With African drummers and singers Djimo Kouyate (gee-mo coo-yah-tee) and Aidoo (eye-ee-doe); steel drums master Andy Narell; Spyro Gyra vibraphone and marimba master Dave Samuels; North American snare drum and rototom champions Trevor Ferrier and Ian Forsyth from Canada; Wichita State University Percussion Ensemble performing "War Games" by Walter Mays for Ten Percussionists and Two Wrestlers (Jeff Jarrett and Dutch Mantel).
Collection Restrictions:
Collection is open for research.
Collection Rights:
Copyright restrictions; may not be copied. Must contact Kentucky Center for the Arts.
Collection Citation:
Lonesome Pine Specials, 1986-1991, Archives Center, National Museum of American History.
Collection of the Smithsonian National Museum of African American History and Culture, Anonymous Gift in memory of Ernest (Ernie) R. Smith, Jazz Historian
Object number:
2015.275.22.1a
Restrictions & Rights:
Restrictions likely apply. Proper usage is the responsibility of the user.
Collection of the Smithsonian National Museum of African American History and Culture, Anonymous Gift in memory of Ernest (Ernie) R. Smith, Jazz Historian
Object number:
2015.275.32.1ab
Restrictions & Rights:
Restrictions likely apply. Proper usage is the responsibility of the user.
Correspondence, transcripts of interviews, photographs, a biography, a discography, an award, printed material and other miscellany documenting the life and career of Red Norvo.
Scope and Contents:
The Red Norvo Papers consist of correspondence, transcripts of interviews with Red Norvo, miscellaneous publications (catalogues, monographs, newsletters, pamphlets, programs), periodicals, articles and clippings, photographs, and several miscellaneous documents: various advertisements, a hotel receipt, liner notes, an award from Metronome, a biography prepared by Capitol Records, a Red Norvo discography, a concert engagement advertisement in the form of a postcard, a poster (Benny Goodman), and a Red Norvo concert tour itinerary.
Arrangement:
Divided into 7 series: Series 1: Correspondence, 1939-1997; Series 2: Red Norvo Interview Transcripts, 1991-1993; Series 3: Miscellaneous Publications; Series 4: Miscellaneous Documents; Series 5: Periodicals, Series 6: Periodical Articles and News Clippings; Series 7: Photographs.
Biographical / Historical:
Along with Lionel Hampton, Red Norvo stands as one of the most celebrated and influential figures in the history of Jazz vibraphone. Norvo was born Kenneth Norville in Beardstown, Illinois on March 31, 1908. He began studying marimba at an early age and played in a rhumba band in 1925. After a brief stint as a tap dancer and conductor on the Vaudeville circuit, Norvo played xylophone with the Paul Whiteman Orchestra. He later married the band's singer, Mildred Bailey, and together they were known as Mr. and Mrs. Swing. From the late 1930's through the early 1940's Norvo lead his own orchestra (with arrangements by Eddie Sauter) and his own sextet.
In 1944 Norvo switched permanently to vibraphone and joined the Benny Goodman Sextet. In 1945 the Red Norvo Selected Sextet (featuring Charlie Parker and Dizzy Gillespie) recorded Hallelujah, Get Happy, Slam Slam Blues, and Congo Blues—an event that many critics regard as helping to commence the bebop era and the establishment of modern jazz. In 1946 Norvo played with Woody Herman's First Herd. But in Norvo's formative years it was the improvisational piano style of Teddy Wilson that most influenced his own style of play.
In 1950 Norvo founded the Red Norvo Trio, which included Tal Farlow on guitar and Charles Mingus on bass. Norvo also performed and recorded with a quintet. He settled in Santa Monica, California and became a prolific recording musician with Capitol and other labels. Most of the essential singers of the period either performed or recorded with him: Frank Sinatra, Billie Holiday and Peggy Lee to name a few.
Norvo notably backed Sinatra on his Australian tour in 1959 and appeared with him in the 1960 film, Ocean's Eleven. In 1961 Norvo began to suffer hearing loss, a condition which worsened throughout the remainder of his life. In the 1970's he performed mainly in Las Vegas. He died April 6, 1999 in Santa Monica.
