The collection documents the life and musical career of Robert "Bobby" Tucker. The collection particularly emphasizes Tucker's close collaboration with Billy Eckstine over a forty-year period from approximately 1949-1990, and includes original orchestrations of arrangements by Tucker and other arrangers, a complete set of commercial recordings by Eckstine for which Tucker served as arranger, and ephemeral material including photographs, concert programs and news clippings.
Scope and Contents:
The collection primarily documents the close collaboration between Tucker and Billy Eckstine over a forty-year period, circa 1949-1990. It articulates the growth and development of a working jazz master—Eckstine—and the diversity of the musical repertoire he performed as he cultivated new audiences throughout his career. The collection includes original orchestrations of arrangements by Tucker and other well regarded arrangers such as Billy Beyers, Quincy Jones, Bob Enevoldsen, Marty Paich, Sammy Nestico, and Artie Butler. All of these materials found their way into Eckstine's recording and concert repertoire, which is evidenced by the approximately twenty cubic feet of sheet music arrangements that form the bulk of the collection. They illustrate the pivotal role Tucker played as the arranger, who interpreted and adapted original compositions to suit Eckstine's vocal style and capabilities, resulting in one of the longest-running successful collaborations in modern American musical history.
In addition, the sheet music contains Tucker's arrangements for Quincy Jones's music score for the 1978 film The Wiz.
Arrangement:
The collection is arranged into three series.
Series 1: Professional Materials, 1883-1992, undated
Subseries 1.1: Music Scores, undated
Subseries 1.2: Published Sheet Music, 1883-1992
Series 2: Other Materials, 1940-2007, undated
Series 3: Audiovisual Materials, undated
Biographical / Historical:
Robert Nathaniel "Bobby" Tucker Jr. was born in Morristown, New Jersey, January 8, 1923 and died there on April 12, 2007. He was an accomplished pianist, arranger, and accompanist. He began performing at the age of fourteen and later studied in New York at the Institute of Musical Art. In 1946, he became accompanist to jazz vocalist Mildred Bailey and later that year, to renowned jazz vocalist Billie Holiday, with whom he remained until 1949 and with whom he had a strong and enduring, platonic friendship. Tucker continued to make recordings with Holiday into the 1950s.
Beginning in 1949, Tucker embarked on a lifetime collaboration as accompanist and musical director for the great African American balladeer and recording artist Billy "Mr. B" Eckstine. After leading a highly-acclaimed band from 1944-1947, Eckstine returned to a career as a solo singer, becoming the country's most popular vocalist in 1949-1950 and signing a lucrative five-year contract with Metro-Goldwyn-Mayer Studios, Incorporated (MGM). Although his popularity waned after 1951, he continued to play in major nightclubs in the United States and abroad for the next several decades and to release several popular albums. As his piano accompanist for over forty years, Tucker helped build and sustain the singer's career, reinventing Eckstine as the nation's musical tastes changed, and the music industry evolved. During his stint with Eckstine, Tucker worked on concerts—planning, arranging music, transcribing, and transposing works for performances; on recordings—preparing written arrangements, working integrally with recording companies. Engagements included recordings and performances with the Count Basie Orchestra; recordings under the direction of Quincy Jones; performances in Las Vegas; and band tours of Europe, Australia, and Japan.
Tucker was a renowned piano accompanist, and while working for Eckstine he was eagerly sought out by other singers, including Johnny Hartman, Lena Horne, Tony Bennett, and Sarah Vaughan. He also collaborated with other jazz accompanists such as Jimmy Jones, Jimmy Rowles, and John Malachi. In his autobiography, Quincy Jones says that Tucker inspired him to begin studying music after they met in Seattle, while Jones was touring with Billie Holiday. Jones attributed all of the success he garnered in his career to the core skills he developed as a result of Tucker's inspiration. Tucker worked with Jones to arrange and conduct the music for the 1978 film The Wiz, which received an Academy Award nomination for best original music score.
