- unitid
-
{"value"=>"20855", "type"=>"local_mss"}
{"value"=>"Sc MG 599", "type"=>"local_call"}
- unitdate
-
{"value"=>"1922-1979", "type"=>"inclusive", "normal"=>"1922/1979"}
- unittitle
-
{"value"=>"Elliot Carpenter papers"}
- repository
-
{"value"=>"<span class=\"corpname\">Schomburg Center for Research in Black Culture, Manuscripts, Archives and Rare Books Division</span>"}
- abstract
-
{"value"=>"The Elliot Carpenter Papers document his musical career and consists of personal and professional correspondence, handwritten music, programs, lyrics, scripts and newsclippings."}
- langmaterial
-
{"value"=>"English"}
- origination
-
{"value"=>"Carpenter, Elliot", "type"=>"corpname"}
- bioghist
-
{"value"=>"<p>Elliot James Carpenter was a pianist, composer, arranger, conductor, and song stylist, with a career that spanned much of the twentieth century. Born in Philadelphia on December 28, 1894, he was educated at the Temple School of Music in that city. He became an organist in a Baptist church, and at age fifteen played Mendelssohn's Concerto for piano and orchestra with the Philadelphia Concert Orchestra under the direction of Gilbert Anderson. Carpenter, however, preferred performing popular music and after moving to New York, became a member of the Clef Club, a union and booking agent for black musicians and musical groups, which also sponsored its own concerts. It was during this time that he became a pianist with the James Reese Europe Orchestra, and married Mauvolyene Rollins, also of Philadelphia, in 1914.</p> <p>Carpenter first went to Europe in 1921 with an orchestra under the direction of Seth Weeks of Clef Club fame. While in Europe he again performed with the Europe Orchestra, was coach-accompanist for singer Maurice Chevalier, and performed at the Apollo Theatre in Paris with a small orchestra under the management of Seth Weeks in 1922. He continued his musical studies while in France at the Conservatory in Fontainbleau with Deacroux and Fouchet, and also received training at the Tadlewski Institute of Nice.</p> <p>When Carpenter returned to the United States in 1923, he formed a vaudeville team with Ike Hatch and performed in many theaters in Europe. Soon after he formed a band composed of himself, Opal Cooper, Creighton Thompson and Roscoe Burnett. Known as the Red Devils, the band toured Europe under the management of the Clef Club Singers and Players. He also performed as a piano soloist in cabarets, theaters and clubs in London and Paris, including the Follies Bergères, the Casino in Cannes, as well as in Cairo and Buenos Aires. After twelve years of performing and studying abroad he returned to the United States in 1935.</p> <p>Carpenter's primary musical style was popular, but he also wrote and performed swing music. Although he wrote a substantial amount of original music principally using the themes of love and religion, only a modest number of pieces were published. He was a prodigious arranger of music authored by both black and white composers. While devoting most of his talent to composing music, he also wrote lyrics, sometimes with collaborators. Additionally Carpenter wrote a small number of original scripts, generally short, which might have been skits to be performed in nightclubs or on the radio; some of which were reworkings of scenes from plays popular at the time, such as Showboat.</p> <p>In the 1930s Carpenter moved to Los Angeles, which eventually became his permanent home. In 1937 he collaborated with Clarence Muse to write and perform the music for the film Spirit of Youth starring Joe Louis, the boxing champion. Five songs from this movie were published by Mills Music, Inc. including \"More Sleepy Time\", \"Mighty Men of Steel\", and \"It's the Little Things You Do\". In 1939 he arranged the Gilbert and Sullivan operetta The Mikado into a swing piece called Swing Mikado, also known as Mikado in Swing. A major boost to his career was his performance of the sound track for \"As Time Goes By\" in the film Casablanca as the playing hands of Sam, the character played by Dooley Wilson. This led to other opportunities including performing in the homes of Hollywood stars such as Douglas Fairbanks Sr. and Mary Pickford. He also appeared in radio programs on the London BBC, in Philadelphia and Hollywood and had roles in motion pictures, one of them being Amos and Andy.