Search Results

Creator:

Norvo, Red, 1908-1999  Search this

Donor:

Corlin, Portia Norvo  Search this

Extent:

4 Cubic feet (7 boxes)

Type:

Collection descriptions

Archival materials

Awards

Biographies

Correspondence

Photographs

Clippings

Interviews

Date:

1932-1998

Summary:

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.

Topic:

Periodicals  Search this

Vibraphone  Search this

Jazz  Search this

Jazz musicians -- United States  Search this

Music -- 20th century  Search this

Genre/Form:

Awards

Biographies

Correspondence -- 20th century

Photographs -- 20th century

Clippings -- 20th century

Interviews -- 1990-2000

Citation:

Red Norvo Papers, 1932-1997, Archives Center, National Museum of American History. Gift of Portia Norvo Corlin.

Identifier:

NMAH.AC.0858

See more items in:

Red Norvo Papers

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8b2c9ef61-86a8-4078-bfa5-98cf05e3fad7

EDAN-URL:

ead_collection:sova-nmah-ac-0858

Donor:

Riva, Julia  Search this

Jones, Jophe  Search this

Composer:

Warren, Harry, 1893-1981  Search this

Extent:

32 Cubic feet (70 boxes, 26 folders)

Type:

Collection descriptions

Archival materials

Business records

Memorabilia

Awards

Sheet music

Correspondence

Scripts (documents)

Posters

Theater programs

Legal records

Programs

Date:

1894-2000, undated

bulk 1926-1980, undated

Summary:

The papers of popular songwriter Harry Warren, three time Academy Award winner and prolific contributer to the American songbook.

Scope and Contents:

The Harry Warren Papers consists of original music manuscripts, scores, song sheets, commercial sheet music, bound scores, scripts, business records, correspondence (business, personal and fan), clippings, magazines, photographs, cassette tapes, LP records, posters and programs and personal memorabilia. The material documents the personal life and professional career of composer, songwriter and lyricist Harry Warren from 1894 to 1981 and to a lesser extent the operation of his Four Jays Music Corporation, circa 1954-2000. The bulk of the collection covers the years 1927-1980. The collection is organized into eight series.

Arrangement:

The collection is divided into eight series.

Series 1: Music Manuscripts, 1928-1987

Subseries 1.1: Original Holographic Theatre and Motion Picture Music Manuscripts, 1930-1960

Subseries 1.2: Bound Presentation Scores, 1931-1982

Subseries 1.3: Original Individual Song Manuscripts, 1938-1965

Subseries 1.4: Published Sheet Music, 1930-1980

Subseries 1.5: Published Songs, Instrumentals, and Song Collections, 1928-1987

Series 2: Correspondence, 1930-1994

Series 3: Business Records, 1894-1996

Series 4: Scripts, 1946-1958

Series 5: Theatre Programs and Posters, 1915-1999

Series 6: News Clippings and Magazines, 1934-2000

Series 7: Recordings, Audio-Visual Materials, and Photographs, 1926-1977

Subseries 7.1: Recordings, Playback Discs, 1934-1961

Subseries 7.2: Cassette Tapes, 1933-1981, undated

Subseries 7.3: Photographs, 1930-1977, undated

Subseries 7.4: Reference Video Tapes, 1933-1957

Subseries 7.5: Compact Discs, undated

Subseries 7.6: Film, 1927-1964

Series 8: Memorabilia, 1918-1990

Biographical / Historical:

With the possible exception of Irving Berlin, no one has contributed as much material to the canon of American popular song in the 20th century as Harry Warren (1893-1981). Warren was born in Brooklyn, New York, December 24, 1893, to Italian immigrant parents. His birth name was Salvatore Anthony Guaragna. By the time he graduated from grade school, he was known as "Harry Warren". He legally changed his name in 1938. He was educated in the public schools of New York but had no formal musical training. He taught himself to play the organ and piano and also sang in the church choir. Both Warren's sister and brother were performers so the theatrical world was not unknown to him. He worked as an actor and assistant director for the Vitagraph film studio in New York and played mood music for actress Corinne Griffith. During World War I, Warren served in the United States Navy at Montauk Point, New York. For a few weeks after the war, he worked as an insurance examiner for The Travellers Agency.

In December 1918, Warren married Josephine Wensler (1897-1993). Their first child was a son named Harry Warren, Jr. (1920-1937). In 1920, Warren became a song plugger for the music publishing firm of Stark & Cowan. Warren continued writing and in 1922 along with lyricist Edgar Leslie produced his first song hit, "Rose of the Rio Grande." From that point on, Warren composed a continuous stream of hits introduced by such artists as Paul Whiteman and others. By 1925, a second child, Joan (1924-1991), nicknamed "Cookie", was born. Warren continued his success with such songs as "I Love My Baby (My Baby Loves Me)," "In My Gondola" and the very popular 1928 hit "Nagasaki."

By 1929, Warren was the director of the American Society of Composers, Authors, and Publishers (ASCAP). He held that position until 1933. He also served on the ASCAP Board of Directors. During this time Warren worked with various musicians including Gus Kahn, Bert Kalmer, and Harry Ruby. In 1930, he wrote his first motion picture score for the film Spring is Here. Al Jolson asked him to compose a song for the show, Wonder Bar (1931). During the 1930s, Warren composed three other Broadway shows, Sweet and Low (1930), Crazy Quilt (1931) featuring Fanny Brice, and Laugh Parade (1931) starring Ed Wynn.

In 1932, Warren was hired by Warner Brothers Studios to help write songs for the Dick Powell, Ruby Keeler film 42nd Street (1933). Along with lyricist, Al Dubin, Warren wrote such hits as "We're in the Money" and "The Shadow Waltz". Warren continued composing memorable songs for motion pictures such as Gold Diggers of 1933, The Singing Marine (1937), and Footlight Parade (1933). Gold Diggers of 1935 included Warren's first Academy Award winning song, "Lullaby of Broadway". Warren made cameo appearances in a few films during his stay at Warner Brothers. He and lyricist Dubin can be seen in 42nd Street, Go Into Your Dance (1935), and A Very Honorable Guy (1934). He also appeared in a Vitaphone short entitled Harry Warren: America's Foremost Composer.

Warren left Warner Brothers for 20th Century Fox in 1940. At Fox he helped compose the scores for such motion pictures as, Sun Valley Serenade (1941), Orchestra Wives (1942), and The Gangs All Here (1943) that included the Carmen Miranda standard, "The Lady in the Tutti-Frutti Hat". During this period, he worked with lyricists Ralph Rainger, Mack Gordon and Leo Robin, and others. Hello Frisco, Hello (1943) garnered Warren his second Academy Award for the song, "You'll Never Know". While at Fox, Warren composed "Chattanooga Choo Choo" a song that became the first gold record in the history of the recording industry.

