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
Interviewer
2. Bluiett, Hamiet
Arrangement:
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.
Provenance:
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.
Restrictions:
Collection is open for research. Researchers must use reference copies.
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. Release forms exist for most interviews.
[Interviewee name] Interview, Smithsonian Jazz Oral History Program Collection, 1992-2014, Archives Center, National Museum of American History.
Sponsor:
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.
The collection is open for research. Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Charismic Productions Records of Dizzy Gillespie, Archives Center, National Museum of American History.
Collection consists of original cassettes, open-reel master, and reference cassette audiotapes of two oral history interviews about the life and career of Duke Ellington. Leonard Feather's oral history interview has a transcript.
In separate interviews jazz critic Leonard Feather and Sam Woodyard discuss their relationships with and knowledge of Ellington and his music.
Scope and Contents:
Audiotape interviews with jazz critic Leonard Feather and drummer Sam Woodyard about their relationships with Duke Ellington and the Ellington Orchestra. John Hasse interviewed Leonard Feather on June 10, 1990. Patricia Willard interviewed Sam Woodyeard on May 30, 1998 and May 31, 1988. The interviews were recorded on audio cassette.
Arrangement:
Collection organized into one series.
Series 1, Jazz Oral History Collection, 1988-1990
Subseries 1.1: Leonard Feather
Subseries 1.2: Sam Woodyard
Biographical / Historical:
The Jazz Oral History Collection comprises two oral history interviews about Duke Ellington and his Orchestra.
One interview is with Leonard Feather (1914-1994), noted jazz critic, record producer, and composer. Born in England, Feather became an ardent fan of jazz by listening to recordings. The first time he saw Ellington perform live was in 1933 at the Palladium in London. Feather made his first trip to the United States in 1935 and through music critic and record producer John Hammond he met many of the leading musicians, producers, and concert promoters active in the American jazz scene. Feather was hired by Ellington in 1942 to do publicity and became part of what Feather referred to as "the Ellington family." Feather worked with Mercer Ellington as well and throughout the years he maintained an active involvement and friendship with Ellington.
A shorter interview with drummer Sam Woodyard (1925-1988) is poorly recorded and consequently it is difficult to hear and understand Woodyard's responses to the questions. Sam Woodyard was a drummer with the Ellington Orchestra from 1955 through 1966.
Provenance:
Made for the National Museum of American History, Smithsonian Institution.
Restrictions:
The collection is open for research.
Rights:
No release forms exist. Collection items are available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply.
Interviewed by Patricia Willard, Sam Woodyard discusses his life and his time in the Ellington Orchestra. Poor sound quality makes it impossible to hear Mr. Woodyard's answers and comments throughout most of the interview.
Collection Restrictions:
The collection is open for research.
Collection Rights:
No release forms exist. Collection items are available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply.
Collection Citation:
Jazz Oral History Collection about Duke Ellington, 1988-1990, Archives Center, National Museum of American History
No release forms exist. Collection items are available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply.
Collection Citation:
Jazz Oral History Collection about Duke Ellington, 1988-1990, Archives Center, National Museum of American History
• Discusses first visits in New York.
• Born and raised in London; became jazz fan by listening to records.
• Met Ellington in Chicago for the first time through Irving Mills' cousin; summer of 1936 Ellington was playing there and Feather went back stage and meant him
Ellington's reputation in England when Feather was still living in England --more so than in the United States; more jazz publications in the early 1930s in Europe than in United States.
• Feels that Ellington did not gain the save level of acceptance as a great artist in United States because of race. Same issues didn't apply in UK.
• First Ellington records- Black and Tan, The Mooch, Creole Love Call
• Check and Double Check film Ellington demeaned by being secondary to white Amos and Andy, but at least Ellington got to perform music on screen.
• First saw Ellington at Palladium in 1933in London with Ivie Anderson, Snake Hips Tucker --was in awe of the music.
• Why did Feather come to the US in 1935? Came on a visit largely because of the music; had met John Hammond; took the ship the Normandy; met many people through John Hammond.
• Went on road with Louis Armstrong and experienced Jim Crow America
Hired by Ellington in 1942 to do publicity and promotion; became part of the Ellington family.
• Black, Brown, and Beige
• Ellington and Strayhorn work habits.
• Morale problems in Ellington Orchestra circa 1943.
RTC 1: Side B (Note: recording starts at 2:00 minute)
Running Time: 28:00
• Morale issues (continued)
• Discipline problems.
• Ellington put up with problems because he knew what he wanted musically.
• Orchestra musicianship and discipline began to fall apart by the end of Ellington's life, particularly after Strayhorn died.
• Johnny Hodges unhappiness with the band.
• Irving Mills --thoughts and memories by Leonard Feather.
• Feather never went to Cotton Club because blacks weren't allowed in the audience.
• Many New York jazz clubs were whites only until the early 1940s.
• Ellington the pragmatist.
• Meeting Helen Oakley (Dance)- produced Ellington small group sessions for Irving Mills and Ellington.
• Ellington income sources during --records provided the smaller amount because of poor jazz record sales; composing income subsidized the band.
• Strayhorn --met him as part of the Ellington "family"; worked with Strayhorn on a blues piano book for Robbins Music; Strayhorn was a delight and a total genius.
