2 10 650 https://digitallis.isg.siue.edu/files/original/a3902ea44622244d118e9d2cfa7291ea.jpg fd184a86271a8dc841179663ad7d58ab Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jean Kittrell Digital Collection Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Black & white photograph Physical Dimensions The actual physical size of the original image 9.5 x 7.5 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context JMK_2017_9_24_0001 Title A name given to the resource Signed Photo of Edmond "Doc" Souchon, 1965 Subject The topic of the resource Souchon, Edmond Description An account of the resource Signed black and white publicity photo of jazz musician Ed "Doc" Souchon, pictured here playing guitar. The photo is signed, "May 9th/67-To Jean!/Because she has everything that it takes!/Warmly-/"Big Doc" Souchon." Jean Kittrell performed with Doc Souchon at the 1967 St. Louis Ragtime Festival aboard the Goldenrod Showboat, where she was given this photo. A typed section of text on the back of this photo notes that it was "taken at Royal Orleans Hotel "Jazz on Sunday Afternoon" sponsored by the New Orleans Jazz Club, Fall, 1965, by the celebrated jazz photographer George Fletcher, of Des Moines, Iowa." Creator An entity primarily responsible for making the resource Fletcher, George Rights Information about rights held in and over the resource For digital rights and permissions, see <a href="https://www.siue.edu/lovejoy-library/about/policies.shtml">https://www.siue.edu/lovejoy-library/about/policies.shtml</a> In copyright. <a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a> Relation A related resource Jean Kittrell Digital Collection Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant New Orleans, Louisiana Type The nature or genre of the resource Still Image Still Image Date A point or period of time associated with an event in the lifecycle of the resource 1965 Doc Souchon New Orleans Jazz Club New Orleans, Louisiana https://digitallis.isg.siue.edu/files/original/45c2b8dad4829fa7ff6a00d1aab6944c.jpg d6aa21a783674aa8ce99668632027097 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jean Kittrell Digital Collection Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Text Any textual data included in the document 13th Annual Traditional Jazz Party Saturday, February 7, 2009 11:00 a.m. to 3:00 p.m. (or later) Special Guests of Honor Jean Kittrell Hailed internationally as "America's First Lady of Jazz," Jean Kittrell retired in July, 2008 after decades of performing trad jazz in clubs, concerts, festivals, jubilees, jazz cruises and on showboats. Jean has worked with numerous bands including her own: Jazz Incredibles, St. Louis Rivermen, and the Old St. Louis Levee Band. Jean was guest of honor at our first Traditional Jazz Parties, but was unable to come later because of her busy schedule. We are honored to have her with us again this year. Julianna Woodard Julianna became a part of the Naples Daily News Traditional Jazz Band in 1996 and quickly became SW Florida's finest trad jazz vocalist. She has performed in concert, festivals, jazz cruises, and private parties with the Naples Dixieland Band, Tamiami Tailgators, Happy Jazz Trio, Roy Land Trad Jass Band, and more. She regards Jean Kittrell as her mentor and inspiration. Julianna recently moved to Philadelphia, but continues to support the NDJB with occasional appearances. Continuous music provided by 2 bands Open Jam Sessions! Bring your instrument! Beverage and Snacks Provided! JimGover's residence 470 18th Ave So. Naples, Florida 34102 Call (239)263-1113, or email: jazzydrjim@aol.com if you are NOT able to attend, so we can plan food and beverage. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Signed Poster Physical Dimensions The actual physical size of the original image 11 x 14 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context JMK_2017_7_5_0001 Title A name given to the resource Jean Kittrell as Featured Guest at Jim Gover's 13th Traditional Jazz Party, 2009 Subject The topic of the resource Kittrell, Jean Woodard, Julianna Description An account of the resource This poster features the flyer for Jim Gover's 13th annual Traditional Jazz Party held in 2009 honoring special guests Jean Kittrell and Juliana Woodard. This poster was signed in red ink by many attendees as a gift to Jean. Many of the signatures and well wishes reference her 2008 retirement. Dr. Jim Gover is a prominent Naples jazz musician and band leader. Language A language of the resource English Creator An entity primarily responsible for making the resource Gover, Jim Date A point or period of time associated with an event in the lifecycle of the resource 02/07/2009 Rights Information about rights held in and over the resource For digital rights and permissions, see <a href="https://www.siue.edu/lovejoy-library/about/policies.shtml">https://www.siue.edu/lovejoy-library/about/policies.shtml</a> In copyright. <a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a> Relation A related resource Jean Kittrell Digital Collection Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Naples, Florida Type The nature or genre of the resource Text Jean Kittrell Jim Gover Julianna Woodard Naples, Florida Traditional Jazz Party https://digitallis.isg.siue.edu/files/original/a6a86eb29f83cb5199629e750e4bd0f0.mp3 47b390ea492d617296c43a3c92ff46f1 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Clip from track 1, "Bourbon Street Parade," on the Jazz Incredibles' album "Encore." https://digitallis.isg.siue.edu/files/original/f7df4d5c6a27406b588a35d2a6f6d802.mp3 0f53b954536369c29089a4bb18504d81 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Clip from track 2, "12th Street Rag," on the Jazz Incredibles' album "Encore." Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jean Kittrell Digital Collection Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Transcription Any written text transcribed from a sound [Back cover] ENCORE Jazz Incredibles 1. Bourbon Street Parade (Paul Barbarin, c. 1940) Sousaphone 3:12 2. 