In 1945, legendary musical film producer Arthur Freed at Metro-Goldwyn-Mayer courted Warren for his MGM production unit. Freed quipped that Warren would have the office right next door to his--and he did. For Warren the offer to write music at the studio that practically invented the movie musical was irresistible and he left 20th Century Fox for MGM. He joined Freed in writing the songs for Yolanda and the Thief (1945) starring Fred Astaire and Freed's protégée Lucille Bremer. The film was directed by the incomparable Vincent Minnelli. His next high profile score was for The Harvey Girls (1946) composed with renowned lyricist Johnny Mercer. The picture starred Judy Garland and John Hodiak. Directed by George Sidney, it was a major success, due in part to Warren's tuneful "On the Atchison, Topeka and Santa Fe". This song brought Warren his third and what would be his final Academy Award.

While at MGM, Warren worked with lyricists Mack Gordon, Ralph Blane, and others. In 1948, he and Blane composed the song score for Freed and director Rouben Mamoulian's ambitious film adaptation of Eugene O'Neills stage play Ah Wilderness entitled Summer Holiday (1948) starring Mickey Rooney and Gloria DeHaven. This is reported to have been Warren's favorite film assignment, but the film was not an unqualified success. Warren remained at MGM until the 1950s composing for such films as The Barkleys of Broadway (1949), starring Astaire and Rogers, Summer Stock (1950), starring Judy Garland and Gene Kelly and his final film for MGM, Skirts Ahoy! (1952), starring Esther Williams and Vivian Blane. After leaving MGM, Warren wrote the score for the Bing Crosby film, Just for You at Paramount. Warren also served on the Board of Directors for the Academy of Motion Picture Arts and Sciences.

Warren went on to write the music for two Jerry Lewis and Dean Martin films, The Caddy (1953) for which he composed "That's Amore", Artists and Models (1955) and for three Jerry Lewis films, Rock-a-Bye Baby (1958), Cinderfella (1960), and The Ladies Man (1961). Warren also composed instrumental pieces one being a "Mass in Honor of St. Anthony".

Warren returned to Broadway in 1956 with the musical Shangri-La, based on the novel Lost Horizon. The show was not a success and closed after fewer than thirty performances. He composed the title song for the Cary Grant, Deborah Kerr film, An Affair to Remember (1957); this song brought him his last nomination for an Academy Award. The song was later used in the motion picture Sleepless in Seattle (1993) starring Tom Hanks and Meg Ryan.

During the 1950s, Warren started his own music publishing company, Four Jays Music Corporation. After writing the songs for The Ladies Man, Warren retired from films but continued to write for piano, even composing the song for the Miss Oklahoma Pageant. His last film effort was to compose one song for the motion-picture Rosie (1968). During the last years of his life Warren composed and ran his music publishing business, but remained largely forgotten as the man who had composed a great deal of America's musical heritage.

With the resurgence in the appreciation of the movie musical in the early 1970s, the tunes composed during Warren's heyday were back in vogue, brought on in a large part by the phenomenal success of MGM's That's Entertainment! (1974). In 1980, he was asked to compose the musical numbers for an upcoming movie musical entitled, Manhattan Melody but it was never produced. 1980 brought the Warren name back to the marquees of Broadway with the David Merrick production of 42nd St.. The full budgeted big Broadway musical used the basic storyline from the 1933 film and drew upon the whole of the Warren and Dubin catalogue for the score. The production proved to be wildly popular, running in excess of five years on Broadway. Warren died in California on September 22, 1981. He was interred in the Sanctuary of Tenderness at Westwood Memorial Park in Los Angeles beside his wife and son. After Warren's death, his daughter Joan "Cookie" Warren Jones administered the music publishing company until her death in 1991.

Key:

OF = Original Film, RV = Reference Video, MV = Master Video

Separated Materials:

The Division of Cultural History (now Division of Cultural and Community Life) has three dimensional objects related to Harry Warren.

Provenance:

Donated to the Archives Center, National Museum of American History, Smithsonian Institution by Julia Riva and Jophe Jones, granddaughters of Harry Warren, on December 15, 2000.

Restrictions:

Collection is open for research but the audiovisual materials are stored off-site and special arrangements must be made to work with it. Researchers must use reference copies of audio-visual materials. When no reference copy existsContact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

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.

Occupation:

Composers -- 20th century  Search this

Topic:

Musical films  Search this

Popular music -- Writing and publishing  Search this

Musical reviews, comedies, etc.  Search this

Genre/Form:

Business records -- 20th century

Memorabilia -- 20th century

Awards

Sheet music -- Manuscripts -- 20th century

Correspondence -- 20th century

Scripts (documents)

Posters -- 20th century

Theater programs -- 1910-1990

Legal records

Programs

Citation:

Harry Warren Papers, 1909-2000, Archives Center, National Museum of American History. Gift of Jophe Jones and Julia Riva.

Identifier:

NMAH.AC.0750

See more items in:

Harry Warren Papers

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep866a68fa0-73e3-4c39-9ce1-9425e269f431

EDAN-URL:

ead_collection:sova-nmah-ac-0750

Collector:

McNally, George E.  Search this

McNally, Neva Satterlee, -1909  Search this

Donor:

LaClair, Beatrice M.  Search this

Names:

Browning, Frances H. "Peaches", 1910-1956  Search this

Tovell, Albert  Search this

Extent:

1 Cubic foot (1 box)

Type:

Collection descriptions

Archival materials

Manuscripts

Sheet music

Photographs

Date:

1889-2000, undated

Summary:

Collection consists of photographs, commercially published sheet music, and original music manuscripts from the McNallys' vaudeville careers. Materials include minstrel show and blackface material; photo of Albert Tovell, once the master of ceremonies for Frances H. "Peaches" Browning; and a photograph of "Gov. Jordan," a blackface female impersonator.

Scope and Contents:

Series 1: Original Music Manuscripts/Arrangements contains original manuscripts used in the Hokem is Hokem act orchestrated by Neva Satterlee Mello. There are parts scores for five musical instruments and various instruments have additional music scores as well for individual selections. The series is arranged alphabetically.

Series 2: Commercial Sheet Music contains commercially printed sheet music, mostly from the vaudeville era with a few exceptions such as Hello Dolly and others. The series contains some well worn sheet music selections, some of which were presumably used by Neva's orchestra or the Hokem is Hokem troupe. One piece, Lily of the Valley, has been sewn along its spine by a sewing machine to help keep it together. The series is arranged alphabetically.

Series 3: Photographs contains photographs of George Mello and some of the Mello's/McNally's vaudeville contemporaries. Of special interest is one photograph of a man dressed in drag and blackface and a photograph of Albert Tovell, one time master of ceremonies for the somewhat infamous Frances H. Browning aka Peaches Browning (1910-1956). There is also another photograph of two men dressed in blackface.

Series 4: Memorabilia contains the music covers for the Hokem is Hokem act and one publication.

Arrangement:

Collection is divided into four series.

