Informationszentren, Archive, Verbände
Information Centers, Archives, Associations

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Germany
(international phone code: ++49)

Jazzinstitut Darmstadt • Bessunger Strasse 88d, 63285 Darmstadt, Tel. (06151) 963700, Fax (06151) 963744, e-mail: jazz@jazzinstitut.de, Internet: http://www.jazzinstitut.de [06/2009]

Institutsleiter: Wolfram Knauer, Mitarbeiter: Doris Schöder, Arndt Weidler; gegründet 1990; Europas größtes öffentliches Jazzarchiv und eine einzigartige Quelle für Informationen über alle möglichen Aspekte des Jazzgeschehens in der Vergangenheit wie in der Gegenwart

Director: Wolfram Knauer, staff: Doris Schröder, Arndt Weidler; founded in 1990; Europe's largest public jazz archive and a unique source of information about all aspects of jazz history and present

Deutsche Jazz Föderation e.V. • Bundesgeschäftsstelle, Weinstraße 58, 67146 Deidesheim, Tel. (06326) 967770, Fax (06326) 967799, e-mail: info@deutsche-jazz-foederation.de, Internet: http://www.deutsche-jazz-foederation.de [06/2009]

Vereinigung der deutschen Jazzveranstalter, gegründet 1951; Vorstand: Suzette Yvonne Moissl, Joachim Lange, Michael Leonhardt; Mitglied im Deutschen Musikrat, Mitglied im Bundesfachausschuss PopuläreMusik; stellt den Deutschen Jazzbotschafter: Barbara Dennerlein, Till Brönner; ca. 145 Mitgliedsorganisationen.

Association of German jazz clubs founded in 1951; ca. 145 member organizations.

Union Deutscher Jazzmusiker • Weberstraße 59, 53113 Bonn, Tel. (0228) 261299, Fax (0228) 93597299, e-mail: post@udj.de, Internet: http://www.udj.de [06/2009]

Interessengemeinschaft der deutschen Jazzmusiker; gegründet 1973; Präsident: Peter Herbolzheimer; Vize-Präsident: Manfred Schoof; Mitglieder des Vorstandes: Ulrich Adomeit, Siggi Busch, Dieter Ilg, Ralph Lange, Bernhard Mergner, Rose Nabinger, Peter Ortmann, Christian Oschem; Geschäftsführer: Dominik Wagner.

Association of German jazz musicians

Bundeskonferenz Jazz • c/o Union Deutscher Jazzmusiker, Weberstraße 59, 53113 Bonn, Tel. (0228) 261299, Fax (0228) 93597299 , e-mail: post@bkjazz.de, Internet: http://www.bundeskonferenzjazz.de [06/2009]

Informelle Interessengruppe zum Jazz in Deutschland. Mitglieder sind Vertreter bereits existierender Lobbyorganisationen sowie Vertreter anderer Bereiche des deutschen Jazzlebens. Die Bundeskonferenz Jazz sieht ihre Hauptaufgabe liegen in der allgemeinen kulturpolitischen Interessensvertretung und im Besonderen in der Präsentation des Jazz in Deutschland auf nationaler und internationaler Ebene durch geeignete Veranstaltungen und Publikationen; in der Initiierung nachhaltiger musikpädagogischer Projekte im Bildungsbereich nach dem Vorbild skandinavischer Länder und in der jazzspezifischen Qualifizierung der Förderstrukturen auf Landes- und Bundesebene. Die Bundeskonferenz Jazz setzt sich aus Vertretern folgender Organisationen, Institutionen und Bereiche der Jazzszene in Deutschland zusammen: Jazzmusiker (Union Deutscher Jazzmusiker e.V.); Jazzveranstalter (Deutsche Jazzföderation e.V.); Europäische Ebene (Deutsche Sektion des Europe Jazz Network); Phonographische Wirtschaft (Jazz Partners e.V.); Jugendfördermaßnahmen (BuJazzO / Bundesbegegnung Jugend jazzt); Jazzinstitute (Jazzinstitut Darmstadt / Bayerische Jazzinstitut); Öffentlich-rechtlicher Rundfunk (WDR); Printmedien (Jazzzeitung); Jazzausbildung (Musikhochschule Köln). Arbeitsgruppen innerhalb der Bundeskonferenz Jazz: AG 1: "German Jazz Meeting"; AG 2: "Spielstätten-/Konzertförderung"; AG 3: "Jazz und improvisierte Musik an allgemeinbildenden Schulen und Vorschuleinrichtungen"; AG 4: "Ausbildung von Jazz und Popularmusik an Musikhochschulen"; AG 5: "Beurlaubung/Befreiung von Zivil- und Wehrdienst für Teilnehmer von Jugendfördermaßnahmen im Bereich Jazz"; AG 6: "Jazz im Hörfunk und Fernsehen"; AG 7: "Anlaufstelle und Archivierung für Deutsche Jazzgeschichte und Historisches"; AG 8: "Begriffsklärung/Begriffsdefinition Jazz"

Lobby organization for the German jazz scene.

Bayerisches Jazzinstitut / Landesarbeitsgemeinschaft Jazz in Bayern e.V. • Brückstraße 4, 93047 Regensburg, Tel. (0941) 562244, Fax (0941) 52033, e-mail: service@bayernjazz.de, Internet: www.bayernjazz.de [06/2009]

Die LAG Jazz wurde 1991 gegründet und hat 19 assoziierte Mitglieder (Jazzclubs, Initiativen). Das Bayerische Jazzinstitut wurde 1992 gegründet, wird von der LAG Jazz in Bayern e.V. getragen und finanziert sich durch Mittel des Freistaats Bayern und der Stadt Regensburg. Aufgaben: Herausgabe der Schriftenreihe und CD-Reihe des Bayerischen Jazzinstituts, künstlerische Leitung des Bayerischen Jazzweekends; Bearbeitung der Fotosammlung  Ludwig Binder; Nachlassbearbeitung Inge Brandenburg und Klaus Stratemann; Service-, Beratungs- und Informationsstelle für alle Jazzinteressierten, Musiker, Veranstalter, pädagogischen Einrichtungen; Pflege und Ausbau der Informationsplattform www.bayernjazz.de, u.a. mit einem bebilderten Verzeichnis der "Musiker in Bayern". Ansprechpartner: Richard Wiedamann, Sylke Merbold; Vorsitzender der LAG Jazz in Bayern e.V.: Tiny Schmauch]

The LAG Jazz is an lobby organization for Bavarian jazz musicians. The Bayerisches Jazzinstitut is an iformation center especially on the Bavarian jazz scene and houses an archive.

Lippmann+Rau-Musikarchiv • (Internationales Archiv für Jazz und populäre Musik der Lippmann+Rau-Stiftung in Eisenach), Palmental 1, 99817 Eisenach, Tel. (03691) 612525, Fax (03691) 612523, e-mail: info@lr-musikarchiv.de, Web: www.lr-musikarchiv.de [9/2009; public archive; director: Prof. Dr. Martin Pfleiderer; staff: Nico Thom, Antje Wagner]

Das Archiv wurde 1999 gegründet und wird seit 2006 von der Lippmann+Rau-Stiftung getragen. Seit 2009 gibt es eine enge Kooperation mit der Hochschule für Musik "FRANZ LISZT" in Weimar, die durch den Freistaat Thüringen gefördert wird. Das Archiv widmet sich dem Jazz sowie der populären Musik in ihrer ganzen Breite. Es enthält große Privatsammlungen und Nachlässe mit umfangreichen Ton-, Bild-, Filmmedien sowie Instrumente..

The jazz archive is funded by the Lippmann + Rau foundation and based on the private collection of the German pianist and journalist Günter Boas. It also holds the collection of Hazy Osterwald and other musicians and/or collectors. The archive is hosued in the municipal "Alte Mälzerei" Eisenach.

Old Jazz Union Deutschland e.V. • Hauptgeschäftsstelle, Römerstraße 13, 66849 Landstuhl, e-mail: oldjazz@t-online.de oder e-mail: info@oldjazz.de, Internet: http://www.oldjazz.de [06/2009; traditioneller Jazz, bundesweiter Interessenverband traditioneller Jazzmusiker und Jazzfreunde; gegründet 2002; Präsident: Franz Wosnitza]

Bundesweiter Interessenverband traditioneller Jazzmusiker und Jazzfreunde; gegründet 2002

Lobby organization for traditional jazz musicians and jazz fans, founded in 2002

Jazzbüro Hamburg e.V. • Stahltwiete 13, 22761 Hamburg, Tel. (040) 4325-2870, Fax (040) 4325-2871, e-mail: jazzbuero@jazzhamburg.de, Internet: http://www.jazzhamburg.de [06/2009]

Regionale Interessenvertretung des Jazz in Hamburg; gegründet 1996; 11 Mitglieder. Ansprechpartner: Gabriele Benedix

Regional lobby organization for jazz in Hamburg; founded in 1996, 11 members. Staff: Gabriele Benedix

Initiative Jazz Rock Pop in der Kirche e.V. • c/o Michaeliskloster Hildesheim - Evangelisches Zentrum für Gottesdienst und Kirchenmusik, Hinter der Michaeliskirche 3-5, 31134 Hildesheim, Tel. (05121) 6971-550, Fax (05121) 6971-555, e-mail: info@inijrp.de, Internet: http://www.inijrp.de [06/2009]

Verein zur Förderung von Jazz, Rock und Pop in den Bereichen Gottesdienst und Gemeindeleben; veranstaltet Fortbildungen, Foren, Workshops und Beratungen

Association supporting jazz, rock and pop in church and religious life; organizes workshops

Afro-karibisches Musikarchiv • c/o Peter Brand, Am Botanischen Garten 38, 50735 Köln, Tel. Tel. (0221) 2771-6379, Fax (0221) 2771-6378, e-mail: Pebrand@aol.com, Internet: http://www.iasa-online.de/mitglieder.html [10/2009]

Privatarchiv zur Musik aus Lateinamerika, der Karibik, Kuba und Afrika, Schwerpunkt: Afro-kubanische Musik

Private archive about music from Latin America, the Caribbean, Cuba and Africa; especially: AfroCuban music

Blues Guide Germany • c/o Verlag Dirk Föhrs, Freiherr-vom-Stein-Straße 28, 59762 Altena, Tel. (02352) 21680, Fax (02352) 2847, e-mail: Redaktion@blues-news.de, Internet: http://www.verlag-dirk-foehrs.de [06/2009]

Alle zwei bis drei erscheinendes Handbuch zur deutschen Bluesszene mit blues-bezogenen Adressen von Clubs, Festivals, Musikern, Bands etc.

