3 10 650 https://digitallis.isg.siue.edu/files/original/3da0f9beb915c626ec8ff6fc689d1b9d.jpg c57a127277910e36d0c9851b84ab73ac 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 Jazz Incredibles Sound and Stage Plot Stage Plot and Equipment: 1. Stage--at least 8' deep x 16' wide. Width may be less depending on size of piano. 2. Piano--tuned and in good playing condition. A 44" studio piano works well. 3. Piano bench or stool. If piano is on casters, then bench or stool must be at proper height to compensate for added height of the keyboard due to the casters. A telephone book (one 3" thick or two 2" thick) and a cushion for the pianist to sit on would probably make the necessary height adjustment. 4. Straight chair for the banjoist--with a back. 5. Stage plot: [diagram] Sound Equipment: 1. Amplification for the piano--I don't know the number of mikes and mikestands you will use for the piano. When using my own sound system, I use a PZM (pressure zone microphone) taped to the piano's sound board. 2. 3 additional mikes: 1 - pianist's vocals 1 - banjoist's vocals 1 - banjo 3. In addition to mike input into the amplifier for Items 1 and 2 above, an additional mike input is required for the sousaphonist, who will bring his own Shure cordless system. He has both high and low impedance connectors. 4. 3 mike stands: 3 with boom arm 5. Mike and monitor layout: [diagram] (a) pianist's vocal mike on stand with boom arm. (b) banjoist's 2 mikes, each on stand with boom arm. 1 mike for vocals 1 mike for banjo. (c) 2 monitors We can do without monitors if we're really close to each other. We don't like to be spread out on the stage. 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_0010 Title A name given to the resource Sound/Stage Layout for 3-piece Jazz Incredibles, Undated Description An account of the resource Typed list of equipment and stage plot requirements for Jazz Incredibles trio, including a sketched stage layout for microphone and monitor positioning. There are some handwritten additions as well. 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 Jazz Incredibles Jean Kittrell https://digitallis.isg.siue.edu/files/original/5e6c32b7970484a675f06f995078b58d.jpg e25189c72d256fcc060f544243b31a08 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 Jazz Incredibles Sound and Stage Plot Stage Plot and Equipment: 1. Stage--at least 8' deep x 16' wide. Width may be less depending on size of piano. 2. Piano--tuned and in good playing condition. A 44" studio piano works well. 3. Piano bench or stool. If piano is on casters, then bench or stool must be at proper height to compensate for added height of the keyboard due to the casters. A telephone book (one 3" thick or two 2" thick) and a cushion for the pianist to sit on would probably make the necessary height adjustment. 4. Straight chair for the banjoist--with a back. 5. Stage plot: [diagram] Sound Equipment: 1. Amplification for the piano--I don't know the number of mikes and mikestands you will use for the piano. When using my own sound system, I use a PZM (pressure zone microphone) taped to the piano's sound board. 2. 3 additional mikes: 1 - pianist's vocals 1 - clarinet 1 - banjo 3. In addition to mike input into the amplifier for Items 1 and 2 above, an additional mike input is required for the sousaphonist, who will bring his own Shure cordless system. He has both high and low impedance connectors. 4. 3 mike stands: 3 with boom arm--OR 2 with boom arm and 1 with gooseneck 5. Mike and monitor layout: [diagram] (a) pianist's vocal mike on stand with boom arm. (b) banjoist's mike, each stand with gooseneck or boom arm. (c) 2 monitors (d) clarinet mike on stand We can do without monitors if we're really close to each other. We don't like to be spread out across the stage. 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_0011 Title A name given to the resource Sound/Stage Layout for 4-piece Jazz Incredibles, Undated Description An account of the resource Typed list of equipment and stage plot requirements for four-piece Jazz Incredibles, including a sketched stage layout for microphone and monitor positioning. There are some handwritten additions as well. 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 Jazz Incredibles Jean Kittrell https://digitallis.isg.siue.edu/files/original/d5a9e63b57da0663126762af40378f03.jpg a281a698086369a36c6aa7fc79a85e60 https://digitallis.isg.siue.edu/files/original/01727273572be234a87efd4865aeffb2.jpg 806cc76a2407fb4a1f1e23eba7df6920 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 Side one reads "Ragtime Blues Spirituals Vaudeville Jazz Jean Kittrell JAZZ ENTERTAINER Barrelhouse Piano & Vocals 1104 Florida Street SOLO ENTERTAINMENTS Edwardsville, Illinois 62025 DUOS TRIOS Home: (618) 656-5696 TRADITIONAL JAZZ BANDS" Side two reads "SIUE Southern Illinois University at Edwardsville Edwardsville, Illinois 62026-1001 Department of English Language and Literature Jean Kittrell Associate Professor Phone: (618) 692-2060" Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Business card Physical Dimensions The actual physical size of the original image 3.5 x 2 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_7_78_0009 Title A name given to the resource Double-Sided Business Card of Jean Kittrell, Undated Subject The topic of the resource Kittrell, Jean Description An account of the resource Jean Kittrell's double-sided business card which features Jean's jazz performance business on one side and her associate professorship with Southern Illinois University Edwardsville on the other. The card describes the incredible variety of music Kittrell is able to perform as well as the various ensembles she leads and can work with, including solo performances. Her specialty, as noted under the profession of "Jazz Entertainer" is barrelhouse piano and vocals. While the exact date of the business card is unknown, the reverse side, which bears Southern Illinois University Edwardsville's logo and information for the Department of English Language and Literature gives Kittrell's title as associate professor, rather than chairperson of the department. 