Music & Musical Instruments

This mixing box was made by Raytheon Manufacturing Company in Chicago, Illinois, 1950s. It is a portable mixing box, model RR-30, serial #201, made of metal, with plastic components. This mixing box was used with other equipment in the remote ready box (2002.0319.20) by the Annapolis, Maryland radio station, WANN (1190 AM), for remote broadcasts. The mixer was accessioned with a custom carrying box, made of wood, covered with beige and brown fabric, with a clear plastic handle, two metal latches, and metal covered corners. The front of the box is stenciled “WANN.”

WANN (1190 AM) was a radio station based out of Annapolis, Maryland that primarily served the area's growing African American community. Morris Blum founded it in 1946, and it broadcast to the entire mid-Atlantic region. The station was home to disc jockey Charles "Hoppy" Adams starting in the early 1950s. Adams hosted weekly events at a local African American only beach, Carr's Beach, which were popular with the area's youth population.

WANN continued to program gospel, rhythm and blues, and public affairs features until 1992 when the station changed to a mainstream country format with the catchphrase “Bay Country 1190.” Around 1998, the station changed ownership and became WBIS, broadcasting a News Talk Information format.

This stool was made by Slingerland in Chicago, Illinois, around 1938-1940. It is a Drummer’s Throne, made of wood, with a White Marine Pearl finish, metal trim, and a padded seat covered in orange fabric.

This drummer’s throne is from a drumset used by Buddy Rich in 1983-1987.

Bernard "Buddy" Rich (1917-1987) began his professional career as a drummer, tap dancer, and singer with his parents' vaudeville act before the age of two. By the time he was six, "Traps, the Boy Wonder," had performed on Broadway and toured the United States and Australia.

With the demise of the vaudeville circuit and the popularity of the swing era, Buddy became an orchestra musician. His talents as a drummer landed him a job offer with Joe Marsala's band at the Hickory House in New York City in 1937. This led to a long line of high-profile performances with Bunny Berrigan, Artie Shaw, Tommy Dorsey, and Benny Carter. Buddy's playing style was characterized by phenomenal speed, four-way independence, and an uncanny way of driving a big band.

This organ was made by Hammond Clock Co. in Chicago, Illinois, in 1934. It is an electric organ, Model A, serial #1, made of walnut. This organ has two manuals, swell and great, with 61 keys each. 25-note, radiating, detachable pedal keyboards. 9 preset keys and 2 sets of adjustable harmonic drawbars for each manual, 2 adjustable drawbars (16’ and 8’) for pedals. 1 expression pedal controlling swell, great, and pedals. One tone generator, one tremulant affecting both manual and pedals equally. Accessioned with model A-20 tone cabinet and bench.

The original owner of this first Hammond was the Paseo Methodist Church in Kansas City, which bought it in 1935. Shortly after Laurens Hammond had his electric organ patented in 1934, Hammond salesmen took the instrument around the country for demonstrations and to stimulate sales. One of the first stops was Kansas City, Missouri.

J. W. Jenkins, president, Jenkins Music Company, Kansas City, Missouri indicated in museum correspondence, “we were the first franchised Hammond Organ dealer in the world, that is why we came in possession of this organ. We sold the organ to the Paseo Methodist Church, Kansas City, Missouri, in 1936, after using it for a number of months as a demonstrator. Since this was the first and only one we had, we couldn't sell it until the factory was able to supply us with more organs. In 1947 the Paseo Methodist Church moved and built a new and bigger church. At that time, they traded in Hammond Organ Serial #1 for a new and bigger church model. Ever since then this organ has remained in our possession and has literally traveled coast to coast on exhibition and promotions for other dealer friends of ours.” The organ was donated to the Smithsonian in 1968.

This instrument features U. S. Patent #1956350 dated April 24, 1934, by Laurens Hammond for an electrical musical instrument.

This wire brush was made by Ludwig Drum Company in Chicago, Illinois, 1970s. It is a drum brush with a white plastic handle with a red plastic tip. No wire bristles, wire stick only. The brush is stamped:

LUDWIG U.S.A.