Directory for the German blues scene published every two or three years with addresses of clubs, festivals, musicians, bands etc.

Arbeitskreis Studium Populäre Musik e.V. (ASPM) • Ahornweg 154, 21546 Halstenbek, Tel./Fax (04101) 44840, e-mail: barber@aspm-online.org, Internet: http://www.aspm-online.org [06/2009]

Vorstand: Erika Funk-Hennigs, Dietrich Helms, Thomas Phleps; Geschäftsführerin: Alenka Barber-Kersovan; Deutscher Zweig der International Association for the Study of Popular Music, veröffentlicht "Beiträge zur Popularmusikforschung" (Jahrbuch) sowie das Online-Journal Aspm-Samples, Internet: http://www.aspm-samples.de. Nicht mehr erhältliche "Beiträge zur Popularmusikforschung" sind über die Website der ASPM abrufbar. Die ASPM-Website enthält außerdem eine Übersicht über wissenschafltliche Lehrveranstaltungen zur populären Musik an deutschsprachigen Universitäten und Hochschulen.

German branch of the International Association for the Study of Popular Music, publishes "Beiträge zur Popularmusikforschung" (yearbook)

Jazz & World Partners e.V. • Neuenhöfer Allee 127, 50935 Köln, Tel. (0221) 1305-6114, Fax (0221) 1305-6119, e-mail: office@jazz-worldpartners.de, Internet: http://www.jazz-worldpartners.de [06/2009]

Verbund deutscher Jazz- und Worldmusic-Plattenlabels; Vereinsgründung 2005; entstanden aus dem seit 1993 bestehenden "ak Jazz im Bundesverband der Phonographischen Wirtschaft", der 2003 zu den Jazz & World Partners umgewandelt wurde. Ziele: Belebung des Informationsaustauschs innerhalb der Branche; Analyse des Marktes und Bewertung für die eigene Tätigkeit; Förderung der Kommunikation zum Musikkonsumenten

Deutsches Musikarchiv der Deutschen Bibliothek • Gärtnerstraße 25-32, 12207 Berlin, Tel. (030) 77002-0, Fax (030) 77002-299, e-mail: info-b@d-nb.de, Internet: http://www.deutsches-musikarchiv.de [06/2009]

Musikarchiv der Deutschen Bibliothek

music archive of the Deutsche Bibliothek

Forschungszentrum populäre Musik • Humboldt-Universität zu Berlin, Am Kupfergraben 5, 10099 Berlin, Tel. (030) 2093-5914, Fax (030) 2093-2062, e-mail: PWicke@culture.hu-berlin.de, Internet: http://www2.rz.hu-berlin.de/inside/fpm [06/2009]

Forschungsinstitut angegliedert an die Humboldt-Universität; Direktor: Peter Wicke

research center for popular music; director: Peter Wicke

Klaus-Kuhnke-Archiv fuer Populaere Musik • c/o Hochschule für Kuenste, Dechanatstrasse 13/15, 28195 Bremen, Tel. ++49 (421) 328512, Fax ++49 (421) 337-8669, e-mail: archiv@kkarchiv.de, Internet: http://www.kkarchiv.de [06/2009]

Allgemeines Archiv zu populärer Musik; Geschäftsführer: Ulrich Duve

general archive on popular music

rock 'n' popmuseum • Udo-Lindenberg-Platz 1, 48599 Gronau, Tel. (02562) 8148-0, Fax (02562) 8148-20, e-mail: info@rock-popmuseum.de, Internet: www.rock-popmuseum.de [06/2009]

Deutscher Rock & Pop Musikerverband e.V. • Kolberger Straße 30, 21339 Lüneburg, Tel. (04131) 23303-0, Fax (04131) 23303-15, e-mail: info@drmv.de, Internet: http://www.drmv.de [06/2009]

Rock- und Popmusikerverband; veröffentlicht viermal im Jahr das "Musiker Magazin" sowie alle zwei Jahre das "Rock & Pop Musiker Jahrbuch - Musikbusiness in Deutschland"; Geschäftsführer: Ole Seelenmeyer

Association for musicians and musicians' initiatives in popular music; publishes the quartely "Musiker Magazin" and every other year the "Rock & Pop Musiker Jahrbuch - Musikbusiness in Deutschland"; president: Ole Seelenmeyer] 

Frauenmusikbüro • c/o Frauen Machen Musik e.V., Roßdorfer Straße 24, 60385 Frankfurt/Main, Tel. (069) 496-0848, Fax (069) 496-0800, e-mail: musik@melodiva.de, Internet: http://www.frauenmusikbuero.de, Frauen-Musik-Zeitschrift "Melodiva": http://www.melodiva.de, Band-Index von Musikerinnen: http://www.band-index.com [06/2009]

Das Frauen Musik Büro fördert, präsentiert und vernetzt Musikerinnen im Pop-Musikbereich (Rock, Pop, Neue Musik und Jazz). Ziel ist es, einen interdisziplinären Austausch der verschiedenen Genres und Musikstile in der Popmusik voranzutreiben.

The Frauen Musik Büro is a network for female musicians in the pop world (rock, pop, contemporary music, jazz). It aims at interdisciplinary exchange between the musical styles and genres within pop music.

The International Archives for the Jazz Organ (IAJO) • c/o Jürgen Wolf, P.O.B. 900709, D-51117 Köln, Germany, Tel. (02203) 932-882, Fax (02203) 932-213, e-mail: organ@iajo.org, Internet: http://www.iajo.org [06/2009]

Privates Archiv von Jürgen Wolf über die Orgel im Jazz

private archive of Jürgen Wolf containing general information about the organ in jazz

Internationales Musikinstitut Darmstadt (IMD) • Nieder-Ramstädter Straße 190, 64285 Darmstadt, Tel. (06151) 13-2416 oder 13-2417, Fax (06151) 13-2405, e-mail: imd@darmstadt.de, Internet: http://www.imd.darmstadt.de [06/2009]

Internationales Informationszentrum für zeitgenössische Musik. Mit über 30.000 Partituren beherbergt es eine der weltweit umfangreichsten Notensammlungen zur Neuen Musik nach 1945. Organisiert die Internationalen Ferienkurse für Neue Musik. Direktor: Solf Schaefer

International information center for Contemporary Music. The archive holds more than 30.000 scores and and contains one of the largest sheet music collection for contemporary music after 1945. The IMD also organizes the Internationale Ferienkurse für Neue Musik. Director: Solf Schaefer

Jazz Institut Schleswig-Holstein / Kurt Edelhagen Archiv • Stiftstr. 25 , 24105 Kiel, Fax (0431) 2108907 , e-mail: Info@Edelhagen.de, Internet: http://www.edelhagen.de [06/2009]

Privatarchiv; Ansprechpartner: Joachim Holzt-Edelhagen

Private archive; contact: Joachim Holzt-Edelhagen

Deutsches Volksliedarchiv - Arbeitsstelle für internationale Volksliedforschung • Silberbachstraße 13, D-79100 Freiburg, Tel. (0761) 705030, Durchwahl  (0761) 70503-21, Fax (0761) 70503-28, e-mail: info@dva.uni-freiburg.de , Internet: http://www.dva.uni-freiburg.de [06/2009]

Dresdner Zentrum für Zeitgenössische Musik (DZzM) • Karl-Liebknecht-Straße 56, 01109 Dresden, Tel. (0351) 26462-0, Fax (0351) 26462-23, Internet: http://www.zeitmusik.de [06/2009]

Zentrum für zeitgenössische Musik; gegründet 1986. Die Veranstaltungen des DZzM greifen ab und an auch in den Jazzbereich über. Chefdramaturg: Frank Geißler

Documentation and information center for contemporary (composed) music. Their concerts and workshops touch upon jazz from time to time.

Deutsches Musikinformationszentrum / Deutscher Musikrat • Weberstraße 59, 53113 Bonn, Tel. (0228) 2091-180, Fax (0228) 2091-280, e-mail: info@miz.org, Internet: http://www.miz.org [10/2006]

Das Deutsche Musikinformationszentrum pflegt auf seinen Seiten ein umfassendes Kompendium zur Musikpflege und Musikkultur in Deutschland.

On its website, the German Music Information Center offers a compendium about the music scene and about musical cultural activities in Germany.