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 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Edwardsville, Illinois Type The nature or genre of the resource Text Jean Kittrell https://digitallis.isg.siue.edu/files/original/d9595976e6bae65a8ac41ec246a3fd84.jpg 5a9fda945ed4cd3de3530bb1b5223c17 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 11004 Florida Stree, Edwardsville, Illinois 62025-1421 Home 618/656-5696 Fax 618/656-5728 Email: kittrellj@sbcglobal.net www.jeankittrell.com Jass Incredibles - Incredible Music Bob Grimm, Noel Kaletsky, Jean Kittrell & David "Red" Lehr St. Louis Rivermen seven astounding musical stars Old St. Louis Levee Band a swinging five-piece band Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Business card Physical Dimensions The actual physical size of the original image 3.5 x 2 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_7_78_0017 Title A name given to the resource Single-Sided Business Card of Jean Kittrell, Undated Subject The topic of the resource Kittrell, Jean Description An account of the resource Jean Kittrell's single-sided business cards which features Jean's role as leader of the Jazz Incredibles, St. Louis Rivermen, and Old St. Louis Levee Band. This business card is from later in Kittrell's career when the logos and identities of her three groups were clearly defined, including the Jazz Incredibles regular set-up as a four piece ensemble. 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 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Edwardsville, Illinois Type The nature or genre of the resource Text Jazz Incredibles Jean Kittrell Old St. Louis Levee Band St. Louis Rivermen https://digitallis.isg.siue.edu/files/original/2f752e69022d3f4d76e0def21828e318.jpg 9841a0a02f52bc599e41af317058b2b0 https://digitallis.isg.siue.edu/files/original/f56847f9787b0ad3cf6918ba8668d25c.jpg d4a43d60290bbd6836eb2828dfb39f41 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 STL Jazz Club 2007 OLD ST. LOUIS LEVEE BAND Set A. Swansea (2007) [Insert features where desired. Look at the alternates. You may decide you prefer some of them.] OH, BABY, (F) Owen Murphy, 1928. Recorded by Eddie Condon & Gene Krupathat same year. IT DON'T MEAN A THING, (G min/C min) Duke Ellington & Irving Mills, 1932. Note Mills Bros. recording. MY HONEY'S LOVIN' ARMS, (F/Ab) Herman Ruby & Joe Beyer, 1922. Original Memphis Five with Phil Napoleon recorded it, among others. DOCTOR JAZZ, (Eb) SI TU VOIS, (Bb) Sid Bechet I HAD SOMEONE ELSE, (F) BLACK & BLUE, (A min) Fats Waller, Andy Razaf 1929. 12TH ST. RAG (Banjo) Euday L. Bowman, 1914. Louis recorded it 1927, Hot 7. DARKNESS ON THE DELTA, (C) PEORIA, (Bb/D min.) LYDA ROSE, (C?) OVER IN THE GLORYLAND, (Bb) OLD ST. LOUIS LEVEE BAND Set B, Swansea (2007) ROYAL GARDEN BLUES, (F/Bb) EXACTLY LIKE YOU, (C) BIG BUTTER & EGG MAN, (Bb) Louis Armstrong & Percy Venable, 1926. Hot Five recorded 1926 with May Alix on vocal. LOVE ME WITH A FEELING, (Bb) JAZZ BAND BALL, (G min/Bb) TISHOMINGO, (Bb) Spencer Williams, 1917. WEARY BLUES, Artie Matthews: LYRICS BY Mort Green, George Kates, 1915. Hot 7 1927. AINT' MISBEHAVIN', (F) IF I HAD YOU, (Bb) ORY'S CREOLE, (F/Bb) If Pat is in the mood to do it. ALAMABY BOUND, banjo DeSylva, Green, Henderson, 1924. Introduced [begin page 2] by Al Jolson. NOBODY'S SWEETHEART NOW, (Eb) MARGIE, (F) THAT'S A PLENTY OLD ST. LOUIS LEVEE BAND Set C, Swansea (2007) MARYLAND, MY MARYLAND, (F) LOUISIANA, (F) CONEY ISLAND WASHBOARD, (Bb) CLARINET MARMALADE, (F) UP A LAZY RIVER (F) SOUTH, (Eb) ST. LOUIS BLUES, (G) WOLVERINE BLUES, (Bb) BIRTH OF THE BLUES, (Bb) ANGRY, (F? Ab?) CARELESS LOVE, (F) SWING THAT MUSIC, (Bb) ALTERNATES: South Rampart Street Cakewalkin' Babies (Bb) Darktown Strutters Ball Cabaret, (F) San, (F) I Found A New Baby, (F) Fidgety Feet, (Bb/Eb/Ab) Sweet GA Brown, Jean? I Ain't Gonna Give Nobody None... Sheik of Araby, (Bb) Home, (Eb) Sine, (Eb) Old Rockin' Chair, (Eb) Lulu's Back..., (Eb) Deed I Do, (C) Linger A While, (F) What A Wonderful World, (F), Pat vocal Louisiana Fairy Tale, (Bb) 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_7_93_0043 Title A name given to the resource Set List for 2007 Old St. Louis Levee Band Swansea Performance Description An account of the resource Typed set list for 2007 Old St. Louis Levee Band performance in Swansea, Illinois sponsored by the St. Louis Jazz Club. This two-page document is divided into three sets followed by a list of alternate songs for band members to consider, and provides a look into the attention to detail and organization Jean Kittrell had as a band leader when planning for a performance. Along with the key(s) of each song, context information is provided about the inception and performance history of many, acting as a script for Kittrell and other band members to give their audience a history lesson along with the performance. 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 2007 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 Swansea, Illinois Type The nature or genre of the resource Text Old St. Louis Levee Band St. Louis Jazz Club Swansea, Illinois https://digitallis.isg.siue.edu/files/original/d8b6d39b99935fe3d8a095225aa71fae.jpg 6395eeb471366498b19d3fabfe9cb218 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 CHILDREN'S CONCERT, MAR 24, [1]995, EUREKA, CA (REDWOOD FESTIVAL) 1. Theme for SESAME STREET 2. Theme for Barney 3. Introduce each instrument in band: Sousaphone, Trombone, Cornet. All of these three are in the BRASS FAMILY Let's hear a rendition by our brass section-- DOWN BY THE RIVERSIDE: Valve tromb, slide tromb, sousaphone play FIRST STRAIN with a cut-off and add cornet for ritarded ending. Individual instruments continued: Clarinet, two string instruments--banjo & piano, and drums 4. YOU ARE MY SUNSHINE 5. DANS LES RUES D'ANTIBES 6. CHARLESTON in Bb Don counts off beat/ENS/SOLOS: Piano + sousaphone/cornet + clarinet/ENS out with "charleston" ending 7. BALLIN' THE JACK Bb Use last for bars as INTO/ENS/VCL DAN/SOLOS: Clar, Trbn/ENS out with tag ending 8. ST. LOUIS BLUES in C 9. OLD MACDONALD HAD A FARM 10. SAINTS in F. First CHO use call-and-response--cornet--ENS Second chorus BAND VCL with Audience singing responses SOLOS AND ENS TO MARCH AUDIENCE OUT. 