National Park Service U.S. Department of the Interior

New Orleans Jazz National Historical Park Louisiana New Orleans Jazz National Historical Park Long-Range Interpretive Plan New Orleans Jazz National Historical Park Long-Range Interpretive Plan

Prepared by the Department of Interpretive Planning Harpers Ferry Center and New Orleans Jazz National Historical Park

July 2007

National Park Service U.S. Department of the Interior Contents

Executive Summary 1

Introduction 4

Foundation for Planning 7 Park Purpose 7 Park Significance 7 Mission Statement 10 Interpretive Themes 10 Visitor Experience Goals 12 Issues and Influence 19

Existing Conditions Assessment 22

Recommendations 28 Specific Recommendations 34 Implementation Plan 42 Participants 43 References 44 The only known photograph of Buddy Bolden (2nd from left, standing).

EXECUTIVE SUMMARY

“Jazz is hereby designated as a rare Following are the key recommen- and valuable national American dations of this plan. All are based treasure to which we should devote on the Proposed Action in the our attention, support and resources General Management Plan. to make certain it is preserved, un- derstood and promulgated.” • NPS presence and interpretive -Concurrent Resolution 57, activities in Armstrong Park are 100th U.S. Congress, 1987. critical to the mission of New Orleans Jazz National Historical This long-range interpretive plan Park. The visitor center will be (LRIP) confi rms the founda- developed in Armstrong Park on tion for visitor experience and lands provided to the National interpretation/education of New Park Service under a long-term Orleans Jazz National Historical lease by the city of New Orleans. Park (NHP), and recommends Facility development will be a strategy for achieving park and phased along with interpretive visitor goals within the next 5-10 media development. Rehabilita- years. This document is consis- tion in Armstrong Park began in tent with the NPS mission, previ- 2006. ous planning, civic engagement, partnerships, and the realities • Perseverance Hall will provide of a Gulf coast recovering from a temporary visitor center until 2005 hurricanes and a nation with funding can be obtained for a limited federal discretionary fi scal center that fulfi lls the core mis- resources. sion of the park. Perseverance Hall will be staff ed several days a This document represents the best week. Functions of visitor con- eff orts, over several years, of an tact, interpretation, education, exceptional group of luminar- performances, and cooperating ies representing music, local and association sales will be pro- regional culture, history, tourism, vided. Until Perseverance Hall is and park interpretation and edu- rehabilitated, the current visitor cation. This document is certain to center at St. Peters will continue be modifi ed as new information, largely as at present. When the opportunities, funds, and partners Hall is open, services will shift to become available. But this docu- Perseverance Hall as neighboring ment and the previous General developments, visitation, staffi ng, Management Plan (GMP) form a and funding permit with a goal of foundation from which being fully transitioned in 2008. subsequent decisions will be made. •At a later date, under Phase II as described in the GMP, a permanent visitor center will be developed in Armstrong Park. The permanent visitor center will use the latest technology to fulfi ll 1 Executive Summary

the cores mission and legislative •Interpretation of other sites in the mandate of the Park. The per- metropolitan area will be accom- manent visitor center will make plished by an audio/wireless tour the jazz story compelling and of jazz-related sites; a calendar meaningful for a wide diversity of activities, a wayside exhibit of audiences, including children, plan, an interpretation/orienta- families, school groups, interna- tion exhibit kiosk in Armstrong tional visitors, those new to jazz Park, an airport exhibit, internet as well as individuals seeking programming, and other partner- in-depth information, those who ship initiatives. want mostly to hear and enjoy music, and those wanting to visit •Improved orientation and way- signifi cant historic sites. A major fi nding will be provided by function of the visitor center directional signs in Armstrong will be to encourage visitors to Park, an Armstrong Park map or visit signifi cant sites and to enjoy brochure, and directional high- musical and cultural experiences way and street signs. around the city and the region. •Personal services will expand •Exhibits will be developed in from current off erings to include phases. Temporary exhibits will performances and other events be ready to install when Perse- in the Jazz Complex courtyard; verance Hall is open in 2007. second-line parades in Armstrong The second stage of exhibits Park; interpretive programs that will be ready to install in about start and/or end at Perseverance three years, or two years from the Hall; walking tours of Armstrong time when funding is obtained. Park, Tremé, and other neighbor- They will include interactive and ing areas; concerts and infor- audiovisual elements such as mances; and education programs short videos and audio listening (onsite and off site) for schools stations, graphic and text panels, and other organized groups. and historic objects. •Perseverance Hall and Phase • The fi nal stage (described in II exhibits – since they involve the GMP as Phase II) of exhib- multi-sensory and interactive its includes those necessary for technologies -- will require front- accomplishing the functions end, formative, and remedial eval- described in the GMP. They will uations to ensure achievement of require a larger space than is desired outcomes. available in Perseverance Hall. They are summarized below. • A visitor study of New Orleans tourists will determine jazz-re- •As funding becomes available, the lated interests, prior knowledge, Caretaker’s, Reimann, and Ra- expectations, resources used, and bassa Houses in Armstrong Park good and bad experiences. will be considered for rehabilita- tion based on associated costs; should rehabilitation costs prove 2 excessive, other options will be considered. Executive Summary Phase II

•The long-term solution to pro- viding an adequate park visitor center remains to be worked out. Neither Perseverance Hall nor the Firehouse is large enough, nor confi gured adequately, to accommodate exhibits and audiovisual media that will be required to interpret primary interpretive themes.

• The GMP states:

The rehabilitated [Persever- ance] hall would be expanded to construct a visitor center complex that would be cost effi cient to staff and would be suited to inter- pretive and educational needs. -- New Orleans Jazz GMP, p. 45

•Concurrent with Phase I devel- opment the NPS will pursue an expanded Cooperative Agree- ment and/or lease with the City of New Orleans in the Area of Potential Expansion as detailed in GMP. A larger visitor center complex for the purpose of using the latest and best technology to make the jazz story compelling and meaningful for a wide variety of audiences is identifi ed in Phase II development.

•About 3,000 square feet of visitor center exhibits will be needed. These will be highly interactive, multi-sensory, and able to accom- modate organized groups.

3 INTRODUCTION

This Long-Range Interpretive Plan This is a long-range plan, spanning (LRIP): from 7 to 10 years. It will join an Annual Interpretive Plan (AIP) and • Describes goals and issues for an Interpretive Database to make visitor experience, interpretation, up a Comprehensive Interpretive education, and resource steward- Plan (CIP) for New Orleans Jazz ship National Historical Park (JAZZ). Intended audiences for this LRIP •Recommends ways to achieve include park staff , interpretive those goals and address the issues media and facility designers, through facilities, interpretive partners, and regional offi ce staff . media and programs, and access to resources and experiences This plan is congruent with other park plans, including the New • Provides relevant background Orleans Jazz General Management information Plan (GMP).

Why is jazz important? Jazz captures and stylizes 20th century life encourages resilience and improvisation brings people (races) together conveys beauty and meaning expresses some of our deepest values created an indelible body of art (recordings) has stood the test of time aff ords and encourages freedom delivers on many levels (dance, parades, concerts, folk, popular) is highly infl uential -- John Hasse

4 Introduction The Planning Process New Orleans Jazz Planning Comprehensive In 1993 a Special Resource Study Interpretive (SRS) analyzed options for pre- Planning serving jazz heritage. New Orleans The Comprehensive Interpretive Jazz National Historical Park was Plan (CIP) is a program manage- created on October 31, 1994. A ment plan that encompasses visi- General Management Plan (GMP) tor experience, interpretive media, was completed in 1999. This Long- orientation/information services, Range Interpretive Plan (LRIP) is and personal interpretation and a program management plan that education services. The CIP is conforms to the direction and the basic planning document for decisions provided by the GMP. interpretation. CIPs have three components: the Long-Range Work on this LRIP began with a Interpretive Plan (LRIP), Annual three-day workshop in December, Implementation Plans (AIP), and 2001 in New Orleans. A second an Interpretive Database (ID). workshop was held in September, 2002. Participants at both work- The Long Range Interpretive Plan shops included staff from New (LRIP) defi nes the overall long- Orleans Jazz National Historical term vision for achieving visitor Park (JAZZ), Harpers Ferry Cen- experience, orientation/informa- ter (HFC), the New Orleans Jazz tion, and interpretation education Commission, and other partners. goals for the park. The LRIP The planning process was put on defi nes realistic strategies and hold pending determination of actions that work toward achieve- status of developments in Arm- ment of the goals. strong Park and a vacancy in the position of Park Superintendent. It Actions in the LRIP are divided was resumed in March, 2005. into annual, achievable steps and reproduced in the Annual Hurricane Katrina struck New Implementation Plan (AIP), the Orleans in September, 2005; other second component of the CIP. storms devastated the Gulf Coast Creating a series of these AIPs that that fall. Planning resumed in Jan- implement the recommendations uary, 2006 with a meeting between outlined in the LRIP simplifi es park staff and interpretive plan- the park’s annual planning. The ner Sam Vaughn. This document third component of the CIP is the summarizes the updated ten-year Interpretive Database (ID), an vision for the park. Flexibility is ongoing compilation of informa- required for all plans; it is espe- tion, reports, bibliographies, plans, cially appropriate for this plan. and inventories that document the The GMP will continue to provide LRIP’s ongoing progress. overall guidance for park manage- ment and development. This LRIP will be a dynamic document that provides basic foundation and guidance, and changes to meet new opportunities and better ways 5 to meet visitor experience goals. Introduction

New Orleans-born Sidney Bechet (1897-1959) was an incomparable jazz clarinetist, saxophonist, and composer. -

6 FOUNDATION FOR PLANNING

Park Purpose Park Signifi cance

The following statements describe New Orleans Jazz National His- the primary reasons why the park torical Park is nationally signifi cant was created. They infl uence because: management priorities and are cen- tral to decisions about how the park • New Orleans is widely recog- should be developed and managed. nized as the birthplace of jazz, and the sites and structures The purposes of New Orleans Jazz associated with the early history National Historical Park are to remain in the city.