12th Street Rag (Euday Bowman, 1914) Banjo 1:52 3. You've Gotta See Your Mama Every Night (Rose & Conrad, 1923) Vocal 2:11 4. Black and White Rag (Charles L. Johnson, 1908) Ensemble 2:49 5. Somewhere My Love (from movie, Dr. Zhivago, 1965) Banjo 3:47 6. Frankie and Johnnie (19th cen. American folk song) Vocal 3:57 7. Basin Street Blues (Spencer Williams, 1928) Sousaphone 2:54 8. After the Loving (Alan Bernstein, Richie Adams, 1976) Banjo 3:26 9. High Society (Porter Steele, 1901) Sousaphone 3:58 10. I Had Someone Else Before I Had You (Harry Harris, Joe Darcy, Jack Stanley, 1925) Vocal 3:29 11. Bohemia Rag (Joseph Lamb, 1919) Ensemble 3:30 12. Sugar Blues (Clarence Williams, 1923) Banjo 2:52 13. When Ragtime Rosie Ragged the Rosary (Lewis F. Muir & Edgar Leslie, 1911) Vocal 3:21 14. Hungarian Dance No. 5 (Johannes Brahms, 1869) Banjo/Sousaphone 1:58 15. Memories of You (Eubie Blake, 1930) Sousaphone 3:24 16. There'll Be Some Changes Made (Benton Overstreet, 1921) Vocal 4:12 17. Spanish Eyes, also titled Moon over Naples (Bert Kaempfert, Charles Singleton, Eddie Snyder, 1965) Banjo 2:58 18. Please Don't Talk about Me When I'm Gone (Stept, 1930) Vocal 3:34 19. Whispering (Schonberger, Coburn, V. Rose, 1920) Sousaphone 3:22 20. The Lady is a Tramp (Rodgers & Hart, 1937) Banjo 2:10 21. Tiger Rag (Nick LaRocca, 1918) Sousaphone 4:59 TOTAL PLAYING TIME 67:53 For Additional CDs, cassettes or bookings, please contact: JEAN KITTRELL [Inside jacket] THE JAZZ INCREDIBLES The JAZZ INCREDIBLES trio began a regular weekend gig in 1983 aboard the Lt. Robert E. Lee, a floating restaurant/saloon permanently moore on the Mississippi River just south of the famous Saarinen Arch memorializing St. Louis as the Gateway to the Western frontier. In the beginning we were just having fun playing jazz, and I do mean fun. These guys put humor into their music and crack wild jokes between tunes as well. As the months passed, and night after night they played beautiful, unique, often astounding, improvisations, I realized I was working with two world-class musicians. So many times I described their performances as "incredible" to our audiences that I finally said, "This Friday night trio is going to be called the JAZZ INCREDIBLES because you two are incredible, and I find it incredible that I'm playing piano with you." Thus our modest name came about. "BIG JOHN" BECKER, a native St. Louisan, is famous for his rapid single-string technique, eleveating the tenor banjor to a melodious solo isntrument. One of the world's greatest tenor banjoists, he is often compared to Harry Reser and Eddie Peabody. John began playing banjo at age eleven, then plaed guitar for twenty years before returning to the banjo in 1950. A professional musician since 1937, Becker became well known during the golden era of St. Louis' Gaslight Square, leading BIG JOHN'S BANJO BAND at the Golden Eagle and the Lorelei. Subsequently he and bassist Russ Polette formed a mighty duo, working for years at the Bayou Belle, a popular St. Louis Restaurant. After John and I played our first gig together in 1977, paired by booker and band leader Jack Engler, we liked our sound and decided to form a trio with bassist Bill Jouston. Charlie Wills booked us as the BLUES EMPORIUM into the RELee for a three-week engagement in January 1978. In 1983 Bill retired and Red joined the trio, which eventually became the JI. That three-week engagement on the Lee lasted thirdteen years (1978-1990). DAVID "RED" LEHR from New Athens, Illinios, where he owns a meat market and processing plant, is a jazz virtuoso of the sousaphone - a world-class musician combining technique with showmanship. His musical career began at age five when he was big enough, standing on an orange crate, to play his daddy's trombone. In high school, as the strongest and tallest kid, he began to play the big sousaphone with which he has intrigued audiences ever since. In 1955 he began a long-standing engagement in St. Louis at the Banjo Palace (across from Busch Stadium on Market Street), followed by two years at The Sting (on Lindbergh). In annual trips to New Orleans he made frequent guest appearances in jazz spots on Bourbon Street and elsewhere in the French Quarter. Red and I became acquainted when his four-piece OLD ST. LOUIS LEVEE BAND (they were together sixteen years before I met them) joined me on Saturday nights on the RELee in 1978 for what turned out to be another thirteen year engagement. So Friday nights Red and I played with John in the trio and Saturday nights with the OSLLB. And what about JEAN KITTRELL? Well, I was born in Birmingham, Alabama, where I grew up playing piano in the Southern Baptist Church. At Blue Mountain College, Mississippi I didn't major in piano - I didn't like the teacher's pianistic style. Instead I majored in music theory - harmony, counterpoint, and musical coposition - valuable knowledge for jazz, which I began playing in 1957 in Norfolk, Virginia, where my then-husband, cornetist Ed Kittrell, and I organized the CHESAPEAKE BAY JASS BAND. In 1958 we moved to Chicago, joined the CHICAGO STOMPERS, and took them to Germany for a two-month tour in 1959. Then I dropped out of jazz until 1967, when I began a two-year SRO solo engagement in St. Louis at the Old Levee House on Laclede's Landing. After completing my Ph.D. in Modern British Literature (1973), I joined the English faculty at Southern Illinois University at Edwardsville and the MISSISSIPPI MUDCATS JAZZ BAND. Eventually I served four years as Chair of the English Department, while playing jazz on the weekends. The JAZZ INCREDIBLES gradually became known throughout the USA, appearing in several jazz festivals. Then we traveled abroad to France, Germany, and The Netherlands, on three one-month European tours in 1985, 1987, and 1989. We were also featured in the week-long Edinburgh, Scotland, Jazz Festival in 1989, 1990, and 1991, where John's banjo artistry made him an outstanding favorite with the Scots. One of the best friends the trio has ever know entered our lives in 1983 when Gene Pokorny came as Principal Tubist to the St. Louis Symphony Orchestra. Gene is a rare human being, a great talent - probably the world's greatest classical tubist - who can be completely self-forgetful in pushing to the fore another talent. Gene recognized in Red a unique, amazing musical phenomenon, and brought musicians, visiting conductors, the business manager, and the gneral manager of the St. Louis Symphony, to the RELee saloon to hear him. As a result, the JAZZ INCREDIBLES and the OLD ST. LOUIS LEVEE BAND gave a series of summer pop concerts with the St. Louis Symphony Orchestra in 1987, 1988, and 1989, and were honored to be included on a cut of Gene's astounding CD, "Tuba Tracks." Another facet of the musical activities of the JAZZ INCREDIBLES is our function as the essential core of a seven-piece Dixieland jazz band, JEAN KITTRELL AND THE ST. LOUIS RIVERMEN, founded in 1984. This band concertizes throughout the USA