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Musical History Documents and Graphics

Creator:
Vip (Virgil Franklin Partch), 1916-  Search this
Partch, Virgil Franklin, 1916-  Search this
Goodman, Benjie  Search this
Addams, Charles, 1912-1988  Search this
Source:
National Museum of American History. Division of Musical History.  Search this
Names:
Gibson Co.  Search this
Jubilee Singers  Search this
Northeast Conservatory of Music.  Search this
Goodman, Benny (Benjamin David), 1909-1986  Search this
Norton, I.F. (trumpeter) -- Etching  Search this
Former owner:
National Museum of American History. Division of Musical History.  Search this
Extent:
1 Boxe
Type:
Collection descriptions
Archival materials
Photograph albums
Etchings
Diplomas
Cartoons (humorous images)
Albums
Drawings
Sheet music
Programs
Date:
1872-1984
Scope and Contents note:
Miscellaneous documents and pictorial items related to music, and a set of documents associated with Gibson banjoes.
Series 1:,The first group includes a diploma from the Northeast Conservatory of Music (1872); a painted etching of I. F. Norton, trumpeter; a drawing of Benny Goodman's studio by Benjie Goodman (1984); a photograph of Benny Goodman; original ink cartoons by Charles Addams and Virgil Partch; a newspaper advertisement for the Jubilee singers; sheet music; and memorabilia from a vaudeville act.

Series 2:The banjo material includes tickets, letters, programs, and photograph albums.
Arrangement:
2 series. Unarranged.
Biographical / Historical:
This collection contains musical history documents and graphics.
Provenance:
Collection donated to the Division of Musical History, National Museum of American History.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Clarinetists -- 20th century  Search this
Banjo music  Search this
Vaudeville  Search this
Trumpet players -- 20th century  Search this
Studios and workshops -- Drawings  Search this
Musicians -- 20th century  Search this
Genre/Form:
Photograph albums
Etchings
Diplomas
Cartoons (humorous images) -- 1940-1980
Albums
Drawings -- 1980-1990
Sheet music
Programs -- Concerts
Identifier:
NMAH.AC.0485
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0485

J. Scott Odell folk music collection

Source:
National Museum of American History. Division of Musical History.  Search this
National Museum of American History. Division of Musical History.  Search this
Collector:
Odell, Scott, 1935-  Search this
Names:
Bread and Puppet Theater  Search this
Festival of American Folklife  Search this
Smithsonian Folklife Festival  Search this
Porter, Burt, 1937-  Search this
Extent:
18 Cubic feet
Type:
Collection descriptions
Archival materials
Field notes
Audiotapes
Posters
Reports
Correspondence
Photographs
Place:
Appalachian Region
North Carolina
Virginia
Vermont
Date:
1964-1977
Summary:
The J. Scott Odell folk music collection (1945-2016, inclusive) contains AV recordings, photographs, correspondence, writings, and other materials relating to Odell's career at the Smithsonian as a musical instrument conservator and researcher of American music traditions. The collection largely consists of materials relating to Odell's research trips (often combined with personal visits) throughout the Eastern United States. Research strengths of the collection include the history of the Appalachian dulcimer and banjo, the Smithsonian Folkways project "Black Banjo Songsters," musician and poet Burt Porter, and the Bread and Puppet Theater.
Scope/Contents note:
The J. Scott Odell Folk Music Collection, which includes materials dating from 1945-2016, documents the research, professional work, and personal relations of J. Scott Odell (b. 1935). Odell worked at the Smithsonian National Museum of American History (NMAH) as a musical instrument conservator and traveled throughout the Eastern United States documenting a variety of musical instruments and traditions. The collection reflects his research trips and other travels; the development of exhibits and performance of music and dance at the Smithsonian; and the relationships Odell developed with the musicians, craftspeople, informants, and other people he worked with throughout his career.

Research strengths of this collection include notes, photographs, and recordings from Odell's fieldwork; extensive documentation of Odell's work on the Smithsonian Folkways project Black Banjo Songsters, in collaboration with folklorist Cecelia Conway; and materials pertaining to the Bread and Puppet Theater (based in Glover, Vermont). Significant places documented include southwest Virginia (Galax), nearby North Carolina (Shelton-Laurel), the surrounding tri-state area, and Vermont (Glover). Significant individuals represented in the collection include Odell, Burt Porter, Ralph Rinzler, and other well-known musicians. The most prominent instrument information in the collection relates to the banjo and the Appalachian dulcimer, although the American fiddle tradition and other instruments are also represented. Materials include photographs (negatives and prints), field notes, trip reports, correspondence, slides, writings, and AV materials. This collection may also be of interest to researchers of AV history and evolution. The wide variety of formats found in the collection maps the development of popular recording media. The collection includes open-reel tapes, Hi-8 tapes, DATs, mini-DV tapes, Betacam and Betacam SP tapes, VHS and SVHS tapes, cassettes, optical discs, mini-discs, and Zip discs.

This collection was initially established in 2008, when it was transferred from Archives Center at the Smithsonian National Museum of American History (NMAH) to the Ralph Rinzler Folklife Archives & Collections (RRFAC), Center for Folklife and Cultural Heritage (CFCH). (NMAH Archives Center had received the collection from the Division of Musical History.) Since 2008, the collection has been significantly expanded, more than doubling in size between 2008 and 2016. (These additional materials can be found in Series 8, Accruals.) With these deposits, the scope of the collection expanded beyond Odell's Appalachian dulcimer research and instrument conservator duties to include his banjo research, travels, relationships with musicians (particularly Burt Porter), and involvement with the Bread and Puppet Theater.
Arrangement note:
The collection is arranged in eight series as follows: (1) Correspondence, 1963-1978; (2) Folk Instruments Research; (3) Collected Publications and Ephemera; (4) Collecting Trips; (5) Publications; (6) Sound Recordings; (7) Oversize Materials; and (8) Accruals. Within each series and subseries, folders are arranged thematically, alphabetically, and/or chronologically.

Series 1-7 reflect the order of the original transfer from the Archives Center, National Museum of American History. Series 8 (Accruals) encompasses several deposits made by Scott Odell of additional materials between 2011 and 2017. Ralph Rinzler Folklife Archives staff, in collaboration with Odell, imposed order upon Series 8.