</p> <p>Among his other accomplishments, Carpenter wrote a symphonic poem called \"Moods\" performed by the Federal Theatre Orchestra under the direction of Eusigli, and wrote two suites, African Dance and Bolero for Dance. A collaboration with Langston Hughes produced a song entitled \"America's Young Black Joe\", which was published. Three additional tunes \"Album of Broken Dreams\", \"Cry Away Your Blues\", and \"We're Gonna Get Corny Tonight\" were published under the pen name of Jimmy Fortune. He is also the author of a book entitled Syncopation which depicts the lives and works of early African-American composers. Although it is not clear how many recordings Carpenter made, he recorded \"Jamaica\" for Monte Carlo Records and \"Priceless (Nightingale) \" with Bonnie Bartlett on the Tip Top Label.</p> <p>Carpenter frequently worked with other collaborators including Karen Bank, Bill Boyd, Everett F. Briggs, Dove See, Frank Lowry, and Kahl Ra-Faun. He also assisted other composers in the construction of melody and lyrics, the preparation of lead sheets, as a copyist, and by undertaking revisions of their work. Throughout the forty year period from the 1930s until the 1970s, Carpenter frequently accompanied performances in churches, community groups and colleges in Los Angeles and its environs, and became one of Hollywood's teachers of voice, style and piano. Carpenter died in 1982.</p> <p>Note: A search of the literature has yielded very little published information about Carpenter other than what was found in the collection.</p>"}
- custodhist
-
{"value"=>"<p>The collection was donated to Helen Armstead-Johnson by Elliot Carpenter, and subsequently donated by her, along with other theater related collections, to the Schomburg Center.</p>"}
- scopecontent
-
{"value"=>"<p>Collection consists of personal and professional correspondence, handwritten and printed music, programs, lyrics, scripts, and librettos.</p> <p>The Elliot Carpenter Papers document the musical career of this composer, arranger, and performer and consists of personal and professional correspondence, handwritten and printed music, programs, lyrics, scripts, and newsclippings. The years from the 1940s to the 1970s are more fully documented than the earlier years. When acquired, these papers lacked any discernable order; the processor has imposed an order based upon type of material. In some instances folder titles written by Carpenter have been retained. Photographs which form part of the Elliot Carpenter Papers are described separately in the Photographs and Prints Division.</p>"}
{"value"=>"<p class='list-head'>The Elliot Carpenter papers are arranged in seven series:</p>\n<ul class='arrangement series-descriptions'>\n<li><div class='series-title'><a href='/scm/20855#c1117252'>Personal Papers</a></div>\n<div class='series-date'>1937-1975</div>\n<div class='series-extent'>5 folders</div>\n<div class='series-description'><p>Includes family correspondence with Arthur W. Carpenter (Elliot's uncle), his mother, and others. An informal will indicates that Helen Armstead-Johnson was to receive the papers of Carpenter and his wife Mauvolyene (1974). This series has been arranged chronologically, with the name of significant correspondents and organizations placed alphabetically.</p></div></li><li><div class='series-title'><a href='/scm/20855#c1117259'>Correspondence</a></div>\n<div class='series-date'>1922-1978</div>\n<div class='series-extent'>1 linear foot</div>\n<div class='series-description'><p>Series contains letters from colleagues and individuals whom Carpenter assisted as a copyist and by revising and doing other related work in the preparation of their musical compositions. Individuals with whom he corresponded include Eubie Blake, Bill Boyd, Everett F. Briggs, Monroe Burnett, Langston Hughes, Helen Armstead-Johnson, Frank Lowry, Ada May, Kahl Ra-Faun, Dove See and Noah M. Thompson. Much of the correspondence pertains to songs he and his colleagues collaborated on. Of interest is correspondence with Eubie Blake which discusses mutual friends, and Carpenter's advice regarding Blake's music and personal matters (1966-1978). Other letters and postcards written by Blake to \"Alex\" Carpenter, which appears to be Blake=s nickname for Carpenter, also concern Blake's musical activities and travels (1944-1946, 1967). Letters from comedienne Ada May speak about her travels through Europe as a performer during 1946-1959. The series also includes correspondence with several professional organizations Carpenter belonged to: American Guild of Authors and Composers (re copyright notices), ASCAP (performance records), and Musicians' Protective Union. Agreements and contracts provide a fairly comprehensive list of collaborators, songs and fees for Carpenter's work from 1936-1964, and paystubs and earnings statements provide details about the royalties he was paid.