Universiry Band

JACK OLIVER EVANS: HIS LIFE AND HIS CONTRIBUTIONS TO THE OHIO STATE UNIVERSITY SCHOOL OF MUSIC

A Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of The Ohio State University

By Jonathan Neale Waters, B.M.E.

*****

The Ohio State University 2002

Master's Examination Committee: Approved by Dr. Jon R. Woods, Adviser Dr. Russel C. Mikkelson Dr. Jere L. Forsythe Department of Music Education

ABSTRACT

Jack Oliver Evans (1915-2001) began a professional career in music and education in 1937 that lasted for sixty-four years. He was regarded as one of the finest teachers and band directors in the country at the pinnacle of his career. Bom in 1915 in Charleston, South Carolina, Jack Evans moved to various areas of the eastern United States in his early childhood, as his father was in the Navy. Just before embarking to sea in World War I, Evans’ father moved his young family to Cleveland, Ohio and was later declared “lost at sea.” Evans grew up in the Cleveland Schools and became fascinated with the sound and sight of a trombone. He had positive experiences through his school career, claiming that he “never had a bad teacher.” Evans truly began teaching while still a junior high school student, and at that time decided that education would be his life’s devotion. Evans attended John Adams High School and played first trombone in the Orchestra that won the National Orchestra Competition in 1932. In 1937, he received his Bachelor of Arts degree in Music Education from Western Reserve University, where he was drum major of the band. Jack Evans began his professional teaching career at Shaker Heights High School in 1937, as he was in charge of instrumental music. He spent thirty months (1943-1946) in the United States Army as a band leader and variety show leader traveling through ii

various parts of England and France. The year 1947 proved to be a pivotal time in his career as he was hired as an Assistant Professor in the School of Music at The Ohio State University. He was assigned to teach low brass instruments to music majors and also was made Assistant Director of the Ohio State University Marching Band, in addition to beginning a second concert band called the “Activities Band.” In 1952, he rose to the rank of Marching Band Director, a position that he held for twelve years. During his tenure as director, he took the band to the Rose Bowl, made the first sound recordings and motion pictures of the band, and moved the band into a new practice facility in Ohio Stadium, while developing a comprehensive tradition of excellence. He retired in 1964 as the Marching Band director, but remained on the School of Music faculty as the head of Brass Instrument Instruction until fully retiring in 1973. After his retirement, he returned to Ohio State and the School of Music as a career counselor for music education students and also acted as a new student recruiting coordinator until 1985. Evans also became the first acting director of the “Active Band” of the TBDBITL Alumni Club in 1968. He conducted the All-Ohio Boys Band from 1967-1969. Jack Evans remained active after retirement in music throughout Ohio and the nation. He was a guest conductor and clinician to many bands and for many adjudicated events around the country. Jack O. Evans died on the 14th of November, 2001. Evans is survived by his wife, Carol J. Evans, and thousands of grateful students whose lives he touched.

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Dedicated to Carol J. Evans and the many students whose lives Jack 0. Evans molded

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ACKNOWLEGMENTS

I wish to thank my adviser, Dr. Jon R. Woods, for his unconditional support throughout my education and development as a musician and as a person. Furthermore, for the many opportunities he has afforded me, and for the encouragement and mentorship that he had shown me, I am profoundly grateful. I especially thank Dr. Paul Droste, for without his guidance and hours of interviewing and transcription, this project would not be possible. Dr. Droste was the impetus and inspiration for this thesis. I also express my thanks to Dr. Russel C. Mikkelson for the tutelage and impart of comprehensive musicianship that he has instilled in my life. I am a better conductor because of his patience and guidance. I am grateful for the many opportunities and musical experiences I have shared with Professor Richard Blatti and for the growth as an educator that I have experienced through him. I thank Dr. Jere Forsythe for providing for me a model of the educator for which I will strive.

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I express my gratitude to Carol Evans for our many meetings and the insight that she has provided into the life and person of her husband Jack Evans. I thank my fiance, Molly Simenz, for her love, patience and support (and typing skills) throughout the duration of this project. Finally, I express my sincere thanks to all of my family and friends for their support, encouragement, and companionship throughout my life.

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TABLE OF CONTENTS

Page Abstract. ........................................................................................ ii Dedication ..................................................................................... .iv Acknowledgments ............................................................................. v Table of Contents .............................................................................. vii Lists of Illustrations and Figures ............................................................ viii Introduction and Methodology .............................................................. 1 Chapters: 1.

Birth to Kindergarten; 1915-1920 ................................................. .4

2.

Primary School Education; 1920-1929 ............................................ 7 2.1

Early Musical Education ................................................... 8

3.

High School Education; 1929-1932 ................................................ 13

4.

College Education; 1933-193 7 ..................................................... 20 4.1

A New Car and a New Love ............................................... 25

5.

Shaker Heights High School; 1937-1946 ......................................... 28

5.

Military Service; 1943-1946 ........................................................ 35

7.

Arrival at The Ohio State University; 1947-1952 ............................... .46

7 .1

Activities Band .............................................................. 62 vu

7.2 8.

9.

Professional Playing in Columbus, Ohio ................................. 64

Marching Band Director; 1952-1963 .............................................. 66 8.1

Rose Bowl Appearances; 1950, 1955, 1958 ............................. 70

8.2

The Stadium Bandroom .................................................... 74

8.3

Sound Recordings and Motion Pictures .................................. 78

8.4

Chimes and Carmen Ohio ................................................... 79

8.5

National Freedom Foundation Award .................................... 86

8.6

Promotion and Philosophy .................................................. 88

Retirement; 1964 ..................................................................... 90 9.1

All-Ohio Boys Band ......................................................... 98

9.2

Official Retirement and Beyond; 1973-1985 ............................. 100

Awards, Distinctions and Honors ............................................................ 104 Conclusions .................................................................................... 106 Appendix A (Selected Documentation) .................................................... 109 Appendix B (1958 Rose Bowl Scrapbook) ................................................. 144 Appendix C (Selected Photography) ....................................................... 165 Appendix D (Marching Band Performance and Show Record .......................... 182 Appendix E (Personal Stories and Testamonials) ......................................... 195 Bibliography ................................................................................... 210

Vlll

LIST OF ILLUSTRATIONS 1. 2.

Westminster Chimes Sequence ........................................... 84 Incorrect Chimes Sequence ............................................... 85

LIST OF FIGURES 1. 2. 3. 4. 5 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31.

32. 33.

