Collecting area: Jazz

When he was fifteen or sixteen, Eric Bascom’s life changed forever when he saw renowned jazz guitarist Wes Montgomery perform. Though Bascom had been playing guitar himself since he was young, seeing Montgomery opened his eyes to a completely new way of playing guitar and a completely new approach to music. Since that time, Bascom has been an avid listener, collector, and practitioner of jazz. He is currently performing as the Eric Bascom Trio with Ed Brainerd and Genevieve Rose.
The Eric Bascom Collection of Jazz Recordings consists of hundreds of jazz 78 rpm records from the 1940s and 1950s, including a number of 78 books with beautifully illustrated covers. In addition to the records are player piano rolls, several of which were punched by Fats Waller, and a portable Walters Conley Phonola 78 record player.

Born in 1926 in Brooklyn, New York, Borah Bergman emerged late in life as a renown free jazz pianist and technical innovator. While teaching math and English in the New York public school system, Bergman developed an ambidextrous technique, or as he described it, “ambi-ideation.” This technique allowed Bergman to express ideas with equal intensity using both his right and left hands and provided the framework for an evolving and truly unique musical philosophy and body of work. Since his first recording, released in 1975 at the age of 49, Bergman appeared on 28 albums, both solo and with some of the most important figures in avant-garde jazz, and was active until his death in 2012.

The Borah Bergman Papers include hundreds of hours of Bergman’s personal recordings on reel-to-reel tapes. According to Bergman, these recordings comprise his greatest achievement and demonstrate the development of his technique and musical ideas. In addition to the personal recordings are a wide variety of Bergman’s performances in studio and with other musicians. Bergman’s work is also documented in notebooks, scores, fiction manuscripts, and an unpublished textbook on his ambi-ideation technique.

Founded in 1973, the Boston Jazz Society grew from a small group of enthusiasts listening to music in living rooms to a thriving organization that “kept Jazz alive” in New England. As Jazz’s popularity began to fade in the late 1960s, local Jazz societies formed to provide support to artists and give them the means and venues to continue to perform on the road. The Boston Jazz Society was originally inspired by one of the earliest, the Left Bank Jazz Society of Baltimore. Like the Left Bank, BJS produced concerts in clubs, theaters, and hotels but expanded their efforts to include exhibits, television and radio shows, and a Jazz education program for grade school students. The longest running BJS activities, however, were the annual Jazz Barbecues and starting in 1975, the BJS Scholarships. The scholarship program raised funds for young Jazz musicians to attend the New England Conservatory of Music’s Jazz Department and the Berklee School Of Music and began the musical careers of many important musicians, composers, and teachers. BJS was also deeply connected to the local music scene, celebrating Roxbury, Mass. natives Alan Dawson and Roy Haynes, whose brother Vincent was a long-time board member, among many others. After 42 years of promoting Jazz music in Boston, the Boston Jazz Society, Inc. dissolved in 2015.

The Boston Jazz Society Records extensively document BJS’s meetings, events, business dealings, and scholarship administration through meeting minutes, posters, correspondence, photographs, recordings, videos, and BJS’s own propaganda and publications. The majority of the BJS records came from the collection of founding member and longtime president Aureldon Edward Henderson and also represents his involvement in promoting Jazz in the Boston area.

Ed Cohen is a graduate of UMass Amherst (’75) and has been an active commercial photographer in Western Massachusetts since finishing at UMass. In addition to typical work for hire subject matter, Cohen has specialized in event and concert photography.

The Edward Cohen Photographs of Max Roach collection is comprised of seventeen mounted photographs of Max Roach at UMass in the late 1980s, early 1990s. Roach is depicting in concert, backstage, and interacting with well known musicians, UMass faculty, and members of the UMass community. The photos were purchased by the University and were exhibited in the Student Union.

A native of Providence, R.I., Bobby Davis arrived in Amherst in 1977 and soon afterward entered the University Without Walls program at UMass to earn his college degree. A talented jazz musician, Davis became immersed in the vibrant local arts scene, learning photography while writing for the student publications Nummo News and the Collegian, and covering performances by a steady stream of jazz and R&B acts touring through the area. Working later as a photographer for Smith College and traveling for the yearbook company, Delmar Studios, Davis eventually settled in Northampton, where he remains active as a photographer.

The Davis collection contains ten exhibition prints of jazz musicians performing in Amherst, including Art Blakey, Angela Bofill, Ray Charles, Miles Davis, Dizzy Gillespie, Yusef Lateef, Oscar Peterson, Max Roach, Gil Scott-Heron, and Archie Shepp.