Cinegraph (Hamburgisches Zentrum für Filmforschung) e.V.• Schillerstraße 43, 22767 Hamburg, Tel. (040) 352194, Fax (040) 345864, Hans-Michael Boch, Tel. (040) 410-1211, e-mail: info@cinegraph.de, Internet: http://www.cinegraph.de [06/2009]

Zentrum für Filmforschung; Schwergewicht auf deutschen Filmen

Center for film research; focus on German films

Azerbaijan
(international phone code: ++994)

Jazz in Azerbaijan • e-mail: sultanov@azerijazz.com, Internet: http://www.azerijazz.com [06/2009; website documenting the Azerbaijan jazz scene]

Baku Jazz Center • Tel. (+99412) 437 580, e-mail: jazzcenter@jazz.az, Internet: http://jazzcenter.jazz.az oder Internet: http://jazz.az [06/2009]
Baku Jazz Center is the first big project in Azerbaijan which aim is present music culture Azerbaijan. It organizes jazz concerts with local and international artists, master classes for improving professional skills of young musicians, publishes newsletters about the jazz-life in Baku. Plans are to open a recording studio where concerts at the center can be recorded and released as audio and video CDs. In cooperation with the Baku Music Academy the Jazz Center plans to launch a Jazz Academy to help a young generation of jazz performers. The Jazz Center will organize performances and festivals presenting leading jazz performers. Its goal is to keep jazz traditions of Baku city alive, immortalize the memory of great artists and support of development of jazz music and artists for the prosperity of Azerbaijan culture.

Canada
(international phone code: ++0)

National Library of Canada • The Virtual Gramophone, Canadian Historical Sound Recordings, 395 Wellington Street, Ottawa K1A 0N4, Canada, Tel. (613) 996-5115 or 1-866-578-7777 (toll free in Canada and the US), Fax (613) 995-6274, Internet: http://www.collectionscanada.gc.ca/gramophone/ [06/2009; digitized sound collection of historical Canadian recordings between popular and classical music, among them recordings by the "Six Brown Brothers" and others. All digitized recordings can be listened to in real audio or downloaded in mp3 format.]

Slovakia
(international phone code: ++421)

Music Centre Slovakia • Michalská 10, SL-81536 Bratislava 1, Slovakia, Tel. (2) 5920-4811, Fax (2) 5443-0379, e-mail: hc@hc.sk, Internet: http://www.hc.sk [06/2009]

Sweden
(international phone code: ++46)

Jazzens Museum • Strömsholm, SE-73494 Strömsholm, Sweden, Tel. (220) 43330, e-mail: info@jazzmuseum.com, Internet: http://www.jazzmuseum.com [06/2009]

Svensk Jazzarkiv • Torsgatan 19, Box 16326; SE-103 26 Stockholm, Sweden, Tel. (8) 51955488, e-mail: info@visarkiv.se, Internet: http://www.visarkiv.se [06/2009]

Swedish Jazz Federation • Nybrokajen 11, SE-111 48 Stockholm, Schweden, Tel. (8) 407-1740, Fax (8) 407-1749, Mail über Website,Internet: http://www.swedejazz.se [06/2009]

Swedish Music Information Center • Sandhammsgatan 79, Box 27327, SE-102 54 Stockholm, Schweden; Tel. (8) 783-8800; Fax: (8) 783-9510, e-mail: swedmic@stim.se, Internet: http://www.mic.stim.se [06/2009]

Switzerland
(international phone code: ++41)

swissjazzorama • Im Werk 8, CH-8610 Uster, Switzerland, Tel. (44) 940-1982, Fax (44) 940-1980, e-mail: swiss@jazzorama.ch, Internet: http://www.jazzorama.ch [06/2009; Swiss jazz archive and jazz museum]

Jazzabteilung der Musikhochschule Luzern (Jazz School Lucerne) • Fakultät III, Zentralstrasse 18, CH-6003 Luzern, Switzerland, Tel. (41) 412-2056, Fax (41) 412-2057, e-mail: jazz@hslu.ch, Internet: http://www.jsl.ch [06/2009; director: Haemi Haemmerli; Swiss jazz school which also has initiated several research projects documenting the Swiss jazz scene]

Schweizer Musik Syndikat (SMS) • Brunngasse 1, PO Box 3021, CH-2500 Biel-Bienne 3, Switzerland, Tel. +41(32) 535-0224, e-mail: info@sms-online.org, Internet: http://www.sms-online.org [06/2009; Swiss musicians union, especially for musicians active in jazz and improvised music: "Swiss Jazz Association / Nationale Vereinigung der Jazz- und improvisierenden MusikerInnen / L'association Suisse des musiciens de jazz et improvisateurs"]

USA
(international phone code: ++1)

American Music Center • Suite 1001, 30 West 26th Street, #1001, New York, NY 10010-2011, USA; Tel. (212) 366-5260; Fax (212) 366-5265, e-mail: amcinfo@amc.net, Internet: http://www.amc.net [06/2009]
  AMC is the official information agency for new American music. It provides comprehensive and wide ranging information on the world of contemporary classical music and jazz, including information on composers, performers, industry, scores, recordings, and much more.

American Jazz Institute • P.O. Box 5716, Pasadena, CA 91117, USA, Tel. (626) 795-6413, Fax (626) 795-6493, e-mail: USAjazzin@amjazzin.com, Internet: http://www.amjazzin.com [06/2009; staff: Mark Masters (director)]
   The American Jazz Institute is a non-profit organization dedicated to the enrichment and enhancement of the appreciation of jazz music. From its humble beginnings in New Orleans at the turn of the century, jazz evolved into one of America's enduring world contributions, a "universal language" understood by all. Continuing in this spirit, AJI seeks to preserve this national treasure as well as expand upon it by spotlighting America's great jazz composers, arrangers and musicians – both firmly established and newly discovered, from traditional to avant garde.

Center For Black Music Research • Columbia College, 600 South Michigan Ave., Chicago, IL 60605-1996, USA, Tel. (312) 344-7559, Fax (312) 344-8029, e-mail: cbrm.contact@colum.edu, Internet: http://www.colum.edu/cbmr [06/2009; staff: Monica Hairston (director), Morris A. Phibbs (deputy director), Suzanne Flandreau (librarian and archivist)]
     The Center for Black Music Research (CBMR) at Columbia College Chicago documents, collects, preserves, and disseminates information about black music in all parts of the world and promotes understanding of the common roots of the music, musicians, and composers of the global African diaspora. 
   The CBMR was founded in 1983 by Samuel A. Floyd Jr. in recognition of a need for an integrated approach to the study of black music that encompasses the arts and humanities as well as social, political, and historical approaches to scholarship. The CBMR is a research unit of Columbia College Chicago, and its programs have been funded by a number of major foundations and giving agencies. The Center for Black Music Research is a member of the Consortium of Humanities Centers and Institutions.
   The CBMR supports and originates study in the areas of black secular and sacred folk music, blues, black rock, samba, ragtime, jazz, gospel music, rhythm and blues, musical theater and dance, opera and concert music, reggae, son, merengue/méringue, bomba y plena, salsa, calypso and other genres from the Caribbean, traditional and contemporary music from Africa, and hip-hop and other contemporary musics.
   The Center for Black Music Research distinguishes operationally between “African-American music” and “black music.” In the CBMR’s lexicon, African-American music emanates directly from the black experience in the United States, descended from the calls, cries, hollers, spirituals, ragtime, and blues of the slavery and post-slavery periods; it includes jazz, R&B, black gospel, and all the forms to which these genres have given birth. Black music, on the other hand, is any music composed or performed by people of African descent, including African-American music, African music, and European and European-derived concert-hall music by black composers.
   The activities of the CBMR include research, education and outreach programming, performance programming, and publications. These diverse services and resources impact a wide range of audiences and constituencies, including academic researchers; musicians, composers, arrangers, and choir directors; high school and grade school teachers and students; journalists and music writers; and filmmakers and television producers. The CBMR Library and Archives, the conferences, and CBMR performance programs are open to the public.
   The collection includes the Melba Liston collection, the Edmund Thornton Jenkins collection, the Martin Williams collection, the Gospel Music collection and other collections.

Institute Of Jazz Studies • Dana Library, Rutgers University, Newark, N.J. 07102, USA, Tel. (973) 353-5595, Fax (973) 353-5944, e-mail: eberger@andromeda.rutgers.edu, Internet: http://newarkwww.rutgers.edu/IJS [06/2009; staff: Dan Morgenstern (director), Ed Berger (associate director), Vincent Pelote (sound archivist), Tad Hershon (archivist), Annie Kuebler (archivist), John Clement (collection specialist); the world's largest jazz archive; publishes "Annual Review of Jazz Studies"]
   The Institute of Jazz Studies is the world's foremost jazz archive and research facility. It was founded in 1952 by Marshall Stearns (1908-1966), a pioneer jazz scholar. In 1966, Rutgers was chosen as the collection's permanent academic home. IJS is part of the Rutgers University Libraries, and in 1994 moved to spacious new quarters on the fourth floor of the John Cotton Dana Library on the Newark Campus. The Institute is used by students from Rutgers (especially those in the new Master's Program in Jazz History and Research) and other institutions, teachers, scholars, authors, independent researchers, musicians, the media, record companies, libraries and other archives, and arts agencies.

