The collection is divided into three series.
Series 1: Music
Series 2: Ephemera
Series 3: Audio Visual Materials
Ray McKinley Music and Ephemera, ca 1945-1994, Archives Center, National Museum of American History.
Copyright restrictions. Contact the Archives Center for information.
Ray McKinley drumset and two band stands are located in the Division of Music History (now Division of Cultural and Community Life).
Ray McKinley was born on June 18, 1910 in Fort Worth, Texas, the son of Flora Newell McKinley and Raymond Harris McKinley, Sr. McKinley, Jr. entertained himself at an early age by "drumming" on whatever was available, and he received his first drum set at age nine from a family friend. His performing career had begun even earlier, at age six, with a snare drum solo for several thousand at the Elks Circus in the North Fort Worth Coliseum. At twelve he started playing professionally with local bands and orchestras. In an April, 1986 article in
McKinley left town for the first time on a tour with the Duncan-Marin band in 1926. While performing in a Chicago nightclub, he was caught in the crossfire of a gang shoot-out and shot in the leg. During his convalescence, he wandered the clubs and listened in on sets. He met "Benny Pollack, Benny Goodman, Glenn Miller and others" (Ray McKinley, see Subseries 2F: Biographical Materials). He left the Duncan-Marin group in 1927 for the Beasley Smith orchestra, and joined the Tracy-Brown Orchestra in 1929. He played with Milt Shaw's Detroiters for a time in 1930, followed by a stint with Dave Bernie's band. With Bernie, he made two trips to England, "where he acquired a set of neckties and a Southern accent" (McKinley, Biographical Materials).
Glenn Miller asked McKinley to join him in Smith Ballew's band in 1932, and Miller later placed McKinley and four others with the Dorsey Brothers' Orchestra. When the Dorseys split, McKinley stayed with Jimmy Dorsey, although he was heavily recruited by other band leaders, including Tommy Dorsey and Benny Goodman. He became known as a vocalist as well as drummer in Jimmy Dorsey's band, and had Bing Crosby name him "one of the ten best vocalists in the country" (
McKinley's old association with Glenn Miller paid off when Glenn took him on for his famous Army Air Force Band. McKinley says that Glenn Miller's band "was one of the two best musical organizations I had anything to do with as a player" (
McKinley's new orchestra enjoyed great success, partially due to its young talent, including that of arrangers Eddie Sauter and Deane Kincaide. McKinley's showmanship and skills as leader, vocalist, and drummer also earned the band many fans. Some of their hits included
After his recovery, McKinley freelanced with different bands and in radio and television, mostly accepting appearances that kept him near his home in Connecticut. His last extended stint with any band came in 1956, when Willard Alexander persuaded the Glenn Miller Estate to sponsor a New Glenn Miller Orchestra with McKinley as its leader. The band played arrangements of old Miller favorites from the original music as well as more contemporary hits. This orchestra, like McKinley's earlier ones, was very successful, performing on television and travelling all over the world. In 1966, McKinley tired of the road and "retired". For the next thirty years, McKinley again stayed close to home, playing "gigs" with various bands, working as a musical consultant for Walt Disney World in 1971, and doing some television and recordings.
McKinley is remembered as a loving family man, screwball showman, and dedicated musician. In January, 1950,
McKinley was married in 1937 but divorced by 1942. He then married ballet dancer Gretchen Havemann in 1943, a few months into his tenure with the Glenn Miller Band. On April 7, 1949, they had daughter for whom Gretchen coined the name Jawn. A loving, happy couple, he and Gretchen celebrated their fiftieth wedding anniversary in 1993. In 1983, he and Gretchen began spending half of their year in a home in Florida and half in Canada. He died in 1995.
The Ray McKinley Music and Ephemera consists of music, scores, sideman books, photographs, correspondence, news clippings and magazine articles, business records, awards, audio and videotapes, 45 rpm commercial recordings, and miscellaneous biographical notes. The records date from the the late nineteenth century to 1996 and document the professional music career and personal life of Ray McKinley (drummer, band leader, and vocalist). The collection is organized into three series; Series 1: Music ca. 1942-1990, Series 2: Ephemera ca. 1870-1996, and Series 3: Miscellaneous ca. 1943-1993. Materials in each series are arranged either alphabetically by music title or chronologically by date.
The following reference abbreviations are used in the container list to facilitate cross-referencing of materials in different subseries:
Donated by Gretchen McKinley and Jawn McKinley Neville on February 2, 1998.