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_7_93_0056 Title A name given to the resource Children's Concert Program or Set List, 1995 Description An account of the resource Set list/plan for children's concert by the St. Louis Rivermen in Eureka, California. This is a single-page typed document for a children's concert taking place on March 24, 1995 at the Redwood Festival. This set list also includes a rough script or outline to the teaching portion of the concert, integrated into the performance. 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 1995 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 Eureka, California Type The nature or genre of the resource Text Children's Concert Eureka, California Redwood Festival St. Louis Rivermen https://digitallis.isg.siue.edu/files/original/ad63d9b612fd502da2debe364b7438ac.jpg be210d80afb28a0d579bdf64686270ef https://digitallis.isg.siue.edu/files/original/d0df77aba26495368556e78557317264.jpg 0dda167def3b508a9f3fff913ec805ff https://digitallis.isg.siue.edu/files/original/69ee6d427dfce1847d7ced973c4fc9eb.jpg c6536ff87c96f9729c5a1c6ecc625126 https://digitallis.isg.siue.edu/files/original/55eb11340218adad92bfe316c216e064.jpg e2688a1b695d8c979c2ab1385ed688f7 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 [Transcription attached as text-searchable PDF] 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_7_93_0057 Title A name given to the resource Children's Concert Program or Set List, 2003 Description An account of the resource Set list/plan for children's concert by the St. Louis Rivermen in Eureka, California. This is a four-page printed document for the "Children's Program" at the Eureka Jazz Festival on March 28, 2003. This set list also includes a rough script or outline to the teaching portion of the concert, integrated into the performance. The top right of the four-page document reads, "Red," showing that each band member got their own copy for the performance with this one belonging to David "Red" Lehr. 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 2003 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 Eureka, California Type The nature or genre of the resource Text Children's Concert Eureka Jazz Festival Eureka, California St. Louis Rivermen https://digitallis.isg.siue.edu/files/original/14c8b3b20080a279b77b6630647a7fc5.pdf 0d47bac7b7b9c26e737aad5a45173419 PDF Text Text THE BLACK ROOTS OF OUR AMERICAN MUSIC These comments, definitions, and the diagram are based on my experience as a jazz musician during size of the last twelve years. They owe much to the work of Gunther Schuller (Early Jazz), Paul Oliver (The Story of the Blues), and Tony Luckenback (“Negro Music in America”—a radio series), and to many long and instructive hours of conversation and music with Tony and his wife, Jane P. Luckenback, who is not only the best cook in southern Illinois but also the artist who created the cover design. Jean Kittrell Southern Illinois University September 1971 COPYRIGHT 1971 ETHEL JEAN KITTRELL ALL RIGHTS RESERVED �The dates of events relevant to the development of Afro-American folk music, read in conjunction with the diagram, indicate approximate times (exact dates seldom exist in folk music) of development of various forms. Double-lined boxes indicate European musical forms brought to America by whites. The black bordered box indicated the African musical form brought here by enslaved blacks. Checkered boxes indicate musical forms created by blacks in America. Plain boxes indicate forms created by whites in America. [see diagram] 1500 1526-first settlement in America to contain Negro slaves was a Spanish settlement in what is now South Carolina 1600 1607-first English settlement, Jamestown, Virginia 1700 1718-New Orleans founded 1740-Baptist and Methodist churches established in nearly all colonies 1769-traveling variety show 1775-1783-Revolutionary war 1800 -white camp meetings and revivals 1808-law against importation of slaves passed; the practice continued illegally until 1865 1840-minstrels by whites in blackface in N.Y. 1850-a little over 300 Negroes in Chicago 1861-1865-Civil War 1867-1877-Reconstruction 1871-1878-Fisk Jubilee Singers toured U.S., Europe 1877-Callender’s Colored Minstrels -Negro migrations to the North increasing rapidly 1885-String bands, spasm and jug bands flourished for next several decades. Marching brass bands, black or white, in many cities. 1888-segregation established 1890-Miss. disfranchised Negroes; La. and S. Car. 1895-followed in 1895. In 15 years 5 more Southern states limit Negroes’ rights. 1900 1909-Theater Owners Booking Agency – first Negro vaudeville chain 1920-109,000 blacks in Chicago -first recording of blues 1933-Prohibition Amendment repealed 1940-New Orleans jazz revival �A FEW COMMENTS AND DEFINITIONS BALLADS – Ballads are impersonal narratives of unusual events sung in poetic form using dialogue and repetition of words, phrases, complete lines, or refrain. The non-involvement of the singer in the story he tells is in great contrast to the subjective nature of the blues. Ballads appear early in the folk literature of nearly all countries. Scotch and English ballads were brought to America by early pioneers. This ballad tradition was continued and enriched by ballads from the southern Appalachian mountain area, from the cowboys of the western plains, and ballads featuring black heroes such as “John Henry,” “Stack-o-Lee,” “Frankie and Albert (Johnnie).” BARRELHOUSE PIANO – A blend of ragtime and blues appearing in the last decade of the 19th century. Jelly Roll Morton recalls a large number of barrelhouse piano players working around the turn of the century along the Gulf Coast from Florida to Texas. The turpentine, sawmill, and logging camps, and the levee camps for men maintaining the levees, had “barrelhouse jukes,” so named for the barrels supporting planks for a bar, where the entertainment was usually provided by a piano player. BOOGIE-WOOGIE PIANO – Blues with an ostinato (constantly repeated figure) bass usually in eighth notes, giving rise to the term—“eight-to-a-bar” music. “Boogie” parties