Quick viewing(Text Mode)

The Turkish Ambassador's Residence and the Cultural History Of

The Turkish Ambassador’s Residence and the Cultural History of Washington, D.C.

Skip Moskey Caroline Mesrobian Hickman John Edward Hasse

Forewords by Ahmet Davutoğlu and James M. Goode

“Everett House has long been a source of curiosity for those who viewed it from the outside, and a source of wonder for those lucky enough to have seen it from the inside. With the publication of this volume, historians and the general public will be able to more fully appreciate the importance of the house and the people who have been fortunate to call it home. Everett House has at last been fully documented and interpreted in a way that is fitting to its stature as one of the premier residences in the nation’s capital.”

James M. Goode The Turkish Amb a ss dor’s R esidence nd t he C ul ur l H is ory of W shing on, D .

ISBN: 978-605-4763-07-8 The Turkish Ambassador’s Residence and the Cultural History of Washington, D.C. Skip Moskey, Caroline Mesrobian Hickman, John Edward Hasse Forewords by Ahmet Davutoğlu and James M. Goode The Turkish Ambassador’s Residence and the Cultural History of Washington, D.C. Skip Moskey, Caroline Mesrobian Hickman, John Edward Hasse Forewords by Ahmet Davutoğlu and James M. Goode

Copyright © 2013 Kültür University All Rights Reserved. Printed in Istanbul Some of the illustrations in this volume are a copyright of their owners. The copyright notations provided in the captions of those illustrations constitute an extension of this copyright page. Grateful acknowledgement is given for the use of all images appearing in this volume. No part of this book may be used or reproduced in any manner without written permission, except in the case of brief quotations embodied in reviews and scholarly articles. The views expressed in this book belong to the authors, and they may not necessarily concur partially or wholly with those of either Global Political Trends Center (GPoT Center) or Istanbul Kültür University (IKU).

Project Coordinators Mensur Akgün and Sylvia Tiryaki Prepared by Duygu Alpan

Istanbul Kültür University Publication No. 193 ISBN: 978-605-4763-07-8 First Published May 2013 Istanbul Kültür University Atakoy Campus, Bakirkoy 34156 Istanbul, Phone: +90 212 498 41 41 Fax: +90 212 498 44 05 www.iku.edu.tr

Production MYRA www.myra.com.tr Book Design Rauf Kösemen, Deniz Kurşunlu Coordination Sibel Doğan, Damla Özlüer Page Layout Gülderen Rençber Erbaş Prepress Harun Yılmaz

Printing İmak Ofset Basım Yayın San. ve Tic. Ltd. Şti. Atatürk Cad. Göl Sok. No: 1 Yenibosna Bahçelievler/Istanbul, Turkey Tel: +90 212 656 49 97 CONTENTS ON BEHALF OF ISTANBUL KULTUR UNIVERSITY 4 Bahar Akıngüç Günver

foreword 5 Ahmet Davutoğlu

foreword 6 James M. Goode

authors’ note 8 acknowledgments 9 Acknowledgments from the Project Coordinators 12 Sylvia Tiryaki and Mensur Akgün CHAPTER 1 14 MR. EVERETT’S WASHINGTON Skip Moskey CHAPTER 2 32 THE BOTTLE KING COMES TO WASHINGTON Skip Moskey CHAPTER 3 48 A CENTURY OF ARCHITECTURE, ART, And DIPLOMATIC HISTORY Caroline Mesrobian Hickman CHAPTER 4 94 the swinging scions: how the ambassador’s sons jazzed washington and the nation John Edward Hasse WORKS CITED 131 ABOUT THE AUTHORS 136 DIPLOMATIC RESIDENTS OF THE HOUSE 137 INDEX 139 The idea for this work emerged as a result of the On behalf admiration of two academicians from Istanbul Kültür University for the Embassy Residence in Washington of the Republic of Turkey where they of Istanbul were invited after a meeting that they attended in 2011 at the Carnegie Endowment. They were Kültür captivated by the narratives told about the residence. We, as the University Administration, University supported and contributed to the actualization of the project as much as we could. Dr. Bahar Akıngüç Günver After almost two years of work, we are very Chair delighted and proud of the book written by three IKU Board of Directors important authors. We strongly believe that their work will contribute to the understanding of the depth of relations between the two countries. It will transform Turkey from a geographic location to an architectural, social and even musical reality, in the minds of Washingtonians. We, as Istanbul Kültür University, greatly appreciate those who have contributed to this book, especially the authors, Skip Moskey, Caroline Mesrobian Hickman and John Edward Hasse. We are also grateful to Ambassador Namık Tan who passionately opened the doors of his house and shared its treasures with his real and virtual visitors. If he hadn’t told the story behind his residence to our colleagues Mensur Akgün and Sylvia Tiryaki, we would never have had the opportunity to publish this book today. We would also like to thank the Minister of Foreign Affairs of the Republic of Turkey, Ahmet Davutoğlu, for giving us a chance to actualize this project. Istanbul Kültür University, attributes special importance to culture, music, art and architecture, has contributed to various projects. However, only a few of these projects have pleased us as much as publishing this book. We hope that the reader will be just as enthralled as were while turning the pages of the book and reading the history of Everett House.

4 Throughout the period after the end of the FOREWORD Second World War to the present, and Turkey have consistently held an Prof. Dr. Ahmet Davutoğlu individual critical importance for each other. The relationship between two countries was evolved The Minister of Foreign Affairs to a new dimension with USA’s effective security guarantees to Turkey in 1946 and six years later Turkey’s membership to NATO, founded under the leadership of the USA. The USA, as a global power, and Turkey, as a regional power maintain their intercourse in numerous fields. Besides contacts between the statesmen and politicians, I believe that the civil society, business people, think tanks and universities will play a major role as leading actors in flourishing the relationships. The work you read should be treated as a reflection of the role assumed by the universities and non- governmental organizations in this respect. Institutions such as Istanbul Kültür University have raised awareness our embassy residence, Everett House, which serves as an indicator of the fondness between the two countries and bringing it to the attention of wider audiences. As the following pages reveal, our residence is true in its value. With architecture dressed with traces of Turkish origins, the building has become a crucial entity for the architectural culture of Washington. However, architecture is not the only unique aspect defining the significance of the building. Besides, it’s the home where the masters of the USA, more precisely, the jazz masters of the world, frequently visited and performed their art. The interior of the building reflects traces of the history of the American music, and therefore we feel that it is not an exclusive property of us. After all, the building hosts Turkey and USA, and reflects the cultures of both countries concurrently in a single space. I would like to extend my thanks to everyone, primarily the authors, who contributed to the evolution and publication of this book. I hope this would serve as a trigger in driving other institutions and universities to introduce to readers other common values in both countries.

5 The preservation of Washington, D.C.’s Beaux- FOREWORD Arts mansions, one of the finest collections of any American city, can be credited in large part to their James M. Goode purchase and maintenance over the years by foreign governments as their embassies and ambassadorial residences. One of the most architecturally important examples is the mansion built by the -industrialist Edward Hamlin Everett (1851- 1929), designed by George Oakley Totten, Jr., and built between 1910 and 1915 on Sheridan Circle. During the , Everett’s widow sold the house, fully furnished, to the Turkish government for their embassy and residence. Fortunately, the Turkish government has carefully maintained this landmark for the past eighty years. Between 2001 and 2007, they undertook the restoration of the house and its contents, guided by the interior designer Aniko Gaal Schott and the architect Belinda Reeder. The house served a dual function as the embassy and the residence for many years. In 1999, with the opening of the new Turkish chancery five blocks north on Massachusetts Avenue, the Turkish government gained a second highly notable building on . To celebrate this restoration and to record the history of the house in depth, Istanbul Kültür University commissioned three local scholars, Skip Moskey, Caroline Mesrobian Hickman, and John Edward Hasse, to prepare this book. The current residents, Ambassador and Mrs. Namık Tan, initiated the idea for this publication. The first chapter, by Skip Moskey, on the intersection of politics, architecture, and social

6 structure in the early history of Washington, shows An important chapter in the history of the house how the city evolved from its primitive beginnings was the decade between 1934 and 1944, when in 1800 to its late 19th century status as the nation’s the sons of Ambassador and Mrs. Mehmet Münir winter Newport. The city took on more importance Ertegün, Ahmet and Nesuhi, brought noted African- at the conclusion of the Spanish American War in American musicians home for jazz sessions in the 1898, when the United States was recognized as a Embassy. There they broke racial barriers and world power. His subsequent chapter on Edward enriched Washington’s music scene through their Hamlin Everett draws on materials from archives in passion for African-American music. John Edward the United States and and presents a new Hasse documents the musical history of the Ertegun and fuller understanding of Everett’s life. Many brothers, who would greatly impact American long-held assumptions about Everett will change as music. In 1947, Ahmet co-founded , a consequence of Dr. Moskey’s meticulous research. a label that would eventually become one of the New information on the career of the architect most important forces in promoting African- of the Everett mansion, George Oakley Totten, American jazz, rhythm and , and Jr., and the interior decoration of the house has on the national music scene and moving it into been supplied by Caroline Mesrobian Hickman. American and international popular culture. Dr. Searching through diplomatic records in the Hasse’s chapter describes how long after the National Archives, she discovered correspondence Everetts were gone from the mansion, this singular between Totten and the U.S. State Department that building served as a venue for significant change in explains in detail the architect’s work in Istanbul the cultural history of Washington and, eventually, and reveals his vision for modernizing that ancient the nation. metropolis. Her chapter also discusses Totten’s innovative ideas and elegant designs for the Everett Everett House has long been a source of curiosity mansion, recognizing this structure as one of the for those who viewed it from the outside, and a most significant undertakings of his architectural source of wonder for those lucky enough to have career. Dr. Hickman’s painstaking research on the seen it from the inside. With the publication of this rich interior decoration of the house documents and volume, historians and the general public will be puts into art-historical perspective many features, able to more fully appreciate the importance of the especially the two monumental Italian Renaissance house and the people who have been fortunate to paintings by Alessandro Allori, the conservatory’s call it home. Everett House has at last been fully decoration by Tiffany Studios, and the handsome documented and interpreted in a way that is fitting late Ottoman silk wall panels, recently restored, in to its stature as one of the premier residences in the the ballroom. nation’s capital.

7 The Turkish Ambassador’s Residence is one of many grand examples of early 20th century architecture in Washington that now serve foreign governments. Authors’ Built as the winter residence of Edward H. Everett, an Ohio industrialist who sought to enter society in the nation’s capital, it assumed its new function Note in the 1930s as the embassy and ambassador’s residence of the recently founded Republic of Skip Moskey, Caroline Mesrobian Hickman, Turkey. The building speaks to the cultural, social, John Edward Hasse and political history of the nation’s capital and those who put their stamp on the city’s built environment. What sets this building apart from other distinguished Beaux-Arts inspired houses in Washington, embassy-related or otherwise? When Mensur Akgün and Sylvia Tiryaki, directors of GPoT, Istanbul Kültür University, asked us to contribute chapters on the history of the house, we sensed this was an extraordinary building from a number of perspectives. Perhaps the most apparent is its massive presence on Sheridan Circle, an entity that exudes authority and affluence. Its interior spaces and the events that have taken place in the house over the past century are just as arresting. What we discovered about its commissioner and architect, its exceptional artwork and meticulous restoration, and its role in smashing racial barriers as the site of the Ertegun brothers’ jazz sessions, make for exceptionally heady reading. Part of our charge and challenge was to make a critical assessment of the literature and oral history of the house. The chapters that follow question and refute many accepted and frequently repeated “facts” about the house and the individuals associated with it and, in numerous instances, break new ground. We offer this as a model for future studies on the grand houses of Washington that possess a similar multifaceted history. Electronic tools such as those that facilitate access to a wide selection of historical newspapers have given new dimensions to our research. Yet as each year passes, the descendents of the men and women who were integral to the history of these buildings themselves pass into history. We urge the stewards of these historic houses of Washington to discover their own legacies. We extend our thanks to Istanbul Kültür University for entrusting us to document and tell the rich history of this extraordinary building.

8 Figure 50. The restored ballroom. Courtesy of Gary Landsman, 2007.

86 87 , , and photographer-friend Bill Gottlieb. Photo by Delia Gottlieb. William P. Gottlieb Collection, courtesy Prints and 94 Photographs Division, . CHAPTER 4 the swinging scions: how the ambassador’s sons jazzed washington and the nation John Edward Hasse

95 In the early 1940s, at a time when the Turkish Ahmet described his mother as an “extremely Embassy in Washington and the ambassador’s gifted, talented musician and singer who loved residence both occupied the Everett House1, the Turkish . . . . She would play any Ambassador’s sons, Ahmet and Nesuhi Ertegun, stringed instrument and any keyboard instrument nudged Washington towards better appreciating and she played by ear, and she sang beautifully. American vernacular music and towards softening And she bought not only all the current Turkish the city’s rigid racial segregation. They sought records that would come out—although we lived in out and soaked up African American music and Europe, she would import them from Turkey—but culture, and—courting controversy—promoted she also bought all the popular records of whatever, inter-racial concerts and jam sessions of jazz and wherever we were.”6 swing, welcomed black as well as white musicians into their private quarters, bent or smashed strict color barriers, earned national coverage in the music press, and honed their ears for African American popular music. These experiences would lead Ahmet, who would go on to co-found Atlantic Records, one of the most significant and influential companies in the history of American music, to eventually help transform the record business and American popular music. For his part, Nesuhi would play a crucial role in the development of jazz by producing and releasing recordings of paradigm- shifting musicians. Childhood and education After , the Ottoman war hero Mustafa Kemal—later named Atatürk, or chief Turk—led the struggle to establish an independent Turkish government. On July 31, 1923, seven days after the Republic of Turkey became a country, Ahmet Ertegun was born into a respected family in a suburb of Istanbul, Turkey.2 His mother loved Figure 1. Ambassador Mehmet Münir Ertegün and Madame Ertegün dancing and music and played piano and oud by at the ambassador’s residence in Washington, DC, February 1942. Above ear and, he said, “probably would have become Madame Ertegün is a picture of Mustafa Kemal Atatürk, first president of the Republic of Turkey. Office of War Information photograph, courtesy a singing star or musician or performer if she had Prints and Photographs Division, Library of Congress. lived in a time when well-born girls were allowed on the stage.”3 By an arranged marriage, she had wed Mehmet Münir, Ahmet’s father, whom Ahmet In 1931, Münir was named Ambassador to Paris. described as “a quiet, scholarly young law and There Ahmet started listening to records by such philosophy student who did not share her love of American musicians as the Mills Brothers, Josephine music and dancing.”4 When Ahmet was two, the Baker, Bing Crosby, Paul Whiteman, Louis young government of Turkey appointed Münir5 as Armstrong.7 “Nesuhi and I,” remembered Ahmet, Ambassador to Switzerland and he took his wife “used to sneak records into our rooms at night and and two sons—Ahmet and his older brother Nesuhi fall asleep listening to them.”8 The following year, (born November 26, 1917) and daughter Selma, the Münir was named Ambassador to the Court of St. youngest child, to the Swiss capital, Berne. The James, and the family moved to London. In June three children lived a privileged life, looked after by 1933, Ahmet attended a concert that would change maids and governesses. his life: a performance by the orchestra of Duke

96 Ellington—a native of Washington, DC—at the men wearing shining white tuxedos and these brass London Palladium, considered by many the world’s instruments gleaming. It was an incredible sight.”13 foremost variety or vaudeville house.9 A variety Nesuhi Ertegun also added to Ahmet’s education. show, the program featured 13 acts, with Ellington “He was very precocious, a young intellectual at age closing with a 45-minute set. His entire two-week 13,” Ahmet said. In Paris, Nesuhi befriended others run was sold out and the audiences exceptionally his age who were “part of the young revolt.”14 Their 10 enthusiastic. The stage featured 12-foot banjoists interests were art, music, literature, and politics. decked with ducal crowns. Rockin’ in Rhythm, a “Nesuhi made me read Kafka when I was 10,” Ahmet pianissimo version of Tiger Rag called Whispering continued. “He liked Stravinsky and Erik Satie Tiger, , ’s feature Stormy when nobody would listen, and he was very much 11 Weather—all were sensations. Billboard reported, interested in art. He dragged me around museums “On the first day of his appearance, the Palladium and told me this is this and this that. . . . The major broke all box-office records, with over $3,800 being influence in my life was my brother.”15 Ahmet taken at the two performances.”12 described his older brother as the kid who “was 16 Ellington’s Palladium concert left a deep impression always ahead of the others.” on young Ahmet. He would recall later, “It was In June 1934, Mehmet Münir was appointed nothing like hearing the records. . . . And when you Turkey’s second ambassador to Washington, DC. heard these bands in person, it was explosive. This While Nesuhi stayed in Europe, the Ambassador’s boom-boom-boom-boom incredible rhythm. It went wife, Ahmet, and Selma joined him some months through your body. I went ‘Oh my God, this is jazz.’ later, arriving in on December 31 and . . . I’d never heard music with that kind of strength reaching Washington in early January 1935.17 Young . . . For the first time, I saw these beautiful black Ahmet, 12 at the time, was becoming aware of the

Figure 2. and his Orchestra at the London Palladium, June 1933. Nesuhi and Ahmet Ertegun attended one of Ellington’s concerts, which made a huge impression on young Ahmet, then nine years old. Photo by Rogers and Rush; courtesy John Edward Hasse.