Collection processed by Scott Schwartz, January 5, 2000.
Collection is open for research.
The music in Series 1, which makes up the bulk of the Ray McKinley Collection, is divided into three subseries:Subseries 1.1: Music Nanuscripts, Subseries 1.2: Band Libraries, and Subseries 1.3: Miscellaneous Music and Music Ephemera.
Subseries 1.1 contains the main title list for the whole series. All titles appear on this list in alphabetical order. However, many pieces which are included in the collection are not part of the regular-size material of Subseries 1.1. These appear indented and in
Many of the scores in the collections are oversize and are therefore separated from the regular-sized music manuscripts. The list of titles of oversize scores begins at box 30 of the main title list. When parts are available under the same title as that of a score, this is indicated with the abbreviation
When known, an arrangers name is listed with the oversize score. Only when there is no oversize score, or when an arrranger is only identifiable through the parts, is the arranger's name included in the main title list.
The listing of a title in
When two arrangements or copies of a piece are available, the title is listed twice with some of the distinguishing characteristics of the two versions indicated (e.g., When Your Lover Has Gone, #47; When Your Lover Has Gone, #300).
Medlies can be found at the end of the M's in this series. Those identified only by number (e.g., Medley 3) are listed first, in numerical order, followed by those identified by title (e.g., Christmas Medley), in alphabetical order. Whenever possible, the titles of the pieces that comprise a medley are listed with its title (e.g., Medley 1: Down The Road Apiece/Hoodle Addle/Red Silk Stockings).
(piece originally found with composition
Harlem Nocturne see also Subseries 1B
(piece originally found with composition
Subseries 1.2 contains three sets of band libraries, or sideman books, have been identified. The most complete of the three is the set of sideman books from appearances Ray made at Disneyland in the 1980s. The second and third set are of unknown origin. The music in all the folders except for two has been left in the order in which it was found, and the remaining two were alphabetized. The original order of the pieces in the alphabetized books is approximated in the other books of the set.
The band libraries do not always contain pieces exclusively for one instrument. In addition, the order of pieces within each library is not always exact. The Disneyland band libraries are the most consistent, while the second set has many exceptions to the order. The pieces in the third set correspond only in title, and their order is very different.
To aid the researcher and to reduce handling of the materials, an alphabetical list of the titles from each set is provided, following the container list for the subseries. The instruments' parts that are included in the set of libraries are listed next to each title.
Missing Trombone III
Complete
Complete
Trombone III
Trombone III
No Drums
Missing Trombone III
Complete
Missing Trombone III
Complete
No Trombone III, Drums
No Drums
Complete
Complete
No Trombone III
Complete
Trombone III
No Trombone III
No Trombone III
Complete
No Trombone III
No Trombone III
Complete
Complete
Trombone III
Trombone III
No Drums
No Trombone III
Trombone III
No Trombone III
No Trombone III
Trombone III
Complete
No Trombone III
Complete
Complete
Complete
No Trombone III
Trombone III
Trombone III
Trombone III
Complete
No Trombone III
No Drums
No Trombone III, Drums
Trombone III
Trombone III
No Trombone III
Complete
No Trombone III
No Trombone III
No Trombone III
No Trombone III
Trombone III
No Trombone III
Alto I/Clarinet, Trumpet I, Trombone I
Alto I/Clarinet, Trumpet I, Trombone I
Drum
Complete
Alto I/Clarinet, Trumpet I, Trombone I
Alto I/Clarinet, Trombone I, Drum
Complete
Alto I/Clarinet
Alto I/Clarinet, Trumpet I, Trombone I
Complete
Alto I/Clarinet, Trumpet I, Trombone I
Complete
Complete
Trumpet I, Trombone I
Complete
Complete
Alto I/Clarinet, Trumpet I, Trombone I
Trumpet I, Trombone I
Complete
Complete
Alto I/Clarinet, Trumpet I, Trombone I
Alto I/Clarinet, Trumpet I, Trombone I
Alto I/Clarinet, Trumpet I, Trombone I
Alto I/Clarinet, Trumpet I, Trombone I
Trumpet I
Trumpet I, Trombone I
Alto I/Clarinet
Complete
Drum
Alto I/Clarinet, Trumpet I, Trombone I
Complete
Complete
Drum
Trumpet I
Alto I/Clarinet, Trumpet I, Trombone I
Alto I/Clarinet, Trumpet I, Trombone I
Alto I/Clarinet, Trumpet I, Trombone I
Alto I/Clarinet, Trombone I, Drum
Complete
Alto I/Clarinet, Trumpet I, Trombone I
Alto I/Clarinet
Complete
Alto I/Clarinet, Trumpet I, Trombone I
Complete
Alto I/Clarinet, Trumpet I, Trombone I
