- unitid
-
{"value"=>"185451", "type"=>"local_mss"}
{"value"=>"Sc MG 918", "type"=>"local_call"}
{"value"=>"b22352767", "type"=>"local_b"}
- unitdate
-
{"value"=>"1980", "type"=>"inclusive", "normal"=>"1980"}
- unittitle
-
{"value"=>"Maxine Sullivan jazz oral history project interview, Rutgers University"}
- physdesc
-
{"format"=>"structured", "physdesc_components"=>[{"name"=>"extent", "value"=>"1 box", "unit"=>"containers"}, {"name"=>"extent", "value"=>"0.42 linear feet", "unit"=>"linear_feet"}]}
- repository
-
{"value"=>"<span class=\"corpname\">Schomburg Center for Research in Black Culture, Manuscripts, Archives and Rare Books Division</span>"}
- langmaterial
-
{"value"=>"English"}
- origination
-
{"value"=>"Sullivan, Maxine, 1911-1987", "type"=>"persname"}
- bioghist
-
{"value"=>"<p>African American jazz soloist Maxine Sullivan was known for her cool and arresting \"whispering voice,\" soothing style, gentle rhythmic phrasing, and intricate swing delivery. She became well known in the late 1930s for her swing performance of the Scottish traditional ballad \"Loch Lomond\". The song became her signature piece and catapulted her career. During this period, Sullivan performed as the main act at the Onyx Club on 52nd Street in New York City, alongside bassist John Kirby and his band. The two married in 1938 but were divorced three years later. In 1950, Sullivan married pianist Cliff Jackson. Excluding a ten-year break she took from show-business in 1957, Sullivan's career spanned four decades. Sullivan was also popular with jazz enthusiasts outside of the United States and she toured internationally several times.</p>", "supress_display"=>true}
- scopecontent
-
{"value"=>"<p>The collection contains a photocopied transcript of an interview with Maxine Sullivan conducted as part of Rutgers University's Institute of Jazz Studies Oral History Project. The transcript is particularly rich in its detail of Sullivan's recording career and collaboration with other artists. Eleven tapes were transcribed, totaling 750 pages.</p>", "supress_display"=>true}
- acqinfo
-
{"value"=>"<p>Purchased from Rutgers University Institute of Jazz Studies.</p>"}
- originalsloc
-
{"value"=>"<p>The original transcript of an interview with Sullivan conducted as part of their Jazz Oral History Project is held at Rutgers University's Institute of Jazz Studies.</p>"}
- relatedmaterial
-
{"value"=>"<p>Maxine Sullivan papers, Sc MG 473, Manuscripts, Archives and Rare Books Division, Schomburg Center for Research in Black Culture</p>"}
- revisiondesc
-
{"value"=>"Finding aid updated by Lauren Stark.", "date"=>"2021 January 4"}
- date_start
-
1980
- keydate
-
1980
- date_end
-
1980
- date_inclusive_start
-
1980
- date_inclusive_end
-
1980
- extent_statement
-
0.42 linear feet (1 box)
- prefercite
-
{"value"=>"[Item], Maxine Sullivan jazz oral history project interview, Rutgers University, Sc MG 918, Schomburg Center for Research in Black Culture, Manuscripts, Archives and Rare Books Division, The New York Public Library"}
- abstract
-
{"value"=>"African American jazz soloist Maxine Sullivan was known for her cool and arresting \"whispering voice,\" soothing style, gentle rhythmic phrasing, and intricate swing delivery. She became well known in the late 1930s for her swing performance of the Scottish traditional ballad \"Loch Lomond\". The song became her signature piece and catapulted her career. During this period, Sullivan performed as the main act at the Onyx Club on 52nd Street in New York City, alongside bassist John Kirby and his band. The two married in 1938 but were divorced three years later. In 1950, Sullivan married pianist Cliff Jackson. Excluding a ten-year break she took from show-business in 1957, Sullivan's career spanned four decades. Sullivan was also popular with jazz enthusiasts outside of the United States and she toured internationally several times. The collection contains a photocopied transcript of an interview with Maxine Sullivan conducted as part of Rutgers University's Institute of Jazz Studies Oral History Project. The transcript is particularly rich in its detail of Sullivan's recording career and collaboration with other artists. Eleven tapes were transcribed, totaling 750 pages.", "generated"=>true}