Chicago Jazz Archive • Regenstein Library, University of Chicago, 1100 E. 57th Street JRL361, Chicago, IL 60637-1596, USA, Tel. (773) 702-3721, Fax (773) 702-6623, e-mail: ucjazz@lib.uchicago.edu, Internet: http://www.lib.uchicago.edu/e/su/cja [06/2009; curator: Deborah L. Gillaspie, Curator]
   The Chicago Jazz Archive is a special collection of the University of Chicago's Regenstein Library. Established in 1976, the Archive was originally intended to collect and preserve materials from the late 1910s through the 1920s, documenting the birth of "Chicago style" jazz. While the original donations concentrated on this period and on musicians born here or who spent significant creative time here, the Archive now takes into account the ease with which musicians and influences travel. All jazz styles from oldest to newest are regularly played in Chicago, and the Archive collections reflect this diversity. Jazz is documented at the Archive with oral histories; sound recordings in 78rpm, 45rpm, LP, and CD formats; audio and video tapes; printed and manuscript parts for stock arrangements; piano sheet music; correspondence; interviews; scrapbooks, photographs, books, periodicals, artwork, and realia; and other jazz-related materials. 

Jazz Institute of Chicago • 410 South Michigan Avenue, Suite 943, Chicago IL 60605, Tel. (312) 427-1676, Fax (312)  427-1684, e-.mail: [through Website] Internet: www.jazzinchicago.org [06/2009; staff: Lauren Deutsch (director), Heather Ireland (education and community coordinator)]
   The Jazz Institute of Chicago programmed the Chicago Jazz Festival since its inception and has presented a annual Jazz Fair, showcasing the city's top talent, for 21 years. It has created concerts that traced the evolution of the tenor saxophone sound and paid tribute to the great pianists and bass players. It commissioned new works by Chicago musicians, sponsored musician residencies and workshops, collaborated with educational, government, and cultural institutions, collected oral histories and created the Don DeMicheal Jazz Archives; all in the effort to pursue the goal of preserving and perpetuating the unique American art form that although called by many names is most often known as jazz. 
   The Chicago Jazz and Heritage Program is a collaboration with the Chicago Park District. The JazzCity series, now in its second year, is an innovative music education program that traces the evolution of Swing, Bebop, Latin-Jazz and Free-Jazz, highlighting Chicago's rich historical jazz legacy with legendary local musicians. Through oral history, workshops, concerts and sometimes even basketball, JazzCity reconnects Chicago communities to their cultural heritage. Programs are presented in parks all over the city, open to the public and free of charge.
   The Composers-in-Residence project is part of the Jazz and Heritage Program and is co-sponsored by the American Composers Forum. The residencies invite composers to collaborate with community members in the research, development, performance and composition of large-scale musical pieces that reflect the life and cultural history of the community. 
   The largest free jazz festival in the world has been programmed by the Jazz Institute since 1979. Always an exciting blend of music both familiar and previously unknown, the Jazz Festival is distinctly Chicago in all its styles. Hundreds of thousands of Chicagoans  and visitors have gathered near the lake for over 20 years to share the tradition.
Named for founding member and first president of the Jazz Institute, the Don DeMicheal Archive resides in the University of Chicago's Chicago Jazz Archive at the Regenstein Library. In addition to collecting materials related to Chicago's role and influence in the development of jazz an ongoing Oral History Project has documented the lives of musicians who gave their music to Chicago.

Los Angeles Jazz Institute • P.O. Box 8038, Long Beach, CA 90808-0038, USA, Tel. 001 (562) 985-7065, e-mail: info@lajazzinstitute.org, Internet: http://www.lajazzinstitute.org [06/2009; director: Ken Poston]
   The Los Angeles Jazz Institute houses and maintains one of the largest jazz archives in the world. All styles and eras are represented with a special emphasis on the preservation and documentation of jazz in Southern California. The overall mission of the Jazz Institute is to preserve, promote and perpetuate the heritage of this important American art form. The Archive currently houses many significant artist collections including Howard Rumsey, Bud Shank, Pete Rugolo, Shorty Rogers, Gerry Mulligan, Art Pepper, Johnny Richards, Woody Herman/Bill Byrne, June Christy, Bob Cooper, Phil Moore, Dr. Wesley LaViolette, Ken Hanna. The Jazz Institute also houses personal items from the estates of Stan Kenton, Charlie Barnet, Henry Mancini, Johnny Mercer, Wild Bill Davidson, Benny Carter, Albert Marx, C.P. Macgregor and Sid Weiss. The Los Angeles Jazz Institute also houses a number of important individual collections including The Sleepy Stein Collection, The Jimmie Baker Collection, The Donald Dean Collection, The Tom Lord Collection, The Bob Andrews Collection, The John Irwin Collection, The Charles Weisenberg Collection, The Robert Aurthur Collection, The Ray Avery Collection, The Ken Poston Collection.
   Goals:
   - Collect and preserve jazz materials and make them accessible to scholars, students, researchers and the jazz community.
   - Actively acquire new materials and continue to seek out important private collections.
   - Provide a setting where musicians and their estates can donate or loan their materials with the assurance that they will be preserved for future generations. Place a special emphasis on maintaining and adding to the music archive to establish a setting where the music can be performed on a regular basis insuring that their legacies will live forever.
   - Actively use the materials in the Archive by maintaining a busy schedule of outreach activities including concerts, festivals, broadcasts, publications and the release of important recordings on compact disc.
   - Develop grant proposals and pursue fund-raising activities.
   - Initiate research projects and publish the results in journal form and on a web site.
   - Maintain a comprehensive program of cataloging and data-base entry to continue to improve access to the collections.

The American Jazz Museum • 1616 East 18th Street, Kansas City, MO 64108, USA, Tel. (816) 474-8463, Fax (816) 474-0074, e-mail: info@kcjazz.org, Internet: http://www.americanjazzmuseum.com [06/2009]
   The American Jazz Museum opened in fall of 1997, and is the only museum in the U.S. devoted exclusivly to jazz. The museum complx includes major interactive exhibits celebrating the memory of the legends Louis Armstrong, Duke ellington, Ella Fitzgerald, and Charlie Parker. In the Horace M. Peterson III. Visitor Center, visitors can experience the dynamic contributions the 18th & Vine area has made to the cultural, social, and economic development of Kansas City and beyond. Institute participants can watch more than two dozen jazz performances on the museum's video jukebox; experiment with harmony, melody, and rhythm in a studiolike enviroment; and view artifacts and exhibits detailing Kansas City's contributions to jazz. The museum also includes a state of the art performing arts center (the GEM Theater) and noted jazz club The Blue Room. 

The Jazz Museum in Harlem • 104 E. 126th Street, Suite 2D, New York, NY 10035, USA, Tel. (212) 348-8300, e-mail: info@jazzmuseuminharlem.org, Internet: http://www.jazzmuseuminharlem.org [06/2009; staff: Wilhelmina Grant, Loren Schoenberg, Christian McBride]

International Trumpet Guild • P.O. Box 2688, Davenport, IA 52809-2688, USA, Fax (403) 413-8899, e-mail: president@trumpetguild.org, Internet: http://www.trumpetguild.org [06/2009; staff: Stephen Chenette (president)]
   World-wide organization of trumpeters (all styles), holds regular trumpet conferences, in 1982 established the ITG Archives helping in trumpet-related research]

The Society for Jazz Education • c/o The National Association for Music Education, 1806 Robert Fulton Drive, Reston, VA 20191, USA, Tel. (703) 860-4000, Fax (703) 860-1531, Internet: http://www.menc.org [06/2009]
   After the dissolution of the International Association for Jazz Education, the National Association for Music Education plans the formation of The Society for Jazz Education as a new platform for jazz educators.

African American Jazz Caucus, Inc • c/o Dr. Larry Ridley (African American Jazz Caucus Executive Director), 3 Stuyvesant Oval, Suite 9B, New York, NY 10009, USA, e-mail: LHRidley@aol.com, Internet: http://www.aajc.us [06/2009]
   The African American Jazz Caucus was founded in 1977 to increase the representation of African American Jazz artists and educators in the then still existing International Association of Jazz Educators. Since the IAJE folded in 2008, the AAJC is proactively working to maintain the aesthetic integrity, heritage, legacy and historical facts germane to the music. It is engaged in creating programs and providing services to further jazz education. The Caucus invites and encourages proactive members to share their expertise in our networking with national and international communities.