Related Materials:
Materials in the Archives Center
Smithsonian Jazz Oral History Program Collection (AC0808)
Contains an oral history interview with Bobby Tucker, February 27-28, 2004
Provenance:
Donated to the Archives Center in 2008 by Tucker's widow, Irma J. Tucker.
Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Woman's Building (Los Angeles, Calif.) Search this
Container:
Box 12, Folder 15
Type:
Archival materials
Date:
circa 1975-1978
Collection Citation:
Woman's Building records, 1970-1992. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Getty Foundation. Funding for the digitization of this collection was provided by The Walton Family Foundation and Joyce F. Menschel, Vital Projects Fund, Inc.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Collection 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.
Collection Citation:
Marion Sanford and Cornelia Chapin papers, 1929-1988. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art. Funding for the preservation of the Cornelia Chapin Home Movies was provided by the National Film Preservation Foundation.
Hamilton : the revolution : being the complete libretto of the Broadway musical, with a true account of its creation, and concise remarks on hip-hop, the power of stories, and the new America / by Lin-Manuel Miranda and Jeremy McCarter
Collection consists of photographs, commercially published sheet music, and original music manuscripts from the McNallys' vaudeville careers. Materials include minstrel show and blackface material; photo of Albert Tovell, once the master of ceremonies for Frances H. "Peaches" Browning; and a photograph of "Gov. Jordan," a blackface female impersonator.
Scope and Contents:
Series 1: Original Music Manuscripts/Arrangements contains original manuscripts used in the Hokem is Hokem act orchestrated by Neva Satterlee Mello. There are parts scores for five musical instruments and various instruments have additional music scores as well for individual selections. The series is arranged alphabetically.
Series 2: Commercial Sheet Music contains commercially printed sheet music, mostly from the vaudeville era with a few exceptions such as Hello Dolly and others. The series contains some well worn sheet music selections, some of which were presumably used by Neva's orchestra or the Hokem is Hokem troupe. One piece, Lily of the Valley, has been sewn along its spine by a sewing machine to help keep it together. The series is arranged alphabetically.
Series 3: Photographs contains photographs of George Mello and some of the Mello's/McNally's vaudeville contemporaries. Of special interest is one photograph of a man dressed in drag and blackface and a photograph of Albert Tovell, one time master of ceremonies for the somewhat infamous Frances H. Browning aka Peaches Browning (1910-1956). There is also another photograph of two men dressed in blackface.
Series 4: Memorabilia contains the music covers for the Hokem is Hokem act and one publication.
Arrangement:
Collection is divided into four series.
Series 1: Original Sheet Music
Series 2: Commercial Sheet Music
Series 3: Photographs
Series 4: Memorabilia
Biographical / Historical:
According to family history, Neva Satterlee at the age of seventeen formed an orchestra and was its leader for many years. At one time she was under contract with Charles Hoyt Productions, probably the same Hoyt of Morgan & Hoyt's who boasted a Ladies Band and Imperial Singing Orchestra on their bill. She was an accomplished musician and actress. Neva married George McNally and they took the stage surname of Mello. Neva did all the musical arrangements as she was the only one of the pair who could read music. Their home base was the town of Fulton, New York. The couple remained on the vaudeville circuit as entertainers until Neva's death during child birth in 1909. The couple had at least one child, Angeline McNally. George continued to work in vaudeville. The act was under the direction of George Mello and Eddie Shaw. The act, titled Hokem is Hokem, was a minstrel, musical revue style show and apparently consisted of at least five musical selections; the opening Hot-Time, followed by He's Goin' to Hab a Hot Time Bye an' Bye termed (the greatest coon song ever published), Tall Girl (arranged by Neva Satterlee Mello), Snaps, and The Man Behind the Plow. The act's band consisted of a piano, violin, cornet, trombone, drums, clarinet, and flute but may have included other instruments. According to family tradition, Mello ceased his vaudeville career by 1928.
