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Yellow and black pants worn by Bootsy Collins

National Museum of African American History and Culture
A pair of yellow leather trousers with wide flared legs and black leather details. The pants are flat front, wide leg style, with a front zipper, a one (1) snap closure, and seven (7) belt loops. The front of the proper right leg is decorated with the words [FRESH/ "PEE"] surrounding two (2) black leather horizontal stripes with a large black star in the middle. There is one (1) smaller black leather star applique topstitched to the lower center of the proper left leg. The trousers have one (1) embellished diagonal pocket at the front proper left hip, with four (4) small black leather stars topstitched along the edge. The interior of the pants are lined to the knee with a black synthetic fabric.

On the verso, there are two (2) very large patch pockets, each trimmed with small decorative stars all along the edge. Each pocket has a large rectangular flap that secures with a two (2) snap closure. Inside each pocket is another patch pocket with no closure.

Yellow and black leather costume worn by Bootsy Collins

National Museum of African American History and Culture
A yellow and black leather costume worn by Bootsy Collins that consists of a jacket(.1abc), pants (.2), a hat (.3), and a pair of black platform boots (.4ab).

Yellow and black hat worn by Bootsy Collins

National Museum of African American History and Culture
A yellow leather mad hatter style top hat worn by Bootsy Collins. The hat is a tall cylindrical shape that gets wider at the top than at the brim, with a flat top. The brim is short. The hat band is made from black leather decorated with metal buckles attached to the brim with yellow leather. An additional band of black leather is sewn around the top of the hat and decorated with rounded metal studs. There is a black five-pointed star topstitched to the center front side that is decorated with rounded metal studs. Another black leather five-pointed star is topstitched at the center top side of the hat and is outlined with the rounded metal studs.

The interior of the hat contains a plastic and nylon buckram stiffener throughout, except in the brim. The interior of the brim is faced with yellow leather.

When This Jazz Band Plays, It's Not Just Music—it's History

Smithsonian Magazine

The Smithsonian Jazz Masterworks Orchestra (SJMO) was founded in 1990 by the National Museum of American History. Its mandate is to preserve the history of jazz by re-creating the greatest performances of all time. The ensemble is led by conductor David Baker, chairman of the jazz department at the Indiana University school of music, and a noted composer and author. Its eclectic repertoire ranges from Duke Ellington, Count Basie and Fletcher Henderson to Jimmie Lunceford, Glenn Miller and Stan Kenton. The SJMO's versatile musicians don't just play the music; they duplicate the individual styles of saxophonist Johnny Hodges, trumpeter Miles Davis and dozens of other outstanding instrumentalists.

Supported in part by a ten-year grant from the Lila Wallace-Reader's Digest Fund, and by recent contributions from the Infiniti Division of Nissan Motor Corporation and by the Recording Industries Music Performance Trust Fund, the SJMO performs concerts in Washington, D.C. and around the country. Its music can also be heard on the "Jazz Smithsonian" program on National Public Radio.

In August, the SJMO traveled to Atlanta to perform at the Olympic Arts Festival. It also participated in the Smithsonian Institution's 150th-anniversary celebration on the Mall, and will perform at subsequent galas nationwide.

Violin played by the enslaved man Jesse Burke

National Museum of African American History and Culture
A violin (.1a) with a bow (.1b) stored in a wooden case (.2), all owned and played by Jesse Burke, who used the violin during and after enslavement.

The violin (.1a) has a reddish-brown stained wooden body, neck, peg box, and scroll. The pegs, fingerboard, and tailpiece are made of wood painted black. A small piece of mother of pearl is attached at the center top of each peg. The strings are made from steel. A paper label is adhered to the interior back of the violin body, which can be seen through the sound holes. Printed on the label in black text are the words: "Antonius Stradiuarius Cremonensis / Faciebat Anno 1726".

The bow (.1b) has a rod made from a dark-stained wood with a metal tension screw. The frog is made from wood painted black and inlaid with mother of pearl and a metal ferrule. The tip is edged with a panel of an ivory imitation material. The bow hair is made from horsehair, though the horsehair is broken with several strands still attached and extending from the tip in varying lengths.

The wooden case (.2) is painted black and has a hinged lid that opens with two (2) metal hinges. On the opening side are two (2) metal tension clasps with one (1) locking hinge at the center. There is a metal plate with a keyhole to the right of the center hinged lock. A metal handle is attached at either side of the keyhole plate. The interior of the bottom and the lid is lined with a red wool and cotton blend flannel. There are two flannel-covered wooden pieces at the wide side of the case that correspond to the center bouts on the body of the instrument and secure it in place inside the case. A loop of the flannel is sewn near the thin side of the lid, presumably to hold the bow.

Violin owned by Ginger Smock

National Museum of African American History and Culture
A violin, two bows, case and accessories owned by Ginger Smock.