The Birth Certificate of Jack Oliver Evans .............................. 110 Bachelor's Degree from Western Reserve University .................. 111 Master's Degree from Western Reserve University .................... 112 Advertisement Poster for "Foxhole Frolics" show of the First Special Service Platoon of the Ground Forces Reinforcement Command .... 113 United States Army Honorable Discharge Papers ...................... 114 Agreement between the ROTC, Band and Athletic Department at Ohio State .................................................................... 116 Activities Band Program, Premier Performance ........................ 119 Concert Program from Palm Sunday Concert, Ohio Penitentiary .... 123 Western Union Telegrams from Florida State University ............. 124 Pasadena Star Article and Response ..................................... 125 Original Manuscript of "Chimes" introduction to Carmen Ohio ..... 127 Jack 0. Evans Memorial "A Celebration ofLife" ...................... 128 Worthington Civic Band Concert Program in Memory of Jack 0. Evans ................................................................ 131 Gahanna Lincoln High School Band Program .......................... 134 A Musical Tribute to Jack 0. Evans ..................................... 137 Election Certificate to the American Bandmasters Association ...... 143 1958 Rose Bowl Scrapbook ............................................... 145 fohn Adams High School Orchestra ...................................... 166 John Adams High School Orchestra ...................................... 167 Jack 0. Evans as Western Reserve Drum Major ........................ 168 Jack 0. Evans as Western Reserve Drum Major ........................ 169 Jack Evans in the Army .................................................... 170 "Manhattan Caravan" Variety Show in England ........................ 171 Jack Evans in Paris France, 1945 .......................................... 172 Manley and Leah Whitcomb and Jack and Carol Evans .............. 173 Buckeye, Scarlet and Grey Bands with Choruses ...................... 174 Jack and Carol Evans dotting the "i" in Script Ohio ................... 175 Jack Evans conducting ..................................................... 176 Jack Evans upon retirement.. .............................................. 177 Jack Evans receiving Ohio State Distinguished Service Award at 1981 commencement. ........................................... 178 Jack Evans conducting OSU Alumni Band at Friendship Village , Columbus, Ohio ............................................................. 179 Jack and Carol Evans ...................................................... 180 Sketch of Jack Evans by Milton Caniff. ................................. 181 ix

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INTRODUCTION and METHODOLOGY

Jack Oliver Evans, musician, student, patriot, Army serviceman, teacher, husband, friend, and counselor. This document is a tribute to and a celebration of the life and achievements of Jack 0. Evans, revered professor of music and director of The Ohio State University Marching Band. The consummate educator, he lived his life teaching others. In his eighty-six years, he taught thousands of students the expression of music-making. Not only did Jack Evans educate his students on the finer points of music and musicianship, but he taught them the life lessons of independent thought, personal organization, respect for others, morality, character, and responsibility, all for the purpose of becoming a better person. Soft-spoken and patient, Jack Evans was a gentle man and trnly a gentleman. I became interested in writing about the life of Jack 0. Evans through a childhood love of The Ohio State University Marching Band. I attended a concert of The Ohio State Alumni Band at Lakeside, Ohio in my youth and was introduced to Director Evans. The inspiration was then planted for me to "become" Jack Evans in image. The Ohio State Marching Band was ultimately the lure and reason for my attending The Ohio State University. As a member of

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the Marching Band, I studied Evans' life and accomplishments and reaped the benefits of his tenure as the director.

METHODOLOGY

This thesis is biographical in nature, tracing Jack 0. Evans' life and contributions to Ohio State and to music education. The majority of the source material used in this work was generated from a series of interviews with Jack Evans conducted by Dr. Paul E. Droste, director emeritus of the Ohio State University Marching Band. These sessions took place in January through March of the year 2000. Other source material was researched through The Ohio State University Archives, The Ohio State Marching Band files, and through the personal papers and correspondence of Professor Evans.

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CHAPTER 1

BIRTH TO KINDERGARTEN; 1915-1920

Jack Oliver Evans began life on May 3, 1915. He was born to Lotta Fay Libby Evans and John Paul Evans. His father, John Paul was a serviceman in the United States Navy, and was one of the first radio operators in Naval history. Jack Evans was born in Charleston, South Carolina, where a large Naval shipyard was located. His father became a Chief Petty Officer and was eventually promoted to the rank of Warrant Officer, the highest non-commissioned rank level. Ironically, he and his mother Fay shared May 3rd as their birthday. Evans was of German and Welsh descent. His mother's side of the family was from Germany, and his father's people were from Wales. Jack Evans also had a sister Audrey Lee, fifteen months his junior. She was named in honor of John Paul Evans' brother Lee. Figure 1 of appendix A is a copy ofEvans' birth certificate.

The name Evans is Welsh and Jack was able to trace his lineage to a John Evans of Radnorshire, Wales who immigrated to America in 1695. "The shield marking of the Evans Family is believed to have been borne by the founder of the Fourth Royal Tribe of Wales, the Chieftain Ethelystan Glodryld, Prince of Furleys, 4

who, according to legend, traced his ancestry to one of the knights of King 1

A1ihur's Round Table." The origination of the name Jack Oliver Evans was also umque. Evans described how he was named:

"Now my father's name was John Paul and my mother did not like the name "John, " but everyone called him "Jack, "so she named me Jack. My name is actual~v Jack, not John. On my birth certificate it says "Jack, "so that's an interesting little deal. Now the "Oliver" is there because my mother, she did not like the name Oliver, but she liked it as a middle name because it made it possible for my initials to spell JOE. And the reason for that was that her father's name was Joseph Libby ... so she figured out a way to honor him by having my initials spell JOE. " 2

Evans recalled what he had been told about his early childhood. John Paul Evans met Fay Libby at a United States Navy shipyard in Saint Augustine, Florida. They were soon married and then moved to Charleston, South Carolina. Their home was adjacent to The Citadel in Charleston. Evans remembered that his mother spoke fondly of sitting in a rocking chair on the front porch of their row house with her newborn son, watching the Citadel Cadets march through drill exercises. Because of his occupation in the Navy, John Paul Evans relocated his family frequently. Although Jack Evans was born in Charleston, South Carolina, his sister was born fifteen months later in August of 1916 in Malden, Massachusetts near Boston. A Navy shipyard was housed in this location. Two 1

"Colonial and Revolutionary Families of Pennsylvania," 1936, v. 7 Jack Evans interviews, February 2000

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years later, the Evans family then moved to Brooklyn, New York. His father was re-assigned to another Navy yard. There, he was stationed on the Battleship Texas and prepared to go to sea and to World War I. Prior to embarking though, John Paul Evans moved his young family to Cleveland, Ohio to live with his parents Mary Elizabeth and Fred Evans. The Battleship Texas was dispatched to the Atlantic Ocean in World War I, and Jack, his mother, and sister remained in Cleveland to await John Paul's return. The family never saw the father again. John Paul Evans was declared deceased after almost seven years of being considered missing. The family assumed that John Paul Evans was lost at sea, as the Navy offered no other explanation for his disappearance. The move to Cleveland resulted in stability in what would be a permanent home for the first time in Jack Evans' life. He now had a stable family with his mother, sister, and grandparents, who nurtured and raised him. They would prove vital in his development into manhood and into his career in music.

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CHAPTER2

PRIMARY SCHOOL EDUCATION; 1920-1929

Living in his grandparents' home, Evans began kindergarten at Broadway Elementary School in southeast Cleveland in 1921. The school had a combination of students from elementary school age through junior high school, grades seven and eight. Because his birthday fell on May 3rd, Evans began kindergarten in February of 1921. The Cleveland schools had an age restriction policy on beginning students at age five. Evans was too young to begin school in September of 1920, so he was forced to wait until the next February to begin. This half-year offset caused Evans to be '"out of step" throughout his entire public schooling. Evans regretted the fact that he was offset by a half year through his primary and secondary education, as he moved into a new grade level each February, when most other students proceeded to the next grade level in September. 3 Consequently, he would take an extra half-year of continuing education classes after official graduation from high school so that he could begin his college career at the beginning of the academic calendar year. 3

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The Evans family was forced to sell their home and relocate to a rental property on Canton Avenue (near their previous home) on the southeast side Cleveland in 1930. Jack was fourteen years old, and the Great Depression had just begun. Most people at that time could not afford to own a home. Such was the case with Jack Evans' grandparents, as they subleased their house and took in boarders and other distant family members to help pay the rent. Evans' grandfather Fred worked for the Standard Oil Company and his mother, Fay, earned her family's living as an operator for the telephone company. She worked a split session from the early morning until 2:00 p.m., and then again from 6:00 p.m. until 10:00 p.m. Since the family did not have an automobile, she made two round trips daily on the Broadway and Miles Avenue streetcar line to and from work at the telephone company. Fay Evans eventually became a supervisor. Because of his grandparents' move, Evans transferred from Broadway Elementary School to the fourth grade at Miles Elementary School and Junior High School combination.