97 World War II, and he left Paris for good.21 It is not

Figure 3. Ambassador Ertegün at work in his office at the Turkish clear how successful a student Nesuhi was, but in Embassy in Washington, 1942. Photo by Marjory Collins, U.S. Farm retrospect, at least, he was aware of the myriad Security Administration/Office of War Information. Courtesy Prints and Photographs Division, Library of Congress. distractions there. “Dilettantism is the great danger facing all the students who make the pilgrimage to Paris with the hope of acquiring no matter how small an amount of what is commonly referred to as higher learning. The temptations are so many, and take such irresistibly seductive shapes and forms, that the time left for serious studying dwindles and has disappeared without one bring aware of it. For me, one of these temptations, by no means the strongest, was jazz.”22 “Jazz,” Nesuhi wrote in 1943, “was taken seriously in ; it was considered as one of the most important forms of modern music by several modern French .”23 In Paris, he went to hear many visiting American jazz musicians, including such Harlemites as , Coleman Hawkins, and Duke Ellington. “In Paris,” he averred, “they were all great artists, living in an atmosphere of esteem and admiration,” in contrast to the tremendous racial prejudice they faced in entrenched racial segregation practiced in much the United States. While in Paris, Nesuhi joined of the United States. “As I grew up, I began to the Hot Club de France, a vigorous and influential discover a little bit about the situation of black organization of jazz aficionados led by the critic people in America, and experienced an immediate and producer Hugues Panassié and author Charles empathy with the victims of such senseless Delaunay, son of the painters Robert and Sonia discrimination. Because although the Turks were Delaunay.24 never slaves, they were regarded as enemies within The Swing Era Europe because of their Muslim beliefs.”18 The Ertegun brothers arrived in the United States At first, Ahmet attended the Episcopalian, just as swing music and dancing were about to prestigious St. Alban’s School, which he later called become a huge phenomenon, almost a national “a dreary place [where] these people are much less obsession, taking jazz to heights of popularity never sophisticated than we were.”19 But his father—a achieved before or since.25 More jazz musicians religious man who prayed five times a day but was gained favor with the general public—more anti-clerical—withdrew Ahmet during the first year audiences turned to jazz as a backdrop for dancing because the Ambassador objected to compulsory and entertainment—than at any other time in Christian prayers. So Ahmet finished high school at history. Never before had jazz so influenced the the private, nonsectarian Landon School, where he field of popular music. At no other time was jazz was elected class president and graduated in the such a catalyst for thousands of fans queuing up spring of 1940.20 for a performance, for turn-away crowds so large Meanwhile, Nesuhi had stayed behind in Paris and enthusiastic that the police had to be called to finish his baccalaureate degree and enter the in to keep order, for so many live radio broadcasts Sorbonne. Each summer, recalls his sister Selma, carrying the music to waiting listeners coast-to- he came to Washington to see his family. But in coast, and for heated band battles that became the 1939, his studies were interrupted by the advent of stuff of legends.

98 What separated swing from jazz that preceded it? challenging and changing mainstream America. Most of all, its rhythm. ’s rhythmic Like would a generation later, swing innovations loosened up the beat of jazz, provided a drew young people powerfully, giving rise to a greater variety of rhythms, and made its momentum musical subculture. And swing affirmed the human more flowing and pronounced. spirit at a time when the country was still struggling to come out of the Great Depression. Competitive contests among musicians had been a part of the African American aesthetic—for Swing also provided a context for forward strides in example, “cutting contests” held among race relations, contributing to the development of a pianists in the 1920s. Bands had always competed more inclusive concept of American identity. Before for popularity, but in the swing era competition the swing era, jazz reflected the nationwide racial between dance bands came to the fore, taking on divide between blacks and whites. When, in 1935, the characteristics of rivalry between great athletic Benny Goodman established a racially mixed trio— teams. Bands attracted ardent followers, orchestras with the African-American pianist Teddy Wilson and engaged in sometimes epic band battles, and jazz the white drummer Gene Krupa—he made it safer magazines and black newspapers ran readers’ polls for others to do so, though change came gradually. to select the top groups. Fans kept track of changes Some swing bands became inter-racial institutions in bands’ personnel and argued the merits of one a decade before baseball and the armed forces were band over another. integrated. One cause of swing’s ability to draw so many Prior to the swing era, most white Americans had passionate adherents was the depth of its been only vaguely aware of black jazz musicians, meaning: it affirmed the joys of dance, music, and whom the record companies relegated to the “race” youthful courtship; of risk-taking improvisation; catalogs marketed mainly to black buyers. In the and of a dynamic African American–inspired force 1930s, however, swing led jazz of all colors into the American mainstream. Figure 4. Swing dancers in Washington, DC. Ahmet Ertegun steeped himself in the kind of music that propelled these dancers, and may have visited nightspots such as this unidentified one. Photo by William A Southern City P. Gottlieb. William P. Gottlieb Collection, courtesy Prints and For 10 years, 1935-44, the Ertegün family lived in the Photographs Division, Library of Congress. Everett House, which Ahmet described as “probably one of the grandest houses in Washington. We had sixteen servants, and we lived in a grand manner. My family was not rich people, but being in the position my father was . . . it’s like if you become president and you live in the White House.”26 At the same time, Ertegun’s sister Selma described her father as “not very well paid.” In a 2011 interview, she recalled, “I remember it was cold one winter, and there was a lot of rain. There was a leak on the roof. My father asked for extra funds to cover the expense of the repair. They rejected the demand for the repair. Turkey was a recent country and we did not even have funds for that.”27 During this period, Washington was in most ways a Southern city. White racism and racial barriers prevailed: racial segregation, whether by law or by custom, was nearly total. Schools were segregated, as were federal offices, cafeterias, and restrooms. If a black person walked into a department store, the clerk would turn his or her back on the customer.

99 Figure 5. The Münir Ertegün family, London, 1933. Madame Ertegün, Ahmet, Selma, Ambassador Münir Ertegün, and Nesuhi. Courtesy Selma Ertegün Göksel.

Blacks sat at the back of the bus. Black people wanted to go out to dinner with black friends, couldn’t attend white theaters downtown; they had even with the great saxophonist Benny Carter, to have their own. Among the few theaters that recently returned to the States from Paris, they served people of both colors were the burlesque were stymied. “‘What restaurant could we go to?!’ houses, but even there, separation ruled: whites The only place in the capital city of America at that sat downstairs, blacks upstairs. Black and white time that would allow black and white people to musicians could play together, but, as Ahmet sit together—and then only because of practical Ertegun put it, “it was not easy.”28 reasons that left no other choice—was the Union 30 Nor was it necessarily easy for white fans to go train station restaurant.” into black nightclubs. Once in Annapolis, In a 2005 interview, Ahmet recalled that when they (about 30 miles east of Washington), Ahmet first arrived in Washington, “I thought I was coming and three friends went to hear a band at a black to the land of jazz.” He went downtown to one of nightspot. Coming out of the club, they were the city’s major record stores, but found “There arrested. “I asked the judge,” recalled Ertegun, were no records by Louis Armstrong. . . . It was a ‘Where is the law written which states that we lily-white record shop that only sold pop music, no cannot go to this club?’ And he replied. ‘It’s not black music. And a very nice little lady came up to written, but it’s understood.’ I, of course, insisted me—I remember her name, it was Ms. Timmons— that he couldn’t arrest us on those grounds, and it and she said ‘I know what you’re looking for. You became obvious that they just wanted to throw a go to Seventh and T. There are some record shops scare into us and would not be prosecuting on that around that area. They have the records you’re occasion—particularly not the son of the Turkish looking for.’”31 Ertegun headed over to the main ambassador.”29 African American business and entertainment Both Ertegun and Washington Post photographer- district and found the Quality Record Shop, run by journalist Bill Gottlieb recalled that when they Max Silverman.

100 Figure 6. Duke Ellington shakes hands with Max “Waxie Maxie” Silverman, outside the Quality Music shop, 7th and T Streets, NW, Washington, probably in late February or early March 1942. Ahmet and Nesuhi Ertegun were regulars at the store. Duke Ellington Collection, courtesy Archives Center, National Museum of American History, Smithsonian Institution.

Ahmet would later credit much of his success in the record business to what he learned in Washington. Figure 7. Ahmet Ertegun, early 1940s. Photo by William “I had very much of an understanding of what it P. Gottlieb. William P. Gottlieb Collection, courtesy Prints and Photographs Division, Library of Congress. was that brought about the kind of satisfaction in a listener that would make them buy a record. [That was a result of] my spending years of Telling his parents he was going to the movies, hanging around with people like Waxie Maxie Ahmet would instead go haunt black record [Max Silverman] in the [record] shop, seeing who stores. “I really hungered,” he recounted, “for the comes in and buys what, and listening to R&B opportunity to really hear jazz in Harlem.” Once, music continuously . . . . I listened to R&B music as I when visiting New York and staying with the Consul listened to jazz. R&B music always had a lot of blues General of Turkey, he said, he slipped away and told in it, and I loved the blues. The blues to me was the a taxi driver, “Take me to Harlem.” Ahmet went to key to jazz and R&B and everything. Blues was then the Plantation Club to hear trumpeter Oran “Hot the expression of black Americans.”32 Lips” Paige and then to a Harlem rent party for Ahmet Ertegun so steeped himself in African more music. He stayed out all night, not returning American music that he became strongly attracted until 7 a.m., at which point the police were looking to black popular culture in general. “To us,” he for him. They took him back to Washington “with recalled later, “everything black was hip and guards on the train. . .my father saw me and gave everything white was square. That’s how most me a slap across the face. That’s the only time he jazz musicians felt—even in the South, during the ever hit me, he was so angry. . . . It was impossible days of segregation.” Shuttling between the black to explain to my parents, or to anybody, that I love ghetto and Embassy Row, the Ertegun brothers jazz. . . . It was all for the love of jazz, and I had to learned to be socially dexterous. When Ahmet went get there.”34 to black night spots, he did not consider himself “slumming,” but rather learning and relishing a In the summer of 1941, before Pearl Harbor and kind of musical culture that he admired and loved. gasoline rationing, Nesuhi (then 23) and Ahmet And yet, in their world of butlers, chauffeurs, (then 17) left Washington on a grand automobile and the rest, Ertegun admitted, “there was a trip. “My brother, Ahmet, and I drove one summer great romance” to his “great concern” about all over the United States, with the main purpose race relations and he and Nesuhi “were a bit like of learning more about this country, but also with dilettantes.”33 the strong desire to hear good jazz wherever that

101 Figure 9. Ahmet and Nesuhi Ertegun, 1940s. Photo by William P. Gottlieb. William P. Gottlieb Collection, courtesy Prints and Photographs Division, Library of Congress.

Figure 8. Nesuhi Ertegun, early 1940s. Photo by William P. Gottlieb. William P. Gottlieb Collection, courtesy Prints and Photographs Division, Library of Congress.

was possible. It was a wonderful trip, and we heard and so far have been offered $40 for it. ‘Sometimes quite a lot of jazz, both good and bad.”35 They we go through thousands of records, before finding traveled to San Francisco, , Houston, one that is really a gem.’”38 among other cities. “And then,” wrote Nesuhi, According to columnist “! For a whole day, we walked up and photographer, Bill Gottlieb, a friend of the and down the historic streets. To us, it was like an brothers, “Theirs was a luxurious life, quite in 36 open-air museum.” Few Americans of that time, keeping with their father’s status. But the boys had much less foreign-born residents, had the curiosity, very little cash.”39 Which meant that to amass a ambition, and wherewithal to engage in such a respectable record collection, the brothers had to be wide-ranging trip, and the journey was no doubt enterprising and bargain-savvy. something of an education in itself. Ahmet recalled the brothers’ collecting expeditions: Collecting Records There was always somebody who sold black music “All the first jazz fans had to be collectors; it was to black people. Sometimes it was a drugstore that the only way you knew enough about the subject had a record department or it could be a grocery to have any roots.”37 That’s how the noted record store or whatever, but there was always a place producer George Avakian described the collecting to buy black music. Nesuhi and I also used to go impetus during a time when books on jazz were house to house, ring the bell and say to the people few, record reissues were almost unknown, and when they came to the door, “Have you got any radio stations played live music or current hits, not old records for sale?” They’d say, “Oh, we’ve got a older recordings. As a teenager, Nesuhi had begun whole bunch of old records down in the basement.” collecting jazz records while living in France, where, They’d bring up these 78’s, some of which would he said, “they are much more conscious of jazz as be fifteen, twenty years old that they didn’t know an art.” The Washington Post reported, “Both boys what to do with and didn’t play any more. We used have the time of their life rummaging through old to buy almost everything they had because these furniture stores and music shops in search of rarities collections were exactly what we were looking for in the record field. Ahmet reports that recently they and almost always contained some absolutely bought an old Louis Armstrong record for 10 cents unique recordings. . . .40

102 Their collecting forays took them as far afield dollars’ worth. You and your brother come in, stay for as West —a several-hour drive from half a day, and spend maybe two or three bucks.”44 Washington.41 Most of the homes they visited The Ertegun brothers would clean up the old discs, belonged to black families of modest means, and insert them into new sleeves, and classify them. thus the brothers became more familiar with African “I could hear any orchestra,” attested Ahmet, American life and culture. “and tell you whether it was white or black. You In 1938, Max Silverman, a white businessman, had can’t tell the difference anymore, but in those opened Quality Music Store, a radio and record days you could.”45 The brothers were honing not shop in the heart of the black part of Washington, only their knowledge of black music, but also their at 1836 7th Street, N.W. (near 7th and T Streets, competitive collecting “chops” and therefore their N.W.)42 Silverman “later described in an interview business acumen. how he would witness this limousine pulling up By about 1938, Ahmet’s collecting activities brought and two young men jumping out wearing camel’s him in contact with a number of adult collectors. hair overcoats, all dressed up in a natty way, intent “In the late ‘30s and early ‘40s there was a very on going through all the records in the shop. Max small coterie of people in America who collected jazz said he knew that every record we were buying records and most of us knew each other. There were was worth a lot more than we were paying, but he people like John Hammond, my brother, and myself, didn’t know which ones were worth what and so he Harry Lim, Bob Seal, Dan Quayle, was a couldn’t stop us raiding his stock.”43 Gottlieb, also jazz record collector, so was ”46 with a jazz record collector, recalled, “Each time Max whom Ertegun would eventually form a . got a new shipment, he’d call me, and I’d check it out for rare Bessie Smiths and the like. Then he’d By 1938 or so, word of the Erteguns’ burgeoning call the Erteguns. Nesuhi finally complained: ‘How collection was spreading beyond Washington. come you don’t call me first?’ (Max liked to tell this They were not only acquisitive but also inquisitive, story.) ‘Well,’ he’d answer, ‘Bill comes in, spends an exploring and learning about African American roots hour looking, then buys, sometimes as much as five music, above all jazz. It was probably through their

Figure 10. Bill Gottlieb, Washington Post writer and Figure 11. Ahmet and Nesuhi Ertegun with 78-rpm discs photographer, radio disc jockey, record collector, and sometime and phonograph, at the residence. Photo by William P. master of ceremonies, here in the studios of radio station WNIX, Gottlieb. William P. Gottlieb Collection, courtesy Prints Washington, DC. Gottlieb and the Ertegun brothers became good and Photographs Division, Library of Congress. friends. Photo by Delia Gottlieb. William P. Gottlieb Collection, courtesy Prints and Photographs Division, Library of Congress.

103 growing reputations as collectors that Ahmet met

Figure 12. Ahmet and Nesuhi Ertegun in the record John Hammond in 1938 or 1939. Hammond—whom room of the residence, early 1940s. Photo by William Ahmet described as “an American aristocrat with P. Gottlieb. William P. Gottlieb Collection, courtesy leftist leanings, who from childhood had developed Prints and Photographs Division, Library of Congress. a great love of black music and culture”—had produced the last recording session of Bessie Smith in 1932 and was instrumental in the careers of , , and much later, , Bob Dylan, and Bruce Springsteen.47 One night in 1941 or 1942 Hammond and George Avakian, a young, aspiring , Ertegun recalled, “came to Washington to spend an evening listening to records with my brother and me. We had a lot of records they had never come across— all collectors had treasures others had been unable to find. We had a lot of the rare, rare recordings by and King Oliver. We played them some Frankie Teschemacher, some Boyce Brown and a lot of very rare blues records.”48 Ahmet, 17 or 18 at the time, seems to have been precocious and already self-confident; to receive a visit from someone as well-respected as John Hammond must have flattered him. “In the Ertegun record room,” wrote The Washington Post, “whose walls are covered with surrealistic thumbs drawn by a Turkish artist who lived with Nesuhi in Paris, the Erteguns entertain visiting and local jazz enthusiasts until deep in the night. For diversion, there are trays of halivah, Figure 13. In the record room of the residence, Nesuhi and Ahmet shishkebab, raki and other Turkish edibles. . .or Ertegun hold an album of 78-rpm jazz records. Photo by William P. Gottlieb. Courtesy Delia Gottlieb and the Embassy of Turkey, perhaps some table tennis in what was meant to be Washington, DC. the embassy ballroom.”49

Figure 14. The Howard Theatre in an early photograph, marked the “largest colored theatre in the world.” Courtesy Prints and Photographs Division, Library of Congress.

104 Figure 15. Newsboys line up in front of the Howard Theatre, ca. 1936. Ahmet Ertegun attended dozens, perhaps hundreds, of shows there, and sometimes befriended touring jazz musicians after the performances. Photo by Addison Scurlock. The Scurlock Collection, courtesy Archives Center, National Museum of American History, Smithsonian Institution.