were “house-rent” parties thrown in private apartments during the height of the prohibition era (mid-20’s to ’33) by a host with some moonshine who needed to raise money to pay the rent. He would hire a piano player and then charge admission (usually 25 cents) to the “boogie” party. The style of piano played at Chicago parties came to be designated “boogie-woogie”; in New York it was “stride piano.” A Chicago pioneer of boogie was Jimmy Yancey (1894-1951); other outstanding boogie players include Clarence “Pine Top” Smith (b.Troy, Ala., 1904-d.Chicago, 1929); Meade “Lux” Lewis (b.Louisville, 1905); and Albert Ammons (b.Chicago, 1907). Famous stride piano artists who made the scene at New York rent parties were James. P. Johnson, Fats Waller, Willie the Lion Smith. BLUES – At first a solo Negro folk music (as contrasted to the group music of the spiritual), standardized about 1920 into a 12-bar form (although there are also 8- or 16-bar blues) in 4/4/ time, consisting of three 4-bar phrases with one harmony per bar in the following set harmonic pattern: PHRASE MEASURES 1 1-4 HARMONIC PATTERN I I I I 2 5-8 IV IV I I 3 9-12 V V I I LYRICS Trouble, trouble,/ I’ve had it all my/ days INSTRUMENTAL/ RESPONSE Trouble, trouble,/ I’ve had it all my/ days INSTRUMENTAL/ RESPONSE It seems to me like trouble’s gonna/ follow me to my/ grave INSTRUMENTAL/ RESPONSE/ Within each 4-bar phrase there is a well developed call and response form (2-bar vocal call, 2-bar instrumental response). The words, and often the melody though not the harmony, of Phrase 2 usually repeat those of Phrase 1, a kind of repetition also found in the call and response form of work songs and spirituals when the call and the response are identical. Blues are intense emotional expressions of personal disasters, hard times, trouble with a man or woman, offering catharsis to the performers and listeners. Blues appeared in the rural areas of the South in the last half of the 19th century, deriving their richness of inflection, intensity of emotional expression, and modal quality from the field hollers. �COUNTRY BLUES – This earliest form of the blues is closest to the rich inflections and modal quality of the hollers. The fragmentary quality of the holler is elongated into one, two, three, or four rough melodic phrases of irregular lengths and rhythms. There is no set meter. Within each phrase the country blues singer calls out and his instrument—he usually accompanies himself—responds. His tempos are medium to slow. He uses extremely simple harmonies (usually only three chords: I, IV, V) with very few chord changes. At least three-fourths of the chords are tonic (I). As one phrase moves to another a harmonic progression to the sub-dominant (IV) or dominant (V) occurs briefly for one to three beats before a return to the tonic (I). Most often he plays the guitar to accompany himself, but sometimes uses a fiddle, harmonica, mandolin, or banjo. He might be joined by others playing washboards, kazoos, Jew’s harps, jugs, saws. CITY BLUES – By 1920 the city blues singer’s inflections were less varied than those heard in the hollers but retained the African modal qualities. The form and rhythm of the blues were also regularized to the 8-bar (earliest set form), 12-bar, and 16-bar blues forms with an unvarying 4 beats to a bar, and 4 bars to a complete phrase, which included an approximate 2-bar vocal call and 2-bar instrumental response. Variety was often introduced by dropping the repetition of words and melody in the second phrase and introducing different words and melody. The form was also often embellished with the addition of a verse, usually of 16 bars, reflecting the influence of minstrel songs and other popular songs of the 20’s on the blues. Some variations in the harmonic pattern were also introduced, the most common being the use of IV for I in Measure 2. Tempos were medium to slow. The blues singer was usually accompanied by a small ensemble (two to four pieces usually including a piano) or by a jazz band of six or seven pieces. By the mid-20’s the blues were no longer necessarily a vocal form. Jazz men often played instrumental blues without a vocalist, a practice which continues today. The greatest of the early city blues singers were Gertrude “Ma” Rainey (1886-1939, b. Columbus, Ga.), called the “Mother of the Blues,” and Bessie Smith (1898-1937, b. Chattanooga, Tenn.), called the “Empress of the Blues.” Actually Ma Rainey spanned the transition from country to city blues. Her voice inflections are closer to country blues than the smoother singing style of Bessie Smith, and she preferred to sing with guitars or jug bands—with the rhythm regularized, however, to four beats to a measure, and with four-bar phrases. Bessie Smith chose the more sophisticated accompaniments of the pianist Fletcher Henderson, leader of the first successful large jazz band, and later famous for his arrangement for Isham Jones, the Dorsey brothers, and particularly for Benny Goodman. BLUES STYLE – Many popular songs were and are played and sung in blues style—that is, with rich inflections, intense emotions, voice and instrumental give and take (though there is never as much room for instrumental response in non-blues forms), and a pulsing beat. These songs consistently retain the 4bar phrase, but the total length of the composition may vary from 32 bars (most frequently used) to 16, 20, or 24 bars. The length is always a multiple of 4 due to the 4-bar phrase. BREAK – Usually a 2-bar vocal or instrumental solo, occurring most often as the last two measures of a phrase but also at other points. The ensemble stops playing after the first beat of the measure which begins the break, and the solo instrument sings out: ENSEMBLE: [quarter note – quarter rest x3/ whole rest/] Often an entire “break chorus” is played by a solo instrument accompanied by ensemble chords on the first beat of every second measure throughout a chorus. This practice is called “stop time.” CAKEWALK – A high-stepping strutting walk or dance. Originally the cakewalk was done by blacks strutting in a dancing imitation of white slave owners, who awarded cake to the