Complete
Complete
Complete
Alto I/Clarinet, Trumpet I
Complete
Complete
Alto I/Clarinet, Trumpet I, Trombone I
Alto I/Clarinet, Trumpet I
Alto I/Clarinet, Trumpet I, Trombone I
Trumpet IV, Trombone IV
Trumpet IV, Trombone IV
Trumpet IV
Trumpet IV, Trombone IV
Trumpet IV
Trumpet IV
Trumpet IV
Trumpet IV, Trombone IV
Trumpet IV
Trumpet IV, Trombone IV
Trombone IV
Trumpet IV, Trombone IV
Trumpet IV
Trumpet IV, Trombone IV
Trumpet IV
Trumpet IV
Trumpet IV, Trombone IV
Trumpet IV, Trombone IV
Trumpet IV, Trombone IV
Trumpet IV, Trombone IV
Trumpet IV, Trombone IV
Trumpet IV, Trombone IV
Trombone IV
Trumpet IV, Trombone IV
Trumpet IV, Trombone IV
Trumpet IV
Trombone IV
Trumpet IV, Trombone IV
Trumpet IV
Contents
Trombone IV
Trombone IV
Trumpet IV, Trombone IV
Trumpet IV, Trombone IV
Trumpet IV, Trombone IV
Trumpet IV
Trumpet IV, Guitar
Trumpet IV
Trumpet IV, Trombone IV
Trumpet IV, Guitar
Trumpet IV, Guitar
Trumpet IV, Trombone IV, Guitar
Trumpet IV, Trombone IV, Guitar
Trumpet IV, Trom IV, Guitar
Trumpet IV
Trumpet IV, Guitar
Trumpet IV, Guitar
Trumpet IV
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar
Guitar, Trumpets
Guitar
Guitar
Guitar
Guitar
The music in Subseries 1.3 is arranged alphabetically according to title. Each of the parts included is listed by instrument next to the title of its piece. The matching parts for many of these pieces can be found in the band libraries. Two folders have been retained separately from the rest of the miscellaneous music in order to better preserve their provenance. One of these is a collection of conductor parts arranged by Eddie Sauter, and another is a set of Sauter arrangements of various tunes for six brass instruments.
Also included in Subseries 1.3 are published sheet music versions of several popular tunes which Ray and his bands played at various points in time. These are listed alphabetically by title.
The music ephemera in the subseries consists of handwritten or printed set lists and records of Ray's music libraries. All the set lists seem to date from the latter half of the century, although few of them are easily identifiable. Library records also vary greatly, since Ray played with so many groups over such a long career.
Series 2 is divided into eight subseries which include photographs, newsclippings, correspondence, and other records which document McKinley's personal and professional interactions. Of particular interest are the photographs of Subseries 2.1, which contain the most complete record of McKinley's family life, as well as images from almost all the major bands McKinley played with over the course of his long career. The news clippings and magazine articles ofSubseries 2.2 also provide a good look at McKinley's career in particular. Correspondence from Subseries 2.3 also provides a sampling of both personal and professional correspondence from 1938 to 1995, including many fan letters.
Subseries 2A: Photographs ca. 1870-1995
Subseries 2A includes black and white and color photographs and several sheets of black and white xerox copies of photographs. Since most of the photographs are not labeled, date identifications cannot be positive, but the photographs range in age roughly from the late 19th century to the 1990s. Images ranging from about 1930 to 1980 document Ray's activities with various bands and orchestras. The photographs are divided into several subject groups, all of which document very different things. Photographs of Ray's musical career, for example, document the growth of a teenaged drummer trying out a pencil moustache into master showman leading his own orchestras well into old age. Of particular interest are two photographs of Ray and some band members with Louis Armstrong, who Ray's daughter describes as, "His idol!" The autographed photographs consist of publicity shots of various musicians and bands that Ray collected in his first few years as a professional musician. The personal and family photographs, which include a portrait of Ray's grandmother and snapshots of his great-grandfather document several generations of American family life. In his first few years, Ray wears a drop-waist dress and buckle shoes, and only a few decades later he sports an Air Force uniform for his wedding in a chapel at Yale. Photographs from the years that follow depict Ray, his wife, and his daughter together in every remaining decade of the century. The group of World War II photographs consist less of posed photographs of the whole band performing or traveling and more of shots of Ray, his friends and the European cities they encountered in their travels. These include photographs of servicemen assembled to hear the band play, wreckage from bombs, and band members relaxing.