By 1942, Ahmet was advertising records for sale pull on Ahmet. “I went there almost every week, in the collectors’ magazine The Record Changer.50 because every week there was a great band there Nesuhi and Ahmet’s record collection neared the and I didn’t want to miss any of them. I got my 2,000 mark, according to the Post, but because education in music at the Howard,” he declared the brothers’ taste became “more refined and later.55 Established in 1910, the Howard was one more restricted,” by 1943 it had shrunk to “300 of the foremost venues in the United States that really important records.”51 After graduating from catered to a black clientele and featured live college in 1944 (discussed below), Ahmet entered stage shows—decades before Harlem’s Apollo graduate school at .52 Theater became famous. The Ertegun brothers During this time, he recalled, “I was down [at began attending shows at the Howard—they were Quality Music Store] practically every evening and among the minority of whites in the audience—and the record shop now stayed open until midnight. befriending the musicians who played there. Then Around 11 o’clock sometimes we’d close up and the brothers started inviting these musicians to go catch the end of the last show at the Howard visit their home. “On Sunday, we’d have lunch at Theatre, just around the corner from the store. the Turkish embassy and after lunch we’d have Then we used to hang out with whichever artists a jam session,” Ertegun said in a 2005 interview. were there and we’d go to after-hours clubs, one “We had the Ellington band, we had guys from the thing and another. Max’s wife was ready to divorce Louis Armstrong band, Benny Goodman, Tommy him because he didn’t get home until 4 o’clock every Dorsey.”56 morning.”53 By going to the store and hanging out Ahmet recalled one of the Embassy’s African as often as he could, Ahmet Ertegun was learning American employees. “Cleo Payne worked as a about the record business—which would be his janitor at the embassy. He was an ex-fighter and future and through which he would establish an another terrific character. As well as giving me enormous legacy. boxing lessons, he’d take me around the black Jamming at the Ambassador’s Residence section of Washington. For my little sub-deb party, he got this really funky family band with a lady As a teenager, Ahmet became, by his own pianist that reminded me of Lil Armstrong, who admission, “a habitué of the Gayety Burlesque played with Louis Armstrong’s Hot Five.”57 Theater,” which had also drawn in young Duke Ellington several decades earlier.54 But it was In a Washington Post column, Gottlieb reported the Howard Theatre that exerted an enormous “Washington’s most famous private jam sessions

105 Figure 16. Duke Ellington and His Orchestra on stage at the Howard Theatre, ca. 1944. Ahmet and Nesuhi Ertegun attended Ellington’s shows at the Howard. Photo by William P. Gottlieb. William P. Gottlieb Collection, courtesy Prints and Photographs Division, Library of Congress.

Figure 17. Alto saxophonist (partly obscured), cornetist , unidentified tenor saxophonist, baritone saxophonist , harpist Adele Girard, clarinetists and Joe Marsala jam at the Turkish Ambassdor’s Residence, early 1940s. Hodges, Stewart, and Bigard were members of the Duke Ellington Orchestra. Photo by William P. Gottlieb. William P. Gottlieb Collection, courtesy Prints and Photographs Division, Library of Congress.

106 Figure 18. Ahmet Ertegun, clarinetist Mezz Mezzrow, pianist Art Hodes, Nesuhi Ertegun, jazz fan (and Ahmet’s future business partner) Herb Abramson, trombonist Jay Higginbotham, trumpeter Henry “Red” Allen, trombonist Lou McGarity, tenor saxophonist , and Nesuhi and Ahmet’s cousin Sadi Koylin. The men are standing around a bust of Mustafa Kemal Atatürk, founder of the Republic of Turkey, at the Turkish Ambassador’s Residence. Photo by William P. Gottlieb. William P. Gottlieb Collection, courtesy Prints and Photographs Division, Library of Congress.

have taken place in the Ertegun brothers’ study, from the embassy and these hot blues tunes at 3 located on the third floor of the Embassy and a.m. did not appeal to the Rumanians who wished reached by a private elevator.”58 Post reporter to get their sleep. And often the phone would Carolyn Bell wrote in 1942: ring and an annoyed voice would say “Please do something about that awful music your butler is Inside the staid portals of the Turkish Embassy on playing.” They probably wouldn’t have found the Sheridan Circle many a talked about jam session recent jam session with Duke Ellington and his has been held, although none, yet, has hit the band—given in the boys’ quarters—much to their headlines. As a matter of fact Meade Lux Lewis, liking either.59 colored boogie-woogie pianist, composed one of his best pieces at the Turkish Embassy and called it Ellington thought enough of the jamming to Turkish Rag. When he got back to New York and mention it in a newspaper article he wrote, and his old haunt, Café Society, no one would believe Nesuhi told The Washington Post in 1979 that him so they changed the name. But Nesuhi will play experiencing the Ellington band jamming at the the record for you at the drop of a hat and describe residence “was one of the biggest thrills of my the circumstances under which it was written with life.”60 great glee. Asked if their father, the Ambassador, approved An amusing sidelight (that might have become of jazz, the brothers laughed and told The an international incident) is told by Nesuhi. The Washington Post, “Well, we don’t think he Rumanian legation is (or was) just across the street appreciates it—but he doesn’t object too

107 Figure 19. Trombonist Lawrence Brown and alto saxophonist Johnny Hodges— leading members of the Duke Ellington Orchestra—jam at the Turkish Ambassador’s Residence. A phonograph sits behind Hodges. Photo by William P. Gottlieb. William P. Gottlieb Collection, courtesy Prints and Photographs Division, Library of Congress.

Figure 20. Pianist Teddy Wilson and drummer —prominent musicians of the Swing Era—at the Turkish Ambassador’s Residence, probably before or after a jam session. Photo by William P. Gottlieb. William P. Gottlieb Collection, courtesy Prints and Photographs Division, Library of Congress.

strenuously.”61 He must have been a very patient and obliging father to have allowed such lively, rhythmic music to be played until the wee hours of the morning and to condone the boys’ burgeoning record collection.

108 Figure 21. Nesuhi Ertegun, harpist Adele Girard, clarinetist Joe Marsala, drummer Zutty Singleton, trumpeter Max Kaminsky, Ahmet Ertegun, Nesuhi and Ahmet’s cousin Sadi Koylin, and trombonist Benny Morton, in the dining room of the Turkish Ambassador’s Residence. Mixed-race dinners, much less formal ones, were extremely rare in Washington at that time. Photo by William P. Gottlieb. William P. Gottlieb Collection, courtesy Prints and Photographs Division, Library of Congress.

109 Figure 22. The Ertegun brothers’ Washington, DC, late 1930s and early 1940s. Courtesy John Edward Hasse.

Jammed at the Residence Johnny Hodges, alto sax A partial list of those known to have jammed, Max Kaminsky, trumpet one or more times, at the Turkish Ambassador’s Huddie Ledbetter, a/k/a Leadbelly, guitar and vocals Residence comprises many jazz notables, including John Malachi, piano members of the Louis Armstrong and Count Basie Joe Marsala, clarinet bands, and: Lou McGarity, trombone Henry “Red” Allen, trumpet Mezz Mezzrow, clarinet Barney Bigard, clarinet Benny Morton, trombone Lawrence Brown, trombone Tommy Myles, drums Harry Carney, baritone sax Tommy Potter, bass Duke Ellington, piano Zutty Singleton, drums Adele Girard, harp Rex Stewart, cornet Jay Higginbotham, trombone Teddy Wilson, piano Art Hodes, piano Lester Young, tenor sax

110 Figure 23. Black and white musicians perform together at the National Press Club during one of the Ertegun-organized mixed-race jazz concerts. Drummer Ralph Hawkins, pianists Art Hodes and Pete Johnson, trumpeter Henry “Red” Allen, trombonist Lou McGarity, and tenor saxophonist Lester Young. Photo by William P. Gottlieb. William P. Gottlieb Collection, courtesy Prints and Photographs Division, Library of Congress.

Promoting Concerts Two well-publicized concerts held in 1938 and 1939 in had evidently seized the In a city that Washington Post columnist Bill Gottlieb called “a square town,”62 the Ertegun brothers imaginations of the brothers. Organized by found relatively little music to impress them. Down producer-journalist John Hammond, Spirituals to Beat reported in 1939, Swing demonstrated jazz and its roots in blues and boogie-woogie. Performers included the The better night clubs in this town are stiff, boogie-woogie pianists Pete Johnson, Albert expensive joints frequented by Uncle Sam’s Ammons, Meade “Lux” Lewis, the Kansas City employees, who fear that someone will see bands of Joe Turner and Count Basie, and Benny them with their hair down . . . . Bands in these Goodman’s swing band. As one of the first times clubs, which bowed before [“sweet,” not swing, that African American music was featured in the bandleader] Guy Lombardo’s altar a few years ago, august Carnegie Hall, these concerts proved to are now aping [swing bandleader Benny] Goodman, be historic and influential. Inspired by Spirituals to with about as much fire as a Salvation Army lass Swing and the celebrated concert that singer Marian walloping a tambourine. Once a night some of the Anderson—after being denied permission by the bands will play a blues in B-flat, but it sounds more Daughters of the American Revolution to perform like an Hawaiian love song. The Negro joints are a before an integrated audience in Constitution bit better, but on week nights they are dead, and on Hall—performed on the steps of the Lincoln Saturday and Sunday nights they are overrun with Memorial on Easter Sunday, 1939, the brothers [homosexuals].63 Ertegun decided to promote racially mixed jazz Three years later, in 1942, the Ertegun brothers concerts in their new hometown.65 They were driven deplored the “lack of good music in Washington.”64 by a love for the music and a social mission too. They would do their part to change that state of “You can’t imagine how segregated Washington affairs. was at that time,” Nesuhi told The Washington Post

111 in 1979. “Black and whites couldn’t sit together in Johnson, Pee Wee Russell, and others—and also most places. So we put on concerts. . . . Jazz was our we had an integrated audience. We had a lot of weapon for social action.”66 trouble finding a place in Washington where we could stage this event. The first concert we held By 1941, Down Beat, America’s leading jazz was at the Jewish Community Center, which was magazine, reported that Nesuhi had become “the the only place that would allow a mixed audience outstanding figure on the capitol’s jazz front lately. and a mixed band. After that the National Press On Saturday, April 19, he imported , Club broke down and let us use their auditorium. Meade Lux Lewis, Joe Turner, Sidney DeParis, Vic Leadbelly used to come to some of our jam sessions Dickinson, , and Art Hodes for a at the embassy and he sang at the first concert we session of hot. Young Ertegun takes a big loss on gave at the National Press Club. When he peeked all his jazz projects, but he says it’s worth it in the out from the wings backstage and saw the size of interests of converting the town to an appreciation the crowd, he said. ‘Man, you gotta give me double of unadulterated jazz.”67 the price, otherwise I’m not going on.’ So of course Ahmet and Nesuhi had gotten to know such we did—we gave him everything we could, and jazz figures as the pianist--bandleader you know, we certainly weren’t pretending to be Jelly Roll Morton, who lived and performed in experienced promoters. We were just doing it for Washington, DC, from 1935-38, Duke Ellington, and the love of the music.”69 The concert was held May singer .68 The brothers, recalled Ahmet, 25, 1942. “decided to put on the first integrated concert in In September, 1940, Ahmet had entered St. Washington. We had black and white musicians John’s College, a small liberal arts school in onstage, people like Sidney Bechet, Joe Turner, Pete Annapolis, Maryland, thirty-some miles east of Washington. He was one of only 84 freshmen.70 Figure 24. Advertisement for a 1942 jam session at the National Press Club Auditorium. On September 5, 1943, Ertegun and a classmate Courtesy John Edward Hasse. surnamed Campbell put on the first jazz concert in the college’s history, albeit a “concert” using

Figure 25. Huddie Ledbetter, popularly known as Leadbelly, performs in an Ertegun-organized jazz concert at the National Press Club Auditorium, ca. 1942. Photo by William P. Gottlieb. William P. Gottlieb Collection, courtesy Prints and Photographs Division, Library of Congress.

112 recordings. The two classmates penned an article, recounted, “[Bing Crosby’s brother, the swing under the title “The World’s Jazz Crazy, Lawdy, bandleader] Bob Crosby was playing at the Capitol, So Am I,” which appeared on the front page of the Washington’s white venue, and Count Basie’s St. John’s Collegian. “Sunday evening, from seven band was playing the Howard, Washington’s to eight, for the first time in this community, a black theatre. So our friend Bill Gottlieb asked the recorded jazz concert will be given. The program owner of the Howard if Crosby could fall by after will consist altogether of records showing the his show at the Capitol and join Basie onstage. The important developments in the history of jazz owner said, ‘Sure–of course.’ Then he went over to between the years of 1900 and 1930.”71 But, sniffed Crosby, who loved the idea, and announced it to his the college’s yearbook later, “Such things, however, audience. Crosby came right over that night and it as Joe Oliver’s cornet seemed incongruous in this was one hell of a session, to a packed audience of classic setting.”72 During his four years at St. John’s, black and white fans.”74 Ahmet evidently commuted to Washington, at least The efforts by Gottlieb and the Erteguns were whenever jazz events there drew his attention. part of a larger national story, though few in the Besides promoting concerts at the Jewish mainstream press commented upon it at the time. Community Center and the National Press Club One observer who did take note was S.I. Hayakawa, Auditorium, the brothers Ertegun also booked the later a noted linguist and educator, who in 1944 Turner’s Arena.73 Through their jam sessions and wrote in The Defender, quoting writer Robert concerts, the Erteguns were bringing blacks and Goffin, “‘The history of jazz has a social significance whites together. Their friend Gottlieb also helped of which I am aware and which I am fond of breach the color barrier. “One night, “ Ahmet stressing. At the very moment when America goes

Figure 26. Ahmet Ertegun, Duke Ellington, William P. Gottlieb, Nesuhi Ertegun, and Dave Stuart converse at the home of William and Delia Potofsky Gottlieb, 1941. Seated: unidentified woman. Photo by Delia Gottlieb. William P. Gottlieb Collection, courtesy Prints and Photographs Division, Library of Congress.

113 Figure 27. An inter-racial jam session at the National Press Club Auditorium, featuring bassist Tommy Potter, trumpeter Max Kaminsky, trombonist Benny Morton, drummer Zutty Singleton, harpist Adele Girard (obscured), pianist Teddy Wilson, and clarinetist Joe Marsala. Photo by William P. Gottlieb. William P. Gottlieb Collection, courtesy Prints and Photographs Division, Library of Congress.

to war to defend the democratic spirit against the standard for admission into this elite club of totalitarian challenge, it is fitting to remember that, collectors was knowledge and enthusiasm—which in the last twenty years, jazz has done more to bring both Ertegun brothers possessed.”79 blacks and whites together than three amendments In 1942, Nesuhi also lectured on jazz at New York to the Constitution have done in seventy-five.’”75 City’s prestigious New School for Social Research. Lecturing and Writing “It was a big audience too, and I was scared,” he told The Washington Post, which reported, “He has By the spring of 1941, Nesuhi had become confident made so many notes on this music that he thinks and expert enough to deliver a lecture on jazz eventually he will write a book. But he is still a voice for Washington’s Book Shop Association.76 It crying in the wilderness. ‘In my humble opinion,’ became a lengthy series, “Jazz in American Life,” the young Turk will tell you with a twinkle in his conducted by Nesuhi and Dr. Tom Williston eye ‘jazz is America’s most important contribution every other Thursday.77 Williston was an African to the culture of the world.’ And to all the zuit suit American physician who soon would begin writing wearing jitterbugs, Nesuhi warns ‘jazz is at its articles for The Record Changer, a collector’s lowest ebb.’ And if swing bands don’t stop ‘ruining’ magazine published in nearby Fairfax, Virginia, and good, sweet, hot jazz, America’s contribution to distributed nationally.78 Disseminating knowledge art will be lost.”80 What increasingly appealed to on a monthly cycle, the magazine served a network the older brother was the earliest recorded jazz, of jazz fans united by the U.S. Post Office. “The from New Orleans, as performed by such pioneers subscribers were deeper into the collecting world as King Oliver, Louis Armstrong, Sidney Bechet than typical readers of Down Beat, the leading jazz magazine,” observed Jay Bruder. “The only

114 Figure 28. An excerpt from Nesuhi Ertegun’s column in The Record Changer, December 1943. Courtesy John Edward Hasse. and their disciples. For several years, Nesuhi would solidify his tastes in that direction. By 1943, he was serving on the advisory board of Jazz magazine and regularly writing articles for the specialist magazine The Record Changer.81 In one, he expressed great admiration for the work Figure 29. Cover of The Record Changer, now called “The American magazine of jazz,” May of the tiny Jazz Man label. “The outstanding jazz 1946. Courtesy John Edward Hasse. records of 1942 have undoubtedly been those issued on the ‘Jazz Man’ label. The courageous Nesuhi Ertegun, the astute Turkish gentleman who and uncompromising Jazz Man Record Shop of used to write for this publication, having invented Hollywood, California, has endeared itself to all a variety of physical afflictions that he claims collectors of jazz music by presenting a series visit him upon a Washington summer (included of recordings by Lu Watters, Bunk Johnson, and among which were asthma, sinus trouble, gout, Jelly-Roll Morton. At a time when the big recording companies have practically stopped issuing rheumatism, hay fever, and certain rare Asiatic anything except the most commercial jive. . . .”82 diseases) has removed himself to the more beneficial climate of Southern California and Marili Stuart’s He sharpened his critical skills. In a review Jazz Man record shop. Upon his departure he gave of Hugues Panassié’s book The Real Jazz, he his assurances that he would flood us with his took on one of the great figures of French jazz: remarks with such luminaries as , Papa Mutt “Immediately the most flagrent [sic] of Panassié’s [Carey], Bunk Johnson, and others, and establish weaknesses becomes apparent: he is too certain of himself as a veritable Ernie Pyle of jazz music. I the universality of his opinions, he is too dogmatic, regret to say that Mr. Ertegun has been delinquent he attaches to [sic] much finality to his own in this matter. What he thinks we are paying him views.”83 In an essay on “A Style and a Memory,” for, I can not say. Well, maybe next month.84 he bemoans the pop music of the day and laments that the early New Orleans jazz style has lost its Nesuhi thought that the southern California climate audience. would improve his health, and he was right.85 In Washington, Nesuhi was afflicted by jaundice As he had done in Washington, DC, and New York and asthma. By August of 1943, he had left City, Nesuhi lectured about his consuming passion. Washington for the moderate climes of Los Angeles, In the summer of 1945, for example, he gave a series and the editor of The Record Changer wrote, of lectures on New Orleans jazz for the Pasadena evidently with some humor: Institute of Art.86