best performers. In 1840 the first black-faced white minstrel show featured cakewalks, this time with whites doing the imitation of �the blacks’ imitations of whites. To do the cakewalk was the rage for dancing Americans in the ay 90’s, as it was for the Parisiennes in the 1900’s. The swing and syncopation of the cakewalk music, played on banjos, was repeated in the piano ragtime of the 90’s. CALL AND RESPONSE FORM – An African musical form shaping most Negro work songs and spirituals and profoundly influencing blues and jazz. The leader calls with lines that may vary to a chorus which response with a fragment sung repeatedly. Sometimes the call and the response are identical. Blues may derive their second line repetition (response) of the first line (call) of the lyrics from this form. Certainly the blues singer’s call and the instrumental response within a 4-bar phrase reflect this form, as does the jazz band’s practice of single instruments call to and answering other single instruments or the ensemble. The same pattern is found where a preacher calls to his responding congregation. CHORUS – In jazz “to take a chorus” means to play or sing a solo through one entire 12- or 16-bar blues or through one chorus (usually 16 or 32 bars) of a tune which has both verse and chorus. The musician improvises solo upon the harmonic pattern of the tune with which the rhythm section of the band accompanies him. Breaks, riffs, or ensemble “stop time” (see Break) add variety to the soloist’s “ride.” “To take a chorus” is also expressed as “to take a ride.” When a musician really gets going, he may take two, three, or an indefinite number of choruses before he relinquishes the lead to someone else. HOLLER – An unaccompanied improvised solo work song of solitary occupations. Hollers were very brief intense musical expressions, in slow time and free meter, characteristically African in their inflections, part yodel with changes to falsetto and slides to lower notes, part yell, part grunt, part song, full of glissandi, bends, and vibrato. Neither the European even-tempered scale (where each half-step is exactly the same size) nor modal tunings (where the size of the half-step varies according to the mode) can provide a medium for the transcription of the immense variety of pitch inflections in the holler. Phonophotography can—a technique of taking pictures of sound. Below is a rough indication (the roughness due to my reproduction of a phonophotograph of a holler; the phonophotograph itself is exactly accurate) of how a holler might look in relation to the rigidified even-tempered scale which American and European ears since the 18th century are used to. The vertical lines represent seconds of time. The horizontal lines represent the even-tempered scale. [Phonophotograph diagram] Throughout the South hollers were sung on farms by the solitary slaves of poor whites and, after the Civil War, by Negro share croppers, in the firsts by mill hands and mule skinners, one the railroads by section bosses. The street cried of peddlers heard in the cities of the South in the 20 th century were descendants of the hollers. IMPROVISATION – Playing music extemporaneously (not memorized notes). In traditional jazz there is a set harmonic pattern over which the melody is improvised. In modern jazz there may or may not be a set harmonic pattern underlying the improvisation. JAZZ – Improvised or composed music with a swinging rhythmic syncopated pulse. TRADITIONAL JAZZ is music in 4/4 time, usually improvised, based upon a melodic composition with comparatively simple harmonies and phrases of two, four, or eight bars’ length. The harmonic patterns of the composition are repeated in the improvisations. Harmonic patterns vary from one jazz tune to another much more freely than the fairly set harmonic pattern of the blues. MODERN JAZZ may be composed or improvised music. It often changes meter from measure to measure. It may be based upon motifs without set harmonic patterns and may have extremely complex and often changing harmonies. Jazz developed around the turn of the century out of the potpourri of music in New Orleans: the �brass bands, the string bands, the orchestras of well-trained musicians, the dance music of the French quadrille, the composed rags coming down river from Missouri, the Negro folk music of the spasm and jug bands of self-taught street performers, the highly complex rhythms of the African drummers in Congo Square (heard from about 1817 through the middle 1880’s), the blues just coming to the city via Negro musicians working the vaudeville circuit or traveling alone, and the pervading background of African work songs and Negro spirituals. Ragtime influenced the music of jazz bands more than did the blues (predominantly a vocal music) until the 20’s, when the bands began playing instrumental blues, often without a vocalist at all. Two known early jazz band leaders of the mid-90’s were guitarist Charlie Galloway (born during the Civil War) and cornetist Buddy Bolden (b. 1878), who was called by Jelly Roll Morton the “great ragtime trumpet man.” Bolden and Galloway played jazz together in New Orleans, mainly rag jazz tunes, through Bolden is known to have worked out three or four blues tuned for the band. Ferdinand Joseph “Jelly Roll” Morton (b. 1885-New Orleans; d. 1941-Los Angeles), pianist extraordinaire, was one of the self-acclaimed “inventors of jazz.” A fantastic improviser, Jelly also knew how to read and notate music. According to his own statements he was composing jazz tunes as early as 1902-1906, though none of his works was published so early. Jelly made clear distinctions between the musical forms of blues, rags, and jazz. He incorporated many rag features into his jazz: multithematic structures, harmonies more complex than those of the blues, syncopated rhythms. His jazz differed from rags in its much more swinging beat and use of improvisation. Jelly developed out of the germinal form of break found in rags the jazz break and was among the first to emphasize riffs. These characteristics of Jelly’s jazz sometimes required his musicians to adhere much more closely to the music