Related Materials:
Materials in the Archives Center
Benny Carter Collection (NMAH.AC.0757)
Milt Gabler Papers (NMAH.AC.0849)
Jazz Oral History Program Collection(NMAH.AC.0808)
William Russo Music and Personal Papers(NMAH.AC.0845)
Jack Siefert/Woody Herman Collection(NMAH.AC.0659)
Ernie Smith Jazz Film Collection (NMAH.AC.0491)
Provenance:
The collection was donated to the Archives Center by Portia Norvo Corlin on April 1, 2004.
Restrictions:
Collection is open for research and access on site by appointment. Unprotected photographs must be handled with gloves.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Reproduction restricted due to copyright or trademark. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Duncan Schiedt Jazz Collection, 1900-2012, Archives Center, National Museum of American History
Sponsor:
Processing and encoding funded by a grant from the Council on Library and Information Resources.
Lafayette (Bennie Moten's Kansas City Orch. ; Bennie Moten, piano) --Tailspin (Mound City Blue Blowers) -- You can't cheat a cheater (Napoleon's Emporers ; Phil Napoleon, trumpet) --She's cryin for me (New Orleans Rhythm Kings) --Davenport blues (Red and Miff's Stompers ; Red Nichols, cornet) --I'm going home (Jimmy Noone Trio ; Jimmy Noone, clarinet ; vocal by Ed Thomson) -- The one that got away (Esquire All-Americans ; Red Norvo, vibraphone) --New Orleans shout (King Oliver and His Orch. ; King Oliver, cornet).
Local Numbers:
FW-ASCH-LP-3660
RCA Victor.LEJ 9
Publication, Distribution, Etc. (Imprint):
RCA Victor 195x
General:
Various jazz ensembles. Program notes by Bill Grauer Jr. and Orrin Keepnews on container. Production notes: Recorded 1925-1940.
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.
Let's dance --Ridin' high --Nice work if you can get it -- Vibraphone blues --The sheik of Araby --Peckin' --Sunny disposish --Nagasaki --St. Louis blues --Sugar foot stomp -- Moonglow --I'm a ding dong daddy --I' hadn't anyone till you -- Always --Down south camp meetin' --Sweet Leilani --Sometimes I'm happy --Roll 'em --King Porter stomp --Have you met Miss Jones --Shine --Minnie the Moocher's wedding day --Runnin' wild --You turned the tables on me --At the darktown strutters' ball --My gal sal --Bugle call rag --Clarinet marmalade --Time on my hands --Stardust --Benny sent me -- Everybody loves my baby --Josephine --Killer diller --Someday sweetheart --Caravan --Goodbye.
Track Information:
101 Let's Dance / Benny Goodman. Clarinet.
102 Ridin' High / Benny Goodman. Clarinet.
103 Nice Work If You Can Get It / Benny Goodman. Clarinet.
104 Vibraphone Blues / Benny Goodman, Lionel Hampton. Clarinet.
105 The Sheik of Araby / Benny Goodman. Clarinet.
106 Peckin' / Benny Goodman. Clarinet.
107 Sunny Disposish / Benny Goodman. Clarinet.
108 Nagasaki / Benny Goodman. Clarinet.
109 St. Louis Blues / Benny Goodman. Clarinet.
401 Clarinet Marmalade / Benny Goodman. Clarinet.
402 Time on My Hands (You in My Arms) / Benny Goodman. Clarinet.
403 Stardust / Benny Goodman. Clarinet.
404 Benny Sent Me / Benny Goodman. Clarinet.
405 Everybody Loves My Baby / Benny Goodman. Clarinet.
406 Josephine / Benny Goodman. Clarinet.
407 Killer Diller / Benny Goodman. Clarinet.
408 Someday Sweetheart / Benny Goodman. Clarinet.
409 Caravan / Benny Goodman. Clarinet.
410 Goodbye / Benny Goodman. Clarinet.
201 Sugar Foot Stomp / Benny Goodman. Clarinet.
202 Moonglow / Benny Goodman. Clarinet.
203 I'm a Ding Dong Daddy / Benny Goodman. Clarinet.
204 I Hadn't Anyone 'Till You / Benny Goodman, Martha Tilton. Clarinet.
205 Always / Benny Goodman. Clarinet.
206 Down South Camp Meetin' / Benny Goodman. Clarinet.
207 Sweet Leilani / Benny Goodman. Clarinet.
208 Sometimes I'm Happy / Benny Goodman. Clarinet.
209 Roll 'Em / Benny Goodman. Clarinet.
301 King Porter Stomp / Benny Goodman. Clarinet.
302 Have You Met Miss Jones / Benny Goodman. Clarinet.
303 Shine / Benny Goodman. Clarinet.
304 Minnie The Moocher's Wedding Day / Benny Goodman. Clarinet.
305 Runnin' Wild / Benny Goodman. Clarinet.
306 You Turned the Tables on Me / Benny Goodman. Clarinet.
307 At the Darktown Strutter's Ball / Benny Goodman. Clarinet.
308 My Gal Sal / Benny Goodman. Clarinet.
309 Bugle Call Rag / Benny Goodman. Clarinet.
Local Numbers:
FW-ASCH-LP-3973
Columbia.180
Publication, Distribution, Etc. (Imprint):
New York Columbia 1952
General:
Program notes by George Avakian ([3] p.) bound in. Performer(s): Jazz recordings of radio broadcasts by the original Benny Goodman Orchestra, Trio, and Quartet ; featuring Harry James, Lionel Hampton, Gene Krupa, Teddy Wilson, Ziggy Elman, and others.
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.
Photograph album documenting the Leedy Manufacturing Company, a maker of precussion instruments.
Scope and Contents:
This album documents the Leedy Manufacturing Co.'s production of a variety of percussion musical instruments, such as drums, tympani, xylophones, vibraphones, etc. There is a group portrait of the executive staff, assembled near the door of the plant: it is marked "Indianapolis" and "1925," along with the names "Leedy," [George H.] "Way," "Elsie Way," "Kuerst," and "Winterhoff." The work force stands outside the factory in another image, and interiors depict office scenes and manufacturing stages for several types of instruments. Machine shops and other work areas show workers and craftsmen operating belt-driven machine tools, lathes, drill presses, stamping presses, saws, etc. Storage areas for lumber and hides (for drum heads) are shown, as well as stock rooms for finished instruments and packing and shipping operations. The album contains 38 silver gelatin photoprints mounted on canvas pages, 6-3/4" x 10-3/4", several imprinted "Hoosier Photo Co." The album cover is plain and untitled.
Arrangement:
One album of photographs. Photographs unarranged; they were separated from the album covers and the original image order, which did not seem significant, was not preserved.
Biographical / Historical:
As a child, Ulysses G. Leedy (1867-1931) bought his first drum from a Civil War drummer near his home in Fostoria, Ohio, and played for coins near the Baltimore & Ohio railroad station. He joined the 15th regimental drum corps in Ohio at age 14 and the Fostoria town band and orchestra at 18. Later, he became a member of the Great Western Band and was featured on drums and xylophone. He traveled widely as a musician and realizing the need that he and other percussionists had for a snare drum stand, he invented the first practical folding snare drum stand in 1890. Also in 1890, Leedy purchased parts from various manufacturers and made his first drum with the assistance of his father, a cabinet maker. After taking a position with an Indianapolis theater orchestra, he concurrently manufactured and sold drums, obtaining the wooden shells from his father and assembling drums in his basement.
Eventually Leedy resigned his theater position in order to devote his full attention to his burgeoning manufacturing business. In 1895 he and Sam Cooley, a clarinetist from the same orchestra, pooled $50.00 each and began to make Leedy drums, at first under the name of Leedy & Cooley , then the Leedy Manufacturing Company. The original factory was established in a room of the Cyclorama Building in Indianapolis. The firm prospered and a variety of instruments gradually were added to its product line. In 1902 Herman Winterhoff, a cellist, trombonist, and theater orchestra colleague, joined Leedy and Cooley to tune bells and xylophones, and Leroy Jeffries was hired as a mechanic and designer.