• preserve resources and informa- • Jazz is America’s most widely tion that are associated with the recognized indigenous music art origins and early development of form; performance and apprecia- jazz in New Orleans tion of jazz is worldwide.

•enhance opportunities for visitors •Many distinctive social and tra- to experience and appreciate the ditional practices associated with sights and sounds of early jazz the origins of jazz continue in and the places where early jazz New Orleans today. evolved

• interpret the origins, history, and progression of jazz

•promote and assist the educa- tion of students in various forms of jazz in order to perpetuate its continued evolution as a true American art form

7 Foundation for Planning

A purpose of New Orleans Jazz NHP is to “interpret the origins, history, and progres- sion of jazz.” Pictured here are some of the great jazz musicians representing a variety of styles.

Billie Holiday Charles Mingus

Dizzy Gillespie

Charlie Parker

8 Foundation for Planning

Duke Ellington

John Coltrane

Bix Beiderbecke

Thelonious Monk

Bill Evans Wynton Marsalis

9 Foundation for Planning Mission Statement century, New Orleans-style jazz spread throughout much of the To serve the nation as a global country and around the world. leader in the promulga- Distinct styles developed in such tion of New Orleans cities as Kansas City, Chicago, jazz by enhancing and and New York. The progression instilling a public appre- of jazz included the develop- People think you got to ciation and understand- ment of musical forms popularly play music to understand ing of the origins, early called swing, bebop, cool, mod- it. That isn’t right; all history, development, ern, and fusion; descriptions you’ve got to have is a love and progression of this of these vary among diff erent for it. uniquely American musicians, critics, historians, music art form -- jazz. and listeners. Sidney Bechet, 1978 To preserve unimpaired this cultural resource Jazz has been an important and its core values for infl uence on rock and roll, the enjoyment, education, and blues, country music (including inspiration of this and future gen- Western swing and bluegrass), erations. classical music, movie sound tracks, and other popular music. Interpretive Themes The eclectic nature of jazz has resulted in jazz incorporating Interpretive themes are ideas, con- the infl uences of music from cepts, or stories that are central to a all around the world, such as park’s purpose, signifi cance, iden- Indian, African, Afro-Cuban, tity, and visitor experience. Primary Spanish, European classical, and themes describe the major stories various Asian forms. that derive from signifi cance state- ments. They provide the framework People and Society for the park’s interpretation and education services, link tangible and The characters in the story of intangible resources with meanings, jazz includes, of course, musi- suggest multiple perspectives, and cians – and also producers, infl uence desired visitor experiences. teachers, technicians, and many They provide direction for planners others. and designers of interpretive media and personal programs. Below are From its origins to the present the themes that will receive ma- day, jazz has played an impor- jor emphasis, with more detailed tant social role in New Orleans. sub-themes to be added during subsequent planning for interpretive Place media and programs. Jazz is a musical form that Music developed in America dur- ing the late 19th and early 20th Jazz is America’s most widely centuries; New Orleans is widely recognized indigenous musical recognized as a place where jazz art form. originated. 10 In the early decades of the 20th New Orleans’ location as a sea- Foundation for Planning port, along with its multicultural history, created an atmosphere in which jazz developed and fl ourished.

Jelly Roll Morton (1885-1941) was one of the fi rst great New Orleans jazz artists--pianist, vocalist, and composer.

11 Foundation for Planning Visitor Experience A Brief History of Jazz Goals The following section has been The following describe what experi- adapted from the New Orleans Jazz ences should be available for park Special Resource Study. visitors. Experiences can include cognitive (knowledge), aff ective Researchers and historians are still (emotions), behavioral (activities), learning about jazz history; there and sensory elements. are many and various opinions about what is important in the his- Visitors and program participants, tory of jazz. as well as people in other parts of the country and around the world, The Origins of Jazz - Pre 1895 will have opportunities to New Orleans was founded in 1718 as part of the French Louisiana • gain information associ- colony. After an extended inter- ated with primary interpretive lude of Spanish rule, France sold themes and park signifi cance the colony to the United States in to the depth of their interest, the Louisiana Purchase. corresponding to a variety of leaning styles New Orleans diff ered greatly from the rest of the young United States. •evoke the settings, activities, The dominant culture was Creole and players associated with – people of mixed French, African, early jazz and place them in Spanish, and American Indian an- meaningful contexts cestry. The city was predominantly Catholic and French-speaking, but •visit and understand the sig- the colony’s culture was infused nifi cance of sites associated with African traditions as well. As with the history of jazz in New early as 1721, enslaved West Afri- Orleans cans totaled 30% of the popula- tion of New Orleans. By the end of •hear, enjoy, and understand the 1700s, people of varied African jazz of all forms and eras descent, both free and enslaved, made up more than half the city’s •fi nd out where they may hear or population. Many arrived via the learn about jazz in other venues Caribbean and brought with them West Indian cultural traditions. • develop their jazz performance American Indians and Asians skills (students) and apprecia- added to the cultural “gumbo.” A tion (students and public) diff erent outlook on life prevailed, with an appreciation of good food, •Appreciate the cultural gumbo wine, music, festivals, and dancing. that was and is an essential part of jazz heritage After the Louisiana Purchase, the city’s population was doubled by West Indians coming mainly from Haiti. English-speaking Euro- and 12 African-Americans also migrated into New Orleans. Partially be- Foundation for Planning cause of the cultural friction, these New Orleans’ unusual history, newcomers began settling up- its unique outlook on river from Canal Street and from life, its rich ethnic and the already full French Quarter cultural makeup, and Jazz originated in New Orleans; (Vieux Carré). These settlements the resulting cultural a truism, with all that is true extended the city boundaries and interaction set the stage and false about such statements. created the “uptown” American for development and It is true that New Orleans was sector as a district apart from the evolution of many dis- the most important city in the older Creole “downtown.” The in- tinctive traditions. The genesis of jazz. It is false that fl ux of African-Americans, fi rst as city is famous for its it was the only one. Jazz – the enslaved and later as free people, festivals, foods, and es- music of a continent, a century, into uptown neighborhoods pecially its music. Each a civilization – was too much brought the elements of the blues, ethnic group in New in the air to be reducible to the spirituals, and rural dances to New Orleans contributed to patented product of a single city. Orleans’ already cosmopolitan the very active musical Similar ways of playing evolved musical makeup. environment in the city in Memphis and St. Louis, in and to the development Dallas and Kansas City, in Ethnic diversity increased further of early jazz. other cities of the South and during the 19th century with the Midwest. arrival of German, Irish, Italian, A well-known ex- and Eastern European immigrants. ample of early ethnic Joachim Berendt, 1992 The concentration of new Euro- infl uences signifi cant pean immigrants in New Orleans to the origins of jazz was unique in the South. is the African dance and drumming tradition. By the This rich mix of cultures resulted mid-18th century, slaves gathered in considerable cultural exchange. socially on Sundays at a special An early example was the city’s market outside the city’s rampart. relatively large and free “Creole Later, the area became known as of Color” community. Creoles Congo Square, famous for its Af- of Color were people of mixed rican dances and the preservation African, American Indian, and of African musical and cultural European blood and were often elements. well- educated craft and trades people. Creole of Color musi- Although dance in Congo Square cians were often formally trained ended before the Civil War, a in European music. People of related musical tradition surfaced diff erent cultures and races often in the African-American neighbor- lived close together (in spite of hoods at least by the 1880s. The conventional prejudices), which Mardi Gras Indians were black facilitated cultural interaction. For “gangs” whose members “masked” instance, wealthier families oc- as American Indians on Mardi cupied the new spacious avenues Gras day to honor them. Black and boulevards uptown, such as Mardi Gras Indians felt a spiri- St. Charles and Napoleon avenues, tual affi nity with native American while poorer families of all races Indians. On Mardi Gras day, gang often lived on the smaller streets members roamed their neighbor- nearby. New Orleans did not have hoods looking to confront other monocultural ghettos like many gangs in a show of strength and 13 other cities. neighborhood pride that some- Foundation for Planning

times turned violent. The demon- The roots of jazz drew from many stration included drumming and communities and ethnic groups in call-and-response chanting that New Orleans. “Papa” Jack Laine’s was strongly reminiscent of West Reliance Brass Bands, for instance, African and Caribbean music. were integrated before segregation Mardi Gras Indian music was part pressures increased. Laine’s bands, of the environment of early jazz. which were active around 1890 to Several early jazz fi gures such as 1913, became the best known of the Louis Armstrong described being white ragtime bands. Laine was a aff ected by Mardi Gras Indian promoter of the fi rst generation of processions as youngsters, and white jazzmen. Jelly Roll Morton claimed to have been a “spyboy,” or scout, for an A special collaborative relationship Indian gang as a teenager. developed between brass bands in New Orleans and mutual aid New Orleans music was also and benevolent societies. Mutual impacted by the popular musical aid and benevolent societies were forms that proliferated throughout common among many ethnic the United States following the groups in urban areas in the 19th Civil War. Brass marching bands century. After the Civil War such were the rage in the late 1880s, and organizations took on special brass bands cropped up across meaning for emancipated Afri- America. Other popular Euro- can-Americans who had limited American musics included opera, economic resources. The purposes mazurka, contra, dance music, and of such societies were to “help the chamber music. There was also a sick and bury the dead” -- impor- growing national interest in syn- tant functions because blacks were copated musical styles infl uenced generally prohibited from getting by African-American traditions, commercial health and life insur- such as cakewalks, spirituals, and ance and other services. minstrel tunes. By the 1890s synco- pated piano compositions called While many organizations in ragtime created a popular music New Orleans used brass bands in sensation, and brass bands began parades, concerts, political rallies, to supplement the standard march and funerals, African-American repertoire with ragtime pieces. mutual aid and benevolent so- cieties had their own expressive Early Development of Jazz - 1890 approach to funeral processions to 1917 and parades, which continues to Brass bands had become enor- the present. At their events, com- mously popular in New Orleans munity celebrants would join in as well as the rest of the country. the exuberant dancing procession. In the 1880s New Orleans brass The phenomena of community bands, such as the Excelsior and participation in parades became Onward, typically consisted of known as “the second line;” sec- formally trained musicians read- ond, that is, to the offi cial society ing complex scores for concerts, members and their contracted parades, and dances. band. 14 Foundation for Planning