2016.161.1.1: A wood violin made of dark colored wood with metal strings. The violin’s pegs, neck and tailpiece are dark wood while the body of the violin is stained lighter. Above the pegs, the violin has a traditional scroll at its top. A light-colored wood bridge is located at the center of the violin body between the violin’s ribs. A metal bracket is attached to the tailpiece and metal tuners are at the top next to the strings. A plastic chin rest is attached to the bottom of the violin. There is a white label with black text inside the proper left sound hole that reads “Ferinandus Aug. Homolka / Fecit Prague 1849 / F. H.” Handwritten below the printed text is “5263.”

2016.161.1.2: A wood violin bow with a pearl inlay. The bow is a long, slightly curved, cylindrical rod. One end of the bow has a curved wooden tip, with a metal edge that attaches the horse hair. The opposite end of the bow has a black wood piece, known as the frog, attached to it with decorative pearl inlay in the shape of a circle on both sides. A leather pad covers the metal grip on the rod in front of the frog. A metal screw cap is at the end of the bow.

2016.161.1.3: A wood violin bow with a pearl inlay. The bow is a long, slightly curved, cylindrical rod. One end of the bow has a curved wooden tip, with a metal edge that attaches the horse hair. The opposite end of the bow has a black wood piece, known as the frog, attached to it with a small decorative pearl inlay in the shape of a circle on both sides. These inlays have another circle inlay around it. On the rod of the bow in front of the frog is a metal grip. A metal screw cap is at the end of the bow.

2016.161.1.4a-o: A tan plastic violin case with a removable canvas cover. The case has metal latches and hinges and has a plastic handle. The middle hinge in the back of the case is engraved with “MADE IN / GERMANY.” The case is lined with red felt. A sticker is adhered to the inside cover of the case where the bows are stored. The sticker is clear with an image of a rainbow and clouds on the left side and rainbow colored block lettering on the right side. Under the rainbow on the left side is “PRAISE / the / LORD.” The right side of the sticker says “JESUS.” A red satin violin cover and a white cloth are in the case. A black cloth chin rest with metal brackets is also in the case. Inside a closable tray in the top of the case are several accessories and tools. These include two keys, a rubber ball, two balls of wax like material wrapped in green felt, a spare bridge, a screw driver, a green chin rest and two parts of a metal hinge.

Upright acoustic double bass owned by Stanley Clarke

National Museum of African American History and Culture
Upright bass with four (4) strings. Scroll at top with black pegs, tuners, and tuning keys. Saddle at bottom made of black wood. Steel strings at bottom are strung with green fibers. Bass stands upright on an endpin.

Trombone played by Fred Wesley

National Museum of African American History and Culture
A trombone and case, including the mouthpiece, innerslide, and outerslide. The trombone is a Stradivarius Model 36 made by the Vincent Bach Corporation. On the horn, at the top, is an engraving with the model number and manufacturer: [Stradivarius / Model / 36 / Vincent Bach / ELKHART, IN. / USA]. There is a serial number at the bottom on the cylinder where all the tubes converge: [28892].

Travel Permit for the US Military Duty Train "Mozart"

National Museum of African American History and Culture
Typed "Mozart" Travel Permit for Hall Johnson issued by Harry R. Swanson, U.S. Civilian Chief of the Travel Branch. The permit allows Hall Johnson to travel on the US Military Duty Train "Mozart" to or from Vienna from September 28th, 1951 to October 8th, 1951. The document is double sided. The front side has Hall Johnson's information, the back side has a list of rules relating to travel on the "Mozart."

Ticket for a Stevie Wonder performance in Japan

National Museum of African American History and Culture
A ticket for a 1981 performance by Stevie Wonder in Japan. The front of the ticket is predominantly blue in color with a small horizontal strip of white beneath the larger blue block; within the blue block is a line of large black text which reads [STEVIE WONDER]. The other text is written in Japanese characters with cardinal numbers. To the left of the ticket's main body is a perforated edge with the ticket stub is still attached. The stub is white with black text. The back of the ticket has additional information in black text on white paper. A partial stamp is visible on the left side.

Texas Rangers baseball uniform short pants worn by Charley Pride

National Museum of African American History and Culture
Pair of short pants from a Texas Rangers baseball uniform worn by Charley Pride. The white knit pants have a wide blue stripe running down each leg, with the legs ending below the knee. The hem of each leg has elastic. The waistband is made from a red, white, and blue striped band of fabric. The pants close at the center front waist with three (3) metal snaps each faced in the color of the stripe of the band, and a metal zipper. There is also a white drawstring on the inside of the waistband that ties at the center front. There are two (2) inset pockets, one on each back side below the waist. Each pocket closes with one (1) pearlized round plastic button. The inside waistband is made from a wide band of white elastic. The name "PRIDE 05" is handwritten in black in on the interior proper left back side of the waistband. A red manufacturer's label for Rawlings is sewn at the interior proper right back side of the waistband that also contains size and care information. A white fabric label with hand-embroidered red text is sewn at the interior center back waist band that reads "5 34/36 24 84 1" with a small tag sewn to the right side with printed text reading "SET 1 / 1984".

