SOUND PROJECTIONS

AN ONLINE QUARTERLY MUSIC MAGAZINE

EDITOR: KOFI NATAMBU

SUMMER/FALL, 2015

VOLUME ONE NUMBER FOUR

BILLIE HOLIDAY

Featuring the Musics and Aesthetic Visions of:

ERIC DOLPHY
July 18-24

MARVIN GAYE
July 25-31

ABBEY LINCOLN
August 1-7

RAY CHARLES
August 8-14

SADE
August 15-21

BETTY CARTER
August 22-28

CHARLIE PARKER
August 29-September 4

MICHAEL JACKSON
September 5-11

CHAKA KHAN
September 12-18

JOHN COLTRANE
September 19-25

SARAH VAUGHAN
September 26-October 2

THELONIOUS MONK
October 3-9

http://panopticonreview.blogspot.com/2010/08/abbey-lincoln-1930-2010-groundbreaking.html

Tuesday, August 17, 2010

Abbey Lincoln, 1930-2010: Groundbreaking Singer, Songwriter, Actor, and Activist

All,

Abbey Lincoln was an iconic cultural figure and one of the most important and creatively profound singers--and later songwriters--of the past half century. Belonging to an elite and exclusive pantheon of truly original and innovative song stylists and expressive vocal artists in the Jazz tradition like such towering and legendary figures as Billie Holiday (1915-1959), Sarah Vaughan (1924-1990), Ella Fitzgerald (1917-1996), Betty Carter (1929-1998), Dinah Washington (1924-1963), and Nina Simone (1933-2003), Lincoln (born Anna Marie Wooldridge) was an extraordinary and highly gifted individual who not only excelled as a singer and songwriter (and painter) but was also a very fine actress. She was also a deeply committed and progressive social activist who with her late husband the legendary Jazz drummer and composer Max Roach (1924-2007) played a pivotal and dynamic role in the radical African American political and cultural movements of the 1960s and '70s. To say that Lincoln's magnificent and lasting contributions will be sorely missed is a great understatement. She was simply one of the short list of absolutely major and indispensable American artists of our time and like her phenomenal mentors and contemporaries in music, acting, and the visual arts her legacy has been and will continue to be felt wherever great art is being created and shared in this society and culture...

Kofi

http://www.allaboutjazz.com/abbey-lincoln-spirited-and-spiritual-abbey-lincoln-by-rj-deluke.php

Abbey Lincoln: Spirited and Spiritual

by R.J. DELUKE,

January 26, 2004

All About Jazz

“There are other forms that they call rock and rhythm and blues, and they're not serious forms. They're great forms. They're marvelous. But what they call jazz is the cream of the crop. It's the world that we live in. ”

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Music serves many purposes for people on this planet. It's fun. It can be an escape. It can be soothing and even nostalgic. But for some it carries a deeper meaning, a deeper purpose. In this realm lies the art of Abbey Lincoln. At age 73, she is one of the last of the great jazz singers of her generation. Lest anyone get the wrong idea, now is not the time for considering her epitaph. This artist is still thinking, still expressing, still vital, still producing.

Lincoln is in a sense a blithe spirit, and yet concerned about the world around her. She sees the problems in society and in the world of art and music, yet avoids complaining or blaming. Like her one idol, Billie Holiday, she tells it like it is. Very often she does it in her own words, with her own poetry expressing her inner feelings and her outer attitudes. The evidence comes forth again on Lincoln's 10th CD for Verve records, It's Me. Like her other Verve discs, it's heavily laden with original songs, put across in her direct, musical-yet-theatrical style that has become one of the most poignantly expressive voices in jazz music — especially since her 1990 signing with Verve.

Abbey is an artist, first and foremost. Secure, content, inquisitive. She is sassy and direct in her commentary — and insightful. She can be brash and charming at the same time, chastising what society and the music industry have done to black music and artists, but at the same time maintaining a whimsical stance when looking at life and the big picture of it all. She's both spirited and spiritual.

Lincoln's recorded works, especially on Verve (most notably 1991's You Gotta Pay the Band, with Stan Getz, an all-time classic, and When There is Love the sublime duet project with Hank Jones, 1992) are universally stellar. She sees her work as higher art, not as frivolous notes to help people pass the time.

"Even though I do not know anything, like everybody on this planet, because they forget everything," she says in her distinctive thoughtful, yet playful, tone. "The human being possesses the art of music all over the world. There's no such thing as people without music. It's more than the birds, because the birds don't write it down. Sometimes they improvise, and sometimes they don't. But the human being is maybe designed on a musical pattern. I don't know. But I know we have music and the people in Africa were definitely given it, and that's why people who are musicians can become athletes and all kind of things, because it's good for your health. It cleanses the air that you breathe and it creates other expressions, to dance and sing and play instruments and get it off!"

Add a dash of realism, however. On the downside, "it has to be for money. That's the thing. It's not our fault. This is what it is. Between us and the god of music is the god of money," says Abbey with a knowing laugh. "The god of money has got us up against the wall."

It's Me begins with an elegant version of "Skylark," done in her behind-the-beat style; expressive and clear and resounding. But that's the last of the standards. There are Abbey originals, as well as a song by her late brother, Robert Wooldridge, who she said was a "wonderful singer" but chose instead to become a lawyer, and later a judge. Also, it is the first label recording with Lincoln and an orchestra. Arrangements by Laurent Cugny and Alan Broadbent augment seven tracks.

"I didn't really know what it was until it was done and I was listening to it," she says of the new CD. "It's really about the music. A tribute to the music they call jazz — the best thing that ever happened to me in my life."

"They Call It Jazz" is an open homage to the art form; a ballad given a heartfelt rendering. "Runnin' Wild" is more up-tempo, though Abbey delightfully strolls effortlessly, almost conversationally, despite the quicker pace. "Can You Dig It" offers uplifting advice for those who may be caught up in a crazy world. Masterful musicians like Kenny Barron, Ray Drummond and Jaz Sawyer offer superb support throughout and help Lincoln get her message out.

"I let it come," she says of her compositional method. "But what it mostly is, usually, is about something that I feel, that I realize and it's what I share. It's like having therapy. I can talk about these things and then I can throw it away. Then I'm not burdened with what I'm witnessing. It can be burdensome, because this is really weird, the world that we've been delivered to. So I sing about it. It makes it possible for me to hang in there [laughter]. Otherwise, I'd be lying on the couch, crazy as a loon."

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Abbey Lincoln | The Music is the Magic

Documentary film by Carol Friedman

This ninety-minute documentary feature film on the life and work of Abbey Lincoln is Carol Friedman’s first feature film. Shot in 16mm in black & white and color over a period of eighteen years, this film traces Lincoln’s life and work, from her beginnings as a Hollywood Glamour girl to actor and civil rights activist to her present standing as one of the most gifted and original singers and composers of our time.
Fueled by a fierce integrity and idiosyncratic style on and off the stage, Abbey Lincoln has always gone her own way. The film features rare music performances spanning two decades here and abroad; historic footage of early broadcast performances and clips from her work as a film actress — all accompanied by Lincoln’s own distinctive narrative. Commentary is provided by percussionist Max Roach, author and culture critic Gary Giddins, Music producer Jean-Philippe Allard, Director Michael Roemer, author and columnist Stanley Crouch, Jazz impresario George Wein and Lincoln’s brother David Wooldridge. In addition to her performances on stage and screen, we see Lincoln as journeyman — both on the road and in the recording studio. The trajectory of her remarkable ascension as a prolific composer/lyricist is the heart of her story. Besides her ever-independent spirit, what sets Lincoln apart from so many of her contemporaries is her steadfast allegiance to practicint he arts — proficiently — and in several arenas — and the unwavering integrity that she has always sewn through all that she does. This film presents an anatomy of the history, discipline, and seemingly organic process that has hatched this most formidable and original artist.

http://www.nytimes.com/2010/08/15/arts/music/15lincoln.html?_r=0

Music

Abbey Lincoln, Bold and Introspective Jazz Singer, Dies at 80
By NATE CHINEN
AUGUST 14, 2010
New York Times

Abbey Lincoln, a singer whose dramatic vocal command and tersely poetic songs made her a singular figure in jazz, died on Saturday in Manhattan. She was 80 and lived on the Upper West Side.

Her death was announced by her brother David Wooldridge.

Ms. Lincoln’s career encompassed outspoken civil rights advocacy in the 1960s and fearless introspection in more recent years, and for a time in the 1960s she acted in films, including one with Sidney Poitier.

Long recognized as one of jazz’s most arresting and uncompromising singers, Ms. Lincoln gained similar stature as a songwriter only over the last two decades. Her songs, rich in metaphor and philosophical reflection, provide the substance of “Abbey Sings Abbey,” an album released on Verve in 2007. As a body of work, the songs formed the basis of a three-concert retrospective presented by Jazz at Lincoln Center in 2002.

Her singing style was unique, a combined result of bold projection and expressive restraint. Because of her ability to inhabit the emotional dimensions of a song, she was often likened to Billie Holiday, her chief influence. But Ms. Lincoln had a deeper register and a darker tone, and her way with phrasing was more declarative.

Singer-composer Abbey Lincoln at her home in Manhattan in 2002. Credit Chester Higgins Jr./The New York Times

“Her utter individuality and intensely passionate delivery can leave an audience breathless with the tension of real drama,” Peter Watrous wrote in The New York Times in 1989. “A slight, curling phrase is laden with significance, and the tone of her voice can signify hidden welts of emotion.”

She had a profound influence on other jazz vocalists, not only as a singer and composer but also as a role model. “I learned a lot about taking a different path from Abbey,” the singer Cassandra Wilson said. “Investing your lyrics with what your life is about in the moment.”

Ms. Lincoln was born Anna Marie Wooldridge in Chicago on Aug. 6, 1930, the 10th of 12 children, and raised in rural Michigan. In the early 1950s, she headed west in search of a singing career, spending two years as a nightclub attraction in Honolulu, where she met Ms. Holiday and Louis Armstrong. She then moved to Los Angeles, where she encountered the accomplished lyricist Bob Russell.

It was at the suggestion of Mr. Russell, who had become her manager, that she took the name Abbey Lincoln, a symbolic conjoining of Westminster Abbey and Abraham Lincoln. In 1956, she made her first album, “Affair ... a Story of a Girl in Love” (Liberty), and appeared in her first film, the Jayne Mansfield vehicle “The Girl Can’t Help It.” Her image in both cases was decidedly glamorous: On the album cover she was depicted in a décolleté gown, and in the movie she sported a dress once worn by Marilyn Monroe.

Ms. Lincoln in the 1968 film “For Love of Ivy.” Credit Cinerama Releasing

For her second album, “That’s Him,” released on the Riverside label in 1957, Ms. Lincoln kept the seductive pose but worked convincingly with a modern jazz ensemble that included the tenor saxophonist Sonny Rollins and the drummer Max Roach. In short order she came under the influence of Mr. Roach, a bebop pioneer with an ardent interest in progressive causes. As she later recalled, she put the Monroe dress in an incinerator and followed his lead.

The most visible manifestation of their partnership was “We Insist! Max Roach’s Freedom Now Suite,” issued on the Candid label in 1960, with Ms. Lincoln belting Oscar Brown Jr.’s lyrics. Now hailed as an early masterwork of the civil rights movement, the album radicalized Ms. Lincoln’s reputation. One movement had her moaning in sorrow, and then hollering and shrieking in anguish — a stark evocation of struggle. A year later, after Ms. Lincoln sang her own lyrics to a song called “Retribution,” her stance prompted one prominent reviewer to deride her in print as a “professional Negro.”

Ms. Lincoln, who married Mr. Roach in 1962, was for a while more active as an actress than a singer. In 1964 she starred with Ivan Dixon in “Nothing but a Man,” a tale of the Deep South in the 1960s, and in 1968 she was the title character opposite Mr. Poitier in the romantic comedy “For Love of Ivy,” playing a white family’s maid. She also acted on television in guest-starring roles in the ’60s and ’70s.

But with the exception of “Straight Ahead” (Candid), on which “Retribution” appeared, she released no albums in the 1960s. And after her divorce from Mr. Roach in 1970, she took an apartment above a garage in Los Angeles and withdrew from the spotlight for a time. She never remarried.

Ms. Lincoln, 1991. Credit Jack Vartoogian/FrontRowPhotos

In addition to Mr. Wooldridge, Ms. Lincoln is survived by another brother, Kenneth Wooldridge, and a sister, Juanita Baker.

During a visit to Africa in 1972, Ms. Lincoln received two honorary appellations from political officials: Moseka, in Zaire, and Aminata, in Guinea. (Moseka would occasionally serve as her surname.) She began to consider her calling as a storyteller and focused on writing songs.

Moving back to New York in the 1980s, Ms. Lincoln resumed performing, eventually attracting the attention of Jean-Philippe Allard, a producer and executive with PolyGram France. Ms. Lincoln’s first effort for what is now the Verve Music Group, “The World Is Falling Down” (1990), was a commercial and critical success.

Eight more albums followed in a similar vein, each produced by Mr. Allard and enlisting top-shelf jazz musicians like the tenor saxophonist Stan Getz and the vibraphonist Bobby Hutcherson. In addition to elegant originals like “Throw It Away” and “When I’m Called Home,” the albums featured Ms. Lincoln’s striking interpretations of material ranging from songbook standards to Bob Dylan’s “Mr. Tambourine Man.”

For “Abbey Sings Abbey” Ms. Lincoln revisited her own songbook exclusively, performing in an acoustic roots-music setting that emphasized her affinities with singer-songwriters like Mr. Dylan. Overseen by Mr. Allard and the American producer-engineer Jay Newland, the album boiled each song to its essence and found Ms. Lincoln in weathered voice but superlative form.

When the album was released in May 2007, Ms. Lincoln was recovering from open-heart surgery. In her Upper West Side apartment, surrounded by her own paintings and drawings, she reflected on her life, often quoting from her own song lyrics. After she recited a long passage from “The World Is Falling Down,” one of her more prominent later songs, her eyes flashed with pride. “I don’t know why anybody would give that up,” she said. “I wouldn’t. Makes my life worthwhile.”

A version of this article appears in print on August 15, 2010, on page A22 of the New York edition with the headline: Abbey Lincoln, Bold and Introspective Jazz Singer, Dies at 80.

https://tedpanken.wordpress.com/2011/08/07/an-interview-with-abbey-lincoln-from-2001/

August 7, 2011

An Interview With Abbey Lincoln from 2001

Yesterday was the 81st birthday anniversary of the singer Abbey Lincoln—also known as Aminata Moseka, and born Anna Marie Wooldridge—who died last August 14th.

Like her inspiration, Billie Holiday, Lincoln was never out to prove that her voice was a great instrument — although, in its own way, it was. Never afraid to make a mistake, never self-censoring, she reached for what she heard. Usually it worked.

I had an opportunity to interview Ms. Lincoln for the bn.com website in February 2001, when her Verve album, Over The Years — one of many superb collaborations with the French producer Jean-Philippe Allard — was released. What follows is the unedited transcript.

Follow this link for her discography.

Abbey Lincoln (2-5-01):

In all of the records that you’ve done with Jean-Philippe Allard, you’ve had various magnificent tonal personalities intersecting with you. How do you go about deciding who you’re going to work with and make music with for each particular project?

Well, I use my band, as usual, the trio that I work with. It was Jean-Philippe who suggested Joe Lovano. I hadn’t thought of him for the album. But I’m glad he did. He was brilliant. And I asked for Jerry Gonzalez, because he worked with me before as a percussionist on an album called Talking To The Sun. I didn’t know he played trumpet! Jaz Sawyer, who is a brilliant musician and drummer, I asked him about a cello player, and he sent me Jennifer Vincent. Kendra Shank came to see me one day, and we were having a little jam, and she played this song for me and I fell in love with it.

Did you do that much before the association with Verve; that is, intersect with other horns within your groups in the period directly before that?

People in Me. In the album I made in Japan, Miles Davis sent me some of his musicians. I asked him for his drummer, and he sent me Al Foster, Mtume and Dave Liebman. I’ve always had a lot of help in the music. When I was with Roach, I got to work with Coleman Hawkins. My first album was with Benny Carter, and Marty Paich was one of the arrangers. Jack Montrose as well.