Series 1: Original Sheet Music

Series 2: Commercial Sheet Music

Series 3: Photographs

Series 4: Memorabilia

Biographical / Historical:

According to family history, Neva Satterlee at the age of seventeen formed an orchestra and was its leader for many years. At one time she was under contract with Charles Hoyt Productions, probably the same Hoyt of Morgan & Hoyt's who boasted a Ladies Band and Imperial Singing Orchestra on their bill. She was an accomplished musician and actress. Neva married George McNally and they took the stage surname of Mello. Neva did all the musical arrangements as she was the only one of the pair who could read music. Their home base was the town of Fulton, New York. The couple remained on the vaudeville circuit as entertainers until Neva's death during child birth in 1909. The couple had at least one child, Angeline McNally. George continued to work in vaudeville. The act was under the direction of George Mello and Eddie Shaw. The act, titled Hokem is Hokem, was a minstrel, musical revue style show and apparently consisted of at least five musical selections; the opening Hot-Time, followed by He's Goin' to Hab a Hot Time Bye an' Bye termed (the greatest coon song ever published), Tall Girl (arranged by Neva Satterlee Mello), Snaps, and The Man Behind the Plow. The act's band consisted of a piano, violin, cornet, trombone, drums, clarinet, and flute but may have included other instruments. According to family tradition, Mello ceased his vaudeville career by 1928.

The vaudeville tradition began in the aftermath of the Civil War when numerous minstrel companies began touring the country in minstrel shows presenting songs and comedy in an easily accessible format. Vaudeville became the staple American family entertainment during the late 19th and early 20th centuries. Tony Pastor gave the first big time vaudeville show in New York City in 1881 and by 1919 there were reportedly 900 vaudeville theatres in the country. Featuring a collection of sketches, short plays, popular songs, and simple comedy routines, the show often featured minstrel-type acts presented by actors in blackface. With the influx of immigrants in the latter 19th century, the tradition continued but was changed by European and ethnic influences. Booking agents operated in the major cities of New York, Chicago and San Francisco promoting and developing their own Vaudeville Acircuits. Booking agents booked small troupes of actors, specialty acts and musical performers to tour the circuit traveling from one town's vaudeville house to the next. (Encarta Encyclopedia, IATSE)

Provenance:

Collection donated to the Archives Center by the granddaughter of the McNallys, Beatrice M. LaClair, in 2000.

Restrictions:

Collection is open for research.

Rights:

Rights situation uncertain. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Blackface entertainers  Search this

Female impersonators  Search this

Minstrel shows -- 1900-1960  Search this

Musicians  Search this

Vaudeville  Search this

Genre/Form:

Manuscripts

Sheet music -- Manuscripts -- 19th century

Sheet music

Photographs -- 1890-1900

Photographs -- 1900-1950

Photographs -- Black-and-white photoprints -- 1910-1930

Citation:

George E. "Mello" and Neva Satterlee McNally Vaudeville Collection, 1889-1964, Archives Center, National Museum of American History. Gift of Beatrice M. LaClair.

Identifier:

NMAH.AC.0760

See more items in:

George E. "Mello" and Neva Satterlee McNally Vaudeville Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep880a70718-30df-4e5b-8d63-1c008a0a1c05

EDAN-URL:

ead_collection:sova-nmah-ac-0760

Collection Creator:

Becker, Richard  Search this

Bradford, Alex  Search this

Container:

Box 1, Folder 7

Type:

Archival materials

Date:

1978

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.

Reproduction restricted due to copyright or trademark.

Collection Citation:

Richard Becker Collection of Alex Bradford Gospel Music Materials, 1950-1997, undated Archives Center, National Museum of American History

Sponsor:

Processing and encoding funded by a grant from the Council on Library and Information Resources.

See more items in:

Richard Becker Collection of Alex Bradford Gospel Music Materials

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8be7065b2-422c-43b0-93cb-b0a9bd4fdd39

EDAN-URL:

ead_component:sova-nmah-ac-0761-ref43

Creator:

Ellington, Duke, 1899-1974  Search this

Names:

Duke Ellington Orchestra  Search this

Washingtonians, The.  Search this

Ellington, Mercer Kennedy, 1919-1996 (musician)  Search this

Strayhorn, Billy (William Thomas), 1915-1967  Search this

Collector:

National Museum of American History (U.S.). Division of Musical History  Search this

Extent:

400 Cubic feet

Type:

Collection descriptions

Archival materials

Phonograph records

Papers

Photographic prints

Posters

Sound recordings

Scrapbooks

Music

Clippings

Awards

Audiotapes

Place:

New York (N.Y.) -- 20th century

Harlem (New York, N.Y.) -- 20th century

Washington (D.C.) -- 20th century

Date:

1903 - 1989

Summary:

The collection documents Duke Ellington's career primarily through orchestrations (scores and parts), music manuscripts, lead sheets, transcriptions, and sheet music. It also includes concert posters, concert programs, television, radio, motion picture and musical theater scripts, business records, correspondence, awards, as well as audiotapes, audiodiscs, photographs, tour itineraries, newspaper clippings, magazines, caricatures, paintings, and scrapbooks.

Scope and Contents:

Dating approximately from the time Duke Ellington permanently moved to New York City in 1923 to the time the material was transferred to the Smithsonian Institution in 1988, the bulk of the material in the Duke Ellington Collection is dated from 1934-1974 and comprises sound recordings, original music manuscripts and published sheet music, hand-written notes, correspondence, business records, photographs, scrapbooks, news clippings, concert programs, posters, pamphlets, books and other ephemera. These materials document Ellington's contributions as composer, musician, orchestra leader, and an ambassador of American music and culture abroad. In addition, the materials paint a picture of the life of a big band maintained for fifty years and open a unique window through which to view an evolving American society.

The approximate four hundred cubic feet of archival materials have been processed and organized into sixteen series arranged by type of material. Several of the series have been divided into subseries allowing additional organization to describe the content of the material. For example, Series 6, Sound Recordings, is divided into four subseries: Radio and Television Interviews, Concert Performances, Studio Dates and Non-Ellington Recordings. Each series has its own scope and content note describing the material and arrangement (for example; Series 10, Magazines and Newspaper Articles, is organized into two groups, foreign and domestic, and arranged chronologically within each group). A container list provides folder titles and box numbers.

The bulk of the material is located in Series 1, Music Manuscripts, and consists of compositions and arrangements by Duke Ellington, Billy Strayhorn and other composers. Series 6, Sound Recordings also provides a record of the performance of many of these compositions. The materials in Series 2, Performances and Programs, Series 3, Business Records, Series 8, Scrapbooks, Series 9, Newspaper Clippings, Series 11, Publicity and Series 12, Posters provide documentation of specific performances by Duke Ellington and His Orchestra. Ellington was a spontaneous and prolific composer as evidenced by music, lyrical thoughts, and themes for extended works and plays captured on letterhead stationery in Series 3, Business Records, in the margin notes of individual books and pamphlets in Series 14, Religious Materials and Series 15, Books, and in the hand-written notes in Series 5, Personal Correspondence and Notes.

During its fifty-year lifespan, Duke Ellington and His Orchestra were billed under various names including The Washingtonians, The Harlem Footwarmers and The Jungle Band. The soloists were informally called "the band", and Series 3 includes salary statements, IOU's, receipts and ephemera relating to individual band members. Series 1, Music Manuscripts contains the soloists' parts and includes "band books" of several soloists (for example; Harry Carney and Johnny Hodges) and numerous music manuscripts of Billy Strayhorn. The changing role of Strayhorn from arranger hired in 1938 to Ellington's main collaborator and composer of many well-known titles for Duke Ellington and His Orchestra including "Take The A' Train" and "Satin Doll" can be traced in these music manuscripts. Series 7, Photographs and Series 2, Performances and Programs contain many images of the band members and Strayhorn. This Collection also documents the business history of Duke Ellington and His Orchestra. Series 3, Business Records contains correspondence on letterhead stationery and Series 11, Publicity contains promotional material from the various booking agencies, professional companies, and public relations firms that managed the Orchestra.