and Canada and has produced seven cassettes. The Music of the JAZZ INCREDIBLES on this CD, selected from four of our cassettes recorded in 1990 and 1991, includes four Dixieland classics featuring the sousaphone (Bourbon Street Parade, Tiger Rag, High Society, and Basin Street Blues), three rags (Bohemia, 12th Street, and Black and White), one classical selection (Brahms' Hungarian Dance No. 5), several slow ballads - four featuring the banjo (Somewhere My Love, After the Loving, Spanish Eyes, and Sugar Blues), two featuring the sousaphone (Memories of You and Whispering), a brilliant banjo rendition of Rodgers and Hart's The Lady is a Tramp, and six vocals by me. There are no blues in terms of [Back jacket] musical structure and harmony included, even though two titles include the word "blues." High points for me are John Becker's original bluesy effect on Sugar Blues, his woderfully melodic obligato over the piano melody in Spanish Eyes, Red's trilling throughout the last chorus of High Society, and John and Red and Johannes Brahms. I'll confess I also enjoy my original words tagging I Had Someone Else Before I Had You, and added to the breaks in See Mama Every Night. John discovered that When Ragtime Rosie Ragged the Rosary was based on the 1898 Ethelbert Nevin composition, The Rosary. Listen when he plays it between my two vocal choruses on this song. (The Rosary was his very first banjo solo.) Our trio feels very lucky to have had so much fun playing and making friends throughout our music. We thank you for your interest in our work and hope you enjoy these selections. -Jean Kittrell THE JAZZ INCREDIBLES John Becker.....tenor banjo David "Red" Lehr......sousaphone Jean Kittrell......piano and vocals Recorded and mixed July 1990 and May 1991 at Music Masters, St. Louis, Missouri Engineering, Greg Trampe Producer, Jean Kittrell Photo, Richard Schaumberger Typography by John Pavlik, Type 1, Edwardsville CD Manufactured by Audio Duplication & Services, St. Louis, Missouri Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Compact disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 67:53:00 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context SIUE_REF_CD.NRJA5 Title A name given to the resource Encore Description An account of the resource Jazz recording by the Jazz Incredibles for Music Masters. Personnel of the Jazz Incredibles on this recording include Jean Kittrell on piano/vocals, John Becker on banjo, and David "Red" Lehr on sousaphone. A full track list is available in the liner notes and cover transcription, which also includes the story of the forming and naming of the Jazz Incredibles written by Jean herself. Creator An entity primarily responsible for making the resource Jazz Incredibles Publisher An entity responsible for making the resource available Music Masters Date A point or period of time associated with an event in the lifecycle of the resource 1990-1991 Rights Information about rights held in and over the resource For digital rights and permissions, see <a href="https://www.siue.edu/lovejoy-library/about/policies.shtml">https://www.siue.edu/lovejoy-library/about/policies.shtml</a> In copyright. <a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a> Relation A related resource Jean Kittrell Digital Collection Type The nature or genre of the resource Sound Jazz Incredibles Jean Kittrell John Becker Red Lehr https://digitallis.isg.siue.edu/files/original/08f24b56d6ad4cdcf353294f5e549f10.mp3 c1f99c7fcfff475dc1dbcf6f3c9d3028 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Clip of track 4, "You've Been a Good Old Wagon" from Jean Kittrell's solo album, "Alone" https://digitallis.isg.siue.edu/files/original/73606daa0cc37171a3efd989cb050d57.mp3 a64cf9864985695efd57790df0fc091e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Clip of track 13, "Frankie and Johnny" from Jean Kittrell's solo album, "Alone." Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jean Kittrell Digital Collection Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Transcription Any written text transcribed from a sound [Front cover] Jean Kittrell To my dear brother-in-law and sister - with much love - Jean Kittrell Nov. 75 ALONE Jazz Vocals & Piano [Inside jacket] JEAN KITTRELL ALONE It's hard to think that Jean Kittrell might ever be alone. She has brightened the output of traditional jazz bands for a number of years with her special enthusiasm and sparkle. And her ebullient personality gives her such great personal magnetism, so that in your mind's eye, you always think of her as the center of attraction in any crowd of happy music lovers. But here she is --ALONE. And ain't it wonderful. If you're looking for that "All Alone By My Telephone" mood, this album is not for you. This is Jean Kittrell at her hip-swinging, bugle bead busting, bluesy best adding just the right amount of spice to hark you back to speakeasys, Pierce Arrows, and the Lost Generation. Jean Kittrell is the pluperfect entertainer, creating hard'driving, leave-your-subtleties-in-the-closet images of loving, blues, and vamping in their most open and flagrant fashion. She is also Jean Kittrell, Ph.D., Professor of English at Southern Illinois University at Edwardsville. In the living room of her home is a large portrait of Blues immortal, Bessie Smith, and Bessie's "Give Me A Pigfoot and a Bottle of Beer" vibes can be felt clearly as Professor Kittrell sings to us of unrequired love and evil hearted women. In 1974, Jean came to the Washington area to attend a professional seminar at the University of Maryland. And while she was here she exhausted jazz fans who spent week night evenings at the local watering holes, getting high on Jean's vivacious singing and playing, and then going to work each day in less than top condition. I can personally attest to the fact that she has more stamina than I do. Fortunately during that hectic week, she found time to go to the Fat Cat Studio in Manassas for this record date. It became in the coldly precise manner in which Fat Cat conducts all of his music business. Most of those who were to be present were late. Fat Cat lost his stop watch, there was microphone trouble for a while and well, you know... Fortunately, the artist didn't let these petty misfortunes get to her and she sailed through the first several numbers of the album without retakes. Jean may be a professional educator, but make no mistake she is also a highly professional musician. However, after a while, as in any session, the pressure