But you know, it’s a happening. I’m not that wise. It’s like writing a song. I start out at a point, and it gathers energy. I’m fortunate, I think.

What usually comes first, the words or the music, when you’re writing a song?

It all depends. Sometimes it’s the words. Usually it’s the words, and sometimes the music comes much later. But it’s a story that I hear, a point of view, and I have developed it with the words and with the music. But the words are really important for me.

Your songs on this record, are they all recent or do they come from different points? Part of what I’m asking is: Do you write for projects, or with each project do you select from a well of material?

I select from a wealth of material. I don’t wait to record to write a song. If it comes to me, I write it then. “Bird Alone,” when I wrote that, I was in Japan, and Miles Davis was working there as well. He wasn’t so well, you know. And I thought I was writing it for him. But it really was for myself. Later on, years later, I finished the song and recorded it.

The records that you’ve done with Allard have been so rich…

Yes.

…in so many ways. I wonder if you could speak about that relationship and the effect on your records.

I think he is very, very bright. He is a brilliant man, and he knows a lot about music, not only this form, but the Classical tradition and other forms. He called me in 1989 and asked me what I wanted to do. He never tried or suggested that I didn’t know what I was doing, and he wanted to help me to do what I was doing, and that’s what he’s done. The first album was called The World Is Falling Down. He brought me J.J. Johnson. And I asked for Ron Carter. So I get this kind of help from him. I asked for Stan Getz, and he told me he would check it out. So I’ve not been here alone. Jean-Philippe is a great ally. He told me that the newest album, Over The Years, he liked it a lot. So a lot of it is due to an alliance with Allard.

In interpreting your tunes, how specific are you with the musicians?

They’re brilliant.

They help create the arrangements…

No. They’re head arrangements. In that way they help create them. But I know how many choruses I’m going to use. I know what key it is in. And I write them. So it’s me.

Does that develop on the bandstand over touring?

No! [LAUGHS] It’s not as if… They have lead-sheets, they learn the songs, and bring their understanding and their spirit to it. So I don’t try and really control things — except that I do. I like the tempo that I want. Everything is about how I hear the song. And they know how to interpret the song. Brandon McCune is brilliant. So is John Ormond, and so is Jaz Sawyer. That’s my quartet.

Let me ask you about the notion of style, which I think is an insufficient word to describe the way you sing, or maybe I should call it the craft of singing. I realize you’ve said these things before, but could you discuss some of the singers you concentrated on when you were forming your singing personality, and a few words about them.

Well, I heard Billie Holiday when I was 14, on a Victrola, in the country where I was living. She was always a great influence on my life. She was social. And she didn’t try to prove that she had a great instrument. This is not the form for people who use that approach. That’s the European Classical tradition. We have voices. Louis Armstrong was a great singer. It has nothing to do with having a great voice. So I had a chance to listen and to meet many of these great performers and singers, and I come from Billie Holiday, Sarah Vaughan, Ella Fitzgerald, all of these people. I sing in that tradition. I don’t try for anything they do, just like they didn’t try for anything that anybody else was doing, but interpret a song on a level of understanding and with skills, knowing where one is… They’re brilliant. It’s a brilliant musical form. The musicians are masterful when it comes to theory and harmony… Yeah.

So I’m not here alone. I learned a lot about the music through Max Roach. I didn’t know about Charlie Parker, I didn’t know who he was — or Dizzy or Monk or all these people. Working with Max, I had a chance to meet some of these folks. All of them.

You were just speaking about singing the song with understanding. Could you say a few words about the songs not by you on Over the Years. I’m interested in “Somos Novios.”

Yes! That’s a beautiful love song.

And you sing it beautifully..

Thank you. Armando Mazanero is the writer. I’ve been singing this song for about 15 years, and in Spanish. I’m not sure of everything I’m saying, but I know that it’s a love song. We are lovers. And it has nothing to do with motive or anything. A pure love. It’s one of my favorite songs.

The opening song “When The Lights Go On Again,” is one I’m unfamiliar with.

That comes from the Second World War. When I was 12 or 13 or something like that, I heard that song. I must have been in Kalamazoo at the time. One day I was thinking, working on the album before I went into the studio, and that line just came into my ear. “When the lights go on again all over the world.” I thought, “Wow.” So I called the music store, and they sent it to me…or somebody brought it for me. So it’s like an unconscious companion that is with me all the time, and whispers in my ear sometimes.

I have a certain memory of “The Windmills of Your Mind” with a certain connotation, but it’s certainly not the connotation that you give it.

Well, that’s the glory of a song. It can have more than one meaning.

On Lovano’s solo he sounds like a windmill.

Yes.

“Lucky To Be Me.”

That’s the great Leonard Bernstein. I remember singing that song years ago. There was a brilliant singer named Mabel Mercer, and I heard her sing that on a recording, and I’d been meaning to sing it over the years, but I finally got to it.

And I was spellbound by the conclusion, by “Tender As a Rose.” I was listening last night at about 1 in the morning over headphones so I could have you in my head overnight, and it caught me!

It’s the second time I had a chance to record it. The first time was on an album called That’s Him, with Max and Sonny Rollins and Kenny Dorham, Paul Chambers, and Wynton Kelly. I hadn’t had a chance to have it transposed, because Wynton did that for me. We needed one more song, so I sang it alone, and I’m glad I did. Phil Moore, the composer and the writer, was a brilliant coach whom I went to see a couple of times. He was one of Lena Horne’s teachers. So I added the last line. “Well, that’s the way the story goes, and sometimes the rose was he.” Joanne is here, too. Joe isn’t the only one who is a stalker. Joanne does that, too. Know what I mean? And leads a youngster astray.

I was actually about to ask you about the conclusion of the song. Because not many women would really think to say something like that at the end of a song about evil men.

Well, women like to talk about a man. This is what the songs always were when I came to the stage. It’s about this man who she has to have, and how he treats her badly. Well, I decided I’m not singing that any more. If he’s nothin’, then that makes me nothin’ too. Mmm-hmm. So I sing, for the most part, the praises of a man. He’s God and the Devil and she’s not responsible for anything! [LAUGHS] Well, anyway, I’m not playing that.

But I guess you were placed in that role a lot in the first stage of your career…

Yes.

…as far as having to sing that kind of material and project that type of image.

Yes. I was following after the other singers. Sarah was singing, “You’re mine, you; you belong to me; I will never free you.” [LAUGHS] I was singing the songs of the women who were prominent on the stage. “Happiness is just a THING called Joe.” And “My Man, he beats me, too, what shall I do.” I thought, “Well, leave him.” You know? So I found my way to other conversations and to other things to address.

Another thing that’s fascinating to me is that your songwriting started in mid-life.

It takes a while, I think, to awaken here. I have been writing words, but I never saw myself as a composer. And I would write lyrics to other people’s songs, like Oscar Brown, Jr. So I wrote a lyric to Thelonious’ “Blue Monk.” We hadn’t talked about it. I didn’t ask him if I could write it. But I just wrote it, because I felt that I knew what he was talking about, and it really touched me. And he gave me permission to use it, to record it, and was instrumental… Because he was quoted on the liner notes to an album… They asked Max to do the liner notes when Straight Ahead was rereleased about ten years later. And Thelonious was quoted as saying that I was not only a great singer and actress, but a great composer. I had never written a thing. I knew that he knew something that I didn’t know. Because Thelonious was not a flatterer, nor a liar. And it freed me up. So when I heard “People In Me,” I used it. I mean, I believed it. It’s like a child’s song. And the compositions get better and better for me, I think.

Also, in some of the articles, I remember reading of Monk telling you not to be too perfect. I’ve heard other musicians relate that. Benny Golson relating almost the exact same story, of Monk talking to him and saying “make a mistake; you’re too perfect.”

Well, Roach was the one who said “Make a mistake.” When I told him about it, Roach said, “He means ‘make a mistake.'” It took me a minute…a while to understand that. But what they meant was, you try for something. If you crack, at least you tried for it. Don’t be so perfect. Yeah. Make a mistake. Mmm-hmm. And that’s what this form of singing is all about. I mean, you reach for something and it works. [LAUGHS] Yes.

You made a comment in a piece that Amiri Baraka wrote about you in Jazz Times that men… Well, you came up in a generation when everybody was a rugged individualist, and you couldn’t really be anything if you weren’t. You made a comment toward the end of the piece that women have always been in the music, but the men have been out front, and you said, “the men have a hard time keeping a standard that’s individual.”

I didn’t say that.

Oh, you’re quoted as saying that.

That’s one of the reasons I really dread sometimes interviews. Because I didn’t tell Amiri that.

The men, I say, have like a conception, and it’s a delivery. They cannot run away from their work. It’s something that they have to do. A woman can get married and have a child. She has other options. But he delivers this work. It’s him. Yes. And they all have a style that is their own. If you’re not an individual, you can’t stand along the masters. No, I didn’t say that.

But you just said what you said.

Yes.

In your bands you’ve nurtured a lot of the most individualistic younger musicians, like Steve Coleman and Rodney Kendrick and Mark Cary and the band you have now. I just wonder if you have any sense of the struggles of this generation in maintaining their individuality against the incredible magnificence and weight of the tradition they’re trying to come out of, which you may represent to them as well.

I’ve never worked with greater musicians than the ones I’m working with now, the ones I’ve been working with. They are not lauded and they are not rich yet in money. But I remember when all of these folks weren’t either. It’s always been kind of a secret society. And the musicians are as great as they ever were. There will never be another Charlie Parker. Or John Coltrane. That’s what this work affords us, is individuality, and that’s who you are, and there is nobody to replace you. But Jaz Sawyer and John Ormond… Brandon McCune I got through Betty Carter, you know. That’s how I inherited Marc Cary. He worked with Betty. She was a great teacher, I believe. She taught them a lot about the work. About on the beat! [LAUGHS]

A strict taskmaster, right?

Yes! And it works, too. Mmm-hmm. So I am benefitting from her work.

http://www.nytimes.com/2007/05/20/arts/music/20chin.html?pagewanted=all&_r=0

Abbey Lincoln's Emancipation Proclamation

Cinerama Releasing

Abbey Lincoln at Carnegie Hall in 2004.

by NATE CHINEN

May 20, 2007

New York Times

"I HAD a chance to be myself, and I was,” Abbey Lincoln said one recent afternoon, in a corner parlor of her spacious but unassuming ground-floor apartment on the Upper West Side of Manhattan. This 76-year-old jazz legend was summing up her new album, “Abbey Sings Abbey” (Verve), but she could have been describing the central theme of her long and colorful career. On the walls around her were dozens of artifacts — photographs of her with jazz greats, plaques from politicians and family portraits she painted — attesting to the fullness of that story. Dominating the room was a piano, the instrument with which she wrote many of her symbolically charged and self-reflective songs.

Multimedia

Podcast: Nate Chinen Interviews Abbey Lincoln (mp3)

Cinerama Releasing

Abbey Lincoln with Sidney Poitier in the 1968 film “For Love of Ivy.”

Ms. Lincoln was on the mend from recent open-heart surgery, which might nudge anyone toward rumination. But sitting on a couch in loose clothing, she was as matter-of-fact about her health as she is about her work. Long recognized as one of jazz’s most arresting and uncompromising singers, she has more recently been celebrated as a gifted lyricist and composer. She is the rare jazz singer who writes her own songs, and the rare jazz songwriter whose music conveys the lessons of her life, like, “You can never lose a thing if it belongs to you.”

“Abbey Sings Abbey,” which is out on Tuesday, captures the depth of her art with majestic serenity and bittersweet clarity. As the title suggests, it looks back on her original songs, the first time Ms. Lincoln has dedicated a full album to her own work. Another first: It surrounds her richly textured voice with acoustic and pedal steel guitars, accordion and mandolin, in an American roots-music style. “For some reason,” she said, “it’s better than anything I’ve done before.”

And Ms. Lincoln — who was born Anna Marie Wooldridge, the 10th of 12 children — has done quite a lot in her five-decade-plus career. Her songs are almost certainly her proudest achievement, an impression she reinforces by quoting them liberally, and commandingly, in conversation. “I’m a philosopher, you know,” she said, several minutes into an interview marked at first by wariness, then candor and humor. She frequently reached back into her history, reminiscing even about the things she’s glad to have left behind.

Fifty years ago Ms. Lincoln was on track to become a film and cabaret siren, appearing in the Jayne Mansfield movie “The Girl Can’t Help It,” and on the cover of her 1956 debut, “Affair ... Story of a Girl in Love,” in a décolleté dress and a come-hither pose. She had already spent two years in Honolulu as a supper-club attraction. “I was a glamour queen there too,” she said, smiling faintly. “I met Louis Armstrong, Billie Holiday. I’d do my show and run to see Billie. She’d stand on the stage and never move, except for her eyes.”

Ms. Lincoln would eventually be hailed as a successor to Holiday, for her interpretive prowess as well as a slight resemblance between their grainy yet supple vocal timbres. But that accolade was well beyond the horizon when she left Hawaii for Los Angeles, where she met the lyricist Bob Russell, who became her manager. “One time he told me, ‘Since Abraham Lincoln didn’t free the slaves, maybe you could handle it,’ ” she recalled with a laugh. “He named me Abbey Lincoln.”

Emancipation became a genuine preoccupation for Ms. Lincoln after she met Max Roach, the maverick bebop drummer she credits with “helping me find myself”; they married in 1962. In New York Mr. Roach brought her into his world of artistic experimentation and political engagement. Ms. Lincoln cut herself loose from her satiny image. She’s fond of recalling the emblematic moment when she burned the dress she sported in “The Girl Can’t Help It,” which had previously been worn by Marilyn Monroe. By 1960 she was vocalizing with a raw, spine-tingling power in Mr. Roach’s “We Insist! Freedom Now Suite,” a momentous civil-rights anthem.

In 1961 Ms. Lincoln made some early forays into lyric writing on an album called “Straight Ahead” (Candid) that sparked a public discussion about racial prejudice in jazz, after one reviewer derided Ms. Lincoln as a “professional Negro.” She seems to view those tensions now in an almost clinical light. “People remember you for what you stood for,” she said simply. “And if you didn’t stand for anything, they remember that too.”

One song Ms. Lincoln versified on “Straight Ahead” was “Blue Monk,” by the pianist Thelonious Monk, who stopped by the recording studio to bestow his blessing. “He whispered in my ear just as he was leaving, ‘Don’t be so perfect,’ ” she said. That bit of advice has stayed with her over the years. “Blue Monk” opens the new album.

It wasn’t until her 40s that Ms. Lincoln began to come into her own as a composer. After her divorce from Mr. Roach in 1970, she withdrew from the spotlight, taking an apartment above a garage in Los Angeles. She released an album after a revelatory trip to Africa in 1972, but otherwise directed most of her energies inward. Her songs reflected that spirit of introspection. “I got some people in me,” she wrote.

Moving back to New York in the 1980s she resumed performing, eventually attracting the attention of Jean-Philippe Allard, a producer and executive with Polygram France. Ms. Lincoln’s first effort for what is now the Verve Music Group, “The World Is Falling Down” in 1990, was a commercial and critical success and eight more albums followed, each involving elite jazz musicians and refined jazz arrangements.

The new album purposefully departs from that formula. Mr. Allard, speaking from Paris, said that he and Jay Newland, the engineer on almost all of those Verve releases, had long shared a quiet conviction. “Abbey’s songs have this folk element that is not well represented in a jazz context sometimes,” he said.

Mr. Newland, who produced “Abbey Sings Abbey” with Mr. Allard, traces the concept for the album back at least a decade, to a recording Ms. Lincoln made of Bob Dylan’s “Mr. Tambourine Man.” She’s a singer-songwriter too, Mr. Newland recalled thinking at the time.

The idea was rekindled last year, when the producers worked together on an album by the Afro-European pop singer Ayo. Among the songs they recorded was Ms. Lincoln’s “And It’s Supposed to Be Love,” in a new arrangement driven by the guitarist (and as it happens, former Dylan sideman) Larry Campbell. Mr. Campbell was tasked with paring down a number of Ms. Lincoln’s other songs, in preparation for a recording session.

“I was a little skeptical,” Mr. Campbell said by cellphone, driving near Nashville. “How do you take all these really sophisticated harmonic structures and break them down to virtually folk songs?”