This wire brush is from a drumset used by American jazz drummer, singer, and bandleader Ray McKinley around 1969-1980. Ray McKinley (1910-1995) made his first recordings with Red Nichols, where he worked with Glenn Miller and Jimmy Dorsey, in 1931. McKinley continued to work mostly with Miller and the Dorsey Brothers (Jimmy and Tommy) through 1939. He then was a member of Will Bradley’s band through 1942. After enlisting in the Army in 1942, McKinley joined Glenn Miller’s American Band of The Allied Expeditionary Forces (AEF). After Miller’s disappearance in 1944, McKinley co-led the band with Jerry Gray.

After the war, McKinley formed his own band and worked as a freelance musician. In 1956 he was commissioned by the widow of Glenn Miller to organize a new band under Miller’s name using the original library and style. This band made a successful tour of Iron Curtain countries in 1957 and continued to tour the United States until 1966. McKinley played drums while Buddy DeFranco fronted the band from 1966-1974. McKinley continued to perform through the 1980s.

This music roll was made by Mills Novelty Company in Chicago, Illinois, about 1929-1930. It is Roll #2904, playable in a Violano Virtuoso player. The tune list for this roll is as follows:

Roll #2904 - Good Dance Music in a Most Attractive Way
14343: Wake Up Chilluns Wake Up (fox trot), Jo Trent & Willard Robison, copyright 1929, Walter Donaldson
14344: I'm Ka-razy for You (fox trot), Al Jolson, Billy Rose & Dave Dreyer, copyright 1929, Irving Berlin
14345: I Love You I Adore You from "The Silver Swann" (waltz), H. Maurice Jacquet, copyright 1929, Leo Feist
14346: My Castle in Spain is a Shack in the Lane (fox trot), Irving Ceasar & Cliff Friend, copyright 1929, Leo Feist
14347: Susianna (fox trot), Spencer Williams, copyright 1929, Triangle Music Co.

This music roll was made by Mills Novelty Company in Chicago, Illinois, about 1924-1925. It is Roll #2398, playable in a Violano Virtuoso player. The tune list for this roll is as follows:

Roll #2398 - Hand Played Popular Dance Roll
10051: Sing a Little Song (fox trot), Erdman-Chon-Westphal, copyright 1924, Leo Feist, Inc.
10052: Hard Boiled Mame (fox trot), Brummies-Fred Rose & Bass, copyright 1924, Milton Music Co.
10053: At the End of the Winding Trail (waltz), Isham Johns & Kahn, copyright, 1924, Milton Well
10054: Down Romany Way (fox trot), Dupre-Drudding-Altiers, copyright 1924, Douglas Browne Music Co.
10055: That Little Old Shack (fox trot), Frank Magine, copyright 1924, Fine Arts

This drum stick was made by Mike Balter in Prospect Heights, Illinois, early 1980s. It is a 5A drum stick, made of hickory. This drum stick is stamped:

MIKE BALTER 5A

This drum stick is from a drumset used by Buddy Rich in 1983-1987.

Bernard "Buddy" Rich (1917-1987) began his professional career as a drummer, tap dancer, and singer with his parents' vaudeville act before the age of two. By the time he was six, "Traps, the Boy Wonder," had performed on Broadway and toured the United States and Australia.

With the demise of the vaudeville circuit and the popularity of the swing era, Buddy became an orchestra musician. His talents as a drummer landed him a job offer with Joe Marsala's band at the Hickory House in New York City in 1937. This led to a long line of high-profile performances with Bunny Berrigan, Artie Shaw, Tommy Dorsey, and Benny Carter. Buddy's playing style was characterized by phenomenal speed, four-way independence, and an uncanny way of driving a big band.