Jazz Composers Alliance • P.O. Box 491, Allston, MA 02134, USA, Tel. (781) 899-3130, e-mail: info@jazzcomposersalliance.org, Internet: http://www.jazzcomposersalliance.org [06/2009]
   Jazz composers' association, promotes jazz composition, organizes the Julius Hemphill Composition Awards since 1992/1997]

Louis Armstrong Archive •34-56 107 Street, Corona, Queens, NY 11368, USA, Tel. (718) 9478-8274 Fax (718) 478-8299, e-mail: satchmo@qc.edu, Internet: http://www.satchmo.net [06/2009; staff: Michael Cogswell (director), Peggy Alexander (curator)]
Louis Armstrong House • 34-56 107th Street, Corona, NY 11368, USA, Tel. (718) 478-8274, Fax (718) 478-8299 [11/2006]
   The primary collection of the Louis Armstrong Archives is Louis's vast personal collection of photographs, papers, scrapbooks, commercial recordings, private recordings, memorabilia, and musical instruments. These materials were discovered in the Armstrong House in 1987. All of the materials are housed in a state-of-the-art archival center in the Benjamin S. Rosenthal Library on the campus of Queens College. The center includes an exhibit area, reading room, work room, collection stacks, and office. Highlights of the Louis Armstrong Collection include: 650 reel-to-reel tapes, most with boxes that were hand-decorated by Louis, 1,600 78s, LPS, and 45s, 86 scrapbooks, 5,000 photographs, 270 sets of band parts, 12 linear feet of personal papers, correspondence, and autobiographical manuscripts, 5 trumpets and 14 trumpet mouthpieces, 120 awards and plaques.
   The Louis Armstrong Archives also holds a rapidly growing collection of Armstrong recordings, photographs, letters, books, artwork, videos, memorabilia, etc. We collect almost anything related to the life and career of Louis Armstrong! We typically acquire more than 100 new items every year. This diverse and rapidly growing Accessions collection includes: Gold-plated trumpet given to Louis by King George V of Great Britain, circa 1934 (Gift of Dorothea Vunk); FBI file on Louis Armstrong, obtained through the Freedom of Information Act (Gift of Michael Meckna); A studio portrait of Louis and his third wife, Alpha, autographed by Louis and Alpha (Gift of Fred Fleming); Postcards written by Louis Armstrong and sent to Detroit disc jockey "Jack the Bell Boy" in 1948 (Gift of Ed McKenzie). Other collections of the Louis Armstrong Archives include: Phoebe Jacobs Collection: Approximately 5 cubic feet of personal papers, correspondence, photographs, and ephemera related to Ms. Jacobs's work with Louis and Lucille Armstrong; Jack Bradley Collection: More than 100 Louis Armstrong LPs and 78s, personal papers, and memorabilia. Donated by the foremost private collector of Louis Armstrong materials; Wingy Manone Collection: Two cubic feet of scores, papers, and recordings, and one trumpet, belonging to Wingy Manone, the New Orleans trumpeter who was a contemporary of Louis Armstrong.
   The Louis Armstrong House was opened in 2003 and is a museum dedicated to Armstrong's life music situated in the house he lived in thince 1943 until his death in 1971.

William Ransom Hogan Jazz Archive • Howard Tilton Memorial Library, Jones Hall, Tulane University, 7001 Freret Street, New Orleans, LA 70118, USA, Tel. (504) 865-5688, Fax (504) 865-5761, e-mail: raeburn@tulane.edu, Internet: http://www.tulane.edu/~lmiller/JazzHome.html [11/2006; staff: Bruce Raeburn (director)]
   The Hogan Jazz Archive is a renowned resource for New Orleans Jazz research. Our collection includes oral histories, recorded music, photographs and film, and sheet music and orchestrations. We also maintain files of manuscripts, clippings, and bibliographic references. In addition to vintage and contemporary books and periodicals, our reference shelf includes discographies and encyclopedias in our patron area. Special collections include notable donations from jazzman Nick LaRocca, Ray Bauduc and Knocky Parker. Among the special holdings are: Dominic LaRocca Collection, Souchon Collection, Al Rose Collection, William Russell Collection, Roger C. Gulbrandsen Collection, Robichaux Collection, Ralston Crawford Collection, Musician's Union File--AFM 174-496. We publish the Jazz Archivist, the semi-annual newsletter of the Hogan Jazz Archive. It includes articles by scholars who have used the holdings of our archive on different aspects of jazz history, along with news of our archive, our collections, and programs.

Louisiana State Museum Jazz Collection • Old U.S. Mint, 400 Esplanade Ave., New Orleans, LA 70116, USA, Tel. 001 (504) 568- 6968 Fax 001 (504) 568-4995, Internet: http://lsm.crt.state.la.us/collections/jazz.htm [06/2009]
   The New Orleans Jazz Club was founded in 1948 on Mardi Gras by a group of local jazz enthusiasts and musicians, and has been going strong to this day. Almost immediately after it was founded the members began dreaming of opening a Jazz Museum, as many of them were collectors of jazz memorabilia and felt these should be made available to the public. The New Orleans Jazz Museum finally opened its doors in 1961 at 1017 Dumaine Street, and was a success from the start, so much so that it almost immediately began to outgrow the premises. Generous donations began to flood in, and within a few years it became apparent that the cottage on Dumaine Street would not have sufficient space to keep up with the growth of the collection. At about this time, the Royal Sonesta Hotel opened on Bourbon Street, managed by a jazz enthusiast who offered display space on the balcony surrounding Economy Hall, the Hotel's nightclub that featured performances of jazz nightly. The Jazz Museum relocated there in 1969. When the manager, James Nassikas, was transferred to another Sonesta Hotel, the new Management had different plans for that space, and in 1973 the Museum was forced to move to its third location at 833 Conti Street. Despite heroic efforts by the board and membership of the New Orleans Jazz Club, it eventually became financially impossible to keep the Museum open, and the collection was put in storage. The collection with its exhibit potential was as strong as ever, but lacked a building to house it. At about this time, the Louisiana State Museum (LSM) was completing renovation of the Old U.S. Mint at the foot of Esplanade Avenue, which it had acquired from the federal government in a rather decrepit state. When repairs were complete, LSM had a grand old building, but lacked a star attraction exhibit to put in it. So on September 15, 1977, the two organizations solved each others’ problems when the entire collection of the New Orleans Jazz Museum was donated to the people of Louisiana, and became The New Orleans Jazz Club Collections of the Louisiana State Museum.
   The Louisiana State Museum has the largest collection in the world of instruments owned and played by important figures in jazz, possessing multiple examples of all the commonly used instruments: trumpet, cornet, trombone, clarinet, saxophone. Some late 19th-century instruments date from the early days of jazz, others were used by local musicians who either never left New Orleans or came back.
   The jazz collection of the Louisiana State Museum can also be viewed online in their digital archive: http://louisdl.louislibraries.org/cdm4/index_JAZ.php?CISOROOT=%2FJAZ

The Hamilton College Jazz Archive • Hamilton College, 198 College Hill Road, Clinton, NY 13323, USA, Tel. (315) 859-4071, e-mail: mrowe@hamilton.edu, Internet: http://www.hamilton.edu/jazzarchive/ [3/2004; staff: Monk Rowe (director)] 
   Established in 1995, the archive holds a collection of videotaped interviews, currently numbering 170+ entries, with jazz musicians, arrangers, writers and critics. The collection generally focuses on artists associated with mainstream jazz and the swing era. Former members of bands led by Count Basie, Duke Ellington, Woody Herman, Benny Goodman, Stan Kenton and the Dorsey brothers are well represented. Significant soloists and arrangers from small ensembles dating from the 1930s have also been interviewed. The holdings are particularly viable for material pertaining to the learning process employed by young jazz musicians prior to the establishment of jazz education programs, and the realities of making a career in the jazz world. Other significant topics addressed include stories of life on the road and in the active New York City recording scene as well as racial relations (past and present) in jazz. Interviews with Oscar Peterson, George Shearing, Clark Terry and Milt Hinton were conducted by vocalist Joe Williams. The interview collection has been fully transcribed and may be reviewed in print, video and audiocassette. References to specific subject matter may be found via electronic query. Support material includes LPs, CDs, photographs, commercial jazz videos, books and memorabilia as well as a concert documentary filmed in 1997 at Hamilton College with Joe Williams and the Count Basie Orchestra. The gathering of interviews is an ongoing process and researchers, students and writers are invited to contact the archive for access guidelines.

The Paul Whiteman Collection • Williams College Archives & Special Collections, Southworth Schoolhouse Apt. # 3, 96 School Street, Williamstown, MA 01267, USA, Tel. (413) 597-4200, Fax (413) 597-29291, e-mail: archives@williams.edu, Internet: http://www.williams.edu/library/archives/pwc/pwc1.html [09/2006; staff: Sylvia Kennick Brown (archivist)] 
   The Paul Whiteman Collection comprises some 4000 manuscript arrangements of orchestral jazz dating from the 1920s to the 1940s, as well as contemporary recordings, clippings files, and small collections of photographs and artifacts. The Collection represents the largest extant body of material documenting this extraordinary conductor who changed the face of American popular music. The Whiteman Collection was donated to Williams College by Paul Whiteman during the 1930s and 1940s. With no previous personal connection to the College, Whiteman selected this small undergraduate institution to be the permanent home of his collection because he was very interested in the education of young people and several of his staff had, in particular, a high opinion of Williams.

Hoagy Carmichael Collection • Indiana University, Archives of Traditional Music, Morrison Hall 117, Bloomington, IN 47405-2501, USA, Tel. (812) 855-4679, e-mail: atmusic@indiana.edu, Internet: http://www.dlib.indiana.edu/collections/hoagy [06/2009] 
   The collection at the Archives of Traditional Music is one of the institution’s most popular, and represents the largest grouping of materials pertaining to Hoagy Carmichael anywhere. The collection includes original music manuscripts, original lyric sheets, commercial and field recordings, recorded interviews, commercial and homemade films, photographs, scrapbooks, newspaper clippings, early drafts of his biography, oil paintings (by Carmichael himself), a piano and many other artifacts totaling more than 3,000 items. The Hoagy Carmichael Collection consists of items that were in his personal collection, items donated by his family, and items pertaining to Carmichael donated by others. The sound recordings of the collection contain many unique and valuable items, including the following 78 rpm master discs: the original unreleased recording of "Star Dust," featuring Carmichael's original lyrics; an early unreleased version of "One Night in Havanna," with Carmichael's handwriting on the label identifying this as the first recording of the rhumba in this country; an unreleased master of "When Baby Sleeps," with Carmichael's handwriting on the label identifying this as what later became his hit "Old Rocking Chair." Furthermore, this collection is growing. In March 1998, the Archives of Traditional Music received Earl T. Butler's collection of 1,600 recorded versions of "Star Dust." The Archives soon will receive researcher/documentary filmmaker Pat Kellar's donation of the results of her years of research on Carmichael, including unique and valuable video interviews and transcripts. Materials pertaining to Hoagy Carmichael are found in three locations at Indiana University: the Archives of Traditional Music, the Lilly Library, and the Indiana University Archives. Relevant materials at the IU Archives include newspaper clippings, photographs, and correspondence; the Lilly Library features 56 items including musical manuscripts, newspaper clippings, and correspondence with individuals such as Dwight David Eisenhower, Bob Hope, William Ezra Jenner, and Richard Nixon.]