It turned out to be easy once he was in the studio with the versatile jazz bassist Scott Colley and the prolific rock drummer Shawn Pelton. Many of Ms. Lincoln’s songs employ a verse-chorus structure more in line with folk songs than jazz standards; some, like “The Music Is the Magic,” resemble nursery rhymes. Though the three musicians had never worked together before, they quickly devised a gently twangy atmosphere for the songs. Later the arranger Gil Goldstein fleshed out some tracks, adding his own deft accordion lines, along with parts for a cellist, Dave Eggar.

Ms. Lincoln exudes a powerful authority throughout the album, whether striking a quietly wistful note on “Should’ve Been” or appealing to a distant creator in “Down Here Below.” Her flickering alto sounds ratified by age; her phrasing is subtle and sure.

“I’ve got about 15 years on some of the songs, so it’s supposed to be a little different,” she said. “If I was imitating myself, that would be pitiful.”

Many more singers are likely to mine Ms. Lincoln’s songs, given that “Abbey Sings Abbey” presents them so clearly, and with so few adornments. Earlier this year the jazz vocalist Kendra Shank released “A Spirit Free: Abbey Lincoln Songbook” (Challenge). Her advice to any artist would be “to sing your own song,” Ms. Lincoln said. “Don’t look to me, look to yourself.” Still, she noted with evident satisfaction a report she had received: a couple of nights earlier, a singer in a club had been pressured by an audience member into singing “Throw It Away,” one of her signature songs.

The singer was Cassandra Wilson, who recorded the song on a recent album, and who has often worked with the rootsy instrumentation now being used by Ms. Lincoln. “I learned a lot about taking a different path from Abbey,” Ms. Wilson said. “Investing your lyrics with what your life is about in the moment.”

That includes the tougher moments, of which Ms. Lincoln has lately had a few. Sitting on her couch, surrounded by the totems of her life, she repeatedly admitted to a lingering fatigue. “I didn’t come here to stay forever, I know that,” she said. “So if they want to bring me home, I’ll be glad to go. It’s easy for me to say it, but I mean it too.” She has vague plans to bequeath her apartment to the community as an arts center: Moseka House, after the name she was given 35 years ago by an official in Zaire.

Of course her greatest legacy will be her music, which she isn’t ready to relinquish. “They’re my songs, and I sang ’em and I’ll sing ’em,” she said. “It’s not the last time I’ll sing ’em, either.” In August she will headline both days of the 15th Annual Charlie Parker Jazz Festival, which takes place in Harlem and the East Village.

“All along the way there were things to do/always some other someone I could be,” Ms. Lincoln said, citing lines from “Being Me,” which closes the album with a rumination on her lifelong search for an honest self. “Abbey Sings Abbey” is the manifestation of that search, a study in gravity and wisdom that could only have come, one suspects, at this point in her career.

“I should be excellent by now,” Ms. Lincoln said. “Otherwise, when is it going to be?” She drew herself up into a regal posture, grinning mischievously. “I’m baaaaaad.”

http://www.carolfriedmanstudio.com/portraits/

Friedman's film ABBEY LINCOLN: The Music Is The Magic, a 16mm feature-length documentary on the life and work of Abbey Lincoln is now being edited for a fall 2015 release. To view a preview clip, track the film's progress, or participate as a sponsor, click on the link below:

https://www.facebook.com/photo.php?v=1973202689510&set=vb.112784083431&type=2&theater

CAROL FRIEDMAN
PORTRAITS
JAZZ MASTERS
THE HIGHWAY
NEW
ABOUT
CONTACT

Carol Friedman photographs and designs image campaigns for celebrated and emerging figures in the art, music and media worlds. Her classic portraits elegantly capture the allure, depth and idiosyncratic style of her iconic subjects. Friedman's corporate background includes positions as Creative Director for Elektra Entertainment, Art Director and Chief Photographer for Blue Note Records and Vice President, Creative Director for Motown.

An avowed music lover, her images of jazz, soul and classical recording artists have been widely published and may be seen on hundreds of album and CD covers. Jazz artists, "… the last bastion of genius, humor and style," were her first subjects and continue to inspire her life and work. Her acclaimed monograph The Jazz Pictures, was published in 2001 by Arena Editions. In the corporate and media worlds, Friedman creates image campaigns for moguls and mavericks who are well served by her customized perspective on translatable style, content and emotion.

ABBEY LINCOLN

CAROL FREIDMAN

THE MUSIC IS THE MAGIC--FILM TRAILER:

Carol Friedman's film ABBEY LINCOLN: The Music Is The Magic, a 16mm feature-length documentary on the life and work of Abbey Lincoln is now being edited for a fall 2015 release.

ABBEY LINCOLN: The Music Is The Magic
Here's a sneak peek at the film …

CLICK ON THE FACEBOOK LINK HERE:

https://www.facebook.com/video.php?v=1973202689510&fref=nf

http://www.newrepublic.com/blog/the-famous-door/abbey-lincoln-the-axis-the-civil-rights-movement

I'd like to stay on the subject of music and Civil Rights for one more post. The ongoing talk about Joan Baez's performance of "We Shall Overcome" at the White House has reminded me how readily we embrace the idea of music as an instrument of political change when, often, music is more a reflection of changes in the political realm—an effect, rather than a cause. Not that songs have no power to influence the way people think or feel; to say that would be to deny the very value of music as a form of art. Still, in our eagerness to valorize art and artists, we sometimes inflate the ability of songs to change the world—especially when the singers of those songs are agents of white benevolence, like Baez—and we often ignore how dramatically the world changes music and musicians. Let's look at the case of Abbey Lincoln, one of my favorite singers and composers. She made one of her first appearances on national television in 1958, on “The Steve Allen Show,” and the performance can be retrieved from history on YouTube

Allen, probably thinking he was flattering her as a black woman by pawing all over her in words, introduces her as "one of the loveliest young singers we've had the pleasure of looking at and listening to on this show in a long time, the beautiful Abbey Lincoln," and she accommodates him and the panting male public by slithering around as she sings a hipster bossa version of the old swing standard "You Came a Long Way from St. Louis."

Six years later, after the Freedom Rides and the March on Washington, Lincoln appears in a televised performance with the jazz drummer and composer Max Roach and his band, and she is no longer accommodating the Steve Allen world.

She opens with a few bars of Cole Porter's "Love for Sale," spits the song onto the soundstage floor, and proceeds to demonstrate her transformation into a champion of fearless, uncompromising black womanhood. The piece she sings is one movement from the "Freedom Now Suite," co-composed by Lincoln, Roach (who was married to Lincoln at the time), and Oscar Brown, Jr., and it remains shattering, decades after it was aired—not in America, I should add, but a considerable distance from St. Louis, on Belgian TV.

(www.davidhajdu.com)

For more TNR, become a fan on Facebook and follow us on Twitter.

THE MUSIC OF ABBEY LINCOLN: AN EXTENSIVE VIDEO OVERVIEW, A CROSS SECTION OF RECORDINGS, MUSICAL ANALYSIS AND COMMENTARY, PLUS VARIOUS INTERVIEWS WITH MS. LINCOLN:

"Throw It Away": Abbey Lincoln (1930-2010):

Abbey Lincoln died this day, August the 14th, 2010. She had just turned 80 years old on August 6th. She was born Anna Marie Wooldridge, but took the stage name of Abbey Lincoln. She was a jazz vocalist, songwriter, and actress. Abbey was unique in that she wrote and performed her own compositions. She sang on the landmark jazz civil rights recording, "We Insist! -- Freedom Now Suite" (1960) by drummer Max Roach, to whom Lincoln was married from 1962 to 1970. Especially since this album, Abbey Lincoln was connected to the political fight against racism in the United States. She worked with other jazz musicians like Sonny Rollins, Eric Dolphy, Coleman Hawkins, Jackie McLean, Clark Terry, Stanley Turrentine, Wynton Kelly, Cedar Walton, Joe Lovano, Pat Metheny, Ron Carter, Miles Davis and made albums with Stan Getz, Mal Waldron and Archie Shepp. "Throw It Away" comes from an album she made with Shepp, called "Painted Lady". I only saw her perform once, at the Vogue Theatre in Vancouver. She was naturally elegant, her humanity never hidden in artifice. She sang with grace from the center of her being. Her songs showed wisdom and heart. We'll miss you, Abbey. Thanks for the beautiful music and songs. DL

"Afro Blue" - Abbey Lincoln:

Abbey Lincoln's brilliant rendition of by Mongo Santamaría's 'Afro Blue' from her album 'Abbey is Blue' (1959)

Abbey Lincoln-"Brother Can You Spare a Dime?” from 'You Gotta Pay the Band (1991):

Abbey Lincoln (v)
Stan Getz (ts)
Hank Jones (p)
Charlie Haden (b)
Mark Johnson (d)
Maxine Roach (vio)

Max Roach 5tet wt/ Abbey Lincoln - "Driva Man" [1964]:

"Freedom Now Suite" Belgian TV BTR2 1964 (Probably January)

Abbey Lincoln - Vocals
Clifford Jordan - Tenor Saxophone
Coleridge Perkinson - Piano
Eddie Khan - Bass
Max Roach - Drums

Abbey Lincoln - "Left Alone":

Abbey Lincoln started her career in the mid-50s and continued to cut high quality records until her late 70s. This song was originally published on her 1961 album titled Straight Ahead. Originally a Billie Holiday song, she recorded it with Coleman Hawkins, Eric Dolphy, Booker Little, Mal Waldron and Max Roach.

Abbey Lincoln - "Long As You're Living":

This is by MAX ROACH & ORCHESTRA featuring ABBEY LINCOLN Composed by Julian Priester & Tommy Turrentine 1960

Max Roach 5tet wt/ Abbey Lincoln-"Triptych (Prayer/Protest/ Peace)"-- [1964]:

"Freedom Now Suite" Belgian TV BTR2 1964 (Probably January)

Abbey Lincoln - Vocals
Clifford Jordan - Tenor Saxophone
Coleridge Perkinson - Piano
Eddie Khan - Bass
Max Roach - Drums

Max Roach 5tet wt/ Abbey Lincoln - "Freedom Day"- [1964]:

"Freedom Now Suite" Belgian TV BTR2 1964 (Probably January)

Abbey Lincoln - Vocals
Clifford Jordan - Tenor Saxophone
Coleridge Perkinson - Piano
Eddie Khan - Bass
Max Roach - Drums

Max Roach 5tet wt/ Abbey Lincoln - 'All Africa'- [1964]:

"Freedom Now Suite" Belgian TV BTR2 1964 (Probably January)

Abbey Lincoln - Vocals
Clifford Jordan - Tenor Saxophone
Coleridge Perkinson - Piano
Eddie Khan - Bass
Max Roach - Drums

Interview: Abbey Lincoln (1998)

https://en.wikipedia.org/wiki/Abbey_Lincoln

Abbey Lincoln

From Wikipedia, the free encyclopedia

Abbey Lincoln


Abbey Lincoln in concert, 1966
Background information
Birth name	Anna Marie Wooldridge
Born	August 6, 1930 Chicago, Illinois, U.S.
Died	August 14, 2010 (aged 80) Manhattan, New York, U.S.
Genres	Jazz, Rock n Roll (one song)
Occupation(s)	Singer, songwriter, actress, civil rights activist
Instruments	Vocals
Years active	1956–2007
Labels	Riverside, Verve

Anna Marie Wooldridge (August 6, 1930 – August 14, 2010), known by her stage name Abbey Lincoln, was an American jazz vocalist, songwriter, and actress, who wrote and performed her own compositions. She was a civil rights advocate during the 1960s.^[1]^[2]

Musician

Lincoln was one of many singers influenced by Billie Holiday. She often visited the Blue Note jazz club in New York City.^[3] Her debut album, Abbey Lincoln’s Affair – A Story of a Girl in Love, was followed by a series of albums for Riverside Records. In 1960 she sang on Max Roach's landmark civil rights-themed recording, We Insist!^[4] Lincoln’s lyrics were often connected to the civil rights movement in America.

During the 1980s, Lincoln’s creative output was smaller and she released only a few albums during that decade. Her song "For All We Know" is featured in the 1989 film Drugstore Cowboy. During the 1990s and until her death, however, she fulfilled a 10-album contract with Verve Records. These albums are highly regarded and represent a crowning achievement in Lincoln’s career. Devil’s Got Your Tongue (1992) featured Rodney Kendrick, Grady Tate, J. J. Johnson, Stanley Turrentine, Babatunde Olatunji and The Staple Singers, among others.

In 2003, Lincoln received a National Endowment for the Arts Jazz Master Award.^[5]^[6]

Actress

In 1956 Lincoln appeared in The Girl Can’t Help It, for which she wore a dress that had been worn by Marilyn Monroe in Gentleman Prefer Blondes (1953), and interpreted the theme song, working with Benny Carter.^[7]

With Ivan Dixon, she co-starred in Nothing But a Man (1964), an independent film written and directed by Michael Roemer. In 1968 she also co-starred with Sidney Poitier and Beau Bridges in For Love of Ivy,^[7] and received a 1969 Golden Globe nomination for her appearance in the film. In the 1990 Spike Lee movie Mo’ Better Blues, she played young Bleek Gilliams’ mother.^[8]

In 1978, Lincoln appeared in the All in the Family season 9, episode 4 "What'll We Do With Stephanie", playing the part of a social worker visiting the Bunker home.

Personal life

Lincoln was married from 1962 to 1970 to drummer Max Roach, whose daughter from a previous marriage, Maxine, appeared on several of Lincoln’s albums.

Lincoln died on August 14, 2010, in Manhattan at the age of 80. Her death was announced by her brother, David Wooldridge, who told The New York Times that she had died in a Manhattan nursing home after suffering deteriorating health ever since undergoing open-heart surgery in 2007. No cause of death was officially given. She was cremated and her ashes were scattered.^[9]

Discography

1956: Abbey Lincoln's Affair (Liberty) with arrangements by Benny Carter and Marty Paich
1957: That's Him! (Riverside)
1958: It’s Magic (Riverside)
1959: Abbey Is Blue (Riverside)
1961: Straight Ahead (Candid)
1973: People in Me (Inner City, 1978, CD-re-release on Verve 1993) with Dave Liebman, Al Foster a.o.
1980: Painted Lady (recorded live in Paris, Marge (F), US-release on Inner City as Golden Lady) featuring Archie Shepp
1983: Talking to the Sun (Enja) with Steve Coleman, James Weidman (piano), Mark Johnson (drums), Jerry Gonzalez (perc) a.o.
1987: Abbey Sings Billie, Vol. 1 & 2 (Enja) with Harold Vick (tenor), J. Weidman, Tarik Shah (bass), M. Johnson
1990: The World Is Falling Down (Polydor (F)/Verve) with Jackie McLean, Clark Terry a.o.
1991: You Gotta Pay the Band (Gitanes/Verve) with Stan Getz, Hank Jones, Charlie Haden, Marc Johnson, Maxine Roach
1992: Devil’s Got Your Tongue (Gitanes/Verve) with Rodney Kendrick a.o.
1992: When There Is Love (Gitanes/Verve), Duo album with Hank Jones
1993: The Music Is the Magic (recorded live at Sweet Basil; ITM) with Rodney Kendrick, Michael Bowie, Yoron Israel
1994: A Turtle’s Dream (Gitanes/Verve) with Victor Lewis, Roy Hargrove, Pat Metheny a.o.
1996: Who Used to Dance (Gitanes/Verve) with Marc Cary, Graham Haynes, Steve Coleman, Oliver Lake a.o.
1998: Wholly Earth (Polydor/Verve) with Bobby Hutcherson, Nicholas Payton a.o.
2000: Over the Years (Gitanes/Verve) with Joe Lovano a.o.
2002: It's Me (Verve) with Kenny Barron, Julien Lourau, James Spaulding a.o.
2007: Abbey Sings Abbey (Verve) with Larry Campbell, Gil Goldstein a.o.

With Max Roach

Moon Faced and Starry Eyed (Mercury, 1959)
We Insist! (Candid, 1960)
It's Time (Impulse!, 1961)

With Cedar Walton

The Maestro (Muse, 1981)

References

Griffen, Anders (December 2012). "The Abbey Lincoln Collection, 1949-2008 (MC 101)". Institute of Jazz Studies, Rutgers University Libraries. Retrieved 30 May 2015.