By the turn of the century New Orleans was thriving not only as a major sea and river port but also as a major entertainment center. Theater, vaudeville, music publish- ing houses, and instrument stores employed musicians in the central The funerals in New Orleans are sad until the body is fi nally lowered into the grave and the reverend says, “ashes to ashes and dust to dust.” business district. Other entertain- After the brother was six feet under the ground the band would strike ment establishments fl ourished up one of those good old tunes like “Didn’t He Ramble”, and all the in and around the offi cially sanc- people would leave their worries behind. Particularly when King Oliver tioned red-light district near Canal blew that last chorus in high register. and Rampart streets. Out on the shores of Lake Ponchartrain bands Once the band starts, everybody starts swaying from one side of the street to the other, especially those who drop in and follow the ones competed for audiences at amuse- who have been to the funeral. These people are known as ‘the second ment parks and resorts. Street line’, and they may be anyone passing along the street who wants to parades were common in the hear the music. The spirit hits them and they follow along to see what’s neighborhood, and community happening. social halls and corner saloons held dances almost nightly. Louis Armstrong, Satchmo: My Life in New Orleans

New Orleanians never lost their penchant for dancing, and most of the city’s brass band members doubled as dance band players. At the turn of the century string dance bands were popular in more polite settings, and “dichty” music, as the more genteel dances were known, was the staple of many downtown Creole of color bands [Big Eye Louis Nelson] lived downtown, and I lived uptown. He such as John Robichaux’s Orches- was on the north side of town, and I was living on the south side. tra. In other words, he was a Creole and lived in the French part of town. Canal Street was the dividing line and the people from the diff erent sections didn’t mix. The musicians mixed only if you were good enough. But at one time the Creole fellows thought up- town musicians weren’t good enough to play with them, because most of the uptown musicians didn’t read music. Everybody in the French part of town read music.

Baby Dodds, The Baby Dodds Story

15 Foundation for Planning

Earthier vernacular dance styles athletic events, church festivals, were also increasing in popular- weddings, and funerals. Neighbor- ity in New Orleans. Over the last hood social halls, some operated decade of the 19th century, non- by mutual aid and benevolent so- reading musicians playing more cieties or other civic organizations, improvised music drew larger were frequently the sites of ban- audiences for dances and parades. quets and dances. Early jazz was For example, between 1895 and found in neighborhoods all over 1900 uptown cornet player Charles and around New Orleans -- it was “Buddy” Bolden began incor- a normal part of community life. porating improvised blues and increasing the tempo of familiar Sometime before 1900, African- dance tunes. The increasing popu- American neighborhood organiza- larity of this music brought many tions known as social aid and plea- musicians into the improvising sure clubs also began to spring up bands. Also, repressive segregation in the city. Similar in their neigh- laws passed in the 1890s (as a back- borhood orientation to the mutual lash to Reconstruction) increased aid and benevolent societies, the discrimination toward anyone purposes of social and pleasure with African blood and elimi- clubs were to provide a social nated the special status previously outlet for its members, provide aff orded Creoles of color. These community service, and parade changes ultimately united black as an expression of community and Creole of color musicians, pride. This parading provided thus strengthening early jazz by dependable work for musicians combing the uptown improvisa- and became an important training tional style with the more disci- ground for young musical talent. plined Creole approach. New Orleans jazz began to spread The instrumentation and section to other cities as the city’s musi- playing of the brass bands increas- cians joined riverboat bands and ingly infl uenced the dance bands, vaudeville, minstrel, and other which changed in orientation from show tours. Jelly Roll Morton, an string to brass instruments. What innovative piano stylist and com- ultimately became the standard poser, began his odyssey outside front line of a New Orleans jazz of New Orleans as early as 1907. band were cornet, clarinet, and The Original Creole Orchestra, trombone. These horns collective- featuring Freddie Keppard, was ly improvising or “faking” rag- an important early group that left time and other music yielded the New Orleans, moving to Los An- characteristic polyphonic sound of geles in 1912 and then touring the New Orleans jazz. Orpheum Theater circuit, with gigs in Chicago and New York. In fact, Most New Orleans events were Chicago and New York became accompanied by music, and there the main markets for New Orleans were many opportunities for jazz. Tom Brown’s Band from musicians to work. In addition to Dixieland left New Orleans for parades and dances, bands played Chicago in 1915, and Nick LaRocca 16 at picnics, fi sh fries, political ral- and other members of the Original lies, store openings, lawn parties, Dixieland Jazz Band headed there Foundation for Planning

in 1916. Jazz also spread to the Ca- the polyphonic ensemble style of ribbean and infl uenced indigenous New Orleans with development musics of the islands. of the soloist’s art. The techni- cal improvement and popularity Maturation of Jazz - 1917 to the of phonograph records spread Early 1930s Armstrong’s instrumental and In 1917 the Original Dixieland Jazz vocal innovations and make him Band cut the fi rst commercial jazz internationally famous. His Hot recording while playing in New Five and Hot Seven recordings York City, where they were en- (1925-28), including his celebrated thusiastically received. The Victor work with Earl Hines, were quite release was an unexpected hit. popular and are milestones in the Suddenly, jazz New Orleans style progression of the music. was a national craze. Jelly Roll Morton, another New With the new demand for jazz, Orleans giant, also made a series of employment opportunities in the infl uential recordings while based north coaxed more musicians to in Chicago in the 1920s. Morton’s leave New Orleans. For example, compositions added sophistica- clarinetist Sidney Bechet left for tion and a structure for soloists to Chicago in 1917, and cornetist Joe explore, and his work set the stage “King” Oliver followed two years for the Swing era. later. The appeal of the New Or- leans sound knew no boundaries. New Orleans musicians and musi- By 1919 the Original Dixieland Jazz cal styles continued to infl uence Band was performing in England jazz nationally as the music went and Bechet was in France; their through a rapid series of stylistic music was wholeheartedly wel- changes. Jazz became the unchal- comed. lenged popular music of America during the Swing era of the 1930s King Oliver, who had led popular and 1940s. Later innovations, bands in New Orleans along with such as bebop in the 1940s and trombonist Edward “Kid” Ory, avant garde in the 1960s, departed established the trend-setting Cre- further from the New Orleans ole Jazz Band in Chicago in 1922. tradition. Also in Chicago, the New Orleans Rhythm Kings blended the Oliver Once the small-band New Orleans and Original Dixieland Jazz Band style fell out of fashion, attempts sounds and collaborated with Jelly were made to revive the music. Roll Morton in 1923. In the late 1930s, recognizing that early jazz had been neglected and Perhaps the most signifi cant de- deserved serious study, jazz enthu- parture from New Orleans was in siasts turned back to New Orleans. 1922 when Louis Armstrong was Many New Orleans musicians and summoned to Chicago by King Ol- others were still actively playing iver, his mentor. Louis Armstrong traditional jazz. Recordings and swung with a great New Orleans performances by Bunk Johnson feeling, but unlike any of his pre- and George Lewis stimulated a decessors. His brilliant playing led national jazz revival movement, 17 a revolution in jazz that replaced providing opportunities for Foundation for Planning

traditional jazz players that persist today.

The Original Dixieland Jazz Band made the fi rst known jazz recording.

