Where do I find the following military records for?

U.S. World War II Draft Registration Cards, 1942 Record for Vernon Ralph Lee? #

*
Vernon Ralph Lee

B:
Jan. 26, 1895 in Jefferson county, Il., USA
D:
Oct. 27, 1968 in Carbondale, Illinois, USA

Ancestry.com seems to have them, but I cannot afford a membership at this time. Is there another way to find them?

I have Ancestry.com, here’s what the card says:

Name: Vernon Ralph Lee
Place of residence: 1415 E Oak West Frankfort Franklin Illinois
Age: 47
Date of birth: Jan. 26, 1895
Birth place: Mt. Vernon
Person who will always know your phone and address: Mrs. Margaret Lee (I’m guessing this is his wife.)
Employer: Old Ben Coal Corp.

Hope this helped. To find the actual record you would probably need to go to wherever he registered, and pay a small fee for it. Also, Ancestry.com has a free 14 day free trial, and if you cancel before the 14 days, you won’t be charged. That should give you enough time to find a good amount of records. I chose to keep it, cause it’s so useful.

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Chicago and Cook County: A Guide to Research $12.72 Completely revised and updated, this book is a comprehensive guide to the vastly complex records for this major urban area. Thousands of immigrants around the world arriving in the U.S. found the rapidly growing Chicago city a new-found home. Chances are, you can find a branch of your family tree in the Chicago area. This friendly guide to the vital records of Chicago and Cook County is just waiti…

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Ancestry In Progress $8.49 Ancestry In Progress

Ancestry $13.58 Saxophonist Trevor Watts has made no bones about his love for the South African expatriate musicians, especially Dudu Pukwana, who came to London during apartheid. In recent years, Watts has been playing the kwelas, high life and ritual dance music so much a part of the jazz styles of those players, especially the members of the Brotherhood of Breath, who mingled with many British improvisers. Hand percussionist Jamie Harris joins Watts for this recording of original jam tunes that reflects the traditional African and modern English way for making new music. While their range in timbre, pacing, and interplay is limited, the expression of joy they exude is rarely trivial. The difference is mainly measured in degrees of pace and energy as a slightly overblown soprano saxophone in the 6/8 ritualistic dance of “Alpino” and 4/4 of “Sarawak” with Watts on alto sets the tone. At their most creative, a stretched 10/8 time signature in extreme upper octave levels on “Three & More” and the circular sped up line of “Kerrytown” shows these two undoubtedly belong to the modern musicians sect. Vocals add to a swirling, frantic effect during “Tandem Voices,” while a more whirling dervish, Turkish or Arabian flavor has the woodwinds sounding overdubbed, but it’s actually a vocal accent on “Balintan.” Often you feel Harris is an accessory, or a second brought simply for support, as there is not much interplay or counterpoint involved. Then again, one might contend it’s all call and response as in most African music. Watts so thoroughly dominates this project, and though there’s a certain joy, exuberance, or in the case of “Anna B,” romanticism, he’s expressing his inner calling, with Harris along for the safari. While not a definitive recording, and assuredly for specialized tastes, what Watts and Harris have achieved is undeniably unique unto itself. ~ Michael G. Nastos, Rovi

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Procession of the Great Ancestry $13.58 Recorded in 1983 in Nessa’s Acme studio in Chicago, Procession of the Great Ancestry is among Wadada Leo Smith’s most obscure, but ultimately most satisfying, recordings. Featuring Kahil El’Zabar, Louis Myers, Joe Fonda, John Powell, Mchaka Uba, and Bobby Naughton, this was the first album to showcase Smith’s expansive vision, which included all forms of black music — from the myriad languages of jazz to gutbucket blues, reggae, and various African folk musics as well as a little R&B groove for measure. It was also the first to feature his wonderful vocals as a mainstay on his projects. Fans can think of this disc as Kulture Jazz, Vol. 1, with a band. The disc opens with “Blues: Jah Jah Is the Perfect Love,” a deeply moving blues that is equal parts funky backbeat and Nigerian rhythm with a reggae groove. Smith sings with soul as the band weaves a magic spell around him. This is immediately followed by the title track, a gentle but very abstract piece written for Miles Davis that incorporates Davis’ modal science and Smith’s sense of space and dynamic. This is the first of four pieces for trumpeters; the next work, “The Flower That Seeds the Earth,” is for Booker Little, and “The Third World, Grainery of Pure Earth” is for Roy Eldridge. Track six, “Celestial Sparks in the Sanctuary of Redemption,” is for Dizzy Gillespie. All of these works are in the free jazz mode, but their gentleness is their attraction. Smith here is playing a poetic balladry for these men, while musically elucidating his cosmology — the rhythm section is so attuned, so finely restrained and tasteful, Smith could sing it out if he wanted to, but instead he creates long melody lines that whisper to completion. The set closes with “Nuru Light: The Prince of Peace,” a short processional in minor mode that has Naughton’s vibraharp playing fills under the horn lines and through El’Zabar’s brushed drums. After its deeply moving, sonorous theme, a pair of kalimbas and the vibraharp play a lullaby to balance the weight, taking it out with enough grace and elegance to make the listener nod in wonder before playing it again. ~ Thom Jurek, Rovi Performers: Kahil El’Zabar – Kalimba, Balafon, Drums, Percussion; Bobby Naughton – Vibraphone; Leo Smith – Kalimba, Flugelhorn, Trumpet, Vocals; Wadada Leo Smith – Kalimba, Flugelhorn, Trumpet, Vocals; Joe Fonda – Bass (Electric), Bass; John Powell – Sax (Tenor); Louis Myers – Guitar (Electric)

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