The National Ragtime & Jazz Archive • c/o Southern Illinois University, Edwardsville, IL 62026-1063, USA, Tel. (618) 650-2695, e-mail: tdickma@siue.edu, Internet: http://www.siue.edu/lovejoylibrary/musiclistening/NRJA/ [06/2009; Therese Dickman (archivist)] 
   In March 1974 the National Ragtime and Jazz Archive was established at Lovejoy Library. The archive documents early recorded jazz and the lives of notable jazz musicians from the St. Louis area. The John Randolph Collection, with approximately 10,500 78-rpm records, provided the basis of the archive's record collection. Today there are more than 20,000 records in the archive. Audio and videotapes, sheet music, piano rolls, and oral history materials are also included. During the early 1980s the Illinois Arts Council funded an oral history project through which St. Louis area jazz musicians were interviewed. The corresponding tapes and transcripts of the interviews were subsequently added to the Jazz Archive. The oral history memoirs highlight the careers of these musicians and give dexcriptions of musical life in the St. Louis area during the twentieth century. Carol Clarkin, Dan Havens, Charles Rose, and Deane Wiley were the primary interviewers in the project, and Carole Wiley was the project coordinator Therese Zoski Dickman is continuing the oral history interviews. The following jazz musicians were interviewed: Claude Abney, Willie Akins, Sam Andria, Theodore Bibb, Eubie Blake, Gilbert Bowers, George Brunis, Robert Carter, Bobbie Danzie, Eddie Johnson, Leon King, Singleton Palmer, Hayes Pillars, Jimmie Pounds, Eddie Randle, Vertna Saunders, Leon Smith, Lloyd Smith, Ralph Sutton. The National Jazz and Ragtime Archive is the largest jazz archive in the St. Louis area in terms of recordings and oral history materials.]

Oberlin College Jazz Collection • 39 W. College St., Oberlin, OH 44074-1588, USA, Tel. (440) 775-8413, Fax (440) 775-6972, Internet: http://www.oberlin.edu/con [06/2009]
   On August 8, 2008, construction on the environmentally innovative Phyllis Litoff Building began in earnest . The project is expected to take 14 months to complete. Plans are for the building to open during fall semester 2009, and arrangements are being made for a gala dedication ceremony and grand opening. Besides housing Oberlin’s renowned Jazz Studies Department and a world-class recording studio, the Litoff Building will also provide a vibrant archive for the largest privately held jazz recording collection in America.

Smithsonian National Museum of American History • mailing address: Archives Center, National Museum of American History, PO Box 37012, NMAH, MRC 601, Washington, DC 20013-7012; street address: Archives Center, National Museum of American History, 12th, 14th & Constitution Avenue, Washington, DC 20560-0601, Tel. (202) 357-3270, Fax (202) 786-2453, e-mail: archivescenter@si.edu, Internet: http://americanhistory.si.edu/archives [06/2009; John Edward Hasse (curator)] 
   The American Music Collections document the country's diverse popular music and performance traditions. The strength of these collections is the music of the late nineteenth through the twentieth centuries including Big Band jazz, Gospel and African American sacred music, and folk music. Among the largest of these collections are the Duke Ellington Collection, 1927-1988 spanning nearly the entire life and career of one of America's most recognized musicians (comprising 100,000 pages of his scores and parts for his band, 100,000 pages of other documents, 2,000 photographs, 500 recordings, and 500 artifacts, deposited by his son Mercer Ellington) and the Sam DeVincent Collection of Illustrated American Sheet Music containing images, music, and lyrics of American life and culture between 1790 and the 1980s.
Another significant portion of these collections documents the commercial manufacture and traditional building of music instruments. The manufacture and sale of pianos in America are represented by the Wurtlitzer Company Records, 1860-1987, Sohmer & Company Records, 1872-1989, and Chickering & Sons Piano Co. Collection, 1864-1985. In addition there is the Albert F. Moglie Violinists and Violin-making Collection containing materials from ca. 1917 to 1985 and the Paul Cadwell Banjo Collection illustrating the development of the banjo and banjo music between 1880 and 1980.
   Music's role in American advertising can be found in the N W Ayer Advertising Agency Collection, 1849-1996, Warshaw Collection of Business Americana, ca. 1790-1945, and the "Pepsi Generation" Oral History and Documentation Collection, 1938-1986. Other important collections include the Duke Ellington Oral History Collection of ca. 40 oral histories; the Ruth Ellington Collection, which supplements the Duke Ellington Collection, and includes Harry Carney's home movies, Ellington's appointment book, more music and photographs, etc.; 30 other Ellington-related collections, including the Rex Stewart Collection, the Cat Anderson Collection, the Don Brown Collection of recordings, materials from Gaye and Edward Ellington, among others; the Ernie Smith Jazz Film Collection, 1910s-1970s (mostly 1930s-60s, over 700 titles); the Frank Schiffman Apollo Theater Collection; the Wade in the Water Radio Series Collection of Sacred African American Music, 1994; the J Scott Odell Collection of Folk Music, 1964-1977; the Virgil Whyte "All-Girl" Band Collection, 1942-1948 and 1991-1993; the Ella Fitzgerald Collection, ca. 1938-1996, comprising photographs, posters, business records, correspondence, awards, costumes, etc.; the Benny Carter Collection of music and archival materials; Jimmie Lunceford's band library; the Bill Holman Collection (500 orchestrations); Ray McKinley Music and Ephemera, 1945-1994; the Joel Dorn Papers; the Jack Seifert Collection of Woody Herman Materials, 1913-1987; material from W.C. Handy, Horace Silver, and other musicians; the Herman Leonard Collection (over 120 jazz photographs); the musical instruments of Benny Goodman, Buddy Rich, Harry James, Dizzy Gillespie, J.J. Johnson, et aland the Bluestime Power Hour Videotape Collection, 1997-1998. New additions in 2006 were objects and manuscripts donated by the families of Miles Davis (parts of the score for "Summertime", arranged by Gil Evans, several pieces of clothings) and Thelonious Monk (handwritten manuscript of "Four in One", several pieces of clothing), as well as photographs donated by photographer Herman Leonard (images of Louis Armstrong, Billie Holiday, Dizzy Gillespie, Lena Horne, Tony Bennett and others).]

Library of Congress / National Recording Preservation Board • c/o Motion Picture, Broadcasting & Recorded Sound Division, Library of Congress, 101 Independence Avenue SE, Washington, DC 20540-4698, USA, e-mail: recregistry@loc.gov, Internet: http://www.loc.gov/rr/record/nrpb [06/2009]
   The National Recording Preservation Board, mandated by the National Recording Preservation Act of 2000, is an advisory group bringing together a number of professional organizations and expert individuals concerned with the preservation of recorded sound. The Board is one of three components established by the legislation to form a comprehensive national program to ensure the survival, conservation, and increased public availability of America's sound recording heritage. The other two components of the program are the National Recording Registry and a fund-raising Foundation.
   The Board is appointed by the Librarian of Congress and consists of one member and one alternate from each of seventeen organizations representing composers, musicians, musicologists, librarians, archivists, and the recording industry, as named in the law. In addition, the Librarian of Congress may appoint up to five "at-large" members.The National Recording Preservation Act of 2000 charges its Board to:
   Formulate Selection Criteria for the Recording Registry and to assist the Librarian in the review and recommendation of nominations for the Registry.
   Develop a comprehensive National Recording Preservation Study and Action Plan. A comparable preservation study and action plan was produced in 1993 by the National Film Preservation Board. The study will address issues such as the current state of sound recording archiving, preservation, and restoration activities; research and other activities carried out by or on behalf of the Library of Congress National Audio-Visual Conservation Center at Culpeper, Virginia; the establishment of clear standards for copying old sound recordings; current laws and restrictions regarding the preservation and use of sound recordings, including recommendations for changes to allow digital access and preservation.
  [06/2009]: http://chroniclingamerica.loc.gov: An addition to the Library of Congress' website is the search machine "Chronicling America: Historic American Newspapers". This site allows you to search and read newspaper pages from 1900-1910 and find information about American newspapers published between 1690-present. Chronicling America is sponsored jointly by the National Endowment for the Humanities and the Library of Congress as part of the National Digital Newspaper Program (NDNP).

Brown University • John Hay Library, Brown University, 20 Prospect Street, Providence, Rhode Island 02912, USA, Tel. (401) 863-2146, Fax (401) 863-2093, e-mail: hay@brown.edu, Internet: http://www.brown.edu [06/2009]
   Brown University participates in the  American Memory Digital Collection with an online listing of African American sheet music from 1850 to 1920 in which you get background information about compositions by James Bland, Ernest Hogan, Bob Cole, James Reese Europe, Will Marion Cook and others, and can even browse the collection online, having a look at the sheet music collection: African American Sheet Music 1850-1920: http://dl.lib.brown.edu/sheetmusic/afam/index.html.

