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Photographic print of five jazz musicians

National Museum of African American History and Culture
A black and white photograph of five jazz musicians in the midst of a performance. They are positioned in a semi-circle; the man to the far left plays the conga drum. To the right of the congo player, are a man playing the piano, a man playing a drum kit, a man playing a saxophone, and a man playing bongo drums. The man playing the bongos is "Bongo" Kenny and smokes as he plays. The back of the photograph has two barcode stickers and a pink post-it.

Jazz musicians at Sopris (Colorado) Restaurant

Archives of American Art
Photographic Print : 1

List of jazz musicians who visited Gertrude Abercrombie's home

Archives of American Art
1 note : handwritten ; 15 x 10 cm. Handwritten list with annotations next to some jazz musicians' names. Artur Schnabel, a classical pianist, is also on this list.
Date based on a date found on another page in the same group of notes.

Jazz Musicians, Trumpeter and Bass Player, (sculpture)

Art Inventories Catalog, Smithsonian American Art Museums
Save Outdoor Sculpture, Missouri, Kansas City survey, 1994.

Commerce Bankshares, Inc., 2017.

Two standing figures of musicians in relief installed on the wall of a building. The shorter of the two is playing a standing bass. The taller figure plays a trumpet. They wear festive clothing and large boots. Figures may be African American.

Jazz

National Portrait Gallery

Horace Silver at the November 23, 1955 session for "The Jazz Messengers at Cafe Bohemia (Blue Note) [black-and-white photoprint]

Archives Center, National Museum of American History
Copyright held by Michael Cuscuna, Mosaic Records.

Displayed in "The Blue Note Photographs of Francis Wolff," National Museum of American History, April 1-June 30, 2016; David Haberstich, curator.

[George Wein (pianist) at La Grande Parade du Jazz] [black-and-white photoprint], 1984

Archives Center, National Museum of American History
Copyright by photographer. Contact photographer for reproduction permission and to purchase prints.

Gift of the artist.

Ron Carter at Sam Rivers's May 21, 1965 session for "Contours" (Blue Note) at the Van Gelder studio, New Jersey [black-and-white photoprint]

Archives Center, National Museum of American History
Copyright held by Michael Cuscuna, Mosaic Records.

Displayed in "The Blue Note Photographs of Francis Wolff," National Museum of American History, April 1-June 30, 2016; David Haberstich, curator.

Alfred Lion and Thelonious Monk at Monk's May 30, 1952 session for "Genius of Modern Music" (Blue Note) at WOR Studios, New York City [black-and-white photoprint]

Archives Center, National Museum of American History
Copyright held by Michael Cuscuna, Mosaic Records.

Displayed in "The Blue Note Photographs of Francis Wolff," National Museum of American History, April 1-June 30, 2016; David Haberstich, curator.

J.J. Johnson and Miles Davis at Davis's session of April 20, 1953 for "The Miles Davis All-Stars" (Blue Note) at WOR Studios, New York City [black-and-white photoprint]

Archives Center, National Museum of American History
Copyright held by Michael Cuscuna, Mosaic Records.

Displayed in "The Blue Note Photographs of Francis Wolff," National Museum of American History, April 1-June 30, 2016; David Haberstich, curator.

Program critique card for a Jazz at the Philharmonic performance of Flip Phillips and 6 musicians, 1949. [black type on an originally white card]

Archives Center, National Museum of American History
Copyrighted.

Included in Archives Center Jazz Appreciation Month display, April 1-May 31, 2010, "Jazz at the Philharmonic--Bringing Jazz to the World," curated by Wendy Shay.

Critique is dated 6/3/49.

Francis Wolff Jazz Photoprints, 1953-1966

Archives Center, National Museum of American History
Fees for commercial reproduction. Copyrights held by Michael Cuscuna, Mosaic Records.

Reproduction restricted due to copyright or trademark.

Wolff (b. 1907 or 1908 in Berlin, Germany, d. March 8, 1971 in New York City) was a record company executive, photographer, and record producer. After a career as a commercial photographer in Germany, Wolff emigrated to the United States in 1939. In New York his childhood friend Alfred Lion had co-founded Blue Note Records in the same year, and Wolff joined him in running the company. During Lion's war service, Wolff worked for Milt Gabler at the Commodore Music Store, and together they maintained the company's catalog until Lion was discharged. Until Lion retired in 1967, Wolff concentrated on the financial affairs of the business and only supervised occasional recording sessions produced during his visits to Europe. For the last four years of his life, when Blue Note was no longer an independent label, Wolff shared production responsibilities with pianist and arranger Duke Pearson. Wolff took photographs during the recording sessions and rehearsals throughout Lion's tenure with Blue Note Records. They were used on publicity material and LP album sleeves, and have continued to be used in CD reissue booklets. [Redacted from Wikipedia entry.] Most of these images were made in the Van Gelder Studio, Hackensack, N.J. or Englewood Cliffs, N.J.