The materials in the Duke Ellington Collection provide insight into public and institutional attitudes towards African Americans in mid-twentieth-century America. The business records in Series 3 beginning in 1938 and published sheet music in Series 1 depict Duke Ellington's progression from an African-American musician who needed "legitimization" by a white publisher, Irving Mills, to a businessmen who established his own companies including Tempo Music and Duke Ellington, Incorporated to control his copyright and financial affairs. Programs from the segregated Cotton Club in Series 2, Performances And Programs and contracts with no-segregation clauses in Series 3: Business Records further illustrate racial policies and practices in this time period. The public shift in perception of Duke Ellington from a leader of an exotic "Jungle Band" in the 1930s to a recipient of the Congressional Medal Of Freedom in 1970 is evidenced in Series 2, Performances And Programs, Series 12, Posters, Series 7, Photographs and Series 13, Awards. Reviews and articles reflecting Ellington's evolving status are also documented in Series 8, Newspaper Clippings, Series 9, Scrapbooks, Series 10, Newspaper and Magazine Articles.

The materials in the Duke Ellington Collection reflect rapid technological changes in American society from 1923-1982. Sound recordings in Series 6 range from 78 phonograph records of three minutes duration manufactured for play on Victrolas in monaural sound to long-playing (LP) phonograph records produced for stereo record players. Television scripts in Series 4, programs in Series 2 and music manuscripts (for example, Drum Is A Woman) in Series 1 demonstrate how the development of television as a means of mass communication spread the Orchestra's sound to a wider audience. The availability of commercial air travel enabled the Ellington Orchestra to extend their international performances from Europe to other continents including tours to Asia, Africa, South America and Australia and archival material from these tours is included in every series.

Series 4, Scripts and Transcripts and Series 6, Audio Recordings contain scripts and radio performances promoting the sale of United States War bonds during World War II, and Series 7, Photographs includes many images of Duke Ellington and His Orchestra's performances for military personnel revealing the impact of historic events on Duke Ellington and His Orchestra. Series 2: Programs and Performances, Series 9, Newspaper clippings and Series 8, Scrapbooks document the 1963 Far East tour aborted as a result of President John F. Kennedy's assassination.

The Duke Ellington Collection contains works by numerous twentieth-century music, literature, and art luminaries. Series 1, Music Manuscripts contains original music manuscripts of William Grant Still, Eubie Blake, Mary Lou Williams, and others. Series 4, Scripts and Transcripts contains a play by Langston Hughes, and Series 12, Posters contains many original artworks.

Arrangement:

Series 1: Music Manuscripts, circa 1930-1981, undated

Series 2: Performances and Programs, 1933-1973, undated

Series 3: Business Records, 1938-1988

Series 4: Scripts and Transcripts, 1937-1970

Series 5: Personal Correspondence and Notes, 1941-1974, undated

Series 6: Sound Recordings, 1927-1974

Series 7: Photographs, 1924-1972, undated

Series 8: Scrapbooks, 1931-1973

Series 9: Newspaper Clippings, 1939-1973, undated

Series 10: Magazine Articles and Newspaper Clippings, 1940-1974

Series 11: Publicity, 1935-1988

Series 12: Posters and Oversize Graphics, 1933-1989, undated

Series 13: Awards, 1939-1982

Series 14: Religious Material, 1928-1974

Series 15: Books, 1903-1980

Series 16: Miscellaneous, 1940-1974

Biographical / Historical:

A native of Washington, DC, Edward Kennedy Ellington was born on April 29, 1899. Edward was raised in a middle-class home in the Northwest section of Washington described by his sister Ruth--younger by sixteen years--as a "house full of love." Ellington himself wrote that his father J.E. (James Edward) raised his family "as though he were a millionaire" but Edward was especially devoted to his mother, Daisy Kennedy Ellington. In 1969, thirty-four years after his mother's death, Ellington accepted the Presidential Medal of Freedom with these words, "There is nowhere else I would rather be tonight but in my mother's arms." Both his parents played the piano and Ellington began piano lessons at the age of seven, but like many boys he was easily distracted by baseball.

In his early teens, Ellington sneaked into Washington clubs and performance halls where he was exposed to ragtime musicians, including James P. Johnson, and where he met people from all walks of life. He returned in earnest to his piano studies, and at age fourteen wrote his first composition, "Soda Fountain Rag" also known as "Poodle Dog Rag." Ellington was earning income from playing music at seventeen years of age, and around this time he earned the sobriquet "Duke" for his sartorial splendor and regal air. On July 2, 1918, he married a high school sweetheart, Edna Thompson; their only child, Mercer Kennedy Ellington, was born on March 11, 1919. Duke Ellington spent the first twenty-four years of his life in Washington's culturally thriving Negro community. In this vibrant atmosphere he was inspired to be a composer and learned to take pride in his African-American heritage.

Ellington moved to New York City in 1923 to join and eventually lead a small group of transplanted Washington musicians called "The Washingtonians," which included future Ellington band members, Sonny Greer, Otto Hardwicke and "Bubber" Miley. Between 1923 and 1927, the group played at the Club Kentucky on Broadway and the ensemble increased from a quintet to a ten-piece orchestra. With stride pianist Willie "The Lion" Smith as his unofficial guide, Ellington soon became part of New York's music scene; Smith proved to be a long-lasting influence on Duke's composing and arranging direction. At the Club Kentucky, Ellington came under the tutelage of another legendary stride pianist, "Fats" Waller. Waller, a protege of Johnson and Smith, played solos during the band's breaks and also tutored Ellington who began to show progress in his compositions. In November 1924, Duke made his publishing and recording debut with "Choo Choo (I Got To Hurry Home)" released on the Blu-Disc label. In 1925, he contributed two songs to Chocolate Kiddies, an all-black revue which introduced European audiences to black American styles and performers. By this time Ellington's family, Edna and Mercer, had joined him in New York City. The couple separated in the late 1920's, but they never divorced or reconciled.

Ellington's achievements as a composer and bandleader began to attract national attention while he worked at the Cotton Club in Harlem, New York City, from 1927 to 1932. The orchestra developed a distinctive sound that displayed the non-traditional voicings of Ellington's arrangements and featured the unique talents of the individual soloists. Ellington integrated his soloists' exotic-sounding trombone growls and wah-wahs, their high-squealed trumpets, their sultry saxophone blues licks and Harlem's street rhythms into his arrangements. In the promotional material of the Cotton Club, the band was often billed as "Duke Ellington and His Jungle Band." With the success of compositions like "Mood Indigo," and an increasing number of recordings and national radio broadcasts from the Cotton Club, the band's reputation soared.