18 Foundation for Planning Issues and Infl uences ties played in the development of jazz are not clear. For example, Hurricane Katrina the interrelationships between the While in the fi nal stages of com- Mardi Gras Indians, social aid and pleting this plan, the most cata- pleasure clubs, and mutual aid and strophic hurricane in U.S. history benevolent societies to jazz history ravaged New Orleans on August are not fully documented. 29, 2005. Park facilities were rela- tively unscathed, but the city was In addition to information gaps, forever changed. there is an inherent challenge in publicly interpreting jazz. It is dif- The uncertainties present in post- fi cult to fi nd cost-eff ective ways to Katrina New Orleans place some convey the multicultural perspec- of these recommendations into a tives relating the heritage of jazz. tentative status. As this document goes to print less than half of the The musical story of jazz may be population has returned, and over diffi cult to interpret. Jazz is still seventy-fi ve percent of the K-12 discounted, trivialized, stereo- schools are closed. Jazz musi- typed, and/or marginalized by cians are fi nding work in other some music scholars and educa- states and some may never return. tors. On the other hand, some Dependent on a non-existing tax- analyses of jazz can be quite eso- base, the City of New Orleans is teric; comprehending them may broke. Another hurricane season require experience as a musician is about to begin with predictions or knowledge of music theory or of an unusually high number of history. violent storms traversing the Gulf of Mexico. Beyond what to interpret, ques- tions remain regarding how best to Proceeding with the optimism that convey interpretive information, as New Orleans will recover and re- well as what role, if any, the park build to a better-than-ever future should have in providing technical allows this plan to reach fruition. aid for interpretation to communi- To the extent that the future may ties and organizations. Also, how be less prosperous, fl exibility must could any such role be accom- be encouraged. plished without altering the social fabric of these communities? Interpretation The development of jazz involved Education the many cultures and condi- Jazz education is presently ac- tions that existed in New Orleans cessible only to a limited degree during the late-19th and early- to most people in New Orleans. 20th centuries. This was, and is, Many educational opportunities a long and complex process that are available to limited audiences. is not completely understood by the public or by professionals. In many cases the history of jazz is incomplete or unrecorded. Often the roles that various artists, New 19 Orleans families, and communi- Foundation for Planning

Proposed Jazz Center and benefi t from. Decisions will be The new surprise issue is the needed about which sites should proposed $716 million National be publicized, what criteria to use Jazz Center, hotel, and city hall in those decisions, and the meth- complex development led by ods to be used. owners of the Hyatt Regency New Orleans Hotel and enthusiastically Loss of original buildings and endorsed by Governor Blanco and character Mayor Nagin in May 2006. This There are not many original build- leaves a number of fundamental ings remaining that relate to the questions unanswered for the early history of New Orleans jazz. NPS and its role in interpreting Many signifi cant neighborhoods New Orleans culture. Essentially, and landscapes have changed this development has the power character and appearance. Un- to make the jazz theme and NPS derstanding and appreciating the presence in Armstrong Park an environment and context within afterthought. NPS cannot and which early jazz developed will should not attempt to compete require experiences such as those with the proposed National Jazz provided by interpretive media. Center and its extensive outreach and performance programs. Park identity and location Certainly, there could be a part- New Orleans Jazz NHP is not a nership. Regardless, if the Center primary destination for many New opens, much of this plan (and the Orleans visitors. People come to current general management plan) New Orleans for many other rea- will need a frank and honest reap- sons (some of them quite distinct praisal. from traditional park experiences). Many may not know the park Visitor Center access exists. The park interprets many An important issue will be getting sites and has not had a permanent visitors to the visitor center. The central location. It is a nontradi- visitor center/education center/ tional NPS area whose existence headquarters complex will be may surprise many potential visi- located in Armstrong Park. His- tors. The service industry – a major torically there has not been a great source of orientation information deal of activity in the Park. in New Orleans – will require education to become familiar with Visitor access to sites throughout the park. the city There are sites signifi cant to jazz From myths to history throughout the city. It may be dif- There are untold numbers of fi cult for out-of-town visitors to myths associated with the history know where to go, fi nd their way, of jazz. Even jazz histories contain and navigate safely in a busy urban stories that turn out to be overem- environment. New Orleans is an phasized or apocryphal. It will be a old and in many ways a diff erent challenge to off er accurate histo- city than many visitors are used ries among the multiple perspec- to. These potential diffi culties may tives provided to visitors. 20 discourage visitors from going to The scope of the story sites they would otherwise enjoy The focus of this park is jazz in Foundation for Planning

New Orleans. But one of the park purpose statements directs the Park Service to “interpret the origins, history, and progression of jazz.” The origins, history, and progression of jazz extend beyond the geographical boundaries of New Orleans and beyond the temporal boundaries of the early 20th Century.

21 EXISTING CONDITIONS ASSESSMENT

New Orleans Jazz National His- Visitor Center torical Park was created by Con- A temporary visitor center is locat- gress to celebrate the origins and ed at 916 North Peters Street, near evolution of the uniquely indig- the French Market in the French enous American art form of jazz. Quarter. This is a leased space that Park administrative headquarters provides a family-friendly venue is located [at 419 Decatur Street, on North Peters St. in the French in the headquarters of Jean Lafi tte Quarter. It includes an attended National Historical Park,] pend- information desk and a stage for ing rehabilitation of the Reimann performances, programs, and House in Armstrong Park. For all “informances” (informational practical purposes, the essence of performances). An LCD projec- New Orleans Jazz National Histor- tor, laptop computer, overhead ical Park encompasses the greater projector, slide projector, and metropolitan New Orleans area. DVD/VCR player are available for The park seeks to preserve jazz presentations. There is an exhibit resources and disseminate infor- on women in jazz, an oral history mation about the history, develop- exhibit, and a CD listening station, ment, and progression of jazz and sales area, and a projection screen its many contributions for societies where several jazz documentaries locally, regionally, nationally, and are shown. around the world. -- New Orleans Jazz General Man- agement Plan (GMP), p. 6

22 Central New Orleans, including the French Quarter, Treme, and Central Business District Existing Conditions

The location is central to tourist • It is diffi cult to attract younger activities; however, the building is visitors and residents to the set back from the street and not center. always noticed by tourists. An out- •Large groups are diffi cult to ac- door kiosk attracts people to the commodate, because space in VC. Radio announcements and the visitor center is limited and print media notices also inform parking for school groups or bus potential visitors of the center’s lo- tours is scarce. cation and programming. Visitors can interact with musicians and Park Offi ces local residents. Park offi ces are in the headquar- ters building of Jean Lafi tte NHP Activities such as performances at (JELA), at 419 Decatur Street. the visitor center are advertised on Some administrative and other local radio, brochures at city visi- services are shared with JELA staff . tor centers and hotels, and listings in the Times Picayune entertain- Louis Armstrong ment section. Memorial Park Armstrong Park is a large city park Challenges with the current visitor located across Rampart Street center include: from the French Quarter. Several Statue of Louis Armstrong, lagoons are scattered among grassy Armstrong Park, • This building was intended for knolls and trees. New Orleans temporary use for no more than Structures include: two years. However, by June of • the Mahalia Jackson Center for 2006 it will have been occupied the Performing Arts for six years. Investments must be • Congo Square (a historical made with the future transition to gathering point and market, used the new visitor center in mind. since the establishment of the • There is some confusion about city, now on the National Regis- agency identity, especially with ter of Historic Places) the Mint nearby. • Louis Armstrong Statue •There are few exhibits or other • Sidney Bechet Statue interpretive media to help in- • Perseverance Hall No. 4 terpret park themes and orient • Rabassa House visitors; there is not enough space • Reimann House to install exhibits. • Caretaker’s House •Adequately providing functional •Fire House needs of presenters (slides, video, •Municipal Auditorium lighting, sound) requires con- siderable investment of staff and The GMP calls for a visitor center equipment. to be located in Armstrong Park. •Programs must sound interesting South Rampart Street and provocative to attract audi- ences. • The visitor center may be diffi cult for visitors to fi nd; many people may not know it’s there. 23 Existing Conditions

24 Existing Conditions South Rampart Street in the city: The 400 block of Rampart Street includes four historic buildings • New Orleans has a superb image with connections to New Orleans that attracts upscale consumers jazz. These are the Eagle Saloon from across the nation. (aka Odd Fellows Hall), Iroquois Theater, Karnofsky Store, and • New Orleans is considered the Frank Duros Saloon. All are in pri- most unique and exciting city in vate ownership. All are in varying North America in the minds of states of disrepair. the traveling public. The City •In 1992 an estimated 6.5 million The 1993 Special Resource Study overnight visitors over 18 old identifi ed and evaluated 48 historic came to New Orleans. structures in and around the city that were related to the history • An additional 1.1 million visitors of jazz. In addition, 50 musicians’ spent time in New Orleans but homes were discussed as candi- did not stay overnight, and about dates for preservation and inter- 400,000 overnight visitors to pretation. Historic neighborhoods Louisiana passed through the city. near the French Quarter (which was not prominent in early jazz) • Direct tourism expenditures in included Storyville, the Tango Belt, New Orleans amounted to $1.8 Back o’ Town, the Central Busi- billion in 1992. ness District, and Tremé. Farther away were Uptown and Lakefront The implications to the park are neighborhoods and the West that tourism – already an impor- Bank. Although some structures tant and thriving sector of the local have been destroyed by Hurricane economy – continues to rise, and Katrina, and earlier redevelop- thus there is a large and increas- ment replaced many buildings and ing pool of visitors to the city that changed many neighborhoods, potentially could visit the park. the City retains incomparable jazz heritage resources. A 1994 visitor survey by the New Orleans Metropolitan Convention Visitors and Visitors Bureau, Inc., yielded New Orleans is home to about visitor profi les that may approxi- a half million people. It is also mate present and future visitors to a vibrant and important tourist the park: attraction. Mardi Gras, the Vieux Age Percent Carré (French Quarter), the New 21 – 30 21% Orleans Jazz and Heritage Festival, 31 – 40 24 and other special events, sporting 41 – 50 25 events, concerts, and food attract visitors to the city. 51 – 60 17 61 – 70 10 The 1990 Travel USA Benchmark Over 70 03 survey was updated for New Orleans in 1992 and included the 25 following information on tourism Existing Conditions International visitors are an im- 2004 Recreational portant audience. Exact fi gures Visitation are unavailable, but a signifi cant number visit New Orleans, and a Month Visits signifi cant proportion of those are January 2,775 enthusiastic jazz afi cionados. February 1,897 Visits to New Orleans declined March 4,372 severely in 2005-6 after the hur- April 6,054 ricane. But relatively little damage May 3,025 was done to prime tourist attrac- June 3,035 tions (particularly the French July 2,992 Quarter). In 2006 the City hosted a successful -- albeit smaller – Mardi August 2,921 Gras, and tourism is recover- September 3,347 ing. This recovery is expected to October 5,415 continue. November 4,817 December 3,576 2004 Total 44,226

Recreational visits include visitors to the North Peters St. Visitor Center and attendance at off -site programs. Peak seasons are spring and fall.