Preliminary inventory available in repository.

Gift of Michael Cuscuna, Mosaic images.

12 prints shown in the "The Blue Note Photographs of Francis Wolff," Archives Center exhibition space, National Museum of American History, April 1-July 1, 2016; David Haberstich, curator.

Twenty-five silver gelatin photographic prints from negatives by the eminent jazz photographer Francis Wolff, depicting such greats as Miles Davis, John Coltrane, Thelonious Monk, and other important artists. These prints are posthumous, and most bear a "Francis Wolff Collection" blind stamp. Some have Morrison Hotel labels.

Art Blakey at his January 24, 1962 session for "The American Beat" at the Van Gelder Studio, New Jersey [black-and-white photoprint]

Archives Center, National Museum of American History
Copyright held by Michael Cuscuna, Mosaic Records.

Displayed in "The Blue Note Photographs of Francis Wolff," National Museum of American History, April 1-June 30, 2016; David Haberstich, curator.

Clifford Brown at his August 28, 1053 session for "The Clifford Brown Sextet (Blue Note) at Audio-Video Studios, New York City [black-and-white photoprint]

Archives Center, National Museum of American History
Copyright held by Michael Cuscuna, Mosaic Records.

Displayed in "The Blue Note Photographs of Francis Wolff," National Museum of American History, April 1-June 30, 2016; David Haberstich, curator.

Hank Mobley and Pepper Adams at Mobley's October 20, 1957 session for "Poppin" (Blue Note) at the Van Gelder Studio, New Jersey [black-and-white photoprint]

Archives Center, National Museum of American History
Copyright held by Michael Cuscuna, Mosaic Records.

Displayed in "The Blue Note Photographs of Francis Wolff," National Museum of American History, April 1-June 30, 2016; David Haberstich, curator.

Letter to the Musicians' Protective Association from Duke Ellington

National Museum of African American History and Culture
A two page letter from Duke Ellington to the Musicians' Protective Association, Local 767 written May 10, 1942. In the letter Duke Ellington files a claim against three parties to recover money owed him for arrangements of five numbers made for the show "Jump For Joy": He writes: "I am informed that the title of 'Jump for Joy,' the show and certain assets thereof are being sold at the office of Attorney Leo Gold in the Fox Building . . ." Ellington sought $1800 from the parties named in the suit, for arrangements of "Suntan Tenth of a Nation," "Two Left Feet," "Uncle Tom's Cabin," The Emperor's Bones," and "Cymbal Sockin' Sam."

John Coltrane and Lee Morgan at Coltrane's September 15, 1957 session for "Blue Train" (Blue Note) at the Van Gelder studio, New Jersey [black-and-white photoprint]

Archives Center, National Museum of American History
Copyright held by Michael Cuscuna, Mosaic Records.

Displayed in "The Blue Note Photographs of Francis Wolff," National Museum of American History, April 1-June 30, 2016; David Haberstich, curator.

Dexter Gordon and Freddie Hubbard at Gordon's May 6, 1961 session for "Doin' All Right" (Blue Note) at the Van Gelder Studio, New Jersey [black-and-white photoprint]

Archives Center, National Museum of American History
Copyright held by Michael Cuscuna, Mosaic Records.

Displayed in "The Blue Note Photographs of Francis Wolff," National Museum of American History, April 1-June 30, 2016; David Haberstich, curator.

[Duke Ellington with group of Indian musicians, India : black-and-white photoprint.]

Archives Center, National Museum of American History
Copyright probably retained by creator or publisher.

Joe Henderson at the Blue Note offices, New York City in October 1963 [black-and-white photoprint]

Archives Center, National Museum of American History
Copyright held by Michael Cuscuna, Mosaic Records.

This became the cover image for Henderson's album "Our Thing" (Blue Note).

Displayed in "The Blue Note Photographs of Francis Wolff," National Museum of American History, April 1-June 30, 2016; David Haberstich, curator.

Henderson is shown smoking a cigarette, with curling smoke.

The Opener [Curtis Fuller] [black-and-white photoprint], June 16, 1957

Archives Center, National Museum of American History
Copyright held by Michael Cuscuna, Mosaic Records.

Displayed in "The Blue Note Photographs of Francis Wolff," National Museum of American History, April 1-June 30, 2016; David Haberstich, curator.

Curtis Fuller at his June 16, 1957 session for "The Opener" at the Van Gelder Studio, New Jersey. Recording session with Mobley, Timmons, Chambers, Taylor. Fuller plays trombone and smoke curls above his head. This photograph became the album's cover image.

Forever Jazz single

National Postal Museum
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