began to build and the natives began to get silly. It took as long to do the last two number (one of them never did make the album) as it did all of the rest. Even Jean succumbed to the laughter, and the unedited master tape sounds in some places as if Jean were doing a benefit at Bedlam. And it isn't exactly fair to say Jean was all alone. On "Delia" she is backed up by a particularly sorry Lost Chorus that no self-respecting back-alley beer hall would countenance. The haywire choir included Kay Giltmier, Fat Cat, Tom and Fanny Martin, Eleanor Johnson, Fred and Jackie Dietrich, and myself. It is expected that all of us will be drummed out of the Potomac River Jazz Club upon release of this record. But despite the unfair competition, Jean Kittrell shines forth loud and clear. I am a special fan of the Kittrell magic. I have all of her records. This is far and away her best effort. On this record, Jean conjures up a world of roistering dandies with "a handful of gimme and a mouthful of much obliged." As for the women, they are "refrigeratin' mamas" who chill the philandering carousers into icicles. And what else could these poor dears do after all. The rascals spend their money on booze and broads when the rent is due, and when they are "hangin' 'round", their performance as lovers isn't sufficient to keep these dynamite ladies happy. One goes so far as to tell her fella he needs vitamins, and to come around and see her after he's been to the drug store. But behind all of these financial and sexual conflicts, there is always the realization that someday the bum will catch a south bound rattler and she'll wind up with the "Gulf Coast Blues." Sad! Sad! Sad! But there is always just a lilt of humor in Jean's voice to let you know that tomorrow there will be other men and other loves. It sure beats "As the World Turns." My only regret about this record is that a Kittrell performance, in addition to being musically gratifying, is also a unique visual experience. Jean hurls herself, her smile and her wildly swishing fringed dresses into every low down beat of the music. But this performance is truly a satisfying alternative to Jean Kittrell live. Jim Giltmier Jean Kittrell, Piano Vocals and Commentary SIDE ONE 25:52 1. Shorty 2:35 2. Hard Hearted Hannah 3:06 3. Daddy You've Been Holding Out Too Long 3:40 4. You've Been A Good Old Wagon 3:32 5. Rufus Rastus Johnson Brown, Whatcha Gonna Do When The Rent Comes 'Round? 2:48 6. Evil Hearted Blues 3:42 7. Mean Mistreater 2:33 8. If You Don't Have Any Money Don't Cha Bother Comin' Out 3:22 9. Close - Curse of an Achin' Heart 0:34 SIDE TWO 24:23 1. Gulf Coast Blues 4:29 2. It's Right Here For You 3:03 3. Sweet Papa 5:22 4. Frankie and Johnny 4:44 5. Delia 3:57* 6. Baby, Won't Cha Please Come Home 2:48 *Chorus on Delia - Eleanor Johnson, Jackie Dietrich, Kay Giltmier, Fannie Martin, Fred Dietrich, Jim Giltmeir, Tom Martin, Johnson McRee, Jr. CREDITS Cover Design - Johnson McRee, Jr. and Willard Press Cover Photo - Ken MacSwan Liner Photos - Cyndi Young and Ken Underwood Recording - Hal Farmer and Johnson McRee, Jr. Mastering - Johnson McRee, Jr. and Don Van Gordon Annotation - Jim Gitmier Produced By Fat Cat's Jazz Records P.O. Box 458, Manassas, VA. 22110 Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Archival compact disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 50:15:00 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context FatCatJazz_169 Title A name given to the resource Alone Description An account of the resource Solo jazz recording by Jean Kittrell for Fat Cat's Jazz Records made in 1974 in Manassas, Virginia. Full liner notes, track list, and additional personnel for the track "Delia" are available in the transcription field. Creator An entity primarily responsible for making the resource Jean Kittrell Publisher An entity responsible for making the resource available Fat Cat's Jazz Records Date A point or period of time associated with an event in the lifecycle of the resource 1974 Rights Information about rights held in and over the resource For digital rights and permissions, see <a href="https://www.siue.edu/lovejoy-library/about/policies.shtml">https://www.siue.edu/lovejoy-library/about/policies.shtml</a> In copyright. <a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a> Relation A related resource Jean Kittrell Digital Collection Type The nature or genre of the resource Sound Jean Kittrell https://digitallis.isg.siue.edu/files/original/6f6fca9727c9aba813bb16c99ba6ee36.mp3 4db380620110a3b70e8ca15bf5d5e6ad Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Clip from track 8, "I Would Do Anything For You," on the St. Louis Rivermen album, "Out of the Gate." https://digitallis.isg.siue.edu/files/original/54fd3af5d422c556fcf64af02de1c56b.mp3 f41ec59d694db7c7600d8e7d979f7db7 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Clip from track 11, "Downhearted Blues," on the St. Louis Rivermen album, "Out of the Gate." https://digitallis.isg.siue.edu/files/original/a7269d925d7bf8a93bd94a0277f05895.mp3 72746df2e661e047049debe1509de89d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Clip from track 12, "Over in the Gloryland," from the St. Louis Rivermen album, "Out of the Gate." Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jean Kittrell Digital Collection Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Transcription Any written text transcribed from a sound [Back cover] 1. CAMPTOWN RACES (Stephen Foster, 1850) 3:31 2. LOVE ME WITH A FEELING (Sidney Bechet) 2:57 3. JUST A LITTLE WHILE TO STAY HERE (gospel hymn) 4:06 4. MY HANDY MAN AIN'T HANDY 4:00 5. LOUISIANA (J.C. Johnson, Andy Razar, Bob Schafer) 4:50 6. I CAN'T GET STARTED (Ira Gershwin, Vernon Duke, 1936) 3:48 7. EMPEROR NORTON'S HUNCH 3:38 8. I WOULD DO ANYTHING FOR YOU (Alex Hill, Bob Williams, Claude Hopkins, 1932) 4:13 9. SI TU VOIS MA MERE (Sidney Bechet) 3:27 10. SWEETHEARTS ON PARADE (Carmen Lombardo, Charles Newman, 1928) 3:47 11. DOWNHEARTED BLUES (Alberta Hunter, 1923) 4:44 12. OVER IN THE GLORYLAND (gospel hymn) 3:01 13. CAROLINA IN THE MORNING (Walter Donaldson, Gus Kahn, 1922) 3:17 14. I FOUND A NEW BABY (Jack Palmer, Spencer Williams, 1926) 3:48 Total Playing Time 54:00 For additional CDs, cassettes, or bookings please contact: JEAN KITTRELL Manufactured by: Music Masters, St. Louis, Missouri, USA MM-34929-2 [Inside jacket] The cornet's opening Call to the Post on Stephen Foster's "Camptown Races" tells you the horses will soon be OUT OF THE GATE and the race on to make