Researchers should note that, when performing research in Series 8 (Accruals), they might need to consult multiple boxes, even when working within a single subseries where the intellectual arrangement in the finding aid does not always align with the physical arrangement of the materials. This separation between the intellectual and physical arrangement is due in part to the order in which RRFAC received each deposit, the format of the materials (i.e., papers vs. photographs vs. AV items), and earlier digitization efforts.
Biographical/Historical note:
Jay Scott Odell (b. 1935) was born in St. Paul, Minnesota, to Adalberta Lavoie Odell and Jay Geddes Odell. The family moved frequently throughout his childhood, resulting in Odell having lived at fourteen different addresses and attending seven different schools by the time he graduated high school in 1953. When the family settled in Mamaroneck, New York, in 1950, Odell met poet Peter Kane Dufault, and musician and poet Burt Porter, two figures who would go on to strongly influence his personal and professional development. It was on the advice of Dufault, for example, that Odell apprenticed with harpsichord-maker William Dowd after college.

Odell attended Middlebury College where he met his future wife, Dorothy "Dottie" Hiebert. After graduating in 1957, Hiebert moved to France and Odell took a position on the boat of Dutch writer Jan DeHartog before joining Hiebert to travel Europe. By 1959, they had returned to the United States (Boston, Massachusetts) and married. It was at this point in their lives that they became active in the peace movement and the early Folk Revival. Odell's relationship with Burt Porter continued, and he developed contacts with other musicians including Peter and Polly Gott, Tom "Tom Banjo" Azarian, Mike Seeger, and Tracy Schwartz. The Odells also became involved with the Bread and Puppet Theater group, founded by Peter and Elka Schumann, which established its primary location in Glover, Vermont, near Porter's property.

Odell is particularly notable for his work in musical instrument conservation at the Smithsonian Institution and his involvement in the development of the Smithsonian Folklife Festival. In 1963, following his harpsichord apprenticeship with William Dowd, Odell was hired by the Smithsonian as a musical instrument conservator. Under Cynthia Hoover and C. Malcolm Watkins, he established a restoration workshop for musical instruments at the National Museum of History and Technology, now the National Museum of American History. Over the course of his career, Odell served not only as a conservator but also as head of a technical laboratory and, eventually, as the first director of conservation at the National Museum of American History.

Odell was a key figure in the shifting philosophy of the musical instrument department regarding its collections and acquisition practices. With Hoover, Odell helped establish and facilitate a concert series with the mission of "[taking] the instruments out of their cases and [letting] them sing" – a major innovation in museum programming. Odell's commitment to bringing music history and traditions to life manifested in the expansion of the Smithsonian concert series, his relationship with Ralph Rinzler, and his early involvement with the Festival of American Folklife, now the Smithsonian Folklife Festival.

Although his professional training was in working with historical keyboard instruments, Odell's lifelong interest in traditional and regional music had a significant impact on his career. Between 1964 and 1977, when Odell was head of the laboratory at the Smithsonian Institution's Division of Musical Instruments, he undertook a series of collecting trips throughout the Eastern United States to expand the Division's collection of traditional American instruments.

In 1964, Odell and Porter attended the Annual Galax Old Time Fiddlers Convention. Following this initial trip, Hoover and Watkins supported Odell's efforts to, in addition to acquiring objects for the collection, research and record the cultural contexts of those instruments. Over the course of these trips, Odell built personal relationships with many of the musicians and craftspeople with whom he worked, including the Melton-Russell family, Tommy Jarrell, and Fred Cockerham.

Odell retired in 1993, but continued contract work at the Smithsonian. Working for the National Museum of American History, he assisted with the care and description of the Museum's banjo collection, as well as the acquisition of the Grimes and Jeffries dulcimer collection. He has also maintained associations with the Smithsonian Center for Folklife and Cultural Heritage. In 1998, Odell co-produced a record through Smithsonian Folkways with folklorist Cecelia Conway titled "Black Banjo Songsters," which focused on the African American banjo tradition and featured many of the artists with whom Odell had built relationships.
Related Materials note:
Materials relating to Odell's career at the Smithsonian can also be found in the Smithsonian Institution Archives (SIA), particularly in the records of the NMAH Musical History Division.

Materials relating to the Bread and Puppet Theater can also be found in the archives of the Bread and Puppet Theater (via the Internet Archive); the University of Vermont; and the University of California, Davis.
Restrictions:
Access by appointment only. Contact the Ralph Rinzler Folklife Archives and Collections at 202-633-7322 for additional information.
Rights:
Copyright restrictions apply. Contact the archives staff for information.
Topic:
Folk music—United States  Search this
Stringed instruments  Search this
Fiddle  Search this
Mouth bow  Search this
Folk music  Search this
Musicians  Search this
Banjo  Search this
Appalachian dulcimer  Search this
Folklore  Search this
Genre/Form:
Field notes
Audiotapes
Posters
Reports
Correspondence -- 1930-1950
Photographs -- 1960-1980 -- Black-and-white photoprints -- Silver gelatin
Citation:
J. Scott Odell folk music collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.ODEL
See more items in:
J. Scott Odell folk music collection
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
EDAN-URL:
ead_collection:sova-cfch-odel
Online Media:

Tribute concert program and notes

Collection Source:
National Museum of American History. Division of Musical History.  Search this
Collection Collector:
Odell, Scott, 1935-  Search this
Container:
Box 12, Folder 18
Type:
Archival materials
Date:
June 25th 1988
Scope and Contents:
File contains eight duplicate programs for the Smithsonian event "A Musical Tribute to Libba Cotton, Fred Cockerham, Tommy Jarrell", and the notes for Odell's moderating of the event.
Collection Restrictions:
Access by appointment only. Contact the Ralph Rinzler Folklife Archives and Collections at 202-633-7322 for additional information.
Collection Rights:
Copyright restrictions apply. Contact the archives staff for information.
Collection Citation:
J. Scott Odell folk music collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
See more items in:
J. Scott Odell folk music collection
J. Scott Odell folk music collection / Series 8: Accruals / 8.5: Music Instrument Research
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
EDAN-URL:
ead_component:sova-cfch-odel-ref1304