</p></div></li><li><div class='series-title'><a href='/scm/20855#c1117321'>Music</a></div>\n<div class='series-extent'>6.5 linear feet</div>\n<div class='series-description'><p>Series consists almost exclusively of manuscript music, mostly copies made by Carpenter for his use as a composer/arranger. Nearly all of the music is accompanied by lyrics. Correspondence between Carpenter and the composers for whom there is music in the collection may be found in the Correspondence series; when a letter exists about a particular piece, a photocopy has been placed in the Music series with the compositions. There are also a number of composers who are represented by both music and lyrics; the different works will be found in the appropriate series.</p></div></li><li><div class='series-title'><a href='/scm/20855#c1117516'>Lyrics</a></div>\n<div class='series-date'>1943-circa 1970s</div>\n<div class='series-extent'>.3 linear feet</div>\n<div class='series-description'><p>Series is comprised of lyrics written by Carpenter and other lyricists. Some lyrics appear to have been taken from popular tunes and reworked by Carpenter. Other music was composed by Carpenter with lyrics written by other individuals, among them cowboy Bill Boyd, Nathaniel A. Davis, Lois Faith Kirby, Flourney Miller, and Kahl Ra-Faun. Lyrics written by Carpenter are arranged alphabetically by title; if untitled, they are placed alphabetically by first line. Lyrics by others are organized alphabetically by name of lyricist.</p></div></li><li><div class='series-title'><a href='/scm/20855#c1117543'>Miscellaneous Writings</a></div>\n<div class='series-date'>1946-circa 1970s</div>\n<div class='series-extent'>.3 linear feet</div>\n<div class='series-description'><p>Consists primarily of scripts of varying lengths intended for performances on stage or radio. Most of the scripts were written by Carpenter; one is a treatment for a scene from Showboat, and some were prepared with collaborators such as Clarence Muse. A number of scripts were authored by others, such as the play Topsy Turvy by Jesse Kahn, a black version of Alice in Wonderland, with music by Carpenter. Scripts have been arranged into three groupings: by Carpenter, with collaborators, and by others.</p></div></li><li><div class='series-title'><a href='/scm/20855#c1117563'>Programs</a></div>\n<div class='series-date'>1935-1968</div>\n<div class='series-extent'>.2 linear feet</div>\n<div class='series-description'><p>Includes printed and handwritten programs for many of Carpenter's engagements as well as a few cue sheets and related production files.</p></div></li><li><div class='series-title'><a href='/scm/20855#c1117566'>Printed Material</a></div>\n<div class='series-date'>1928-1977</div>\n<div class='series-extent'>.2 linear feet</div>\n<div class='series-description'><p>Series, encompasses two scrapbooks containing primarily newsclippings and some programs, correspondence, greeting cards and invitations discussing Carpenter's performances and activities in the United States. A few programs and newsclippings pertain to performances in England and Brazil; one article was written by Carpenter for the Chicago Defender about the Hollywood's Screen Actor's Ball in 1937.</p></div></li></ul>\n", "type"=>"arrangement"}
- arrangement
-
{"value"=>"<p>Collection organized into seven series: I. Personal Papers; II. Correspondence; III. Music; IV. Lyrics; V. Miscellaneous Writings: VI. Programs; and VII. Printed Material</p>", "supress_display"=>true}
- acqinfo
-
{"value"=>"<p>Elliot Carpenter's will indicated his plans to donate his papers to the Armstead-Johnson Foundation for Theater Research. Johnson donated her entire collection, including the Elliot Carpenter Papers, to the Schomburg Center for Research in Black Culture in December 1996.</p>"}
- separatedmaterial
-
{"value"=>"<p>The item(s) listed below have been sent to the division indicated, either to be retained or disposed of there. Any items that should receive special disposition are clearly marked.</p> <p>Schomburg Photographs and Print Division:</p> <p>1 photograph album and 1 scrapbook of Elliot and Mauvolyene Carpenter's 50th Wedding Anniversary party, snapshots of family and friends; vintage photographs of Carpenter, and autographed photographs of black and white performers.</p> <p>Other:</p> <p>Sheet music transferred to Music Division, New York Public Library for the Performing Arts.</p>"}
- processinfo
-
{"value"=>"<p>Janice Quinter, September 2000</p><p>Processed by Janice Quinter with the assistance of Farah Madrid and Alex Mills, May 2000</p>"}
- date_start
-
1922
- keydate
-
1922
- date_end
-
1979
- date_inclusive_start
-
1922
- date_inclusive_end
-
1979
- prefercite
-
{"value"=>"[Item], Elliot Carpenter papers, Sc MG 599, Schomburg Center for Research in Black Culture, Manuscripts, Archives and Rare Books Division, The New York Public Library"}