The vaudeville tradition began in the aftermath of the Civil War when numerous minstrel companies began touring the country in minstrel shows presenting songs and comedy in an easily accessible format. Vaudeville became the staple American family entertainment during the late 19th and early 20th centuries. Tony Pastor gave the first big time vaudeville show in New York City in 1881 and by 1919 there were reportedly 900 vaudeville theatres in the country. Featuring a collection of sketches, short plays, popular songs, and simple comedy routines, the show often featured minstrel-type acts presented by actors in blackface. With the influx of immigrants in the latter 19th century, the tradition continued but was changed by European and ethnic influences. Booking agents operated in the major cities of New York, Chicago and San Francisco promoting and developing their own Vaudeville Acircuits. Booking agents booked small troupes of actors, specialty acts and musical performers to tour the circuit traveling from one town's vaudeville house to the next. (Encarta Encyclopedia, IATSE)
Provenance:
Collection donated to the Archives Center by the granddaughter of the McNallys, Beatrice M. LaClair, in 2000.
Restrictions:
Collection is open for research.
Rights:
Rights situation uncertain. Archives Center cost-recovery and use fees may apply when requesting reproductions.
George E. "Mello" and Neva Satterlee McNally Vaudeville Collection, 1889-1964, Archives Center, National Museum of American History. Gift of Beatrice M. LaClair.
The papers of historian Henry P. Whitehead measure 156.91 linear feet and date from 1843 to 2010 (bulk 1945-1986). The collection documents Whitehead's careers, as well as his family and personal life. The collection also includes the personal papers of Tomlinson D. Todd, Elizabeth B. Delaney and the Howard Theatre Foundation. The combined collection is comprised of black theatrical memorabilia; materials relating to civil rights activities in the District of Columbia; and the African American experience in general. Included are playbills, sheet music, admission tickets, newspapers, magazines, books, photographs, clippings, flyers, brochures, pamphlets, sound recordings, research files, and other material.
Scope and Contents note:
The papers of historian Henry P. Whitehead measure 156.91 linear feet and date from 1843 to 2010 (bulk 1945-1986). The collection includes the personal papers of Henry P. Whitehead, Tomlinson D. Todd, Elizabeth B. Delaney and the Howard Theatre Foundation. The collection is divided into four series.
Series I focuses on Whitehead and includes papers dating from 1843 to his death in 2011. This series includes biographical material including a large amount of appointment books, identification and membership cards, resumes, certificates, and personal and family material.
There is a limited amount of correspondence, which focuses on his personal relationships with family, friends, and general correspondence relating primarily to his work as a local historian.
Also found within Whitehead's papers are countless records from his time employed by the Washington DC government. Materials include memoranda, notes, research material, handbooks, guides, manuals, affirmative action info and records, affirmative action plans, promotion recommendations, recruitment plans and summaries, personnel files (complaints), civil actions and reports related too Whitehead's 37 years of government employment. It reflects the activities of numerous departments, primarily in regards to employment and affirmative action.
There are also a number of files that document Whitehead's involvement in numerous community organizations. Among the organizations in which Whitehead was involved include U Street Festival, Lincoln Corporation, and the U Street Theater Foundation. The papers of the U Street Foundation document the production and establishment of the annual U Street Festival. The Lincoln Theater Foundation and the U Street Theater Foundation papers document the efforts to reopen the Lincoln Theater. Also included are Whitehead's research on the Lincoln as well as old Lincoln Theatre programs. Additionally found within this series are documents and clippings on the economic development within Washington DC particularly in the Shaw/U Street location.
The majority of this series consists of printed material. Printed material in this series includes books, clippings, magazines, newsletters, newspapers, press releases, sheet music, programs as well as promotional material for several Washington DC theaters and organizations. There is a large quantity of theater programs dating from 1900-1986. The majority of the clippings and magazines are theater related topics, coupled with a miscellaneous selection of clippings on topics that presumably captured Whitehead's attention.
Research, notes and writings include a large amount of scrapbooks compiled by Whitehead of mostly photocopied clippings documenting Washington DC history, African American theater history, and general African American history. Five scrapbooks were compiled by an unknown source and were previously housed in the New York Public Library collection. Two scrapbooks are about general theater history one about Frances Starr and one about Margaret Anglin. There is also one scrapbook pertaiing to Mae Hall. Also included are a large amount of research notes and notebooks along with general miscellaneous notes.