Chinen, Nate (August 14, 2010). "Abbey Lincoln, Jazz Singer and Writer, Dies at 80". New York Times. Archived from the original on August 17, 2010. Retrieved 2010-08-14.

"Abbey Lincoln". Archived from the original on May 17, 2007. Retrieved August 2, 2007.

Sally Placksin. "Jazz Profiles from NPR: Abbey Lincoln". Retrieved August 2, 2007.

Arts.gov

Fordham, John (August 15, 2010). "Abbey Lincoln obituary". The Guardian (London). ISSN 0261-3077. OCLC 60623878. Archived from the original on August 17, 2010. Retrieved August 16, 2010.

"Abbey Lincoln at IMDB.com". Retrieved August 2, 2007.

Mo’ Better Blues Full Cast, imdb.com; accessed October 7, 2014.

Notice of death of Abbey Lincoln, Thedeadrockstarsclub.com; accessed August 2010.

External links

Biography portal

Wikimedia Commons has media related to Abbey Lincoln.

Abbey Lincoln at the Internet Movie Database
Bio at Verve Records
Abbey Lincoln Discography at www.JazzDiscography.com
Abbey Lincoln at NPR Music
Abbey Lincoln Tribute and image.
"Remembering Jazz Singer and Activist Abbey Lincoln" at NPR Music: Music News

http://newarkwww.rutgers.edu/IJS/collections/lincolnb.html

MC 101

The Abbey Lincoln Collection, 1949-2008

By Anders Griffen

Institute of Jazz Studies, Rutgers University Libraries

Finding aid encoded in EAD, version 2002, by Anders Griffen, December 2012

The contents of this finding aid were developed under a grant from Council on Library and Information Resources (CLIR). However, these contents do not necessarily represent the policy of the CLIR.


Descriptive Summary
Creator:	Lincoln, Abbey
Title:	The Abbey Lincoln Collection
Dates:	1949-2008
Quantity:	83 boxes (50 linear feet)
Abstract:	The Abbey Lincoln Collection contains a range of materials collected by Ms. Lincoln herself over the course of her life including scores, photographs, collected writings, business and personal files. All of these evidence her personal and professional endeavors as well as her continuous evolution as an artist.
Collection No.:	MC 101
Language:	English
Repository:	Rutgers University Libraries. Institute of Jazz Studies

Biographical Sketch of Abbey Lincoln

Abbey Lincoln was born Anne Marie Wooldridge on August 6, 1930 in Chicago. The tenth of twelve children, she grew up on a farm outside of Kalamazoo, Michigan. Her professional career began immediately after high school. Traveling west to Los Angeles, she found work right away on the supper club circuit where she began her transformation into glamour girl and sexy chanteuse, which culminated in her role at Moulin Rouge. There, she was given the name Gaby Lee. Soon after, lyricist Bob Russell, who became her manager for a time, suggested the name Abbey Lincoln. In 1956 she released her first LP, Affair ... a Story of a Girl in Love, and made her first film, The Girl Can't Help It, appearing in a dress once worn by Marilyn Monroe. Up until that time, she accepted that women singers were packaged that way and she enjoyed being thought of as beautiful and desirable. However, Abbey Lincoln began another transformation in tandem with the growing civil rights movement.

Her voice remained her instrument, but the image developed for her no longer fit her calling. The content of her recordings began to change, and on the cover of her third album, It's Magic (Riverside, 1958), the seductive pose was dropped and her natural hair was shown. Recording in New York with Kenny Dorham, Sonny Rollins, Wynton Kelly, Paul Chambers, and Max Roach, she began to envision herself and the music in a new light, delving deeper into her craft while becoming more and more aligned with the civil rights movement. This trajectory culminated with We Insist! Max Roach's Freedom Now Suite, released on Candid Records in 1960. "Driva Man" and the "Protest" movement of "Triptych," were dramatic highpoints of the record, led by the material and Abbey Lincoln's impassioned and unconventional performance. In 1962, Abbey Lincoln and Max Roach began a marriage that lasted 8 years.

Meanwhile, Abbey Lincoln's acting career thrived. In 1964 she co-starred with Ivan Dixon in the film Nothing But A Man, and in 1968 with Sidney Poitier in For Love Of Ivy. In the sixties, while appearing under others' leadership, she released just one album of her own, Straight Ahead (Candid, 1961), which featured more of her original lyrics. In the 1973, she recorded two albums in Japan, Live In Misty (Elec Records), and People In Me (Polygram), which showcased more of her original music in addition to her lyrics. Throughout the sixties and seventies she was a dedicated activist and performed regularly, often combining the two pursuits. In 1975, Abbey Lincoln was named again. Traveling to Africa with Miriam Makeba, she was given the name "Aminata" by the President of Guinea, and "Moseka" by the Minister of Information of Zaire. The seventies consisted of a lot personal study and writing which would inform much of the music that she was yet to write and record. She also made numerous stage and television appearances, including episodes of All In The Family and Mission Impossible, and Black Omnibus hosted by James Earl Jones, and worked briefly as an Assistant Professor at California State University at Northridge.

In the eighties, music came back to the fore as Abbey Lincoln returned to New York. She released Golden Lady (Inner City, 1980; or, Painted Lady on Blue Marge, ITM), Talking To The Sun (Enja, 1983), and Abbey Sings Billie, Vol. 1 & 2 (Enja, rec.1987). During this decade much of her personal growth became apparent, she honed her skills as a bandleader and these albums are made up of more of her original material. In 1990, at the age of 60, she embarked on her most fruitful period of musical output, releasing 10 albums for Verve between 1990 and 2007, starting with The World Is Falling Down (1990) and ending with her final album, the aptly titled, Abbey Sings Abbey. In 2002, Jazz At Lincoln Center celebrated Abbey Lincoln's music and career in a three-concert retrospective and in 2003 she was honored as a Jazz Master Fellow by the National Endowment of the Arts. Finally, her personal style was fully established and a lifetime of personal and artistic inquiry was realized. After several years of declining health, Abbey Lincoln died on August 14, 2010 at the age of 80.

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Scope and Content Note

This finding aid describes the bulk of the Abbey Lincoln Collection; however, there will be an update to this finding aid coming soon with additional series of personal files, awards, oversized, and other items.

The Abbey Lincoln Collection contains a range of materials collected by Ms. Lincoln herself over the course of her life. There are examples of scores, lead sheets, and individual musician's parts for many of the songs that appear in all of her recorded output. There are several notebooks and loose pages of typed and handwritten notes on a range of subjects, as well as lyrics, poetry, and journal entries. There are numerous photographs going back to the time of her high school graduation and documentation going up to the last years of her life. Likewise, there are business and personal records, and decades' worth of correspondence received from friends, family and professional associates. All of these evidence her personal and professional endeavors as well as her continuous evolution as an artist.

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Arrangement Note

The Abbey Lincoln Collection is divided into nine series:

Series 1. Printed Music

Series 2. Writings

Series 3. Photographs

Series 4. Correspondence

Series 5. Business Files

Series 6. Personal Files

Restrictions

Access

Portions of the collection are subject to restricted access and require permission from the Estate of Abbey Lincoln. In addition, specific written permission must be granted by the Estate of Abbey Lincoln for publication of any original writings by Ms. Lincoln, performances of her music, or release of any of the private sound recordings, videos, or photographs in the collection. Contact Vincent Pelote at IJS for further information: pelote@rulmail.rutgers.edu.

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Series 1. Printed Music
	Arrangement: Arranged alphabetically by song title. Full size scores and parts are located in boxes 1-10, letter size music is found in boxes 11-12.
	Summary: The series of Printed Music consists of much of Abbey Lincoln's repertoire, music from many of her albums and performances, as well as some published sheet music to accompany select titles. Her original music may appear in different keys and in various states of completion as there are drafts and fragments of various selections.
	Box	Folder
	1	Africa
	2	African Lady
	3	Afro Blue
	4	Ah, I See
	5	All Thru (and "Thou Swell" on the reverse side)
	6	And How I Hoped for Your Love
	7	And It's Supposed to be Love
	8	Angel Face
	9	As I Live and Breath
	10	As Long as You're Living
	11	Being Me
	12	Bird Alone
	13	Black Butterfly
	14	Blue Monk
	15	Brother, Can You Spare a Dime
	16	"But Not for Me" medley: Sit Right Down (and write myself a letter); Bye Bye Blackbird
Box	Folder
2	1	Caged Bird
	2	Can't Help Singing
	3	C'est si Bon
	4	Chateaux de Joux
	5	Le Chavalier de Paris (Le Pommiers Doux)
	6	A Child is Born
	7	A Children's Prayer
	8	A Circle of Love
	9	Come Sunday
	10	Crazy He Calls Me
	11	Danced All Night
	12	Dig It!!
	13	Don't Explain
	14	Devil's Got Your Tongue
	15	Don't Rain On My Parade
	16	Don't Weep for the Lady
	17	Dorian (The Man with the Magic)
Box	Folder
3	1	Down Here Below
	2	First Came A Woman
	3	First Song
	4	Fools Rush In
	5	For Love of Ivy
	6	A Girl Named Rainbow
	7	Gloomy Sunday
	8	God Bless the Child
	9	Golden Lady
	10	The Heel
	11	Here's That Rainy Day
	12	Highest Mountain
	13	Hi-Fly
	14	Hold My Hand
	15	How High the Moon
Box	Folder
4	1	I Am In Love
	2	I Got Thunder
	3	I Hadn't Anyone 'Til You
	4	I Is
	5	I Should Care
	6	I Sing A Song
	7	Iffull Thinking
	8	I'm In Love
	9	In a Sentimental Mood
	10	In Other Words
	11	In the Red
	12	It's a Mad Mad World
	13	It's Impossible (Somos Novios)
	14	Japanese Dream
	15	The Jitterbug Waltz
	16	Just a Little Lovin'
	17	Just for Me
	18	Kohjoh-No-Tsuki (Castles)
	19	The Lady Is a Tramp
Box	Folder
5	1	Laugh Clown Laugh
	2	Left Alone
	3	Little Abi
	4	Live for Life
	5	Living Room
	6	Lonely House
	7	Lonesome Lover
	8	Look to the Star
	9	Lost in the Stars
	10	Love
	11	Love for Sale
	12	Love Having You Around
	13	Love Is Made
	14	Love Lament
	15	Love Walked In
	16	Love What You Doin'
	17	Lover Man
	18	Lucky To Be Me
Box	Folder
6	1	The Maestro
	2	Make It With You
	3	Marvin Gaye medley: What's Happening, Brother?; Mercy; What's Going On?
	4	The Masquerade is Over
	5	Mean to Me
	6	Medley—Ballads
	7	The Merry Dancer
	8	Midnight Sun
	9	Moon Faced, Starry Eyed
	10	Mr. A.T.
	11	Mr. Tambourine Man
	12	The Music is the Magic
	13	Music Maestro Please
	14	Must Have That Man
	15	My Funny Valentine
	16	My Love Is You
	17	My Man
	18	My Way
Box	Folder
7	1	Nana
	2	Naturally
	3	Nature Boy
	4	Never Leave Me
	5	No More
	6	Not To Worry
	7	An Occasional Man
	8	On A Clear Day
	9	Painted Day
	10	People In Me
	11	People on the Street
	12	Playmate (Natas)
	13	Porgy
	14	Rainbow
	15	Retribution
Box	Folder
8	1	The Search
	2	Should've Been
	3	Skylark
	4	Smart Woman
	5	Softly, As in a Morning Sunrise
	6	Sometimes Spring Is Crying
	7	Sophisticated Lady
	8	Spring Will Be a Little Late This Year
	9	Story of My Father
	10	Storywise
	11	Straight Ahead
	12	Street of Dreams
	13	Strong Man
	14	Summary
	15	Summer Wishes, Winter Dreams
	16	Sunday Afternoon
	17	Take Me In Your Arms
	18	Talkin' to the Sun
	19	Tell About Love
	20	Ten Cents A Dance
	21	That's Him
	22	They Call It Jazz
	23	Thou Swell (See also: "All Thru")
	24	Through the Years
	25	Throw It Away
	26	Thursday's Child
Box	Folder
9	1	Time After Time
	2	A Time for Love
	3	Trouble Comes
	4	Up Jumped Spring
	5	We Do A Dance
	6	What Are You Doing (for the Rest of Your Life)
	7	What Will Tomorrow Bring
	8	When a Woman Loves a Man
	9	When a Woman Loves a Man
	10	When I'm Called Home
	11	When I'm Called Home
	12	When Malindy Sings
	13	Whistlin' Away in the Dark
	14	Who Used To Dance
	15	Who Will Buy
	16	Wholly Earth
	17	The Windmills of Your Mind
	18	The World Is Falling Down
	19	The World Is Your Balloon
Box	Folder
10	1	Would I Love You
	2	You and I
	3	You and Me Love
	4	You Are the Sunshine of My Life
	5	You Came a Long Way from St. Louis
	6	You Gotta Pay the Band
	7	You Made Me Funny
	8	You Must Believe in Spring
	9	You Won't Forget Me
	10	You're My Thrill
	11	Other collected charts
	12	Excerpts, fragments, and other untitled selections
Box	Folder
11	1	Another Time, Another Place
	2	Another World
	3	Blackberry Blossom
	4	The Chosen People
	5	Conversation with a Baby
	6	Drown in My Own Tears
	7	Ennui
	8	Evalina Coffey (the Legend of)
	9	For All We Know
	10	For Heaven's Sake
	11	Greta's Last Journey
	12	A Heart Is Not A Toy
	13	Hello My Lovely
	14	I'll Be Seeing You
	15	It Coulda Been Me
	16	Jungle Queen
	17	Learning How to Listen
	18	Lonely for a World
	19	Love is the Answer
	20	A Prayer for Us
	21	The River
	22	Runnin' Wild
	23	Running Out of Time
	24	Strange Fruit
	25	Sunday Stroll
	26	These Foolish Things
	27	This Christmas
	28	A Turtle's Dream
	29	What a Little Moonlight Can Do
	30	When Love Was You and Me
	31	Yellow Bird
	32	Songs by Carroll Coates: Have You Seen Me?; Love Comes and Goes; Love Is Letting Go; Sea Shells; The Swing Song; We Can Only Try; You'll See.
	33	Compositions by Frank Crosara; lyrics by Lisa DaCosta; lyrics by R.J. Chesney; French song lyrics.
	34	Songs by R.B. Lynch: Bring the Music to Life (lyrics); Funny Man; I Have Traveled Such A Long Time; Keeping My Dream Alive (lyrics); Please Take My Hand; Remember Me; Skidittin Skidattin Skidootin Round (lyrics). See also: "And How I Hoped for Your Love."
Box	Folder
12	1	Song lists and set lists.
	2	Lyrics composed by Abbey Lincoln and various authors.
	3	Collected lead sheets (as from fake books, etc.)
	4	Published music—sheet music: Alone in the World; Been to Canaan; The Gambler; Good Morning Heartache; I'll Take You Home Again, Kathleen; It's A Me, O Lord; The Silent Spring; Skylark; Street of Dreams; Summer Me, Winter Me; Thanks for Nothing -- books: The Folk Song, Sight Singing Series, Book I and Book III (Oxford University Press, 1933).
	5	The Great Music of Duke Ellington, Belwin Mills (incomplete), 1973
	6	Abbey Lincoln Songbook, Hal Leonard, the cover, contents and introductory pages only. Also includes a biographical introduction.
	7	Music notebooks.