7,000 6,000 5,000 4,000 3,000 2,000 1,000 0

l r r ry ry ri y e ly st r e r a a rch a n u e e b e u u p M Ju g b b b n r a A Ju u m o m m b M A te ct Ja e p O ve ce F e o e S N D

26 Existing Conditions Interpretation and Current park staff include two Education Program ranger-musicians, who provide ex- Many excellent programs are ceedingly valuable services. They presented at the visitor center. Jazz know both jazz and interpretation/ performances, demonstrations, education, and share this expertise and “informances” (informational through informances, programs, performances) occur several times and informal contacts. a week. These are advertised on radio, brochures, and newspaper Interpretive programs and special listings. Most programs are well events have also been given at attended, though it seems more Armstrong Park (especially Congo diffi cult to attract younger and lo- Square) and other locations. cal audiences. Partnerships were vital in the success of these programs. Informal contacts provided by park staff at the visitor center are Education programs are given numerous and important. There to groups such as schools, elder- is also considerable interaction hostel, community centers, and between tourists and local music camps. Grants and partnerships afi cionados who come to the visi- are essential in providing these tor center for performances and services. Most programs occur conversation. off -site.

Black Men of Labor Parade

27 RECOMMENDATIONS

The short-term implementation of ered for rehabilitation based on recommendations will of course associated costs; should rehabilita- be aff ected by recovery from the tion costs prove excessive, other 2005 hurricane. Recommenda- options would be considered. tions themselves may be altered. Offi ces for NPS staff would also be At the time of writing this plan located in this complex. (March, 2006), the timetable and -- GMP, p. 45 details of rebuilding New Orleans are still being determined. Recom- The visitor center would use mendations will therefore tend the latest and best technology toward the conceptual in order to make the jazz story compel- to leave fl exibility for subsequent ling and meaningful for a wide adjustments. Overall recommen- diversity of audiences, including dations will remain those devel- children, families, school groups, oped by consensus in workshops international visitors, those new to with NPS staff and partners prior jazz as well as individuals seeking to Katrina and consistent with in-depth information, those who the General Management Plan want mostly to hear and enjoy (GMP). music, and those wanting to visit signifi cant historic sites. Although Overall Approach the visitor center would provide This section describes the over- an enjoyable and engaging experi- all approach and direction for ence on its own, a major purpose interpretation and education. of media experiences would be to It is taken verbatim from the urge visitors to visit signifi cant sites New Orleans Jazz NHP General and to enjoy musical and cultural Management Plan. experiences around the city and the region. The visitor center would be devel- -- GMP, p. 45 oped in Armstrong Park on lands provided to the National Park The city’s Hyatt initiative – which Service under a long-term lease by proposes a museum, a research the city of New Orleans. Facility center, and the preservation of development would be phased historic jazz resources along South along with interpretive media Rampart Street -- is complemen- development. tary to the National Park’s mission. -- GMP, p. 45 By working together on a compre- hensive, mutually benefi cial plan, Perseverance Hall No. 4 and the City and NPS could develop the Caretaker’s House would be a cooperative public-private rehabilitated. The rehabilitated hall partnership. One way to do this would be expanded to construct a would be to use the New Orleans visitor center complex that would Jazz National Historical Park as be cost effi cient to staff and would the cornerstone of restoration be suited to interpretive and edu- eff orts along Rampart Street, in 28 cational needs. The Reimann and Armstrong Park, and in Tremé and Rebassa Houses would be consid other neighborhoods where the Recommendations rich heritage and traditions of jazz activities such as interpretive talks, are preserved. Local musicians presentations, demonstrations, need continued support. They are workshops, interpreted perfor- the mentors for the children, who mances (“informances”), semi- need schools with music programs nars, and participatory programs. and instruments. Activities would occur onsite and off site. Emphasis would be given The main purpose of interpre- to those audiences who would tation and education at New benefi t most from personal servic- Orleans Jazz National Historical es. These would frequently be chil- Park would be to enhance visitors’ dren, people initially unfamiliar abilities to enjoy and appreciate with jazz or jazz history, and those jazz music and its history and so- with little or no previous access to cial role in New Orleans. Visitors NPS programs, resources, or facili- derive pleasure, meaning, and ben- ties. Personal services would also efi t from their experience. Some include informal contacts such as visitors will be content to listen to attended stations, roving contacts, their favorite tunes and musicians. and responses to inquiries by This can be a valid, benefi cial, even telephone, mail, or electronic mail. transcendental experience. How- ever, interpretation and education Nonpersonal media would allow many New Orleans This form of contact would in- Jazz visitors to expand their reper- clude exhibits, audiovisual pro- toires, make new connections and grams, interactive devices, wayside understandings, and enhance their (outdoor) exhibits, publications, enjoyment. recordings, and digital media. Indoor media would be available Interpretation and education whenever a facility such as visitor would concentrate on traditional center was open; outdoor, take- New Orleans jazz, but would home, and much digital media include the development and pro- would be continuously available. gression of jazz (which includes Because of the nature of the park predecessors such as ragtime, story, auditory experiences would marches, and blues through con- be prominent. In a visitor center temporary forms). Interpretation or education center, this emphasis and education would be relevant would require careful facility and to the interests, backgrounds, ages, media design to ensure a visi- capabilities, and learning styles of tor experience rich in acoustical diverse audiences. Consequently, opportunities without yielding to multiple techniques would be used cacophony. More interior me- to convey information, provoke dia space would be needed than interest, elicit emotional involve- for most NPS visitor centers or ment, and stimulate individual museums without an emphasis on defi nitions of meaning and benefi t. auditory experiences.

Personal Services Interpretive Experience Both personal services and non- Interpretation would address all personal media would be used primary interpretive themes and to tell the park story. Personal subthemes. These themes fall into 29 services would include scheduled three general categories: music, Recommendations people and society, and place and connections rather than boundar- places. ies.

Music Personal programs would be the Music is the essence of the park best medium for communicating story. Jazz should be interpreted most interpretive themes within an in many ways, as determined by enjoyable and compelling context the interests and backgrounds of for diverse audiences. Programs audiences and by the best ways to could be adjusted to audience interpret it particular facets. En- interest and respond to questions. joyment must be part of all inter- Experiencing live musical per- pretive experiences, and all visitors formances would add additional would be encouraged to enhance dimensions. A proper balance their enjoyment by increasing their between performance and inter- appreciation through a better un- pretation would be needed. derstanding of jazz and its evolu- tion. Initially, untutored ears might Access to programs would be fi nd improvised jazz unorganized enhanced by off ering programs at and discordant or traditional jazz sites around the city and investing sounding “old,” similar to “cartoon in a multifaceted publicity ef- music.” To enhance appreciation, fort. Interpretation would also be visitors could be exposed to jazz provided by a modest amount of elements such as rhythm, form, interpretive media, which would melody, harmony, improvisation, employ the most cost-eff ective musical notation, composition, technologies. These media would and instrumentation according to supplement personal programs. their interests and current level of understanding. More advanced People and Society musicology should be available to If music is the essence, people are those interested without interfer- the heart of the story. Important ing with the enjoyment of more people include not only perform- casual visitors. ers, but also composers, arrangers, producers, social and pleasure It is important to recognize that, club members, second liners, pro- although New Orleans jazz is moters, club owners, historians, the primary focus of the park educators, technicians, and listen- story, visitors (especially children) ers, among others. The question of should be encouraged to broaden who are the important musicians their musical horizons to include to interpret has been addressed in such forms as dance, poetry, and numerous books and studies, as the visual arts. Music can be a well as in innumerable conversa- way of approaching mathematics, tions and debates. This plan would physics, sociology, and history; it add two points to those analyses: can become a vehicle for develop- ing discipline, self-esteem, pride, 1) the Park Service would employ and tolerance. Interpretation a “big tent approach,” with inclu- should address the big picture as sion rather than exclusion being well as specifi c park stories; the the rule. 30 edges of the stories should become Recommendations

