Library - In Memoriam
Remembering oral history interviewees who have passed away.
Jim Broadus was a true fan of the Gibson guitar he purchased as a kid growing up and chasing his dream to be a rock star. He was overjoyed in the early 1970s when he had the opportunities to work for the company.
Rudy Van Gelder was the recording engineer for countless jazz records beginning in the 1940s.
Toots Thielemans enjoyed an incredible career as both a jazz guitarist and a jazz harmonica player. In fact, it is Toots who is credited for bringing the harmonica to jazz.
Bob Furst was a veteran of the piano industry for over 50 years, Bob sold nearly every brand of player, upright and grand piano that you can think of. Over the years he also became an expert on the value of pianos and a historian on the background of piano manufacturers.
Owen McPeek always wanted to play music, so he found several day jobs that allowed him to play music at night. He ran Rush’s Music on Alcoa Highway in Knoxville, Tennessee, for over a decade beginning in the late 1960s.
Bill Harris was a Utah music retailer so passionate about the business that he often is heard saying, “I hate Sundays because the store is closed.” He began working in music retail when he was in high school and soon after teamed up with two local band directors to open a store i
John Craviotto, the founder of Craviotto Drum Company, has helped pioneer the handcrafted solid-shell snare drums, a leading product for his company and a tool he sought as a young drummer in the 1960s.
Paul Monachino grew up in the Rochester, New York area during the big band era. He played trumpet and set out to see as many of the dance bands as he could including his hero Harry James. After serving during World War II, Paul was hired by the American Piano Company in 1946, t
Gladys Krenek was married to the world-renowned composer Ernst Krenek from 1950 until his passing in 1991. Like many women married to noted artists of that era, Gladys’ own remarkable life in music has been largely overlooked.
Scotty Moore set a date and time on July 4, 1954, to get together with a young singer who wanted to record with Sam Philips at Sun Records in Memphis. Sam asked Scotty, who had recorded with several bands on Sun, to call this kid and work out a few songs.