Publications 1

Collection Source:
National Museum of American History. Division of Musical History.  Search this
Collection Collector:
Odell, Scott, 1935-  Search this
Container:
Box 12, Folder 42
Type:
Archival materials
Text
Date:
2001 - 2002, 2009
Scope and Contents:
File contains two printed publications, one program for the 2001 Banquet of the Vermont Bearhound Association, one article on the history of the Chelsea House, a folk music concert venue, referencing performances by Burt Porter and Tom Azarian. File also includes newspaper articles, three unidentified, and one obituary of Dennis George Clifford (an all around musician and friend of Judy Collins, Burt Porter, and others) published by The Chronicle on April 8th, 2009.
Collection Restrictions:
Access by appointment only. Contact the Ralph Rinzler Folklife Archives and Collections at 202-633-7322 for additional information.
Collection Rights:
Copyright restrictions apply. Contact the archives staff for information.
Collection Citation:
J. Scott Odell folk music collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
See more items in:
J. Scott Odell folk music collection
J. Scott Odell folk music collection / Series 8: Accruals / 8.8: Vermont
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
EDAN-URL:
ead_component:sova-cfch-odel-ref800

Concert programs (Galax musicians)

Collection Source:
National Museum of American History. Division of Musical History.  Search this
Collection Collector:
Odell, Scott, 1935-  Search this
Container:
Box 1, Folder 27
Type:
Archival materials
Date:
1977
General note:
See Series 7 for Smithsonian Music at the Museum poster
Collection Restrictions:
Access by appointment only. Contact the Ralph Rinzler Folklife Archives and Collections at 202-633-7322 for additional information.
Collection Rights:
Copyright restrictions apply. Contact the archives staff for information.
Collection Citation:
J. Scott Odell folk music collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
See more items in:
J. Scott Odell folk music collection
J. Scott Odell folk music collection / Series 3: Collected Publications and Ephemera
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
EDAN-URL:
ead_component:sova-cfch-odel-ref49

Duke Ellington Collection

Collector:
National Museum of American History. Division of Musical History.  Search this
National Museum of American History. Division of Musical History.  Search this
Creator:
Ellington, Duke, 1899-1974  Search this
Names:
Duke Ellington Orchestra  Search this
Washingtonians, The.  Search this
Ellington, Mercer Kennedy, 1919-1996 (musician)  Search this
Strayhorn, Billy (William Thomas), 1915-1967  Search this
Extent:
400 Cubic feet
Type:
Collection descriptions
Archival materials
Phonograph records
Papers
Photographic prints
Posters
Sound recordings
Scrapbooks
Music
Clippings
Awards
Audiotapes
Place:
New York (N.Y.) -- 20th century
Harlem (New York, N.Y.) -- 20th century
Washington (D.C.) -- 20th century
Date:
1903 - 1989
Summary:
The collection documents Duke Ellington's career primarily through orchestrations (scores and parts), music manuscripts, lead sheets, transcriptions, and sheet music. It also includes concert posters, concert programs, television, radio, motion picture and musical theater scripts, business records, correspondence, awards, as well as audiotapes, audiodiscs, photographs, tour itineraries, newspaper clippings, magazines, caricatures, paintings, and scrapbooks.
Scope and Contents:
Dating approximately from the time Duke Ellington permanently moved to New York City in 1923 to the time the material was transferred to the Smithsonian Institution in 1988, the bulk of the material in the Duke Ellington Collection is dated from 1934-1974 and comprises sound recordings, original music manuscripts and published sheet music, hand-written notes, correspondence, business records, photographs, scrapbooks, news clippings, concert programs, posters, pamphlets, books and other ephemera. These materials document Ellington's contributions as composer, musician, orchestra leader, and an ambassador of American music and culture abroad. In addition, the materials paint a picture of the life of a big band maintained for fifty years and open a unique window through which to view an evolving American society.

The approximate four hundred cubic feet of archival materials have been processed and organized into sixteen series arranged by type of material. Several of the series have been divided into subseries allowing additional organization to describe the content of the material. For example, Series 6, Sound Recordings, is divided into four subseries: Radio and Television Interviews, Concert Performances, Studio Dates and Non-Ellington Recordings. Each series has its own scope and content note describing the material and arrangement (for example; Series 10, Magazines and Newspaper Articles, is organized into two groups, foreign and domestic, and arranged chronologically within each group). A container list provides folder titles and box numbers.

The bulk of the material is located in Series 1, Music Manuscripts, and consists of compositions and arrangements by Duke Ellington, Billy Strayhorn and other composers. Series 6, Sound Recordings also provides a record of the performance of many of these compositions. The materials in Series 2, Performances and Programs, Series 3, Business Records, Series 8, Scrapbooks, Series 9, Newspaper Clippings, Series 11, Publicity and Series 12, Posters provide documentation of specific performances by Duke Ellington and His Orchestra. Ellington was a spontaneous and prolific composer as evidenced by music, lyrical thoughts, and themes for extended works and plays captured on letterhead stationery in Series 3, Business Records, in the margin notes of individual books and pamphlets in Series 14, Religious Materials and Series 15, Books, and in the hand-written notes in Series 5, Personal Correspondence and Notes.

During its fifty-year lifespan, Duke Ellington and His Orchestra were billed under various names including The Washingtonians, The Harlem Footwarmers and The Jungle Band. The soloists were informally called "the band", and Series 3 includes salary statements, IOU's, receipts and ephemera relating to individual band members. Series 1, Music Manuscripts contains the soloists' parts and includes "band books" of several soloists (for example; Harry Carney and Johnny Hodges) and numerous music manuscripts of Billy Strayhorn. The changing role of Strayhorn from arranger hired in 1938 to Ellington's main collaborator and composer of many well-known titles for Duke Ellington and His Orchestra including "Take The A' Train" and "Satin Doll" can be traced in these music manuscripts. Series 7, Photographs and Series 2, Performances and Programs contain many images of the band members and Strayhorn. This Collection also documents the business history of Duke Ellington and His Orchestra. Series 3, Business Records contains correspondence on letterhead stationery and Series 11, Publicity contains promotional material from the various booking agencies, professional companies, and public relations firms that managed the Orchestra.