Texas Rangers baseball uniform jersey worn by Charley Pride

National Museum of African American History and Culture
Jersey from a Texas Rangers baseball uniform worn by Charley Pride. The jersey is made from a white synthetic knit fabric with red, white, and blue striped woven knit fabric around the end of the sleeves and the neck opening. The shirt has short sleeves and a crew neck with a slit in the front that closes with two (2) round pearlized plastic buttons. The word "Rangers" in red patch letters with blue shadows is embroidered across the front chest of the jersey. A shield-shaped embroidered patch is sewn on the proper left sleeve. The patch has a design of a shield in blue, red, and white, with the state of Texas on the shield containing one red star and the word "RANGERS" along the top of the patch. Red patch letters with blue shadows reading "PRIDE / 50" are embroidered across the back shoulders of the jersey. A Wilson brand label is sewn at the interior center back neck that also contains size and care information. To the proper right of the manufacturer's tag is a white fabric label with blue hand-embroidered text that reads "79 1".

Swan shaped ring holder owned by Ginger Smock

National Museum of African American History and Culture
A silver plated ring holder in the shape of a swan owned by Ginger Smock. The swan's head is looking straight up and its neck fully extended. The swan is attached to a silver plated decorative plate with a green felt bottom. The plate has an embossed floral design with a roped edge. The bottom of the holder is covered with green felt.

Studio Portrait of a Man Standing Playing Guitar

National Museum of African American History and Culture
Studio Portrait of a Man Standing Playing Guitar

Straw cowboy hat with feathered hat band worn by Arthur Lee

National Museum of African American History and Culture
This straw cowboy hat with a feathered hat band was worn by Arthur Lee. The woven straw is molded in place so that the crown has a triangular indentation, the sides of the brim are turned up, and the back edge of the brim points slightly downward. Reddish brown, black, and cream feathers are attached completely around the hat band, with a circular feather design at the center front of the band. The hat has an interior band made from synthetic black fabric. A black fabric label with gold embroidery is sewn at the center back of the interior band that reads "Hand Made / In The U.S.A. / M / SHADY BRADY". A circular black leather label with pinked edges and a gold embossed logo is attached at the interior center crown. The gold logo depicts a man in a cowboy hat giving a thumbs-up gesture with his left hand above the words "SHADY BRADY".

Silver pendant owned by Ginger Smock

National Museum of African American History and Culture
A silver pendant owned by Ginger Smock. The pendant is completely adorned with what appears to be several small crystals. It is roughly shaped like the number five with a large crystal at center. Another large crystal is on the right side of the pendant. Five extensions are on the left side of the pendant. The pendant has two bails at top. The back side of the pendant is hollow and the crystals can be seen on that side as well.

Signed contract between JATAP publishing, Dizzie Gillespie and Buster Harding

National Museum of African American History and Culture
Four signed copies of a typed contract between JATAP Publishing Co., Inc., John Birks (Dizzy) Gillespie and Buster Harding. The contract is dated [December 27th, 1954] and grants rights to JATAP Publishing, with 50% royalties and other considerations to Gillespie and Harding for the following musical works: Rumbola, Rails, Pile Driver, Hobnail Special, Devil and the Fish, Blue Mood, Confusion, and Cool Eyes. Each contract is a single page, double-sided, and signed on the reverse [John Gillespie] and [Buster Harding]. The copies are stapled together into one document.

Royalty Statement for Hall Johnson

National Museum of African American History and Culture
Typed royalty statement from G. Schirmer, Inc. for composer and instrumentalist Hall Johnson. The statement, dated December 1, 1967, is on white paper with black type. The statement lists twenty-one titles for which Hall Johnson receives royalties and lists each title's net sales, rate per copy, and amount. The total amount of royalties listed is $928.93. The back of the statement is blank.

Ring owned by Ginger Smock

National Museum of African American History and Culture
A white gold ring with two pearl settings owned by Ginger Smock. The shank of the ring is smooth. The shoulder, mounting and prongs of the ring are grooved and resemble the branches of a tree. The pearls are set side by side across the bridge of the ring on the ring's shoulders. Engraved on the inside of the ring shank is “14K.”

