Le fonds contient de l'information sur la carrière musicale de Clyde Duncan. On y retrouve des contrats d'engagements (1939-1940), les règlements de la Canadian Federation of Musicians, des programmes de concerts, des coupures de presse, des photographies et des documents sonores.
Sans titreLe fonds témoigne partiellement de la carrière musicale, jusqu'en 1975, d’Yves Charbonneau ainsi que du Quatuor de Jazz du Québec (1967-1975), de la colonie artistique de Val-David (1970), de la Ferme du Petit Québec libre (1970-1973), et du café expérimental L'Amorce (1972-1974). Le tout est complété par des journaux politiques ramassés par Yves Charbonneau durant les années 1970. Le fonds comprend aussi des documents textuels et des photographies en lien avec les études en arts visuels entrepris par Yves Charbonneau au lendemain de la rupture du Jazz libre.
Le fonds est divisé dans les séries suivants :
F033/A – Jazz libre du Québec
F033/B – Journaux politiques
F033/C - Études en arts visuels
On y retrouve des documents juridiques, des coupures de presse, des tracts, des notes, des photographies ainsi que deux images en mouvement.
Sans titrePoet Margaret Atwood, guest speaker at the Loyola College Poetry reading series.
Audience at the Margaret Atwood poetry reading session at Loyola College.
Loyola Summer Drama Institute. From left to right, Jan Muszynski and Gabriel Jancowicz rehearse a scene from Caution: Avoiding Elephants May be Dangerous to Your Health, one of two original shows members of the six week Summer Institute are presenting in Loyola's F.C. Smith Auditorium.
Maxim Mazudar as Orlando in an excerpt from “As You Like It”, one of the scenes in the play “The Smallest Unit is a Pair”, held at Loyola College.
Rehearsal of Antigone by the Loyola Chameleon Theatre cast members John Banks (left) as Haimon and Scott Phelan as Creon.
Rehearsal of Antigone by the Loyola Chameleon Theatre cast members Scott Phelan as Creon and John Banks at Haimon.
Rehearsal of Oliver, held in Loyola College. Directed by Maxim Mazumdar (holding script), the Artful Dodger (Edda Gburek) and Oliver (Heather Stanley). David Paltiel, playing one of the Fagan's boys, sits on the stage.
Rehearsal of Oliver, held in Loyola College. From left to right, Chno Levan as Bill Sykes, Maxim Mazumbar as Fagin and Carol McCormick as Nancy.
The Tempest, held in Loyola College. From left to right, Maxim Mazumbar, Lynn Forest and Alex Newell.
The Tempest, held in Loyola College. From left to right, Maxim Mazumbar as Prospero and Lynn Forest as Miranda.
The Tempest, held in Loyola College. Lynn Forest as Miranda.
The Tempest, held in Loyola College. Lynn Forest as Miranda.
The Visit, put on by the Actors Company at Loyola College. From left to right, Joe Diorio, David Pantel, Larry Schwartz, Sandra Smith and Doug Feggans.
The Visit, put on by the Actors Company at Loyola College. From left to right, Grant Lowe, Gary Cosgrove and Sandra Smith.
Italian theatre at Loyola College. Possible performance of Carlo Goldoni's 18th century comedy LA LOCANDIERA, directed by Loyola College professor Carmine Di Michele with a cast of students.
Italian theatre at Loyola College. Possible performance of Carlo Goldoni's 18th century comedy LA LOCANDIERA, directed by Loyola College professor Carmine Di Michele with a cast of students.
Siobhan McKenna, great lady of Irish theatre, in "Here Are Ladies", a series of portraits of women in the literature of Irish authors. She played to an enthusiastic audience which packed the F.C.Smith Auditorium.
Siobhan McKenna, great lady of Irish theatre, on stage performing in "Here Are Ladies", a series of portraits of women in the literature of Irish authors. She played to an enthusiastic audience which packed the F.C.Smith Auditorium.
Siobhan McKenna, the great lady of Irish theatre, as Winnie in Samuel Beckett's "Happy Days" reads ultimate destiny on a toothbrush handle, one of a series of portraits of women in the literature of Irish authors exhibited in "Here Are Ladies".
Siobhan McKenna, the great lady of Irish theatre, as Winnie in Samuel Beckett's "Happy Days" reads ultimate destiny on a toothbrush handle, one of a series of portraits of women in the literature of Irish authors exhibited in "Here Are Ladies".
Duo dancing on a scene. The woman is identified as Midge Palmer.
Group getting ready for a representation of the play "Out of the Frying Pan".
Actors in action on scene during a representation of the play "Out of the Frying Pan".
Le fonds Joe Bell porte sur le jazz à Montréal et les personnalités qui l'ont influencé durant les années 1930 et 1940.
Le fonds est constitué du spicilège que Joe Bell a constitué et qui contient des photographies promotionnelles des différents orchestres et des musiciens avec qui il partageait la scène. On y retrouve des coupures de presse, des menus ainsi que des cartes de boîtes de nuit et de salles de bal.
Sans titreLe fonds comprend 106 arrangements de pièces, datant des années 1950 et 1960, que Maury Kaye a réalisé pour piano, basse et batterie. Il contient aussi un enregistrement original de 1978 mettant en vedette Maury Kaye interprétant quelques-uns de ses succès.
Sans titreLe fonds documente la carrière musicale de Bob Redmond comme membre des Stardusters, des Escorts et du Johnny Holmes Orchestra.
Le fonds contient les écrits de Bob Redmond sur sa carrière. Il contient aussi de la correspondance, des coupures de presse et des documents publicitaires. Il inclut des articles par Bob Redmond sur l'époque des big bands à Montréal et son roman, jamais publié, Swing Easy Blackbird! Bye Bye.
Sans titreLe fonds Johnny Reno est constitué de deux photographies de l'orchestre les Victory Serenadors de Percy Ferguson à l'amphithéâtre du Canadien Pacifique à Rosemont, Montréal en 1943. Le pianiste Oscar Peterson faisait partie de ce groupe.
Sans titreTerminal Taps, from lecft to right: Peggy Butler, Jean Somerville, Helen Pearson, Dorothy Marshall, Winnie Cook, Pearl Nebach