There are several photographs of African Americans in the performing arts as well as images of Washington DC and several unidentified men, women, and children.
Audio recordings include 23 cassette from the Alexandria Church of God.
The remainder of the collection consists of the papers of Tomlinson D. Todd, Elizabeth B. Delaney, and those about the Howard Theatre.
The Howard Theatre papers are arranged in Series II and include documents relating to the Washington DC historic Howard Theatre and date from 1910 to 1986. The papers in this series predominantly document the Howard Theatre Foundation's efforts to reestablish and run the Howard Theatre in which Whitehead was the vice president. Records include business correspondence, founding documents, photographs, memoranda, press releases, member lists, financial records, clippings, and scrapbooks of clippings pertaining to the organization and theatre.
The correspondence in the collection include a handful of letters from the Washington DC government along with individuals and organizations. Also included is a large amount of interoffice memoradums.
Administrative records include lawsuits, resolutions, meeting minutes, grant proposals, press releases, memoranda, member lists, studies and reports.
Financial records include check stubs, receipts, invoices, bank statements, expenses, and contribution lists.
Printed material includes original and photocopied clippings relating to the history and coverage of the foundation activities. Mostly promotional material as flyers, brochures, and press releases along with programs. In particular two 1920 Howard Theatre programs.
The scrapbooks of original and photocopied clippings compiled by Whitehead chronicle the history of the theatre and coverage of the foundation activities.
There are three VHS cassette featuring Whitehead discussing the Howard Theatre. Also found in series 2 are numerous stock investment record books belonging to A.E. Lichtman one of the early managers of the Howard Theatre. In addition early correspondence between Lichtman and the Rex Amusement Company concerning operational management issues of the Howard Theatre.
The Tomlinson D. Todd papers are arranged in Series III and date from 1902-1986 they include organization files, collected printed materials, subject files, and personal papers.
The collection includes materials relating to organizations in which there was a relationship to Todd's work and in which he had an interest primarily during the 1940s and 1950s, organizations include the National Negro Congress (ca, 1946-1947); the Congress for Industrial Organizations (1943-1947); National Council of Negro Women (1947-1949); Committee for Racial Democracy in the Nation's Capital (1947-1948).
The subject files include documents from three of Todd's organizations; Institute on Race Relation, Club Internationale, and his radio program "Americans All". As well as printed material from Todd's alma mater Lincoln University.
The largest subject file is "Americans All" which includes radio scripts as well as audio recording of a few programs and public service announcements. Also found are several black and white photographs of Todd at the radio studio.
Printed materials include newspapers, leaflets, convention proceedings, and flyers, There are a large amount of programs ranging from church worship to convention as well as performance.
Also present is a small amount of personal papers, including resumes, certificates, admission tickets, family documents, and travel ephemera from his all expense paid trip to Nigeria.
There are a few photographs of Todd at functions and with notable individuals as well as some family, friends and travel.
Elizabeth's B. Delaney papers are arranged in Series IV and date from 1874-1973.
The papers primarily document her involvement in four organizations, the Grand Oder of Odd Fellow of Kentucky, the Order Eastern Star Kentucky, the State Federation of Colored Women's Clubs of Kentucky and the National Association of Colored Women. There is a small amount of printed material belonging to her son primarily the Alpha Phi Alpha material and Gospel Choral Sheet Music, and books.
The Scrapbook was complied by Whitehead consisting of photocopied clipping documenting the life of Elizabeth B. Delaney.
Arrangement note:
This collection is arranged into four series:
Series 1: Henry P. Whitehead papers
Series 2: Howard Theatre
Series 3: Tomlinson D. Todd
Series 4. Elizabeth B. Delaney
Biographical/Historical note:
Henry Preston Whitehead Jr., was a native of Columbus Ohio. A graduate of Ohio State University, where he also attended law school and was a member of the Omega Psi Phi fraternity. Mr. Whitehead discovered Washington's "Black Broadway" in 1940, when he was a soldier in town on a weekend furlough. As he served in the Army in the South Pacific during World War II. Prior to moving to Washington DC Henry P. Whitehead worked for five years as a liquor inspector. Mr. Whitehead moved to Washington D.C. in 1949 and worked for the Post Office before working for the District of Columbia government where he stayed 21 years. He led several equal employment initiatives during the 1960s and 1970s, and was last employed as associate director of the District's Office of Human Rights. In 1980 after putting in 37 years of government service Mr. Whitehead retired.