EARLY MUSICAL EDUCATION

Jack Evans recalled that his first exposure to live music was through his Aunt Ida, who also lived in his grandparents' home. She played the piano that was in the house. He became interested in the piano by watching and hearing Ida play,

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so his mother saved fifty cents weekly to pay for a piano teacher to give him private lessons. Jack said this about his piano education: "!never was very successful at it. I remember that there was a book ofE. T Paul marches, and I got so I could hammer those out fairly decently, but I never got to be a serious piano player. In fact, when I got into college and had to meet a one-year piano requirement, it took me a year and a half to make it through. I just didn't have that kind of coordination, or maybe it was interest. I was not very successful, but I stuck at it for at least ffi'O years. "4

Young Evans' experience in music was later enhanced when he attended Bible School at Trinity Baptist Church. The Sunday School was unique because it had a small orchestra. These musicians accompanied the hymns the students sang in Sunday school. He recalled that the orchestra numbered not more than six or seven players, with a few violins, cellos, a double bass, and a trumpet. This socalled orchestra also had a trombone player and Evans was fascinated by the sound that it produced. He had never seen nor heard a trombone played live. This event perked Evans' interest in music, specifically his fascination with the trombone. In the 1920's, the Cleveland Board of Education and the Cleveland Orchestra had a program that they called Saturday Morning School Instrumental Classes. Members of the Cleveland Orchestra taught public school students lessons on the various instruments. This program became very popular, and

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actually got so large that all the musicians in the orchestra could not handle the student load. The board hired outside people to help with this program, and even recruited teachers from within the Cleveland Schools to provide instruction on Saturday mornings. Evans' new interest in music provided the impetus to begin studying the trombone. He then enrolled in the Saturday Morning School Program. Because his mother could not afford a trombone, he purchased one through the proceeds of a paper route. In Cleveland, a periodical called "The Shopping News" was published bi-weekly. Jack and his childhood friend, Donovan Megginson, delivered editions of "The Shopping News" as his first job. Soon he had enough to buy his first trombone. 5 When he registered for Saturday Morning School, his first instructor was Tom Miles, a trumpet teacher. Miles taught all the beginning trombone players in the program. Because Evans did not own his own instrument, Miles took him and several other students to the H. N. White Company, which manufactured the "King" brand of musical instruments in Cleveland. Jack later recalled, "There was a whole bunch of trombones hanging from the ceiling on hooks and these were the instruments that had never been finished. They were complete as far as having all of the valves and slides in them, and they had already been plated, but they never

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had the final conditioning to the point where they could be sold.''(' Jack purchased a small bore King trombone with a small six inch bell for twenty-five dollars. With his new trombone, Evans started Saturday Morning School lessons. Jack studied with Tom Miles for only a short time, but then switched to a new private trombone teacher, Mark Osbun. Osbun was a theater musician and played in the pit orchestra for local theater orchestras. He also played for the Cleveland Orchestra when it first was founded in 1914. Osbun was hired to teach through the Hruby Conservatory, which was a family business operated by four brothers, two of whom played trumpet in the Cleveland Orchestra. These brothers were eager participants in the Saturday School program and gave lessons on trumpet, clarinet, and piano, to students throughout Cleveland. Because the Hruby family had no trombone players, Osbun was hired to teach lessons. Evans claimed that Osbun was a good teacher, except for the fact that he taught Jack the bad habit of a tongue cut-off. Osbun said, '"if you want to play a short note, just stick your tongue between your teeth." 7 It was not until later in high school that band director Amos Wesler corrected this problem. Evans had been taking Saturday morning lessons for only six months when he decided to join the orchestra at Miles Junior High School. Evans recalled, "There was a music teacher there, Helen Kennerson, and she took a shine to me right away, because I was a trombone

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player, and they didn't have one until I came. I played a little bitfor her and, well, that was good enough. "8

The orchestra had about forty players, and many of them were talented musicians. Jack remembered in particular that in the percussion section, "there was this cocky little guy named Fred Fennell (accent on the first syllable)." 9 Fennell and Evans were neighbors and grew to be good friends. Fennell and his parents lived with the Putnam family in a house just adjacent to the Evans family home. Jack recalled many summers that he, Donovan Megginson, and Fred Fennell camped out in a small tent in the empty lot adjacent to Fred's house. Evans, Fennell, and Megginson were also members of the Boy Scouts of America, and would attend meetings together each week. They walked over two miles to and from scout meetings and occasionally convinced Fennell to mount his side drum on and play drum cadences as they walked down the street to and from meetings. They also camped on Fred's uncle's farm for several days at a time, hiking ten miles to and from their campsite.

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CHAPTER3

HIGH SCHOOL EDUCATION; 1929-1932

In the mid-school year of 1929, Jack Evans graduated from Miles Junior High School. He then moved to John Adams High School. It was a huge school with over 3600 students enrolled in grades nine through twelve. Evans spoke positively of his educational experience in the Cleveland Schools. During his time in Cleveland, the school system was nationally known for its academic excellence. "I cannot remember ever having a bad experience at school. Good teachers all the way through. I cannot remember ever having what I would call a bad teacher. " 10

He took college preparatory courses, having four years of English, mathematics, and science. He also studied physics, history and social studies. Evans was a strong student, graduating sixth in his class and was a member of the National Honor Society. Evans played in the school orchestra as he enrolled immediately upon arrival to John Adams High School. He was seated as the first trombonist in the orchestra, but did not participate in band immediately, because it was small and lacked quality. Even the orchestra was still being built in 1929 and 10

Evans interview tapes, February 2000

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did not have a complete instrumentation. Amos Wesler was hired in 1928 and began to build and improve the orchestra and band programs. John Adams was a very cosmopolitan high school. Because Cleveland was made up of many ethnic neighborhoods, the high school contained a diverse culture of students with varying backgrounds. Many of the students were Hungarian, Croatian, and Jewish. Evans remembered the students of these nationalities as being excellent violinists. He claimed that the Hungarians from gypsy backgrounds made the best fiddlers. 11 The orchestra played original editions of many of the classics in the orchestral repertoire, as this ensemble achieved at an extremely high level. Many of the students in the John Adams High School orchestra went on to play in professional orchestras throughout the country. In 1932, the National High School Orchestra Contest was held in Lincoln, Nebraska. Four orchestras competed in class A, the most advanced division, and the John Adams High School Orchestra took first place. Cleveland and the school community raised money for the students to travel to Nebraska on trains. Jack remembered that the required piece for the orchestra competition was the Breitkoph and Hartel edition of "Die Meistersinger Overture". Photograph 1 in Appendix C is a picture of the 1932 John Adams High School Orchestra.

