. David Haberstich, curator.
Collection Restrictions:
Collection is open for research on site by appointment. Unprotected photographs must be handled with gloves.
Collection Rights:
Pat and Chuck Bress retain copyright. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Singers  Search this
Jazz musicians  Search this
Genre/Form:
Photographs -- 1980-1990 -- Black-and-white photoprints -- Silver gelatin
Collection Citation:
Pat and Chuck Bress Jazz Portrait Photographs, Archives Center, National Museum of American History. Gift of the artists.
See more items in:
Pat and Chuck Bress Jazz Portrait Photographs
Pat and Chuck Bress Jazz Portrait Photographs / Series 4: Photographic Prints (11 x 14) / Ernestine Anderson
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep89f66bbe2-b4cc-4a53-aca5-9bcf59fce13c
EDAN-URL:
ead_component:sova-nmah-ac-1219-ref520

Claude Williams Papers

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
Online Media:

Louis Armstrong -- Paris [backstage at Olympia Theatre,] [photoprint, black-and-white]

Photographer:
Leonard, Herman, 1923-2010  Search this
Names:
Olympia Theatre (Paris, France)  Search this
Armstrong, Louis, 1901-1971  Search this
Collection Creator:
Leonard, Herman, 1923-2010  Search this
Extent:
1 Item (Silver gelatin on paper.)
Container:
Box 1, Folder 1
Culture:
African Americans  Search this
Type:
Archival materials
Photographs
Place:
Paris (France)
Date:
1960
Scope and Contents:
Subject holds trumpet on lap. Title under image at left, signed at lower right.
Arrangement:
Box No. 1.
Local Numbers:
AC0445-0000003.tif (AC Scan No.)

00044501.tif (AC Scan, duplicate)
Collection Restrictions:
Collection is open for research.
Collection Rights:
The Archives Center does not own the rights to the Leonard photographs. All requests for permission to use these photographs for non‑museum purposes must be addressed to: Herman Leonard Photography, LLC, 530 South Lake Avenue #503, Pasadena, CA 91101 (818) 509-8987.
Topic:
African American musicians  Search this
Jazz  Search this
Musicians -- 1950-2000  Search this
Collection Citation:
Herman Leonard Photographic Collection, 1948-1993, Archives Center, National Museum of American History.
See more items in:
Herman Leonard Photographic Collection
Herman Leonard Photographic Collection / Series 1: 11" x 14" Prints
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep88904d60b-b0fd-4e7c-b23c-e09ec68f1a2c
EDAN-URL:
ead_component:sova-nmah-ac-0445-ref15
Online Media:

Miles Davis in Switzerland. [Photoprint, black-and-white]

Photographer:
Leonard, Herman, 1923-2010  Search this
Names:
Davis, Miles  Search this
Collection Creator:
Leonard, Herman, 1923-2010  Search this
Extent:
1 Item (Silver gelatin on paper.)
Container:
Box 1, Folder 4
Culture:
African Americans  Search this
Type:
Archival materials
Photographs
Date:
[July 1991.]
Local Numbers:
94-3292 (SI Neg. No.)

AC0445-0000001.tif (AC Scan No.)
General:
From black copy print notebook in reading room.
Collection Restrictions:
Collection is open for research.
Collection Rights:
The Archives Center does not own the rights to the Leonard photographs. All requests for permission to use these photographs for non‑museum purposes must be addressed to: Herman Leonard Photography, LLC, 530 South Lake Avenue #503, Pasadena, CA 91101 (818) 509-8987.
Topic:
Musicians -- 1950-2000  Search this
Jazz  Search this
African American musicians  Search this
Collection Citation:
Herman Leonard Photographic Collection, 1948-1993, Archives Center, National Museum of American History.
See more items in:
Herman Leonard Photographic Collection
Herman Leonard Photographic Collection / Series 1: 11" x 14" Prints
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep800707808-de89-43f1-a323-9ec91d3f8922
EDAN-URL:
ead_component:sova-nmah-ac-0445-ref18
Online Media:

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