The ten years from 1932 to 1942 are considered by some major critics to represent the "golden age" for the Ellington Orchestra, but it represents just one of their creative peaks. These years did bring an influx of extraordinary new talent to the band including Jimmy Blanton on double bass, Ben Webster on tenor saxophone, and Ray Nance on trumpet, violin and vocals. During this ten year span Ellington composed several of his best known short works, including "Concerto For Cootie," "Ko-Ko," "Cotton Tail," "In A Sentimental Mood," and Jump For Joy, his first full-length musical stage revue.

Most notably, 1938 marked the arrival of Billy Strayhorn. While a teenager in Pittsburgh, Pennsylvania, Strayhorn had already written "Lush Life," "Something To Live For" and a musical, Fantastic Rhythm. Ellington was initially impressed with Strayhorn's lyrics but realized long before Billy's composition "Take the A' Train" became the band's theme song in 1942 that Strayhorn's talents were not limited to penning clever lyrics. By 1942, "Swee' Pea" had become arranger, composer, second pianist, collaborator, and as Duke described him, "my right arm, my left arm, all the eyes in the back of my head, my brain waves in his head, and his in mine." Many Ellington/Strayhorn songs have entered the jazz canon, and their extended works are still being discovered and studied today. Strayhorn remained with the Ellington Organization until his death on May 30, 1967.

Ellington had often hinted of a work in progress depicting the struggle of blacks in America. The original script, Boola, debuted in Carnegie Hall in November of 1943, retitled Black, Brown and Beige. The performance met with mixed reviews, and although Ellington often returned to Carnegie Hall the piece was never recorded in a studio, and after 1944 was never performed in entirety again by the Ellington Orchestra. Nonetheless, it is now considered a milestone in jazz composition.

After World War II the mood and musical tastes of the country shifted and hard times befell big bands, but Ellington kept his band together. The band was not always financially self-sufficient and during the lean times Ellington used his songwriting royalties to meet the soloists' salaries. One could assign to Ellington the altruistic motive of loyalty to his sidemen, but another motivation may have been his compositional style which was rooted in hearing his music in the formative stage come alive in rehearsal. "The band was his instrument," Billy Strayhorn said, and no Ellington composition was complete until he heard the orchestra play it. Then he could fine tune his compositions, omit and augment passages, or weave a soloist's contribution into the structure of the tune.

In 1956, the American public rediscovered Duke and the band at the Newport Jazz Festival in Rhode Island. The searing performances of tenor saxophonist Paul Gonsalves on "Diminuendo and Crescendo In Blue," his premiere soloist, alto saxophonist Johnny Hodges on "Jeep's Blues", and the crowd's ecstatic reaction have become jazz legend. Later that year Duke landed on the cover of Time magazine. Although Ellington had previously written music for film and television (including the short film, Black and Tan Fantasy in 1929) it wasn't until 1959 that Otto Preminger asked him to score music for his mainstream film, Anatomy of a Murder, starring Jimmy Stewart. Paris Blues in 1961, featuring box-office stars Paul Newman and Sidney Poitier in roles as American jazz musicians in Paris, followed.

Ellington's first performance overseas was in England in 1933, but the 1960s brought extensive overseas tours including diplomatic tours sponsored by the State Department. Ellington and Strayhorn composed exquisite extended works reflecting the sights and sounds of their travels, including the Far East Suite, 1966. They wrote homages to their classical influences; in 1963, they adapted Tchaikovsky's Nutcracker Suite and celebrated Shakespeare's works with the suite Such Sweet Thunder in 1957. With Ella Fitzgerald, they continued the Norman Granz Songbook Series. Ellington also began to flex his considerable pianist skills and recorded albums with John Coltrane (1963), Coleman Hawkins (1963), Frank Sinatra, and Money Jungle (1963) with Charles Mingus and Max Roach. The First Sacred Concert debuted in San Francisco's Grace Cathedral in 1965. In his final years, Ellington's thoughts turned to spiritual themes and he added a Second (1968) and Third (1973) Concert of Sacred Music to his compositions.

In his lifetime, Duke received numerous awards and honors including the highest honor bestowed on an American civilian, the Congressional Medal Of Freedom. In 1965, Ellington was recommended for a Pulitzer Prize to honor his forty years of contribution to music but the recommendation was rejected by the board. Most likely he was disappointed, but his response at the age of sixty-six was, "Fate is being kind to me. Fate doesn't want me to be famous too young."

Ellington never rested on his laurels or stopped composing. Whenever he was asked to name his favorite compositions his characteristic reply was "the next five coming up," but to please his loyal fans Ellington always featured some of his standards in every performance. Even on his deathbed, he was composing the opera buffo called Queenie Pie.

Duke Ellington died on May 24, 1974 at seventy-five years of age. His funeral was held in New York's Cathedral of St. John The Divine; he was buried in Woodlawn Cemetery. His long-time companion Beatrice "Evie" Ellis was buried beside him after her death in 1976. He was survived by his only child, Mercer Kennedy Ellington, who not only took up the baton to lead the Duke Ellington Orchestra but assumed the task of caring for his father's papers and his legacy to the nation. Mercer Ellington died in Copenhagan, Denmark on February 8, 1996, at the age of seventy-six. Ruth Ellington Boatwright died in New York on March 6, 2004, at the age of eighty-eight. Both Mercer and Ruth were responsible for shepherding the documents and artifacts that celebrate Duke Ellington's genius and creative life to their current home in the Smithsonian Institution's National Museum of American History.

Related Materials:

Materials in the Archives Center

William H. Quealy Collection of Duke Ellington Recordings (AC0296)

Rutgers University Collection of Radio Interviews about Duke Ellington (AC0328)

Duke Ellington Oral History Project (AC0368)

Duke Ellington Collection of Ephemera and realated Audiovisual Materials (AC0386)

Annual International Conference of the Duke Ellington Study Group Proceedings (AC0385)

Robert Udkoff Collection of Duke Ellington Ephemera (AC0388)

Frank Driggs Collection of Duke Ellington Photographic Prints (AC0389)

New York Chapter of the Duke Ellington Society Collection (AC390)

Earl Okin Collection of Duke Ellington Ephemera (AC0391)

William Russo Transcription and Arrangement of Duke Ellington's First Concert of Sacred Music (AC0406)

Ruth Ellington Collection of Duke Ellington Materials (AC0415)

Music manuscripts in the Ruth Ellington Collection complement the music manuscripts found in the Duke Ellington Collection.

Carter Harman Collection of Interviews with Duke Ellington (AC0422)

Betty McGettigan Collection of Duke Ellington Memorabilia (AC0494)

Dr. Theodore Shell Collection of Duke Ellington Ephemera (AC0502)

Edward and Gaye Ellington Collection of Duke Ellington Materials (AC0704)

Andrew Homzy Collection of Duke Ellington Stock Music Arrangements (AC0740)

John Gensel Collection of Duke Ellington Materials (AC0763)

Al Celley Collection of Duke Ellington Materials (AC1240)

Materials at Other Organizations

Institute of Jazz Studies

Separated Materials:

Artifacts related to this collection are in the Division of Culture and the Arts (now Division of Cultural and Community Life) and include trophies, plaques, and medals. See accessions: 1989.0369; 1991.0808; 1993.0032; and 1999.0148.

"

Provenance:

The collection was purchased through an appropriation of Congress in 1988.

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.

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.