this third CD by JEAN KITTRELL & THE ST. LOUIS RIVERMEN a winner. Two new members in the band - Steve Lilley on cornet and Brett Stamps on trombone - tire up the five stalwart RIVERMEN of seventeen years together, giving a keen edge of excitement to hot numbers like "Emperor Norton's Hunch" and "I Would Do Anything for You." Steve also shines as a soloist on "I Can't Get Started." Four arrangements by the drummer and valve/trombonist Don Schroeder hold an inside track with their imaginative harmonies and counterpoint: the title tune, which Don also sings two Sidney Bechet ballads - "Love Me with a Feeling" featuring clarinetist Glenn Meyer and "Si Tu Vois Ma Mere" featuring sousaphonist David "Red" Lehr and a banjo specialty for John Becker, "Nothing Could Be Finer Than to Be in Carolina in the Morning." Two gospel hymns with galloping syncopations - "Over in the Gloryland" and "Just a Little While to Stay Here" - hold their own with the marching trot of "Sweethearts on Parade" and the smooth swinging gait of "Louisiana." No RIVERMEN race would be complete without some realistic songs by Jean Kittrell to keep the runners on track - "My Handy Man Ain't Handy No More" and "Downhearted Blues." There's a neck to neck finish with the clarinet and drums battling it out, and the rest of the band joining in on "I Found a New Baby." The RIVERMEN and JEAN are betting that you'll enjoy this race. If you don't - oh, well, you didn't lose too much money, did you? [Back of jacket] Jean Kittrell, piano/vocals John Becker, banjo David "Red" Lehr, sousaphone Steve Lilley, cornet Glenn Meyer, clarinet Don Schroeder, drums/valve trombone Brett Stamps, trombone Producer, Jean Kittrell Engineer, Greg Trampe Recorded at Music Masters, St. Louis, MO, May 14 and 15, 1999 Layout by Andrea Dinger at Music Masters Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Compact disc Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 54:00:00 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context SIUE_REF_CD.LA49 Title A name given to the resource Out of the Gate Description An account of the resource Jazz recording by Jean Kittrell and the St. Louis Rivermen for Music Masters. Personnel of the St. Louis Rivermen on this recording include Jean Kittrell on piano/vocals, John Becker on banjo, David "Red" Lehr on sousaphone, Steve Lilley on cornet, Glenn Meyer on clarinet, Don Schroeder on drums/valve trombone, and Brett Stamps on trombone. A full track list is available in the liner notes and cover transcription. Creator An entity primarily responsible for making the resource Jean Kittrell and the St. Louis Rivermen Publisher An entity responsible for making the resource available Music Masters Date A point or period of time associated with an event in the lifecycle of the resource 5/14-15/1999 Rights Information about rights held in and over the resource For digital rights and permissions, see <a href="https://www.siue.edu/lovejoy-library/about/policies.shtml">https://www.siue.edu/lovejoy-library/about/policies.shtml</a> In copyright. <a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a> Relation A related resource Jean Kittrell Digital Collection Type The nature or genre of the resource Sound Brett Stamps Don Schroeder Jean Kittrell John Becker Red LehrGlenn Meyer St. Louis Rivermen Steve Lilley https://digitallis.isg.siue.edu/files/original/fede4b37b13492b776203d31baf20f79.jpg a61dde4d3a0d21a933447e1b9ed2f5af https://digitallis.isg.siue.edu/files/original/4014e8633572b921966fb03db319a072.jpg 0c2c77aca48ccbb062c8ce87295faff5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jean Kittrell Digital Collection Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Text Any textual data included in the document A Day In The Life Of: Jean Kittrell Watch out! Jean moves to a fast jazz note Story and photographs by Sonja Kershaw Spending even a few hours with Jean Kittrell gives insight into a life lived fully and well. Talking to her reveals a genuine person who experiences joy and sorrow with the intensity of the fully-alive. Recording a day in her life means to become completely overwhelmed by the accomplishments of her 24 hours - and her 55 years. Kittrell has worn many and vastly different hats in her life-time - those of a housewife, mother, restaurant manager, grade-school teacher, secretary, doctor of philosophy, English professor, chairperson of the English department at SIUE, jazz pianist, nightclub singer - and some of them still hanging on her hat rack today. "My day begins anywhere between 5 and 6:30 a.m.," she says, "depending on how late I stayed up the night before. And first of all, I do my exercises." Evidences of the seriousness of her exercise program are all over the living room of her small, artfully remodeled home in a secluded, wooded section of Edwardsville. A Schwin exercise bicycle with a reading stand holding the current Atlantic magazine stands opposite the piano. Barbells - a three-pound set and a six-pound set - are scattered over the soft white rug. One is used as a door-stop. The physical fitness manual of the U.S. Airforce on the cocktail table is open to her favorite exercises. "I do all of that every morning," she say and demonstrates 'till she is out of breath. "And I jog, too. All around the rooms. And the table. And in place right here. Still in my pajamas." She throws the phrase over her shoulder while doing a combination jog and goose-step on her "track" of three interlocking rooms. Then she has breakfast, a cup of coffee and a soft-boiled egg and toast. ("Always a soft-boiled egg.") She fills her thermos with coffee to take to the office - she hardly ever has lunch - and leaves for SIUE. By 8 a.m., she enters the office of the English department on the third floor of the Peck building. Her office, past that of the two secretaries, affords a beautiful view of the campus, but Kittrell rarely has time to glance out the large corner windows that are graced by plants. "Sometimes I'm finished by 5 p.m., but quite often I'm still here at 8 or 9 or 10, and sometimes even 11," she says and smiles. "And sometimes on the weekends, too." Besides the duties of the position of chairperson for the English department, to which she was recently appointed for one year, then elected for an additional three-year term, she has taught four English classes in the last three quarters. "My life usually goes in 10-year cycles. I taught at Carbondale for 10 years. Another 10 years here. After four years of this, who knows..." She shrugs