than was generally the case in improving jazz bands. In fact Jelly wrote out arrangements for his bands, the first such being published in 1915. Thus Jelly—one of the giants of jazz-was in part an exception to the general rule of traditional jazz as improvised melodies over simple harmonies. However, the tasteful use of improvisation was a vital part of his jazz piano and of his bands. In fact he had no respect for W.C. Handy’s concert band, which could not improvise blues. Jelly’s blues, as might be expected, were a more complex form than the blues structure described herein. Two of his first three known compositions were “New Orleans Blues” and “Jelly Roll Blues.” These exhibit much contrast in their variations on a single theme, offer more variety in the harmonies while retaining the basic three chord progressions of the blues, and enrich the melodies with the whole gamut of European classical music’s non-harmonic tones—the appoggiatura, passing tones, suspensions—as well as the African modal qualities resulting in flatted thirds and sevenths. The rhythms often reflect a “Spanish tinge” – a requisite for true jazz feeling, according to Jelly. MINSTRELS AND VAUDEVILLE – Minstrels were America’s first original theatrical form. They appeared in New York in 1840 as an imitation by whites of Negro music and dancing and jokes. The performers used burnt-cork to blacken their faces, sang Negro songs like “Jump Jim Crow” (which referred to a way of hopping about), and played banjos, and instrument created by the Negro in America as an adaptation of his African banjor. By 1877 all-black minstrel shows appeared, providing one way for the black to express himself and to earn an independent living. Traveling minstrel and vaudeville shows were a major employer of black blues singers, as well as of wrestlers, comics, jugglers, vaudeville teams, for several decades. Among the first blues singers working with minstrels were Ida Cox (1889-1968, born and died in Knoxville), Ma Rainey, and Bessie Smith. Husband-and-wife vaudeville teams popular on the minstrel and vaudeville circuit were Dora Carr and Cow Cow Davenport, and Butterbeans and Susie (who were married on-stage in 1917). RAGS – A composed piano music with an often syncopated right hand swinging against the left hand’s steady four beats. Rags are a fusion, originated by Negroes, of country and city, of the syncopated folk music of plantation banjos and the learned music of European harmonies, particularly as heard in marches �with three- or four thematic sections and modulating interludes. It was in Sedalia, Mo., that the first rag was published in 1897—Tom Turpin’s Harlem Rag. And it was there that the most well-known of all rags, The Maple Leaf Rag, was written in 1899 by the “King of Ragtime Composers”—Scott Joplin. Within a year ragtime swept the country. St. Louis, New Orleans, Chicago, Kansas City, New York—all were centers of ragtime piano players and publishers. Scott Joplin, James Scott, and Joseph Lamb stand out as masters among the many black and white ragtime composers. Americans at the turn of the century were dancing the cakewalk to ragtime, as were the French in Paris after 1901 when John Philip Sousa’s concert band of 64 included rags and cakewalks among its repertoire of brassy marches, overtures, and symphonic classics. Debussy, under the influence of this new American music, composed “The Golliwog’s Cake Walk” and “Minstrels.” RIFF – A rhythmic and harmonic pattern repeated throughout a chorus of half-a-chorus with very little variation either as an accompaniment to a solo or as the musical substance of the chorus. SPIRITUALS – A Negro religious folk music appearing in the early 1800’s, originally sung by the entire worshipping group in unison or two part harmony without instrumental accompaniment other than the rhythm of hand-clapping or foot stomping. They never sand a number in quite the same way twice. Instead there was a spontaneous collective improvisation coming from the deep fervor and emotion in each individual. Jazz and blues have taken much from this approach. While a few spirituals have a one-part structure (“We Are Climbing Jacob’s Ladder,” “Were You There When They Crucified My Lord”), most have a verse-refrain two-part structure. Most spirituals also have a call and response form. The leader calls out in phrases with varying words but generally unchanging melody to a chorus which responds with generally unvarying words and melody. The majority of spirituals are sung with a lively, highly rhythmic swinging beat: these are the jubilee songs. Others, having long sustained phrases, are sung in slow tempos and are usually laments. On concert tour from 1871 to 1878 the Fisk Jubilee Singers introduced most of the U.S. and Europe to spirituals, though in a hybrid form related as much to European traditions of harmony, set meter, and Anglo-Protestant verse-chorus hymn forms, as to the African call and response forms, modes, and rhythms. Seventy-five years later the vitality of the spirituals moved the world again as Mahalia Jackson concertized throughout Europe and England in 1952. WORK SONGS – The earliest Negro folk music in America. The group work songs of the 17th century were purely African in their call and response form. The tempos fit the rhythm of the work being done by the work gang, which might number 100 or more. Work songs were sung by men chopping weeds in the cotton fields, by rice field workers beating rice, by boatmen in the Sea Islands of Georgia, South Carolina, and Florida, by roustabouts loading river prison work gangs, down to the fifth decade of this century. Some prison work songs were recorded in the 30’s by John and Alan Lomax. Among the earliest worksongs recorded are those of Georgia Sea Island singers. Huddie “Lead Belly” Ledbetter, self-styled “Ling of the 12-String Guitar Players of the World” (b. 1885 in western La.), has also recorded work songs. BOOKS – A list including histories of jazz, blues, and ragtime, biographies and autobiographies of musicians, and studies of the society which has produced this music. ALLEN, William Francis, WARE, Charles Pickard, and GARRISON, Lucy McKim. Slave Songs of the United States. A. Simpson & Co., 1867; reprinted Oak Publications, 1965. BOTKIN, B.A., editor. Lay My Burden Down. U. of Chicago, 1945. Statements by ex-slaves of their experiences during slavery. BROONZY, Big Bill, as told to BRUYNOGHE, Yannick. Big Bill Blues. Reprinted Oak publications, 1964. Autobiography of one of the greatest country blues singers of �all time. BLESH, Rudi. Shining Trumpets. 