Audiotapes, CDs and digital files: an ongoing project to interview and preserve the memories of people important in the jazz world, including jazz musicians, singers, dancers, producers, arrangers, and others. A list of interviewees and interviewers follows.
The following is a list of the individuals who conducted the interviews.
1. Brown, Anthony
2. Baker, Lida
3. Burstein, Julie
2. Bluiett, Hamiet
This collection is arranged into six series.
Series 1, DAT and CD Original Interview Recordings, 1992-2012
Series 2, Cassette Reference and Master Interview Tapes, 1992-2012
Series 3, Audio CD Reference Copies, 2000-2012
Series 4, Video/CD, 1994-2012
Series 5, Transcripts and Abstracts, 1992-2014
Series 6, Supplemental Documentation, 1992-2012
Biographical / Historical:
The Smithsonian Jazz Oral History Program, a project of "America's Jazz Heritage, A Partnership of the Lila Wallace-Reader's Digest Fund and the Smithsonian Institution" initiative was created in 1992. More than 150 in-depth oral history interviews were conducted from 1992 through 2002. The collection was transferred to the Archives Center of the National Museum of American History in 2000. Now part of the National Museum of American History's American Music History Initiatives, the Smithsonian Jazz Oral History Program continues to conduct interviews as funding is available.
The Smithsonian Jazz Oral History Program was established to document significant jazz musicians, performers, producers, and business associates in their own words and voices. Program staff contacted and worked with potential interviewees to arrange for interviews. Each interview was conducted by a jazz authority and was recorded on digital audiotape by a professional audio engineer. The interviews averaged 6 hours in length and covered a wide range of topics including early years, initial involvement in music, generally, and jazz specifically, as well as experiences in the jazz music world, including relationships to musicians. The original DAT interview tapes were then dubbed to audiocassettes and CD to create protection and access copies. More recent interviews have been recorded using fully digital technology and the interviews are preserved and made availbel as digital files.
A number of the interviews were conducted as part of the Ella Fitzgerald Oral History Project of the Jazz Oral History Program. Funded by the Ella Fitzgerald Charitable Foundation, these interviews focus on the life and work of Ella Fitzgerald. The National Endowments for the Arts Jazz Masters Oral Histories Program continues to support new interviews with NEA Jazz Masters.
For more information about jazz concerts, education, collections, Jazz Appreciation Month, and the Jazz Master orchestra, visit Smithsonian Jazz.
The interviews were made for the Smithsonian Institution under the auspices of the Smithsonian Jazz Oral History Program supported by America's Jazz Heritage, funded by the Lila Wallace-Reader's Digest Fund, the Smithsonian Institution, and the National Endowment for the Arts Jazz Masters Oral Histories Program. Additional interviews were conducted with support from the Ella Fitzgerald Charitable Foundation.
Collection is open for research. Researchers must use reference copies.
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. Release forms exist for most interviews.
[Interviewee name] Interview, Smithsonian Jazz Oral History Program Collection, 1992-2014, Archives Center, National Museum of American History.
The interviews were made for the Smithsonian Institution under the auspices of the Smithsonian Jazz Oral History Program and supported by America's Jazz Heritage, funded by the Lila Wallace-Reader's Digest Fund, the Smithsonian Institution, and the National Endowment for the Arts Jazz Masters Oral Histories Program. Additional interviews were conducted with support from the Ella Fitzgerald Charitable Foundation.
12 -- Mossman language is Kuku-Imici; Willy Kanera; wordlist
16ff white -- Fr Sagigi, MAB and Saibai
17ff blue -- M Bani, Mabuiag
19ff white -- Michael Bani, Mabuiag
29ff Blue -- KNC
47 blue -- continues p3, blue
49ff blue -- Mabuiag
53 blue -- Simon Ropeyarn and Gresham Gunnawarra
55 white -- Kaantju, Kuuku Ya-u
67 blue -- wordlist in Kuku-Ya'u, continued (SR)
68 white -- July 30, 1970, Mabuiag
81 white -- Kaantju from Simon Ropeyarn
96 blue -- Mabuiag Michael Bani Aug 3 1970
Seems to consist entirely of Kaantju material elicited from Simon Ropeyarn. White: Kaantju from Simon Ropeyarn, July 21, 1970. Blue: Les Cooper, Gresham Gunnawarra, July 31, 1970. Both white and blue pages are used, sequentially,
Scope and Contents note:
White: Kaantju from Simon Ropeyarn, July 21, 1970
Blue: Les Cooper, Gresham Gunnawarra, July 31, 1970
Both white and blue pages are used, sequentially,
p12 Mossman language is Kuku-Imici; Willy Kanera; wordlist
16White ff- Fr Sagigi, MAB and Saibai
17Blue ff, M Bani, Mabuiag
19 White ff Michael Bani, Mabuiag
29Blue ff KNC
47blue continues p3, blue
49blue ff. Mabuiag
53 blue Simon Ropeyarn and Gresham Gunnawarra
55white Kaantju, Kuuku Ya-u
67blue wordlist in Kuku-Ya'u, continued (SR)
68white July 30, 1970, Mabuiag
81white Kaantju from Simon Ropeyarn
96blue Mabuiag Michael Bani Aug 3 1970
The collection is open for research.
Geoffrey N. O'Grady Papers, National Anthropological Archives, Smithsonian Institution
The digitization of portions of this collection was supported by a generous grant from the Arcadia Fund.
Black-and-white photographic prints depicting jazz musician Eddie Moore and musicians who played in tribute to Moore that include Billy Bang, Cecil Bridgewater, Calvin Hill, Keith Jarrett, Jimmy Knepper, Albert Mangelsdorf, Max Roach, Sonny Rollins, Woody Shaw, and Michael White. Many of the photographs were taken at San Francisco's Keystone Korner, a popular jazz venue in the United States during the 1970s and early 1980s.
Scope and Contents note:
The Navroze Contractor Photograph Collection consists of twenty-three black and white photographic prints depicting jazz drummer Eddie Moore (1940-1989) performing in California and India, musicians who played with Moore, and musicians who performed a 1995 tribute concert to Moore in Oakland, California. In addition there are photographs of Moore=s family that were taken at their Farallones Street home in San Francisco, California.
The collection contains unmounted 16x20 photographic prints. Interesting musicians in this collection include Eddie Moore, Max Roach, Sonny Rollins, and Woody Shaw. Other photographs of interest are those taken in San Francisco at Keystone Korner, which was one of the most important Awest coast@ jazz venues in the United States during the 1970s and early 1980s. The photographs are organized in alphabetical order by performers last name.
The collection is arranged into one series. Arranged alphabetically by subject.
Navroze Contractor is a highly acclaimed cinematographer and photographer. He studied painting and photography at the Faculty of Fine Arts, M.S. University, Baroda, film direction at the Film & Television Institute of India, Pune, cinematography under master director of photography, Laszlo Kovacs, at Rockport, Maine, and video production at Sony Corporation, Tokyo, Japan. Contractor=s feature film credits include Duvidha (1972, directed by Mani Kaul), 22nd June, 1897 (1979, directed by Nachiket Patwardhan), Percy (1989, directed by Pervez Merwanji), Hun Hunshi Hunshilal (Love In The Time Of Malaria) (1991, directed by Sanjiv Shah) and Devara Kadu (1992, directed by Pattabhi Rama Reddy). In addition to his professional interests, Contractor is an avid aficionado of jazz performed in both the United States and India.
Collection donated by DEN Productions, through Navroze Contractor, February 1, 1997.
The collection is open for research. Gloves required with unprotected photographs.
Copyright restrictions; contact staff for information.