I got rhythm ; Flying home ; Memories of you (Benny Goodman Sextet) --Blues with Helen (Helen Humes and band) --Mortgage stomp (Members of Basie Band) --One o'clock jump (Count Basie Band) --Blues with Lips ("Hot Lips" Page, with Basie Band) --Good morning blues ; Way down yonder in New Orleans (Kansas City Six) --I ain't got nobody (Count Basie) --Don't be that way (Members of Basie Band) --Mule walk ; Carolina shout (James P. Johnson) -- Weary blues ; I wish I could shimmy like my sister Kate (New Orleans Feetwarmers) --Stomping at the Savoy ; Honeysuckle rose (Benny Goodman Sextet) --Gospel train ; I'm on my way (Golden Gate Quartet) --Four day creep (Ida Cox and band) --Lady be good : jam session (Benny Goodman Sextet, Count Basie Band, and Meade Lux Lewis, Pete Johnson and Albert Ammons) --Mountain blues (Sonny Terry) --The new John Henry (Sonny Terry, Bull City Red) -- It's all right baby (Joe Turner, Pete Johnson) --Cavalcade of boogie (Pete Johnson, Meade Lux Lewis and Albert Ammons) --Done got wise ; Louise, Louise (Big Bill Broonzy) -- What more can my Jesus do ; My mother died a'shoutin' (Mitchell's Christian Singers) --Paging the devil (Kansas City Six).
Local Numbers:
FW-ASCH-LP-3387
Vanguard.8523/4
Publication, Distribution, Etc. (Imprint):
Vanguard 1959
General:
Jazz, popular music, folk music, spirituals, swing, and blues. "The original disc acetates from which this recording was made were privately recorded for Mr. John Hammond as a memento of the concerts"--P. [4] of notes. Manual sequence. Program notes by John Hammond, Sterling A. Brown, and Charles Edward Smith ([4] p.) laid in container. Performer(s): Various vocal and instrumental groups ; John Hammond, commentator.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
The papers of painter Philip Evergood measure 11.61 linear feet and date from 1890 to 1971. Found within the papers are biographical materials; personal and business correspondence; writings, including essays, lectures, speeches, and sound recordings of radio appearances; subject files; personal business records; printed material; scrapbooks; artwork, including oil paintings, sketches, and childhood drawings; and photographs of Evergood, his family and friends, and his work.
Scope and Contents:
The papers of painter Philip Evergood measure 11.61 linear feet and date from 1890 to 1971. Found within the papers are biographical materials; personal and business correspondence; writings, including essays, lectures, speeches, and sound recordings of radio appearances; subject files; personal business records; printed material; scrapbooks; artwork, including oil paintings, sketches, and childhood drawings; and photographs of Evergood, his family and friends, and his work.
Biographical materials include curriculum vitae, forms, memberships, and the contact information of friends and acquaintances. Correspondence is with business associates and artists, including Charles Edward Smith, Rockwell Kent, Frank Kleinholz, Leon Kroll, Joan Miro, and Yasuo Kuniyoshi. Writings consist primarily of Evergood's artist statements, essays, lectures and speeches, as well as notes, transcripts, and recordings of broadcast radio shows. Subject files focus on art institutions and organizations, funding opportunities, and political topics of personal interest.
Personal business records include artist lists, contracts with galleries, and banking and estate records. Printed materials include clippings, four clippings scrapbooks, exhibition catalogs, and periodicals with articles featuring Evergood. There are loose sketches and mixed media, including oils and watercolors, of Evergood's artwork. Photographs are of Evergood, his friends and family, and photographs and negatives of his artwork.
Arrangement:
The collection is arranged as 9 series.
Missing Title
Series 1: Biographical Materials, 1930-1971 (0.2 linear feet; Box 1, 24, OV 13)
Series 2: Correspondence, 1930-1970 (3.6 linear feet; Boxes 1-4, 24)
Series 3: Writings, 1905-1970 (1.8 linear feet; Boxes 4-5, 24)
Series 4: Subject Files, 1919-1971 (0.7 linear feet; Boxes 5-6)
Series 5: Personal Business Records, 1902-1970 (0.5 linear feet; Box 6)
Series 6: Printed Material, 1914-1970 (2.4 linear feet; Boxes 7-9, 11, 24)
Series 7: Scrapbooks, 1924-1954 (0.6 linear feet; Boxes 11-12)
Series 8: Artwork, 1905-1970 (1.5 linear feet; Box 9, OV 14-20, 24, OV 25, RD 23)
Series 9: Photographic Materials, 1890-1970 (1.2 linear feet; Boxes 9-10, 24, OV 21-22, 26-27)
Biographical / Historical:
Painter and printmaker Philip Evergood (1901-1973) lived and worked in New York City and Bridgewater, Connecticut and was known as an expressionist and social realist who incorporated elements of the fantastic into his works. A native New Yorker, Evergood's father, Miles Blashki, was a Polish-Australian artist, and his mother, Flora Jane Perry, was English. At his mother's insistence, Evergood attended boarding schools in England and graduated from Eton in 1919. He left Cambridge University to pursue art studies at London's Slade School of Fine Arts and returned to America in 1923 to study with George Luks at the Art Students League.
