Walter Henri Dyett Papers

Biographical Note

Walter Henri Dyett, known as “Captain Dyett” to his many students and admirers, was a band instructor, music educator, and instrumental figure in fostering the development of jazz and black music in Chicago. He was born in 1901 in St. Joseph, Missouri to Reverend William Walter S. Dyett and Minerva Peck Dyett. His father was born on the island of Montserrat in the West Indies in 1864 and was appointed by Bishop Benjamin T. Tanner to the African Methodist Episcopal (AME) Church in 1888. His mother was a musician and grew up in Alabama. William Dyett’s profession meant that the family moved frequently and lived in Bermuda, Connecticut, Pennsylvania, Colorado, Missouri, eventually settling in Pasadena, CA in 1912 with two children, Walter and his sister Anne L. Dyett.

Dyett attended Pasadena High School, where he studied violin, and graduated in 1917. He enrolled in a pre-medicine program at the University of California at Berkeley, but continued to play violin in the Symphony Orchestra and drums in the Military Band. He moved to Chicago in 1921 with a scholarship to continue medical studies at Illinois School of Medicine. In order to help pay for family medical expenses Dyett began to perform with local orchestras, including Erskine Tate’s Vendome Theatre Orchestra and with conductors Carroll Dickerson, “Doc” Charles Cooke, Dave Peyton, and Charles Elgar. Eventually he left medical school to pursue music full time both as a musician and a private school instructor of violin and music theory. He continued this work for ten years until 1931, when he was hired as a music instructor at Wendell Phillips High School.

Dyett stayed at Wendell Phillips until a devastating fire in 1935, after which he moved to the new DuSable High School with the administration and students. From 1935 to 1966, he taught music and was a band instructor at DuSable, where his students included Nat “King” Cole (piano), Dorothy Donegan (piano), Dinah Washington (vocals), Steve Galloway (trombone), Richard Davis (bass), Arthur Prysock (vocals), Johnny Griffin (saxophone), Gene Ammons (saxophone), Von Freeman (saxophone), and Joseph Jarman (drums, multi-reed). Beginning in 1932 he organized music shows like the annual “Hi-Jinks” revue that raised money for the music program and featured high school musicians and vocalists. In addition to his work as an educator, beginning in 1948 Dyett organized an annual concert series with professional and high school musicians at hospitals around Chicago. He continued to grow as a musician and earned a Bachelor’s degree in music in 1938 at the Vandercook School of Music and a Masters degree in music in 1942 at Chicago Musical College. He also studied violin at the Bissing School for Violin, studied composition and orchestration at the American Conservatory of Music, and finally attended the Columbia School of Music.

Dyett was an active member of Chicago’s South Side community and citywide institutions. He became known as Captain Dyett because of his service as Bandmaster of the Eighth Regiment Infantry Band of the Illinois National Guard. He held this position from 1932 to 1940 when he joined the US Special Services Unit, which trained musicians in the military. He was elected to the board of directors of the Black musicians local AFM 208 in 1947, and served on the board of directors of the merged American Federation of Musicians (AFM) Local 10-208 before his death. In this capacity, Dyett advocated for musicians in contracts with major music organizations like the Lyric Opera, the Chicago Symphony Orchestra, and the Grant Park and Ravinia orchestras.

In 1936, Dyett married Gwendolyn McGavock, who he met at Wendell Phillips High School, and both were involved in organizations such as the Harmony Masonic Lodge, the Western Consistory, and the Ancient Egyptian Arabic Order Nobles of the Mystic Shrine. Dyett was the National Imperial promotional director for the Ancient Order and instituted a scholarship and talent contest. Following his death in 1969, his influence and work continue to be celebrated in school dedications, memorials, and in the memories of musicians.

Bibliography

Black, Timuel D. Bridges of Memory: Chicago’s First Wave of Black Migration . Evanston, Ill: Northwestern University Press, 2003.
Campbell, James T . Songs of Zion: The African Methodist Episcopal Church in the United States and South Africa . New York: Oxford University Press, 1995.
Flamming, Douglas. Bound for Freedom: Black Los Angeles in Jim Crow America . Berkeley: University of California Press, 2005.
Grossman, James R. Land of Hope: Chicago, Black Southerners, and the Great Migration . Chicago: University of Chicago Press, 1989.
Kenney, William H. Chicago Jazz: A Cultural History, 1904-1930 . New York: Oxford University Press, 1993.
Sengstock, Charles A. Jazz Music in Chicago’s Early South-Side Theaters . Northbrook, Ill.: Canterbury Press of Northbrook, 2000.

Scope and Content

The Walter Dyett Papers have been arranged in eight separate series: Biography, Manuscripts, Correspondence, Programs, Photographs, Clippings, Memorabilia, and Books. The papers include material from Dyett’s life (1901-1969) and posthumous material collected by Gwendolyn Dyett, which has been preserved as evidence of his legacy and influence. Most of this material has been arranged at the end of the biography series but posthumous memorabilia has been arranged in the memorabilia series. Related papers at the Harsh Research Collection include the Charles Walton Papers, the Timuel D. Black Papers, the Theodore Charles Stone Papers, the Frances Minor Papers, and the George Cleveland Hall Branch Papers.

Series 1: Biography, 1906-1998
This series is arranged chronologically and includes material related to the life and family of Dyett. Most of the material dates from the 1900s-1960s, with early material on the life and estate of Dyett’s father. Posthumous material has been arranged at the end of this series and includes correspondence, tributes and dedications, and newspaper clippings.

Series 2: Manuscripts, 1940-1968
This series begins with manuscript material written by Dyett, arranged chronologically, followed by manuscript material written by others. This series includes Dyett’s MA thesis, “Development of Rhythm Mastery,” a typewritten piece on his experiences and qualifications, a campaign letter for the American Federation of Musicians (AFM) Board of Directors, and some arrangement notes.

Series 3: Correspondence, 1931-1969
This series is arranged alphabetically by correspondent. Some correspondence was likely copied to Dyett even though the named recipient was different. In this case, it is arranged by the correspondent’s name and the intended recipient is listed parenthetically.

Series 4: Programs, 1938-1969
This series begins with a chronological arrangement of programs of concert band performances and DuSable High School Hi-Jinks shows. This section is followed by one of funeral programs that are also arranged chronologically.

Series 5: Photographs, 1901-1967
This series is arranged first by subject and chronologically within each section. The photographs include material that was Dyett’s as well as some photos belonging to his brother-in-law Leonard McGavock, brother of Gwendolyn McGavock Dyett.

Series 6: Clippings, 1890s-1965
This series is arranged chronologically and includes family clippings likely from before Dyett’s birth. Other clippings cover band and concert performances.

Series 7: Memorabilia, 1952-1970
This series includes memorabilia from Dyett’s life and posthumous memorabilia.

Series 8: Books, 1936-1951
This series is arranged chronologically and includes a copy of the International Who’s Who in Music with a biographical entry for Dyett.

CONTAINER LIST