Mr. Whitehead was an historian who led efforts to restore Washington's U Street cultural corridor and achieved recognition as an authority on and collector of black theatrical memorabilia. Mr. Whitehead worked to promote and preserve the city's rich African American cultural heritage.
Mr. Whitehead, served as the chairman and president for 10 years of the Howard Theater Foundation Inc., which he helped establish. There he led the effort to include Howard Theatre in the National Register of Historic Places.
Similarly he was an active member of the U Street Festival Foundation. He was an adviser to the Kennedy Center, Anacostia Museum, and other Smithsonian Institution units and contributed materials to their exhibitions. He was also a consultant to historical documentaries broadcast on public television and radio, including PBS's "Duke Ellington's Washington." His writings included "Remembering U Street," a book used for annual festivals in the historic area.
Mr. Whitehead was also the founder and board member of the Lincoln Theatre Foundation.
Henry P. Whitehead Jr. died on January 8th 2002 at the age of 84.
Provenance:
The collection was donated to the Anacostia Community Museum on September 1, 2005 by Michael A. Watkins.
Restrictions:
Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.
Rights:
The Henry P. Whitehead collection is the physical property of the Anacostia Community Museum. Literary and copyright belong to the author/creator or their legal heirs and assigns. Rights to work produced during the normal course of Museum business resides with the Anacostia Community Museum. For further information, and to obtain permission to publish or reproduce, contact the Museum Archives.
A diverse collection of papers assembled by Duke Ellington's road manager, Al Celley. The collection includes correspondence, photographs of Ellington and his orchestra at various times and locations; concert ephemera; handwritten notes; business and financial documents, primarily receipts; and travel ephemera.
Scope and Contents:
The collection was assembled by Duke Ellington's road manager, Al Celley and includes correspondence, photographs of Ellington and his orchestra at various times and locations; concert ephemera; handwritten notes; business and financial documents, primarily receipts; and travel ephemera.
Arrangement:
The collection is arranged into six series.
Series 1: Personal Materials, 1943-1962
Subseries 1.1: Al Celley, 1943-1962
Subseries 1.2: Duke Ellington, 1948
Series 2: Correspondence, 1945-1963
Subseries 2.1: Chronological, 1945-1963
Subseries 2.2: Alphabetical, 1949-1961
Series 3: Subject Files, 1948-1963
Series 4: Financial Materials, 1944-1964
Subseries 4.1: Payroll/Salary Ledgers, 1944-1962
Subseries 4.2: Expense Notebooks, 1946, 1959
Subseries 4.3: Receipts and Bills, 1945-1964
Series 5: Photographs, 1947-1967
Series 6: Audio Visual Materials, 1945-1957
Subseries 6.1: Moving Image, 1957
Subseries 6.2: Audio Discs, 1945-1946
Biographical / Historical:
Albert "Al" Joseph Celley (1909-1994) was Duke Ellington's road manager from 1944 to 1964. Celley handled the band's business affairs, such as concert bookings, logistics, staging shows, and organizing tours. Celley also handled the weekly payroll, contracts, collecting money from promoters, paying road expenses, and sending weekly reports to Bill Mittler, an accountant.
Related Materials:
Materials in the Archives Center, National Museum of American History
Duke Ellington Collection (AC0301)
Duke Ellington Oral History Project (AC0368)
This project includes an interview with Al Celley, July 12, 1989.
Provenance:
Purchased at auction by the Archives Center, National Museum of American History, May 2011.
Restrictions:
Collection is open for research.
Reference copies for audio discs and moving image do not exist. Use of these materials requires special arrangement with the Archives Center staff. Gloves must be worn when handling unprotected photographs and negatives.
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.