Give to the CBMR
The Center for Black Music Research enjoys the support of its parent organization, Columbia College Chicago, a 501(c)(3) not-for-profit organization, which provides ongoing basic operating support for its staff, space, and supplies. However, the CBMR is responsible for raising significant external funding to support its patron services and programming, including symposia and panel discussions, performance programs, fellowships, commissioned art installations, publications, and special research initiatives.
A small but significant portion of this funding has always come from individuals, as CBMR Associate memberships, special funds and other kinds of gifts, as well as publication subscriptions and sales. Individual, foundation, and corporate contributions are the primary financial and in-kind support for the Center's programming and collections access.
Individual Giving: Join the Center for Black Music Research Society
You can support the Center by joining the new Center for Black Music Research Society at one of five levels, with different benefits of memberships available. Please use the College's general giving page for now by clicking the blue "Donate!" button below. This premier access program is hot off the press! Stay tuned for more information on the website, or call 312-369-7559 with questions.
Once on the "Give to Columbia College Chicago web page, simply indicate the amount you want to give and select "Other" from the drop-down menu. You can then write in "CBMR Society" in the fill-in blank.
Charitable Bequests and Planned Giving
Regardless of the size of the gift, planned and deferred giving support the CBMR’s ongoing operation and may provide tax benefits to you and your heirs.
You may also set up memorial gifts, give fellowship support, general operating support, and specific campaign support, such as the Dumas and Tucker funds. Details on existing special funds are below.
The CBMR has an impressive record of attracting one-time, multi-year, and continuing grants from more than fifty corporate, private, and government foundations and funding agencies. It seeks grant funds to support its public programming, special research initiatives, and digital preservation.
For grants, individual contributions, deferred giving, and to establish new individual campaigns, please contact:
Michelle Ferguson, Assistant to the Dean
The CBMR Library and Archives are a leading repository for scores and music by black composers and for personal papers, recording collections, and research collections. The CBMR welcomes and encourages donations and bequests of materials that will increase the research value and use of its holdings, particularly sheet music and scores including unpublished music manuscripts, photographs, film and video footage, recordings, and archival and manuscript materials concerning all aspects of black music and dance. Of special interest to the CBMR are scores and papers of contemporary composers and jazz artists, recordings and other materials about gospel music, and recordings of and materials about popular music idioms, particularly rap and hip hop as created and practiced throughout the African diaspora.
We encourage donors to consult the CBMR Archivist before donating materials:
Laurie Lee Moses, Archivist and Digital Librarian
Individual campaigns have been established in honor of music scholars, musicians, and supporters; and to support new research and programming. See below for details on scope, and ways you can increase their impact.
- The Lillian Marie Dumas Fund
In October 2015, composer Dolores White made a donation of $10,000 to the CBMR in tribute to her mother, Lillian Marie Dumas, who passed away in Chicago on August 5, 2014. Dumas was a strong supporter of the arts and endeavors of educational excellence and cultural enrichment. She was the grandmother of pianist Dianna White-Gould.
The donation provides for the establishment of the Lillian Marie Dumas Fund, which will support programs that explore and present works by contemporary African-American women composers/performers. The fund will generate performances, programs, and events that consist of new music landscapes and innovations in classical and jazz works for chamber ensemble. The fund will also provide general support for the well-being and continuation of the CBMR.
Contributors to the fund include Frances Walker, Juanita Smith, June Jones, June Mary Heard, E-a Bailey, Mildred Heywood, and Shirley White.
- Travel to the Collections Grant
A fund in memory of Coleridge-Taylor Perkinson has been established at the CBMR to support research in the study and performance of black music repertoire and to assist scholars and musicians to visit the CBMR Library and Archives for the purpose of examining and utilizing its archival collection of scores and its sound recordings. This program is a memorial to Perk's outstanding legacy as a conductor, composer, mentor, and role model for many musicians and composers.
For more information and application guidelines visit the Fellowships page. Additional support for this ongoing program is greatly appreciated, and will help new scholars to discover and use the CBMR's collections.
- Mark Tucker Fund for Jazz Acquisitions
This fund was established in 2000 at the Center for Black Music Research to benefit the CBMR Library and Archives. The funds will be used to purchase materials in subject areas in which Mark had particular interest related to jazz idioms. Emphasis is placed on acquiring reference books, hard-to-get items, and original materials.
Make an online contribution, or mail checks or credit card information to Mark Tucker Fund, Center for Black Music Research, Columbia College, 600 S. Michigan Avenue, Chicago, IL 60605-1996.
Mark Tucker (1954-2000), long-time friend and Associate of the Center, was an internationally recognized scholar of American jazz and the author or editor of The Duke Ellington Reader (Oxford University Press, 1993), Ellington: The Early Years (University of Illinois Press, 1991), and, with Garvin Bushell, Jazz from the Beginning (University of Michigan Press, 1988). Beyond his exemplary professional activities, Mark supported the CBMR and its constituency in many important ways, including presenting papers at the Center's Conferences on Black Music Research, serving as a member of the CBMR's Editorial Advisory Board from 1988 until his death, and serving as guest editor of two issues of Black Music Research Journal: "Duke Ellington's Black, Brown and Beige" (13, no. 2) and "New Perspectives on Thelonious Monk" (19, no. 2). His article "In Search of Will Vodery," published in BMRJ (16, no. 1), received the Sonneck Society's Irving Lowens Award for the best article on American music published during 1996. That same article was re-issued in "The Best of BMRJ" in 2004.
The fund was established in his honor by his wife, Carol Oja, and his children, Zoe and Wynn Tucker, to help perpetuate research in his particular area of interest.