2nd edition, Alfred A. Knopf, 1958. BLESH, Rudi, and JANIS, Harriet. They All Played Ragtime. 1950; revised edition, Oak Publications, 1966. Excellent history of ragtime. CHARTERS, Samuel B. The Country Blues. Rinehart & Winston, 1959. __________. The Poetry of the Blues. Oak Publications. __________. The Bluesmen. Oak Publications, 1967. __________. Jazz: New Orleans, 1885-1957. Printed by Walter C. Allen, 1958; reprinted Oak Publications, 1963. __________, and KUNSTADT, Leonard. Jazz: A History of the New York Scene. Doubleday & Company, 1966. COURTLANDER, Harold. Negro Folk Music, U.S.A. Columbia U. Press, 1963. FEATHER, Leonard. The Book of Jazz. Horizon Press, 1957. __________. The New Edition of the Encyclopedia of Jazz. Bonanza Press, 1960. FISHER, Miles Mark. Negro Slave Songs in the United States. Cornell U. Press, 1953. HANDY, W.C. Father of the Blues. 1941; MacMillan, 1970. __________. A Treasury of the Blues. 1926. Reprinted Charles Boni, 1949. HERSKOVITS, Melville J. The Myth of the Negro Past. Harper, 1941; reprinted Beacon Press, 1958. HODEIR, Andre. Jazz: Its Evolution and Essence. Translated by David Noakes. Grove Press, 1956. HUGHES, Langston and BONTEMPS, Arna. The Book of Negro Folklore. Dodd, Mead and Company, 1958. JONES, A.M. Studies in African Music. 2 vols. Oxford U. Press, 1959. JONES, Leroi. Blues People. William Morrow & Company, 1963. KEIL, Charles. Urban Blues. U. of Chicago, 1966. KREMBLE, Fanny. Journal of a Residence on a Georgia Plantation (1838-1839). Harper & Brothers, 1864; reprinted Alfred A. Knopf, 1961. KMEN, Henry A. Music in New Orleans: The Formative Years 1791-1841. Louisiana State U. Press, 1966. LOMAX, John A. Negro Folk Songs as Sung by Leadbelly. Macmillan, 1937. __________. Adventures of a Ballad Hunter. Macmillan, 1947. LOMAX, Alan. Mister Jelly Roll. Duell, Sloan and Pearce, 1950; reprinted Grove Press, 1956. Biograph of Jelly Roll Morton. MEZZROW, Mess, and WOLFE, Bernard. Really the Blues. Random House, 1946; reprinted Signet, 1964. MILLER, Paul Edwards. Esquire’s Jazz Book. Peter Davies, 1947. METFESSEL, Milton. Phonophotography in Folk Music. U. of N. Car., 1928. OLIVER, Pail. Bessie Smith. Cassel & Co., 1959; Perpetua Ed., A.S. Barnes and Co., 1961. Blues Fell This Morning, Cassell, 1960. Conversation with the Blues, Cassell, 1960. The Story of the Blues, Barrie & Rockliff, The Cresset Press, 1968. PARRISH, Lydia. Slave Songs of the Georgia Sea Islands. 1942; Folklore Associates reprint, 1965. RAMSBY, Frederic, Jr. Been Here and Gone. Rutgers, 1960. __________ and SMITH, Charles Edward, editors. Jazzmen. 1939; reprinted Sidgwick and Jackson, 1957. ROSE, Al, and SOUCHON, Edmond. New Orleans Jazz: A Family Album. Louisiana State University Press, 1967. ROSE, Al. Storyville. Not yet released from U. of Ala. Press. SARGEANT, Winthrop. Jazz: Hot and Hybrid. E.P. Dutton, 1946; reprinted McGraw-Hill, 1964. �SCHULLER, Gunther. Early Jazz. Oxford U. Press, 1968. SHAPIRO, Nat, and HENTOFF, Nat. Hear Me Talkin’ To Ya. Rinehart & Co., 1955. STEARNS, Marshall. The Story of Jazz. Oxford U. Press, 1956. WORK, John W. American Negro Songs and Spirituals. Bonanza Books, 1940. CONDON, Eddie, and SUGRUE, Thomas. We Called It Music. Peter Davies, Ltd., London. CARMICHAEL, Hoagy. Sometimes I Wonder. Farrar, Strauss, and Girous. KAMINSKY, Max. My Life In Jazz. Harper & Row, 1963. LEONARD, Neil. Jazz and the White American. WHITE, Newman L. American Negro Folk-Songs. Harvard U. Press, 1928; reprinted by Folklore Associates, Inc., 1965. PERIODICALS Sing Out, Music & Artists, Jazz Review, Jazz & Pop – all in U.S. Blues Unlimited, Blues World, Jazz Journal, Jazz Monthly, Storyville – all in England. Two jazz clubs in the U.S. have magazines which publish articles and record reviews. The New Orleans Jazz Club of California, 291 Spinnaker Street, Orange, California 92668, publishes The Jazzologist. The New Orleans Jazz Club, 340 Bourbon Street, New Orleans, Louisiana, 70130, publishes The Second Line. � https://digitallis.isg.siue.edu/files/original/eac4aa807a4fd30f40f40ba38d571094.jpg c8bc760376785ca877a7e3ecd17dd09f https://digitallis.isg.siue.edu/files/original/05754967c7404c97b94c0774fda4a0b0.jpg c82463d6d99b6feb9913781a10c578cb https://digitallis.isg.siue.edu/files/original/8baca78a310520eb877eabb51fc8e0e4.jpg c9a07d6e610780738aed07e9234369f4 https://digitallis.isg.siue.edu/files/original/55dcc2e35c0b836647601af55bb1ec96.jpg 6b98f297b28b4182dd5c4a8ca21d84e1 https://digitallis.isg.siue.edu/files/original/3d3d38844462f6f295732ea61db754ac.jpg 609f82a1f64be5e57962ba60c311b359 https://digitallis.isg.siue.edu/files/original/36fd2232f9faa053c72bf5e62baccaf2.jpg 4af9ef9cc00068f6b8e62b29f1f28c79 https://digitallis.isg.siue.edu/files/original/27190998d82a4a4f18822273385d3d47.jpg 8df6eafbd43f15c0dfbceca17b46dbb0 https://digitallis.isg.siue.edu/files/original/1f65481fea347e5a0dd6936043849590.jpg d93941701d4e3ec2adca845c12b67491 https://digitallis.isg.siue.edu/files/original/a67b83ed8cb779f533e1e6a171e66c91.jpg eb970255f432e38c4fb50e57ae3c9f33 https://digitallis.isg.siue.edu/files/original/fc967c12645e7662db316d54293008a2.jpg 62eed4df7d822451c466aea9e66df5c8 https://digitallis.isg.siue.edu/files/original/3bb54900dccdd7e960f81dd559c12307.jpg 3116fbac1847de744d3bb23248b5eec0 https://digitallis.isg.siue.edu/files/original/ec9c6b5c7fc3a50fee3cbf1f1c61ef4d.jpg 3bdb1b871afa59ca22bb073fc698864c https://digitallis.isg.siue.edu/files/original/d93b96ddce549674785f0edc7c5b8c70.jpg d7e1d1cf60d1947592ddece4d71abd2b 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 [Transcription attached as text-searchable PDF] Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Book 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_8_2_0001 Title A name given to the resource The Black Roots of Our American Music, 1971 Description An account of the resource Published and copyrighted by Jean Kittrell in 1971, this 13 page book covers the history of jazz and related forms using a historical context. The cover art for the book (not pictured) was designed by Jane P. Luckenbach, wife of musician Tony Luckenbach, and features black musicians in a circle motif with musical instruments at the center. A pair of hands are featured on the bottom of the circle. The content of the book includes a timeline of Afro-American folk music related to development of European musical forms and historic events, comments and definitions of jazz terminology with associated diagrams, and a bibliography of related literature including books and periodicals. The inside cover of this copy is signed "To Gail & Steve with best wishes, Jean Kittrell 23 Nov 71." 