2) Traditional New Orleans musi- of jazz and should be recognized cians who could be interpreted in any meaningful interpretation include of the music and its history. The role of racial and ethnic groups Louis Armstrong in jazz is an important story that Jelly Roll Morton would be addressed Buddy Bolden in a subsequent George Lewis interpretive plan and Bunk Johnson in future studies. A Nick LaRocca long-range inter- Sidney Bechet pretive plan would Freddie Keppard establish goals and Johnny Dodds detailed interpretive Baby Dodds themes for interpreta- Jack Laine tion and education Kid Ory programs, describe King Oliver accessible visitor Danny Barker experiences, and Tony Jackson recommend ways to Buddy Petit achieve these through interpre- New Orleans Jazz Parade Manuel Manetta tive media (e.g., exhibits, video Jimmie Noone programs, publications), facilities, Lizzie Miles programs, and other activities. In Omer Simeon addition a historic resources study John Robichaux and subsequent special studies Papa Celestin would identify historic themes and George Brunies evaluate resources in the context Larry Shields of jazz history. Leon Roppolo Social institutions such as mu- Contemporary New Orleans-born tual aid and benevolent societ- or –infl uenced musicians would be ies and social aid and pleasure interpreted as well. People relate clubs strongly aff ected the early to people, and personal stories of evolution of jazz. They provided jazz players would be an excellent employment, their parades and way of connecting with visitors of funerals were a primary venue for all ages who initially might not be jazz, and they hosted the transition interested in the interpretation of from marches to brass band jazz. music. The Mardi Gras, derived from French traditions, added a yearly The stories of people include vehicle for music and celebratory interactions within and among displays. The story of jazz thus groups. Confl icting racial at- would include perspectives of titudes were a daily reality that New Orleans’ neighborhoods, his- African-American musicians had tory, sociology, and anthropology. to contend with, especially when they performed away from home. Place and Places These matters factored frequently New Orleans is the place, and in the analysis, appreciation, con- within the metropolitan area there 31 ceptualization, and performance are hundreds of locations that are Recommendations signifi cant to the history of jazz. Interpretation in all three areas Some locations still feature origi- (music, people, place) should not nal structures that were associ- become immersed in complex- ated with jazz history, although ity, serving only the interest of unfortunately many signifi cant scholars and vocational experts. structures and settings have been Conversely, interpretation should lost. Yet, the importance of these not be a thin veneer over the most places has not been lost, and visi- familiar and accessible chestnuts. tors come to New Orleans from Diverse approaches would be around the world to visit the sites needed to serve the interests of of early jazz. Interpretation of diverse audiences. many of these sites would be an important priority for the park. Good teachers can interpret The Park Service would work with complex subjects using simple, other agencies, individuals, and enjoyable, understandable, and companies to off er visitors a vari- interesting methods. The nation- ety of ways to visit theme-related ally known music educational sites. Attention would be given to programs by Wynton Marsalis issues of safety, wayfi nding, and and Bobby McFarrin are excellent respect for the rights of private examples of inspired and eff ective citizens who are living in historic teaching (especially in the use of neighborhoods. metaphor, participation, multiple learning styles, and having fun). Care would be taken not to over- There are excellent examples in simplify assertions such as New New Orleans as well, including the Orleans being the sole birthplace work of the Louisiana Jazz Federa- of jazz. The legislation states that tion, Louis Armstrong Foundation, New Orleans is widely regarded Kidd Jordan, Jonathan Bloom, the as the birthplace of jazz (emphasis interpretive staff of New Orleans added). Indeed it is so regarded Jazz NHP, and others. by most jazz scholars and players around the world. Arguments rage Visitor Services even today about which neigh- Services for park visitors would borhoods “gave birth” to jazz. include orientation, information, However, most scholars recognize and health and safety. Orienta- that the origins of a major art form tion would include guidance on are more complicated than the where to go to hear music and metaphor of a “birthplace” can to visit signifi cant sites, and how capture. New Orleans was un- to respectfully visit these areas. doubtedly most signifi cant for its Orientation would concentrate development of small-band style on New Orleans, but informa- and a unique approach to rhythm tion on national and international (swing), yet parallel musical venues would also be available. developments were taking place Eff ective orientation requires a in many other cities. Language variety of media approaches; these should be carefully chosen to might include personal services, properly interpret complexities brochures, maps, audio and video such as this, yet still be interesting programs, telephone and postal in- 32 and comprehensible to lay audi- quiries, electronic mail, and a web ences. page. Other information would Recommendations be available in a variety of media Thematic approaches for educa- to answer questions about topics tion would be similar to those such as jazz, New Orleans geogra- described above for interpretation. phy, history, and tourist informa- However, since educational audi- tion, and the national park system. ences tend to be more homoge- Information on the historic preser- neous (at least in terms of age and vation of resources relating to jazz often of background), interpreters history would also be available. would be able to concentrate more Visitor services would include rest on approaches designed to appeal rooms, public telephones, emer- to each specifi c group. Education gency assistance, and information programs would include jazz his- about safely enjoying a visit to the tory, appreciation, and instruction. city. Most of these visitor services would be available at, or provided The Park Service would emphasize from, the visitor center, which both onsite and off site programs would be in a central, accessible, and activities for schools and other and known location. groups (e.g., community groups, scouts, churches, and camps). Education Priority would be given to popula- The function of the park edu- tions with little previous access to cational program would be to jazz- or NPS-related educational support and augment ongoing jazz resources and services (e.g., low- educational eff orts in the commu- income areas). Themes for educa- nity. Education programs depend tional programs would match the on partnerships. Considerable primary themes for the park; in time and eff ort is needed to build addition, programs would match relationships, match agency and school curricula and educational group objectives, and develop trust objectives where they overlap with and understanding among staff park purpose. and participants. A reward of this investment is that nontraditional Off site programs would be con- audiences could be reached, high- ducted throughout the metro- priority needs could be met, and politan area, with obvious dis- more could be accomplished. For tance limitations (which could be example, schools would often con- minimized through partnerships duct pre-program activities so that with outlying agencies or individu- audiences were better prepared als and through programs such and more receptive; post-program as the Amtrak Rails and Trails). activities would extend education- Off site facilities such as schools, al benefi ts. Other subjects such as community centers, and libraries mathematics or history might de- would provide important access velop skills that could complement for people who live in neighbor- music appreciation. Conducting hoods far from the visitor center. programs in signifi cant social Onsite programs in the visitor groupings (e.g., families, classes, center would require specifi c fa- scout troops, and church groups) cilities such as classrooms, practice could also enhance benefi ts due to rooms, a small research library, social reinforcement. listening stations, and exhibit areas with alcoves or other spaces for 33 small groups. Internet and other Recommendations media services would be promot- oped in subsequent eff orts, including ed. -- GMP, pp. 25 - 30 the Annual Implementation Plan. Priorities will depend on many Partnerships factors, including funding, priorities Virtually all essential park activi- of partners, NPS priorities, rebuild- ties involve partnerships. Many ing from the hurricane, and other partners have been involved in the developments. conception, birth, and early child- Interpretation and edu- hood of this park. These include Specifi c recommendations are cation will address these the New Orleans Jazz Commission divided into short and long term, questions: (created by the 1990 establishing which correspond generally to Phas- legislation), Hogan Jazz Archive es I and II described in the Proposed a) Why is jazz important? of Tulane University, Smithsonian Action of the General Management b) What is jazz? (defi ni- Institution, city of New Orleans, Plan. Short-term recommendations tions, descriptions, terms) Downtown Development district, can be accomplished with current c) Why New Orleans? How State of Louisiana, National Park and expected funding. Long-Term is New Orleans unique and Foundation, WWOZ radio, New recommendations will require addi- diff erent? Orleans Jazz and Heritage Founda- tional funding, cooperative agree- d) What is the progression/ evolution of (styles of) jazz? tion, Louis Armstrong Foundation, ments, and development. e) Who are/were the main and numerous Benevolent Associ- people of jazz? (especially ations and Social Aid and Pleasure The degree of certainty of recom- New Orleans) Clubs. These partnerships will mendations is indicated by the use f)What nationally signigi- continue, and be joined by other of the words ‘will,’ ‘would,’ and cant role has Jazz played in mutually benefi cial associations. ‘could.’ our country’s history? g)What actions do we The plan for the National Jazz It is important to recognize that expect visitors to receive by Center development, coming just accomplishing long-term rec- visiting the park? as the National Park begins ex- ommendations is necessary to h)What connections are tensive rehabilitation, presents an achieving the core mission of the made for each visitor to opportunity to realize something park. JAZZ? truly greater for New Orleans and i)Is JAZZ still evolving and the nation. Working together, the what role do visitors play in city, private enterprise, founda- the growth of music? tions, non-profi ts, and the Nation- j)How does music aff ect my life and why do I care if it is al Park Service can fi nish what has preserved? been started, and preserve a great k)What roles may music piece of American history. play in our future? Specifi c Recommendations The following actions have been rec- ommended by the planning team, partners, stakeholders, and consul- tants. They are designed to meet the purpose, goals, themes, and other guidance described above, and to follow the proposed action in the General Management Plan. They 34 would be achieved over the next 5-10 years. Priorities will be devel- Recommendations Armstrong Park to make the jazz story compel- NPS presence and interpretive ac- ling and meaningful for a wide tivities in Armstrong Park are criti- diversity of audiences, including cal to the mission of New Orleans children, families, school groups, Jazz National Historical Park. The international visitors, those new to Perseverance Hall complex will be jazz as well as individuals seeking the location of the visitor center. in-depth information, those who want mostly to hear and enjoy Rehabilitation in Armstrong Park music, and those wanting to visit is scheduled to begin in 2006 and signifi cant historic sites. Although includes Perseverance Hall and the visitor center would provide site work to enable the complex to an enjoyable and engaging experi- open to the public in 2007 for pro- ence on its own, a major purpose gramming and interpretation/in- of media experiences would be to formation functions. When further urge visitors to visit signifi cant sites funding is secured, Reimann, Ra- and to enjoy musical and cultural bassa and the Caretaker’s Houses experiences around the city and could be rehabilitated for educa- the region. tion and interpretation programs -- New Orleans Jazz GMP, p. 45 and staff offi ces as described in the GMP. The jazz-oriented public Developments and activities by the radio station WWOZ may move Park Service, City of New Orleans, out of the Caretaker’s House. An and partners will attract visitors to educational and radio program- Armstrong Park and Perseverance Perseverance Hall No. 4 - Site of the ming partnership with the Park Hall. Armstrong Park is contigu- National Park Service Visitor Center in Service will continue. Subsequent ous to the French Quarter. Revi- Armstrong Park use and functions for the Caretak- talization of Louis Armstrong Park er’s House depend upon WWOZ’s by NPS and City of New Orleans situation. The City of New Orleans will involve partnerships with anticipates undertaking several neighboring communities, organi- million dollars of rehabilitation zations, and businesses. Neighbor- work (outside the Jazz Complex) hood businesses and attractions in Armstrong Park beginning in would upgrade services and facili- 2006. Work will mostly involve ties, and off er activities throughout bridge and lighting repairs and the week. Development along physical accessibility. Rampart St. and in nearby areas of Tremé is especially important. The GMP states that: Perseverance Hall The visitor center would be devel- Complex oped in Armstrong Park on lands provided to the National Park Perseverance Hall No. 4 Service under a long-term lease by Visitor Center functions. The the city of New Orleans. Facility park visitor center would serve the development would be phased following functions along with interpretive media development. o Orient visitors to the park and area resources, services, and The visitor center would use attractions 35 the latest and best technology o Interpret the park story, as de- Recommendations scribed by interpretive themes; Until Perseverance Hall is rehabili- provide an overview of the park tated, the visitor center at St. Peters story; emphasize those story will continue largely as at present. elements that are best told by When the Hall is open, services indoor interpretive media and will shift to Perseverance Hall as programs and outdoor demon- neighboring developments, visita- strations tion, staffi ng, and funding permit. o Provide visitor services such as rest rooms, emergency services, Perseverance Hall and information Interpretive Media o Provide a focus, point of con- Exhibits will be developed in tact, and spatial and visual phases. identity for New Orleans Jazz National Historical Park · Temporary exhibits would be o Serve as a place where visitors ready to install when Persever- can meet with, and learn from, ance Hall is open in 2007. These people involved with the New would include graphics with Orleans jazz parade tradition text, existing displays (some may -- GMP, p. 31 need rehabilitation), and video monitor(s). These exhibits will Upon completion of rehabilitation, introduce park signifi cance, pro- Perseverance Hall will be staff ed vide basic orientation, and con- several days a week. A visitor nect with some basic meanings contact area will be located in the of the park story. Other media to fi rst-fl oor lobby. The Hall will also be considered include streaming resume its traditional functions of audio/webcasts, use of local ac- hosting dances and performances cess cable channels for programs, in the fi rst fl oor ballroom. Educa- and use of any state educational tion and interpretation programs television intranet or broadcast will also occur in the fi rst-fl oor facilities. ballroom. Wall-mounted and por- table exhibits will be developed •The second stage of exhibits for the fi rst fl oor; portables can be would be ready to install in about moved to accommodate perfor- three years, or two years from the mances and other programs. time when funding is obtained. These will still need to be por- The lobby, reception and infor- table (except for wall-hung ele- mation area will be located in ments). They will include inter- the fi rst-fl oor foyer. Cooperating active and audiovisual elements association sales will eventually be such as short videos and audio located in the fi rst-fl oor foyer as listening stations. They could well at some point during the tran- include graphic and text panels, sition from the North Peters St. and historic objects. They will Visitor Center. Graphic elements introduce park signifi cance and would include photos of musicians all primary themes, and provide and bands and orientation maps. orientation. Some elements from the fi rst phase exhibits may be The second fl oor will used for retained or rehabilitated. 36 storage. Recommendations