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Amos Wesler had been hired in 1928, and by 1932, had developed a national, award-winning orchestra. Also in 1932, the Music Educator's National Convention was held in Cleveland. During the convention, a national orchestra was selected from among students who auditioned from around the country. Jack Evans was selected to play in the national high school orchestra, numbering almost three hundred student musicians. Evans was seated in the principal chair of the nine-member trombone section. Evans' future wife, Carol, played in the flute section of this orchestra and Frederick Fennell was in the percussion section. The founders of Interlochen, Joe Maddy and Thaddeus Giddings, were the organizers of the National High School Orchestra. Their music camp at Interlochen was in its infancy, so to populate the enrollment they offered half scholarships to each of the first chair players in the orchestra. The eight-week summer program at Interlochen was extremely expensive, especially in 1932, costing four-hundred dollars. Because Jack Evans was the first chair trombonist, he was offered a half scholarship, but because his family could not produce the other half of the tuition, Evans was unable to attend. These half scholarships were then offered consecutively, beginning with the principle player in the section and passed through the section until a student could afford the other half of the tuition costs. Frederick Fennell was also offered the half-scholarship, and his family was financially able to send him to Interlochen. Jack Evans later mused that, '"Fred

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'got religion' at Interlochen, because up until that time, he was just another high school drummer. He came back a percussionist." 12 While at Interlochen, Frederick Fennell attended a class for drum majoring taught by Mark Hindsley, then the Band Director at Cleveland Height High School. He learned all of the basic signals, turning and flanking commands. Upon Fennell's return to high school from his eight week camp at Interlochen, the assistant principal at John Adams was in the process of raising money for new uniforms for the band. Until this time, the band program was underdeveloped and inadequate. Because of his drum majoring class, Frederick Fennell became the drum major of the John Adams High School Band. Fennell then taught Evans the things that he had learned about the art of drum majoring, and Evans became the Drill Sergeant of the band. The band had grown to about eighty musicians and Evans' duty as the sergeant was to signal turns and countermarches. He carried his grandfather's pistol and fired blank cartridges to signal upcoming marching maneuvers to the band. The experience at Interlochen launched Fennell's career. Evans described a series of events that led to Fennell's eventual founding of the Eastman Wind Ensemble. Because of the connections he made at Interlochen, Fennell was offered a scholarship to the Eastman School of Music. Upon his arrival to Rochester, New York, he discovered that Eastman did not have a marching band.

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According to Evans, Fennell then approached the administration at Eastman and proposed the idea that the school was in need of a marching band. He informed the administration of his drum majoring skills and offered to start a marching band and head it as the drum major. The administration agreed, paving the way for Fennell to begin a band at Eastman. He formed a band and they performed for the first football season. At the end of that first season, the marching band members enjoyed the experience and wanted to continue to play. Fennell then changed the marching band into a concert band for the remainder of the year, thus giving birth to the early makings of Eastman Wind Ensemble. 13 It is interesting and prophetic to look at the musical careers of Jack Evans

and Frederick Fennell. Both men were legendary musicians, educators, and conductors, and followed similar but different paths in their careers. Jack recalled that when Fred and he met at American Bandmasters Association meetings, professional conferences and various other music conventions over the years, they never spoke of music and the day-to-day activities of their careers. They reminisced about their childhood friendship and their experiences in Boy Scouts and other activities. 14 Many viewed Evans and Fennell as two of the most influential educators of their time and interestingly they were raised in the same environment and under the same educational and social circumstances.

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\Vhile Evans was still a junior high school student, he actually began his teaching career. His teaching experiences in junior high school and high school were numerous. The same Saturday School partnership between the Cleveland Board of Education and the Cleveland Orchestra where Evans began his trombone lessons provided him his first major teaching experience. Because of the great demand for the program and the high number of student participants, Evans was hired to teach beginning trombone lessons. He was only a freshman in high school at this time. While he was in the eighth grade, he assisted Helen Kenerson at Miles Junior High School with student lessons. Evans convinced Kenerson to begin a band in the junior high grades. Their first band had a membership of forty-five students. She invited Evans to conduct the band when he was in high school. In his first years of assisting Helen Kennerson with the Miles Junior High

band, Evans started a number of students in instrumental music lessons who would later become highly influential and well-known players in the profession. Warren Wesler was one of Evans' first students whom he taught to play mellophone. He later switched to clarinet. Albert Oliver Davis was another student who Evans began instruction with on the mellophone. He became a well-known composer and educator. Evans taught the new junior high band at Miles to march. He drilled them on the playground, using the drum majoring skills he learned from Frederick 18

Fennell. Eventually, Evans taught one of the students to be drum major. The second year of the band's existence, Kenerson and Evans took the ensemble to contest for junior high bands in Cleveland. One of the judges was William Revelli of Hobart, Indiana, who would later become the Director of Bands at the University of Michigan. 15 Revelli was quite young, and this instance was Evans' first of many contacts with him. Jack believed these experiences were a major influence on his decision to become a band director. It is significant to note that Helen Kenerson was the main influence in Evans' early musical development. She coached his development with interest and encouragement, leading his decision to enter a career in music education. He assisted Kenerson in her orchestra rehearsals. Occasionally he substituted on various instruments such as the E-flat mellophone or the E-flat tuba. He gave music lessons to students at Miles Junior High and also through the Saturday School program. This early exposure to a multitude of different instruments and various musical experiences propelled him into a life-long devotion to music and education.

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CHAPTER4

COLLEGE EDUCATION; 1933-1937

Jack Evans graduated from John Adams High School in mid-year (February) of 1933. The Great Depression gripped the country and stifled Evans' college plans. He could not afford to travel away to college. He realized that if he wanted to attend a university, it would have to be in Cleveland. Because he started kindergarten in the second semester, the half-year offset stayed with him entirely through the elementary, junior high, and high school grades. Evans decided to take post-graduate continuing education classes after graduation from high school because he wanted to begin his college career in the proper sequence, thus starting at the beginning of the fall quarter. Evans decided to attend Western Reserve University near Cleveland, and enrolled in the School of Education in 1933. During the 1920's and 1930's, the City of Cleveland experienced much growth. Because of the explosion in population, teachers were in high demand. This situation resulted in the development of the Cleveland Normal School. This school was a two-year institution strictly designed for the training of teachers. The 20

Cleveland Normal School eventually merged with Western Reserve University, creating the School of Education. Evans was one of the first benefactors of this merger. The music department was small at Western Reserve, having only thirty-six students. The school had a few full-time teachers in the music department, but Western Reserve sought assistance from the music department at Adelbert College, an undergraduate men's school. The Chairman of the school at Adelbert was the composer Arthur Shepherd. Arthur Quimby, curator of music at the Cleveland Art Museum taught music history at both Western Reserve and Adelbert. Western Reserve had full-time teachers in music theory, music harmony, sight singing, and ear training. Melville Smith had been hired from The Eastman School of Music to teach sight singing, and another teacher Harold Meyers, gave lectures in harmony. Evans also had classes in strings, woodwinds and brass to round out his musical education. He studied trombone with Gardell Simons during his four years of college. Evans took other academic classes such as English and mathematics at Western Reserve. Because of his analytical mind and exceptional math skills, he eventually pursued a math minor. The music department had a small orchestra, but Evans recalled that the quality of the musicians was high. 16 Due to a shortage of double bass players, Evans taught himself to play the bass. His freshman sight singing and ear training 16