115 In the latter half of 1947, Nesuhi took over as Orleans jazz. Marili and Nesuhi jumped at the editor of The Record Changer magazine, from his opportunity to gain more exposure for their beloved base in Hollywood. His tenure lasted only six art form, and persuaded trombonist Kid Ory, who months, however, as the magazine was sold to a had left music to work at the post office, to perform man named Bill Grauer, who transferred operations on the show.91 The band, known as the Mercury All- to New York City. Nesuhi continued to work in the Star Jazz Combination or the All-Star Jazz Group, Los Angeles area and in the 1940s, began teaching a created such a sensation it was invited back to course at UCLA on the history of jazz—likely perform on the weekly program for 13 weeks.92 the first for-credit course on jazz at a major Nesuhi and Marili operated two very small, American institution of higher learning.87 His specialized jazz labels: Jazz Man, which they students were exposed to such musical insight as, acquired from previous owners, and Crescent, which “If you can play blues, you’re all set. Every great they founded in 1944 and which recorded old-time musician should be able to play the blues. You New Orleans musicians such as Kid Ory and Bunk might make a categorical statement that if so and Johnson and younger ones, such as Lu Watters and so can’t play the blues, ipso facto, he is not a jazz Wally Rose paying their respects to the older style. musician. I think this is true.”88 Nesuhi named Crescent Records for Turkey’s star Selling Records and crescent and for New Orleans’s nickname “The Crescent City.”93 In a 1945 article heralding Ory’s During his summer 1941 visit to Los Angeles, Nesuhi return to recording, Time called Morden a “dark- had met a beautiful 22-year-old woman named eyed jazz zealot,” and noted that Crescent’s first Marili Morden, who ran Jazz Man Record Shop89 in two Ory releases had quickly sold out their 1,500 Hollywood, and its small label, Jazz Man Records. pressing and would undergo a 1,200-disc repressing. According to Nesuhi’s sister Selma, once he “The recordings, a mixture of Congo barrelhouse returned to Washington, he began receiving letters and Creole sauce,” Time averred, “are probably as from Marili. By the end of 1943, after he moved to close to anything ever put on wax to the spirit of old Los Angeles, they became a couple.90 They shared Storyville, New Orleans’ once-gaudy bawdyhouse a great passion for discovering and promoting New district.”94 These recordings and Time’s coverage Orleans jazz. led to a swelling of interest, especially on the West By 1944, the prominent motion picture director Coast, in traditional or “revival” New Orleans jazz. Orson Welles, who was then hosting a national Nesuhi and Marili were married on February 25, radio program called Mercury Theater, asked for help 1946.95 By then, Marili was sole owner of the record from Marili in mounting a program devoted to New shop, and Nesuhi had served as producer of more recording sessions with Kid Ory. “In the brief time Figure 30. The label from a 78-rpm disc that legendary pianist-composer Jelly Roll Morton recorded at a private session in December 1938 at the Rialto Theater Building in Washington, since Marili Morden and Nesuhi Ertegun joined DC. Nesuhi Ertegun bought the five recording masters Morton recorded that day and forces,” writes Cary Ginnell, “they had taken the persuaded Jazz Man to issue them publicly in 1942. Courtesy John Edward Hasse. Jazz Man from struggling, cramped record store with a stagnant label back to the top of its field. The New Orleans jazz revival had hit its stride, and the Jazz Man Record shop was still leading the way.”96 Jazz Man had had the retail field pretty much to itself, but after World War II, record stores specializing in jazz began sprouting in Los Angeles. Nesuhi began broadening his definition of good jazz, and the shop branched out into stocking a broader selection of jazz discs. Nesuhi and Marili further diversified, in 1945 establishing a company called Record Distribution, to sell jazz records by

116 mail-order to customers in the western United States. By the end of 1946, Nesuhi purchased Jazz Man from previous owner Dave Stuart, and retired the Crescent label, reissuing the Crescent material on Jazz Man.97 He produced more recordings, but by 1950, stopped producing records. By this time, Jazz Man faced more competition—more retail stores and more successful reissue companies—and the record business was changing, as new formats—45 rpm and 33 1/3 rpm— emerged to challenge the old 78 rpm format.98 Nesuhi was evidently getting restive, as he had many interests besides traditional jazz: classical music, art, politics, watching sports, and playing ping-pong. In January 1952, Nesuhi and Marili separated and announced they were selling Jazz Man’s masters to Good Time Jazz records. In August, Marili filed for divorce. Marili continued to run the store, as she sought a buyer, which she found in 1953. She left the record business and never returned.99 Making Records Meanwhile, in Washington, Ahmet had long been Figure 31. Advertisement for the short-lived , from The Record Changer, May 1946. The address of the company was that of Max Silverman’s Quality Music Store. Courtesy interested in making records. Around 1937, when he Jay Bruder. was 14 years old, his mother bought him an amateur record-cutting machine, which recorded sound onto acetate discs. He put a recording of trumpeter ’ instrumental West End Blues onto a phonograph, started the recording machine, and sang new lyrics that he made up with Williams’ disc playing in the background. This became his first experience in overdubbing. “I was amazed at how good it sounded and managed to astonish all my friends because I would play them this record and they had no idea that it was me singing. So it worked extremely well in a primitive way.”100 In 1943, when he was about 19 years old, in a nightclub in a poor section of northeast Washington, Ahmet heard Mildred Cummings, an African American singer with the stage name .101 “‘My God!!!’,” he thought, Figure 32. A 45-rpm record label from the short-lived Quality Records. Herb Abramson reportedly said these records were virtually homemade. He remembered pasting the labels on “She was better than anything I’d ever heard. . . . himself and this specimen seems to bear that out. Courtesy Jay Bruder. She could sing the blues better than anybody I’ve ever heard to this day.” He asked if she would mind several other blues. As he didn’t have a record making a record just for his enjoyment. She agreed, company then, Ahmet made the records just for and they went to a recording studio, Ertegun’s first himself, and thus made his first foray into the world time in such a facility. With the tenor saxophonist of record producing.102 from the nightclub and a rising pianist named John Malachi, they recorded Kansas City, So Long, and

117 Then, shortly after graduating from St. John’s, (Cincinnati), Dial (Hollywood). In later years, Ahmet Ahmet was approached by his friends Herb and was derisive of most of his fellow entrepreneurs: Miriam Abramson to establish, with financial help I began to realize that a large number of owners. . . from Max Silverman, owner of the Quality Music didn’t know anything about the music. They Store, two record labels: Jubilee Records would couldn’t tell a trumpet from a saxophone. I felt that issue black and Quality Records would I knew what black life was in America, what black issue pop and jazz.103 The labels didn’t last long, but music was in America, black roots, gospel music, provided valuable lessons for Ahmet. black blues from the Delta to Chicago, Texas blues During this period, three major labels dominated that went to the West Coast. I was struck by the the US record industry: Columbia, Victor, and fact that so many of these owners seemed to be Decca; they recorded many kinds of music, but their accidentally in the record business because there middle-of-the-road pop music, aimed at the widest was a void and a need for that void to be filled. They possible market, is what dominated the national were just recording whatever came along or else sales charts. Sensing opportunities, beginning they’d hire somebody who knew a little something. in the 1940s, entrepreneurs founded a number Very few of these people, however, seemed to know of small, independent record labels around the too much about: a) the musicians; b) the music; 104 country, including the white-owned Blue Note or c) the taste of the public. So it occurred to me and Apollo Records (based in New York City), that I probably could do better and that this was a Savoy Records (Newark, NJ), King Records business that I could really get into.105 A Turning Point Figure 33. Ahmet Ertegun’s record-sale advertisement from The Record Changer of September 1946 seems to reflect his financial situation at the time. Courtesy Jay Bruder. In November, 1944, Ambassador Ertegün died of a sudden heart attack and was interred at Arlington National Cemetery. In 1946, President Harry Truman “decided that his body should be taken back ‘in state’ to Turkey,” said Ahmet, “through recently liberated waters aboard the USS Missouri, the battleship upon which the official Japanese surrender had taken place several months earlier. This voyage therefore became a further focal point of the Allies’ victorious achievements. . . .”106 Soon after Ertegün’s death, the family returned to Turkey, leaving Ahmet and Nesuhi with a difficult choice: they could go back to Turkey, complete their studies, earn law degrees and, in the family tradition, join the diplomatic corps. Or they could remain in the United States, on their own. They both decided to stay. Rather than shipping records to California, in the January 1945 Record Changer, Nesuhi offered 400 records for sale.107 In September, 1946, Ahmet held a record auction, taking a three-page ad in The Record Changer. Ahmet stayed in Washington, where he was pursuing a master’s degree at Georgetown University. He had lived in embassies his entire life, but now he bid farewell to the servants, cooks, chauffeured cars, and per diem, and adjusted to a

118 tiny student’s allowance. He was offered a job as those funds had run out and I was spending more a cub reporter at The Washington Post, and friends and more time in New York, I was still determined of his father’s offered him positions on Wall Street, to start my own company and knew that Herb but he decided he wanted to pursue something he [Abramson] was the perfect person to go into knew and cared about—making records. “I thought partnership with.”110 it would be fun and I could make some money on After Washington, DC the side. Just a temporary thing to help put myself through college, before returning to Turkey as For a while, Ahmet commuted between Washington expected.”108 and New York. He was still attending Georgetown University’s graduate school, but was looking for a After his father died, Ahmet lived for almost a year way to earn some money. In 1947, he approached in the home of the Washington physician Tom his old Washington friend, Herb Abramson, who Williston, the African American physician and jazz was then studying in dental school in New York and aficionado. “They were very kind to me,” he said.109 working part-time for National Records. Abramson “When Nesuhi and I made our respective decisions came up with $2,500 and Ertegun managed to to stay in America, we had sold pretty much our persuade his dentist to mortgage his house and entire collection of some 15,000 records in order to invest $10,000 in the start-up. The company got going help supplement the very small allowance we were in mid-1947, and by the end of the year had recorded still getting from our family. By this time, in 1947, nearly 200 songs. But for a while, Ahmet took

Figure 34. Ahmet Ertegun loved nightlife. Here he is, at right, with pianist Billy Taylor, photographer Bill Gottlieb, and singer Sylvia Sims, in New York City, 1947. Photo by Delia Gottlieb. William P. Gottlieb Collection, courtesy Prints and Photographs Division, Library of Congress.

119 go on to record and issue an impressive list of R&B, soul, pop, and rock artists: ; Charles; ; Mel Tormé; ; Betty Everett; Bobby Short; ; Sonny & ; ; ; Willie Nelson; ; ; Aretha Franklin; Sam and Dave; Ben E. King; Manhattan Transfer; ; Wilson Pickett; Crosby, Stills, and Nash; ; Yes; Genesis; INXS; and Foreigner. The label issued such notable boxed LP sets as Southern Folk Heritage Series (field

Figure 35. In 1956, Atlantic’s release of ’s 45 rpm single This Little Girl of Mine recordings from 1959 made in the American south caused controversy, as some traditionalist church-goers in the African American community by folklorist Alan Lomax of black and white folk were angered by Charles’s adaptation of a Christian hymn, This Little Light of Mine, for 113 114 strictly secular purposes. Courtesy John Edward Hasse. music), Atlantic , 1947-1974, and The Ertegun’s New York: New York Cabaret Music.115 These last three titles alone suggest some of the breadth—from the most elemental roots music to the songs of swanky Manhattan cabarets—of Ertegun’s musical interests and tastes, which were largely established during his years living in Washington, DC. His brother would join him at Atlantic in 1955, “to do two things,” said Jerry Wexler, an Atlantic producer, “oversee development of long-playing records, in which we were really lagging behind, and to develop a jazz roster.”116 Eventually, Nesuhi would issue recordings by their friend from their Washington days—Duke Ellington—as well as such other significant jazz artists as ,

Figure 36. Album cover for The Erteguns’ New York, a world away, musically speaking, from , Charles Lloyd, , the downhome blues and roots music that Atlantic also issued. Courtesy John Edward Hasse. , , , , and Herbie Mann. Atlantic issued some graduate courses at Columbia University. “I thought of Coleman’s and Coltrane’s most important, 111 this record thing would be temporary,” he recalled. innovative work—such as Coleman’s album The Ertegun eventually decided to forgo more schooling Shape of Jazz to Come and Coltrane’s and focus on the music business. (both recordings made in 1959) —music whose implications are still being worked out by musicians Whether or not he became the “greatest record in the 21st century. man of all time”—as a profile in Rolling Stone112 was titled—Ertegun unquestionably came to rank Besides producing and disseminating influential as one of the most important and influential. If he to American music, Ahmet Ertegun was had only found and nurtured Ray Charles and his proud of the way that Atlantic Records conducted epochal new sounds—which helped create the its business. He indicated it was the result of the genre of soul music and influenced country and way he was raised. “I dare say that we stayed in pop music as well—that would rate as a significant business because we did pay royalties,” he said historical accomplishment. in 1995. “All the other companies who were really selling records for cash on the side or whatever and But under Ertegun—an astute judge of musical in it for the quick buck—the labels all disappeared. talent and commercial potential— Atlantic would We’re still in business and the main reason we’re

120 in business is that we conducted ourselves [in] Memphis, and San Francisco—were wooing the as business-like a fashion as we could. You have founders. In May, 1986, an agreement was signed to remember that in those years none of us made with the city of , which became the home much money. The [recording] artists made much of the museum. more money than we did. I mean, I was getting a In subsequent years, I had the distinct pleasure of salary of $250 dollars a week. Then we went up to meeting and speaking with Ertegun several times $300 a week and I thought, my God, I never thought in New York City and several times in Washington, I’d make this much money. But some of these DC. In 2005, I curated an exhibition at the National artists were making thousands of dollars just for a Museum of American History titled Ray Charles: ‘The one night’s appearance.”117 When, in the 1980s, it became public that many of the pioneer rhythm & blues recording artists had signed away the rights to their material, were getting no royalties, and in some cases had been forced onto the welfare rolls, the Rhythm & Blues Foundation was founded to claim redress from the record companies. The first record label that signed on to cooperate was Atlantic Records, which recalculated back royalties and made a $1.5 million donation to the Foundation.118 By this time, Atlantic belonged to Warner Bros. Records,119 but Ertegun retained a major say in how the label was run. The singer Ruth Brown, who had started her career at Figure 37. In December 2005, Mica and Ahmet Ertegun visited the exhibition Ray Charles: Atlantic, exclaimed, “And I must say my hat is off “The Genius,” at the Smithsonian’s National Museum of American History and posed with to (Atlantic co-founder) Ahmet Ertegun because he the exhibit’s curator, John Edward Hasse. Photo by Hugh Talman, courtesy National Museum made the first step in doing what I feel is right. He of American History, Smithsonian Institution. didn’t have to. He could have kept us hanging out there for years.”120 In the early 1980s, a number of music executives including Ahmet Ertegun and Jann Wenner, founder-publisher of Rolling Stone magazine, began a campaign to establish a Rock & Roll Hall of Fame. When in 1985, Roger Kennedy, the director of the Smithsonian’s National Museum of American History, where I was serving as music curator, heard of this idea, he invited Ertegun, Wenner, and a few others to meet with him in the august Director’s Conference Room at the museum. I was one of several museum staff invited to the meeting. Figure 38. Mica (obscured) and Ahmet Ertegun examine a music manuscript in the Duke Ertegun cut right to the chase: “Why do you want us Ellington Collection, in the Archives Center of the Smithsonian’s National Museum of American here?” he pointedly and skeptically asked Kennedy. History, in December 2005. Ahmet Ertegun first met Ellington about fifty-five years earlier. Photo The director replied that the addition of a rock by Hugh Talman, courtesy National Museum of American History, Smithsonian Institution. hall, built as a new wing on the museum, would draw large numbers of tourists, including young Genius,” and invited Ertegun and his wife Mica to people, and greatly enliven the National Museum come see it. One day in December, 2005, they did. of American History. Nothing ever came from this Then, I took him to the museum’s Archives Center, meeting, as other cities—including New York, which houses, among other treasures, 200,000 Philadelphia, Cleveland, Chicago, New Orleans,

121 pages of documents from Duke Ellington—half of multicultural skills. The at-home comfort levels he that unpublished music Ellington and collaborator evidenced among top tiers of society came from his wrote for the Ellington Orchestra. In diplomatic upbringing, and his ease among black a storage room, packed floor-to-ceiling with boxes people of very modest means came from record of invaluable, irreplaceable, one-of-a-kind pieces of collecting and hearing music in the black parts of American history, my colleagues brought out a box Washington. His partnerships in music, he liked of handwritten Ellington scores. Ertegun lifted his to point out, often were “culturally triangular.” By glasses and studied the writing carefully. Here was birth, he was Muslim. His business partners were something of a circle completed: Ellington was a often Jewish. And especially in the formative years native Washingtonian, and it was when the maestro of the company, he worked primarily with black was visiting his hometown that Ertegun had met musicians. “Together,” observed The New York and befriended him at a time when people of color Times, “they helped move rhythm and blues to the were harshly discriminated against in that city, as center of American popular music.”123 elsewhere. Roughly 65 years later, the legendary In 2007, a two-hour television documentary, producer was witnessing the enormous esteem in Atlantic Records: The House That Ahmet Built, which Ellington was now held at the highest levels was broadcast throughout the United States.124 of American government and culture. Containing interviews with Nesuhi and Ahmet and In 1989, Nesuhi Ertegun had died in New York City a host of recording artists, the program garnered of complications following cancer surgery. Besides positive reviews and was released on DVD. his work at Atlantic, Nesuhi was so well respected Reviving a Tradition in the industry that he was the first President of the National Academy of Recording Arts and Sciences In 2010, Turkey’s Ambassador to the United States, and chairman of the International Federation of Namık Tan, conceived a fresh new idea: honor the Phonographic Industries.121 role that the Embassy had played in improving race relations and, at the same time, honor the sons of Ahmet continued as chairman of Atlantic until a the Turkish Ambassador who had played such a freak fatal accident in 2006—he fell backstage at a crucial part in that effort. “I thought it would be Rolling Stones concert in New York City. Praise was wise to rebuild the historical image of the effusive; entertainment mogul said, “Few people have had a bigger impact on the record industry than Ahmet, and no one loved American music more than he did.” 122 Ertegun’s career reflected his mother’s love of music and his father’s

Figure 40. Ambassador Namık Tan with US Rep. John Conyers, an ardent champion of jazz, at the Ertegün Jazz Series concert on December 6, 2011. Courtesy the Embassy of Turkey, Washington, DC. Figure 39. Printed invitation to one of the concerts in the Ertegün Jazz Series. Courtesy the Embassy of Turkey, Washington, DC.

