Bruce Raeburn


The Director of Special Collections provides leadership, vision, planning, and management for the Special Collections Division of Tulane University’s Howard-Tilton Memorial Library, which consists of the Louisiana Research Collection, University Archives, Hogan Jazz Archive, Southeastern Architectural Archives, and a Rare Books Collection—supervising four librarian department heads with responsibility for a professional and paraprofessional staff of six. The Director participates in the development, preservation, organization, and promotion of these collections and is expected to engage in active outreach, instruction, and access strategies (with special emphasis on digitization) that reinforce the significance of primary source materials within the university’s research and teaching mission. The Director must possess a creative, collaborative, and innovative approach to the implementation of strategic changes in the division’s procedures and services, ensuring provision of responsive, high quality operations and innovative programs and technologies to meet collections management and patron research needs.The Director of Special Collections serves as a member of the library’s senior administrative group advising the Dean of Libraries and Academic Information Resources. The Director reports to the Associate Dean of Libraries.
Degree Type: 
Degree Major: 
U.S. Cultural History
Degree Institution: 
Tulane University
Degree Year Received: 

Degree Type: 
Degree Major: 
Degree Institution: 
University of Southwestern Louisiana
Degree Year Received: 
Professional Affiliations
Society of American Archivists

Association of Recorded Sound Collections

International Association for the Study of Popular Music
Professional Activity


Directeur d’études, Centre d’études nord-américaines, École des hautes études en sciences sociales, 105, boulevard Raspail, 75006 Paris, France, December 2005;

Visiting scholar-in-residence, Lionel Hampton International Jazz Collections, University of Idaho, Moscow, Idaho, October 16-22, 2005, February 20-26, 2006, October 2006, and February 19-25, 2007;

Faculty member, “Teaching Jazz as American Culture,” National Endowment for the Humanities-sponsored teachers institute, administered by Gerald Early and the Humanities Center, Washington University, St. Louis, Missouri, July 5-6, 2005 and July 2-3, 2007;


 “Music Flows Like Water: Alligator Horses, Minstrels, Roustabouts, Bluesmen, and Jazz on the Mississippi River,” Louisiana Cultural Vistas, vol. 20, no. 3 (Fall 2009), 56-67;

“Jazz Notes: Kid Ory: The ‘Comeback Kid’ of Jazz,” Louisiana Cultural Vistas, vol. 20, no. 3 (Fall 2009), 34-37;

“Stars of David and Sons of Sicily: Constellations Beyond the Canon in Early New Orleans Jazz,”Jazz Perspectives, vol. 3, no. 2 (August 2009), 123-152;

“Jazz Notes: Ellis Marsalis: Performer, Professor and Patriarch of Jazz,” Louisiana Cultural Vistas, vol. 20, no. 2 (Summer 2009), 48-49;

“Jazz Notes: George Lewis: In the 1960s, the New Orleans Musician Led a Revival of ‘Trad’ Jazz in Europe,” Louisiana Cultural Vistas, vol. 20, No. 1 (Spring 2009), 62-63;

New Orleans Style and the Writing of American Jazz History (Ann Arbor: the University of Michigan Press, 2009);

“Jazz Notes: For Pete’s Sake—Pete Fountain Launched his Jazz Career by Way of Prime-Time Television,” Louisiana Cultural Vistas, vol. 19, no. 4 (Winter 2008-2009), 34-35;

“Winds of Change: Technology, Pedagogy, and Disaster in the Making of Sam Morgan’s Jazz Band,” Historic Brass Society Journal, vol. 20 (2008), 143-154;

 “Expanding Parameters on Brass Bands in Early New Orleans Jazz,” Early Twentieth-Century Brass Idioms: Art, Jazz, and Other Popular Traditions--Proceedings of the International Conference presented by the Institute of Jazz Studies of Rutgers University and the Historic Brass Society. Studies in Jazz no. 58 (Lanham, Md.: Scarecrow Press, 2008);

“Jazz Notes: Danny Barker—A Musician of All Trades Inspired a New Generation to Revitalize the Brass Band Sound,” Louisiana Cultural Vistas, vol. 19, no. 3 (Fall 2008), 64-65;

“Jazz Notes: Satchmo and the Jewish Family,” Louisiana Cultural Vistas, vol. 19, no. 2 (Summer 2008), 73;

“Jazz Notes: Al Belletto,” Louisiana Cultural Vistas, vol. 19, no. 1 (Spring 2008), 51;

“Jazz Notes: The Dodds Brothers,” Louisiana Cultural Vistas, vol. 18, no. 4 (Winter 2007-2008), 36-37; 

“‘They’re Tryin’ to Wash Us Away’: New Orleans Musicians Surviving Katrina,” The Journal of American History (December 2007), 97-104;

Forward, Walking with Legends: Barry Martyn’s New Orleans Jazz Odyssey, ed. Mick Burns (Baton Rouge: Louisiana State University Press, 2007);