Occupation:

Composers -- 20th century  Search this

Topic:

Big bands  Search this

Pianists  Search this

Bandsmen -- 20th century  Search this

Jazz -- 20th century -- United States  Search this

Musicians -- 20th century  Search this

Music -- Performance  Search this

African American entertainers -- 20th century  Search this

African Americans -- History  Search this

Popular music -- 20th century -- United States  Search this

Music -- 20th century -- United States  Search this

African American musicians  Search this

Genre/Form:

Phonograph records

Papers

Photographic prints

Posters

Sound recordings

Scrapbooks -- 20th century

Music -- Manuscripts

Clippings

Awards

Audiotapes

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.

Identifier:

NMAH.AC.0301

See more items in:

Duke Ellington Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep850a376a1-6b6d-48bc-9076-cffef76fea2c

EDAN-URL:

ead_collection:sova-nmah-ac-0301

Composer:

Williams, Mary Lou, 1910-1981  Search this

Wells, Henry  Search this

Creator:

Strayhorn, Billy (William Thomas), 1915-1967  Search this

Collection Creator:

Ellington, Duke, 1899-1974  Search this

Extent:

13 Items (manuscripts, 32 cm.)

1 Item (copy score, 32 cm.)

Type:

Archival materials

Conductor scores

Copy scores

Manuscripts

Music

Parts (musical)

Place:

Chicago (Ill.)

Scope and Contents:

13 parts and 1 score.

Little Joe from Chicago is contained in one folder consisting of 1 two-page conductor score in Bb Major concert, and 13 parts in G Major concert -- in ink and pencil -- in unidentified hand (Whaley, other?).

Score indicates parts for alto 1, alto 3, tenor, tenor 2, baritone, trumpet. Score appears incomplete. Parts for 4 reeds - alto 1, alto 3, tenor, alto 4; 3 trumpets - 1, 2, 3; 3 trombones - 1, 2, 3; bass; guitar; piano. -- from the Duke Ellington Library.

Biographical / Historical:

Statement of responsibility taken from Popular Music, 1920-1979, ed. by Nat Shapiro.

Local Numbers:

AC0301-0000078.tif (AC Scan No.?)

General:

A part for "I'll see you in my dreams" is noted on the verso of the bass part. 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.

Unsigned Strayhorn composition.

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.

See more items in:

Duke Ellington Collection

Duke Ellington Collection / Series 1: Music Manuscripts / 1.1: Music Manuscripts / 1.1.13: L / Little Joe From Chicago

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep84871ffd6-8fa3-4397-ad28-9fe6685d06ba

EDAN-URL:

ead_component:sova-nmah-ac-0301-ref51879

Composer:

Ellington, Duke, 1899-1974  Search this

Collection Creator:

Ellington, Duke, 1899-1974  Search this

Extent:

1 Item (Ink on paper.)

Container:

Box 227

Type:

Archival materials

Manuscripts

Holographs

Scope and Contents:

Note: this record duplicates part of the complete record for this composition.

Fragment, piano score.

Local Numbers:

AC0301-0000001.tif (AC Scan No.)

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.

Genre/Form:

Manuscripts -- Music -- 20th century

Holographs

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.

See more items in:

Duke Ellington Collection

Duke Ellington Collection / Series 1: Music Manuscripts / 1.1: Music Manuscripts / 1.1.14: M / Mood Indigo

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8fd8d0392-e776-4e8e-aa40-f3ff36234754

EDAN-URL:

ead_component:sova-nmah-ac-0301-ref53225

Names:

Ellington, Duke, 1899-1974  Search this

Collection Creator:

Ellington, Duke, 1899-1974  Search this

Extent:

1 Item (Silver gelatin on paper.)

Culture:

African Americans  Search this

Type:

Archival materials

Photographs

Place:

Berkeley (Calif.)

Scope and Contents:

Photographer unidentified.

Arrangement:

Box No. 4.

Local Numbers:

AC0301-0000004.tif (AC Scan No.)

Series Restrictions:

Unrestricted research access on site by appointment. Unprotected photographs must be handled with gloves.

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:

African American musicians  Search this

Musicians  Search this

Genre/Form:

Photographs -- Black-and-white photoprints -- Silver gelatin -- 1960-1970

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.

See more items in:

Duke Ellington Collection

Duke Ellington Collection / Series 7: Photographs, Duke Ellington Collection / 7.7.29: In Concert

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8e1aff5a2-53a5-492b-bda6-bf776ef72c2c

EDAN-URL:

ead_component:sova-nmah-ac-0301-ref53228

Names:

Ellington, Duke, 1899-1974  Search this

Ellington, Mercer Kennedy, 1919-1996 (musician)  Search this

Collection Creator:

Ellington, Duke, 1899-1974  Search this

Extent:

1 Item (Silver gelatin on paper.)

Culture:

African Americans  Search this

Type:

Archival materials

Date:

[ca. 1950s.]

Scope and Contents:

Duke at piano; Mercer holding saxophone. Photograph scanned from copy print in photo notebooks in reading room. Photographer unidentified?

Local Numbers:

AC0301-0000008.tif (AC Scan No.)

Series Restrictions:

Unrestricted research access on site by appointment. Unprotected photographs must be handled with gloves.

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:

Saxophone  Search this

Piano  Search this

African American musicians  Search this

Musicians  Search this

African American composers  Search this

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.

See more items in:

Duke Ellington Collection

Duke Ellington Collection / Series 7: Photographs, Duke Ellington Collection / 7.7.21: Ellington Family

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8e02f8f5b-b911-4ea4-ab62-e6e0a8f4792b

EDAN-URL:

ead_component:sova-nmah-ac-0301-ref53232

Names:

United States. Department of State  Search this

Ellington, Duke, 1899-1974  Search this

Collection Creator:

Ellington, Duke, 1899-1974  Search this

Extent:

1 Item (Silver gelatin on paper.)

Culture:

African Americans  Search this

Type:

Archival materials

Photographs

Place:

Pakistan

Arrangement:

Series 7, Box 6, Folder 9a.

Local Numbers:

AC0301-0000013.tif (AC Scan No.)

Series Restrictions:

Unrestricted research access on site by appointment. Unprotected photographs must be handled with gloves.

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.

Occupation:

Composers -- 20th century  Search this

Topic:

Piano  Search this

Jazz musicians  Search this

Genre/Form:

Photographs -- Black-and-white photoprints -- Silver gelatin -- 20th century

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.

See more items in:

Duke Ellington Collection

Duke Ellington Collection / Series 7: Photographs, Duke Ellington Collection / 7.7.9: Duke Ellington at the Piano

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8c66cbe76-ed86-43f6-b5db-8f40d0369dc8

EDAN-URL:

ead_component:sova-nmah-ac-0301-ref53236

Names:

Strayhorn, Billy (William Thomas), 1915-1967  Search this

Collection Creator:

Ellington, Duke, 1899-1974  Search this

Extent:

1 Item (Silver gelatin on paper.)

Culture:

African Americans  Search this

Type:

Archival materials

Scope and Contents:

Photographer unidentified.

Arrangement:

Box No. 1.

Local Numbers:

AC0301-0000016.tif (AC Scan No.)