Collection Restrictions:
The collection is open for research.
Collection Rights:
No release forms exist. Collection items are available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply.
Collection Citation:
Jazz Oral History Collection about Duke Ellington, 1988-1990, Archives Center, National Museum of American History
• Strayhorn (continued)
• Esquire Stars recording (?)
• Ellington and Strayhorn working relationship; why Strayhorn didn't perform as pianist for the orchestra more.
• Ellington/Strayhorn - question about composing credits.
• Second stint in 1950 --about 1952 with Ellington at Tempo Music and then a small record company with Mercer called Mercer Records; became a friend of Mercer's.
• Ellington/Mercer relationship.
• Tempo Music Company.
RTC 2: Side B (starts 2:00 minutes in)
Running Time: 28:00
•Mercer Records
• Irving Townsend/Ellington relationship beginning in 1956.
• Feather pieces that ended up in the Ellington Orchestra repertoire.
• John Hammond/Ellington relationship.
• Ellington as a man of contradictions.
• Feather's move to Los Angeles and effect on relationship with Ellington.
• Memories of Johnny Hodges leaving the Ellington Orchestra.
• Integrating the Ellington Orchestra --1951 Louis Bellson joins.
• Norman Granz/Ellington relationship.
• Joe Glaser booked Ellington, but an Armstrong man first and forever.
• Race as it shaped Ellington's career and music.
• Ellington as a significant 20th century musical figure.
Collection Restrictions:
The collection is open for research.
Collection Rights:
No release forms exist. Collection items are available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply.
Collection Citation:
Jazz Oral History Collection about Duke Ellington, 1988-1990, Archives Center, National Museum of American History
• Feather's opinion of Ellington's portrayal in books, documentaries, and historical record.
• Memories of band rehearsals.
• Jimmy Hamilton compositions for the band.
• Joe Morgan and Ellington.
• Ellington and religion --Feather's observations.
• Did Ellington open up to anyone? A couple of times let façade down with Feather; probably with Ruth as well, maybe Strayhorn.
• Ellington's drinking, heavy during his twenties, much less so as he aged; didn't drink much when Feather knew him.
• Did Feather's experience having grown up Jewish influence his attitude toward race?
• Making a living as a jazz critic in the late 1930s --not possible, Feather did many other jazz-related jobs like writing music, producing records, publicity, etc.
• People influenced by Ellington --just about every major composer to come along since Ellington's heyday.
Tape 3: Side B, Blank
Collection Restrictions:
The collection is open for research.
Collection Rights:
No release forms exist. Collection items are available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply.
Collection Citation:
Jazz Oral History Collection about Duke Ellington, 1988-1990, Archives Center, National Museum of American History
114 pages transcript. Interview conducted by John Hasse, curator, National Museum of American History.
Collection Restrictions:
The collection is open for research.
Collection Rights:
No release forms exist. Collection items are available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply.
Collection Citation:
Jazz Oral History Collection about Duke Ellington, 1988-1990, Archives Center, National Museum of American History
No release forms exist. Collection items are available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply.
Collection Citation:
Jazz Oral History Collection about Duke Ellington, 1988-1990, Archives Center, National Museum of American History
Interviewed by Patricia Willard, Sam Woodyard discusses his life and his time in the Ellington Orchestra. Poor sound quality makes it impossible to hear Mr. Woodyard's answers and comments throughout most of the interview.
Collection Restrictions:
The collection is open for research.
Collection Rights:
No release forms exist. Collection items are available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply.
Collection Citation:
Jazz Oral History Collection about Duke Ellington, 1988-1990, Archives Center, National Museum of American History
No release forms exist. Collection items are available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply.
Collection Citation:
Jazz Oral History Collection about Duke Ellington, 1988-1990, Archives Center, National Museum of American History
No release forms exist. Collection items are available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply.
Collection Citation:
Jazz Oral History Collection about Duke Ellington, 1988-1990, Archives Center, National Museum of American History
No release forms exist. Collection items are available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply.
Collection Citation:
Jazz Oral History Collection about Duke Ellington, 1988-1990, Archives Center, National Museum of American History
No release forms exist. Collection items are available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply.
Collection Citation:
Jazz Oral History Collection about Duke Ellington, 1988-1990, Archives Center, National Museum of American History
No release forms exist. Collection items are available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply.
Collection Citation:
Jazz Oral History Collection about Duke Ellington, 1988-1990, Archives Center, National Museum of American History
No release forms exist. Collection items are available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply.
Collection Citation:
Jazz Oral History Collection about Duke Ellington, 1988-1990, Archives Center, National Museum of American History
No release forms exist. Collection items are available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply.
Collection Citation:
Jazz Oral History Collection about Duke Ellington, 1988-1990, Archives Center, National Museum of American History
No release forms exist. Collection items are available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply.
Collection Citation:
Jazz Oral History Collection about Duke Ellington, 1988-1990, Archives Center, National Museum of American History
No release forms exist. Collection items are available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply.
Collection Citation:
Jazz Oral History Collection about Duke Ellington, 1988-1990, Archives Center, National Museum of American History