Review of Blues for New Orleans: Mardi Gras and America’s Creole Soul, by Roger D. Abrahams, with Nick Spitzer, John F. Szwed, and Robert Ferris Thompson. American Studies, vol. 48, no. 3 (Fall 2007), 143-144;

“Jazz Notes: Jazz at the Lakefront,” Louisiana Cultural Vistas, vol. 18, no. 3 (Fall 2007), 48;

“Jazz Notes: Jelly Roll Morton,” Louisiana Cultural Vistas, vol. 18, no. 2 (Summer 2007), 64;

“Jazz Notes: Sidney Bechet’s Summertime,” Louisiana Cultural Vistas, vol. 18, no. 1 (Spring 2007), 84-85;

“Marching Band: Wie sich durch den spanisch-amerikanischen Krieg der Jazz in New Orleans entwickelte,” Kultur Austausch, 1 (January, 2007), 48-49;

“Jazz Notes: Why New Orleans Music Matters to the World,” Louisiana Cultural Vistas, vol. 17, no. 4 (Winter 2006-2007), 42-43;

“Jazz Notes: The Fat Man—Antoine ‘Fats’ Domino May Be New Orleans’ Most Popular Living Musician,” Louisiana Cultural Vistas, vol. 17, no. 3 (Fall 2006), 56-57;

“Jazz Notes: The Sicilian Jazzman—Louis Prima’s Music Developed in the Nurturing   

Atmosphere of New Orleans’ Multicultural Tremé Neighborhood,” Louisiana Cultural  

Vistas, vol. 17, no. 2 (Summer 2006), 66-67;

“Jazz Notes: The Axeman Cometh—in 1919, a cryptic threat prompted a night of music,” 

Louisiana Cultural Vistas, vol. 17, no. 1 (Spring 2006), 30-31;

“Jazz Notes: Love Is a Many Rendered Thing—Jazz is the Music of ‘Love Gone Wrong,’”

Louisiana Cultural Vistas, vol. 16, no. 4 (Winter 2005-2006), 77;

“Jazz Notes: The Anthem of New Orleans—Everybody Wants to Be ‘In That Number,’”

Louisiana Cultural Vistas, vol. 16, no. 2 (Summer 2005), 85;

“Welcome to a Land of Dreams,” Archival Outlook (May-June 2005), 10-12;

“Jazz Notes: What the Professor Taught Us—Henry Roeland Byrd Was the Master of ‘Rhumba- Boogie Piano,” Louisiana Cultural Vistas, vol. 16, no. 1 (Spring 2005), 73;

“Jazz Notes: It’s the Journey, Not the Destination: Second Lines Are a New Orleans Way of    

 Life,” Louisiana Cultural Vistas, vol. 15, no. 4 (Winter 2004-2005), 50-51;

“Jazz Notes: Singing, Swinging Siblings—New Orleans’ Boswell Sisters Spread the Joy of

 Jazz,” Louisiana Cultural Vistas, vol. 15, no. 3 (Fall 2004), 58-59;

“Louis and Women,” Gambit Weekly, vol. 25, no. 36 (September 7, 2004), 9-12, 14;

“Psychoanalysis and Jazz,” The International Journal of Psychoanalysis, vol. 85, no. 4 (1 August 2004), 995-997;

“Early New Orleans Jazz in Theaters,” Louisiana History, vol. XLIII, no. 1 (Winter 2002), 41- 52;

“Confessions of a New Orleans Jazz Archivist,” in Reflections on American Music: The                Twentieth Century and the New Millenium, eds. Michael Saffle and Jim Heintze, 300-312            (Hillsdale, New York: Pendragon Press, 2000);

“King Oliver, Jelly Roll Morton, and Sidney Bechet: Menage a Trois, New Orleans Style,” in     The Oxford Companion to Jazz, ed. Bill Kirchner, 88-101 (New York: Oxford University             Press, 2000);

“A Century in Retrospect: The First Fifty Years of New Orleans Jazz,” Jazz Educators Journal,   vol. XXXII, no. 4 (January, 2000), C2-C10;

Review of Jazz in American Culture, by Burton W. Peretti. Journal of Southern History, vol. 64, no. 3 (August 1998), 583-584;“George Lewis and His New Orleans Stompers,” liner notes, Blue Note CD-B21Z 21261 (June 1998);

“The Atlantic New Orleans Jazz Sessions,” liner notes booklet for boxed set, Mosaic MD4-179  (April 1998);

 “The Musical Worlds of William Russell,” The Southern Quarterly, vol. XXXVI, no. 2 (Winter

1998), 10-18;

Review of In Search of Buddy Bolden: First Man of Jazz, by Donald M. Marquis. Gulf Coast    Historical Review, vol. 13, no. 1 (Fall 1997), 96-99; 

Professional Interests
Curriculum Vitae
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