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class had only six students in it, four of whom had perfect pitch. The sight-singing instructor Melville Smith required his six students to take melodic and ham1onic dictation at the blackboard. Smith did not provide the students with the beginning pitch for dictation. This fact was of no consequence for Evans and the other three that had absolute pitch. Evans joked that his future wife, Carol (Jones) Evans, and one other student did not have perfect pitch. Carol recalled her frustration in this class because she did not have the gift of perfect pitch, so she occasionally spied the starting pitch that Jack wrote down, and then was able to complete the dictation on her own. While in college, Evans taught over thirty private students per week, for one dollar per lesson. Along with double bass, he studied clarinet for one year and cello for another year. His perfect pitch assisted his playing of string instruments and the production of in-tune music. Evans also had contact with Harry Clark through friendship with Helen Kenerson. Clark was the band director at Lincoln High School in Cleveland, and he encouraged Evans to arrange music. Evans wrote arrangements of hymn tunes for the Lincoln band, which Clark allowed him to rehearse and conduct. Through his private lesson instruction, Evans discovered techniques for enhancing tone quality, improving technique, and developing good musicianship in students. He discovered these teaching techniques through trial and error, not through a textbook. For instance, Jack described his remedy for fixing poor tone quality. Students, he said, would play with a pinched "aaa" or

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"eee" sound. Evans tried to reproduce or imitate the sound on his own instrument. In doing so, he then described the sound and how mechanically he was producing it. He then developed strategies to remedy the poor tone quality. ''I found there were only two ways to get that (poor) sound. One is by having your lips so close that they can 't vibrate. The sound is pinched. You have got to get themfar enough apart... and you can use your little finger between your teeth for space. When you form your embouchure, you want to get your teeth that far apart. Ifyou get your teeth that far apart, you can't get your lips too close together. You can also use a pencil eraser between your back teeth to create the space. The second reason for poor tone is you might have a closed throat. Think of a low tongue and an 'OH' sound. " 17 This description and remedy was not learned in a class or through a book. Evans learned by doing and this was one of the primary reasons for his success as an educator. He was able to relate to students and to diagnose and remedy their difficulties. In his sophomore year at Western Reserve University, Jack joined the band as a trombone player. One year later Ohio State University played Western Reserve in football. Evans remembered attending the game because his school was defeated 76-0 by the Buckeyes from Columbus. The coach at Western Reserve was from Ohio State and much media attention surrounded the game. The drum major graduated at the end of Evans' sophomore year, leaving a vacancy in the position. In addition, the part-time band director was replaced with a permanent leader, Jacob Hines. Evans volunteered his drum majoring skills to 17

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Hines. He was given the position of Drnm Major of the Western Reserve University Marching Band, which he held from 1935 to 1936. Photos 2 and 3 in Appendix C were taken in 193 5-19 36 ofEvans in his Drum Major uniform.

Evans received his Bachelor of Science degree in Music Education from Western Reserve University in 1937. His classmate and future wife, Carol, also graduated with the same degree in 1937. Jack returned to college for a Master's degree. During the years 1938 through 1940, and again from 1948 through 1952, Evans took summer courses at Western Reserve. In 1951, Evans prepared a thesis entitled, "An Experiment in the Use of Electronic Instruments to Develop Accuracy of Intonation in the Playing of Specific Intervals." 18 In his thesis, Evans

studied several theories relative to the training of individuals to sing or play a musical instrument with good intonation. He attempted to determine the value of these theories in practical performance applications. One major conclusion Evans made in his thesis were that ''individuals can be trained to perform with good intonation through building a concept of the sound of good intonation." 19 He also found that pupils could play more accurately in tune through the use of a stroboscope, which was a lighted device that measured flatness and sharpness. Finally, Evans found that the concept of intonation could be taught better and developed faster through the use of electronic instruments. 20 The degree Master of Arts in Music Education was conferred on September 10, 1952, from Western 18 19 20

Evans, Jack 0. Thesis, Western Reserve University Evans, Jack 0. Thesis, Western Reserve University Evans, Jack 0. Thesis, Western Reserve University

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Reserve University. Figures 2 and 3 in Appendix A are facsimiles of Evans' Bachelor's and Master's degrees from Western Reserve Universi(v.

A NEW CAR AND A NEW LOVE

Jack Evans had an affinity for automobiles. He developed a curiosity and interest in cars through his friend, Donovan Megginson. Megginson' s father was a milkman and an avid mechanic who purchased decrepit cars and restored them to original condition. Donovan's father became a surrogate father, as Jack did not have a male influence in his own home. On Sundays in the summer, Donovan and Jack, with Mr. and Mrs. Megginson, usually piled into their family car and drove to Mentor Beach for the day. These experiences sparked Evans' interest in the automobile. Jack learned to drive even before he owned a car. Helen Kenerson taught Jack to drive her car when he was in high school. Commonplace during the Great Depression, the Megginson family took in boarders to assist in paying the rent. One particular tenant owned a 1927 Pontiac Roadster but wanted to sell it. The spring (1933) after he graduated from high school, Evans was able to save twenty-five dollars to purchase this automobile. Jack became the first in his family to drive. Neither his mother nor his grandparents owned a car. Evans' roadster was somewhat like a convertible with a removable hard top and side curtains. The front seat was a bench style that

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could hold three people and it also had a "rumble seat" (open-air, fold-out seat) in the back. In the time between the completion of high school and the start of college, Evans took post-graduate classes at John Adams High School. One of the courses was an auto repair and mechanical class. He learned about all of the parts of a car and how to fix them. This knowledge, along with the experiences he attained with the Megginson family by fixing and restoring cars, made Evans well skilled in the mechanics of the automobile. Evans remembered being able to fit the entire freshman music class of six at Western Reserve University in his Pontiac Roadster (three in the front, three in the rumble seat). Of the six freshman music students, four were boys and two were girls. Jack dated one of these young ladies named Virginia Wagner for a time. He later began to date the second girl in his class, his future wife, Carol Jones. Evans mused that Virginia lived in Lakewood and Carol lived in Cleveland Heights, saying, "I switched to Carol because she was closer!" 21 "I lived on the southeast side of Cleveland. When I would have a date with Virginia, I would have to drive all the way out to Lakewood (on the extreme west side), which would take me at least forty-five minutes. To go to Cleveland Heights where Carol lived, was only about fifteen or twenty minutes. I always told Carol that I decided to switch girl friends 22 because she lived a lot closer. "

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The "switch" to Carol Jones proved to be the stmi of a relationship that lasted for over sixty-five years, sixty-three of which were spent as husband and wife.