The materials in the Duke Ellington Collection provide insight into public and institutional attitudes towards African Americans in mid-twentieth-century America. The business records in Series 3 beginning in 1938 and published sheet music in Series 1 depict Duke Ellington's progression from an African-American musician who needed "legitimization" by a white publisher, Irving Mills, to a businessmen who established his own companies including Tempo Music and Duke Ellington, Incorporated to control his copyright and financial affairs. Programs from the segregated Cotton Club in Series 2, Performances And Programs and contracts with no-segregation clauses in Series 3: Business Records further illustrate racial policies and practices in this time period. The public shift in perception of Duke Ellington from a leader of an exotic "Jungle Band" in the 1930s to a recipient of the Congressional Medal Of Freedom in 1970 is evidenced in Series 2, Performances And Programs, Series 12, Posters, Series 7, Photographs and Series 13, Awards. Reviews and articles reflecting Ellington's evolving status are also documented in Series 8, Newspaper Clippings, Series 9, Scrapbooks, Series 10, Newspaper and Magazine Articles.

The materials in the Duke Ellington Collection reflect rapid technological changes in American society from 1923-1982. Sound recordings in Series 6 range from 78 phonograph records of three minutes duration manufactured for play on Victrolas in monaural sound to long-playing (LP) phonograph records produced for stereo record players. Television scripts in Series 4, programs in Series 2 and music manuscripts (for example, Drum Is A Woman) in Series 1 demonstrate how the development of television as a means of mass communication spread the Orchestra's sound to a wider audience. The availability of commercial air travel enabled the Ellington Orchestra to extend their international performances from Europe to other continents including tours to Asia, Africa, South America and Australia and archival material from these tours is included in every series.

Series 4, Scripts and Transcripts and Series 6, Audio Recordings contain scripts and radio performances promoting the sale of United States War bonds during World War II, and Series 7, Photographs includes many images of Duke Ellington and His Orchestra's performances for military personnel revealing the impact of historic events on Duke Ellington and His Orchestra. Series 2: Programs and Performances, Series 9, Newspaper clippings and Series 8, Scrapbooks document the 1963 Far East tour aborted as a result of President John F. Kennedy's assassination.

The Duke Ellington Collection contains works by numerous twentieth-century music, literature, and art luminaries. Series 1, Music Manuscripts contains original music manuscripts of William Grant Still, Eubie Blake, Mary Lou Williams, and others. Series 4, Scripts and Transcripts contains a play by Langston Hughes, and Series 12, Posters contains many original artworks.
Arrangement:
Series 1: Music Manuscripts, circa 1930-1981, undated

Series 2: Performances and Programs, 1933-1973, undated

Series 3: Business Records, 1938-1988

Series 4: Scripts and Transcripts, 1937-1970

Series 5: Personal Correspondence and Notes, 1941-1974, undated

Series 6: Sound Recordings, 1927-1974

Series 7: Photographs, 1924-1972, undated

Series 8: Scrapbooks, 1931-1973

Series 9: Newspaper Clippings, 1939-1973, undated

Series 10: Magazine Articles and Newspaper Clippings, 1940-1974

Series 11: Publicity, 1935-1988

Series 12: Posters and Oversize Graphics, 1933-1989, undated

Series 13: Awards, 1939-1982

Series 14: Religious Material, 1928-1974

Series 15: Books, 1903-1980

Series 16: Miscellaneous, 1940-1974
Biographical / Historical:
A native of Washington, DC, Edward Kennedy Ellington was born on April 29, 1899. Edward was raised in a middle-class home in the Northwest section of Washington described by his sister Ruth--younger by sixteen years--as a "house full of love." Ellington himself wrote that his father J.E. (James Edward) raised his family "as though he were a millionaire" but Edward was especially devoted to his mother, Daisy Kennedy Ellington. In 1969, thirty-four years after his mother's death, Ellington accepted the Presidential Medal of Freedom with these words, "There is nowhere else I would rather be tonight but in my mother's arms." Both his parents played the piano and Ellington began piano lessons at the age of seven, but like many boys he was easily distracted by baseball.

In his early teens, Ellington sneaked into Washington clubs and performance halls where he was exposed to ragtime musicians, including James P. Johnson, and where he met people from all walks of life. He returned in earnest to his piano studies, and at age fourteen wrote his first composition, "Soda Fountain Rag" also known as "Poodle Dog Rag." Ellington was earning income from playing music at seventeen years of age, and around this time he earned the sobriquet "Duke" for his sartorial splendor and regal air. On July 2, 1918, he married a high school sweetheart, Edna Thompson; their only child, Mercer Kennedy Ellington, was born on March 11, 1919. Duke Ellington spent the first twenty-four years of his life in Washington's culturally thriving Negro community. In this vibrant atmosphere he was inspired to be a composer and learned to take pride in his African-American heritage.

Ellington moved to New York City in 1923 to join and eventually lead a small group of transplanted Washington musicians called "The Washingtonians," which included future Ellington band members, Sonny Greer, Otto Hardwicke and "Bubber" Miley. Between 1923 and 1927, the group played at the Club Kentucky on Broadway and the ensemble increased from a quintet to a ten-piece orchestra. With stride pianist Willie "The Lion" Smith as his unofficial guide, Ellington soon became part of New York's music scene; Smith proved to be a long-lasting influence on Duke's composing and arranging direction. At the Club Kentucky, Ellington came under the tutelage of another legendary stride pianist, "Fats" Waller. Waller, a protege of Johnson and Smith, played solos during the band's breaks and also tutored Ellington who began to show progress in his compositions. In November 1924, Duke made his publishing and recording debut with "Choo Choo (I Got To Hurry Home)" released on the Blu-Disc label. In 1925, he contributed two songs to Chocolate Kiddies, an all-black revue which introduced European audiences to black American styles and performers. By this time Ellington's family, Edna and Mercer, had joined him in New York City. The couple separated in the late 1920's, but they never divorced or reconciled.

Ellington's achievements as a composer and bandleader began to attract national attention while he worked at the Cotton Club in Harlem, New York City, from 1927 to 1932. The orchestra developed a distinctive sound that displayed the non-traditional voicings of Ellington's arrangements and featured the unique talents of the individual soloists. Ellington integrated his soloists' exotic-sounding trombone growls and wah-wahs, their high-squealed trumpets, their sultry saxophone blues licks and Harlem's street rhythms into his arrangements. In the promotional material of the Cotton Club, the band was often billed as "Duke Ellington and His Jungle Band." With the success of compositions like "Mood Indigo," and an increasing number of recordings and national radio broadcasts from the Cotton Club, the band's reputation soared.