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 1971 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 https://digitallis.isg.siue.edu/files/original/fb704b859aa3f4ee65b7f8e580ae1ec3.jpg 1aa2c7f641e1080b16e93d18de965d93 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 S.M. Mahan, Jr. DMD Alabama Jazz Hall of Fame Board Members July 02, 2009 Dear Board Members, First let me say how proud I am to be an Alabama musician and through the efforts of persons like yourself the Alabama Jazz Hall of Fame has been founded and promoted to preserve the talents of great Alabama jazz musicians. Because of the high respect which I and other Alabamians have for the AJHF I have submitted as a nominee to this great organization the name of an Alabamian who is truly a matriarch in jazz circles through out America and parts of the world. Ethel Jean Kittrell, was born in Dothan, Alabama on June 27, 1927, grew up and attended school in Gardendale and has maintained her Alabama legacy her entire life. Jean attended school in Alabama, achieved her PHD at Southern Illinois University and served as a professor of English and Chair of the English Department of Southern Illinois University. But her real claim to fame is in her love for and her performing America's great traditional jazz. As you read her biography and hear her play you will realize her great talent, her musical skills and her commitment to audiences wherever she performs. Yes, in her early years I guess you could say she, like many musicians played in honky-tonks, club, and dances. But in her musical career she performed at major jazz festival through out America and abroad. She has been on stage with major symphony orchestras, on the rivers of America, on the water of the Caribbean and the Mediterranean. She has shared her talents in schools, non-profit benefits and churches far and wide. In reviewing her Alabama connections you will find she played at the early City Stages, did concerts in Mobile, Birmingham and Montgomery. One year she did a seven concert tour in four black belt counties. Carrying the message of jazz, its formation, its evolution and paying tribute to the creators of great American jazz. At age eighty-three Jennie sang her last job accompanied by one of the three bands she fronted and organized. IT IS NOW TIME FOR THE ALABAMA JAZZ HALL OF FAME TO HONOR ONE OF OUR STATES GREATEST JAZZ MUSICIANS. Since her retirement some of the great musicians who played with her, some for thirty plus years, are carrying on the traditions and the interpretation which were developed and fostered by Alabama's own, Jean Kittrell. I urge you to read carefully her resume, letters written by fans and other professional musicians and of course listen to her CD's and you too will truly become a fan of Alabama's Queen of Jazz, Jenny Kittrell. Sincerely, Mike Mahan Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Letter 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_8_4_0007 Title A name given to the resource Mike Mahan's Letter to the Alabama Jazz Hall of Fame for Jean Kittrell's Nomination, 2009 Subject The topic of the resource Kittrell, Jean Mahan, Michael Description An account of the resource This letter, printed on the Mahan Creek Dental Office letterhead, was the first of many sent by Dr. Mike Mahan to nominate Jean Kittrell to the Alabama Jazz Hall of Fame. Mahan, who resides in Alabama, highlights some of Kittrell's many accomplishments in the letter, urging the board members of the Alabama Hall of Fame to honor Jean with induction. It was ultimately decided that though Jean Kittrell was born in Birmingham, she was an Edwardsville and St. Louis musician, and thus her legacy woud be better served through induction elsewhere. Thanks to these events and decisions, the Jean Kittrell Collection now exists in the National Ragtime and Jazz Archive which she worked so hard to help establish and advocated so much for throughout her life. Language A language of the resource English Creator An entity primarily responsible for making the resource Mahan, Michael Date A point or period of time associated with an event in the lifecycle of the resource 07/02/2009 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 Alabama Type The nature or genre of the resource Text Jean Kittrell Mike Mahan https://digitallis.isg.siue.edu/files/original/34ebf741137e14174f3e13cdb8ba3771.jpg 2e5611d0cb7e35071e37920c49c8e4f5 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 8 x 10 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_20_0001 Title A name given to the resource Signed Photo of Glenn Meyer, 1979 Subject The topic of the resource Meyer, Glenn Description An account of the resource Signed black and white publicity photo of clarinetist Glenn Meyer who performed with Jean Kittrell in the St. Louis Rivermen. Photograph is signed in black ink, reading, "To Jean/Keep the good times rolling/Love/Glenn/4-18-79" in the upper left. Some light damage is visible on the right side of the photo. Creator An entity primarily responsible for making the resource Meyer, Chas R. Date A point or period of time associated with an event in the lifecycle of the resource 04/18/1979 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 Still Image Still Image Glenn Meyer