This drum was made by Ludwig Drum Company in Chicago, Illinois, in 1969. It is a Tom Tom, Serial #767594, with a wood ply shell with a Black Diamond Pearl finish, flanged metal hoops, and 12 key tension self-aligning separate tension lugs. There is a metal badge on the shell:

LUDWIG USA
767594

This tom tom is from a drumset used by American jazz drummer, singer, and bandleader Ray McKinley around 1969-1980. Ray McKinley (1910-1995) made his first recordings with Red Nichols, where he worked with Glenn Miller and Jimmy Dorsey, in 1931. McKinley continued to work mostly with Miller and the Dorsey Brothers (Jimmy and Tommy) through 1939. He then was a member of Will Bradley’s band through 1942. After enlisting in the Army in 1942, McKinley joined Glenn Miller’s American Band of The Allied Expeditionary Forces (AEF). After Miller’s disappearance in 1944, McKinley co-led the band with Jerry Gray.

After the war, McKinley formed his own band and worked as a freelance musician. In 1956 he was commissioned by the widow of Glenn Miller to organize a new band under Miller’s name using the original library and style. This band made a successful tour of Iron Curtain countries in 1957 and continued to tour the United States until 1966. McKinley played drums while Buddy DeFranco fronted the band from 1966-1974. McKinley continued to perform through the 1980s.

This stool was made by Ludwig Drum Company in Chicago, Illinois, about 1969. It is a Drummer’s Throne, with a wood ply shell with a Black Diamond Pearl finish, red leatherette covered padded seat, and a metal hasp and handle. Ludwig sold this as a “seat-case,” with storage. There is a metal badge on the shell:

LUDWIG DRUM CO.
CHICAGO, U.S.A.

(branded on the shell):

RMcK

This drummer’s throne is from a drumset used by American jazz drummer, singer, and bandleader Ray McKinley around 1969-1980. Ray McKinley (1910-1995) made his first recordings with Red Nichols, where he worked with Glenn Miller and Jimmy Dorsey, in 1931. McKinley continued to work mostly with Miller and the Dorsey Brothers (Jimmy and Tommy) through 1939. He then was a member of Will Bradley’s band through 1942. After enlisting in the Army in 1942, McKinley joined Glenn Miller’s American Band of The Allied Expeditionary Forces (AEF). After Miller’s disappearance in 1944, McKinley co-led the band with Jerry Gray.

After the war, McKinley formed his own band and worked as a freelance musician. In 1956 he was commissioned by the widow of Glenn Miller to organize a new band under Miller’s name using the original library and style. This band made a successful tour of Iron Curtain countries in 1957 and continued to tour the United States until 1966. McKinley played drums while Buddy DeFranco fronted the band from 1966-1974. McKinley continued to perform through the 1980s.

This button is of an unidentified clarinet player. It is a round button made of white paper with black ink covered with a clear film, on a two-piece metal button with a pin back.

Floyd Levin (1922-2007) was a Los Angeles textile manufacturer who turned his passion for jazz into a second career as an influential jazz journalist and historian. His numerous reviews, profiles, and articles were published in magazines such as Down Beat, Jazz Journal International, Metronome, and American Rag. He also authored Classic Jazz: A Personal View of the Music and the Musicians. Items in this collection (2011.3086) were acquired from Levin’s attendance at Jazz Festivals, conferences, and other music events.

This cornet was made by the Harry B. Jay Co. in Chicago, Illinois around 1911 to 1915. It is a long model B-flat cornet Columbia model, serial #735, made of brass with 3 piston valves and features a patented tuning by Harry B. Jay. This cornet is engraved:

COLUMBIA
PATENTED
Harry B. Jay Co.
CHICAGO
UNION
LABEL
735

There are two patents issued to Jay featured on this cornet:

United States Patent #856642, June 11, 1907, for “Improvements in Tuning Slides for Horns and Like Instruments.”

United States Patent #1003049, September 12, 1911, for “Improvements in Musical Instruments.”

Oscar Peterson. side 1: Where or When; side 2: Oscar's Blues (Mercury 8922), from the album, Oscar Peterson (Mercury C106).
78 rpm.

The cover art for this album was by David Stone Martin (born David Livingstone Martin, 1913-1992). Martin was an American artist best known for his illustrations on jazz album covers for labels including Mercury, Asch, Clef, Disc, and Dial. Many of his commissions were from Martin’s longtime friend, American jazz record producer and concert promoter Norman Granz (1918-2001).