In 1927, Evergood held his first one man show at New York's Dudensing Gallery and continued to travel back and forth between France, Spain, and America throughout the 1920s. In 1931, he married dancer and actress Julia Cross and found work as a muralist and painter for the WPA Federal Arts Project in the early 1930s. From 1937-1938, he served as president of the New York Artists Union and, along with other social realist painters, joined Herman Baron's stable at the ACA (American Contemporary Art) Gallery, where he exhibited several one man shows during the late 1930s and 1940s.
During the 1940s and 1950s, Evergood was a popular lecturer and taught at art schools, including the Skowhegan School, and began producing large scale lithographs and etchings along with his paintings. While working as a picture framer for additional income, he met the art collector Joseph Hirshhorn who would purchase 10 artworks at their first meeting and become a life long patron. He continued to exhibit his work at the ACA Gallery and the annual contemporary shows of major museums, such as the Carnegie Institute and the Art Institute of Chicago. Evergood exhibited in over 35 exhibitions, including a retrospective at the Whitney Museum in 1960, and died in a house fire in Bridgewater in 1973.
Related Materials:
Also found in the Archives of American Art are Letters from Philip Evergood; Gael Hammer letters relating to Miles and Philip Evergood; an oral history interview with Philip Evergood by Forrest Selvig, December 3, 1968; and Philip Evergood interview with John I.H. Baur, June 1959.
Provenance:
Philip Evergood donated his papers to the Archives in 1971. Additional materials were donated in 1974 by Evergood's wife, Julia Cross Evergood. In 1977, two typescripts of essays were donated by Abram Lerner. A small addition was donated in 2018 by Kendall Taylor, who originally received the material from Julia Cross Evergood.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference Services for more information.
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.
Topic:
Painters -- New York (State) -- New York Search this
Sing on (4:25) -- Garlands of flowers (10:55) -- West lawn dirge (9:13) -- Lady be good (4:40).
Local Numbers:
FW-ASCH-LP-2351
Pax.9001
Publication, Distribution, Etc. (Imprint):
Pax 195x
General:
Notes on container by Charles Edward Smith.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Barrack-room scandal --Reincarnation --Brooklyn, Brooklyn -- Barbados --Brown skin girl --29, Port of Spain --Labor Day -- Jonah.
Local Numbers:
FW-ASCH-LP-2663
Folkways.914
Publication, Distribution, Etc. (Imprint):
New York Folkways 1955
General:
Program notes by C.E. Smith and words of the songs ([8] p.) inserted in container. Performer(s): Lord Invader and the Trinidad Caribbean Orchestra.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Tea for two ; Sophisticated lady ; Tiger rag (Art Tatum) -- Riffs ; Feelin' blue (Jimmy Johnson) --After tonight (Jimmy Johnson & his orchestra) --Down among the sheltering palms ; A Monday date ; I ain't got nobody (Earl Hines) --Can't we get together? ; There'll come a time when you'll need me ; Breezin' (Joe Sullivan, piano solo with rhythm acc.).
Local Numbers:
FW-ASCH-LP-4162
Epic.3295
Publication, Distribution, Etc. (Imprint):
Epic 1956
General:
Program and biographical notes by Charles Edward Smith on container. Performer(s): Jazz ensembles and piano solos; featuring Art Tatum, James P. Johnson, Earl Hines, and Joe Sullivan.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
selections are available in the Smithsonian Digital Asset Management System; CDR copy
Charles Edward Smith and Moses Asch interviewing Big Bill Broonzy about the differences between blues and jazz music, and their history, performance, and interpretation.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
John Henry--Grizzly bear (prisoners)--Harmonico solo--Early riser blues--Dark was the night (Blind Willie Johnson)--Calls--Tom tom workout (Baby Dodds)--Black Jack Davy (Texas Gladden?)--Black Jack Davy (Hammered Dulcimer)--Poor Ellen Smith (Hobart Smith)--guitar--Mole in the ground (Bascom Lamar Lunsford)-
Local Numbers:
FW-ASCH-7RR-2674
General:
Folkways 4530
CDR copy
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
In the evening when the sun goes down--When things go wrong--Digging my potatoes--Poor Bill blues--Trouble in mind--I wonder when I'll be called a man
Track Information:
101 In the Evening When the Sun Goes Down / Guitar.
102 When Things Go Wrong / Guitar.
103 Digging My Potatoes / Guitar.
104 Poor Bill Blues / Guitar.
105 Trouble in Mind / Guitar.
106 I Wonder When I'll Be Called a Man / Guitar.
Local Numbers:
FW-ASCH-10RR-2943
Date/Time and Place of an Event Note:
Recorded in: New York, United States, December 5, 1964.