The ten years from 1932 to 1942 are considered by some major critics to represent the "golden age" for the Ellington Orchestra, but it represents just one of their creative peaks. These years did bring an influx of extraordinary new talent to the band including Jimmy Blanton on double bass, Ben Webster on tenor saxophone, and Ray Nance on trumpet, violin and vocals. During this ten year span Ellington composed several of his best known short works, including "Concerto For Cootie," "Ko-Ko," "Cotton Tail," "In A Sentimental Mood," and Jump For Joy, his first full-length musical stage revue.

Most notably, 1938 marked the arrival of Billy Strayhorn. While a teenager in Pittsburgh, Pennsylvania, Strayhorn had already written "Lush Life," "Something To Live For" and a musical, Fantastic Rhythm. Ellington was initially impressed with Strayhorn's lyrics but realized long before Billy's composition "Take the A' Train" became the band's theme song in 1942 that Strayhorn's talents were not limited to penning clever lyrics. By 1942, "Swee' Pea" had become arranger, composer, second pianist, collaborator, and as Duke described him, "my right arm, my left arm, all the eyes in the back of my head, my brain waves in his head, and his in mine." Many Ellington/Strayhorn songs have entered the jazz canon, and their extended works are still being discovered and studied today. Strayhorn remained with the Ellington Organization until his death on May 30, 1967.

Ellington had often hinted of a work in progress depicting the struggle of blacks in America. The original script, Boola, debuted in Carnegie Hall in November of 1943, retitled Black, Brown and Beige. The performance met with mixed reviews, and although Ellington often returned to Carnegie Hall the piece was never recorded in a studio, and after 1944 was never performed in entirety again by the Ellington Orchestra. Nonetheless, it is now considered a milestone in jazz composition.

After World War II the mood and musical tastes of the country shifted and hard times befell big bands, but Ellington kept his band together. The band was not always financially self-sufficient and during the lean times Ellington used his songwriting royalties to meet the soloists' salaries. One could assign to Ellington the altruistic motive of loyalty to his sidemen, but another motivation may have been his compositional style which was rooted in hearing his music in the formative stage come alive in rehearsal. "The band was his instrument," Billy Strayhorn said, and no Ellington composition was complete until he heard the orchestra play it. Then he could fine tune his compositions, omit and augment passages, or weave a soloist's contribution into the structure of the tune.

In 1956, the American public rediscovered Duke and the band at the Newport Jazz Festival in Rhode Island. The searing performances of tenor saxophonist Paul Gonsalves on "Diminuendo and Crescendo In Blue," his premiere soloist, alto saxophonist Johnny Hodges on "Jeep's Blues", and the crowd's ecstatic reaction have become jazz legend. Later that year Duke landed on the cover of Time magazine. Although Ellington had previously written music for film and television (including the short film, Black and Tan Fantasy in 1929) it wasn't until 1959 that Otto Preminger asked him to score music for his mainstream film, Anatomy of a Murder, starring Jimmy Stewart. Paris Blues in 1961, featuring box-office stars Paul Newman and Sidney Poitier in roles as American jazz musicians in Paris, followed.

Ellington's first performance overseas was in England in 1933, but the 1960s brought extensive overseas tours including diplomatic tours sponsored by the State Department. Ellington and Strayhorn composed exquisite extended works reflecting the sights and sounds of their travels, including the Far East Suite, 1966. They wrote homages to their classical influences; in 1963, they adapted Tchaikovsky's Nutcracker Suite and celebrated Shakespeare's works with the suite Such Sweet Thunder in 1957. With Ella Fitzgerald, they continued the Norman Granz Songbook Series. Ellington also began to flex his considerable pianist skills and recorded albums with John Coltrane (1963), Coleman Hawkins (1963), Frank Sinatra, and Money Jungle (1963) with Charles Mingus and Max Roach. The First Sacred Concert debuted in San Francisco's Grace Cathedral in 1965. In his final years, Ellington's thoughts turned to spiritual themes and he added a Second (1968) and Third (1973) Concert of Sacred Music to his compositions.

In his lifetime, Duke received numerous awards and honors including the highest honor bestowed on an American civilian, the Congressional Medal Of Freedom. In 1965, Ellington was recommended for a Pulitzer Prize to honor his forty years of contribution to music but the recommendation was rejected by the board. Most likely he was disappointed, but his response at the age of sixty-six was, "Fate is being kind to me. Fate doesn't want me to be famous too young."

Ellington never rested on his laurels or stopped composing. Whenever he was asked to name his favorite compositions his characteristic reply was "the next five coming up," but to please his loyal fans Ellington always featured some of his standards in every performance. Even on his deathbed, he was composing the opera buffo called Queenie Pie.

Duke Ellington died on May 24, 1974 at seventy-five years of age. His funeral was held in New York's Cathedral of St. John The Divine; he was buried in Woodlawn Cemetery. His long-time companion Beatrice "Evie" Ellis was buried beside him after her death in 1976. He was survived by his only child, Mercer Kennedy Ellington, who not only took up the baton to lead the Duke Ellington Orchestra but assumed the task of caring for his father's papers and his legacy to the nation. Mercer Ellington died in Copenhagan, Denmark on February 8, 1996, at the age of seventy-six. Ruth Ellington Boatwright died in New York on March 6, 2004, at the age of eighty-eight. Both Mercer and Ruth were responsible for shepherding the documents and artifacts that celebrate Duke Ellington's genius and creative life to their current home in the Smithsonian Institution's National Museum of American History.
Related Materials:
Materials in the Archives Center

William H. Quealy Collection of Duke Ellington Recordings (AC0296)

Rutgers University Collection of Radio Interviews about Duke Ellington (AC0328)

Duke Ellington Oral History Project (AC0368)

Duke Ellington Collection of Ephemera and realated Audiovisual Materials (AC0386)

Annual International Conference of the Duke Ellington Study Group Proceedings (AC0385)

Robert Udkoff Collection of Duke Ellington Ephemera (AC0388)

Frank Driggs Collection of Duke Ellington Photographic Prints (AC0389)

New York Chapter of the Duke Ellington Society Collection (AC390)

Earl Okin Collection of Duke Ellington Ephemera (AC0391)

William Russo Transcription and Arrangement of Duke Ellington's First Concert of Sacred Music (AC0406)

Ruth Ellington Collection of Duke Ellington Materials (AC0415)

Music manuscripts in the Ruth Ellington Collection complement the music manuscripts found in the Duke Ellington Collection.

