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
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.
208 Tennessee Dog / Jimmie Strothers. Banjo. English language.
209 Ain't No Bugs on Me / Fiddlin' John Carson. Guitar,Fiddle,Banjo. English language.
Local Numbers:
FP-RINZ-LP-0946
Library of Congress.LBC 11
Publication, Distribution, Etc. (Imprint):
Washington, D.C. Library of Congress
Date/Time and Place of an Event Note:
Recorded in: Camden (N.J.), New Jersey, State Farm (Va.), Virginia, Mahonoy (Pa.), Pennsylvania, Prescott (Ariz.), Arizona, Charlotte (N.C.), North Carolina, Memphis (Tenn.), Tennessee, Jackson (Miss.), Mississippi, New York (N.Y.), New York, Chicago (Ill.), Illinois, Hollywood (Calif.), United States, California.
Performers:
Smith, Fairley, Thomas and 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.
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.
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.
These original (64) magnetic audio tapes and reels were created for the Black African Heritage television series, produced by Eliot Elisofon and Group W (Westinghouse Broadcasting Company) in 1972. These correspond with the film outtakes and original work prints held in the EEPA 1973-001 Collection.
Biographical / Historical:
These materials were produced by Eliot Elisofon and Group W (Westinghouse Broadcasting Company) in 1972, for a four-hour television series called Black African Heritage. The episodes, in order of broadcast date:
1. The Congo, narrated by Julian Bond, focuses on the "heartland of Africa" the equatorial area which encompasses rainforests, grassy plains, volcanoes, the great Congo River, lakes, and the snow-covered Ruwenzori, called the Mountains of the Moon. This episode encounters groups such as the Watusi, Bambenga, the Wagenia, the Bakuba, and the Bapende—and traces African art and history back 1,500 years.
2. The Bend in the Niger, narrated by Ossie Davis, follows one of the continent's great rivers as it flows northward in West Africa from the home of the Bambara group, known for their music, dancing, and sculpture, to Timbuktu, where it turns eastward to the Atlantic Ocean through the home of the Dogon groups, famous for sculpture. Other groups met along the way are the Borora, the horseman of Muslim Hausa, the nomadic Tuaregs, and the Bozo and Dendi people of the Niger River.
3. The Slave Coast, narrated by Maya Angelou, focused on the tradition, cultures, beauty, and history of the people of the rainforest and the coast of West Africa. Watch dancers of Nigeria, examine sculptures made 2000 years ago, listen to the talking drums of Yoruba, see bronze portraits, visit the women warriors once known as Amazon, see golden treasures of Ashanti in Ghana, and marvel at the acrobatic dancers of the Ivory Coast.
4. Africa's Gift, narrated by Gordon Parks, focuses primarily on the Senufo people of the Ivory Coast, their music, and their art. Mongo Santamaria, leading exponent of Afro-Cuban music plays the "Afro-blues." Lionel Hampton and his group play "Glad Hamp," to show the relationship of the vibraphone and the balaphone of the Senufo. Modern jazz star Randy Weston and a trio play a number rooted in the Ashanti music in Ghana.
Related Materials:
Related materials include the Eliot Elisofon Papers and Photography Collection (PH-00066) at the Harry Ransom Center, The University of Texas at Austin, the Time/Life Photographs Archives, and Broadcast programs collection (ACMA.09-037) at the Anacostia Community Museum Archives
Restrictions:
Materials have not yet been digitized and processed for public access.
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.
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.
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.
I see your face before me is contained in one folder consisting of 1 three page piano conductor score and 2 parts in Eb Major concert -- in ink -- in identified hand (Catsiff).
Piano conductor score indicates part for vibraphone. Score includes lyrics. Lyrics begin "I see your face before me, crowding my every dream ...". Parts for 1 trumpet - 2; 1 trombone - 1. Score and parts incorporate published materials within the arrangement. -- from the Duke Ellington Library.
General:
Handwriting and other details have been reported based on the notes of David Berger, Andrew Homzy, Dr. Theodore Hudson, Walter van de Leur, and Mark Tucker.
Condition: fair, tape.
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.
Topic:
Music -- United States -- 20th century Search this
Genre/Form:
Copy scores
Manuscripts
Music
Parts (musical)
Piano conductor scores
Collection Citation:
Duke Ellington Collection, Archives Center, National Museum of American History
Sponsor:
Processing and encoding partially funded by a grant from the Council on Library and Information Resources.
I'm a poor little orphan is contained in one folder consisting of 1 four page conductor score and 11 parts in G Major concert, and 1 seventeen page conductor score in F Major concert -- in ink and pencil -- in unidentified hands.
Four page conductor score indicates parts for violins, viola, cello, bass, reeds, percussion, piano. Parts for 3 clarinets - Feinsmith, Evans, Brillhart; 4 violins - A, 1, 2, 3; viola; cello; bass; traps. Seventeen page score indicates parts for violins, viola, cello, bass, 3 clarinets, bass clarinet, trumpets, vibraphone, 2 pianos. -- from the Duke Ellington Library.
General:
Handwriting and other details have been reported based on the notes of David Berger, Andrew Homzy, Dr. Theodore Hudson, Walter van de Leur, and Dr. Mark Tucker.
Condition: fair, tape, brittle.
Other Title:
Po' lil' orphan.
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.
Topic:
Music -- United States -- 20th century Search this
Genre/Form:
Conductor scores
Copy scores
Manuscripts
Music
Parts (musical)
Collection Citation:
Duke Ellington Collection, Archives Center, National Museum of American History
Sponsor:
Processing and encoding partially funded by a grant from the Council on Library and Information Resources.