Materials Purchased by the Tucker Fund
Historic Jazz Discographies
- Backus, Rob. Fire Music: A Political History of Jazz. 2nd ed. [Kalamazoo, Mich.?]: Vanguard Press, 1976.
- Blues Research, nos. 1-9. New York: Record Research, -1962. Intended as a supplement to the jazz-oriented magazine Record Research, this mimeographed magazine covers the independent rhythm and blues labels of the postwar era and has spaces in the label discographies so that missing information can be filled in by the subscriber.
- Burns, Mick. The Great Olympia Band. New Orleans: Jazzology Press, 2001. Includes a CD of performances by the band discussed.
- Carr, Peter. Jimmy Archey: The Little Giant of the Trombone. New Orleans: Jazzology Press, 1999. Includes a CD of performances by the musician discussed.
- Coller, Derek. Jess Stacy: The Quiet Man of Jazz. New Orleans: Jazzology Press, 1997. Includes a CD of performances by the musician discussed.
- Delaunay, Charles. Hot Discographie 1943. Paris: Collection du Hot-Club de France, 1944. A classic, first published in 1936, by a French compiler.
- Evensmo, Jan. The Tenor Saxophonists of the Period 1930-1942. Jazz Solography Series, "Vol. 1 presenting Leon Chu Berry, Herschal Evans, Coleman Hawkins, Ben Webster, [and] Lester Young, with critical assessment of all their known recordings and broadcasts." Oslo, Norway: The author, 1969. A different approach to discography - solo by solo.
- Godbolt, Jim. The World of Jazz in Printed Ephemera and Collectibles. Secaucus, N.J.: Wellfleet Press, 1990.
- Hazeldine, Mike, comp. and ed. Bill Russell's American Music. New Orleans: Jazzology Press, 1993. A history of the record label that recorded many New Orleans musicians. Includes a CD of performances by bands recorded for the label.
- Hazeldine, Mike, and Barry Martyn. Bunk Johnson: Song of the Wanderer. New Orleans: Jazzology Press, 2000. Includes a CD of interviews and performances by the musician discussed.
- Herzog zu Mecklenburg, Carl Gregor. International Jazz Bibliography: Jazz Books from 1919 to 1968. Strasbourg [France]: Editions P.H. Heitz and Baden-Baden [Germany]: Verlag Heitz, 1969. One of the first scholarly bibliographies of jazz, with introductions in German and English.
- Hoffmann, Franz. Jazz Advertised in the Negro Press. 8 vols. Berlin, Germany: F. Hoffmann, c1980, 1989. The compiler's self-published documentation of advertisements for jazz events in the major black newspapers; includes a separate index volume that covers advertisements naming individuals, bands, venues and clubs, and films in East Coast newspapers and the Chicago Defender between 1910 and 1967.
- —. Jazz Reviewed 1910-1967 out of the New England Negro Press. Vol. 1. Berlin: F. Hoffman, 1995. The only volume published so far in this series.
- The Jazzfinder '49. New Orleans: Orin Blackstone, 1949.
- Jepsen, Jorgen Grunnet. A Discography of Billie Holiday. Copenhagen: Karl Emil Knudsen, 1969. Discographies also focus on individual musicians. This one is by a Dane who also compiled and published a multi-volume comprehensive jazz discography.
- Kernfeld, Barry, ed. The New Grove Dictionary of Jazz. 2nd ed. New York: Macmillan, 2002. A three-volume reference work that is indispensable for jazz research.
- Knowles, Richard H. Fallen Heroes: A History of New Orleans Brass Bands. New Orleans: Jazzology Press, 1996. Includes a CD of performances by the bands discussed and interviews with the musicians.
- Lord, Tom. Clarence Williams. Chigwell, England: Storyville Publications, 1976.
- Martyn, Barry. New Orleans Jazz: The End of the Beginning. New Orleans: Jazzology Press, 1998. Includes a CD of interviews about jazzman Chris Kelly with his family and fellow musicians.
- Martyn, Barry, and Mike Hazeldine, comps. and eds. New Orleans Style. Bill Russell, New Orleans: Jazzology Press, 1994.
- The Needle: Record Collector's Guide. Jackson Heights, N.Y. Four issues: 1, no. 2-5 [sic] (September, October and November 1944) and 2, no. 1 (1945). Intended for collectors, this unassuming little magazine includes record reviews, articles on musicians, and commentary, as well as ads for records wanted and records for sale.
- Panassie, Hugues. La Musique de Jazz et le Swing. Paris: Correa, 1945.
- Pensoneault, Ken, and Carl Sales. Jazz Discography: Additions and Corrections. Jackson, Heights, N.Y.: The Needle, 1944. Corrections and additions to Delaunay's Hot Discographie.
- Ramsey, Frederic, Jr. A Guide to Longplay Jazz Records. New York: Long Player Publications, 1954.
- Ruppli, Michel. The Clef/Verve Labels: A Discography. Volume I: The Norman Granz Era; Volume II: The MGM Era. New York: Greenwood Press, 1986.
- Strateman, Klaus. Negro Bands on Film. Volume 1: Big Bands 1928-1950. Lubeckke: Verlag Uhle & Kleimann, 1981.
- Wilson, John S. The Collector's Jazz: Modern. New York: J. B. Lippincott, 1959.
- Basie, Count. Blues by Basie. New York: Bregman, Vocco and Conn, . Song folios like this one contain transcriptions from recordings to assist amateur musicians in playing them.
- Powell, Eddie, arr. Stock arrangement of Bubber Miley and Duke Ellington's Black and Tan Fantasy. New York: Gotham Music Service, 1927. This set of parts for dance band, which includes parts for saxophones and parts for violin and banjo, is heavily marked by the performers and also includes manuscript parts for an added introduction. It once belonged to a Chicago band.