•Portable exhibits may be supple- cational needs. The Reimann and mented by traveling exhibitions. Rabassa Houses would be consid- Adequate climate control is im- ered for rehabilitation based on portant for artifact conservation associated costs; should rehabilita- for both permanent and traveling tion costs prove excessive, other exhibits. options would be considered. -- GMP, p. 45 • The fi nal stage of exhibits in- cludes those necessary for However, Phase I monies will have accomplishing the functions been exhausted after rehabilitation described in the GMP. They of Perseverance Hall, and addi- would require a larger space than tional funding would need to be is available in Perseverance Hall. identifi ed to accomplish this work. They are described below as Phase II exhibits. Other Sites •Produce a 12 – 15 minute park •Develop an audio tour of jazz- orientation/interpretation fi lm. related sites in Armstrong Park, This would provide an overview signifi cant structures on the 400 of park signifi cance and themes. block of Rampart St., and other Projection equipment and a areas in the City. This program screen would be included. could use cell phones or other wireless hand-held devices. • Provide performance equipment similar to what is available at • Develop a calendar of activities, North Peters St. (sound system, in cooperation with the City and lighting, piano, music stands, re- other partners. cording equipment). This would be available when the building • Produce a wayside exhibit plan opens in 2007. to consider panels at sites such as the Armstrong Statue, Sidney •Support of performances and Bechet bust, Congo Square, and informances will require con- the NPS leased area in Armstrong siderable investment of staff , Park. Identify additional sites equipment, and funds. Hiring around the City based on visitor musicians is expensive. Much fl ow and appropriate stories to be interpretation will involve props, interpreted. recorded music, and interpret- ers trained in music history and • Install an interpretation/orienta- theory. tion exhibit kiosk in Armstrong Park and at the North Peters St. Reimann, Rabassa, VC. These would introduce park Caretaker’s House themes and signifi cance and The GMP states that: provide basic orientation to Arm- Perseverance Hall No. 4 and strong Park and the Perseverance the Caretaker’s House would be Hall complex. rehabilitated. The rehabilitated hall would be expanded to construct a • Design and install an exhibit for visitor center complex that would the airport. This would inform be cost effi cient to staff and would visitors of the existence of the 37 be suited to interpretive and edu- park, and motivate them to visit. Recommendations •Work with partners to provide in- partner-led programs. Examples ternet programming (e.g., satellite include walking tours of Arm- uplinks from WWOZ broadcasts) strong Park, Tremé, and other from the park website. neighboring areas signifi cant to the history of jazz. Concerts and Orientation and Wayfi nding informances have been successful •Install directional signs in Arm- and can be expanded at locations strong Park. (The way Armstrong such as the plaza outside Perse- Park is laid out now, it is hard to verance Hall and Congo Square. see over the berms to get a feel for the layout.) • A guided jazz walk would origi- nate at Armstrong Park. Themes •Produce an Armstrong Park map could include Giants of Jazz, or brochure that identifi es and spotlighting the Satchmo and characterizes specifi c sites. This Bechet statues, and the impor- would be available at entrances to tance of Congo Square. These the Park, at sites within the Park walking tours would include such as Perseverance Hall, and at several stops with examples of other locations in the Quarter are recorded music (at the statues) or in the City. audience participation (call and response singing and hand clap- •Work with the City and State ping at Congo Square). This pro- highway departments to install gram would be off ered as curricu- directional highway and street lum-based programs for school signs that lead to Armstrong Park kids and for the general public, and Perseverance Hall. and could be a weekly scheduled activity. Most programs would Personal Services require at least two rangers. Personal program possibilities abound for the Perseverance Hall •Education programs would be complex and elsewhere in Arm- off ered to schools and other strong Park. Many initiatives have organized groups. Both onsite begun or are under discussion, and off site programs would be including the following: provided.

•Sponsor performances and other •Cooperate with the City and events in the courtyard area of other partners to produce and the Jazz Complex. The Park market interpretive programs. Service could sponsor second- line parades (on Park and NPS •Encourage and provide assistance anniversaries perhaps) from the to local businesses to develop French Quarter VC to Armstrong their own walking tours into Park. Once at Perseverance Hall the park, making it inviting for the band could play in the court- organizations to hold cultural yard and an interpretive program activities. given on the subject of brass band parading in New Orleans. • Interpretive programs would 38 start and/or end at Perseverance Hall. These will include NPS and Recommendations Phase II nightclub. Audiovisual technol- The long-term solution to pro- ogy would trace musical elements viding an adequate park visitor from ragtime and marches to center remains to be worked out. improvisational and polyphonic Neither Perseverance Hall nor forms. Interactive technology the Firehouse is large enough, would let visitors explore subjects nor confi gured adequately, to the depth that they choose, to to accommodate exhibits and manipulate musical elements, and audiovisual media that will be to inquire about fascinating char- required to interpret primary acters. Listening stations would interpretive themes. allow visitors to hear tunes and artists of their choice. Students The rehabilitated [Perseverance] would be able to use this technol- hall would be expanded to con- ogy to engage their interest and struct a visitor center complex that further their educational objec- would be cost effi cient to staff and tives. Media experiences would would be suited to interpretive and be complemented by personal educational needs. contacts, provided informally by -- New Orleans Jazz GMP, p. 45 volunteer docents and NPS staff , and by structured interpretive Concurrent with Phase I develop- programs. ment the NPS would pursue an -- New Orleans Jazz GMP, p. 46 expanded Cooperative Agreement and/or lease with the City of New Experts at interpretive planning Orleans in the Area of Potential workshops discussed possible top- Expansion as detailed in GMP. A ics, experiences, techniques, and larger visitor center complex for approaches to interpreting jazz the purpose of using the latest and with exhibits. Some of the discus- best technology to make the jazz sion is summarized below. story compelling and meaningful for a wide variety of audiences is Interpret musical elements that identifi ed in Phase II development. answer the question: “What is jazz?” Include improvisation, poly- Phase II Exhibits rhythms, blue notes, syncopation, . . The GMP states: . . .). Interpret examples for visitors, examples that will require sound, Phase II interpretive media would interaction, explanation for visitors help visitors imagine the turn- with diverse musical interests and of-the-century environment of backgrounds, and space. New Orleans, how it fi t into the larger national picture, and the Interpret the instrumentation of various elements that combined traditional jazz; the functions of to produce this internationally diff erent instruments. This inter- signifi cant art form. Multimedia pretation is likely to require objects environments could place visitors (instruments), sound (recordings), in the second line of a jazz parade interactive and hands-on experi- or between two competing bands ences, and space. in a Lincoln Park bucking con- test, and let them hear one of the 39 jazz bands playing in a Tango Belt Recommendations Jazz is not just music. We need to Research Needed help visitors connect with people, Perseverance Hall and Phase II creativity, spirit, contexts, and exhibits will require front-end, imagination. formative, and remedial evalua- tions. This is especially important This is a park story that involves for interactive devices. music, people, and place. A visitor study of New Orleans Exhibits should help visitors learn tourists and park visitors would be the musical precedents of jazz (rag- useful to determine jazz-related time, blues, marches, dance music, interests, prior knowledge, expec- classical) and what they sounded tations, resources used, and good like. and bad experiences.