Chester Davis was a scholar of African American education and media, one of the first core faculty members of the Afro-American Studies Department at UMass Amherst and a major architect of that department’s development, and an avid photographer. Davis was born in Gary, Indiana and attended Roosevelt High School. He was among the first African American graduates of the University of Chicago, where he earned his BA and MA, and then earned his PhD from Syracuse University. After several positions in academia, Davis joined the African American think tank Institute of the Black World, right after its establishment by Coretta Scott King in 1969. His work there influenced the growth of Black Studies programs across the US and he was soon recruited by the University of Massachusetts to help build its newly founded Afro-Am. department. Davis retired from the University in 1992 and moved to Tallahassee, Florida, where he passed away in 2016.

The Chester Davis Papers reflect his research, teaching, and administrative work as a member of the Afro-American Studies Dept. at UMass. In addition to UMass-related lecture notes, correspondence, and research materials, the collection documents his post-retirement activities in Tallahassee and a longstanding research project on Roosevelt High School, which includes a rich cache of historical materials. There is also a significant collection of Davis’s photographs, including prints, negatives, and slides. Davis was an avid amateur with an artistic eye and his topics range from family photographs to concerts, demonstrations, and other activities at the University.

Elysian Spring performing on stage, ca. 1969.

Formed by UMass Amherst students in the late 1960s, Elysian Spring proved to be a popular jazz band during their time on campus. The band’s name and member lineup changed over time, but by the time they recorded their first–and only–record in 1969, the band consisted of Rainer Bertrams, Jimmy Bridges, Lenny Ezbicki, Bruce Krasin, and Jerry Mirliani. The group was focused on improvisational, modal jazz compositions reflecting the beauty found in nature, with the band name itself referencing the Elysian Fields of Greek mythology. Elysian Spring played several venues on and off campus and were the highlight of the University Jazz Workshop concerts. The band released Glass Flowers in 1969, which features back cover notes written by Andy Haigh, Music Librarian at UMass at the time. After the album came out, and after graduations and moves, the band went their separate ways. However, their album became a cult favorite, being sought after by collectors and prompting a reissue of Glass Flowers that was released in 2018.

The Elysian Spring Collection includes the 2018 reissue of their 1969 album, Glass Flowers, color photographs, contact sheets, negatives, and a poster from a 1969 concert. There are also typed interviews with Bruce Krasin and Rainer Bertrams, and a DVD with a brief interview with Lenny Ezbicki and Bruce Krasin on the occasion of the 50th anniversary of the release of their album.

Jazz musician and collector George G. Loring, known as Gid, played the cornet with a number of bands including his own (Gid’s Giddy Gang), especially after retiring from a career in the financial industry. Although he never considered himself a professional musician, he kept busy playing professional and semi-professional gigs and casual jam sessions in the Boston area, occasionally in his own home in Manchester, Mass. In addition to jazz, he played swing and Dixieland. Also dedicated to the environment, he was a founder of the Manchester Conservation Trust in 1963.

This collection contains an assortment of material relating to and describing jazz music and performances mainly from the 1940s through the 1960s, including collections of letters by musicians Jim Wheaton and James Weaver (mostly written in the early 1990s), notes about Boston Jazz Society performances, and ephemera including programs and clippings, with an emphasis on Louis Armstrong.

Miscellaneous Manuscripts is an artificial collection that brings together single items and small groups of related materials. Although the collection reflects the general collecting emphases in SCUA, particularly the history of New England, the content ranges widely in theme and format.

A fixture of the Boston Jazz scene, Bernie Moss began taking photographs in the early 1960s, capturing musicians on stage and after hours in the clubs he frequented. Musicians that Moss would meet at Connelly’s, the Savoy Cafe, Lennie’s on the Turnpike, and later the Jazz Workshop, would often come to Moss’s apartment at 11 Queensberry Street where he would give them a place to stay and a meal. His generosity and love of the music and musicians was renown among the top artists of the era; inspiring Dexter Gordon to compose the song “Boston” Bernie Moss in his honor. Moss was born on Christmas day in 1908 and grew up in a Jewish household. He played trombone as a member of the Massachusetts National Guard 241st Coast Artillery Regiment from 1929 to approximately 1939 but spent the remainder of his life looking after the Boston apartment buildings he inherited from his father, known as the Moss Realty Co. According to Nat Hentoff in his memoir Boston Boy, “he took care that none of his tenants ever knew him as a landlord. His brother collected the rent, and the janitor received all the complaints about services. Bernie just showed up to talk about jazz.” Moss died on February 13th, 1988.

The Bernie Moss Photograph Collection primarily consists of Moss’s color photographs taken at Boston Jazz clubs in the 1960s and early 1970s. The photographs include musicians Alan Dawson, Roy Haynes, John Coltrane, Ben Webster, Dizzy Gillespie, Yusef Lateef, Herbie Hancock, Art Blakey, and many more. Moss’s amateur style brings life to some of the most important years of modern Jazz, showing Jazz greats at the height of their powers, often in informal settings. Many photographs were mounted and catalogued as part of a traveling exhibit curated by the Boston Jazz Society.