122 Turkish Embassy residence as a center for jazz and jazz fans,” he told The Washington Post. “People should be aware of the historical significance of this house and of Ahmet and Nesuhi Ertegun. They made a good place for Turkey in the hearts and minds of the black community here and in the music community around the United States and elsewhere.”125 From this desire came an “Ertegün Jazz Series” held at the Turkish Ambassador’s residence. With programming assistance from and funding from Boeing, five such concerts were held in 2011, sparking press coverage in The Washington Post, on Public Radio International, and other media outlets. The concerts were attended by such members of Congress as Rep. John Conyers, the “Dean” of the Congressional Black Caucus and an ardent champion of jazz. Under the sponsorship of Coca-Cola—whose Chairman and CEO, Muhtar Figure 41. A banner at the Turkish Ambassador’s Residence, February 2012. Kent, is of Turkish descent—the series was Courtesy John Edward Hasse. renewed for 2012. Ahmet’s widow, Mica Ertegun, attended several of the concerts, which also drew children of Nesuhi Ertegun as well as Delia Gottlieb, the widow of photographer-writer Bill Gottlieb.126 In one of the most telling comments delivered during the series, Dr. Lonnie Bunch, founding

Figure 42. The Warren Wolf Quartet performs for the third concert of the Ertegün Jazz Series, in the stunning Music Room of the Turkish Ambassador’s Residence, June 7, 2011. From left: drummer John Russell Lamkin III, bassist Herman Burney, vibraphonist Warren Wolf, and pianist Janelle Gill. Courtesy the Embassy of Turkey, Washington, DC.

123 Figure 43. Singer Gretchen Parlato and her trio perform on December 10, 2011, in the sixth concert of the Ertegün Jazz Series. Courtesy the Embassy of Turkey, Washington, DC.

director of the Smithsonian’s National Museum of African American History and Culture, recalled how important the Turkish Embassy was to him when he was a student at Washington’s historically-black in the early 1970s and relayed a vivid memory to the audience. “Those days, Washington was a very different city. There were areas where an African American just couldn’t go. People had said to me, ‘If you are ever near and if something happens and you feel you are in danger then immediately throw yourself inside the Turkish Embassy.’ Turkey’s Washington Embassy has always been a safe haven for us. It still is, but now it is also a safe haven for jazz lovers.

Figure 44. Pianist Jonathan Batiste and members of his Stay Human Band, drummer Joe I am proud to be here, because this is a place that Saylor and bassist Phil Kuehn, perform on May 8, 2012. Courtesy the Embassy of Turkey, used to have a lot of meaning in this city and it still Washington, DC. does.”127

124 Figure 45. Trumpeter Roy Hargrove and his group performed at the first concert of the second Ertegün series, February 15, 2012. Courtesy the Embassy of Turkey, Washington, DC.

Figure 46. Singer Cecile McLorin Salvant and bassist Paul Sikivie perform at the last concert of the second Ertegün series, December 3, 2012. Not pictured: pianist Dan Nimmer and drummer Pete Van Nostrand. Photo by Kyle Gustafson, courtesy the Embassy of Turkey, Washington, DC.

125 Figure 47. Lonnie Bunch, Director of the Smithsonian’s National Museum of African American History and Culture, addresses the audience in the Music Room of the Residence on February 15, 2012. Courtesy the Embassy of Turkey, Washington, DC.

Figure 48. Mrs. Fügen Tan (at left) and Ambassador Namık Tan (third from left) welcome guests of honor former United States Secretary of State Madeleine Albright (second from left) and musician and UNESCO Goodwill Ambassador Herbie Hancock to the final concert of the Ertegün Jazz Series’ second season, December 3, 2012. At far right is Tom Carter, President of the Thelonious Monk Institute of Jazz. A topic of conversation is UNESCO’s decision to launch the second International Jazz Day, culminating worldwide Jazz Appreciation Month, in Istanbul, on April 30, 2013. Photo by Kyle Gustafson, courtesy the Embassy of Turkey, Washington, DC.

126 Endnotes 12 “Duke Ellington’s Success,” Billboard, July 8, 1933, 10; but datelined “London, June 20”; in the Duke 1 The Embassy and the residence would occupy the Ellington Publicity Scrapbooks, Duke Ellington same building from 1932 until 1999, when the Turkish Collection, Archives Center, National Museum Embassy moved its chancery to its current location at of American History, Smithsonian Institution, 2525 Massachusetts Avenue, NW, roughly five blocks Washington, DC. from the ambassador’s residence at 1606 23rd Street, 13 Ertegun, oral history, Columbia University, as quoted NW, which intersects Massachusetts Avenue at in Greenfield, The Last Sultan, 14. Sheridan Circle. 14 Gross, “The Real Sultan of Swing.” 2 The was signed on that day, thereby establishing the modern Turkish republic. 15 Ibid. 16 Ertegun, interview by Greenlee, 10-11. 3 Ahmet Ertegun, oral history, 13 November 2002, Columbia University Oral History Research Office, 17 Greenfield, The Last Sultan, 14-15. as quoted in , The Last Sultan: The 18 Robert Greenfield, “The Greatest Record Man of All Life and Times of Ahmet Ertegun (New York: Simon & Time,” Rolling Stone, no. 1018, January 25, 2007. Schuster, 2011), 5. 19 As quoted in Atlantic Records: The House That Ahmet 4 Ibid. Built, series, broadcast on PBS 5 Ahmet Ertegun explained his family’s change of name television in 2007 and issued on DVD. from Münir to Ertegün: “In 1936 [Kemal] Atatürk [the 20 Ertegun, interview by Greenlee, 1994, 2. George W.S. President of Turkey] decreed that every citizen of Trow, “Part II: Eclectic, Reminiscent, Amused, Fickle, Turkey had to choose a surname. Prior to that time Perverse,” The New Yorker, June 5, 1978. Greenfield, people had simply been known as ‘Son of James’, Son The Last Sultan, 25. of Richard’ or whatever. This, of course, led to some 21 Selma Göksel, email to the author, March 16, 2012. spectacular names being chosen. Our family name Ertegun, interview by Greenlee, 11. up to that point was Münir, so my father selected the surname Ertegün, which roughly translated means 22 Nesuhi Ertegun, “Jazz in Paris,” The Record Changer, ‘living in a hopeful future.’” Ahmet Ertegun, “What’d December 1943, 3. I Say”: The Atlantic Story (New York: Welcome Rain, 23 Ibid. 2001), 4. In the United States, the brothers’ surname 24 Whitey Baker, “A Turk Brings Hot Jazz to normally appeared as Ertegun, without the umlaut, Washington,” Down Beat, May 1, 1941, 9. so it is spelled that way throughout this chapter, with rare exceptions. The Ambassador’s name is rendered 25 This paragraph and the following five paragraphs throughout this chapter as Ertegün. are based on the author’s chapter “The Swing Era,” in John Edward Hasse and Tad Lathrop, Discover Jazz 6 Ahmet Ertegun, oral history, conducted by Marcia (Upper Saddle River, NJ: Pearson, 2012), 90, 95. M. Greenlee, 1994, 10, Rhythm & Blues Foundation 26 John Broven, Record Makers and Breakers: Voices of the Collection, the Center for African American Music and Independent Rock ‘n’ Roll Pioneers (Urbana: University Culture, Indiana University, Bloomington. This and of Press, 2010), 62. other quotes from the interview are used with the kind permission of Mica Ertegun. 27 Interview of Selma Göksel by Onur Bayramoğlu, October 26, 2011, in Istanbul, 3. Translated into 7 Greenfield, The Last Sultan, 10. Michael Gross, “The English by Onur Bayramoğlu. Transcript provided by Real Sultan of Swing,” The Sunday Correspondent the Global Political Trends Center, Istanbul Kültür Magazine (London), October 1990. University. 8 Ertegun, “What’d I Say,” 4. 28 Ertegun, “What’d I Say,” 7. 9 Ellington’s show opened June 12, 1933, and ran for two 29 Ibid. weeks. See Klaus Stratemann, Duke Ellington: Day by Day and Film by Film (Copenhagen: JazzMedia, 1992), 65. 30 Ertegun, “What I’d Say,” 11. See also William P. Gottlieb, “Bill Gottlieb’s Golden Ages of Jazz, Part Stratemann, 65. 10 2,” Jazz Notes 4, no. 4 (1993), 10. For a discussion of 11 Barry Ulanov, Duke Ellington (New York: Creative Age “The List,” which enumerated the few Washington, Press, 1946), 137. DC, restaurants that would serve blacks and whites

127 in the early 1950s, see John Kelly, “D.C. Restaurant 43 Ertegun, “What’d I Say,” 21. List is Relic from a Painful Past,” The Washington Post, 44 Gottlieb, “Gottlieb’s Golden Ages of Jazz,” 11. October 11, 2011. 45 Gross, “The Real Sultan of Swing.” 31 Bruce Wallace, “Mehmet Ertegun and Jazz,” The 46 Ertegun, interview by Greenlee, 52. World radio broadcast, April 12, 2011, http://www. theworld.org/2011/04/turkish-jazz/, accessed 47 Ertegun, ”What’d I Say,” 10. February 24, 2012. 48 Ibid. 32 Broven, 63. 49 Bill Gottlieb, “Swing Sessions,” The Washington Post, 33 Gross, “The Real Sultan of Swing.” December 7, 1941, L2. Cary Ginell, Hot Jazz for Sale: Hollywood’s Jazz Man 34 As interviewed in Atlantic Records: The House That 50 Record Shop. [n.p.]: Cary Ginell, 2010, 109. Ahmet Built. 51 Gottlieb, “Two Turks.” Later, Ahmet Ertegun said 35 Nesuhi Ertegun, “Real and Fake,” The Record Changer, the collection, at its peak, numbered 25,000 jazz and May 1943, 2. Nesuhi’s account differs somewhat from blues discs; see part 1 of George W.S. Trow’s profile recollections of sister Selma: “Nesuhi was already of Ertegun, “Eclectic, Reminiscent, Amused, Fickle, in California when the rest of us drove out there in Perverse,” The New Yorker, May 29, 1978, and Richard the summer of 1941. He was staying with a Turkish Harrington, “The Rock of Atlantic,” The Washington friend who lived in Los Angeles. My mother, Ahmet Post, December 22, 1985, H5. Still later, Ertegun and I went there with a family friend, a Turkish numbered the collection at 15,000 discs: Ertegun woman journalist and lecturer named Ismet Sanli, interview by Greenlee, 1994, 33. who drove us all the way over and back. We went in her car which, I think, was a small yellow Dodge. We 52 Although several sources (for example, Robert took a northern route going and a southern route Greenfield’s The Last Sultan, 35, 38) assert that returning. We stayed in a small apartment in Ertegun studied philosophy, the Washington, DC, Hollywood for one month and visited some studios researcher Jay Bruder reports that some years while there.” Selma Göksel, e-mail to the author, ago, he found and read Ertegun’s masters thesis March 16, 2012. According to The Washington Post, at Georgetown University’s Lauinger Library and they returned to Washington on September 7, remembers as it centering not on philosophy but 1941: “With her daughter Selma, and sons Nesuhi rather on foreign policy. A recent check of the Library and Ahmet, Mme. Ertegun has been motoring found that the thesis could not be located. Personal through California.” “Notes of Capital Society,” The communication from Jay Bruder, April 21, 2012. Washington Post, September 7, 1941, SA1. 53 Ertegun, “What’d I Say,” 21. 36 Ibid., 3. 54 Ahmet Ertegun, oral history, Columbia University, January 23, 2003, as quoted in Greenfield, The Last 37 George Avakian, “The Early Days of Down Beat: A Sultan, 24. Greenfield spells it “Gaiety,” but period Reminiscence,” Down Beat, August 20, 1959, 23. photographs and advertisements use the spelling 38 Carolyn Bell, “Nesuhi Ertegun, Hepcat: Son of Turkish “Gayety.” Envoy Says Jazz Is U.S. Classic,” The Washington Post, 55 Richard Harrington, “The Rock of Atlantic,” The 29 August 1942, B4. The sum of $40 in 1940 equates to Washington Post, December 22, 1985, H5. about $560 in 2012 dollars. 56 Wallace, “Mehmet Ertegun.” 39 William P. Gottlieb, “Bill Gottlieb’s Golden Ages of “What’d I Say,” Jazz,” Jazz Notes 4, no. 3 (Fall 1992), 11. 57 Ertegun, 6. 58 Gottlieb, May 16, 1943, L2. 40 Ertegun, “What’d I Say,” p. 19. Something costing 5¢ in 1940 would be worth 70¢ in 2012 US dollars; $3 in 59 Bell, “Nesuhi Ertegun, Hepcat.” 1940 would equal $42 in 2012; $15 would amount to 60 Duke Ellington, “The Duke Takes Pen in Hand,” $210. Norfolk New Journal and Guide, August 1, 1942, 16; du 41 Bill Gottlieb, “Swing Sessions,” The Washington Post, Lac, B6. December 7, 1941, L2. 61 Bell, “Nesuhi Ertegun, Hepcat.” 42 Richard Harrington, “Tune Town,” The Washington 62 Bill Gottlieb, “Swing Sessions,” The Washington Post, Post, May 07, 1993. February 7, 1943, L4.

128 63 Sidney Martin, Down Beat, March 1939, as quoted in 82 Nesuhi Ertegun, “Record Review,” The Record Howard Reich and William Gaines, Jelly’s Blues: The Changer, Jan. 15, 1943, [2]. Life, Music, and Redemption of Jelly Roll Morton (New 83 Nesuhi Ertegun, “The Real Jazz?” The Record Changer, York: Da Capo Press, 2003), 147. Feb. 1943, [3-4]. 64 Bell, “Nesuhi Ertegun, Hepcat.” 84 Gordon Gullickson, “Granpa’s [sic] Spells,” The Record 65 Greenfield, The Last Sultan, 35; Broven, 62. Changer, August 1943, 12. 66 J. Freedom du Lac, “A Chord of Jazz History to Echo at 85 Ginell, 109. Turkish Embassy,” The Washington Post, February 4, 86 Ginell, 111. 2011, B5. 87 Shelly Lowenkopf and Ralph Melaragno, “Jazz Goes 67 Baker, “A Turk. . .” to College,” Theme 1, no. 5 (March 1954), 42-43. See 68 William Russell, “Oh, Mister Jelly”: A Jelly Roll Morton also Ashley Kahn, “All This Jazz,” UCLA Magazine, Scrapbook (Copenhagen: JazzMedia, 1999), 474; July 2011. http://magazine.ucla.edu/features/all_this_ Ertegun, “What’d I Say,” 12. jazz/ accessed 29 February 2012. 69 Ertegun, “What’d I Say,” 12. 88 “A Jazz Seminar,” Down Beat, June 27, 1957, 15. 70 “Eighty-Four Freshmen Sign St. John’s College 89 The Jazz Man Record Shop was run by Dave Stuart Register,” The Sun (Baltimore), 26 Sept 1940, 11. and Marili Morden. They married on February 20, 1941, 71 Ertegun and Campbell, “’The World’s Jazz Crazy, but after three weeks, Morden kicked Stuart out of Lawdy, So Am I,” St. John’s Collegian, September their home, and they never lived together again. They 3, 1943, 1. The article was titled after one of the remained business partners only, and in due course, recordings played during the concert, a recording were divorced. See Ginell, Hot Jazz for Sale, 40-41, 120. sung in 1925 by Trixie Smith with cornetist Louis In the summer of 1942, Stuart joined the military and Armstrong. left California for flight school. Marili took over the complete operation of the Jazz Man record store and 72 St. John’s College Yearbook (Annapolis, MD: St. John’s label. See “Wife Takes Over as ‘Jazz Man’ Joins Up,” College, 1944), 20. Down Beat, September 14, 1942. 73 Harrington, “The Rock of Atlantic,” H5. Turner’s Arena was a 2,000-seat arena situated near the 90 Selma Göksel, email to the author, 18 March 2012. corner of 14th and W Streets, NW. It was renamed the 91 Ertegun, “What’d I Say,” 4. See also Nesuhi Ertegun, Capital Arena in 1956, and demolished in 1965. “Esquire 1945,” The Record Changer, February 1945, 3. 74 Ertegun, “What’d I Say,” 11. 92 Floyd Levin, Classic Jazz: A Personal View of the Music 75 S.I. Hayakawa, “Second Thoughts: Jazz and Race and the Musicians (Berkeley: University of California Relations,” The Chicago Defender, March 25, 1944, Press, 2000), 12. Also Ginell, 123 and 125. 13. Hayakawa is quoting Robert Goffin, Jazz: From 93 Bill Gottlieb, “Swing Sessions: Jazz Tops ‘All- the Congo to the Metropolitan (Garden City, NY: American’ Art But Foreigners Give It Fame,” The Doubleday, Doran & Co., 1944). Goffin was a Belgian Washington Post, September 1, 1946, S5. writer by then living in the United States. 94 “The Kid Comes Back,” Time, February 5, 1945. 76 “Jazz Student Cites Duke as Best of All,” Baltimore 95 Ginell, 150-51. Afro-American, May 17, 1941, 13. 96 Ginell, 145. 77 Bill Gottlieb, “Swing Sessions,” The Washington Post, December 7, 1941, L2. 97 Ginell, 135, 162, 156. 78 William Gottlieb, “Swing Sessions: Capital Cats, No. 98 Ginell, 176. 5,” The Washington Post, April 25, 1943, L2. 99 Ginell, 181, 182, 184. 79 Jay Bruder, email message to author, April 21, 2012. 100 Ertegun, “What’d I Say,” 4. 80 Bell, “Nesuhi Ertegun, Hepcat.” A “zuit” suit is 101 Greenfield, The Last Sultan, 39. normally spelled “zoot” suit. 102 Idib., 15. 81 Bill Gottlieb, “Bill Gottlieb’s Swing Session: Two Turks, Hot for U.S. Jazz,” The Washington Post, May 103 Broven, 62. 16, 1943, L2. 104 Blue Note Records was established in 1939.