her shoulders and smiles in happy anticipation. At least twice a week throughout the year and three times in the summer, Kittrell leaves her office on time. Between 5 and 7 p.m., she changes from her business suit to casual slacks and a loose shirt her pulled-back hair now relaxes in ringlets around her pleasant, chubby face. Barefoot and without her wire-rimmed glasses, she looks like a suburban housewife. A glance at her mail - no letter today from daughter Camille - and she fixes a quick dinner. "I love Greek food," Kittrell says. "When I have time, I fix chicken with olives. It's good and quick to make for a bunch of people." Today, Thursday, she has barely enough time to change into what she calls her "fringe" before leaving her house at 7 p.m. At 8 p.m., she sits at the piano on the riverboat-restaurant, the Robert E. Lee, which is anchored on the Mississippi at the foot of the Arch. She plays there with three different groups two nights a week throughtout the year, three nights in the summer, from 8 p.m. until midnight, and Saturdays until 1 a.m. Today, the Combo is rounded out by Bill Houston, who quietly concentrates on the solid sounds of his bass guitar, and John Becker with his banjo, who tosses his charm alternately at his listeners and at Kittrell, occasionally bantering duets or verbal asides. Becker and Houston are both in their 60's. The sound is jazz, and sometimes a little bit blues. The songs are nostalgic or barber shop melodies. "Second-hand Rose. They call me second-hand Rose," Kittrell belts. Her fingers, trained singe age five in classical music, fly assuredly over the keys of the piano. "I'm wearing second-hand clothes," she continues the song. Her dress tonight - golden, cascading fringes hugging her ample curves, the skirt split all the way up to the piano bench - is definitely not second-hand. ("When time allowed, I used to make my own costumes.") The fringes dance with every movement. Mainly Kittrell smiles. It is not a "show-biz" smile. Her eyes smile. The smile comes from within. She smiles because she enjoys herself, her music, the people, the atmosphere. "I just love the river and the boats coming by," Kittrell says. In private life, on her private stage, her smile is the dominant feature, too. Her smiles flashes in SIUE meetings, in classes, in the National grocery store, or at Jack's Phillips 66 gas station. She smiles at life and people because Jean Kittrell loves life and people. It is impossible to spend a day with Jean Kittrell without getting a glimpse into her eventful past. The story of the successful "golden girl" is a surface view Jean has depth of character. She has worked hard to achieve her academic success. She survived two divorces, the deaths of her parents and brother and the suicide of one of her daughters, committed after four years of mental illness. She neither shuns these subjects nor dwells on their tragic aspects. "My brother was killed in a B-17 over Germany. It just about destroyed my parents. He was such a perfect son for my father. He wanted to step into the family business. He was good with figures, handsome. He had just about everything going for him." She paused in memory, then continued. "But, you know, I really admired my parents after that. They could have turned to me. They could have smothered me with protectiveness. They didn't do that. "My mother spent the last four years of her life with me. Came up from Alabama. Brought a lot of her bushes and plants from the old place. See, they are still growing here. She stayed the first year with me, then three years in the house bought next door. She made me a quilt." Jean leads the way into what she calls her "family room." It is a bedroom. The quilt is spread on the brass bed. Pictures of her daughters and her family, her own baby pictures, some in gilt frames and the stiff poses of yester-year's photography, grace the walls. "The patches are from her clothes, from my father's shirts. See, here is a label still from his vest lining." Jean's hands lovingly stroke the material. "I wish I had known at the time what she was doing," Jean said. "She left me a legacy. It took her about the whole year before she had her heart-attack." She talks only of her first husband, with whom she said she had "12 years of good married life." He introduced her to jazz. "I was married for seven years before I even knew he played the horn," she said. He was a university professor with a PhD in economics. "When he wanted to play in public, I said, 'Okay, I'll play with you 'till you find a professional accompanist.'" She broke into laughter. Her only experience in vocal music had been in church, where she sang solos and in the choir. :We had some good times with our music. The three-week engagement in Duesseldorf, Germany, was marvelous. The German people in 1959 were so much more receptive to jazz than Americans at that time. She turns to look at some pictures her daughter Rebecca painted. "Flowers. They look Japanese, don't they? I remember Monther's Day. Rebecca had put flowers forme in every room of the house. The whole house. Filled with flowers." She spreads her arms to embrace house and memory. Her eyes sparkle, moist with emotion. "She had not bought them," she continues with a wide smile. "She picked them up behind the nursery where they put the discards that aren't quite good enough to sell anymore. They were still good flowers, you understand, just not good enough to sell. Now, that is love. Not a name signed under a bought card. The whole house full of flowers! It was lovely." Jean does not put the grief over Rebecca's mental illness and suicide into words. "People don't know about mental illness. I didn't either, before. They think it's something you can control. They think, 'Snap out of it!' 