Duke University • Rare Book, Manuscript, and Special Collections Library, 103 Perkins Library, Duke University, Durham, NC 27708-0185, USA, Tel. (919) 660-5820, Fax (919) 660-5934, e-mail: special-collections@duke.edu, Internet: http://library.duke.edu/specialcollections [06/2009]
   Duke University participates in the American Memory Digital Collection with an online listing of sheet music from 1850 to 1920 in which you get background information about compositions and can even browse the collection online, having a look at the sheet music collection: Historic American Sheet Music: http://scriptorium.lib.duke.edu/sheetmusic.

The Milton S. Eisenhower Library • 3400 North Charles Street, Baltimore, MD 21218, Tel. (410) 516-8335, Internet: http://levysheetmusic.mse.jhu.edu, sowie vorübergehend: Internet: https://jscholarship.library.jhu.edu/handle/1774.2/2085[06/2009]
   The Lester S. Levy Collection of Sheet Music is part of Special Collections at the Milton S. Eisenhower Library of The Johns Hopkins University. It contains over 29,000 pieces of music and focuses on popular American music spanning the period 1780 to 1960. All pieces of the collection are indexed on this site and a search will retrieve a catalog description of the pieces. An image of the cover and each page of music will also be retrieved if the music was published before 1923 and is in the public domain.

> Mississippi State University Libraries • P.O. Box 5325, Mississippi State, MS 39762, USA, Tel. ++1 (662) 325-2323, Internet: http://library.msstate.edu/ragtime [11/2006]
   Mississippi State University houses the Charles H. Templeton Ragtime Sheet Music Collection. Many of the pieces of early ragtimes, blues and show tunes have been put online at: http://library.msstate.edu/ragtime. More information about the sheet music collection available through Michael Ballard, e-mail: MBallard@Library.Msstate.Edu, or Stephen Cunetto, e-mail: SCunetto@Library.Msstate.Edu.

Archives of African American Music & Culture • Indiana University, Smith Research Center, Suites 180-181, 2805 E. Tenth Street, Bloomington, IN 47408-2601, USA, Tel. (812) 855-8547, Fax (812) 855-8545, e-mail: aamc@indiana.edu, Internet: http://www.indiana.edu/~aaamc [06/2009; Portia K. Maultsby (director), Brenda Nelson (head of collections)] 
   Established in 1991, the Archives of African American Music and Culture (AAAMC) is a repository of materials covering various musical idioms and cultural expressions from the post-World War II era. The AAAMC supports the research of scholars, students, and the general public from around the world by providing access to oral histories, photographs, musical and print manuscripts, audio and video recordings, and educational broadcast programs, among other holdings. The AAAMC provides reference services in person and by telephone, mail, and the internet for the general public and for researchers throughout the world. Inventories are available for some collections at a minimal fee. The AAAMC publishes a biannual newsletter, AAAMC Liner Notes, which covers AAAMC’s activities, projects, collections, and personality profiles of pioneers in Black music and culture and people who contribute to the AAAMC in one way or another. Among the special collections in the archive are the Lee Bailey collection, Johnny Grifftíth collection, Portia K. Maultsby collection, Motown collection, Mr. R&B Records catalog collection, Johnny Otis colection, Miles White collection]

Schomburg Center for Research in Black Culture • 515 Malcolm X Boulevard, New York, NY 10037-1801, USA, Tel. (212) 491-2200, Internet: http://www.nypl.org/research/sc/sc.html [06/2009]
   The Schomburg Center for Research in Black Culture is a national research library devoted to collecting, preserving and providing access to resources documenting the experiences of peoples of African descent throughout the world. The Center's collections first won international acclaim in 1926 when the personal collection of the distinguished Puerto Rican-born Black scholar and bibliophile, Arturo Alfonso Schomburg, was added to the Division of Negro Literature, History and Prints of the 135th Street Branch of The New York Public Library. Schomburg served as curator from 1932 until his death in 1938. Renamed in his honor in 1940, the collection grew steadily through the years. In 1972 it was designated as one of The Research Libraries of The New York Public Library and became the Schomburg Center for Research in Black Culture. Today, the Schomburg Center contains over 5,000,000 items and provides services and programs for constituents from the United States and abroad. 
   The Center provides access to and professional reference assistance in the use of its collections to the scholarly community and the general public through five research divisions, each managing materials in specific formats but with broad subject focus. The Center's collections include art objects, audio and video tapes, books, manuscripts, motion picture films, newspapers, periodicals, photographs, prints, recorded music discs and sheet music.
   The "Louis Armstrong Jazz Oral History Project" of the Schomburg Center can be accessed through the internet [http://www.nypl.org/research/sc/scl/MULTIMED/JAZZHIST/jazzhist.html].
   This site features short video and audio clips by musicians such as Nat Adderley, Doc Cheatham, Jon Faddis, Art Farmer, Chico Hamilton, Jimmy Heath, Milt Hinton, Phoebe Jacobs, Yusef Lateef, Abbey Lincoln, Marian McPartland, Coleridge-Taylor Perkinson, Larry Ridley, Warren Smith, Grady Tate, Arthur Taylor, Clark Terry, Charles Tolliver, Tommy Turrentine, McCoy Tyner, Randy Weston.

New York Public Library for the Performing Arts, Music Division • 40 Lincoln Center Plaza, Third Floor, New York, NY 10023-7498, USA, Tel. (212) 870-1650, e-mail: musicdiv@nypl.org , Internet: http://www.nypl.org/research/lpa/mus/mus.html [06/2009]
   The Music Division of The New York Public Library is one of the world's preeminent music collections. Chronicling the art of music in all its diversity - opera, spirituals, ragtime, jazz, musical comedy, orchestral, rock, and pop music - its vast collection illuminates an art form that is as diverse as humanity. While the Division contains many scores and manuscripts from centuries past, its curatorial mandate is an activist one, placing major emphasis on capturing the creative output of contemporary composers. An acquisitions program that spans the globe brings the Division the latest published music from many nations. The breadth and scope of this material foster a dynamic dialogue across cultures and galvanize an extraordinary range of musical scholarship and performance activity.
   Particularly noteworthy is the American Music Collection, with its own curator and staff. From the first edition of "The Star-Spangled Banner" to Native American songs to extensive manuscript collections of American composers such as Charles Tomlinson Griffes and Louis Moreau Gottschalk, the Division has made the documentation of American classical and popular music a major priority. Collection efforts bring to the Division a copy of almost every piece of classical and popular music published in the United States each year. Through special arrangements with leading American music publishers, the Division also acquires numerous rental scores--documents that would otherwise be inaccessible for study.
  Jazz-related parts of the collection include:
   American Music Center Collection: This unique collection of 50,000 music scores represents a cross section of over sixty years of American concert music and jazz. Founded in 1939, the mandate of the American Music Center is to make the music of its composer members available to performers and conductors, and to act as a clearinghouse for the dissemination of information vital to its membership.
   George Antheil Manuscripts: Manuscripts and manuscript sketches of major works such as the Ballet méchanique, Jazz Sonata, and Volpone.
   Ivan Black Papers: The Ivan Black Papers document Black’s work as a publicity agent on behalf of nightclubs, musicians and entertainers in New York from the 1940s to the 1970s. They include press releases, clippings, correspondence, photographs, promotional material and published music scores <http://www.nypl.org/research/manuscripts/music/musblack.xml>.
   Louis Moreau Gottschalk Manuscripts: Manuscripts of all his major works, as well as his correspondence, diaries, and programs.
   Otto Hess Collection: 4000 candid photographs of jazz musicians in concert or at leisure. Listed under the names of the musicians in the Music Divisions Iconography File.
   Sy Oliver Collection: Scores and parts for Olivers original compositions and arrangements as well as papers, photographs, and memorabilia.
   Joe Reisman Scores: Joe Reisman was a producer and arranger at RCA Victor and Roulette Records from the 1950s to the 1970s; he worked independently into the mid-1980s. His scores and papers document his work on behalf of such artists as Henry Mancini, Patti Page, Sarah Vaughan, Perry Como, and for his own albums and soundtracks.
   Joseph Schillinger Collection: Papers documenting the Schillinger system of musical composition. Includes correspondence from such composers as George Gershwin, Vernon Duke, and Carmine Coppola.
   Sheet Music Collection: Extensive holdings of American sheet music spanning the years from about 1769 to the present. There are special collections of rags, marches, songs from musical comedies, and pop songs. For information on holdings, you may use our online reference form.

Felix E. Grant Jazz Archives • University of the District of Columbia, 4200 Connecticut Avenue, NW, Bldg. 41-A, Washington, DC 20008, USA, Tel. 001 (202) 274-5265, Mail: jazzarchives@wrlc.org, Web: www.lrdudc.wrlc.org/jazzhome.html [11/2009]
   Founded in 1988 based on a donation by jazz collector Felix E. Grant. Holds the Felix E. Grant Collection of commercial sound recordings as well as tapes of radio shows produced by Grant and taped interviews withg jazz and blues artists. Digital collection of material specifically linked to the DC area. Other collections: Dennis Askey Collection, Ernest Dyson Collection, Paul Anthony Collection, Herb & Will Friedwald Collection etc.