Red and cream loafers designed by Pierre Cardin and worn by Fats Domino

National Museum of African American History and Culture
This pair of men's burgundy and tan leather loafers, left shoe (2013.59.3a) and right shoe (2013.59.3b), were worn by Fats Domino. The uppers of the shoes are made from leather, with the wingtip toe caps, heel counters, a panel over the tongue, and the trim around the foot opening all in burgundy. The rest of the uppers and the tongues are cream leather. A decorative design is punched into the burgundy leather at the center of each toe cap and along the edges of the wingtip and the counter. A piece of wide brown elastic is sewn behind each tongue for an adjustable fit. The shoes have leather soles and stacked wooden heels that are painted black with a black rubber heel cap. The Pierre Cardin logo and name are incised onto the heel caps. A square metal "p" logo is attached at the outer side of only the right heel. The insides of the shoes are lined in light brown leather, including the inner soles. A blue label with cream text having the "p" logo at the left reads: "pierre cardin / PARIS / MADE IN SPAIN". The style and size are stamped in black ink on the interior proper left side of each shoe.

Promotional card for a piano recital given by Eunice Waymon (Nina Simone)

National Museum of African American History and Culture
An advertising card for a piano recital performed by Eunice Waymon at age 21. The recital cost $1.30 to attend and was sponsored by the Philadelphia Branch of the National Association of Negro Musicians, Inc.

Program from the Billie Holiday/Louis Armstrong “Birth of the Blues” concert

National Museum of African American History and Culture
A program from the Billie Holiday/Louis Armstrong “Birth of the Blues” concert, at Symphony Hall in Boston, Massachusetts, April 18, 1947. The front cover is missing.

2013.46.25.266a: The interior pages from a program from the Billie Holiday/Louis Armstrong “Birth of the Blues” concert, at Symphony Hall in Boston, April 18, 1947. The interior pages are white with black-and-white text and photographs and include a biographical article on Louis “Satchmo” Armstrong; an illustrated biography of Holiday; listings of Armstrong’s film credits, stage credits, locations, and radio appearances; the concert program; features on Velma Middleton and Joe Garland; recordings by Armstrong and Holiday; and a list of the members of the Louis Armstrong’s Orchestra. The program has twelve (12) interior pages.

2013.46.25.266a: The back cover from a program from the Billie Holiday/Louis Armstrong “Birth of the Blues” concert, at Symphony Hall in Boston, April 18, 1947. The back cover is orange with black text. The top and bottom edges of the cover have two black lines, framing centered text. The top third of the cover has the Decca Records logo, a black oval with the text [Decca / RECORDS] below the three five point stars printed in the negative. The in center third of the cover is text printed in varying fonts that read, [Presents Selections by / LOUIS ARMSTRONG / AND / BILLIE HOLIDAY], above three identical floral graphics. In the bottom third of the cover, in smaller type, is the text, [THESE RECORDS AND ALBUM ON SALE IN THE FOYER AND / AT YOUR FAVORITE RECORD DEALER]. The interior of the back cover is an advertisement for Café Savoy, in Boston, Massachusetts.

Program from a concert featuring Roland Hayes

National Museum of African American History and Culture
A program from a concert featuing Roland Hayes.

The program is white and is secured with two staples along the spine. Green text on the front reads [ PRESTIGE / CONCERTS / presents..... / ROLAND HAYES, Tenor / (in a series of three lieder recitals) / WALDEN STRING QUARTET / BEVERIDGE WEBSTER, Pianist / FERNANDO VALENTI, Harpsichordist / BERKSHIRE STRING QUARTET / SEASON 1953-53 / GALLERY OF FINE ARTS LITTLE THEATER, COLUMBUS, OHIO]. There is a handwritten inscription, possibly an autograph, in the center followed by [10.24.53]. The program consists of 18 pages and includes an essay by Roland Hayes. the back cover has an advertisement for George Zeisler record store.

Program from a Mrs. Coretta Scott King recital on September 30, 1956

National Museum of African American History and Culture
A program for a recital for Mrs. Coretta Scott King on September 30, 1956. A black-and-white image of Scott King is centrally featured. She is depicted in bust pose, in three-quarters profile looking towards the left edge of the image. She is wearing sleeveless dark dress with a light colored, ruffled neckline. Above the image is black text that reads, [THE USHER BOARDS / AND THE / YOUNG MATRONS COUNCIL / OF / DEXTER AVENUE BAPTIST CHURCH / PRESENT]. Below the image is additional black text that reads [CORETTA SCOTT KING / SOPRANO / In Recital / MINNIE KIMBROUGH SCOTT / ACCOMPANIST / MONTGOMERY, ALABAMA / Sunday, September 30, 1956 – 5:30 P.M. / Rev. M. L. King, Jr. ………………….Pastor / Mr. L. W. Smiley ………………….Chairman / Mrs. Norman Walton ………………….Co-Chairman / Mr. R. D. Nesbitt ………………….Advisor]. The program has eight (8) interior pages, a front cover, a back cover, and handwritten notes on some of the interior pages. There is a purple sticky note affixed to the back of the booklet.
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