Music & Musical Instruments

This button is of an unidentified clarinet player. It is a round button made of white paper with multi-color 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.

Oscar Peterson. side 1: Three O'Clock in the Morning; side 2: All the Things You Are (Mercury 8923), 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 Epinette des Vosges was made by Dennis Durogi in Carlinville, Illinois, in the 1960s. It is trapezoidal-shaped possibly made of cherry, with 15 metal frets, 2 heart-shaped sound holes and 4 small round sound holes, carved out pegbox with 5 wood friction tuning pegs, ornately carved tail, and rounded head.

Dennis David Durogi (1935-2017) was an artist and teacher of fine arts at Blackburn College in Carlinville, Illinois and SUNY Freedonia in New York. After his retirement he became a master craftsman and luthier, making mountain and hammered dulcimers and psalteries.

Anne Grimes (1912-2004) was an American journalist, musician, and historian of American (particularly Midwestern) folklore. Grimes studied voice and piano at Ohio Wesleyan and initiated graduate studies at Ohio State University. Following her education, Grimes was a music teacher, music and dance critic, and radio host. After WWII, Grimes began collecting and documenting folk songs throughout Ohio, as well as collecting Appalachian dulcimers and zithers. She would continue this work, performing, recording, and lecturing on instruments from her collection throughout the rest of her career.

Lu Watters and his Yerba Buena Jazz Band. side 1: Sage Hen Strut; side 2: When the Saints Go Marching In (Mercury 11051), from the album, Lu Watters Jazz (Mercury C-103).
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 case for a tom tom (Cat. 1988.0075.08) is made from fiberboard, with metal rivets and fittings, webbing, and a plastic handle. It was used by the Ray McKinley band, 1970s-1980s. The case is stenciled:

RAY MCKINLEY

American jazz drummer, singer, and bandleader 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 pair of drum sticks were made by Ludwig Drum Company in Chicago, Illinois, 1970s. They are Ray McKinley Model 10A drum sticks, made of hickory. The sticks are stamped:

10A LUDWIG U.S.A.

This pair of drum sticks are 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 trombone was made by Lyon & Healy in Chicago, Illinois, around 1890-1920. It is a B-flat tenor slide trombone. This trombone is made of silver-plated brass. Accessioned with period case. This trombone is inscribed:

Lyon & Healy
Am'n Maker
Chicago
U.S.A.

This printed, typed, and hand-written document is the Chicago Music Publishing Company's royalty agreement for the song "Walking Blues" by composers Gertrude "Ma" Rainey and Lovie Austin. The document was signed by the composers and witnessed and signed by the A&R (Artists and Repertoire) representative, J. Mayo Williams, on December 12, 1923. As per the agreement, Rainey and Austin would receive “two cents for each printed pianoforte copy of the said work sold by the PUBLISHER in the United States and Canada only,” as well as “a sum equal to one-fourth of any and all royalties that the PUBLISHER shall actually receive from the use of said musical composition for mechanical reproduction less ten per cent (10%) for cost of collection in the form of all player rolls, records, discs, or other mechanical reproduction of the musical composition.”

Gertrude"Ma" Rainey (born Gertrude Pridgett, 1886-1939) was a pioneering African American blues singer and entertainer, who became known as "The Mother of the Blues." Early in her career, Rainey was popular on the theatrical circuit known as TOBA (Theater Owners Booking Association). Between 1923 and 1928, she made more than 100 recordings for her record label, Paramount. Rainey continued to tour and record up to her retirement in 1935.

Charlie Parker with strings. side 1: April in Paris; side 2: If I Should Lose You (Mercury 11037), from the album, Charlie Parker With Strings (Mercury C-101).
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 saxophone was made by the C. G. Conn Ltd. in Elkhart, Indiana, around 1920. It a C-melody saxophone, serial #61640. It is tuned to the key of C, enabling the amateur player to play standard sheet music, without having to transpose in the keys of B-flat or E-flat, like most saxophones. The saxophone is engraved:

(on bell):

MADE BY
C. G. CONN Ltd.
ELKART
IND.

(and on back):

PAT'D DEC. 8, 1914
1119954
C61640
L

James E. Frew played this saxophone during the early 20th century. His family donated it to the museum in 1979 as an example of a unique C Melody saxophone available in early 20th century America.

This saxophone features U. S. Patent #1119954, dated December 8, 1914, by William S. Haynes for an improvement in musical wind instruments.

This music roll was made by Mills Novelty Company in Chicago, Illinois, about 1929-1930. It is Roll #2914, playable in a Violano Virtuoso player. The tune list for this roll is as follows:

Roll #2914 - Record Breaking Tunes
14397: I Kiss Your Hand Madame (fox trot), Fritz Rotter & Ralph Erwin, copyright 1929, Harms, Inc.
14398: Maybe - Who Knows (fox trot), Kuth Etting-Joe Schuster & Johnny Tucker, copyright 1929, M. Witmark & Sons
14399: Pagan Love Song (waltz), Arthur Freed & Nacio Herb Brown, copyright 1929, Robbins Music Co.
14400: Finding the Long Way Home (fox trot), Gus Kahn & Harry Warren, copyright 1929, Remick Music Corp.
14401: From Sunrise to Sunset (fox trot), copyright 1929, Irving Berlin

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 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 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.