'Why can't you cope?'" Taking the example that her parents set after her brother's death to heart, Jean does not cling to her daughter Camille, the only family she has left. Camille, now 27, is a journalist and film critic for the Sojourner, a quarterly magazine in Boston. Despite the distance, they are very close and meet several times a year next month for a vacation in Florida. "After Camille had worked so hard at Washington University - she made Phi Beta Kappa while working 20 hours a week in addition to her studying - she thought she needed to rest her braine for awhile. So she worked as a waitress for a year. She found out she needed her brain as a waitress, too." Jean shook her head in amusement and laughed. "Well, she saved her money," she continued, "and went on a journey around the world. She spent $4,000 in nine months for transportation, food and board. She made friends everywhere and stayed with them for awhile, then moved on. She really loved Thailand. It must be beautiful. In Jamaica she lived off the land for three months. Climbed trees. For coconuts, you know. There were other young people, in fact, an international set, living off the land in the same way. "She still does adventurous things. Her is her latest picture. I would've had a fit if I had known." The snapshot shows a tiny spread-eagled figure floating among the clouds from a colorful parachute. The love which Rebecca expressed with a houseful of flowers on Monther's Day comes from Camille in a college essay that fell out of her writing portfolio. "You may read it," Jean says, "but don't quote from it." The essay was written for a school writing assignment. It described Jean in a character profile. Despite its factual, unemotional journalistic style, it is in content a love poem. Only near the end, when describing Jean's strength at the funeral of Camille's sister, does the author admit that "Jean" is her mother. "I believe some people are born lucky," Jean says. "I was lucky. Am lucky. Lucky to have been born into a warm family. Lucky to have had so much love." She glances at a few lines of Camille's essay, and her eyes brim. "I haven't read that in awhile." She blinks. "I told you how lucky I am. "Now you see." Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Newspaper Article Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context JMK_2015_6_27_0001 Title A name given to the resource J-Magazine Day in the Life of Jean Kittrell Article, August 1983 Subject The topic of the resource Kittrell, Jean Description An account of the resource Article written by Sonja Kershaw for J-Magazine about Jean Kittrell's life as an English professor at Southern Illinois University Edwardsville by day and jazz pianist and vocalist in St. Louis by night. The article takes readers through a typical day of Kittrell in 1983 as well as her background and family life. Article is printed on pages 10 and 11 of the August 1983 issue of J-Magazine, a former publication of Southern Illinois University Edwardsville. Language A language of the resource English Creator An entity primarily responsible for making the resource Kershaw, Sonja Publisher An entity responsible for making the resource available Southern Illinois University Edwardsville Date A point or period of time associated with an event in the lifecycle of the resource 08/01/1983 Rights Information about rights held in and over the resource For digital rights and permissions, see <a href="https://www.siue.edu/lovejoy-library/about/policies.shtml">https://www.siue.edu/lovejoy-library/about/policies.shtml</a> In copyright. <a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a> Relation A related resource Jean Kittrell Digital Collection Type The nature or genre of the resource Text J-Magazine Jean Kittrell Sonja Kershaw https://digitallis.isg.siue.edu/files/original/5f2fcb2009e84b484f18280a3153166c.jpg ac4ba3fb756af42906787d4ff0380ce6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jean Kittrell Digital Collection Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Materials Plastic, cardboard, various fabrics, paper, aluminum Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context JMK_FESTIVAL_BADGES Title A name given to the resource Collection of Jazz Performance Badges and Buttons, Undated Description An account of the resource A large black piece of velveteen cloth covered with badges, buttons, and pins from Jean Kittrell's many jazz festival performances, as well as a few non-jazz related buttons. The buttons and badges are layered over each other, evidence of a collection that started small and grew over the years with Jean's career. In her photo elicitation interview, Jean notes that she kept this cloth, which she refers to as a scarf, draped on one side of her home piano, adding to it until she had no more room. In the photo, additional white material was used to lay out the festival badges and attached lanyards which would not fit. Creator An entity primarily responsible for making the resource Kittrell, Jean Rights Information about rights held in and over the resource For digital rights and permissions, see <a href="https://www.siue.edu/lovejoy-library/about/policies.shtml">https://www.siue.edu/lovejoy-library/about/policies.shtml</a> In copyright. <a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a> Relation A related resource Jean Kittrell Digital Collection Type The nature or genre of the resource Physical Object Date A point or period of time associated with an event in the lifecycle of the resource Undated Jean Kittrell https://digitallis.isg.siue.edu/files/original/502fbcab6217c045c5d1ccf9244afbd5.jpg b8a1d9a117352efec7ff35e574448c3d https://digitallis.isg.siue.edu/files/original/d5e7286ab89acb127be2dcf79f031196.jpg 0796fa2ea78f014d06d637d92e6cd47f https://digitallis.isg.siue.edu/files/original/b72dfe4270160d7248c01705f8388965.jpg 94ea27484b193529abe750f4ec9899cf https://digitallis.isg.siue.edu/files/original/85a6b411c0f72867ddd8a20690e90b65.jpg c6006c2885ceb71d2a9226e1a756a61c https://digitallis.isg.siue.edu/files/original/651da10eb7e4743a6fa3aef1866b4812.jpg f139c92d0f9f5610a9943dd5357aeec0 https://digitallis.isg.siue.edu/files/original/20f7d1fc9cc5ed95b8c9aab1235c0afe.jpg 1b3323c7e5a7e48cce7d453cf676c906 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jean Kittrell Digital Collection Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Physical Dimensions The actual physical size of the original image 42 in. Materials Sequins, various fabrics, plastic Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context JMK_BLACK_DRESS Title A name given to the resource Self-Designed Black Fringe and Sequin Dress, Undated Description An account of the resource This black fringe and sequin dress was one of many Jean designed for her performances, and was also one of her personal favorites. It is a mock wrap-around style, featuring her signature fringe on one side in black and black sequins on the other. The fringe side is sleeveless while the sequin side (the wearer's right) has a full long sleeve cuffed with a sparkling beaded cuff. The neckline, which wraps around and continues down to meet four silver jeweled buttons, is made of long silver glass beads with additional white gem trim, in total