Additional photos can be found in two photo albums assembled as thank-you gifts to the New Glenn Miller Orchestra for performances in Kyoto, Japan, and Yugoslavia. These albums and the photographs from them can be found in Subseries 2.2: Miscellaneous.
Ray McKinley; publicity and candid shots ca. 1930- 1980
Pre-war Bands #1-14
[Dorsey Bros. Orchestra with Bob Crosby and Kay Weber : black-and-white photoprint,] Fall, 1934.
AC0635.0000001.tif (AC Scan, Front)
With handwritten note on face: "To Mae, than whom there is none finer--affectionately, Raymond." On verso, another handwritten note with names of musicians in image: Don Matteson--bone, McKinley--drums, 'Skeats' [Herfunts?]--tenor sax, Bob Crosby--boy singer(?), George Thow--trumpet, Jack Stacy--tenor sax, Glenn Miller--bone, Kay Weber--girl singer, Bobby Van Epps--piano, Delmar Kaplan--bass, Jimmy Dorsey--alto sax, 'Roc' Hillman--guitar, Tommy Dorsey--bone & leader. Other handwritten note on verso reads "Taken in an N.B.C.studio in the fall of 1934"; also: "Dorsey Bros. Orch. With Bob Crosby & Kay Weber," and "Rockwell-O'Keefe, Inc. RKO Building Rockefeller Center, New York."
Shown in exhibition "Jazz Photographs: Composed and Improvised," Archives Center display cases, National Museum of American History, March 28-May 10, 2005.
Ray and Jawn McKinley/Later Family ca. 1949-1990
Subseries 2.2 consists of news and magazine articles ranging from 1929 to 1995, documenting Ray's musical career. There are three folders of standard-size material, as well as two folders of oversize articles. All material is arranged chronologically. Of particular interest are a group of articles ranging from 1942 to 1945, documenting Ray's activity with the Glenn Miller Band, and articles from international newspapers in 1954 documenting the New Glenn Miller Band's tour in that year of several countries behind the Iron Curtain.
Subseries 2.3 consists of two folders of letters from friends and fans, documenting events in Ray's musical career and personal life. Of particular interest is a 1945 letter from General Omar Bradley congratulating Ray on a performance of the Glenn Miller Band which Ray had lead. Also of note are a few letters exchanged between Ray and Gretchen McKinley during the war, as well as several letters from veterans of World War II relating fond memories of the Glenn Miller Orchestra's performances overseas. Undated correspondence is at the end of the Subseries.
Subseries 2.4 consists of three folders of publicity materials and programs for appearances and recordings of Ray McKinley's Orchestras, as well as product endorsements by McKinley. Materials include advertisements from magazines and newspapers, broadsides, flyers, press releases, and programs. Records are placed in chronological order, grouped, when possible, by the band Ray belonged to when the materials were produced.
Subseries 2.5 includes notes and lists scratched on hotel stationery and contracts with music publishing companies and the American Society of Composers, Authors, and Publishers (ASCAP). These records document a small portion of Ray's activities with various bands in various cities.
Subseries 2.6 consists of complete or partial biographical sketches of McKinley written for news articles, performance programs, or album covers. Several of these are written by McKinley himself and give a good idea of the wit that made him famous.
Subseries 2.7 documents various honors McKinley received throughout his career and after his death. Included in this is a letter vividly describing the ceremony at which McKinley and the living members of the Glenn Miller AAF Orchestra received the Air Force Medal of Commendation. This letter also describes many of the orchestra members' experiences during the war.
Series 3 consists of 1/4 inch audiotapes, VHS videotapes, and 45 rpm commercial discs documenting various of McKinley's post-war performances.
1/4-inch audiotape is indicated by the abbreviation "OT7" at the beginning of the item number in the container list. Most of these audiotapes are not clearly identified, and they are unavailable to researchers for listening purposes, as reference copies of them have not yet been made. The four videotapes, identified by a number beginning with "RV", document some of McKinley's television appearances and performances at Disneyland. These tapes are available for viewing. Discs are identified by the letters "OD" in the item number