Series 2. Writings
	Arrangement: Arranged alphabetically, and then by date if applicable. Scripts, located in boxes 13-19, are followed by other Collected Literature (boxes 20-21), Notebooks (boxes 22-25), and Notes on loose pages (boxes 26-28).
	Summary: The series of Writings contains original writings and by various authors including scripts for screen and stage productions, published writings, and extensive original notes, poetry, lyrics, and studies on subjects that inform Abbey Lincoln's work as an artist, lecturer, and activist. The productions of the Brotherhood Crusade are notable with the involvement of Maya Angelou, Sidney Poitier, Eartha Kitt, Richard Pryor, Pam Grier, Bill Withers, Beah Richards, Syreeta, Beverly Todd, Nancy Wilson, Louis Gossett, Jr., Marlena Shaw, Ivan Dixon, Randy Crawford, Clifton Davis, Thelma Houston, and many others. Among the scripts may also be found other documentation pertaining to these productions including press releases and other publicity, correspondence and financial papers. The collected Notebooks and Notes consist of various typed and handwritten original and collected writings in various states of completion, including research, poetry, notes, and occasional journal- or diary-type entries.
Box	Folder
12	8	Scripts—704 Hauser Street, story by Norman Lear; teleplay by Norman Lear and Kevin Heelan, 1993
	9	Scripts—All in the Family
Box	Folder
13	1	Scripts—All in the Family, "What'll We Do With Stephanie?" 1978
	2	Scripts—The Basket Case, by Abbey Lincoln.
	3	Scripts—Be Bop Man, Be Bop Woman, a Jazz Love Poem in two acts, by Sam Greenlee.
	4	Scripts—The Blacks, by Jean Genet, translation by Bernard Frechtman, 1960
	5	Scripts—Blues for Little Prez, A Be-Bop Rap Love Story in two acts with music, by Sam Greenlee, 1993
	6	Scripts—Blues for Little Prez, a play in three acts, by Sam Greenlee, 1973
	7	Scripts—Boogie Woogie Landscapes, an evening in the colored hemisphere of Ntozake Shange, by Ntozake Shange.
	8	Scripts—The Box, by Paul Benjamin.
	9	Scripts—Celebration of the Arts, A Rite of Spring, by Aminata Moseka, (folder 1 of 2), 1980 February 27
	10	Scripts—Celebration of the Arts, A Rite of Spring, by Aminata Moseka, (folder 2 of 2), 1980 February 27
Box	Folder
14	1	Scripts—Celebration of the Arts, A Rite of Spring, by Aminata Moseka, 1981, 1979
	2	Scripts—Day-O, A Magical, Musical Tale of Islands in the Sun, The Music of Irving Burgie, a musical in two acts, book by John Jacobson and Irving Burgie.
	3	Scripts—For Love of Ivy, revised 1967 August 25. Also includes a call sheet: December 7, 1967
	4	Scripts—For Love of Ivy, revised 1967 September 26. Also includes a call sheet: December 7, 1967
	5	Scripts—Grandassa Belle, a musical play (the memoirs in Africa of Maisha and Omar El-Shabu), by Maisha El-Shabu, 1992
	6	Scripts—I Got Thunder.
	7	Scripts—The Last Game Show, Adventures of the Radio Pirates of the West, by Norman Jayo, 1987
	8	Scripts—The Last Game Show (Reader's script), by Norman Jayo. Also includes a letter to Ms. Moseka from producer Jeannie Look at the National Asian American Telecommunications Association, 1987
Box	Folder
15	1	Scripts—The Lion and the Jewel, by Wole Soyinka.
	2	Scripts—Love Supreme (Mo' Better Blues) , revised second draft, by Spike Lee, 1989 August 28
	3	Scripts—Ovid's Metamorphoses.
	4	Scripts—Mission Impossible, "Cat's Paw," written by Howard Browne, final draft, 1970 September 28
	5	Scripts—Ninth, screenplay by Kevin Willmott, 1990
	6	Scripts—No Place to be Somebody, a drama for the stage, 3 acts, by Charles Gordone.
	7	Scripts—One is a Crowd, a play in 3 acts, by Beah Richards.
	8-9	Scripts—A Pig in a Poke, a play in two acts, by Abbey Lincoln.
Box	Folder
16	1	Scripts—A Pig in a Poke (In a corner of the house top); synopsis and history, press release, and script, 1978
	2	Scripts—A Pig in a Poke, synopsis and history, script, press release, financial papers, and related correspondence.
	3	Scripts—A Pig in a Poke / Streak O' Lean, printed scene, program, synopsis and history, and related correspondence.
	4	Scripts—A Pig in a Poke, rewrites, 1977
	5	Scripts—A Pig in a Poke, excerpts, typescript.
	6	Scripts—A Pig in a Poke, draft, Aminata Moseka, 1975
	7	Scripts—A Streak O' Lean, draft #6, 1st reading draft.
	8	Scripts—A Pig in a Poke, earlier version I, typescript.
Box	Folder
17	1	Scripts—A Pig in a Poke, earlier version II.
	2	Scripts—A Pig in a Poke, extra pages.
	3	Scripts—A Pig in a Poke, partial script.
	4	Scripts—Please Don't Laugh At Me, by Ross Johnson, 1991
	5	Scripts—School Desegregation Drama (untitled), Part One, revised, 1990 May 25
	6	Scripts—School Desegregation Drama (untitled), Part Two, revised, 1990 May 25
	7	Scripts—Short Walk to Daylight, story by Edward J. Montagne, rev. 1972
	8	Scripts—Stories About the Old Days, second draft, by Bill Harris, 1985, 1984
Box	Folder
18	1	Scripts—Story of the Elds; Story of Eders, "Plays; Homeselle"; typescript and handwritten notes.
	2	Scripts—Tribute to the Black Woman, Brotherhood Crusade, typescript.
	3	Scripts—Tribute to the Black Woman, Brotherhood Crusade, summary, program, press (1976-1977), promotional plans, radio schedule, correspondence, photo, and other related documents.
	4	Scripts—Tribute to the Black Man, and Tribute to the Black Famile, Brotherhood Crusade.
	5	Scripts—True Believer, second draft.
	6	Scripts—True Believer, a three act play, by Abbey Lincoln.
	7	Scripts—Vo-Du Macbeth, A New Opera Theater Work, by Lenwood O. Sloan.
	8	Scripts—Whispering Blue Room, by Quinn W. Johnson, 1996
Box	Folder
19	1	Scripts—Jubilee, suggested revisions; excerpts from In A Corner; and, The House On Henry Street; and unidentified.
	2	Scripts—unidentified excerpts.
	3	Collected literature—Africa is Not a Country, It's a Continent, by Dr. Arthur Lewin. Clarendon Publishing Co., 1990
	4	Collected literature—Being Billie, Reflections on the Life and Legacy of Billie Holiday, project overview and interview request, by Phylis Croom.
	5-6	Collected literature—Day-O!! The Autobiography of Irving Burgie.
	7	Collected literature—Doubleness and Jazz Improvisation: Irony, Parody, and Ethnomusicology, by Ingrid Monson, 1994
	8	Collected literature—"Face and Neck," Chapter 11 from Body Shaping, 1994
	9	Collected literature—Folkways Records.
	10	Collected literature—Freedom Now to Straight Ahead, Jazz in the Era of the Civil Rights Movement, and From We Insist! Freedom Now to Straight Ahead: A Preliminary Sketch of Jazz and the Civil Rights Movement, by Ingrid Monson, 1995
	11	Collected literature—"Hear My Trane A Comin'": Amiri Baraka on John Coltrane's Track, by Bob Cataliotti, March 31, 1992
	12	Collected literature—Herbs (published articles and ads and handwritten notes).
	13	Collected literature—I Got Thunder (And It Rings), by LaShonda Katrice Barnett.
	14	Collected literature—I Got Thunder; Our Mother's Traveling Shoes, excerpts by LaShonda K. Barnett.
Box	Folder
20	1	Collected literature—Indaba, My Children, by Vusamazulu Credo Mutwa.
	2	Collected literature—Let This Be Your Home, The African American Migration to Philadelphia, 1900-1940, the Afro-American Historical and Cultural Museum, 1991
	3	Collected literature—The Life and Music of Abbey Lincoln, a thesis submitted as partial fulfillment for the degree of Master of Music in Jazz Studies with an emphasis in Pedagogy, by Lynne Vadalà, 1997
	4	Collected literature—Little Planet, The Goanna God—Cuttack and other poems, by Kazuko Shirashi, 1988
	5	Collected literature—Max Roach. Collected writings including internet research (printed search results) and memorial service program.
	6	Collected literature—The Music of Abbey Lincoln, by Ran Blake, New England Conservatory.
	7	Collected literature—My Human Heart: One Woman's Poems of Rage, Resilience and Rebirth, by Shyne (signed to Aminata Moseka). 2003
	8	Collected literature—Pescara Jazz: Quindici Anni di Jazz a Pescara (fifteen years of jazz in Pescara).
	9	Collected literature—Présence Africaine, 50 ans d'histoire.
	10	Collected literature—Risky and Risque Rhetoric: a therapoetic probe of relationships and self-reflection, by Danice.
	11	Collected literature—The Song is Who? Locating Singers on the Jazz Scene, a thesis presented by Lara V. Pellegrinelli (folder 1 of 2), 2005
	12	Collected literature—The Song is Who? Locating Singers on the Jazz Scene, a thesis presented by Lara V. Pellegrinelli (folder 2 of 2), 2005
Box	Folder
21	1	Collected literature—The Source, the monthly newsletter of the Afro-American Studies Department at the University of California—Berkeley, 1982 February
	2	Collected literature—Time Longer Dan Rope; Slavery, Resistanceand Revolt in the Americas, by Dr. Acklyn Lynch. Includes a handwritten note to Ms. Lincoln, 2003 June
	3	Collected literature—"What It Is!" by Oscar Brown, Jr.
	4	Collected literature—"Who Will Revere the Black Woman," by Abbey Lincoln, Negro Digest, 1966 September
	5	Collected literature—With Glory I So Humbly Stand, by Edie Lynch (Vantage Press), 1982
	6	Collected literature—Internet research on Hoagy Carmichael and Johnny Mercer.
	7	Collected literature—text from unidentified sources with sections on: The Negro's Response to Colonization, 1817-1818; Address to the Free People of Colour of these United States, by Rev. Richard Allen, President, Senior Bishop of the African Methodist Episcopal Churches; The Negro Looks at the Fugitive Slave Law, 1850; The Negro's Response to Brown's Martyrdom, 1859; Last Words of a Negro Who Died with John Brown, 1859
	8	Collected literature—various texts and excerpts.
	9	Collected literature—various poetry and lyrics.
	10	Collected literature—various articles, ads, and collected publicity about or by African and African American subjects and artists including Oscar Brown, Jr., Eartha Kitt, Sammy Davis, Jr., Charlie Mingus, Betty Carter, Maya Angelou, and others.
	11	Notebooks—The Cult of Delusion; People on the Street; research and originals writings, undated
	12	Notebooks—original writings, research, poetry and notes, 1974 and undated
	13	Notebooks—original writings, research, poetry and notes, 1980 and undated
Box	Folder
22	1	Notebooks—original writings, research, poetry and notes, 1980-1982 and undated
	2	Notebooks—original writings, research, poetry and notes, 1983 and undated
	3	Notebooks—original writings, research, poetry and notes, 1984 and undated
	4	Notebooks—original writings, research, poetry and notes, 1984-1986 and undated
	5	Notebooks—original writings, research, poetry and notes, 1985 and undated; 1980-1986 and undated
	6	Notebooks—original writings, research, poetry and notes, 1990-1991 and undated
	7	Notebooks—original writings, research, poetry and notes, [1991-1992] and undated
	8	Notebooks—original writings, research, poetry and notes, 1994 and undated
	9	Notebooks—original writings, research, poetry and notes, 1995 and undated
	10	Notebooks—original writings, research, poetry and notes, 1996 and undated
Box	Folder
23	1-2	Notebooks—original writings, research, poetry and notes, 1997 and undated
	3	Notebooks—original writings, research, poetry and notes, [1997-1998] and undated
	4	Notebooks—original writings, research, poetry and notes, 1999-2000 and undated
	5	Notebooks—original writings, research, poetry and notes, 1995-2003 and undated
	6-10	Notebooks—original writings, research, poetry and notes, undated
Box	Folder
24	1-11	Notebooks—original writings, research, poetry and notes, undated
Box	Folder
25	1-2	Notebooks—original writings, research, poetry and notes, undated
	3	Notes—A Book of Random Notes on Egypt; Built to Stand, a thesis on Africa and a treatise of Egypt; The African Gods; Welcome to New Egypt.
	4	Notes—In A Circle Everything Is Up
	5	Notes—In A Circle Everything Is Up; Makin' It; A Name Change; Dinosaur; Gods; The Plural I; Weaver; Incantations; Where Are the African Gods?; Ten Thousand Dead in Combat; What It Is; Legacy, the A b C's; The Coiled Strand; In the Middle; A Child's Story; A Story of God; Tutankamen.
	6	Notes—Everything Is Up; Gods; Legacy, the A B C's; The Colied Strand; Weaver; What It Is; Dinosaur; Cycle of Fifths; The Day the Adults Came; Ode to a People; For O.J.; and other poetry and notes.
	7	Notes—Bible excerpts; The Collection of Tutankhamen; Where Are the African Gods?; Jazz Is; What Is Jazz; A Cycle of Fifths; Like Billie; and other poetry and notes.
Box	Folder
26	1	Notes—The African Gods; The Nile; Coptic; Hieroglyphs; Calendar; Caucasian; Demotic documents; The Alphabet; The Origin of Books; A Story of God; Egypt and Ethiopia; Canaan; words, etymology; and other poetry and notes.
	2	Notes—Where Are the African Gods? A book of poetry and essays, by Aminata Moseka.
	3	Notes—On Being High; For Play Actors; A Name Change; In the Middle; [I Is]; Incantation; African December; The Sacred I; untitled pieces; and other poetry and notes.
	4	Notes—For Mary Hendon; Othello; A Theater Piece, The Book of Job; On Being High; Ten Thousand Dead; Nothing, But A Man; Children of the Sun; Francus Truth; Sitting In A Tree; slavery; and other poetry and notes.
	5	Notes—Lectures: The Art of Being Human; There Are No Temples Here; Dillard University, (includes event program), 1999 May 8
	6	Notes—from a folder labeled: "Essays, Lectures, Word research, There Are No Temples."
	8	Notes—notes on stories, plays, and essays.
Box	Folder
27	1	Notes—A Story of God; Sorcery; Genealogy and Christ; Alphabet; Egypt; Rocks; Nile; The Zodiac; classical history; and other poetry and notes.
	2	Notes—Christmas; Byzantine; Osiris, Isis, Horus; Egypt; Golden fleece; Golden Goose; Golden Rule; Golden Age; Devil; Juba Dance; and other poetry and notes.
	3	Notes—Time; Dimension; Latin; Heaven; Habit; Talmud; Punic Wars; and other poetry and notes.
	4	Notes—Legacy, the A B C's; Benefit; On Liberation; The Heavenly One (wears the headdress of Uraeus); and other poetry and notes.
	5	Notes—Egypt; words studies, etymology, and meanings of names; dreams (diary entries); and other poetry and notes.
	6	Notes—Egypt; words studies, etymology, ancestry, worship, and the voice; and other poetry and notes.
	7-12	Notes—fragments, excerpts, poetry, research and other writings.
Box	Folder
28-32		Autobiography—restricted access—notes, drafts, and edits of Abbey Lincoln's unfinished autobiography.