Immerse people in the world of jazz. Subject matter research will be done primarily by university schol- Provide powerful/evocative visual ars and jazz afi cionados. It will not images – especially upon entering be a high priority for the Park to the visitor center and exhibition sponsor such research, except that area. needed for programs and media.

Provide interactive exhibits: visi- Summary of tors can choose base line, rhythm Interpretive Media section, tunes in diff erent styles; play Needs instruments; assemble parts of a tune; hear the diff erence when you Perseverance Hall Exhibits clap on 2 & 4 rather than 1 & 3. •Temporary exhibits: ready to Include the parading tradition, from install when the building opens early days to contemporary brass in 2007. Five hundred square feet bands. Provide sounds of music is needed. Also include graphics and people. Maybe include videos. and orientation maps for infor- Give visitors a feeling of immersion. mation area. Interpreting 2nd-line is an essential element. There could be a wall with • Second stage: ready to install in rear projection of a parade – en- 2010, or two years from the time courage a sense of involvement. when funding is obtained. About fi ve hundred square feet will be Exhibit design will be developed needed. at subsequent workshops; value analysis will be used to select a • The fi nal phase of exhibits preferred conceptual alternative; includes those necessary for value engineering will be used to accomplishing the functions maximize cost eff ectiveness. For described in the GMP. They cost estimating purpose, about would require a larger space than 3,000 square feet of exhibits will is available in Perseverance Hall. be needed. These will be highly About three thousand square feet interactive, multi-sensory, and will be needed. Time frame has 40 able to accommodate organized not been determined. groups. Recommendations

Wayside Exhibits, Signs schedules, other city locations, • Produce a wayside exhibit plan. etc.

•Install directional signs in Arm- •Develop a junior ranger booklet strong Park, and leading to Arm- for the park. strong Park/Perseverance Hall from prime circulation routes. •Develop a curriculum education guide for the park. • Install an interpretation/orienta- tion exhibit kiosk in Armstrong Accessibility Park and at the North Peters St. VC. Intepretive media, programs, and other services will be accessible to Audiovisual, Digital Programs a wide range of abilities, following agency policy that the Park Service •Produce a 12 – 15 minute park will: orientation/interpretation fi lm. Include projection equipment “...provide the highest level of acces- and a screen. sibility possible and feasible for per- sons with visual, hearing, mobility, •Develop an audio/wireless tour and mental impairments, consistent of jazz-related sites in Armstrong with the obligation to conserve park Park and throughout the City. resources and preserve the quality of the park experience for everyone.” • Performance equipment for Perseverance Hall, available when NPS Special Directive 83-3, the building opens in 2007. Accessibility for Disabled Persons

•Develop a web-based education/ Other relevant laws and policies interpretation site for the park. that guide accessibility include:

Publications •Architectural Barriers Act of 1968 •Rehabilitation Act of 1973, as • Develop a calendar of activities, amended in cooperation with the City and •National Park Service Director’s other partners. Order #16A •National Park Service Director’s •Produce an Armstrong Park ori- Order #42 entation map or brochure. •National Park Service Manage- ment Policies 2006 •Consider producing key publica- tions in multiple languages. A specifi c guide for interpretive media-Programmatic Accessibil- • Develop a rack card which high- ity Guidelines for National Park lights the JAZZ sites and sounds Service Interpretive Media-is being seasonally for visitors. updated by Harpers Ferry Center, and will be available in late 2007. •Develop a park visitor orientation newspaper to assist with wayfi nd- 41 ing, seasonal events, performance Recommendations Implementation Plan

2007 · Obtain cost estimates for interpretive media elements · Prepare Annual Implementation Plan · Fill vacant positions · Using park operating funds, contract with local fi rm for planning, design, fabrication, and installation of temporary Perseverance Hall exhibits. · Prepare PMIS requests for: 2nd stage Perseverance Hall exhibits, way- side exhibit plan, fi lm, additional kiosk, audio tour, performance and recording equipment for Perseverance Hall, and a wayfi nding plan and directional signs for Perseverance Hall. Seek alternative (philanthropic partners, grants) for some projects. · Compile Interpretive Database · Using park operating and partnership funds, develop a calendar of activities and an Armstrong Park map/brochure. · Begin planning/design of 2nd stage Perseverance Hall exhibits. · Implement media projects that were funded through PMIS requests or partnerships. · Prepare a PMIS request for an expanded visitor center. · Update PMIS media requests that have not yet been funded.

2008 · Prepare Annual Implementation Plan. · Begin conceptual planning and consultation for an expanded visitor center. · Update PMIS media requests. · Final design and fabrication of 2nd stage Perseverance Hall exhibits.

2009 and beyond · Continue to seek Phase II visitor center and interpretive media develop- ment funding · Work with partners to supplement NPS funding · Evaluate and modify existing media, services, and programs; use evalu- ation results to update PMIS funding requests and pre-design/design specifi cations · Install 2nd-stage exhibits in Perseverance hall · Continue with AIPs, PMIS requests and updates, and other planning and operational activities

42 Recommendations Participants

Bruce Barnes Park Ranger, New Orleans Jazz NHP Don Branch Exhibit Designer, Harpers Ferry Center Sarah Courtney Park Ranger (former), New Orleans Jazz NHP Matt Hampsey Park Ranger, New Orleans Jazz NHP Ray Harper Superintendent (former), New Orleans Jazz NHP John Edward Hasse Music Curator, Smithsonian Institution; member, N.O. Jazz Commission Gayle Hazelwood Superintendent (former), New Orleans Jazz NHP Megan Kealy Publications Specialist, Harpers Ferry Center Marta Cruz Kelly Superintendent (former), New Orleans Jazz NHP Barry Martyn Musician; member, N.O. Jazz Commission Polly Nordstrand Exhibit Designer, Harpers Ferry Center Margie Ortiz Park Ranger (former), New Orleans Jazz NHP Allison H. Peña Cultural Anthropologist, Jean Lafi tte NHP John Quirk Superintendent, New Orleans Jazz NHP Bruce Boyd Raeburn Music Archivist, Tulane University Liberty Rashad Member, N.O. Jazz Commission Jack Stewart Musician; member, N.O. Jazz Commission Steve Teeter Curator, LA State Museum Anne Tubiolo Audiovisual Producer, Harpers Ferry Center Sam Vaughn Interpretive Planner, team captain, Harpers Ferry Center Robin White Park Ranger (former), New Orleans Jazz NHP Dr. Michael White Musician; member, N.O. Jazz Commission

43 Recommendations References

Following is a list of references that have proved particularly useful in the preparation of this document. They are, of course, a tiny fraction of docu- ments that will eventually reside in the Interpretive Database.

Armstrong, Louis. 1954. Stachmo: My Life in New Orleans. Englewood Cliff s, New Jersey: Prentice Hall.

Feather, Leonard. 1972. From Satchmo to Miles. New York. Da Capo Press.

Hasse, John Edward, ed. 2000. Jazz, The First Century. New York. Harper- Collins.

Marquis, Donald M. 1978. In Search of Buddy Bolden, First Man of Jazz. Baton Rouge: Louisiana State University Press.

National Park Service. 1993. Special Resource Study: New Orleans Jazz. New Orleans, Louisiana.

National Park Service. 1999. Abbreviated Final General Management Plan/ Environmental Impact Statement. New Orleans Jazz National Historical Park. New Orleans, Louisiana.

National Park Service. 1998. Draft General Management Plan/Environ- mental Impact Statement. New Orleans Jazz National Historical Park. New Orleans, Louisiana.

New Orleans Convention and Visitors Bureau. 1995. A Few Facts-N-Figures About Tourism in New Orleans. New Orleans, Louisiana.

Shapiro, Nat and Nat Hentoff : 1966. Hear Me Talkin’ To Ya. New York: Inehart & Company, Inc.

Schuller, Gunther. 1968. Early Jazz: Its Roots and Musical Development. New York: Oxford University Press.

44 As the nation's principal conservation agency, the Department of the Interior has the responsibility for most of our nationally owned public lands and natural resources. This includes fostering sound use of our land and water resources; protecting our fish, wildlife, and biological diversity; preserving the environmental and cultural values of our national parks and historical places; and providing for the enjoyment of life through outdoor recreation. The department assesses our energy and mineral resources and works to ensure that their development is in the best interests of all our people by encouraging stewardship and citizen participation in their care. The department also has a major responsibility for American Indian reservation communities and for people who live in island territories under U.S. administration.

NPS D-29 / July 2007/ Printed on recycled paper