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CHAPTERS

SHAKER HEIGHTS HIGH SCHOOL; 1937-1946

The year was 193 7 and Evans began a new chapter in his life. He graduated from Western Reserve University in the spring of 1937. He was immediately hired by the Shaker Heights School District beginning the following autumn. By the time he was hired, Evans had been teaching for eight years. The experiences in starting the junior high band at Miles Elementary school, teaching private lessons, arranging and conducting, and teaching Saturday School made him more prepared to teach than most new teachers. The Shaker Heights School District Teachers Contract dated June 9, 1937 states: "An agreement entered into between Jack 0. Evans hereinafter designated as the teacher, and the Board of Education of Shaker Heights School District in Cuyahoga County, Ohio ... In consideration ofsuch services, the said Board of Education agrees to pay said teacher the sum of One Thousand Two Hundred Dollars ($1,200.00) ... in twelve equal payments, one on the first day of October and of each 23 month thereafter until the total amount has been paid. "

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Evans was in charge of the entire instrumental music program at Shaker Heights High School. At the high school, he conducted the Marching Band, the Concert Band, and a chamber orchestra that met two days a week. This orchestra was not part of the regular music curriculum, and he administrated it as a co-opt club activity. He recalled that his chamber orchestra, even though it was small, was talented. Evans also conducted the junior high school band and assisted with beginning instrumental lessons in the elementary schools. He gave private lessons to brass students and hired a clarinet teacher, a violin teacher, and one additional brass teacher to tutor all of his students. He was widely regarded as one of the best brass teachers in the city of Cleveland. 24 Evans was actively involved in and controlled all aspects of the instrumental music program. His future wife, Carol Jones, began teaching in the Cleveland City Schools in 1937. Jack and Carol Evans were married on June 25, 1938. Carol then transferred her teaching job to the Shaker Heights School System. She was forced to quit her job in Cleveland because the school board would not allow married female teachers to teach in the district at that time. Jack Evans made sure that she was assigned to the grade schools in the Shaker Heights district. He felt that she was the most help to the music program at the beginning levels.

:::

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Carol was born in Loraine, Ohio on December 25, 1914. Jack always said, "he married a real live Christmas Carol. 25 " The family moved to Cleveland, Ohio when she was four years old. Carol's father was nationally-known choral director Griffith J. Jones. She attended Cleveland Heights High School and she participated in band and orchestra. Her band director was the renowned Mark Hindsley. Hindsley went on to become the director of Bands at the University if Illinois. During his time at Cleveland Heights, the band and orchestra attained state and national acclaim. Carol Evans played the flute in both band and orchestra. She was a student of Maurice Sharp, principal flutist with the Cleveland Orchestra. She was a member of the all-city and district band and orchestra, and was also a member of the 1932 National High School Orchestra at the Music Educator's National Convention. In 1933, she entered the School of Education at Western Reserve University and the Cleveland Institute of Music. Upon her graduation in 193 7, she began teaching at Wilson Junior High School in Cleveland. In 1937, Jack Evans began a long career of adjudication. This experience included solo and ensemble competitions, full band and orchestra competitions, marching band competitions, and a myriad of other competitive musical events. His very first judging assignment was at the 193 7 State Solo and Ensemble contest in Oberlin, Ohio. His assignment was to judge the drum major event and to

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evaluate brass solos and ensembles. This event was the first of thousands of adjudication commitments he would attend in his lifetime throughout Canada, Europe, and the states of California, Texas, Oklahoma, Michigan, Indiana, Pennsylvania, Delaware, Virginia, West Virginia, South Carolina, Idaho, 76

Tennessee, and Kentucky.-

While he taught at Shaker Heights, Evans played second trombone in the Cleveland Orchestra Summer Pops in 1942 and 1943. The orchestra performed three concerts each week with two, two-hour rehearsals. He also substituted during the regular Cleveland Orchestra season. He enjoyed this work not only for the chance to perform with the finest professional musicians, but also for some of the travel opportunities. He recalled a trip to Detroit when the Orchestra played Dimitri Shostakovich's Seventh Symphony, calling for a double brass section. The orchestra performed the mid-west premier of the work in Cleveland, and then took this work to the Masonic Hall in Detroit. Evans traveled by train to the concert and returned to Cleveland on one of the Lake Bullets. The Lake Bullet was a large passenger transport boat that traveled through the night across Lake Erie to Cleveland Harbor. Another occasion which Evans fondly remembered, began when he received a telephone call from the personnel director of Cleveland Orchestra in the middle of a school day. The Orchestra needed a substitute bass trombonist

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because one of the players was ill. The event was a "run-out" concert that same evening in Oberlin, Ohio. Run-out concens were perfomrnnce venues to which the orchestra traveled within a reasonable distance, played a program, and then returned home. During the concert, the orchestra was playing Stravinsky's Petrushka Suite, a work that featured an exposed solo passage of six measures for bass trombone. As the orchestra played through this section, Evans performed the passage quite well. The conductor Artur Rodzinsky looked to Harry Fuchs, the first chair cellist and good friend of Evans' and asked, "Who is the trombone player?" Fuchs responded, "Just some school teacher around town." 27 This certainly motivated Evans. It validated his musicianship and reinforced his urge, especially earlier in his life, to be a professional orchestral musician. This was a pivotal time in his life. He was conflicted with the thought of two different career paths. Evans certainly had the capability to be a full-time professional trombonist with a major orchestra, but chose instead to devote himself to the education of students. Evans performance resume was augmented not only by performing with the Cleveland Orchestra, but also by his playing in the "Cleveland Philharmonic;" a semi-professional group. This orchestra was mainly a repertoire ensemble, but it also performed a few concerts. Jack was a charter member and the treasurer of the group.

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While teaching at Shaker Heights, Jack Evans was also part of a repertoire band. A man named Gus Darmstadt was the manager of the instrumental sheet music department of the Lyon and Healy store in Cleveland. He invited area band directors to the store on Sunday afternoons to read through new band music. Over forty directors held two-hour sessions reading new compositions for band and orchestra in the main room of the store. Within the group, a small club emerged. It was called "The Maestro's Club," and each member had a nickname. Evans'

designation was "Maestro Glissando." It was here that Jack befriended Mark Hindsley, Carol Evans' former band director at Cleveland Heights High School. During his second summer with the Cleveland Orchestra Pops ( 1943 ), Evans was asked by the personnel manager to play first trombone because the regular principal, Merrit Dittert, was playing in Chautauqua, New York for the summer. Evans wanted to play second trombone, but the personnel manager persisted. Finally, Jack agreed to play first under the condition that he would hand select the other players in the trombone section. The personnel manager agreed and Evans chose two high school students. One in particular, Alan Kofsky, was forever changed by Jack's decision. The fact that Evans allowed him to play with the orchestra was a profound confidence builder for a high school student. He went on to study music in college and became the second trombonist in the Cleveland Orchestra for over fifty-seven years. This kind act demonstrated Jack

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Evans' devotion to his students and to learning. Alan Kofsky surely carried gratitude for this deed with him all of his life. In addition to playing summer concerts with the Cleveland Orchestra Pops and the Cleveland Philharmonic, Evans played with the staff radio orchestras of two Cleveland area radio stations. His professional playing experiences were varied and numerous. His name was well-known in the music profession in Cleveland, both for his personal musical ability and his successful teaching.

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CHAPTER6

MILITARY SERVICE; 1943-1946

In 1943, World War II was raging and America had been drawn into the

conflict. Evans had a few deferments because teachers were declared "essential" during the early days of World War II. As the War progressed and the allies were building up troop numbers for the impending invasion of France, Jack Evans was called into military service. Evans had just begun fall semester at Shaker Heights in 1943 and by the end of September he was drafted into the United States Anny. His military service lasted a total of thirty months. He was taken by train to Fort Hayes in Columbus, Ohio where he spent what he referred to as "the most miserable ten days of my entire Armed Forces career." 28 He had to awaken at 4:30 a.m. to prepare for breakfast. Throughout the day he was assigned to "police" the grounds of Fort Hayes picking up litter and cigarette butts. Fortunately for Evans, during processing, his background was reviewed and his musical skills were discovered. He was assigned a specialty

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position as a bandsman. Photograph 4 of appendix C is o.fEvans as a member of the Armv.