Series Restrictions:

Unrestricted research access on site by appointment. Unprotected photographs must be handled with gloves.

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.

Occupation:

Composers  Search this

Topic:

African American composers  Search this

Piano  Search this

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.

See more items in:

Duke Ellington Collection

Duke Ellington Collection / Series 7: Photographs, Duke Ellington Collection / 7.7.8: Candid Shots

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8485a81ee-d765-4435-a975-b9c11fd99d93

EDAN-URL:

ead_component:sova-nmah-ac-0301-ref53239

Names:

Ellington, Duke, 1899-1974  Search this

Collection Creator:

Ellington, Duke, 1899-1974  Search this

Extent:

1 Item (Ink on paper.)

Container:

Box 9 (Series 2), Folder 8

Type:

Archival materials

Concert programs

Place:

Ethiopia

Addis Ababa (Ethiopia)

Scope and Contents:

Cover includes a stylized portrait of Ellington playing the piano, evidently derived from a photograph. Blue stripes on the left side.

Local Numbers:

AC0301-0000041.tif (AC Scan No.: Cover)

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:

Jazz  Search this

Concerts  Search this

Genre/Form:

Concert programs

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.

See more items in:

Duke Ellington Collection

Duke Ellington Collection / Series 2: Performances and Programs / 2.1: International Tours / Addis Ababa, Ethiopia, November 20, 1973 (October 31, 1973-November 22, 1973)

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep82671244d-ea06-4753-8a45-3096a57ef227

EDAN-URL:

ead_component:sova-nmah-ac-0301-ref53260

Names:

Ellington, Duke, 1899-1974  Search this

Collection Creator:

Ellington, Duke, 1899-1974  Search this

Extent:

1 Item (Ink on paper.)

Container:

Box 2 (Series 2)

Culture:

African Americans  Search this

Type:

Archival materials

Portraits

Paintings

Place:

Syria

Damascus (Syria)

Local Numbers:

AC0301-0000047.tif (AC Scan No.)

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:

Jazz musicians  Search this

African American musicians  Search this

Piano  Search this

Genre/Form:

Portraits -- African American men

Paintings -- Reproductions

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.

See more items in:

Duke Ellington Collection

Duke Ellington Collection / Series 2: Performances and Programs / 2.1: International Tours / Middle East Tour, September, 1963

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8da252ae2-3e28-48eb-ba4d-b40e2b229225

EDAN-URL:

ead_component:sova-nmah-ac-0301-ref53265

Names:

Ellington, Duke, 1899-1974  Search this

Collection Creator:

Ellington, Duke, 1899-1974  Search this

Extent:

1 Item (Ink / Silver gelatin on paper.)

Type:

Archival materials

Posters

Place:

Uruguay

Scope and Contents:

Poster for performance in Uruguay at Palacio Penarol, November 21, year not shown. With stylized image of Ellington playing piano.

Arrangement:

In Map case 2/17.

Local Numbers:

AC0301-0000055.tif (AC Scan No.)

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:

Piano  Search this

Musicians  Search this

Genre/Form:

Posters -- 20th century

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.

See more items in:

Duke Ellington Collection

Duke Ellington Collection / Series 12: Posters and Oversize Graphics / 12.2: Foreign Tours / 12.2.1: The Americas/Spanish / "Duke Ellington y su Orquesta"

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8816b35b3-6f77-432a-a40b-fb666dfe86a7

EDAN-URL:

ead_component:sova-nmah-ac-0301-ref53273

Photographer:

Page, Margo E.  Search this

Names:

Ellington, Duke, 1899-1974  Search this

Collection Creator:

Ellington, Duke, 1899-1974  Search this

Extent:

1 Item (Silver gelatin on paper, 8" x 10".)

Culture:

African Americans  Search this

Type:

Archival materials

Photographs

Place:

California -- 1960-1970

Arrangement:

Series 7, Box No.4, Folder 5.

Local Numbers:

AC0301-0000063.tif (AC Scan No.)

95-9939 (SI Neg.)

Series Restrictions:

Unrestricted research access on site by appointment. Unprotected photographs must be handled with gloves.

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:

Jazz musicians -- 1950-2000 -- United States  Search this

Genre/Form:

Photographs -- Black-and-white photoprints -- Silver gelatin -- 20th century

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.

See more items in:

Duke Ellington Collection

Duke Ellington Collection / Series 7: Photographs, Duke Ellington Collection / 7.7.29: In Concert

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep808eb65a7-c3c2-4592-855c-e622dee2466b

EDAN-URL:

ead_component:sova-nmah-ac-0301-ref53281

Photographer:

Sarra, Valentino, 1903-1982  Search this

Names:

Ellington, Duke, 1899-1974  Search this

Collection Creator:

Ellington, Duke, 1899-1974  Search this

Extent:

1 Item (Silver gelatin on paper., approx. 8" x 10".)

Culture:

African Americans  Search this

Type:

Archival materials

Photographs

Scope and Contents:

Photographers stamp "SARRA, Inc. 200 East 56th Street, New York." Probably Valentino Sarra.

Arrangement:

Series 7, Box No. 2, Folder 26.

Biographical / Historical:

Biographical information on Sarra at http://www.fulltable.com/vts/f/fortune/photos/sarra/mn.htm.

Local Numbers:

AC0301-0000065.tif (AC Scan No.)

Series Restrictions:

Unrestricted research access on site by appointment. Unprotected photographs must be handled with gloves.

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.

Occupation:

Composers -- 20th century  Search this

Topic:

Jazz musicians -- 1950-2000 -- United States  Search this

Genre/Form:

Photographs -- Black-and-white photoprints -- Silver gelatin -- 20th century

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.

See more items in:

Duke Ellington Collection

Duke Ellington Collection / Series 7: Photographs, Duke Ellington Collection / 7.7.9: Duke Ellington at the Piano

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8afb0a926-adeb-4a68-bd18-1f9bc615d98a

EDAN-URL:

ead_component:sova-nmah-ac-0301-ref53283

Photographer:

Schreirer, Bernard  Search this

Names:

Ellington, Duke, 1899-1974  Search this

Collection Creator:

Ellington, Duke, 1899-1974  Search this

Extent:

1 Item (Silver gelatin on paper., 9-1/4" x 6".)

Culture:

African Americans  Search this

Type:

Archival materials

Photographs

Scope and Contents:

Photographer's mark, "Bernard Schreier Le Progres de Lyon" on verso.

Arrangement:

Series 7, Box No. 5, Folder 4.

Local Numbers:

AC0301-0000072.tif (AC Scan No.)

95-10175 (SI Neg.)

Series Restrictions:

Unrestricted research access on site by appointment. Unprotected photographs must be handled with gloves.

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:

Musicians  Search this

Piano  Search this

Jazz musicians -- 1950-2000 -- United States  Search this

Genre/Form:

Photographs -- Black-and-white photoprints -- Silver gelatin -- 20th century

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.