This drum was made by Slingerland in Chicago, Illinois, around 1938-1940. It is a Snare Drum, Radio King Series, with a wood ply shell covered with a White Marine Pearl finish, metal hoops, and 8 key self-aligning single tension lugs. There are 2 medallions on the shell:

SLINGERLAND
RADIO KINGS
BUDDY RICH

(on a “cloud” badge):

SLINGERLAND
QUALITY DRUMS
CHICAGO ILL.
U.S.A.

This drum is from a drumset used by Buddy Rich in 1983-1987. The drumset was put together, restored, and given to Buddy Rich in 1983 by Mr. Joseph MacSweeney, owner of the Eames Drumshell Company of Saugus, Massachusetts.

Bernard "Buddy" Rich (1917-1987) began his professional career as a drummer, tap dancer, and singer with his parents' vaudeville act before the age of two. By the time he was six, "Traps, the Boy Wonder," had performed on Broadway and toured the United States and Australia.

With the demise of the vaudeville circuit and the popularity of the swing era, Buddy became an orchestra musician. His talents as a drummer landed him a job offer with Joe Marsala's band at the Hickory House in New York City in 1937. This led to a long line of high-profile performances with Bunny Berrigan, Artie Shaw, Tommy Dorsey, and Benny Carter. Buddy's playing style was characterized by phenomenal speed, four-way independence, and an uncanny way of driving a big band.

This drum was made by Slingerland in Chicago, Illinois, around 1938-1940. It is a Floor Tom Tom, Radio King Series, tunable, with a wood ply shell covered with a White Marine Pearl finish, chrome plate hoops, 12 key tension self-aligning separate tension lugs, and 3 adjustable legs attached to shell. There is an engraved medallion on the shell:

SLINGERLAND
RADIO KINGS
BUDDY RICH

This drum is from a drumset used by Buddy Rich in 1983-1987. The drumset was put together, restored, and given to Buddy Rich in 1983 by Mr. Joseph MacSweeney, owner of the Eames Drumshell Company of Saugus, Massachusetts.

Bernard "Buddy" Rich (1917-1987) began his professional career as a drummer, tap dancer, and singer with his parents' vaudeville act before the age of two. By the time he was six, "Traps, the Boy Wonder," had performed on Broadway and toured the United States and Australia.

With the demise of the vaudeville circuit and the popularity of the swing era, Buddy became an orchestra musician. His talents as a drummer landed him a job offer with Joe Marsala's band at the Hickory House in New York City in 1937. This led to a long line of high-profile performances with Bunny Berrigan, Artie Shaw, Tommy Dorsey, and Benny Carter. Buddy's playing style was characterized by phenomenal speed, four-way independence, and an uncanny way of driving a big band.

Herman the Hermit with Cliffie Stone Orchestra. side 1: I Met Her in the Garden; side 2: Beautiful Brown Eyes (Gold Seal 4849), from the album, Cowboy Songs with Cliffie Stone (Gold Seal).
78 rpm.

Herman the Hermit is a pseudonym for Clifford Herman Snyder, father of Cliffie Stone.

various artists. side 1: Mordido [part 2]; side 2: Mordido [part 5] (Mercury 11014), from the album, Norman Granz' Jazz at the Philharmonic, Vol. 9.
78 rpm.

The cover art for this album was by David Stone Martin (born David Livingstone Martin, 1913-1992). Martin was an American artist best known for his illustrations on jazz album covers for labels including Mercury, Asch, Clef, Disc, and Dial. Many of his commissions were from Martin’s longtime friend, American jazz record producer and concert promoter Norman Granz (1918-2001).

This button is of an unidentified clarinet player. It is a round button made of white paper with black ink covered with a clear film, on a two-piece metal button with a pin back.

Floyd Levin (1922-2007) was a Los Angeles textile manufacturer who turned his passion for jazz into a second career as an influential jazz journalist and historian. His numerous reviews, profiles, and articles were published in magazines such as Down Beat, Jazz Journal International, Metronome, and American Rag. He also authored Classic Jazz: A Personal View of the Music and the Musicians. Items in this collection (2011.3086) were acquired from Levin’s attendance at Jazz Festivals, conferences, and other music events.