He was then sent to Camp Crowder, which was a Signal Corps Basic where he began six weeks of training. Another good fortune for Evans was that he was bunked next to another musician Richard Duncan. Duncan was a violinist who attended the Eastman School of Music and was the conductor of the Omaha, Nebraska Symphony Orchestra before being drafted into military service. Evans and Duncan went through the signal corps camp together. Their new friendship helped them pass the long days of basic training. Duncan was connected to Ohio State, as he was a graduate assistant in 1936. He taught string classes at the same time that Manley Whitcomb was hired for brass instruction and Clare Grundman was the woodwind graduate assistant. After completing basic training, Evans went to band school for an eightweek period. The band schools' purpose was to convert civilian musicians to Army musicians. The commanding officer was Joe Skomicka, a music educator and the conductor of the Milwaukee Symphony. Skomicka attained later success with the publication of the "Rubank" series instrumental method books. According to Evans, the concert band at the school was excellent. Its ranks were filled with some of the best orchestral musicians from throughout the United States. The band played marches and orchestral transcriptions like Tchaikovsky

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Symphonies and various overtures. The school also had a jazz band, filled with some of the finest jazz musicians from the United States. Jack Evans immediately became the principal trombonist in the concert band. He recalled that the band had been working on a transcription of "Die Meistersinger," a work which Evans had played at the National High School Orchestra Competition in 1932. He knew the part well, in fact, he knew the orchestral repertoire for trombone well and was not bashful in his own playing. The one aspect of the military band at Camp Crowder that he did not like was that each member of the band also made up the personnel of the Soldiers Chorus. He said this of the chorus: '' ... and it was pretty bad. I had absolute pitch and they were flat on everything they sang. They would get more than a half step flat. Then, I would have to transpose. I just couldn't adjust that far. That reanv bothered me and I was glad when . ,,29 zt was over. At the conclusion of the eight weeks of training in band school, both Evans and his new friend Richard Duncan remained at the school. Both were to become Acting Corporals on the cadre (staff), but Evans' paperwork was lost presumably because the band director, Skomicka, was hospitalized and unable to follow its processing. Evans was assigned on a routine shipping order for service overseas. In an attempt to change his shipping order, he called Mark Hindsley, who, during

the War, was in charge of a large region of bands in the Army Air Corps (later the

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Air Force). The Glenn Miller Band came under Hindsley's control, and when the Miller Band went overseas to entertain the troops, Hindsley had to find a replacement band to play the broadcasts from New York City. The Harry Bluestone Band from Texas was to be the substitute band. Hindsley attempted to place Jack Evans in this group. Unfortunately, Evans' shipping order happened to be part of a high-priority secret mission. The soldiers in this shipping order were specialists. They ranged from engineers to attorneys, accountants to financiers, medics, and even buglers. Evans was certified as an Army Bugler, but the irony was that he had never heard a live bugle call or seen an actual bugle while in the Army, even though every company had to have a bugler. He remembered that the bugle calls were only recordings sounded over loudspeakers. 30 Evans' shipping order was to a replacement depot. This was a division of the Army that refilled vacancies in the specialized positions and re-staffed officers as the need arose. His shipment had between fifty and sixty soldiers in it and was to become the cadre in the replacement depot. They sailed for Europe in January of 1944. This marked the beginning of Evans' twenty-four months in Europe. The replacement depot for which Evans and the others were destined was in Bristol, England. The depot was housed in an old orphanage, dark, damp, and dreary. Upon their arrival, they learned that the positions for which they were sent had

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already been filled. The Army was so slow in moving this shipment of specialists that General Dwight D. Eisenhower filled the positions with people that were already in Bristol because he was tired of waiting for the Army to respond. Consequently, all of these new replacements had no jobs and had to take any position that was available. Evans spent about three weeks of boredom in Bristol. The Army was reluctant to give passes to leave the depot because the command feared desertion. By chance, Jack learned that it was easier to get a pass for free time if he volunteered for guard duty. Soldiers stood guard in twenty-four hour shifts (four hours on, four hours off). At the conclusion of a twenty-four hour shift, soldiers were free for the next twenty-four hours. During this time, Evans was able to attain passes to explore the town of Bristol. He took in British vaudeville shows and heard concerts by the Liverpool and the Halle Orchestras. Evans arrived in Bristol during a period of leave enemy bombing. Bristol was a key port and military target for the Germans. Evans recalled the nightly air raid sirens and the evacuation to air raid shelters underground. 31 A few weeks after settling in Bristol, many in the cadre, including Evans, were shipped to Freesey Farms near Liverpool, England. They were moved to a public housing area at Freesey Farms that had no heat. Jack remembered

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gathering spilled coal from passing trains for use in building charcoal fires for 3'l

warmth. Even though the gloom of war, the arts flourished at Freesey Farms. The commanding officer of this entire replacement depot was Colonel James Killian. Jack said: "He had built himself a little kingdom. All of these recruits were coming through there with many specialties. He had a big staff who made a practice of going through all of these recruits and finding guys who had civilian specialties which made them valuable to this colonel. He had a drum and bugle corps of about sixty musicians, a concert band, and several variety shows. He didn 't have to bring in any outside entertainment, he had it all right there under his command. Also, at the same time, he was sending these groups out to play engagements in the community. For instance, some lady would be having a tea, and she would call up this Colonel's office and he would send over a string quartet or a soloist. It was a regular booking outfit. Of course, that put him in good favor with the community, which pleased the Army. " 33

A short time after arriving to Freesey Farms, an order came through General Eisenhower's office. News of all of the entertainment in Colonel Killian's replacement depot traveled to Headquarters. An official from the headquarters said, "If that stuff is good enough to entertain the population of Liverpool, then it is good enough to entertain the troops in all of the Replacement Depots throughout southern England. " 34 It was suggested that entertainment platoons be formed to travel and entertain the troops in all of the Replacement

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Depots. The main problem was that the soldiers trained by day for the eventual invasion of France, but had nothing to do in the evening. The command then came through to form three platoons. Jack Evans was a member of the "First Special Service Platoon of the Ground Forces Reinforcement Command." The First Platoon had about nine musicians and Jack Evans was placed in charge. The amount of troop traffic through the Replacement Depot in Liverpool was immense. This fact allowed Evans to recruit the best musicians into his Platoon. They announced and advertised auditions for the various openings in the group, such as trumpet, saxophone, drummers, comedians, magicians, and dancers. The Platoon grew from nine to fifteen members and was ready to travel to the many depots in southern England. The show, in its early performances, was poor. It was so bad, Jack claimed, that soldiers who were required to attend the shows actually walked out on them. Later shows did however make many improvements. Jack was the musical director, and because of his teaching experiences, he was able to efficiently rehearse the group and lead them to acceptable performances. Evans attributed his success to the music education training which helped him to plan and to execute rehearsals effectively using time and personnel. 35 Jack "fronted" the band with his trombone in the Glenn Miller style, that is to say that he stood in front of the band both as a player and a conductor. The

