Scope and arrangement
The Arthur Russell collection dates from 1960 to 2005 (bulk 1974-1991) and contains writings, music, photographs, correspondence, articles, flyers, and posters. The vast majority of the collection consists of over 1,000 original sound and video recordings, which are unavailable pending digitization. The recordings date from the 1970s to the 1990s and consist of test pressings, studio versions, masters, and home recordings covering Russell's entire career. The paper portion of the collection is strong in its documentation of Russell's creative output, particularly through drafts, sketches, and full scores of his music.
Music files comprise the bulk of the papers and contain written music, lyrics, poetry, and notes. Written music consists primarily of manuscripts in the form of musical sketches; chord changes; complete scores; draft and partial compositions; and musical staves and chords that Russell clipped into smaller pieces. Printed music and annotated photocopies are also present. Notes consist of interior monologues and other creative explorations relating to Russell's work, as well as snippets of ideas and song lists.
Untitled, unsorted, and (largely) undated music precedes alphabetically arranged, titled files that were created by Russell. The unsorted music consists of writings, musical drafts, and sketches for a multitude of songs; song titles, when present or identified, are noted in the container list. Researchers should note that drafts or versions of a particular work may be scattered throughout these and the titled files, which contain materials pertaining to specific projects or songs. Materials used and created by Russell while he studied music in San Francisco are filed under "binders;" these and the composition notebooks contain a substantial amount of music documenting Russell's creative development. Several drafts and chord sheets created by Russell for Robert Wilson's Medea are present.
In addition to the music files are articles; correspondence; photographs; printed matter; biographical files; and materials relating to various record labels, such as invoices, letters, and recording schedules for Sire Records and West End Records. Two harmonicas that belonged to Russell are also present. Files for Loose Joints contain fliers, contracts, and photographs. Incoming letters comprise the bulk of the correspondence. Primary correspondents are Russell's parents, Emily and Chuck Russell; and friends Muriel Fuji, Yuko Nonomura, Kathleen Cooney, Alan Abrams, and Johanna (Jonni) Sue Bartel. Among the undated letters are notes from Allen Ginsberg and Tom Waits, and a poem from Jill Kroesen. Some letters are accompanied by music, such as a 1974 letter from Christian Wolff to Russell with a copy of "For 1, 2, or 3 People," and a 1975 letter to Russell from Cornelius Cardew, accompanied by a manuscript for his "Revolution is the Main Trend." The majority of the unsent or draft letters are to Steven Hall.
Printed material consists of programs, announcements, and flyers for performances by Russell and his peers. They advertise shows at the Anchorage, Dock's, Roulette, Jolly Munk, Sobossek's Bar, and Experimental Intermedia Foundation. Photographs consist of candid and posed shots of Russell, as well as a small amount of performance photographs. Most of the slides depict flowers and landscapes. Yuko Nonomura photographed the majority of the clouds pictured in the slides.
Arrangement
The collection is arranged alphabetically by subject or format.