See more items in:

Duke Ellington Collection

Duke Ellington Collection / Series 7: Photographs, Duke Ellington Collection / 7.7.32: International Tours

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8398c4cbf-cc75-41d1-9102-a9fc0b34e71e

EDAN-URL:

ead_component:sova-nmah-ac-0301-ref53290

Author:

Arnold, Cheney & Co.  Search this

Collector:

Moore, Ernst D. (importer, trader)  Search this

Names:

Pratt, Read and Company  Search this

Roosevelt, Theodore, 1858-1919  Search this

Extent:

1.6 Cubic feet

Type:

Collection descriptions

Archival materials

Letters (correspondence)

Diaries

Articles

Receipts

Photographs

Maps

Account books

Date:

1888-1932

Summary:

Papers documenting Moore's work as an ivory trader employed by Arnold, Cheney and Co. Includes copies of his diary entries while working as an ivory trader, financial documents, price lists, his writings on the subject of ivory, articles, a map, and photographs.

Scope and Contents:

This collection consists primarily of copies of records still in the possesssion of Moore's family. Foremost among these are copies of his diary entries for the time he was employed overseas by Arnold, Cheney & Co. These provide a daily, often humorous, description of the lifestyle of an American businessman trading in the outposts of the British Empire. Further documentation of this lifestyle is provided by Moore's personal account book, expense account statements, and receipts, as well as the materials on Club life in these spots. These include rule books for the Union Club at Aden, the Mombasa Club, the Mombasa Sport Club, and the Mnazi Moja and English clubs at Zanzibar, along with statements of Moore's accounts at each.

The collection contains a great deal of information on the ivory trade, primarily in Moore's correspondence, both business and private, and in documents relating to his contract and service abroad. Although most of these are xerographic copies, a number of originals are included; since these are fragile, it is recommended that the researcher use the copies. There are several items directly related to ivory, including three ivory pricelists from 1922, a small pamphlet about ivory published in 1921, and Moore's handwritten description of the characteristics and classification of ivory. Also contained in the collection are a number of articles written by Moore about ivory and the ivory trade, along with his book, Ivory: The Scourge of Africa, in both typescript and published form. An additional folder contains a photographic copy of the map of "Ivory Country" used to illustrate the book.

The collection also contains copies of many of Moore's photographs. Most of them were taken during his days in Aden, Mombasa, and Zanzibar. These document all aspects of the ivory trade, from the elephant in the wild to the loading of tusks onto ships bound for New York. They depict ivory poachers, transport of tusks, weighing and measuring tusks, storage facilities in the traders' compound or "ivory house," trade goods used to purchase the ivory, and local scenes. Of especial interest are a number of photographs which show the visit of ex President Theodore Roosevelt to Mombasa in 1909. There are also three photoprints showing activities in Pratt, Read & Company's factory at Deep River, Ct. The remaining photographs are family snapshots, mainly of Moore's children. NOTE: Permission to publish these photographs must be obtained directly from the donor, who retains the copyright on them. The collection also includes a history of Pratt, Read & Company which Moore wrote in 1930.

Biographical information in the collection includes a chapter from a biography of Moore which was written by his daughter as a school assignment, autobiographical recollections of Moore's days as an ivory buyer, and a copy of his obituary.

Of additional interest are copies of documents relating to Moore's uncle, Dwight Moore. These deal with his service as U.S. Consul at Aden and Zanzibar in the 1880s 1890s, and correspondence between Moore and his uncle during Moore's service overseas.

Biographical / Historical:

Ernst R. Domansky was born in Boston, Massachusetts on January 1, 1884. He was an ivory trader employed by Arnold, Cheney & Co., ivory importers of New York city, serving as that firm's agent in Aden, Mombasa, and Zanzibar from 1907 to 1911. He negotiated for the purchase of tons of elephant tusks from the Arab traders who brought them from the interior of Africa, and made several trips into the interior himself. He also served briefly as U.S. Consul at Zanzibar in 1911.

Shortly after his return to the United States sometime between 1911 and 1913 Domansky changed his name to Ernst D. Moore. There were evidently several reasons for this: Moore had been his mother's maiden name and, while his own parents were dead by this time, his uncle, Dwight Moore, had always looked after his interests. Dwight Moore had, in fact, obtained Ernst's position with Arnold, Cheney & Co. for him. In addition, both of his brothers had already switched from Domansky to Moore.

In 1913, Moore married Miss Elsie Warner of Chester, Connecticut, where he took up residence. He was then employed by the piano manufacturing firm of Pratt, Read & Co., of Deep River, Connecticut. Pratt, Read was the chief customer for the ivory which Moore had purchased in Africa; the company used it in making piano keyboards. Moore served as Secretary, and later as Vice President, of Pratt, Read's subsidiary, the Pratt Read Player Action Company, located in Deep River. Following that, he was head of the Moore & Fisher Manufacturing Company, also of Deep River. He retained his interest in ivory and, after retiring, wrote a book describing his days in Africa and the ivory trade his Ivory: Scourge of Africa was published in 1931. He died on June 5,1932.

Related Materials:

The Archives Center also contains Collection #320, the Pratt Read Corporation Records. It includes a few photographs of E. D. Moore, as well as information on the ivory trade and the American ivory industry. The records of Arnold, Cheney & Company for the period 1873 1902 are to be found at the Essex Institute, Salem, Massachusetts; they are in Collection #103, the Ropes Emmerton & Company Records. Additional records relating to both Arnold, Cheney & Company and Pratt, Read & Company can be found in the Cheney/Downing Collection at the Connecticut River Foundation at Steamboat Dock, Essex, Connecticut.

Provenance:

Collection donated by Edith Sibley, January 30, 1989.

Restrictions:

Collection is open for research.

Rights:

Permission to publish these photographs must be obtained directly from the donor, who retains copyright. See repository for details.

Topic:

Ivory industry  Search this

Piano makers  Search this

Ivory  Search this

Imports -- 1880-1940  Search this

Elephants -- Africa -- Mombasa  Search this

Genre/Form:

Letters (correspondence) -- 1850-1900

Diaries -- 1880-1940

Articles -- 1880-1940

Receipts -- 20th century

Receipts -- 19th century

Letters (correspondence) -- 1900-1950

Photographs -- 1900-1950

Maps -- 1880-1940

Photographs -- 1850-1900

Account books

Citation:

Ernst D. Moore Papers, 1888-1932, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0321

See more items in:

Ernst D. Moore Papers

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep845196ef9-8684-47b3-bb3f-0c298718888e

EDAN-URL:

ead_collection:sova-nmah-ac-0321

Creator:

Smithsonian Music  Search this

Type:

YouTube Videos

Uploaded:

2016-07-15T16:09:54.000Z

YouTube Category:

Music  Search this

Topic:

Music;Entertainers  Search this

See more by:

SmithsonianMusic

Data Source:

Smithsonian Music

YouTube Channel:

SmithsonianMusic

EDAN-URL:

edanmdm:yt_0i9VGE3AUTo

Creator:

Smithsonian Center for Folklife and Cultural Heritage  Search this

Type:

YouTube Videos

Uploaded:

2011-06-20T18:55:07.000Z

YouTube Category:

Education  Search this

Topic:

Cultural property  Search this

See more by:

smithsonianfolklife

Data Source:

Smithsonian Center for Folklife and Cultural Heritage

YouTube Channel:

smithsonianfolklife

EDAN-URL:

edanmdm:yt_j3cjFbN3A68