{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://arsc.aviaryplatform.com/iiif/sq8qb9wt97/manifest","type":"Manifest","label":{"en":["Oh, Didn't He Ramble: The Audio Odyssey of Avant-Garde Composer and New Orleans Jazz Revivalist William Russell (1905-1992)"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","metadata":[{"label":{"en":["Agent"]},"value":{"en":["David N. Lewis (Presenter)","Gary Galo (Chair)"]}},{"label":{"en":["Date"]},"value":{"en":["2010-05-22 (Created)"]}},{"label":{"en":["Format"]},"value":{"en":["Audio"]}},{"label":{"en":["Description"]},"value":{"en":["William Russell (1905-1992) was an inveterate iconoclast in American music, a conservatory-trained composer who seemingly abandoned music to go into medical equipment sales. When he did emerge as a composer in the 1930s, Russell devoted his entire known output of 14 compositions to the previously non-existent medium of the percussion ensemble, creating a seed-repertoire that helped to kick start the American avant-garde. Abandoning that endeavor early in 1940, Russell became a pioneer New Orleans Jazz preservationist, co-authoring the book \"Jazzmen,\" participating in the making of Bunk Johnson's first recordings and operating the elusive, highly specialized American Music record label. Finally, Russell helped to co-found Preservation Hall itself, spending the rest of his days running the little record kiosk at the back of the hall, though he found the time to play violin in the New Orleans Ragtime Orchestra and, as was not discovered until after his death, assemble the largest hoard of primary print source material on early New Orleans jazz known, now housed at Tulane University. Ironically, Russell’s enormous contribution to American culture has only seldom been recognized, and Russell himself had no taste for the spotlight. This talk will focus both on Russell's seminal work as composer and New Orleans revivalist, illuminated with material taken from Russell's diaries, photos of recording sessions, score reproductions and recorded examples of both Russell’s won music and of the traditional New Orleans Jazz that he saved by virtue of committing it to record."]}},{"label":{"en":["Language"]},"value":{"en":["English"]}},{"label":{"en":["Publisher"]},"value":{"en":["Association for Recorded Sound Collections"]}},{"label":{"en":["Rights Statement"]},"value":{"en":["Copyright Association for Recorded Sound Collections"]}}],"summary":{"en":["William Russell (1905-1992) was an inveterate iconoclast in American music, a conservatory-trained composer who seemingly abandoned music to go into medical equipment sales. When he did emerge as a composer in the 1930s, Russell devoted his entire known output of 14 compositions to the previously non-existent medium of the percussion ensemble, creating a seed-repertoire that helped to kick start the American avant-garde. Abandoning that endeavor early in 1940, Russell became a pioneer New Orleans Jazz preservationist, co-authoring the book \"Jazzmen,\" participating in the making of Bunk Johnson's first recordings and operating the elusive, highly specialized American Music record label. Finally, Russell helped to co-found Preservation Hall itself, spending the rest of his days running the little record kiosk at the back of the hall, though he found the time to play violin in the New Orleans Ragtime Orchestra and, as was not discovered until after his death, assemble the largest hoard of primary print source material on early New Orleans jazz known, now housed at Tulane University. Ironically, Russell’s enormous contribution to American culture has only seldom been recognized, and Russell himself had no taste for the spotlight. This talk will focus both on Russell's seminal work as composer and New Orleans revivalist, illuminated with material taken from Russell's diaries, photos of recording sessions, score reproductions and recorded examples of both Russell’s won music and of the traditional New Orleans Jazz that he saved by virtue of committing it to record."]},"requiredStatement":{"label":{"en":["Attribution"]},"value":{"en":["Copyright Association for Recorded Sound Collections"]}},"provider":[{"id":"https://arsc.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["Association for Recorded Sound Collections"]},"homepage":[{"id":"https://arsc.aviaryplatform.com/","type":"Text","label":{"en":["Association for Recorded Sound Collections"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/2670/collection_resources/128085/file/239768","type":"Canvas","label":{"en":["Media File 1 of 1 - ARSC_conf_2010_Lewis_audio.mp3"]},"duration":2603.91981,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/2670/collection_resources/128085/file/239768/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/2670/collection_resources/128085/file/239768/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/239/768/original/ARSC_conf_2010_Lewis_audio.mp3?1714146576","type":"Audio","format":"audio/mpeg","duration":2603.91981,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/2670/collection_resources/128085/file/239768","metadata":[]}]}],"annotations":[]}]}