129 105 Ertegun, “What’d I Say,” 22. 127 “Turkish Embassy Celebrates Its Contribution to Jazz,” Sabah, February 2, 2012. http://english.sabah. 106 Ibid., 20. com.tr/National/2012/02/17/turkish-embassy- 107 Ginell, 138. celebrates-its-contribution-to-jazz accessed March 108 Ibid. 12, 2012. 109 Ertegun, interview by Greenlee, 1994, 33. 110 Ibid., 25. Endnote 51 discusses the number of discs in the Ertegun brothers’ collection. 111 Gross, “The Real Sultan of Swing.” 112 Robert Greenfield, “The Greatest Record Man of All Time,” Rolling Stone, no. 1018, January 25, 2007. 113 Issued originally in 1961 on 7 LPs, the set was reissued in 1993 as Sounds of the South, a 4-CD set. 114 Originally a 14-LP set when issued in 1985, it was reissued as a set of 8 CDs. 115 In 1987, it was issued on 6 LPs, then reissued later on 4 CDs. 116 Greenfield, The Last Sultan, 104; Susan Anderson, “Nesuhi Ertegun, a Top Record Producer, Dies at 71,” The New York Times, July 16, 1989, A26. 117 Ertegun, interview by Greenlee, 1995, 95-96. 118 Richard Harrington, “Rhythm, Blues & the Battle Royalty; Ruth Brown & Her Lawyer, Recording a Win,” The Washington Post, May 22, 1988, F1. 119 Atlantic Records was purchased by Warner-Seven Arts in October, 1967. 120 Chris Heim, “Group to Help Old Stars,” Chicago Tribune, December 18, 1988, 9. 121 Susan Heller Anderson, “Nesuhi Ertegun, a Top Record Producer, Dies at 71,” The New York Times, July 16, 1989. Ginell, 288. 122 Tim Weiner, “Ahmet Ertegun, Music Executive, Dies at 83,” The New York Times, December 15, 2006. 123 Ibid. 124 It was broadcast as part of the series American Masters in June 2007 by the U.S. public television network PBS. 125 du Lac, B6. 126 In an interesting development, in 2012, Mica Ertegun and the estate of Ahmet Ertegun made a $41 million gift to Oxford University to establish the Mica and Ahmet Ertegun Graduate Scholarship Program in the Humanities—the largest gift for Oxford’s humanities students in its 900-year history. See Dave Itzkoff, “$41 Million Ertegun Gift For Oxford Humanities,” The New York Times, March 3, 2012, 3.

130 Works Cited

“A Government Architect Sent to Brussels.” Inland Berenson, Bernard. North Italian Painters of the Architect 29 (July 1897): 52. Renaissance. New York and London: G.P. Putnam’s Alexiou, Alice Sparberg. The Flatiron: The New York Sons, 1907. Landmark and the Incomparable City that Rose With It. Bing, Samuel (Siegfried). Artistic America, Tiffany Glass, New York: Thomas Dunne/St. Martin’s, 2010. and Art Nouveau. Cambridge: MIT Press, 1970. Allori, Alessandro. The Abduction of Proserpine. Museum Brennan. Julia M. “Conserving the Treasured Wall Fabrics Collection Provenance. J. Paul Getty Museum, Los of the Turkish Ballroom 2002-2007.” ARCAblog, 17 Angeles, CA. Accessed 5 January 2012. http://www. and 18 Nov. 2011 (2 parts). Accessed 22 November getty.edu/museum/research/provenance/provResear 2011. http//art-crime.blogspot.com /2011/11/part- ch?handle=ppd&id=714&letter=A&page=1. one-conserving-treasured-wall.html; http://art- Anderson, Elizabeth Kilgour. Letters of Mrs. Nicholas crime.blogspot.com/2011/11/part-two-conserving- Longworth Anderson to her Son Larz Anderson, 1882- treasured-wall.html. 1916. Edited by Isabel Anderson. Unpublished carbon ____. “Final Treatment Report, The Conservation of the typescript [1945]. Archives of the Society of the Silk Wall Hangings, Residence of the Ambassador of the Republic of Turkey.” Unpublished report. Textile Cincinnati, Washington, D.C. Conservation Services, Washington, D.C., 2007. Anderson, Isabel. Presidents and Pies: Life in Washington ____. “Revisiting the Turkish Residence – the Ballroom’s 1897-1919. : Houghton Mifflin Co., 1920. ‘Ottoman Style’ Wall Fabrics.” ARCAblog, 16 Architect Registration Files. Application of George Oakley November 2011. Accessed 22 November 2011.. http// Totten, Jr. April 15, 1925. D.C. Board of Examiners and art-crime.blogspot.com/2011/11/revisiting-turkish- Registrars. D.C. Archives, Washington, D.C. residence-ballrooms.html. Atasoy, Nurhan. Otag – 1 Humayun, The Ottoman Imperial Broven, John. Record Makers and Breakers: Voices of the Tent Complex . Istanbul: Aygaz, 2000. Independent Rock ‘n’ Roll Pioneers. Urbana: University “Atlantic Records: The House That Ahmet Built,” of Illinois Press, 2010. American Masters [series], broadcast on PBS Buckley, Barry. Washington Old and New. Washington, television in 2007 and issued on DVD. D.C.: W.F. Roberts Co., 1913. Avakian, George. “The Early Days of Down Beat: A Carolan, Thomas J., Jr. “History of the Former Consulate Reminiscence,” Down Beat (20 August 1959): 23. Building: Palazzo Corpi.” (2002). Consulate Baker, Whitey. “A Turk Brings Hot Jazz to Washington,” General of the United States, Istanbul, Turkey, Down Beat (May 1941): 9. History. Accessed 4 December 2011. http://istanbul. Bayley, J. B., and H. H. Reed. Introductory Notes to The usconsulate.gov/ history2.html. American Vignola, by William R. Ware, ix-xiii. New Carpenter, Frank G. Carp’s Washington. Edited by Frances York: Dover Publications, 1994. Carpenter. New York: McGraw-Hill, 1960. Berg, Scott W. Grand Avenues: The Story of Pierre Celik, Zeynep. The Remaking of Istanbul, Portrait of an Charles L’Enfant, the French Visionary Who Designed Ottoman City in the Nineteenth Century. Berkeley: Washington, D.C. New York: Vintage Books, 2007. University of California Press, 1986.

131 Chessman, G. Wallace, and Curtis W. Abbott. Edward Federal Writers’ Project. Washington: City and Capital. Hamlin Everett: The Bottle King. Granville, Ohio: 1st ed. (unabridged). Washington, D.C.: Government Robbins Hunter Museum, 1991. Printing Office, 1937. Clancy, Jonathan. “Tiffany’s Dream Garden: New Field, Cynthia R., Isabelle Gournay, and Thomas P. Perspectives in Glass.” Part 10. Journal of the CUNY Somma, eds. Paris on the Potomac, The French Influence Ph.D. Program in Art, 2004. Accessed 8 Feb. 2012. on the Architecture and Art of Washington, D.C. Athens: http://web.gc.cuny.edu/dept/arthi/part/part10/ Ohio University Press, 2007. articles/clancy_print.html. Fleming, Dan. “The Fortune of E.H. Everett.” Licking Criss, Nur Bilge. “Shades of Diplomatic Recognition: Valley Ledger, Vol. 2, No. 4 (Oct. 2010): 1-4. American Encounters with Turkey (1923-1937).” In Fuller, George A. Co. Fireproof Building Construction: Studies in Ataturk’s Turkey, edited by Harris and Criss, Prominent Building Erected by the George A. Fuller 145-96. Company. New York: George A. Fuller Co., 1910. Crouch, Edith. Mosaics of Louis Comfort Tiffany. Atglen, ____. George A. Fuller Company, General Contractors 1882- Pennsylvania: Schiffer Publishing, 2009. 1937. New York: George A. Fuller Co., 1937. Dahlgren, Madeleine Vinton. Etiquette of Social Life in Ginell, Cary. Hot Jazz for Sale: Hollywood’s Jazz Man Record Washington. Lancaster, Pennsylvania: Inquirer Shop. [n.p.]: Cary Ginell, 2010. Printing and Publishing Co., 1873. Giovannoni, Simona Lecchini. Alessandro Allori. Torino: Diplomatic Records of the Foreign Service Posts of the Umberto Allemandi, 1991. Department of State. Record Group 84.2, Records of Goffin, Robert. Jazz: From the Congo to the Metropolitan. Diplomatic Posts 1788-1962. Turkey 1830-1954, vol. 305. Garden City, N.Y.: Doubleday, Doran & Co., 1944. National Archives, College Park, Maryland. Goode, James M. Capital Losses: A Cultural History of District of Columbia Building Permits, 1877-1949. Washington’s Destroyed Buildings. 2nd ed., rev. Microfilm M1116. Record Group 351, Records of the Washington, D.C.: Smithsonian Books, 2003. Government of the District of Columbia, 1791-1978. ____. Washington Sculpture: A Cultural History of Outdoor National Archives, Washington, D.C. Sculpture in the Nation’s Capital. 2nd ed., rev. “Duke Ellington’s Success,” Billboard, July 8, 1933, 10 Baltimore: Johns Hopkins University Press, 2008. [datelined “London, June 20”] In Duke Ellington Gottlieb, William P. “Bill Gottlieb’s Golden Ages of Jazz,” Publicity Scrapbooks, Duke Ellington Collection, Jazz Notes 4, No. 3 (Fall 1992): 10-13. Archives Center, National Museum of American ____. “Bill Gottlieb’s Golden Ages of Jazz, Part 2,” Jazz History, Smithsonian Institution, Washington, D.C. Notes 4, No. 4 (1993): 10-12. Ertegun, Ahmet. Oral history, conducted by Marcia Greenfield, Robert. “The Greatest Record Man of All M. Greenlee, 1994. Rhythm & Blues Foundation Time,” Rolling Stone, No. 1018 (January 2007): 25. Collection, the Center for African American Music and ____. The Last Sultan: The Life and Times of Ahmet Ertegun. Culture, Indiana University, Bloomington. New York: Simon & Schuster, 2011. ____. Oral history, 13 November 2002, Columbia University Gross, Michael. “The Real Sultan of Swing,” Sunday Oral History Research Office, as quoted in Robert Correspondent Magazine (London), October 1990. Greenfield, The Last Sultan: The Life and Times of Gournay, Isabelle. “Architects and the French Connection Ahmet Ertegun. New York: Simon & Schuster, 2011. in Washington, D.C.” In Paris on the Potomac, edited ____. “What’d I Say”: The Atlantic Story. New York: by Cynthia R. Field et al., 139-55. Welcome Rain, 2001. Gullickson, Gordon. “Granpa’s [sic] Spells,” Record Ertegun and Campbell, “The World’s Jazz Crazy, Lawdy, Changer (August 1943): 12. So Am I,” St. John’s Collegian, 3 September 1943, 1. Harrington, Richard. “Rhythm, Blues & the Battle Ertegun, Nesuhi. “Esquire 1945,” Record Changer Royalty; Ruth Brown & Her Lawyer, Recording a Win,” (February 1945): 3. The Washington Post, May 22, 1988, p. F1. ____. “Jazz in Paris,” Record Changer (December 1943): 3. Harris, George S. “Cementing Turkish-American ____. “Real and Fake,” Record Changer (May 1943): 2. Relations: The Ambassadorship of (Mehmet) Munir ____. “The Real Jazz?” Record Changer (February1943): Ertegun.” In Studies in Ataturk’s Turkey, edited by [3-4]. Harris and Criss, 177-96. ____. “Record Review,” Record Changer (15 January 1943): ____. “Repairing Turkish-American Relations after the [2]. First World War: Ahmet Muhtar in Washington.” In Everett, Edward Hamlin, Vertical Files. Bennington Studies in Ataturk’s Turkey, edited by Harris and Criss, Museum Library and Archives. Bennington, Vermont. 145-76.

132 Harris, George S., and Nur Bilge Criss, eds. Studies McCullough, David. John Adams. New York: Simon & in Ataturk’s Turkey, The American Dimension. The Schuster, 2001. and its Heritage, Politics, Society, McLean, Evalyn Walsh. Father Struck it Rich [original and Economy 40. Leiden and Boston: Brill, 2009. publication 1936]. 2nd reprint ed. Montrose, Colorado: Hasse, John Edward. “The Swing Era.” In John Edward Western Reflections Publishing Co., 2004. Hasse and Tad Lathrop, Discover Jazz, 88-127. Upper Martin, Sidney. (Unidentified article) Down Beat, March Saddle River, New Jersey: Pearson, 2012. 1939, as quoted in Howard Reich and William Gaines, Henderson Family Papers, 1868-1923. Record Group Jelly’s Blues: The Life, Music, and Redemption of Jelly Roll SIA RU007075 - Series 4. Smithsonian Institution Morton. New York: Da Capo Press, 2003. Archives, Washington, D.C. Morison, S.E., H. E. Commager, and W. E. Leuchtenburg. Historic American Buildings Survey. Edward Everett House The Growth of the American Republic, Vol. 1, 6th ed. (Turkish Embassy). HABS No. DC-258. Washington, New York: Oxford University Press, 1969. D.C.: , Office of Archeology and Newspapers: Historic Preservation, [n.d.]. Baltimore Afro-American Jacob, Kathryn Allamong. Capital Elites: High Society in Baltimore Sun Washington, D.C., after the Civil War. Washington, Chicago Defender D.C.: Smithsonian Institution Press, 1995. Chicago Tribune Jandolo and Tavazzi. Catalogo delle Pregevoli Collezioni New York Times (Proquest Historical Newspapers) de Oggetti d’Arte e Mobil Antichi: Spettanti al Signor Norfolk New Journal and Guide Marchese di Riofreddo ed al Signori Gagliardi di Firenze. Washington Daily News Roma: [n.p.], 1908. Washington Herald (Chronicling America: Historic “A Jazz Seminar,” Down Beat (27 June 1957): 15. American Newspapers, The Library of Congress) Jennings-Bramly, B. C. “The Villa Turri-Salviati.” House Washington Post (Proquest Historical Newspapers) and Garden, A Journal Devoted to Architecture, Indoor Washington Star and Outdoor Art. 7 (Feb. 1905): 73-81. Johnson, Marilyn, Michael John Burlingham, Michèle Washington Times (Chronicling America: Historic Kahn, Joan Térésa Rosasco et al. Louis Comfort Tiffany: American Newspapers, The Library of Congress) Artist for the Ages. London: Scala, 2005. “The Orchards, Bennington, Vermont.” National Register Kahn, Ashley. “All This Jazz,” UCLA Magazine, July 2011. of Historic Places Application, 3 March 2000. National Accessed 29 February 2012. http://magazine.ucla. Park Service, State of Vermont Historic Preservation edu/features/all_this_jazz/. Office. Keim, DeB. Randolph. Hand-Book of Official and Social Paredes, Liana. “Private Homes, Public Lives, Etiquette and Public Ceremonials at Washington. 3rd ed. Francophilia Among Government Officers and the Washington, D.C.: [n.p.], 1889. Washington Elite,” In Paris on the Potomac, edited by “The Kid Comes Back,” Time, 5 February 1945. Cynthia R. Field et al., 77-116. Kulpa, Paula. “An Investigation into Louis Comfort Pilliod, Elizabeth. Bronzino: Artist and Poet at the Court Tiffany’s and Tiffany Studios’ Architectural of the Medici. Firenze: Fondazione Palazzo Strozzi, Metalwork.” MS thesis in Historic Preservation, 2010. University of Pennsylvania, 2008. Resch, Tyler. Deed of Gift: The Putnam Hospital Story. Lee, Antoinette J. Architects to the Nation, The Rise and Boulder, Colorado: Paradigm Press, 1991. Decline of the Supervising Architect’s Office. New York ____. “To Those Researching the Life or Works of Edward and Oxford: Oxford University Press, 2000. H. Everett.” Typescript memorandum, March 22, 1991. Lee, Richard M. Mr. Lincoln’s City: An Illustrated Guide to Vertical Files, Edward Hamlin Everett. Bennington the Civil War Sites of Washington. McLean, Virginia: Museum Library and Archives, Bennington, Vermont EPM Publications, 1981. Russell, William. “Oh, Mister Jelly”: A Jelly Roll Morton Levin, Floyd. Classic Jazz: A Personal View of the Music and Scrapbook. Copenhagen: JazzMedia, 1999. the Musicians. Berkeley: University of California Press, St. John’s College Yearbook. Annapolis, Maryland: St. 2000. John’s College, 1944. Loeffler, Jane C. The Architecture of , Salon des Artistes Français. Explication des ouvrages de Building America’s Embassies. New York: Princeton peinture et dessins, sculpture, architecture et gravure des Architectural Press, 1998. artistes vivants. Paris: [n.p.], 1895. Lowenkopf, Shelly and Ralph Melaragno, “Jazz Goes to Sebba, Anne. That Woman: The Life of Wallis Simpson. College,” Theme 1, no. 5 (March 1954): 42-43. New York: St. Martin’s Press, 2011.