Carter Harman Collection of Interviews with Duke Ellington (AC0422)

Betty McGettigan Collection of Duke Ellington Memorabilia (AC0494)

Dr. Theodore Shell Collection of Duke Ellington Ephemera (AC0502)

Edward and Gaye Ellington Collection of Duke Ellington Materials (AC0704)

Andrew Homzy Collection of Duke Ellington Stock Music Arrangements (AC0740)

John Gensel Collection of Duke Ellington Materials (AC0763)

Al Celley Collection of Duke Ellington Materials (AC1240)

Materials at Other Organizations

Institute of Jazz Studies
Separated Materials:
Artifacts related to this collection are in the Division of Culture and the Arts and include trophies, plaques, and medals. See accessions: 1989.0369; 1991.0808; 1993.0032; and 1999.0148.
Provenance:
The collection was purchased through an appropriation of Congress in 1988.
Restrictions:
Collection is open for research but the original and master audiovisual materials are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Copyright restrictions. Consult the Archives Center at archivescenter@si.edu or 202-633-3270.

Paul Ellington, executor, is represented by:

Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.
Occupation:
Composers -- 20th century  Search this
Topic:
Big bands  Search this
Pianists  Search this
Bandsmen -- 20th century  Search this
Jazz -- 20th century -- United States  Search this
Musicians -- 20th century  Search this
Music -- Performance  Search this
African American entertainers -- 20th century  Search this
African Americans -- History  Search this
Popular music -- 20th century -- United States  Search this
Music -- 20th century -- United States  Search this
African American musicians  Search this
Genre/Form:
Phonograph records
Papers
Photographic prints
Posters
Sound recordings
Scrapbooks -- 20th century
Music -- Manuscripts
Clippings
Awards
Audiotapes
Citation:
Duke Ellington Collection, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0301
See more items in:
Duke Ellington Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0301
Online Media:

Magazine Articles and Newspaper Clippings

Collection Collector:
National Museum of American History. Division of Musical History.  Search this
Collection Creator:
Ellington, Duke, 1899-1974  Search this
Type:
Archival materials
Date:
1940-1974
Scope and Contents note:
Includes magazine, newspaper, and other articles by or about Duke Ellington. These articles document the breadth and depth of critical acclaim and esteem in which Duke Ellington and his orchestra were held in the United States and abroad. They include tributes, biographies, results of polls of magazine critics and readers, announcements of concert and dance appearances, reviews of personal appearances, record reviews, interviews, reminiscences, and other items of general interest about Ellington, his orchestra, and orchestra members. Of particular interest is the original profile of Duke Ellington by Richard O. Boyer that first appeared in The New Yorker in 1944. Also included are many articles and reviews from such jazz journals as Metronome, Down Beat, the British Jazz Journal, and the French Bulletin du Hot Clubs de France.

Items written by Ellington appear in such publications as Ebony (1952, 1954), Jazz (1959), Down Beat (1962), The Christian Science Monitor (1968), Look (1971), Boy's Life (1972), and Esquire (1973). Further documentation of events referred to in these materials can be found in programs, scrapbooks and unmounted newspaper clippings. The articles are divided by domestic and foreign and are further arranged in chronological order within each group. Undated items have been placed at the end of each group. Oversized materials have been placed at the end of the series, but are listed chronologically within the box and folder listing.

The word "in" preceding the title of a magazine or newspaper indicates that a complete copy of that journal is included; the word "from" preceding the title indicates that only the designated article is included. Foreign languages are indicated in brackets.
Collection Restrictions:
Collection is open for research but the original and master audiovisual materials are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Copyright restrictions. Consult the Archives Center at archivescenter@si.edu or 202-633-3270.

Paul Ellington, executor, is represented by:

Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.
Collection Citation:
Duke Ellington Collection, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0301, Series 10
See more items in:
Duke Ellington Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0301-ref20962

Program, A Chamber Music Concert by members of the San Francisco Symphony Orchestra, All Mozart Program, The California Palace of the Legion of Honor, San Francisco, CA

Collection Collector:
National Museum of American History. Division of Musical History.  Search this
Collection Creator:
Ellington, Duke, 1899-1974  Search this
Container:
Box 6 (Series 16), Folder 13
Type:
Archival materials
Date:
January 16, 1966
Collection Restrictions:
Collection is open for research but the original and master audiovisual materials are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Copyright restrictions. Consult the Archives Center at archivescenter@si.edu or 202-633-3270.

Paul Ellington, executor, is represented by:

Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.
Collection Citation:
Duke Ellington Collection, Archives Center, National Museum of American History
See more items in:
Duke Ellington Collection
Duke Ellington Collection / Series 16: Miscellaneous
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0301-ref22257

[Documents and artifacts from the collection : black-and-white photoprint.]

Photographer:
Smithsonian Institution. Office of Printing and Photographic Services  Search this
Collection Collector:
National Museum of American History. Division of Musical History.  Search this
Collection Creator:
Ellington, Duke, 1899-1974  Search this
Extent:
1 Item (Silver gelatin on paper., 10" x 8".)
Type:
Archival materials
Photographs
Scope and Contents:
This photograph is not a collection item. It is a photograph showing artifacts from the Musical History collection, as well as music manuscripts and other items from the Archives Center collection: Music stand with Duke Ellington signature; domestic and foreign concert programs and magazine articles; caricature; Presidential Medal of Freedom; vintage photos; parts from "Mood Indigo."
Local Numbers:
AC0301-0000067 (AC Scan No.)

88-8249 (SI photo no.)
Series Restrictions:
Unrestricted research access on site by appointment. Unprotected photographs must be handled with gloves.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Copyright restrictions. Consult the Archives Center at archivescenter@si.edu or 202-633-3270.