Series 3. Photographs
	Arrangement: Arranged chronologically (boxes 33-42).
	Summary: The series of Photographs consists of various images for both personal and professional purposes. Most of the images are undated but are arranged according to approximate date.
Box	Folder
33	1	Images, including a 1949 photo signed to "Mom, from Ann." circa 1940s
	2	Images of early performances, and photos with Duke Ellington, Buddy Hackett and George Wein, and others, circa 1950s
	3	primarily performance, promotional and publicity photos, circa 1950s-1960s
	4	Wedding photos with Max Roach, 1962
	5	Nothing But A Man stills, 1964
	6	For Love of Ivy continuity photos, event and publicity photos with Sidney Poitier, 1968
	7	Set of prints by Charles Stewart, 1968
	8	Contact sheets, by Charles Stewart, 1968
	9	Abbey Lincoln and Max Roach, some candid photos, mostly performance photos with George Coleman, Booker Little, Julian Priester, and others, 1960s
Box	Folder
34	1	Performance photos from various unidentified dates, circa 1960s
	2	Various images including portraits, candid snapshots, event photos and photos with various others. Also contains photos of Abbey Lincoln for Look Magazine, circa 1960s
	3	set of portraits, (sealed in a bag due to deterioration), circa 1960s
	4-5	Abbey Lincoln in Japan, 1973
	6	with Miles Davis, 1973
	7	unidentified Japanese ballerina, 1973 and undated
	8	A Pig in a Poke, head shots, production photos, snap shots and contact sheets, 1977
	9	Abbey Lincoln at the Beacon Theater, New York, 1979 August
	10	The Gingerbread Lady, by Neil Simon, circa 1970s
	11	Photos by Merrill A. Roberts; 1973 with James Earl Jones; 1974, Aminata Moseka, lecturer in Pan-African Studies at California State University at Northridge; and various performance photos, 1970s
Box	Folder
35	1	Candid snap shots, Ms. Lincoln with various unidentified others, 1970s
	2	Painted Lady recording session, with Archie Shepp, Ray Burrowes, Hilton Ruiz, Jack Gregg, and Freddie Waits, 1980 February 4
	3	North Sea Jazz Festival, with Art Farmer, Johnny Griffin, Billy Higgins, Freddie Hubbard, and Archie Shepp, 1980 July
	4	Abbey Lincoln at Lush Life Jazz Club (formerly at the corner of Bleecker Street and Thompson, New York), with James Weidman, Billy Johnson, and Mark Johnson, circa 1980, 1982
	5	Abbey Lincoln with Steve Coleman, Hilton Ruiz, and others, 1982 March 27
	6	Three photo sets by Archie Jefferson: with Big Nick Nicholas and Joe Gaines; at the Blue Note with James Weidman, Billy Johnson, Mark Johnson, and Steve Coleman; and with Paul Ash and Archie Jefferson, 1982 January 5 and 9, March 22, and December 10
	7	Photos by René Tahon in France with James Weidman, Billy Johnson, Mark Johnson, circa 1983
	8	Contact sheets by Larry Brown and Al Hakim Al Mutlaq, unidentified event in Buffalo, New York, 1986 May 12
	9	Photos by Archie Jefferson, July 27 and August. 1986 July 27, and August
	10	in Japan with James Weidman and Mark Johnson, including one photograph with Horace Silver, Andy Bey, and others, 1988
	11	Triptych, with Dianne McIntyre and Max Roach, 1980s
	12	Publicity photos and contact sheets by Scott Sternbach, 1980s
	13-14	Various portraits, performance photos, and snap shots, 1980s
Box	Folder
36	1	Publicity photos by Adger W. Cowans and unidentified, circa 1980s
	2	Photos by Carol Friedman, circa 1980s
	3	Photos by Jean-Pierre Larcher for The World Is Falling Down, 1990
	4	You Gotta Pay the Band, photos by Adger W. Cowans (and Carol Friedman), with Stan Getz, Hank Jones, Charlie Haden, Mark Johnson, Maxine Roach, Jean-Phillippe Allard, and others, 1991 February 25 & 26
	5	Photos by Mitsuo Johfu at Keystone Korner, with James Weidman and Mark Johnson, Tokyo, Japan, 1991 May
	6	Classical Jazz at Lincoln Center, the inaugural season of Jazz at Lincoln Center, with Shirley Horn, Wynton Marsalis, Jackie McLean, Cedar Walton, Billy Higgins, 1991 August
	7	Photographs by Joan Vitale Strong at the Heritage Award presentation to Abbey Lincoln by the Honorable David N. Dinkins, Mayor, the City of New York, with Dr. Billy Taylor and others. 1992, 1994-1995
	8	Photos by Jim Lewis: Tribute to the Music of Dizzy Gillespie at Lincoln Center—Alice Tully Hall, with Wynton Marsalis and Jimmy Heath, September 12; wedding of Rhonda Ross and Rodney Kendrick, with Diana Ross, 1997 September 14
	9	Contact sheets by Jean-Christian Rostagni, Duke Page Auditorium, 1997 October 3
	10	Photos by Jim Lewis of the Abbey Lincoln Quartet at the Iridium, 1997 June 17-22; and photos by Rob Miseur, with Jack DeJohnette, Mal Waldron, Rashied Al Akbar, and Betty Carter, 1997 June 17-22
	11	Photos and album art for Who Used To Dance, 1997
	12	Photos by Hans S. Sirks, 1998 September 23; and at the North Sea Jazz Festival, 1999 July 11. 1998 September 23, 1999 July 11
	13	Photo art by Gregory Lucente, 1999
Box	Folder
37	1	Fat Tuesday's with Tarik Shah, (circa 1990-1992?), 1990s
	2	Portraits and publicity, events and performance photos, Abbey Lincoln at CBC, at North Sea Jazz Festival 1995, at the Blue Note with Evelyn Blakey, and other images with Michael Carvin, Michael Bowie, Rodney Kendrick, and Caludio Roditi, 1990-1998
	3	Performance photos with Marc Cary, Rodney Kendrick, Michael Bowie, John Ormond, Aaron Walker, and Jaz Sawyer, 1990s and undated
	4	Photos by Chris Bierlein, Lenny Bernstein, Christian Ducasse, Jean-Louis Goulier, Rainer Rygalyk, Frederic S. Sater, and unidentified photographers, dated and undated, 1990s
	5	Photos by Stuart Brinin, Cheng Ching Ming, J. F. Laberine, Harold E. Rhymie, Alex Harsley, Jeffrey Kliman, Paula Ross, Maurice D. Robertson, and unidentified photographers, dated and undated, 1990s
	6	Snap shots from various events, dated and undated, 1990s
	7	From a wedding, unidentified, 1990s
Box	Folder
38	1	Photos by Henry Cheung, 2000
	2	album photography and artwork for It's Me. 2002
	3	Abbey Lincoln at the Blue Note, photos from the dressing room with Evelyn Blakey and others, 2003
	4	Abbey Lincoln and Ornette Coleman at Carnegie Hall, back stage photos with Ornette Coleman, Michael Carvin, Rodney Kendrick, Marc Cary, and others, 2004
	5	Photos by Chester Higgins, Jr., 2000s
	6	"Stairwell Series" photos by Mark Seliger, including correspondence from Jennifer Hutz, images of Philip Glass, Ravi Shankar, Diana Krall & Elvis Costello, Tony Bennett, Burning Spear, Paul McCartney, Richard Serra, Bill T. Jones, and Merce Cunningham, 2000s
	7	Unidentified events with Bishop Desmond Tutu and others, circa 2000s
	8	WBGO Champions of Jazz award presentation; unidentified event at St. Peter's Church with Cobi Narita, Jack Jeffers, Greg Buffard (and possibly Onaje Allan Gumbs and Jimmy Owens); and concert photos, assorted portraits and photos with various, generally unidentified others, 2000s
	9	Photos of performances and other events from various dates, including images of St. Lucia Jazz Festival with Michael Bowie and James Carter, the International Association of Jazz Educators with Billy Johnson, and WBGO Celebrates Abbey Lincoln, undated
Box	Folder
39	1	Photos of performances and other events from various dates, undated
	2-3	Photos of Abbey Lincoln from various dates (small prints), undated
	4-5	Photos of Abbey Lincoln from various dates (large prints), undated
	6-7	Photos of Abbey Lincoln from various dates (large prints), undated
Box	Folder
40	1	portraits of Abbey Lincoln from a previous folder labeled: "Photos—Lobbies."
	2	Photos of Abbey Lincoln with musicians, including: Helen Merrill, Randy Weston, Reggie Workman, Billy Taylor & Jimmy Heath, Charles Mingus, Betty Carter & Christian McBride, Pat Metheny, Freddie Hubbard, Cassandra Wilson, Bill Stewart, Hank Jones, Lionel Hampton, Jackie McLean, Dana Gioia, Dr. Billy Taylor, and Dave Brubeck.
	3	Photos of Abbey Lincoln with celebrities, including: Maya Angelou, Steve Allen, Spike Lee, Dick Gregory, Billy Dee Williams & Betty Carter, Sylvia Davis Shaw, Jimmy Durante, Freddy Cole & Carol Sloane.
	4	Photos of musicians (without Abbey Lincoln), including: James Weidman, Mark Johnson, Cedar Walton, Denis Charles, Rodney Kendrick, Bob Moses, Max Roach, and others.
	5-6	Photos of Abbey Lincoln with various, generally unidentified others.
	7	Autographed photos to Abbey.
	8	Collected images, primarily of entertainers, including publicity photos.
Box	Folder
41	1	Assorted unidentified images.
	2	Assorted contact sheets.
	3	Assorted slides and negatives.
	4	Negatives.
	5	Family photos, Ms. Lincoln's mother, Evelyn Coffey.
	6	Family photos, Darius and Geraldine Carter.
	7-8	Family photos, assorted images.
	9-10	Assorted photos of friends and family.
Box	Folder
42	1-4	Assorted photos of friends and family.
	5	Photos of generally unidentified artwork including photos of paintings presumably done by Abbey Lincoln, as well as paintings of Abbey Lincoln.


Series 4. Correspondence
	Arrangement: Arranged alphabetically by name (last name first unless no last name could be identified), and then chronologically by date (boxes 43-48).
	Summary: Consisting of personal and professional content, the series of Correspondence contains letters, post cards, and greeting cards from various senders, and a small number of letters sent by Ms. Lincoln, or drafts of letters to be sent. Most of the series is designated as general correspondence, but some of the series has been identified as received from family, and some is professional correspondence received principally from organizations, and also includes correspondence with Michael Kletter, Ms. Lincoln's lawyer for many years.
Box	Folder
43	1	Sent—letters from Ms. Lincoln, or drafts to be sent.
	2	Received, general—A
	3	Received, general—B
	4	Received, general—C
	5	Received, general—D-E
	6	Received, general—F-G
Box	Folder
44	1	Received, general—H-I
	2	Received, general—J
	3	Received, general—K
	4	Received, general—L
	5	Received, general—M
	6	Received, general—N-O
Box	Folder
45	1	Received, general—P
	2	Received, general—R
	3	Received, general—S
	4	Received, general—T
	5	Received, general—U-[Z]
Box	Folder
46	1	Received, professional—A-E
	2	Received, professional—F-K
	3	Received, professional—Kletter, Matthew, 1990-1999
	4	Received, professional—Kletter, Matthew, 2000-2003, and undated
	5	Received, professional—K-P
	6	Received, professional—Polygram, Jean-Philippe Allard.
	7	Received, professional—R-Y
	8	Received, professional—Waxman, Jon M.
	9	Received, professional—BBC Radio 3 Documentary 2001
	10	Received—Legal correspondence related to the divorce of Max Roach and dispute with Falkirk Hospital.
Box	Folder
47	1	Received, family—Evelyn Coffey Wooldridge Davis (Ms. Lincoln's mother)
	2	Received, family—B-F
	3	Received, family—G-Yvette, and unidentified.
	4	Received, family—Bell, Collette.
	5	Received, family—Wooldridge.
	6	Received, family—consists of greeting cards from a folder previously labeled: "Letters friends & family."
	7	Received—fan mail, 1974-1999, and undated
Box	Folder
48	1-2	Received, general—invitations, solicitations.
	3-5	Received, general—unidentified and/or multiple senders.


Series 5. Business Files
	Arrangement: Arranged by date then name (boxes 49-63).
	Summary: The series of Business Files contains documentation related to Abbey Lincoln and ALAM Productions such as proposals and contracts, which include permission and artist clearance procedures, financial papers including royalty and bank statements and receipts, performance fliers, press releases, tour information, interviews and articles in various languages, and other publicity.
Box	Folder
49	1	Contracts and proposals, A-D
	2	Contracts and proposals, E-I
	3	Contracts and proposals, J-O
	4	Contracts and proposals, Polydor, Polygram, Jean-Philippe Allard.
	5	Contracts and proposals, R-[Z]
	6	SAG (Screen Actors Guild), AFTRA (American Federation of Television and Radio Artists), AGVA (American Guild of Variety Artists), and The Actors Fund of America, 1972-1993
Box	Folder
50	1	Black Filmmakers Hall of Fame: correspondence, announcements, itinerary, rundown, script, 1975-1980
	2	California State University, Northridge (CSUN). Report of appointment, course outline, financial papers and correspondence. 1980 February and March.
	3	Celebration of the Arts, A Rite of Spring, Coalition for Economic Survival; meetings, agendas, (See also: Series II, Writings: Celebration of the Arts). 1980 February and March.
	4	IAM (Incorporation of Artists on the Move). 1980 February and March.
	5	Moseka House Foundation.
	6	Financial Papers, 1975-1979
	7	Financial Papers, 1980-1989
	8	Financial Papers, 1990-1992
	9	Financial Papers, 1993
	10	Financial Papers, 1994
Box	Folder
51	1	Financial Papers, 1995
	2	Financial Papers, 1996
	3	Financial Papers, 1997
	4	Financial Papers, 1998
	5	Financial Papers, end of year summaries, 1998
	6	Financial Papers, 1999
	7	Financial Papers, end of year summaries, 1999
Box	Folder
52	1	Financial Papers, Hotel receipts, airline passenger receipts, boarding passes, and other receipts. 1999
	2	Financial Papers, 2000
	3	Financial Papers, 2001
	4	Financial Papers, 2002-2008, and undated
	5	Financial Papers, David A. Kaminsky, P.C., 2002-2007
	6	Financial Papers, Timothy H. Murphy, PLLC, 2004-2008
	7	Financial Papers, Societe Generale, undated
	8	Financial Papers, undated
Box	Folder
53	1	Legal Papers—Abbey Lincoln, plaintiff, Jon M. Waxman, defendant, 2003
	2	Musician information, itineraries, tour schedule, lists of engagements not otherwise attached to collected contracts or financial papers, 1986-2005
	3	Venue and festival information.
	4	Concert programs and fliers, 1949, 1961-1979
	5	Concert programs and fliers, 1980-1984
	6	Concert programs and fliers, 1985
	7	Concert programs and fliers , 1986-1987
Box	Folder
54	1	Concert programs and fliers, 1988-1989
	2	Concert programs and fliers, 1990-1991
	3	Concert programs and fliers, 1992
	4	Concert programs and fliers, 1993
	5	Concert programs and fliers, 1994
	6	Concert programs and fliers, 1995
	7	Concert programs and fliers, 1996 January-May
Box	Folder
55	1	Concert programs and fliers, 1996 June-December
	2	Concert programs and fliers, 1997
	3	Concert programs and fliers, 1998
	4	Concert programs and fliers, 1999
	5	Concert programs and fliers, 2000-2007
	6	Concert programs and fliers, undated
Box	Folder
56	1	Other collected programs, fliers, and publicity for events in which Abbey Lincoln was not necessarily involved as a performer.
	2	Abbey Lincoln, compiled biographical information
	3	Internet research (perhaps her own searches), images, biographical information, and shopping results, 2000-2008
	4	Press release/promotional materials, Portrait of Abbey, a film on Abbey Lincoln, by Carol Friedman. Includes biographical information and collected articles and press quotes, [2001]
	5	Press releases, concert and album information, discography
	6	Interview, and reviews of Wholly Earth
	7	Interviews—Q's Reviews by G. Barclay, 1981 May 1
	8	Interviews—unidentified interviewer, 1996 November
	9	Interviews—Smithsonian Institution, Jazz Oral History Program, by Sally Placksin, 1996 December 17 and 18
	10	Interviews—Whisper Not: Conversational Portraits of Twenty-Two Women in Jazz, by Wayne Enstice and Janis Stockhouse, 1998 September 5
	11	Interviews— by Eric Porter and Lara Pellegrini, 2000-2002
	12	Interviews—Abbey Lincoln in conversation with Lara Pellegrinelli (and other Pellegrinelli interviews for New Music Box), 2002 May 10
Box	Folder
57	1	Interviews—interview questions only
	2	Interviews—interview answers only, to Mike Wilpizeski, undated
	3	"Abbey Lincoln in the Civil Rights Years," talk delivered by Ingrid Monson, 2001
	4	Publicity—published interviews, articles and ads, 1950s
	5	Publicity—published interviews, articles and ads, 1960s
	6	Publicity—published interviews, articles and ads, 1970s
	7	Publicity—published interviews, articles and ads, 1980-1983
	8	Publicity—typed articles, 1984
	9	Publicity—published interviews, articles and ads, 1984-1985
	10	Publicity—published interviews, articles and ads, 1986-1989
	11	Publicity—published interviews, articles and ads, 1990
	12	Publicity—published interviews, articles and ads, 1991
	13	Publicity—published interviews, articles and ads, 1992
Box	Folder
58	1	Publicity—published interviews, articles and ads, 1993
	2	Publicity—published interviews, articles and ads, 1994
	3	Publicity—published interviews, articles and ads, 1995
	4	Publicity—published interviews, articles and ads, 1996
	5	Publicity—published interviews, articles and ads, 1997
	6	Publicity—published interviews, articles and ads, 1998
	7	Publicity—published interviews, articles and ads, 1999
	8	Publicity—published interviews, articles and ads, 2000-2001
Box	Folder
59	1	Publicity—published interviews, articles and ads, 2002-2003
	2	Publicity—published interviews, articles and ads, 2004-2008
	3-4	Publicity—published interviews, articles and ads, undated
	5	Notes, stationery, contacts, and assorted business cards,
Box	Folder
60	1	Periodicals—Negro Digest, September 1966
	2	Periodicals—Jet, February 1968
	3	Periodicals—Ebony Jr!, October 1977
	4	Periodicals—Encore, January 1982
	5	Periodicals—Jazz City: Louis, Ella, Duke, et les autres..., Fete de la Pentecote, , 1983
	6	Periodicals—Afrique Histoire U.S., 1985
	7	Periodicals—Screen Actor, Summer 1991
	8	Periodicals—Hot House, November 1991
	9	Periodicals—U.S. Air Magazine, September 1992
	10	Periodicals—Swing Journal, Jazz Vocal Special, Romantic & Swinging, (Japan), 1993
	11	Periodicals—Eight Rock, 1993
Box	Folder
61	1	Periodicals—Parcours, July/August 1994
	2	Periodicals—Audio News, September 1994
	3	Periodicals—San Francisco Examiner, October 23, 1994
	4	Periodicals—New York Magazine, May 29, 1995
	5	Periodicals—Les Inrockuptibles, July 11, 1995
	6	Periodicals—UMBC Magazine, Spring 1996
	7	Periodicals—Le Monde 2, November 2000
	8	Periodicals—BHMagazino, January 2004
	9	Periodicals—Jazz & Tzaz, January 2004
	10	Periodicals—Jam, Jazz Ambassador Magazine, April/May 2004
	11	Periodicals—excerpts and undated.
Box	Folder
62	1	Calendar, 1989
	2	Calendar, 1996
	3	Calendar, 1997
	4	Calendar, 2008
	5	"Women in Jazz" calendar, 88.3FM WBGO, containg Abbey Lincoln's image, December 1994
	6	Cinema Arts Centre, 25th Anniversary commemorative address book containg Abbey Lincoln's image.
	7	Books, story and pictures by Carol Friedman: Nicky, the jazz cat, contains Abbey Lincoln's image, and, Baby Cat Nicky, 123, (powerHouse Cultural Entertainment) 2005
Box	Folder
63	1	I Got Thunder: Black Women Songwriters On Their Craft , edited by LaShonda K. Barnett, with a chapter on Abbey Lincoln. (signed to Abbey), (Thunders Mouth Press), 2007