133 Smith, Kathryn Schneider. “Georgetown: Washington’s and James R. Grossman. Chicago Historical Society, Oldest Neighborhood.” In Washington at Home. 2005. Accessed 10 February 2012. http://www. Edited by Kathryn S. Smith. 19-35. encyclopedia.chicagohistory.org. /pages/2678.html. ____. ,ed. Washington at Home: An Illustrated History of Zygulski, Zdzislaw, Jr. Ottoman Art in the Service of the Neighborhoods in the Nation’s Capital. 2nd rev. ed. Empire. Hagop Kevorkian Series on Near Eastern Art and Baltimore: Johns Hopkins University Press, 2010. Civilization. New York and London: NYU Press, 1992. Stratemann, Klaus. Duke Ellington: Day by Day and Film by Film. Copenhagen: JazzMedia, 1992. Teague, Michael. Mrs. L: Conversations with Alice Roosevelt Longworth. Garden City, N.Y.: Doubleday & Co., 1981. Totten, George O., Jr. “Exposition Architecture in its Relations to the Grouping of Government Buildings.” In Papers Relating to the Improvement of the City of Washington, comp. by Glenn Brown, 83-86. Senate Document no. 94, 50th Congress, 2nd session Washington, D.C.: Government Printing Office, 1901. ____. “Résumé of the Proceedings of the VIII International Congress of Architects, Held at Vienna, May 1908.” American Architect. 94 (9 and 16 Dec. 1908): 187-95, 198-203. Trow, George W.S. “Eclectic, Reminiscent, Amused, Fickle, Perverse - I,” New Yorker (29 May 1978): 37-83 ____. “Eclectic, Reminiscent, Amused, Fickle, Perverse - II,” New Yorker (5 June 1978): 45-81. “Turkish Embassy Celebrates Its Contribution to Jazz,” Sabah, 2 February 2012. Accessed 12 March 2012. http://english.sabah.com.tr/National/2012/02/17/ turkish-embassy-celebrates-its-contribution-to-jazz. Ulanov, Barry. Duke Ellington. New York: Creative Age Press, 1946. U.S. Commission of Fine Arts. Massachusetts Avenue Architecture. Vol. 1. Washington, D.C.: Government Printing Office, 1973. Upward, Allen. The East End of Europe. London: John Murray, 1908. Van Dyne, Larry. “Washington D.C.: A City of Bridges.” Washingtonian Magazine 1 March 2006. Accessed 29 April 2012. http://www.washingtonian.com/articles/ people/washington-dc-a-city-of-bridges/. Wallace, Bruce. “Mehmet Ertegun and Jazz,” The World [radio broadcast], 12 April 2011, Accessed 24 February 2012. http://www.theworld.org/2011/04/turkish-jazz/. Washington Architectural Club. Catalogue of the Annual Exhibition of the Washington Architectural Club in the Corcoran Gallery of Art. Washington, D.C.: [n. p.], 1904, 1905. Wheeler, Linda. “Dupont Circle.” In Washington at Home, edited by Kathryn Smith, 179-95. “Wife Takes Over as ‘Jazz Man’ Joins Up,” Down Beat, 14 September 1942. Wilson, Mark R. “Fuller (George A.) Co.” In Encyclopedia of Chicago, ed. by Janice L. Reiff, Ann Durkin Keating,

134 ABOUT THE AUTHORS

James M. Goode, a noted authority on the history of Washington, D.C., is the author of Capital Losses: A Cultural History of Washington’s Destroyed Buildings; Best Addresses: A Century of Washington’s Distinguished Apartment Houses; Capital Views: Historic Photographs of Washington, D.C., Alexandria and Loudon County, Virginia, and Frederick County, Maryland; and Washington Sculpture: A Cultural History of Outdoor Sculpture in the Nation’s Capital. He is currently working on a new volume, The Historic Homes of Washington, D.C. Mr. Goode holds a Ph.D. in American Studies from The George Washington University.

John Edward Hasse is an author, pianist, museum curator, and lecturer. Since 1984, he has served as Curator of American Music at the Smithsonian Institution’s National Museum of American History, where he founded the Smithsonian Jazz Masterworks Orchestra and Jazz Appreciation Month, now celebrated in all 50 states and in 40 countries. He is the author of Beyond Category: The Life and Genius of Duke Ellington, the editor of Jazz: The First Century, co-author of Discover Jazz, and the co-producer/co-author of the Jazz: The Smithsonian Anthology. He has earned a doctorate, an honorary doctorate, and two Grammy Award nominations. A contributor to The Wall Street Journal and eight encyclopedias, Hasse has frequently worked with the State Department and has lectured on jazz and the US State music in 20 countries.

135 Caroline Mesrobian Hickman, an art and architectural historian who received her Ph.D. from the University of North Carolina at Chapel Hill, has over thirty years of experience researching and publishing on Washington architecture and 20th - century American art. She is working on a book and exhibition about her paternal grandfather, Mihran Mesrobian, who served as an architect in the imperial palace in Istanbul and in Izmir before immigrating to Washington to become one of the city’s leading designers during the 1920s.

Skip Moskey is an historical researcher who writes and speaks on Washington’s Gilded Age. He is also writing a full-length biography of Larz and Isabel Anderson, one of Washington’s most elite socialite couples who lived in Washington between 1898 and 1937. He currently serves as a consulting historian to the Town of Brookline, Massachusetts. He holds a Ph.D. in linguistics and modern European languages from Georgetown University.

136 DIPLOMATIC RESIDENTS OF THE HOUSE

NAMIK TAN was appointed Ambassador of Turkey NÜZHET KANDEMİR attended Galatasaray High to the United States in February 2010. Prior to School and then studied at University this appointment, Ambassador Tan was Deputy Faculty of Political Sciences. He served as the Undersecretary of the Ministry of Foreign Affairs, Turkish Ambassador to Washington between 1989 responsible for bilateral political affairs and public and 1998. Kandemir also worked as Ambassador of diplomacy. He was previously Ambassador of Turkey to Bagdad. Turkey to from 2007 to 2009. Born in 1956, Ambassador Tan holds a law degree from Ankara University. Ambassador and Mrs. Fügen Tan have ŞÜKRÜ ELEKDAĞ graduated from Istanbul School two children. of Higher Economics and Commerce. He received his PhD in economics in 1950 from “La Faculté de Droit et des Sciences Economiques – Sorbonne” NABİ ŞENSOY graduated from Ankara University at Paris University. He served as the Turkish Faculty of Political Sciences. He served as the Ambassador to Washington between 1979 and Turkish Ambassador to Washington between 2006 1989. He also served as Ambassador of Turkey to and 2010. He also served as Ambassador to Spain Japan. and Russia Federation.

MELİH RAUF ESENBEL studied at Galatasaray FARUK LOĞOĞLU studied Political Sciences at High School and then Law at . Brandeis University. He served as the Turkish He served as the Turkish Ambassador to Ambassador to Washington between 2001 and Washington in 1960. He also worked as Ambassador 2005. Loğoğlu also served as Ambassador to to Tokyo. Esenbel was also the Minister of Foreign Denmark and Azerbaijan. Affairs between 1974 and 1975.

BAKİ İLKİN graduated from Ankara University AYDIN YEĞEN served as the Turkish Ambassador Faculty of Political Sciences. He served as the to Washington between 1974 and 1975. Turkish Ambassador to Washington between 1998 and 2001. İlkin also worked as Ambassador to Pakistan, Denmark and Netherlands.

137 TURGUT MENEMENCİOĞLU studied at Robert College in Istanbul and received his Bachelor’s degree from Geneva Faculty of Law in Switzerland. He served as the Turkish Ambassador to Washington between 1962 and 1967. Menemencioğlu also worked as a diplomat in Bucharest, Geneva and the .

BÜLEND UŞAKLIGİL attended Galatasaray High School and studied Political Science at George HÜSEYİN RAGIP BAYDUR studied at the Washington University. He served as the Turkish Department of Law at Darülfünun. He served as the Ambassador to Washington between 1960 and 1962. Turkish Ambassador to Washington between 1945 He also worked as a diplomat in Copenhagen, Cairo, and 1948. Baydur also worked as a diplomat in Paris, Paris, Bucharest, London, Vichy and Tehran. Bucharest and was Ambassador to Moscow and Rome. SUAT HAYRİ ÜRGÜPLÜ studied law. He served as the Turkish Ambassador to Washington between 1957 and 1960. Ürgüplü had previously been a parliamentarian at the Grand National Assembly ORHAN HALİT EROL graduated from Robert of Turkey and a Prime Minister as well as an College in Istanbul in 1911 and served as the Turkish Ambassador of Turkey to London and Madrid. Ambassador to Washington between 1944 and 1945. He also worked as a diplomat in London, New York and Bombay. ALİ HAYDAR GÖRK attended Robert College and then studied at the Political Science School of Paris. He served as the Turkish Ambassador to MEHMET MÜNİR ERTEGÜN studied law at Washington between 1955 and 1957. His other posts Istanbul University and served as the Turkish include Moscow, Rome, Tokyo, Warsaw, Madrid Ambassador to Washington between 1934 and 1944. and Paris. He also served as Ambassador to Paris and London.

FERİDUN CEMAL ERKİN attended Galatasaray AHMET MUHTAR studied at Mülkiye (Ankara High School and studied law at Paris University. He University Political Science Faculty) and Law. He served as the Turkish Ambassador to Washington served as the Turkish Ambassador to Washington between 1948 and 1955. Erkin also worked as a between 1927 and 1934. He also worked as a diplomat in Prague, London, Berlin, Rome, Madrid diplomat in Stockholm, Pest, Vienna, Athens, and Paris. Hague and Moscow.

138 INDEX Buildings and streets appearing in the index are located in Belasco Theater 38 Washington, D.C., unless otherwise noted. Bell, Alexander Graham 61 Bell, Carolyn 107, 128 A Benford, J. 17 Abdülhamid 51, 53, 55, 75, 80, 89 Bennington, Vermont 9, 34, 35, 36, 37, 39, 44, 45, 46, 47, Abramson, Herb 103, 107, 117, 119 55, 65, 76, 91, 92, 132, 133, 134 Abramson, Miriam 118 Berenson, Bernard 67, 91, 131 Acropolis (Athens) 39 Beyoğlu (Istanbul) 51 Adams, Abigail Smith 17 Bibesco, Elizabeth 42 Adams, John 16, 30, 133 Bigard, Barney 106, 110 Adolphus Busch Glass Manufacturing Co. 35, 55 Billboard 97, 127, 132 Ahmet Muhtar 77, 78, 92, 93, 133 Black Hand Gorge, Ohio 35 Albaugh’s Opera House 38 Blakey, Art 120 Albright, Madeleine 126 Blue Note Records 129 Alexandria, Virginia 17, 135 Boeing 123 Allen, Henry 107, 110, 111 Bosphorus Strait 50, 55 Allori, Alessandro 7, 10, 65, 66, 67, 68, 80, 84, 90, 91, 132 Boston Conservatory 41 All-Star Jazz Combination 116 Boston, Massachusetts 18, 19, 25, 29, 41, 43, 46, 91, 92, 131, American Architect 51, 63, 88, 134 133 American Bottle Company 35, 36, 55 Bottle Top King 35 American Embassy Association 52, 53, 89 Bouvard, Joseph Antoine 55 Ammons, Albert 111 Braud, Wellman 112 Anacostia River 16 Bronzino, Agnolo 67, 91, 134 Analostan 16, 17, 30 Browne, Herbert W.C. 29 Anderson, Nicholas Longworth 20, 31, 131 Brown, Lawrence 108, 110 Anderson House 20, 29 Buffalo Springfield 120 Anderson, Ivie 97 Bunch, Lonnie 123, 126 Anderson, Larz and Isabel Burnap, George 41 Isabel Anderson 31, 40, 46, 131, 136 Burnap, Grace. See Everett, Grace Burnap Larz Anderson 28, 31, 131 Burnes Cottage 16 Anderson, Marian 111 Burney, Herman 123 Annapolis, Maryland 100, 112, 134 Busch, Adolphus 35, 36, 55 Apollo Records 118 Busch-Everett Company 36 Apollo Theater (New York City) 105 Arcade Auditorium 43 C Archaeological Institute of America 68 Café Society (New York City) 107 Arlington National Cemetery (Arlington, Virginia) 118 Calderone, Mary S. 45 Armstrong, Lil 105 California 26, 115, 118, 128, 129, 132, 133 Armstrong, Louis 96, 99, 100, 102, 105, 110, 114, 129 Capitol Hill 16, 21, 24 Atatürk, Mustafa Kemal 77, 79, 80, 92, 93, 96, 107, 127 Carey, Papa Mutt 115 Athens (Greece) 88, 132 Carnegie Hall (New York City) 111 Atlantic Records 7, 96, 120, 121, 122, 127, 128, 130, 131 Carnegie Public Library 21 Atlantic Records: The House That Ahmet Built 122, 127, 128, Carney, Harry 106, 110 131 Carroll, Daniel, of Duddington 16 Atlantic Rhythm and Blues 120 Carter, Benny 98, 100 Avakian, George 102, 104, 128 Carter, Tom 126 Charles, Ray 120, 121 B Chateau de l’Aile (Vevey, Switzerland) 76 Baker, Josephine 96 Cherry Hill Farm 35 Baltimore, Maryland 18, 21, 30, 31, 35, 129, 132, 133, 134 Chicago, Illinois 18, 24, 35, 42, 57, 62, 63, 72, 89, 90, 113, Bar Harbor, Maine 25 118, 121, 129, 130, 133, 134 Basie, Count 104, 110, 111, 113 Chicago Defender 113, 129, 133 Batiste, Jonathan 124 Chicago Public Library (Chicago Cultural Center) 72 Bechet, Sidney 112, 114 Cincinnati, Ohio 18, 29, 31, 37, 57, 118, 131

139 Civil War (U.S.) 18, 19, 20, 21, 26, 30, 31, 133 Ellington Orchestra 106, 108, 122 Cleveland, Ohio 34, 35, 45, 121 Embassy Row 50, 54, 77, 101 Cluss, Adolph 25 Ertegun, Ahmet 11, 94, 96, 97, 99, 100, 101, 104, 105, 107, Coca-Cola 123 109, 113, 118, 119, 120, 121, 127, 128, 130, 132 Coleman, Ornette 120 Ertegün, Hayrinissa Rüstem 79, 80, 88 Coltrane, John 120 Ertegün Jazz Series 88, 122, 123, 124, 126 Columbian Exposition (Chicago, IL) 57, 63, 72 Ertegün, Mehmet Münir 50, 77, 78, 79, 80, 98, 118 Columbia University (New York City) 50, 90, 120, 127, 128, Ertegun, Mica 11, 123, 127, 130 132 Ertegun, Nesuhi 94, 96, 97, 101, 102, 103, 104, 106, 107, 109, 21, 23, 24, 41, 42, 61, 77, 89 113, 115, 116, 122, 123, 127, 128, 129, 130 Connor, Chris 120 Ertegün, Selma 11, 79, 92, 93, 100 (Istanbul, Turkey) 55, 76 Etiquette of Social Life in Washington 26, 31, 132 Constitution Hall 111 Everett, Amy King 35, 37, 39, 44, 46, 50 Convent of the Visitation 26 Everett, Ann Holton 35, 46 Conyers, John 123 Everett, Betty Grace 42, 44, 46 Coolidge, Grace (Mrs. Calvin) 43 Everett, Sylvester T. 34 Cornell University (Ithaca, NY) 34, 41 Everett, Henry 34 Corpi, Ignazio 51, 88 Everett, Edward Hamlin 6, 7, 19, 29, 31, 32, 34, 35, 36, 39, Corpi, Palazzo 51, 52, 88, 131 40, 44, 45, 46, 47, 64, 76, 91, 132, 134 Court of St. James (London) 96 Everett, Grace Burnap 9, 41, 42, 44, 46, 47, 50, 76, 77, 88, Crescent Records 116 91, 93 Crosby, Bing 96, 113 Everett House 7, 9, 10, 32, 42, 44, 46, 47, 55, 56, 57, 59, 60, 61, 62, 63, 64, 65, 67, 71, 72, 74, 75, 77, 78, 89, 90, 91, Crosby, Bob 113 92, 99, 133 Crosby, Stills, and Nash 120 Everett, Mary Hamlin 34, 35, 46, 65 Crown Cork & Seal Company 35 Everett Mausoleum 39, 44 Cummings, Mildred 117 Everett Ranch 36 D Everett, Samuel 34 Everett, Sarah. See McCowan, Sarah Everett Dahlgren, John A. 26 Dahlgren, Madeleine Vinton 26, 27, 31 F Darin, Bobby 120 Farragut, Admiral David G. 21 Daughters of the American Revolution 111 Field, Mrs. Marshall 42 Daumet-Girault-Esquié (Paris) 51 Fireproof Building Construction 63, 90, 132 David Burnes Cottage 16 Flack, Roberta 120 Delaunay, Charles 98 Flatiron (Fuller) Building (New York City) 63 Delaunay, Robert 98 Foggy Bottom 18 Delaunay, Sonia 98 Foley, Lisa McCowan 32, 41, 45, 46 Delmonico’s (New York City) 38 France, Embassy of 53 DeParis, Sidney 112 Franklin, Aretha 104, 120 Dickinson, Vic 112 Freedmen’s Bureau 25 Dorsey, Tommy 105 Fuller, George A. Company 63, 90, 132 Down Beat 111, 112, 114, 127, 128, 129, 131, 133, 134 Drifters, The 120 G Dupont, Samuel Francis 21 Gayety Burlesque Theater 105 Dupont Circle 21, 23, 24, 25, 26, 31, 56, 61, 63, 77, 124, 134 General Nicholas Longworth Anderson House 20 Dylan, Bob 104 Georgetown 17, 18, 26, 30 E Georgetown University 105, 118, 119, 128, 136 Giant Steps 120 Eastern Branch (River) 16 Gigli, Beniamino 42 École des Arts Décoratifs (Paris) 51, 88 Gill, Janelle 123 École des Beaux Arts (Paris) 50 Girard, Adele 106, 109, 110, 114 Edward H. Everett Farm 36 Goffin, Robert 113, 129 , Embassy of 59 Göksel, Selma Ertegün 11, 779, 80, 92, 93, 100, 127, 128, 129 E.H. Everett Company, The 35 Goodman, Benny 99, 105, 111 Eighteenth Amendment 30 Good Time Jazz 117 Ellington Collection 101, 121, 127, 132 Gottlieb, Delia Potofsky 94, 103, 113, 119, 123 Ellington, Duke 96, 97, 98, 101, 105, 106, 107, 108, 110, 112, 113, 120, 121, 122, 127, 128, 132, 134, 135