about an inch in width. The dress has a black metal zipper in the back and would fall to just past knee length. This is also the dress Jean wears in photo JMK_2017_7_8_0001, "Jean in Self-Designed Dress, 2002" also in the Jean Kittrell Digital Collection. Creator An entity primarily responsible for making the resource Kittrell, Jean Rights Information about rights held in and over the resource For digital rights and permissions, see <a href="https://www.siue.edu/lovejoy-library/about/policies.shtml">https://www.siue.edu/lovejoy-library/about/policies.shtml</a> In copyright. <a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a> Relation A related resource Jean Kittrell Digital Collection Type The nature or genre of the resource Physical Object Date A point or period of time associated with an event in the lifecycle of the resource Undated Fringe Dress Jean Kittrell https://digitallis.isg.siue.edu/files/original/c55503047baa2876514ed199b6ba1971.jpg 2cfc81b4d8d5bf851c976f665f9b7293 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jean Kittrell Digital Collection Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Text Any textual data included in the document Rivermen, Hamilton Ohio, Sun. Sept 25, 1994 SET I 60 minutes Power mini-set: 1. Chanticleer C/Eb 2. By and By F 3. K-VCL___Oh Daddy Bb 4. Mandy F Talk, introduce band, mention tapes, CDs, videos, call for requests in ou third set--written down please! 5. Banjo feature 6. When I Grow Too Old to Dream 7. K-VCL___Downhearted Blues Bb 8. K-VCL___Ain't Misbehaving/Keeing out of Mischief F 9. Bugle Boy March F/Bb trio 10. You Are My Sunshine Bass starts in Eb 11. Dueling Banjos 12. Dans Les Rues d'Antibes SET II 45 minutes 1. Margie F 2. Yellow Dog Blues Bb/Eb 3. K-VCL__Handy Man 4. Tishomingo Blues Bb 5. 7 Come 11 6. Creole Love Call 7. K-VCL__ 8. K-VCL__ 9. Ballad & Tiger Rag SET III 1. Oh Baby F 2. St. Louis Blues C K&B VCL 3. I Would Do Anything for You Eb 4. Zing F 5. Peoria Bb/Dm verse 6. Riverboat Shuffle Gm REQUESTS: 4. Angry-Hamilton I want a Little Girl 3. Closer Walk 2. Row of W/Sq- 5. Just a Little Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Set list Physical Dimensions The actual physical size of the original image 8.5 x 11 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context JMK_2015_6_3_0003 Title A name given to the resource Hamilton, Ohio 1994 Set List Description An account of the resource Typed set list for St. Louis Rivermen performance at the Hamiltonian Hotel in Hamilton, Ohio on Sunday, September 25, 1994. The set list is divided into three parts with numbered lists of songs for each set and blank spots for songs decided after sheet was printed. These, as well as a requests list for the third set, are written in blue ink. Language A language of the resource English Creator An entity primarily responsible for making the resource Kittrell, Jean Date A point or period of time associated with an event in the lifecycle of the resource 09/25/1994 Rights Information about rights held in and over the resource For digital rights and permissions, see <a href="https://www.siue.edu/lovejoy-library/about/policies.shtml">https://www.siue.edu/lovejoy-library/about/policies.shtml</a> In copyright. <a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a> Relation A related resource Jean Kittrell Digital Collection Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Hamilton, Ohio Type The nature or genre of the resource Text Hamilton, Ohio Jean Kittrell Little Chicago Jazz Society St. Louis Rivermen The Hamiltonian Hotel https://digitallis.isg.siue.edu/files/original/55ca21c2b16d10c936c44852acfe5d73.jpg b668677769a27f93707fffb91e47c0b5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jean Kittrell Digital Collection Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Text Any textual data included in the document Jean Kittrell and St. Louis Rivermen Equipment other than sound: 1. Stage - at least 12' deep x 20' wide depending on how big the piano is. 2. Piano - tuned and in good playing condition with bench or stool. 3. Straight chair with back but NO ARMS for banjoist. 4. Bar sstool 3' to 4' high for sousaphonist. 5. Piano bench regular height - about 22" Sound Equipment and Stage Plot: 1. Mike amplification for piano with appropriate mike stand. (I leave the piano amplifications to you. One or two pressure zone microphones (PZM) work well for the piano.) 2. Sousaphonist will bring his own cordless Shure system, so he needs no mike or mike stand, but he will require an input into the amplified. He has both high and low impedance connectors. 3. 5 additional mikes 1 - pianist vocal 1 - banjo 1 - clarinet 1 - cornet 1 - trombone 4. 5 mike stands: 2 with boom arm - pianist's vocal, and banjo 3 regular stands 5. 2 monitors 6. Mike and monitor layout: [diagram] (a) pianist's vocal mike on stand with boom arm (b) banjoist's mike on stand with boom arm (c) clarinet mike with stand (d) cornet mike with stand (e) trombone mike with stand (f) 2 monitors 7. We can work with one less mike if necessary by placing the cornet and trombone on the same mike. We can also work without the monitors if necessary. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Typed document Physical Dimensions The actual physical size of the original image 8.5 x 11 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context JMK_2015_6_22_0001 Title A name given to the resource Sound/Stage Layout for St. Louis Rivermen, Undated Description An account of the resource Typed list of equipment and stage plot requirements for Jean Kittrell and the St. Louis Rivermen, including a sketched stage layout for microphone and monitor positioning. There are some handwritten additions as well. This and other similar documents were part of Jean Kittrell's process of performance planning, created in collaboration with the rest of her band. Language A language of the resource English Creator An entity primarily responsible for making the resource Kittrell, Jean Date A point or period of time associated with an event in the lifecycle of the resource Undated Rights Information about rights held in and over the resource For digital rights and permissions, see <a href="https://www.siue.edu/lovejoy-library/about/policies.shtml">https://www.siue.edu/lovejoy-library/about/policies.shtml</a> In copyright. <a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a> Relation A related resource Jean Kittrell Digital Collection Type The nature or genre of the resource Text Jean Kittrell St. Louis Rivermen