Series 6. Personal Files
	Arrangement: Arranged chronologically (boxes 63-65).
	Summary: The series of Personal Files contains financial papers, real estate and medical documentation, insurance papers, and legal papers, as well as family papers and memorabilia.
Box	Folder
63	2	Financial papers, 1971, 1980s
	3	Financial papers, 1990-1997
	4	Financial papers, 1998
	5	Financial papers, 1999
	6	Financial papers, 2000-2001
	7	Financial papers, 2002-2003
	8	Financial papers, Eagle Plus single premium deferred annuity, 2002
	9	Financial papers, Creative find charity, 2003
Box	Folder
64	1	Financial papers, 2004
	2	Financial papers, medical bills and receipts 2004
	3	Financial papers, American Express statements, 2004-2005
	4	Financial papers, 2004-2007
	5	Financial papers, 2007-2009, undated
	6	Educational Broadcasting Corporation, Annual Report 2003-2004
	7	Real estate—Rental agreement; Sublease application (645 West End Ave.) and related correspondence, 1970, 1993-1994
	8	Real estate—Homeowner's insurance and Cooperative housing, statements and related documents, 1995-2004
	9	Automobile documents, 1995-2004
	10	Legal documents, 1995
Box	Folder
65	1	Medical documents, 2000-2008, undated
	2	Birth certificate, Last will and testament, Health care declaration (Living will), and related legal correspondence, 2005
	3	Birth certificate, Last will and testament, Health care declaration (Living will), and related legal correspondence, 2005
	4	Family—Shirley Wooldridge writings
	5	Family—Wooldridge family tree, family directory, and other papers related to family members
	6	Family—Tuskegee Army Air Field 4-D-E-F [year book], containing an image of Alexander Wooldridge
	7	Family—various papers related to family members
	8	Funeral and memorial service programs for family and friends, in cluding Betty Carter and Harold Vick, among others
	9	Collected post cards and greeting cards (blank cards)
	10	Promotional materials for jewelry design by Edie Lynch
	11	"Danny Thomas Humitarian" U.S. Mint coin authorized by Public Law 98-172. Bronze replica of the Congressional Gold Medal awarded to Danny Thomas at the White House, April 16, 1984
	12	Miscellaneous


Series 7. Awards
	Arrangement: Arranged chronologically and by size (boxes 66-72).
	Summary: The series of Awards contains certificates, plaques, and documents from various organizations in recognition of Abbey Lincoln's commitment and achievement as an activist, educator, and artist.
Box	Folder
66	1	The Black Solidarity Fair, Medgar Evans College, New Directions, Inc., the Rahway Organization, Les Nouveaux Griots, International Women in Jazz, International Association of Jazz Educators (IAJE), and the United States Congress, 1973-1999
	2	Grammy nomination, 1993
	3	National Coalition of 100 Black Women, Inc., In Appreciation of Your Distinguished Contribution to the Arts, February 24, 2001
	4	Chicken Bone Beach Historical Foundation, Lifetime Achievement Award, 2003
	5	WBGO Champions of Jazz, For your astonishing talent, and how it has transformed the world of jazz, November 2006
Box	Folder
67	1	Delta Sigma Theta Sorority, L.A. Alumnae, Musical Achievements and Humanitarian Activity, March 31, 1974
	2	Lincoln Hights Ohio, Our Newest Citizen, November 18, 1975
	3	City of Plainfield, Salute for supporting the Festival of New Women - New Art, April 27, 1988
	4	Harlem School of the Arts, A Great Woman and Artist, 1989
Box
68		National Endowment of the Arts (NEA) Jazz Master, includes related documentation 2003
Box	Folder
69	1	The Capital Press Club, Medgar Wiley Evers Award, June 19, 1965
	2	Proclamation of citizenship, Lincoln Heights
	3	Naturally 2002, AJASS, The Grandassa Models, and the National Conference of Artists, N.Y., April 28, 2002
	4	Council of the City of New York, citation, April 28, 2002
Box
70		Jazz Master Award presented to Abbey Lincoln Aminata Moseka, Afro-American Museum, Philadelphia, PA. (ribbon and engraved pendant); Django D'Or, November 23, 1982 and 1997
Box
71		Jazz Foundation of America, Lifetime Achievement Award, September 26, 2002
Box	Folder
72	1	Cultural Crossroads, Heritage Award, October 25, 1992
	2	AJASS and the Grandassa Models, In Recognition of Three Decades of Historic Contribution to the Universalization of African Contemporary Music, January 26, 1992
	3	The Artist Collective, for her contribution to the continuation of the African-American music tradition, December 1, 1990


Series 8. Oversized
	Arrangement: Arranged by size and shape, and somewhat mirrors the order of the series (boxes 73-81).
	Summary: The series of Oversized materials contains items that could be included in any of the previous series in terms of their content -- including writings, photographs, business and personal files, awards and posters -- but, due to their size and shape, require different housing than those other related materials.
Box	Folder
73	1	Writings—The origins of books (handwritten notes)
	2	Writings—Notes and assorted original writings (handwritten notes)
	3	Writings—"The Death of the Young Country" by Bill Duke.
	4	Writings—du, periodical containing, "We Insist. Max Roach. Das Schlagzeug." December 1996
	5	Writings—Nothing But A Man, revised script; "Tribute to the Black Woman," Shrine Auditorium, notes. July 1, 1963 and 1977
	6	Photographs.
	7	Correspondence.
	8	Business papers—Contracts and propopsals
	8	Business papers—Financial papers, Beethoven pianos, Steinway model "O." 1997
	9	Business papers—Contracts and propopsals
	10	Business papers—Publicity, Nothing But A Man, press clippings 1964-1965
	11	Business papers—Publicity: published interviews, articles, and ads 1964-1965
	12	Business papers—Publicity: programs and fliers
	13	Personal papers—Lettr to the President of the United States, from African-Americans assembled in Harlem; Minutes of meeting of Cultural Association of Women of African Heritage; "David Wooldridge Selected An Alfred P. Sloan Fellow." Spetember 22 and November 1, 1963, and April 28, 1972
	14	Personal papers—Health Application to Connecticut General Life Insurance Company June 1, 1973
Box	Folder
74	1	Citta di Vicenza, hand painting on stone tile from the qurries of Berici in an enclosure which includes a brief history of the city of Vicenza.
	2	Photographs—assorted images including commercial, personal, and various performance photos 1950s-1960s
	3	Photographs—assorted images including commercial, personal, performance photos, and a photo of Ms. Lincoln with Miriam Makeba. 1970s-1980s
	4	Photographs—assorted images including commercial, personal, and various performance photos, 1990s-2000s, and undated
	5	Photographs— portraits of Pharoah Sanders, and a print of an unidentied family member (?) undated
Box	Folder
75	1	Calendar—Jazz Kalendar, in memoriam, Eric Dolphy (Rahsaan Roland Kirk on the cover), by Joachim E. Berendt, 1966
	2	Calendar—FM89 KXPR Calendar, California State University, Sacramento, April 1981
	3	Calendar—A Journey into 365 Days of Black History, 1998
	4	Calendar—Classic Jazz Calendar, photographs by Chuck Stewart, including an image of Abbey Lincoln (two copies: one marked, one clean), 2004
	5	Writings—Sketch Book containing notes and drawings.
	6	Business files—Published articles
	7	Awards—Academie du Jazz, Billie Holiday Prize awarded to Abbey Lincoln and Stan Getz for You Gotta Pay the Band 1992
	8	Thelonious Monk portrait in frame, by Hozumi Nakadaira, Newport 1966
Box
76		Decorative wood box containing a headdress, with artwork under lacquer, including an article about Abbey Lincoln in Le Journal de Toulouse, March 28, 1991
Box	Folder
77	1	Writings—Abbey Lincoln drawings and notes, etymology, definitions, etc.
	2	Business Files—Jazz Zoom, carryin' it on, book of photos and interviews by Desdemone Bardin in slip case, signed to Abbey from Sebastian, includes interviews and images of Ms. Lincoln, DVC Press in association with Overtime Records, 2003?
	3	Business Files—Abbey Lincoln concert posters and oversized photographs and artwork, 1966-1999
	4	Awards—First World Festival of Negro Arts, Dakar, Grand Prize for Cinema, Meilleure Actrice Noire for Nothing But A Man, April 7, 1966
	5	Awards—Artists Collective pasy double tribute to Abbey Lincoln for contribution to America's Music -- Jazz, and the Film Industry (plaque), March 22, 2003
	6	Personal Files—from Mrs. Deanna Weeden and her first grade class, an original book of artwork, March 12, 1999
Box
78		Posters—concert posters, album publicity, oversized photos, and artwork (12 posters).
Box
79		Posters—concert posters, album publicity, oversized photos, and artwork, including: "Buddy Bolden's Dream," and "Robert Johnson and the Blue Terraplane,"signed by Chris Osborne; Abbey Lincoln en Concert Bonlieu Scene Nationale; "An Evening with a Legend," Abbey Lincoln, Queen Elizabeth Hall; A Turtle's Dream; The World Is Falling Down; You Gotta Pay the Band; Enja and Verve publicity; and others (14 posters).
Box
80		Posters—concert posters, album publicity, oversized photos, and artwork, including: "Naturally" Grandassa Models; Abbey Lincoln a Bordeaux, cite mondiale du vin; Abbey Lincoln Aminata Moseka A Pig In A Poke, Inner City Cultural Center; and others (14 posters).
Box
81		Posters—Jazz posters, artwork, and concert posters and album publicity sent from Highstreet Music, Amsterdam: Who Used To Dance; Devil's Got Your Tongue; A Turtle's Dream; Rouen Jazz Action, December 4, 1997; La Nuit du Jazz, Theatre de Caen, April 2, 1998; Pulse, arts Council of England, September - December, 1999 (2 posters stuck, rolled together with adhesive backing); Abbey Lincoln Quarter en Conecrt, Bonlieu scene nationale (3 large posters); Miles Davis, "Jazz" (2 posters, minor water damage); Bille Holiday (mold damage); Unidentified painting (will not unroll or open due to water and mold damage, does not appear to depict Ms. Lincoln's work) (14 posters).