Yale University, Irving S. Gilmore Music Library • 120 High Street, P.O. Box 208240, New Haven, CT 06520-8240, USA, Tel. (203) 432-0492, Fax (203) 432-7339, e-mail: MusicCirc@yale.edu, Internet: http://www.library.yale.edu/musiclib [06/2009; holds the Benny Goodman collection]

Brubeck Institute • University of the Pacific, 3601 Pacific Avenue, Stockton, CA 95211, USA, Tel. (209) 946-3970, Fax (209) 946-3972, Internet: http://www.pacific.edu/brubeck [06/2009; holds the Dave Brubeck jazz collection; director: Steve Anderson]
   Dave Brubeck Collection – one of the largest personal jazz collections (over 275 linear feet) in the world. Held in the Holt-Atherton Special Collections Department at the University of the Pacific Library, the Collection contains hundreds of published and unpublished compositions, original manuscripts, recordings, photos, writings, press clippings, and memorabilia. This unique treasure will be accessed daily by students, scholars, researchers, performers, and aficionados and will serve as the key component for research in partnership with the Institute.

University of Arizona School of Music and Dance • P.O. Box 210004, Music Bldg, Rm 109, Tucson, AZ 85721-0004, USA, Tel. (520) 621-1655, Fax (520) 621-8118, e-mail: musicweb@cfa.arizona.edu, Internet: http://www.arts.arizona.edu/artieshaw [06/2009; holds the Artie Shaw collection]
   In 1996, the University of Arizona School of Music and Dance was honored to receive the Artie Shaw Manuscript Collection from Mr. Shaw. The deliverance of the collection was made possible through the work of Mr. Edward Ezor, Attorney to Mr. Shaw. The collection is made up chiefly of music scores and parts from 1936 to 1950. These approximately 600 scores were written by various arrangers who performed in Artie Shaw's Bands. Many are by Artie Shaw himself. In addition to the Scores are approximately 1000 pieces of sheet music from Mr. Shaw's personal collection, photographs, correspondences, financial records, personal notes, and miscellaneous printed materials related to Artie Shaw's Career. The Collection is housed in the Special Collections area of the University of Arizona's Main Library. Searches can be conducted via the special collection's website. The Collection number is MS 305 and may be viewed during regular business hours.

University of Idaho International Jazz Collections • Special Collections and Archives, University of Idaho Library, P.O. Box 442351, Rayburn Street, Moscow, ID 83844-2351 USA, Tel. (208) 885-7951, Fax (208) 885-6817, e-mail: nbender@uidaho.edu, Internet: http://www.ijc.uidaho.edu [06/2009]
   Established in 1992 with the donation of the historical materials of jazz legend Lionel Hampton, the International Jazz Collections of the Lionel Hampton Center at the University of Idaho has grown to be one of the significant jazz archives in the world. The Collections currently house more than 500 scores, 10,000 recordings (including the Carl M. Perricone and Bernie Strassberg collections), 45 cubic feet of letters and papers, 5,000 photographs, 17 instruments, and numerous personal items of historical significance. More than 35 years of materials and recordings associated with the Lionel Hampton Jazz Festival are also part of the Collections.

University of North Texas • Music Library, P.O. Box 305190, Denton, TX 76203-5190, USA, Tel. (940) , 565-2860, (940) 565-2599, Internet: http://www.library.unt.edu/music [06/2009; holds the Stan Kenton collection, the Maynard Ferguson collection as well as the Willis Conover collection; staff: Morris Martin (music librarian)]
   World renowned bandleader Stan Kenton bequeathed his entire orchestra library to the University of North Texas. The collection comprises more than 2,000 manuscripts representing the work of Kenton's famous arrangers including Bill Holman, Pete Rugolo, Robert Graettinger, and Bill Russo. The Stan Kenton Collection is supplemented by a gift from Noel Wedder, Kenton's publicist, of over six hundred photographs of Kenton and his orchestra. [http://www.library.unt.edu/music/special-collections/kenton]
   Willis Conover (1920-1996) was a jazz producer and broadcaster on the Voice of America for over forty years. He produced jazz concerts at the White House, the Newport Jazz Festival, and for movies and television. Conover is credited with keeping interest in jazz alive in the countries of eastern Europe through his nightly broadcasts during the cold war when jazz was banned by most of the communist governments. Mr. Conover was not well known in the United States, even among jazz aficionados, but his visits to eastern Europe and Russia brought huge crowds and star treatment for him. A 1997 gift of the Willis Conover Jazz Preservation Foundation, Inc., the collection consists of over 22,000 recordings of all kinds, correspondence, memos, magazines, record catalogs, manuscripts, program notes, memorabilia, photographs, books, and other personal items. Many of the recordings and books are being added to the regular collection, cataloged in the main on-line catalog, and allowed to circulate. The archival and historical material will be made available as special collections. [http://www.library.unt.edu/music/special-collections/conover]
   Further collections: David Earl Holt Collection (original compositions, correspondence, photographs, memorabilia); Duke Ellington Collection (recordings, tapes); Jazz Lecture Series Collection (interviews in tape and video); Leon Breeden Collection (instructional books, scores, redordings); Osborn Duke Collection; Maynard Ferguson Collection (original compositions and scores).

Wilkes University • 84 West South Street, Wilkes-Barre, PA 18766, USA, E. S. Farley Library, Tel. (570) 408-4250, Fax (570) 408-7823, Internet: http://www.wilkes.edu/library [06/2009]
   Holds the Bob Haggart Collection with material from the estate of the swing bass player.

Eubie Blake Center • 847 North Howard Street Baltimore, MD 21201, USA, Tel. (410) 225-3130, Fax (410) 225-3139, e-mail: eubieblake@erols.com, Internet: http://www.eubieblake.org [06/2009]
   The Eubie Blake National Jazz Institute and Cultural Center started over 25 years ago when our organization began as the Model Cities Art Program. In 1984, the estate of James Hubert "Eubie" Blake, the famous ragtime piano player and musical theater composer approached the City of Baltimore about leaving his archives. As a result of this gift, the center was renamed after Eubie Blake. Our mission is as an arts education institution and a museum. Our program serves to showcase the works of renowned and aspiring artists with the focus on increasing public awareness of the contributions of African Americans in the Fine Arts.

The Leonard Bernstein Office, Inc. • 121 West 27th Street, Suite 1104, New York, NY 10001, USA, Tel. (212) 315-0640, Fax (212) 315-0643, Internet: http://www.leonardbernstein.com [06/2009; estate of Leonard Bernstein]

Florida International University (FIU) • Green Library, 11200 SW 8th Street, Miami, FL 33199, USA, Tel. (305) 348-2461, Fax (305) 348-3408, Internet: http://library.fiu.edu/ [06/2009]
   The Florida International University Library holds the Cuban Music 1925-1960 Collection Cristobal Diaz Ayala [http://latinpop.fiu.edu] with records and music sources documenting music history in Cuba. An extensive discography of Cuban music can be viewed and downloaded at this internet site: http://latinpop.fiu.edu/discography.html.

Concordia University Archives • Hall Building, Room 1015, 1455 de Maisonneuve Boulevard West, Montréal, Québec H3G 1M8, Canada, Tel. (5l4) 848-7775, Fax (5l4) 848-2857, e-mail: Nancy.Marrelli@concordia.ca, Internet: http://archives3.concordia.ca [06/2009]
   The Concordia University Archives houses a number of archival fonds and collections of jazz-related materials. The jazz holdings contain photographs, early recordings, published sheet music, published and original arrangements, original scores, annotated books on jazz, periodicals, record catalogues, original research and manuscripts, tape-recorded interviews with jazz musicians, scrapbooks, personal correspondence, and other related documents.

International Women in Jazz, Inc. • P.O. Box 230015, Hollis, NY 11423, USA, Tel. (212) 560-7553, e-mail: zenzalai@aol.com, Internet: http://www.internationalwomeninjazz.com [06/2009]
   International Women in Jazz, Inc. (IWJ) is a not-for-profit organization comprising influential and charismatic women and men from all strata of the professional jazz music industry , and jazz music enthusiasts. Its members are instrumentalists, vocalists, music educators, composers, television producers, recording engineers, music store owners, artists' representatives, publicists, concert producers and promoters, record company executives, jazz radio station executives, music attorneys, agents, jazz music lovers and more. Although IWJ is based in New York, its members are from all parts of the globe. 
   International Women in Jazz is an organization whose threefold purpose is: (1) to celebrate, promote and perpetuate America's indigenous art form, jazz; (2) to foster wider recognition of the diverse talents of women jazz artists and related professionals; (3) to provide information, advocacy, and opportunities for professional development to its members. 
   IWJ grew out of a seminar on Women in Jazz organized by Pastor Dale Lind and held at Saint Peter's Church in New York City in September 1995. Many women prominent in jazz were present, including Universal Jazz Coalition founder Cobi Narita, writer Leslie Gourse, and Lorraine Gordon, owner of the renowned Village Vanguard. The discussion yielded such a massive amount of feedback and raised so many issues, that it became apparent an ongoing forum or organization was needed to address the unmet needs of women in jazz. Cobi Narita raised the idea of creating an organization of artists and jazz lovers to advance the careers of women jazz artists. Narita called a meeting the following November and IWJ was founded.

The Blues Foundation • 49 Union Avenue, Memphis, TN 38103, USA, Tel. (901) 527-2583, Fax (901) 529-4030, e-mail: jay@blues.org, Internet: http://www.blues.org [06/2009]
   The Blues Foundation is a nonprofit corporation headquartered in Memphis, Tennessee, the home of the Blues. With more than 100 affiliated Blues organizations, and membership spanning some twenty countries, the Foundation serves as the hub for the worldwide passion for Blues Music. Organized and founded in 1980, The Blues Foundation's mission is to preserve Blues history, celebrate Blues excellence and support Blues education.

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