Paul Ellington, executor, is represented by:

Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.
Topic:
Musical instruments -- 20th century  Search this
Genre/Form:
Photographs -- by OIPP
Collection Citation:
Duke Ellington Collection, Archives Center, National Museum of American History
See more items in:
Duke Ellington Collection
Duke Ellington Collection / Series 7: Photographs, Duke Ellington Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0301-ref53285

Scrapbooks

Collection Collector:
National Museum of American History. Division of Musical History.  Search this
Collection Creator:
Ellington, Duke, 1899-1974  Search this
Type:
Archival materials
Date:
1931-1973
Scope and Contents:
Series 8: Scrapbooks, 1937-1973 consists of seventy-seven scrapbooks containing domestic and international newspaper clippings and magazine articles compiled by Burrelle's Press Clipping Bureau for the Ellington organization between 1931 and 1973. The news clippings include announcements of Ellington performances and jazz festivals, performance and record reviews, information on Ellington's foreign and domestic tours, discussions of Ellington's composition style and his management of the Ellington Orchestra, music popularity polls, obituaries, tributes, and essays concerning the social issues of importance to Ellington. In addition, there are advertisements, programs, invitations, itineraries, letters and telegrams.

As Ellington's performing career progressed, the scrapbooks document a change in the press from simple announcements of concerts and record releases to longer and more laudatory articles praising Ellington's activities and his music, beliefs, and lifestyle. Taken as a whole, the bound and unbound clippings in series 8 and 9 provide insight into the growth of Ellington's popularity and social status, as well as the changing musical, social, political, and racial dynamics of the United States after World War II.

The scrapbooks are arranged chronologically by the beginning span date of each volume. Most volumes cover only a few months while others span several years. Overlapping dates generally occur because the articles were compiled and mounted in the scrapbooks in the order they were received by Burrelle's, without regard to time lags incurred due to location of origin and frequency of publication. Volume numbers refer to individual bound collections of mounted clippings. Each microfilm roll covers several scrapbook volumes.

Of interest are articles documenting the boycott and cancellation of an Ellington concert by the local chapter of the NAACP in Richmond, Virginia, in February, 1951 (box 17), Mercer Ellington's musical career (box 35), Ellington's 70th birthday party and presidential concert at the Nixon White House (box 62), the premiere of The River at the new Kennedy Center in Washington, D.C. (box 73), foreign press coverage of the Ellington Orchestra's international tours, including those to Europe (boxes 1, 10, 18, 21-23, 30, 47), the Middle East (boxes 33-34), South American (box 57), Southeast Asia (box 66), and the Soviet Union (box 73), articles written by Ellington (box 2), the New Yorker three-part series on Ellington (box 13), Ellington's views on segregation (boxes 17, 25-26), the Sacred Music concerts (boxes 41, 50-54), and the tribute to Ellington, "Duke Ellington . . . We Love You Madly" (boxes 74-75).

Mounted congratulatory letters addressed to Ellington commemorating the tenth anniversary of his premiere at the Cotton Club are in box 47. Among them, are letters from Chick Webb, Helen Oakley, Glenn Burrs, Andre Kostelanetz, Victor Young, Cab Colloway, Ferde Grofe, Louis Armstrong, Xavier Cugat, Rudy Vallee, George Frazier, Sammy Kaye, Irving Mills, W.C. Handy, Abel Green, Joe Higgins, and M.H. Orodenker.

Box 31 contains unbound, mounted clippings that have not been microfilmed. Please consult the reference archivist for information regarding their use.
Collection Restrictions:
Collection is open for research but the original and master audiovisual materials are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Copyright restrictions. Consult the Archives Center at archivescenter@si.edu or 202-633-3270.

Paul Ellington, executor, is represented by:

Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.
Collection Citation:
Duke Ellington Collection, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0301, Series 8
See more items in:
Duke Ellington Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0301-ref54087

Fisk University, Nashville, Tennessee, Doctor of Music Honorary Degree, Commencement Program, Concert Program

Collection Collector:
National Museum of American History. Division of Musical History.  Search this
Collection Creator:
Ellington, Duke, 1899-1974  Search this
Container:
Box 5 (Series 13), Folder 1
Type:
Archival materials
Date:
May 28, 1973
Collection Restrictions:
Collection is open for research but the original and master audiovisual materials are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Copyright restrictions. Consult the Archives Center at archivescenter@si.edu or 202-633-3270.

Paul Ellington, executor, is represented by:

Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.
Collection Citation:
Duke Ellington Collection, Archives Center, National Museum of American History
See more items in:
Duke Ellington Collection
Duke Ellington Collection / Series 13: Awards
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0301-ref54858

Zeta Phi Beta Sorority, Washington, D.C., Concert Program and Souvenir Booklet

Collection Collector:
National Museum of American History. Division of Musical History.  Search this
Collection Creator:
Ellington, Duke, 1899-1974  Search this
Container:
Box 5 (Series 13), Folder 3
Type:
Archival materials
Date:
August 12, 1973
Collection Restrictions:
Collection is open for research but the original and master audiovisual materials are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Copyright restrictions. Consult the Archives Center at archivescenter@si.edu or 202-633-3270.

Paul Ellington, executor, is represented by:

Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.
Collection Citation:
Duke Ellington Collection, Archives Center, National Museum of American History
See more items in:
Duke Ellington Collection
Duke Ellington Collection / Series 13: Awards
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0301-ref54863

Performances and Programs

Collection Collector:
National Museum of American History. Division of Musical History.  Search this
Collection Creator:
Ellington, Duke, 1899-1974  Search this
Type:
Archival materials
Date:
1933-1973
Scope and Contents note:
Includes souvenir and concert programs, domestic and international tour itineraries, press releases, correspondence, news articles, and citations. The records document domestic and international tours to Canada, the Caribbean, Latin America, Africa, Asia, and Europe made by the Duke Ellington Orchestra, 1933-1973. In addition, they document three diplomatic tours to the Near and Middle East (1963), Soviet Union (1971), and Central and South America (1971) sponsored by the United States State Department. Of particular interest are the materials documenting Ellington's Concerts of Sacred Music performed between 1965 and 1973. These include correspondence, announcements, and publicity relating to the planning and execution of these concerts, dating from January 1963.