140 Gottlieb, William (Bill) 94, 99, 100, 101, 102, 103, 104, 105, Jazz Man Record Shop (Hollywood and Santa Monica, 106, 107, 108, 109, 111, 112, 113, 114, 119, 123, 127, 128, California) 115, 116 129, 132 Jazz Man (record label) 115, 116, 117, 128, 129, 132, 134 Grand Central Terminal (New York City) 43 Jefferson, Thomas 17 Grant, Ulysses S. 20, 21, 30 Jenkins Hill 16 Grauer, Bill 116 Jewish Community Center, 112 Great Britain, Embassy/Legation of 23, 77 Johnson, Bunk 115, 116 Great Depression 6, 30, 50, 99 Johnson, Pete 111, 112 Great Neck Committee for Human Rights 45 Jordan, J.V. 38 Great Neck, Long Island, New York 45 Jubilee Records 117, 118 Greece, Embassy of 57 Jusserand, Jean Jules 53, 54, 89 H K Hamlin, Hannibal 34 Kafka 97 Hamlin, Mary. See Everett, Mary Hamlin Kalorama 37 Hammond, John 103, 104, 111 Kaminsky, Max 109, 110, 114 Hancock, Herbie 126 Kansas City, Missouri 111, 117 Hand-Book of Official and Social Etiquette 133 Keim, De Benneville Randolph 27 Hargrove, Roy 125 Kennedy, Roger 121 Hasse, John Edward 95, 97, 110, 112, 115, 116, 120, 121, 123, Kent, Muhtar 123 127, 133, 135 King, Amy Webster See Everett, Amy King Hauge, Christian 57 King, Ben E. 120 Hawkins, Ralph 111 King Records 118 Hayakawa, S.I 113, 129 Koylin, Sadi 107, 109 Hearst, Phoebe Apperson 25, 26 Krupa, Gene 99 Hearst, George 25 Kuehn, Phil 124 Hejaz Railway 53 Henderson, Mary Foote 40, 51, 53, 54, 63 L Henderson, John B. 40, 51 Lafayette, Marquis de 17 Higginbotham, Jay 107, 110 Lake Geneva 36 Hodes, Art 107, 110, 111, 112 Lamkin, John Russell III 123 Hodges, Johnny 106, 108, 110 Landon School (Bethesda, Maryland) 98 Holiday, Billie 104 Ledbetter, Huddie (a/k/a Leadbelly) 112 Hood College (Frederick, Maryland) 41 Led Zeppelin 120 Hoover, Herbert 18 Leishman, John G. A. 51, 52, 53, 54, 55, 88, 89 Hopkins-Miller House 24 Leiter, Levi 25 Horne, Lena 112 L’Enfant, Peter Charles 15, 16 Hot Club de France 98 Leoni, Giacomo51 Hotel Jefferson (Richmond, Virginia) 44 Lewis, Meade “Lux” 107, 112 Hotel Richmond 45 Lim, Harry 103 Houston, Texas 102 Lincoln Memorial 111 Howard Theatre 104, 105, 106 Lincoln, Abraham 34 Howard University 124 Little, Arthur 29 “Little Miss Cornshucks” 117 I Lloyd, Charles 120 Indonesia, Embassy of 28 Logan, John A. 21 Influenza epidemic 40, 42 Lomax, Alan 120 International Congress of Architects 51, 134 Lombardo, Guy 111 International Federation of Phonographic Industries 122 London, England 51, 89, 90, 91, 92, 96, 97, 100, 127, 131, 132, INXS 120 133, 134 Istanbul, Turkey 6, 7, 8, 9, 10, 11, , 50, 51, 52, 53, 54, 55, 75, London Palladium 97 77, 88, 89, 92, 93, 96, 126, 127, 131, 132, 136 Longworth, Alice Roosevelt 27, 31, 134 Izzet Holo Pasha 53, 54, 55, 89 Los Angeles, California 10, 90, 102, 115, 116, 128, 131 J M Jagger, Mick 120 Malachi, John 110, 117 Jazz Appreciation Month 126, 135 Manhattan Transfer 120 Jazz at Lincoln Center (New York City) 123 Marcotte, L. and Company 63, 64, 75, 90

141 Marsala, Joe 106, 109, 110, 114 New York 16, 17, 18, 19, 30, 31, 34, 37, 38, 41, 42, 43, 44, 45, Mason, John 16, 17 46, 50, 56, 63, 64, 65, 71, 72, 79, 88, 89, 90, 91, 92, Massachusetts Avenue 6, 24, 28, 31, 46, 50, 54, 56, 57, 60, 93, 97, 101, 107, 111, 114, 115, 116, 118, 119, 120, 121, 122, 62, 76, 77, 88, 89, 92, 93, 127, 134 127, 129, 130, 131, 132, 133, 134 Massachusetts General Hospital (Boston, Massachusetts) New York City 31, 34, 37, 38, 41, 42, 43, 44, 50, 111, 114, 115, 43 116, 118, 119, 121, 122 Mayflower Hotel 42, 43 Northern Liberties Market House 21 McCowan, Horace 45 Northwestern Terra Cotta Company 61 McCowan, Sarah Everett 42, 43, 44, 45, 46 McGarity, Lou 107, 110, 111 O McKim Travelling Fellowship (Columbia University, New Octagon House 16 York) 50, 68 Office of the Supervising Architect 51, 52 McLean, Evalyn Walsh 25, 31, 133 Ohio Bottle Company 35, 36 McLean, Mrs. John Roll 28 Oliver, Joe 113 McMillan Commission 55 Orchards, The (Bennington, Vermont) 36, 39, 45, 76, 133 McPherson, General James B. 21 Orient Express 51 McPherson Square 28 Orléans, Louis Phillipe d’ 17 Mehmed Ali 53, 54, 77, 89 Ory, Kid 115, 116 Meigs, Montgomery C. 19 Ottoman 7, 11, 50, 51, 53, 54, 55, 65, 74, 75, 76, 77, 80, 81, Memphis, Tennessee 121 85, 89, 92, 96, 131, 132, 133, 134 Mercury All-Star Jazz Combination 116 Ottoman Empire 50, 51, 55, 77, 80, 133 Mercury Theater 116 Meridian Hill 40, 41 P Mesrobian, Mihran 20, 136 Pacific Circle 21 Metropolitan Club 37 Paige, Oran “Hot Lips” 101 Metropolitan Museum of Art (New York City) 11, 72 Painter, William 35 Metropolitan Opera (New York City) 42 Pakistan, Embassy of 62 Mezzrow, Mezz 107, 110 Panassié, Hugues 98, 115 Mills Brothers 96 Papers Relating to the Improvement of the City of Washing- Mingus, Charles 120 ton 54, 89 Modern Jazz Quartet 120 Paris, France 10, 21, 50, 51, 55, 62, 63, 64, 72, 74, 88, 90, 91, Monk, Thelonious 120, 126 97, 98, 100, 104, 127, 132, 134 Mood Indigo 97 Park Lawn Cemetery (Bennington, Vermont) 39 Morden, Marili 116, 129 Parlato, Gretchen 124 Morton, Benny 109, 110, 114 Patterson, Robert W. 24 Morton, Jelly Roll 104, 112, 116, 129, 133, 134 Pearl Harbor 101 Mt. Union College (Alliance, Ohio) 42 Peaslee, Horace W. 41, 46 Muslim 98, 122 Pennsylvania Avenue 16, 17, 18, 21, 63 Myles, Tommy 110 Pennsylvania Rail Road 43 Pension Bureau building 19 N Pera (Beyoğlu) 51, 88 National Academy of Recording Arts and Sciences 122 Philadelphia, Pennsylvania 16, 18, 19, 47, 51, 57, 89, 90, 91, National Building Museum 19, 90 121 National Museum of African American History and Cul- Phillips Academy (Andover, Massachusetts) 35 ture 124, 126 Pickett, Wilson 120 National Museum of American History 101, 105, 121, 127, Pinckney, Dr. David 45 132, 135 Plantation Club (New York City) 101 National Press Club 111, 112, 113, 114 Pope, John Russell 28 National Records 119 Port O’Connor, Texas 36, 43 National Rifles Hall 30 Potomac River 16 Navy Yard 18 Potter, Tommy 110, 114 Nelson, Willie 120 Public Radio International 123 Newark, Ohio 10, 36, 46, 91 Putnam Cork Fastener 34 Newark (Ohio) Star Glass Company 10, 35, 36, 37, 46, 72, Putnam, Henry W., Sr. 34 91, 118 Pyle, Ernie 115 New Cliff Hotel (Newport, Rhode Island) 38 New Orleans, Louisiana 102, 114, 115, 116, 121 Q Newport, Rhode Island 7, 24, 25, 38 Quality Music Store 101, 103, 105, 117, 118 New School for Social Research (New York City) 114 Quayle, Dan 103

142 R Stewart, Rex 106, 110 Stewart’s Castle 24 Ray Charles: “The Genius” 121 Stewart, William Morris 24 Real Jazz 115, 129, 132 St. John’s College (Annapolis, Maryland) 11, 112, 129, 134 Record Changer 105, 114, 115, 116, 117, 118, 127, 128, 129, 132, St. John’s Collegian 113, 129, 132 133 St. Louis, Missouri 21, 35 Record Distribution 116 Stormy Weather 97 Redding, Otis 120 Storyville, New Orleans 116 Rhythm & Blues Foundation (Cleveland, Ohio) 121, 127, 132 Stravinsky, Igor 97 Rialto Theater Building 116 Strayhorn, Billy 122 Richardson, Henry Hobson 20 Stuart, Dave 113, 117, 129 Richmond Hotel 37, 38, 39, 45 Stuart, Marili 115. See also Morden, Marili Richmond, Virginia 44 51 Rock Creek 18, 37, 56, 60, 62, 63, 73, 77 Sumner School 25 Rockin’ in Rhythm 97 Sumner, Charles 25 Rock & Roll Hall of Fame 121 Rogers, Laussat R. 51 T Rolling Stone 120, 121, 127, 130, 132 Taft, William Howard 36, 55 Rolling Stones 122 Tan, Fügen 88, 126 Romania/Rumania, Embassy of 77, 107 Tan, Namık 6, 11, 50, 88, 122, 126 Roosevelt, Franklin Delano 79 Tanzimat Reforms 55 Roosevelt, Theodore 16, 27, 51 Tayloe, John 16 Root, Elihu 51, 88 Taylor, Billy 119 Rose, Wally 116 Thelonious Monk Institute of Jazz 126 Russell, Pee Wee 112 Theodore Roosevelt Island 16 Theseion (Athens) 39 S Thirteenth Amendment 40 Salvant, Cecile McLorin 125 This Little Girl of Mine 120 Sam and Dave 120 Thomas, George H. 21 San Francisco, California 102, 121 Thornton, Sir Edward 21 Satie, Erik 97 Tiffany, Louis Comfort 71, 90, 91, 132, 133 Savoy Records 118 Tiffany Studios 7, 10, 11, 63, 65, 68, 70, 71, 72, 73, 74, 75, 84, Saylor, Joe 124 90, 91, 92, 132, 133 Schweinfurth, Charles F. 34 Tiffany Studios Favrile mosaics 65 Scott, Winfield 21 Tiger Rag 97 Seal, Bob 103 Titta, Ruffo Cafiero 42 Shaler, S. N. House 89 Toboso, Ohio 36 Shape of Jazz to Come 120 Toledo, Ohio 37 Shepherd, Alexander Robey 21 Tormé, Mel 120 Totten, George Oakley Jr. 6, 7, 10, 32, 34, 38, 50, 51, 54, 56, Sheridan Circle 6, 8, 31, 32, 34, 37, 39, 42, 43, 44, 50, 56, 57, 58, 67, 73, 75, 77, 80, 88, 89, 131 59, 60, 61, 62, 76, 77, 78, 79, 89, 107, 127 Toy Theatre, The 23 Sheridan, Philip H. 21 Truman, Harry 118 Sherman, William Tecumseh 21 Trumbull County, Ohio 34 Short, Bobby 120 Turkey, Embassy of 11, 46, 49, 66, 72, 73, 74, 77, 81, 85, 93, Sikivie, Paul 125 96, 98, 107, 122, 123, 124, 125, 126 Silverman, Max 100, 101, 103, 117, 118 Turkey, Republic of 8, 9, 10, 12, 19, 30, 44, 49, 50, 51, 53, 55, Sims, Sylvia 119 66, 72, 73, 74, 75, 77, 78, 79, 80, 81, 85, 88, 89, 92, Singleton, Zutty 108, 109, 110, 114 93, 96, 97, 99, 101, 107, 116, 118, 119, 122, 123, 124, 125, Sixteenth Street (16th Street) 40, 41, 53, 54, 63, 77, 90 126, 127, 131, 132, 133 Smith, Bessie 103 Turkish Independence (Republican) Day 80 Smithsonian Institution 30, 90, 101, 105, 121, 127, 132, 133, 135 Turkish Legation 53, 54 So Long 117 Turkish Rag 107 Sonny & Cher 120 Turner, Joe 111, 112, 120 Southern Folk Heritage Series 120 Turner’s Arena 113, 129 Springsteen, Bruce 104 Turri, Cipriano and Elisa 67, 91 St. Alban’s School 98 Turri, Guilio 42, 43, 46, 62, 65 Star Glass Works (Newark, Ohio) 35, 36, 72 Turri Suite 62, 78 Stark, John 43 Twenty Third Street (23rd Street) 37, 49, 50, 56, 57, 59, Stay Human Band 124 62, 127

143 U Wilson, Teddy 99, 108, 110, 114 Winter Newport (Washington, D.C.) 7, 24 UCLA (Los Angeles, California) 116, 129, 133 WNIX 103 UNESCO 126 Wolf, Warren 123 Union Station 54, 60 World War I 30, 40, 71, 77, 96 United States 7, 16, 21, 27, 37, 41, 42, 50, 53, 55, 57, 67, 77, World War II 46, 98, 116 78, 80, 98, 101, 105, 117, 118, 122, 123, 126, 127, 129, 131 Wright Brothers 60 U.S. Commission of Fine Arts 41, 93, 134 U.S. Congress 9, 10, 15, 16, 17, 19, 20, 24, 26, 28, 29, 30, 40, Y 51, 53, 54, 56, 57, 60, 61, 65, 73, 79, 88, 89, 94, 96, Yes 120 98, 99, 101, 102, 103, 104, 106, 107, 108, 109, 111, 112, 113, 114, 119, 123, 133, 134 Young, Lester 107, 110, 111 U.S. Department of State 79, 88, 132 Young Turks 51, 54, 55, 77 U.S. Chancery (U.S. Embassy, Istanbul) 50 USS Missouri 118 V Vevey, Switzerland 9, 36, 37, 38, 42, 46, 76 Villa Salviati (Florence, Italy) 65, 67, 68, 91 Vinton, Samuel Finley 26 W Waddell, Peter 23 Wall Street 119, 135 Walsh, Carrie 25, 28, 42 Walsh, Thomas F. 25, 28, 42 Wardman, Harry 20 Wardman Park Hotel 77 Warner Bros. Records 121 Washington Aero Club 60 Washington Architectural Club 63, 90, 134 Washington, D.C. 6, 7, 8, 9, 10, 11, 12, 15, 16, 17, 18, 19, 20, 21, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 34, 35, 36, 37, 38, 39, 40, 41, 42, 43, 44, 45, 46, 47, 49, 50, 51, 52, 54, 55, 56, 57, 58, 59, 60, 61, 62, 63, 64, 65, 66, 67, 68, 71, 72, 73, 74, 76, 77, 78, 79, 80, 81, 85, 88, 89, 90, 91, 92, 93, 96, 97, 98, 99, 100, 101, 102, 103, 104, 105, 107, 109, 110, 111, 112, 113, 114, 115, 116, 117, 118, 119, 120, 121, 122, 123, 124, 125, 126, 127, 128, 129, 130, 131, 132, 133, 134, 135, 136 Washington Kennel Club 43 Washington Post 29, 31, 36, 37, 38, 39, 41, 45, 46, 47, 54, 57, 78, 80, 89, 90, 92, 93, 100, 102, 103, 104, 105, 107, 111, 114, 119, 123, 128, 129, 130, 133 Washington, George 9, 16, 21, 39, 135 Watch Hill, Rhode Island 25 Watters, Lu 115, 116 Waxie Maxie 101 Welles, Orson 116 Wenner, Jann 121 West End Blues 117 Wexler, Jerry 103, 120 Whispering Tiger 97 White House (President’s House) 16, 17, 18, 20, 21, 26, 37, 38, 40, 41, 57, 59, 60, 64, 90, 99 Whiteman, Paul 96 White, Stanford 24 Williams, Cootie 117 Williston, Tom 114, 119

144 The Turkish Ambassador’s Residence and the Cultural History of Washington, D.C.

Skip Moskey Caroline Mesrobian Hickman John Edward Hasse

Forewords by Ahmet Davutoğlu and James M. Goode

“Everett House has long been a source of curiosity for those who viewed it from the outside, and a source of wonder for those lucky enough to have seen it from the inside. With the publication of this volume, historians and the general public will be able to more fully appreciate the importance of the house and the people who have been fortunate to call it home. Everett House has at last been fully documented and interpreted in a way that is fitting to its stature as one of the premier residences in the nation’s capital.”

James M. Goode The Turkish Amb a ss dor’s R esidence nd t he C ul ur l H is ory of W shing on, D .

ISBN: 978-605-4763-07-8

Top View