Series 9. Sound Recordings
	Arrangement: Arranged by accession number (boxes 82-83) .
	Summary: Subject to restricted access, the series of Sound Recordings contains various media, mostly cassette tapes. This is a partial list of the collected recordings. The recordings in this section of feature Abbey Lincoln, including dubs of commercial albums, studio outtakes, radio shows, live performances, lectures, interviews, etc. Accompanying musicians include Max Roach, Cedar Walton, Stanley Cowell, Reggie Workman, Jack DeJohnette, Archie Shepp, Wynton Marsalis, James Weidman, Billy and Mark Johnson, Phillip Wright, James Leary, Doug Sides, Dwight Dickerson, John Duke, Troy Brown, Art Hillary, Larry Gates, Red Holloway, and Kenny Washington, among others.
	This list was created by Dustin Witsman as a particpant in the IJS Jazz Archives Fellowship Program. Additional information such as titles and personnel transcribed from the cassette containers is also available as a .pdf, and a printed copy is stored with the recordings.
Box
82		1. Abbey Lincoln (Mixes)
		2. Abbey Lincoln Main Stage FDIJF September 4, 2000
		3. Abbey at Schomburg
		4. UJC June 14, 1986
		5. Who Used to Dance
		6. Abbey Lincoln in Paris with Archie Shepp Golden Lady 1980
		7. Golden Lady
		8. "Should've Been" / "Throw it Away"
		9. "Should've Been", 4 complete takes
		10. Abbey Lincoln Live at Keystone Korner March 12, 1980
		11. "Avec Le Temps" tk 3 2x
		12. Abbey Lincoln 5/29/94 Polygram Paris May 29, 1994
		13. UJC June 11, 1988
		14. Abbey Lincoln/Hank Jones Session Tape October 5, 1992
		15. Abbey Lincoln February 25, 1992
		16. Abbey Lincoln Mixes February 27, 1992
		17. Abbey Lincoln February 24, 1992
		18. Abbey Lincoln 3rd Day June 10, 1992
		19. Abbey Lincoln Mixes
		20. UJC Abbey Lincoln May 13, 1988
		21. UJC Performance February 8, 1987
		22. UJC Abbey Lincoln June 14, 1986
		23. Sunnyside Communications, Abbey Lincoln June 4, 1998
		24. Sunnyside Communications, Abbey Lincoln June 3, 1998
		25. Sunnyside Communications, Abbey Lincoln June 5, 1998
		26. Abbey Lincoln Selected Takes, Sunny Side Communications February 19, 2000
		27. A Verve Christmas - Resing May 7, 1996
		28. I Is Africa (Amanata Moseka)
		29. Anna Marie and the Search
		30. Live at Keystone Korner March 11, 1980
		31. Amanata Moseka, Northridge November 1974
		32. Den Haag North Sea (Abbey Lincoln Quintet) July 1995
		33. My Love is You
		34. Through the Years
		35. Blue Note/SOBS June 1995, 1993?
		36. Mises A Plat December 27, 1994
		37. That's Him! 1983
		38. Autobiography
		39. Talkin to the Sun
		40. Talkin to the Sun Original
		41. Devil's Got Your Tongue
		42. The Light Around the House
		43. IRIDIUM November 1995
		44. Down Here Below
		45. Down Here Below Rehearsal
		46. Abbey Lincoln Session Tape #1, Sunny Side Communication February 18, 2000
		47. Abbey Lincoln Selected Takes, Sunny Side Communication February 18, 2000
		48. Abbey Lincoln Recording
		49. UJC March 5, 1988
		50. UJC May 13, 1988
		51. Sunnyside Communications, Abbey Lincoln, Throw It Away (Soundtrack Mix) November 8, 1994
		52. Abbey Lincoln Mixes
		53. Abbey Lincoln Quartet Live at Sculler's Jazz Club, January 22, 1999
		54. Abbey Lincoln Quartet Live at Sculler's Jazz Club (Set 2), January 23, 1999
		55. Abbey Lincoln Quartet Live at Sculler's Jazz Club (Set 1 and 2).
		56. Abbey Lincoln Iridium
		57. Painted Lady
		58. Abbey Lincoln Quartet November 6, 1996
		59. Abbey Lincoln (Aminata Moseka) with Hattie Gossett September 30, 1981
Box
83		60. Abbey Lincoln Live in Bobadilla January 14, 1980
		61. Abbey Lincoln - Live at Whippoorwill June 24, 1986
		62. Pig in a Poke (Aminata Moseka) May 15, 1977
		63. I Got Thunder January 26, 1985
		64. "Abbey with Rodney" (?) 1989
		65. Abbey Lincoln Quartet Live in Oosterpoort, October 30, 1999
		66. Mixes #1
		67. Mixes #2
		68. Abbey Lincoln London 1st Set July 10, 1993
		69. Abbey Lincoln interviewed by Brane R.
		70. Abbey Lincoln Quartet Live at Keystone Korner, March 11-12, 1980
		71. Abbey Lincoln Paris Radio Interview, 1991
		72. Lush Life 3rd Set, September 17, [1982]
		73. Pig in a Poke
		74. Rehearsal tape
		75. Abbey Lincoln Main Stage FDIJF September 4, 2000
		76. CKLN Inside Jazz 88.1 FM Interview September 8 and 11, 1991
		77. Live for Life, Abbey Lincoln (Aminata Moseka) June 8, 1985
		78. I Got Thunder Prod January 26, 1985
		79. Concert at African American Museum June 1985
		80. Abbey Lincoln/Aminata Moseka Autobiography
		81. Abbey Lincoln Group
		82. Abbey Lincoln at Old Cabell Hall September 12, 1987
		83. Abbey Sings Billie
		84. Pig In A Poke, April 25, 1977
		85. Pig In A Poke (Aminata Moseka), May 15, 1977
		86. Pig In A Poke, March 1977
		87. Fresh Air Interview, June 16, 1993
		88. Abbey Lincoln. A Turtle's Dream/Not to Worry, November 7 and 8, 1994
		89. Rehearsal Tape, "Avec Le Temps"
		90. Tribute to Harold Vick February 6, 1988
		91. WBGO Concert May 29, 198[1?]
		92. Abbey Lincoln - Live at Whippoorwill June 24, 1986
		93. Abbey Lincoln Live at Keystone Korner March 12, 1980
		94. Abbey Lincoln Live at Keystone Korner March 15, 1980
		95. Abbey Lincoln Master Mixes January 26, 1985
		96. Rehearsal Tape
		97. Rehearsal Tape
		98. Excerpts I
		99. Excerpts II
		100. Aminata Moseka Interview, WKSU FM, September 22, 1982
		101. Aminata Moseka Interview, Fisk University Radio ca. 1976
		102. Abbey Lincoln - Marcias August 12, 1994
		103. Abbey Lincoln London 2nd Set July 10, [?]
		104. Abbey Lincoln/Gary Barclay May5-6, 1981
		105. Jazz Unité Concert II November 12, 1981
		106. KJazz, 88.1 FM Interview, Contd.
		107. The Maestro
		108. Abbey Sings Billie I
		109. Abbey Sings Billie II
		110. Abbey Lincoln Concert at Auditorium Du Chatelet December 17, 1992
		111. When There is Love
		112. Abbey Sings Billie [?] Show November 7, 1987
		113. Lincoln and Walton
		114. Live in the Foothills Fall 1979
		115. Abbey Lincoln England Interview March 4, 1991
		116. Abbey Lincoln Excerpts from "Talking to the Sun" album [January?] 1985
		117. Aminata Moseka Black News Interview 1979
		118. Abbey Lincoln
		119. Live at the Peppermint Lounge, WBGO July 29, 1984
		120. TV Show 1990
		121. Abbey Lincoln Quartet
		122. Abbey Lincoln Quartet Live at the Miller Theater, Columbia University November 22, 1997
		123. KJazz, 88.1 FM Interview December 28, 1993
		124. Abbey Lincoln Speak Out Interview April 1, 1979
		125. At Parnell's October 30, 1980
		126. Abbey Lincoln and Hender/Moseka and James W. September 14, [?]
		127. Abbey Lincoln Quintet at the North Sea Jazz Festival, 2nd set July 16, 1995
		128. The South Africa Show, People in Me/Bright Moments November 17 and July 28, 1985
		129. Forum, Paris November 5, 1983
		130. with Wynton Marsalis September 1994
		131. Spectator September 28, 1988
		132. Echirolles (Grenoble), [France] Broadcast March 6, 1992
		133. You Gotta Pay the Band (remix)
		134. Abbey Lincoln Live at Melody Fair (A WBFO taping) June 30, 1979
		135. WNYC - Abbey Lincoln August 10, 1995
		136. KJAZZ June 17, [?]
		137. Interview of Abbey Lincoln by Sally Placksin December 17, 1996
		138. Interview of Abbey Lincoln by Sally Placksin December 17-18, 1996
		139. Interview of Abbey Lincoln by Sally Placksin December 18, 1996
		140. Abbey Lincoln November 5, 1987
		141. Abbey Lincoln November 6, 1987
		142. Abbey Lincoln November 7, 1987
		143. Abbey Lincoln November 6, 1987
		144. Abbey Lincoln November 7, 1987
		145. Jazz From Studio 4 August 3, 1997
		146. Abbey Lincoln Quartet at Kimball's East
		147. at Kimball's East
		148. London, 1st Show July 10, [?]
		149. Abbey Lincoln/Gary Barclay May 6, 1981
		150. Abbey Lincoln, 1965
		151. Live at the Peppermint Lounge, WBGO July 29, 1984
		152. Live at the Peppermint Lounge, WBGO July 29, 1984
		153. Abey Lincoln Interview Interview Duplicate
		154. Abbey Lincoln and Band, Jazz Festival [HH?] April 24, 1999
		155. UJC May 14, 1988
		156. Abbey Lincoln/Aminata Moseka on WKCR with Billy Banks October 21, 1981
		157. Bright Moments / Bessie, Billie, and Abbey
		158. Who Used to Dance
		159. at Jazz Unité November 11-12, 1981
		160. Abbey Lincoln Quartet at Kalamazoo Valley Community College September 28, 1988
		161. WIDR FM 89.1 Kalamazoo, "Bright Moments (Black Music: Ancient to Future)", interview
		162. Northridge September 17, 1974
		163. Abbey Lincoln Quartet, London July 10, 1993
		164. Abbey Lincoln Quartet April 15, 1993
		165. Sung and Unsung/JazzWomen; The Abbey Lincoln Quartet at the BAM Majestic Theater October 19, 1996
		166. Black History Month Panel (Abbey sings, unaccompanied: People in Me and Caged Bird), Valley High School February 15, 1978
		167. Songs/Poems; Assembly, California
		168. Lush Life 2nd Set (Abbey Lincoln/Aminata Moseka)
		169. Max Roach Quintet, 5 Spot / Max Roach/Abbey Lincoln in Berkeley, California October 19, 1965; 1968
		170. Lecture, Northridge September 17, [1974]
		171. Paris 1980
		172. Excerpts/Demonstration 2nd Copy
		173. The Merry Dancer February 26, 1992
		174. Being Me
		175. Abbey Lincoln Quartet, Voss Part II March 26, 1994
		176. Abbey Lincoln, Volume 1
		177. Abbey Lincoln, Volume 2
		178. Abbey Lincoln, Volume 3
		179. Abbey Lincoln with Wynton Marsalis and Stanley Cowell September 23, 1994
		180. UJC Workshop, Amanata Moseka, Blue Monk March 13, 1984
		181. Live at the Peppermint Lounge, WBGO July 29, 1984
		182. Aminata Moseka at the Parisian Room / Anna Marie October 25, 1975; 1953
		183. Talking to the Sun
		184. Paris Concert 1983
		185. at JF Kennedy Center March 30, 2001
		186. at International Jazz Festival at Ford-Detroit September 4, 2000
		187. France info 105.5 interview February 26, 1997
		188. Freedom Now Suite: Europe January 1964
		189. Abbey Lincoln and Max Roach for Alvin Ailey American Dance Theatre January 26, 1987
		190. Jazz From the City March 9-17, 1991
		191. Abbey Lincoln Quartet, Toulouse October 21, 1993
		192. Talking to the Sun, Paris Recording November 17 and 19, 1981
		193. Unmastered Album Mixes April 9-10, 1996
		194. Abbey Lincoln November 13, 1996
		195. Abbey Lincoln Remixes April 26-27, 1992
		196. Live at the Apollo (Abbey Lincoln/Aminata Moseka) February 16, 1986
		197. Montreux/Detroit Festival, Abbey Lincoln Quartet September 4, 1983
		198. Abbey Lincoln on French Radio
		199. Excerpts from Concert at Promenade Theater March 4, 1991
		200. at Chicago Festival 1991
		201. Abbey Lincoln Quartet, Voss Part I March 26, 1994
		202. Jazz Profiles: Abbey Lincoln
		203. Abbey Lincoln Quartet at Kalamazoo Valley Community College September 28, 1988
		204. Live broadcast at Tralfamadore Cafe, WBFO Jazz 88
		205. Abbey Lincoln Edits
		206. WBGO September 10, 1981
		207. WBGO September 10, 1981
		208. Abbey Lincoln Quartet at the Tokyo Blue Note, Set 1 February 25, 1996
		209. Abbey Lincoln Quartet at the Tokyo Blue Note, Set 2 February 25, 1996
		210. Anna Marie and the Search
		211. You Gotta Pay the Band
		212. Abbey Lincoln April 6-7, 1996
		213. A Verve Christmas
		214. Abbey Lincoln Final Mixes May 19, 1996
		215. It's Me
		216. It's Me
		217. It's Me
		218. It's Me
		219. It's Me
		220. Abbey Lincoln April 7-8, 1996
		221. Live Concert, Copenhagen, Denmark July 19, 1996
		222. Rehearsal - Church July 24, 1988
		223. Rehearsal - Church July 24, 1988
		224. Jazz Unité Concert I November 11, 1981
		225. Talking to the Sun
		226. Abbey Lincoln February 26, 1997
		227. Abbey Lincoln Rehearsal
		228. Abbey Linclon - Sunnyside Communications August 29, 1994
		229. Abbey Linclon - Sunnyside Communications May 30, 1994
		230. "Women's Blues and Boogie Show...and All That Jazz" on KZUM February 16, 1996
		231. Sister Abbey Lincoln for Black News (Aminata Moseka)
		232. Jungle Queen Mixes February 28, 1992
		233. Women in Jazz Interview, KPFK-FM, Los Angeles 1978
		234. Over the Years Session Tapes February 19, 2000
		235. So Focus Interview May 20, 1984
		236. The Seeker August 1, 1987
		237. Interview September 16, 1993
		238. Abbey Lincoln/Aminata Moseka on WKCR with Billy Banks October 21, 1981
		239. Interview with Ralph Howard April 10, 1992
		240. at JF Kennedy Center March 30, 2001
		241. Abbey Lincoln Quartet Live at Yoshi's, Set 1

Welcome to Sound Projections

Saturday, August 1, 2015

Abbey Lincoln (1930-2010): Legendary, iconic, and innovative musician, singer, songwriter, arranger, ensemble leader, actor, poet and lyricist

Tuesday, August 17, 2010

Abbey Lincoln, 1930-2010: Groundbreaking Singer, Songwriter, Actor, and Activist

Abbey Lincoln: Spirited and Spiritual

Abbey Lincoln | The Music is the Magic

Documentary film by Carol Friedman

Abbey Lincoln's Emancipation Proclamation

Multimedia

February 26, 2010

Abbey Lincoln on the Axis of the Civil Rights Movement

"Throw It Away": Abbey Lincoln (1930-2010):

"Afro Blue" - Abbey Lincoln:

Abbey Lincoln's brilliant rendition of by Mongo Santamaría's 'Afro Blue' from her album 'Abbey is Blue' (1959)

Abbey Lincoln-"Brother Can You Spare a Dime?” from 'You Gotta Pay the Band (1991):Abbey Lincoln (v)Stan Getz (ts)Hank Jones (p)Charlie Haden (b)Mark Johnson (d)Maxine Roach (vio)

Max Roach 5tet wt/ Abbey Lincoln - "Driva Man" [1964]:

"Freedom Now Suite" Belgian TV BTR2 1964 (Probably January)Abbey Lincoln - VocalsClifford Jordan - Tenor SaxophoneColeridge Perkinson - PianoEddie Khan - BassMax Roach - Drums

Abbey Lincoln - "Left Alone":

Abbey Lincoln - "Long As You're Living":

This is by MAX ROACH & ORCHESTRA featuring ABBEY LINCOLN Composed by Julian Priester & Tommy Turrentine 1960

Max Roach 5tet wt/ Abbey Lincoln-"Triptych (Prayer/Protest/ Peace)"-- [1964]:

"Freedom Now Suite" Belgian TV BTR2 1964 (Probably January)Abbey Lincoln - VocalsClifford Jordan - Tenor SaxophoneColeridge Perkinson - PianoEddie Khan - BassMax Roach - Drums

Max Roach 5tet wt/ Abbey Lincoln - "Freedom Day"- [1964]:

"Freedom Now Suite" Belgian TV BTR2 1964 (Probably January)Abbey Lincoln - VocalsClifford Jordan - Tenor SaxophoneColeridge Perkinson - PianoEddie Khan - BassMax Roach - Drums

Max Roach 5tet wt/ Abbey Lincoln - 'All Africa'- [1964]:

"Freedom Now Suite" Belgian TV BTR2 1964 (Probably January)Abbey Lincoln - VocalsClifford Jordan - Tenor SaxophoneColeridge Perkinson - PianoEddie Khan - BassMax Roach - Drums

Interview: Abbey Lincoln (1998)

Abbey Lincoln

Contents

Musician

Actress

Personal life

Discography

References

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MC 101

By Anders Griffen

Institute of Jazz Studies, Rutgers University Libraries

Finding aid encoded in EAD, version 2002, by Anders Griffen, December 2012

The contents of this finding aid were developed under a grant from Council on Library and Information Resources (CLIR). However, these contents do not necessarily represent the policy of the CLIR.

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Abbey Lincoln-"Brother Can You Spare a Dime?” from 'You Gotta Pay the Band (1991):

Abbey Lincoln (v)
Stan Getz (ts)
Hank Jones (p)
Charlie Haden (b)
Mark Johnson (d)
Maxine Roach (vio)

"Freedom Now Suite" Belgian TV BTR2 1964 (Probably January)

Abbey Lincoln - Vocals
Clifford Jordan - Tenor Saxophone
Coleridge Perkinson - Piano
Eddie Khan - Bass
Max Roach - Drums

"Freedom Now Suite" Belgian TV BTR2 1964 (Probably January)

Abbey Lincoln - Vocals
Clifford Jordan - Tenor Saxophone
Coleridge Perkinson - Piano
Eddie Khan - Bass
Max Roach - Drums

"Freedom Now Suite" Belgian TV BTR2 1964 (Probably January)

Abbey Lincoln - Vocals
Clifford Jordan - Tenor Saxophone
Coleridge Perkinson - Piano
Eddie Khan - Bass
Max Roach - Drums

"Freedom Now Suite" Belgian TV BTR2 1964 (Probably January)

Abbey Lincoln - Vocals
Clifford Jordan - Tenor Saxophone
Coleridge Perkinson - Piano
Eddie Khan - Bass
Max Roach - Drums