The records are organized into three subseries: Subseries 2.1, International Tours (including Ellington's diplomatic tours for the State Department), Subseries 2.2, Domestic Tours, and Subseries 2.3, The Sacred Concerts. The material within each group is arranged chronologically by performance dates. Span dates are identified within parentheses only when the dates for a group of materials falls outside of the performance dates. Undated items have been placed at the end of each grouping. Oversized materials have been placed at the end of the series but are incorporated chronologically in this listing.
Collection Restrictions:
Collection is open for research but the original and master audiovisual materials are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Copyright restrictions. Consult the Archives Center at archivescenter@si.edu or 202-633-3270.

Paul Ellington, executor, is represented by:

Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.
Collection Citation:
Duke Ellington Collection, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0301, Series 2
See more items in:
Duke Ellington Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0301-ref14312

Esquire All-American Jazz Concert, January 17, 1945

Collection Collector:
National Museum of American History. Division of Musical History.  Search this
Collection Creator:
Ellington, Duke, 1899-1974  Search this
Container:
Box 10 (Series 2), Folder 13
Type:
Archival materials
Collection Restrictions:
Collection is open for research but the original and master audiovisual materials are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Copyright restrictions. Consult the Archives Center at archivescenter@si.edu or 202-633-3270.

Paul Ellington, executor, is represented by:

Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.
Collection Citation:
Duke Ellington Collection, Archives Center, National Museum of American History
See more items in:
Duke Ellington Collection
Duke Ellington Collection / Series 2: Performances and Programs / 2.2: Domestic Tours
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0301-ref14518

Down Beat Concert, Civic Opera House, Chicago, Illinois, January 20, 1946

Collection Collector:
National Museum of American History. Division of Musical History.  Search this
Collection Creator:
Ellington, Duke, 1899-1974  Search this
Container:
Box 10 (Series 2), Folder 22
Type:
Archival materials
Collection Restrictions:
Collection is open for research but the original and master audiovisual materials are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Copyright restrictions. Consult the Archives Center at archivescenter@si.edu or 202-633-3270.

Paul Ellington, executor, is represented by:

Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.
Collection Citation:
Duke Ellington Collection, Archives Center, National Museum of American History
See more items in:
Duke Ellington Collection
Duke Ellington Collection / Series 2: Performances and Programs / 2.2: Domestic Tours
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0301-ref14527

Program, Concert and Venue not given, 1946

Collection Collector:
National Museum of American History. Division of Musical History.  Search this
Collection Creator:
Ellington, Duke, 1899-1974  Search this
Container:
Box 10 (Series 2), Folder 38
Type:
Archival materials
Collection Restrictions:
Collection is open for research but the original and master audiovisual materials are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Copyright restrictions. Consult the Archives Center at archivescenter@si.edu or 202-633-3270.

Paul Ellington, executor, is represented by:

Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.
Collection Citation:
Duke Ellington Collection, Archives Center, National Museum of American History
See more items in:
Duke Ellington Collection
Duke Ellington Collection / Series 2: Performances and Programs / 2.2: Domestic Tours
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0301-ref14542

Third Annual Ridgewood Jazz Concert, Ridgewood, New Jersey, May 5, 1958

Collection Collector:
National Museum of American History. Division of Musical History.  Search this
Collection Creator:
Ellington, Duke, 1899-1974  Search this
Container:
Box 11 (Series 2), Folder 26
Type:
Archival materials
Collection Restrictions:
Collection is open for research but the original and master audiovisual materials are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Copyright restrictions. Consult the Archives Center at archivescenter@si.edu or 202-633-3270.

Paul Ellington, executor, is represented by:

Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.
Collection Citation:
Duke Ellington Collection, Archives Center, National Museum of American History
See more items in:
Duke Ellington Collection
Duke Ellington Collection / Series 2: Performances and Programs / 2.2: Domestic Tours
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0301-ref14574

Televised Concert, November 25, 1958

Collection Collector:
National Museum of American History. Division of Musical History.  Search this
Collection Creator:
Ellington, Duke, 1899-1974  Search this
Container:
Box 11 (Series 2), Folder 29
Type:
Archival materials
Collection Restrictions:
Collection is open for research but the original and master audiovisual materials are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Copyright restrictions. Consult the Archives Center at archivescenter@si.edu or 202-633-3270.

Paul Ellington, executor, is represented by:

Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.
Collection Citation:
Duke Ellington Collection, Archives Center, National Museum of American History
See more items in:
Duke Ellington Collection
Duke Ellington Collection / Series 2: Performances and Programs / 2.2: Domestic Tours
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0301-ref14577

Concert "In Honor of His Excellency the President of the Republic of Liberia and Mrs. Tubman," The White House, Washington, DC, March 27, 1968

Collection Collector:
National Museum of American History. Division of Musical History.  Search this
Collection Creator:
Ellington, Duke, 1899-1974  Search this
Container:
Box 12 (Series 2), Folder 30
Type:
Archival materials
Collection Restrictions:
Collection is open for research but the original and master audiovisual materials are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Copyright restrictions. Consult the Archives Center at archivescenter@si.edu or 202-633-3270.

Paul Ellington, executor, is represented by:

Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.
Collection Citation:
Duke Ellington Collection, Archives Center, National Museum of American History
See more items in:
Duke Ellington Collection
Duke Ellington Collection / Series 2: Performances and Programs / 2.2: Domestic Tours
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0301-ref14627

Memphis Symphony Pops Concert, The Auditorium, Memphis, Tennessee, January 30, 1969

Collection Collector:
National Museum of American History. Division of Musical History.  Search this
Collection Creator:
Ellington, Duke, 1899-1974  Search this
Container:
Box 13 (Series 2), Folder 2
Type:
Archival materials
Collection Restrictions:
Collection is open for research but the original and master audiovisual materials are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Copyright restrictions. Consult the Archives Center at archivescenter@si.edu or 202-633-3270.

Paul Ellington, executor, is represented by:

Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.
Collection Citation:
Duke Ellington Collection, Archives Center, National Museum of American History
See more items in:
Duke Ellington Collection
Duke Ellington Collection / Series 2: Performances and Programs / 2.2: Domestic Tours
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0301-ref14633

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