Leedy became sole owner in 1903. A brick factory building was erected in Indianapolis in 1903, but the rapidly expanding firm soon outgrew this facility and a three-story concrete building was erected adjacent to it in 1910. In 1920 the first building was razed and additions were made to the second building. By 1927 the expanded Leedy factory contained 78,450 square feet of space.
In 1916 Winterhoff, then a vice-president of the firm, began experimental work on vibrating tones in the steel marimba (Marimbaphone) and produced a device called the Vibratone, which had two rows of resonators moving up and down alternately. This and another model, with butterfly fans in the tops of the resonators which rocked back and forth in a semicircle, were unsuccessful due to noise. Finally in the 1920's Winterhoff and the Leedy engineers devised a practical instrument with rotating fans in the resonators which made complete, even revolutions. This Vibraphone, as it was called, soon became a familiar instrument in dance bands. The company's failure to realize the professional potential of this instrument led to the introduction of copies of the unpatented design by competitors.
The firm's line expanded to over 900 items, including sound-effect instruments for silent films. The most important products were the tympani designed by factory superintendent Cecil Strupe (patented 1923), using a foot pedal with a ratchet-and-pawl system clutch, linked to cables connected to the tensioning screws, with copper bowls formed in a hydraulic press.
C. G. Conn Co. Ltd., a leading band instrument manufacturer in Elkhart, Indiana, the "band instrument capital of the world," acquired control of Leedy in 1929, and in 1930 Leedy's operations were moved to Elkhart. The production of "Leedy" instruments was discontinued in 1958.
Sources
1. J-Leedy Mfg. Co., Inc. "Fifty Years of Drum Progress." Elkhart, Ind., 1945. Photocopy in Division of Musical Instruments. This publication contains several reproductions of images from the album as well as similar pictures not found in the album.
2. Leedy publications, including the catalog above, give 1895 as the date of the firm's inception, although 1900 is cited in the article on Leedy Manufacturing Co. by Edmund A. Bowles in: Stanley Sadie, ed. The New Grove Dictionary of Musical Instruments. New York: Grove's Dictionaries of Music, 1984, Vol. 2, p. 512. Perhaps 1900 was the date of incorporation under the Leedy Manufacturing Co. name.
3. Leedy, op. cit ., p. 2
4. Bowles, op. cit
5. Ibid. Again, Bowles disagrees with Leedy company publications, stating that the Conn purchase occurred in 1927. The Leedy catalogs presumably are more reliable. Other articles in The New Grove Dictionary of Musical Instruments provide additional information about connections between Leedy and other firms: Bowles, "Ludwig," Vol. 2, p. 543; Bowles, "Slingerland Drum Co., Vol. 3, p.405; and Carolyn Bryant, "Conn," Vol 1, p. 473.
6. Small captioned portrait of George H. Way in Leedy Mfg. Co., Inc. Leedy. World's Finest Drummers' Instruments, Catalog T. Elkhart, Ind. [1933], p. 1. Catalog in Warshaw Collection, National Museum of American History Archives Center. Cf . group portrait in album.
Provenance:
Purchased in 1985 from Keith Douglas de Lellis.
Restrictions:
Collection is open for research.
Rights:
Probably public domain due to expired copyrights. SI Negative Nos. 86-403 to 86-440. Fees for commercial use.
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.
Collection Citation:
Wurlitzer Company Records, 1860-1984, Archives Center, National Museum of American History
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.
Collection Citation:
Wurlitzer Company Records, 1860-1984, Archives Center, National Museum of American History
This organ (with vibraphone replacing chrysoglott) has been rebuilt for Metropole Theatre, Victor ia, London, England. See file 11-29113 & 14. Date 4-19-35.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Wurlitzer Company Records, 1860-1984, Archives Center, National Museum of American History
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.
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.
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.
101 I Want to Be Loved (But Only By You) / Vibraphone.
201 Limehouse Blues / Vibraphone. English language.
Local Numbers:
RA-RAMS-78-0719
Decca.23879
Publication, Distribution, Etc. (Imprint):
New York Decca
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.