General:
Folkways DISK 1112
CDR copy- Disc 606
REEL 1/2;NOTES ON BOX;
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Lonesome blues --Me and my dog --Secret Mojo blues -- Pawnshop blues --Go on blues --The way I feel.
Local Numbers:
FW-ASCH-78-0097
Disc.727
Publication, Distribution, Etc. (Imprint):
New York Disc 1947
General:
Biographical notes by Charles Edward Smith on inside front cover. All selections written by the artist. Performer(s): Brownie McGhee, vocals, accompanying himself on guitar.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Rolling River (Gribble, Lusk and York)-(2:45) -- Allons danser Colinda / (Roy Brule) (1:51) -- Sourwood mountain / (Hobart Smith) (1:22) -- Diamond Joe / (Cisco Houston) (2:24) -- Siete leguas / (Peter Hurd) (2:24) -- Matachines dance : New Mexican (1:33) -- Moonlight song : Taos Indian serenade (2:08) -- War dance song : Flathead Indians (1:28) -- Esta Navidad : Puerto Rican Christmas song (3:06) -- Aguinaldo Cagueno / (The "Trobabdore" De La Montana) (4:17) -- Rocky road / (Alabama Sacred Harp Singers) (2:43) -- If we never meet again / (Children of Diamond Rural School) (:55) -- Inviting-in dance song / (Otis Ahkivigak) (1:05).
Local Numbers:
FW-ASCH-7RR-2775
General:
CDR copy; copy exists in DAMS system
Sung and played by native musicians.
FW-ASCH-7RR-2773, -2774, and -2775, all in black tape boxes, contain tracks which where incorporated into the Folkways anthology entitled Folk Music U.S.A. (FW04530), published in 1959, compiled by Harold Courlander, with notes written by Charles Edward Smith. However, a few tracks are only on these tapes and not on the Folkways album, while a few tracks on the Folkways albums are not on these tapes. The album contains a wide variety of types of American music, from African American to Native American to Appalachian. Many of the selections were initially recorded in the 1950's, while some were from the 1940's or from old 78's. Additional information about individual performers and additional documentation about each track, above what is in the sheets accompanying the CD, etc., can be found in the FW04530 liner notes. The original tape boxes for -2773, -2774, and -2775 say, respectively, "Folk Music of the U.S. #2," "American Anthology #1," and American Anthology #2."
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
John Henry / (Virgil Perkins & Jack Sims) (4:10) -- Grizzly bear : Negro prison camp worksong (3:31) -- Blowing the train / (Percy Randolph) (2:52) -- Six thousand miles from nowhere / (Snooks Eaglin) (3:06) -- Dark was the night / (Blind Willie Johnson) (3:24) -- Amasee children's ring game song (1:34) -- Spooky drums / (Baby Dodds) (2:19) -- Black Jack Davy / (Mary Jo Davis) (3:09) -- Drunken sailor : dulcimer melody (1:19) -- Ellen Smith / (Pete Steel) (1:38) -- Run, run / (Elizabeth Cotton) (:57) -- Mole in the ground / (Bascom Lamar Lunsford) (2:49)
Local Numbers:
FW-ASCH-7RR-2774
General:
CDR copy; copy exists in DAMS system
FW-ASCH-7RR-2773, -2774, and -2775, all in black tape boxes, contain tracks which where incorporated into the Folkways anthology entitled Folk Music U.S.A. (FW04530), published in 1959, compiled by Harold Courlander, with notes written by Charles Edward Smith. However, a few tracks are only on these tapes and not on the Folkways album, while a few tracks on the Folkways albums are not on these tapes. The album contains a wide variety of types of American music, from African American to Native American to Appalachian. Many of the selections were initially recorded in the 1950's, while some were from the 1940's or from old 78's. Additional information about individual performers and additional documentation about each track, above what is in the sheets accompanying the CD, etc., can be found in the FW04530 liner notes. The original tape boxes for -2773, -2774, and -2775 say, respectively, "Folk Music of the U.S. #2," "American Anthology #1," and American Anthology #2."
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Program notes by Charles Edward Smith and song lyrics (4 p. : ill.) in container
Restrictions:
Restrictions on access.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Topic:
Blues (Music) -- United States -- 1950-1960. Search this
