Consists of original music compositions and jazz arrangements written for the US Air Force bands as well as the Wilbur Wright College jazz band. In addition there is correspondence and photographs documenting DeRoule's career as a trumpeter, composer/arranger, and music educator between 1951 and 2011.

Consists of sheet music, manuscripts, score fragments, photographs, newspaper clippings, correspondence, audio recordings, and administrative records that document the career of John Garvey, founder of the University of Illinois School of Music Jazz Program, the Russian Folk Orchestra, and the Walden String Quartet.

Consists of research and instructional files, and correspondence related to his scholarship in Medieval and Renaissance music, American popular music (primarily Jazz), as well as Gushee's ancillary scholarly interests which include organology and nineteenth-century French music. Materials also pertain to Gushee's involvement and service as a faculty member for the School of Music at the University of Illinois. Gushee's study of American popular music grew from his initial interest in Medieval and Renaissance trouveres and troubadours; and his research of early music included the genealogy of important musicians and the tracing of song origins. Such endeavors were highly influential upon his later work with American music. Gushee's research efforts are represented in genealogical records (census, marriage, death, and military service) of famous jazz musicians, including Jelly Roll Morton, maps, card catalog records, audiovisual materials, and print versions of Gushee's conference papers.

The collection contains correspondence, business records, band member rosters and travel itineraries, press releases and newspaper clippings, original music scores and parts, reel-to-reel and cassette sound recordings, photographs, concert programs and liner notes, ephemera, and Dan Perrino's Rolodex. The records and artifacts document the band's early formation and performances between 1966 and 2000 when Dan Perrino stepped down as the band's manager and director. Of particular interest are the records documenting the band's performances at the 1982 Liberty Bowl and 1984 Rose Bowl.

Records of the Medicare 7, 8,or 9 Dixieland Jazz Band (c. 1970-1999) contain correspondence, performance itineraries, financial records, promotional materials, and newspaper clippings concerning the activities of Medicare, an arts organization founded by Dean of Student Programs and Services Dan Perrino in 1968. This series contains the files of business manager Stan Rahn (1974-2001) and the files of director Dan Perrino (1968-1979).

The collection consists of thirty-six boxes of material. Series 1 consists of original compositions and arrangements for large and small jazz ensemble, small chamber ensemble, chamber ensemble and dancers, and vocal ensemble. Many of the musical works were either composed or arranged for the University of Illinois Jazz Band. Of particular interest are Powell's "Ray's in the Window: Gaman" (1985) and "Red White and Black Blues" (1992) that were composed for the Cleveland Chamber Symphony and "Dreams: Music for Dance" (1983) that was commissioned by One Plus One. Series 2 includes additional original compositions by Morgan Powell including "The Waterclown" (2000) and "The Common Root of All Organisms" (2003). It also includes photographs of Morgan Powell and his ensembles, correspondence, and posters regarding the Traditional Jazz Orchestra, the Boneyard Jazz Quintet, the Tone Road Ramblers, and the North Texas State University jazz ensembles. The audio-visual and audio recordings include dubs of LPs, recordings of concerts with Morgan Powell's ensembles, and recordings of his own original compositions. This collection also includes materials regarding John Garvey, the University of Illinois jazz ensembles, and Medicare 7 8 or 9.

Series 1 consists of t-shirts and sweatshirts highlighting Jazz and Rock performances that took place at the Nature's Table Restaurant in Urbana, Illinois. The t-shirts also highlight specific musical acts that performed at the restaurant including the Catfish and Carter Band and the Sorgum Quartet.
Series 2 consists of records pertaining to Nature's Table as a restaurant (cookbooks, recipes, business records, health evaluations, and food supplies) and as a music performance venue. The latter category includes concert schedules, flyers, performer and band photographs, appointment books, set lists, and the promotional material and biographies of many artists including Tony Brown, Herb Ellis, Kristin Lems, Peter "Madcat" Ruth, and Guido Sinclair. This series also includes digital audio recordings and images. These materials were donated by Jeff Machota and Sean Kutzko.

Consists of original music compositions and audio recordings of performances of his early chamber, choral, orchestra, concert, and jazz band works while a student at the University of North Texas and University of Illinois at Urbana-Champaign created between 1962 and 1974.

Consists of scrapbooks, reel-to-reel audio tapes, CDs, DVDs, cassette tapes, VHS tapes, sheet music, photographs, correspondence, posters and concert programs documenting Dr. Shirley Meyer Blankenship's career as a music student at the University of Illinois, a harpist, violinist, pianist, composer, theater performer, private music instructor, and University of Illinois School of Music faculty member between 1972 and 1981. Of special note are original compositions based on the music of her former husband and jazz musician, Guido Sinclair (1935-1992), as well as graphic illustrations, concert posters, jazz recordings, and Sinclair's original compositions. Materials in Series 4, Sub-Series 1 represent materials created by Guido Sinclair and donated by Shirley Blankenship to the archives. The Music and Papers were partially digitized by Dr. Blankenship prior to being acquired by the University of Illinois. A small but selected sample of images and recordings are included online.

Archives of African American Music and Culture (AAAMC) is a repository of materials covering a range of African American musical idioms and cultural expressions from the post-World War II era. The AAAMC also houses extensive materials related to the documentation of Black radio.

The Center for Black Music Research (CBMR) highlights the role of black music in world culture with materials originating or representing black music from the United States, the Caribbean, Sub-Saharan Africa, Europe, and Latin America, in a variety of formats: personal papers, scores, sheet music, audio-visual materials, photographs, oral histories, books, periodicals, and commercial recordings.

The Chicago Jazz Archive was founded in 1976 to preserve materials on the birth and early growth of Chicago jazz.

The Library of Congress serves as the repository for the Gerry Mulligan Collection, which it obtained in the late 1990s. In this initial Web offering, the Library of Congress is making available excerpts from his autobiography and selected scores and sound recordings.

Hogan holdings include archival collections, business papers, personal papers, sound and video recordings, sheet music, photographs, ephemera, and various printed materials. The musical cultures of New Orleans represented include, but are not limited to, jazz, ragtime, rhythm and blues, blues, gospel, Creole songs, and other forms of Black American popular music.

The Louis Armstrong House Museum (LAHM) sustains and promotes the cultural, historical, and humanitarian legacy of Louis Armstrong by preserving and interpreting Armstrong’s house and grounds, collecting and sharing archival materials that document Armstrong’s life and legacy, developing programs for the public that educate and inspire, and engaging with contemporary artists to create performances and new works.

The mission of the National Jazz Museum in Harlem (NJMH) is to preserve, promote and present jazz by inspiring knowledge, appreciation and the celebration of jazz locally, nationally and internationally.

The archive documents early recorded jazz and in particular the lives of notable jazz musicians from the St. Louis area. oday there are more than 20,000 records in the archive. Audio and videotapes, sheet music, piano rolls, photographs, and oral history materials are also included.

The Institute’s archives include unique and unpublished materials with enduring value created and/or compiled by people and organizations related to jazz culture.

The Program seized the opportunity to document more than one hundred senior jazz musicians, performers, relatives, and business associates. Each interview was conducted by a jazz authority and was recorded on digital audiotape by a professional audio engineer. The interviews average six hours in length and cover a wide range of topics including early years, initial involvement in music, generally, and jazz specifically, as well as experiences in the jazz music world, including relationships to musicians.

The Tommy Shepard collection is a one-of-a-kind collection of approximately 8,000 photographs and negatives taken during Tommy's time performing at the peak of studio musician work in the United States.