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band opened the show with their theme song "My Buddy" alla Tommy Dorsey Orchestra style. The show also made a tour of France. Evans claimed that he was often mistaken for Glenn Miller on tours through France, because he wore Armyissue steel-rim glasses and played trombone. 36 At various times Evans' band and show act was called "Fox Hole Frolics" and "Manhattan Caravan." The show, at its height, consisted of a classical violinist, a country fiddler, a jazz pianist, a classical pianist, three trumpet players, four saxophones, two trombones, drums, a vocalist, two comedians, and an accordionist. The band's violinist Sol Osturoff was so good, Jack claimed that he would play a Bach Sonata unaccompanied and had the crowd of soldiers (who generally did not like classical music) completely mesmerized. Jack said that it proved what he has said many times, "If something is good enough, you can sell it to anybody." 37 Figure 4 in appendix A is a copy of a poster advertising a concert by Evans variety show 'foxhole Friiocs. "

The only negative interpersonal experience that Evans encountered while traveling with the show was with the show's accordionist. The entire cast, apparently had a personality conflict with the accordionist Al Moskowitz. He was also not a strong musician and he believed that he was the show's star. Jack tried on many occasions to oust Moskowitz from the show, but due to the rapid tumover in commanding officers, it took some time for an officer to realize 36 37

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Moskowitz was a detriment to the show. Finally, Evans and the members of the show were relieved of Al Moskowitz. They did not want a replacement accordionist. Word of their sentiments about not replacing the accordion player never reached the headquarters, and a few weeks later the show had a new accordionist. To Evans' chagrin, a truck approached the depot with the new accordionist. Frankie Yankovic hopped out and Jack was relieved, because he knew Y ankovic well from his days in Cleveland. The show continued to travel and entertain through the Allied invasion of France. The musicians were in Vervier in Belgium for VE Day, as Evans remembered a large celebration on June 61h, 1944. The show then toured France after the invasion and continued until the official end of World War II. Photographs 5 and 6 in appendix Care ofEvans and the First Special Service Platoon of the Ground Forces Reinforcement Command ..

Jack Evans was discharged from the United States Army in January of 1946. Figure 5 in appendix A shows Evans' Honorable Discharge papers. He returned to Shaker Heights High School for the beginning of the second semester in February of 1946. During Jack's two and a half year absence, his wife Carol took over the high school band program at Shaker Heights. She had been hired to direct the high school choir at Shaker Heights because the current director had been drafted into military service just prior to Jack Evans' enlistment. She led the high school 43

vocal program for one year, and then her husband too was drafted into the service. Upon leaving, Jack stipulated that Carol take the directorship of the high school Concert Band, but not the Marching Band. Carol did not have the drum majoring background, nor the time to dedicate to the marching band. Even though she operated the entire music department, Carol still directed the marching band at football games, but they only played from the stands and they did not march. For thirty months, Carol Evans directed both the choir and band at Shaker Heights. During Evans' military tour in World War II, the beginning program in instrumental music at Shaker Heights suffered tremendously. Because both the high school choir director and the Band Director were in the War, the elementary and junior high school staff (Carol Evans) was moved to the high School. This situation allowed no new students to be introduced into the feeder instrumental program. The high school program consequently dwindled.

Upon Evans' return

to Shaker Heights High School in 1946, the band had diminished to about thirtyfive musicians. Evans needed to recruit new students to save the band, and in an attempt to re-populate the band, he entered a study hall and announced that he needed students to fill the positions of the band. Twenty-two students agreed to enroll into the band immediately. He began instrumental lessons with those students and retained all but two for the following school year. During the 1946 school year, Jack Evans intended to rebuild his high school band program to its former numbers and its previous level of success. He 44

did not expect a change in career, even though during the War he had decided that he would not teach at Shaker Heights for his entire career. 38 Evans had no presupposition that the 1946 school year would prove to be his last at Shaker Heights.

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CHAPTER 7

ARRIVAL AT THE OHIO STATE UNIVERSITY; 1947-1952

The summer of 194 7 brought about many changes in Jack and Carol Evans' life. Before addressing specific events that led Evans to Ohio State, a general understanding of the history and state of band activities at The Ohio State University during the decades of the 1920's and 1930's must be established. The person who played an integral role in the development of the band program during this time was Eugene J. Weigel. Before Eugene Weigel's arrival to Ohio State in 1929, the University had no concert band. The only band on campus was the Military Band. Gustav Bruder, the part-time director of the Military Band before Weigel, then became Weigel's assistant after 1929. Elvin Donaldson, was a student in the band in the 1920's, and became highly interested in the band even after his graduation. He had no professional musical training, and was actually a professor in the Business School at Ohio State. It was Donaldson who created the first formations that the band marched on the field, such as the Navy Anchor.

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Eugene Weigel had a profound influence on bands at Ohio State, and in tum, on the success of Evans' career. Weigel came to the University in 1929 and intended to raise the Ohio State bands to Big Ten standards. Other Big Ten bands, especially those such as Northwestern University and The University of Illinois were bigger, better, and more nationally recognized. At this time, only two bands existed at Ohio State. The Concert Band was administrated and conducted from Department of Music Faculty and the Marching Band was under the auspices of the ROTC program.

To improve the quality of bands at Ohio State, Weigel

decided that a departure from ROTC control was necessary. An agreement separating the Marching Band from the University ROTC was signed between then Director of Athletics, Lynn St. John, Chairman of the Music Department, Royal Hughes, and Commanding Officer of the ROTC, G. L. Townsend. The agreement included the following stipulations. First, the Department of Athletics would provide the funding for the Marching Band. Secondly, the military would give Military Science credit to students who participated in band. Finally, the School of Music (at that time, the Department of Music) would furnish the faculty and staff for the band. Figure 6 of appendix A is a facsimile of the original 1929 agreement found in Ohio State University President Rightmire 's official papers.

One of Eugene Weigel' s goals was to convert the band( s) into an allpurpose college band that was both a marching band and a concert band. He decided to create a separate concert band, and thus The Ohio State University 47

Concert Band began in 1929. Weigel conve11ed the Marching Band to an all-brass instrumentation in 1934, patterned after a British Brass Band. This conversion actually lasted two years because new brass instruments had to be purchased and some had to be specially designed and built. For instance, the York Instrument Company built alto trumpets and tenor horns for the Marching Band. Weigel found further assistance when he hired Manley Whitcomb in 1936 as a Graduate Assistant. Whitcomb received his undergraduate degree from Northwestern University and played cornet in Clifford Bainum's bands. Banium was a famed bandmaster from Northwestern, responsible for the national stature and success of the Northwestern University's bands. Whitcomb was working on his Master's degree at Northwestern when Weigel hired him onto the staff of the Ohio State Marching Band. At the same time that Whitcomb was a Graduate Assistant, clarinetist Clare Grundman was also a Graduate Assistant at The Ohio State University. Richard Duncan, Evans' Army bunk-mate of Evans, was also a Graduate Assistant and taught violin before he was drafted. Duncan taught all of the violin students and was the assistant conductor of The Ohio State University Orchestra. Whitcomb and Grundman were Weigel' s assistants with the Marching Band and Concert Band respectively, prior to their enlistment into World War II. Jack had some prior contact with Eugene J. Weigel. When Evans was in the seventh grade, Weigel was the supervisor of instrumental music for the 48

Cleveland City Schools. As part of his commitments city-wide, Weigel actually guest-conducted the Cleveland All-City Orchestra in which Evans played as a junior high school student. It was on this occasion that Evans recalled learning to double tongue. The orchestra was playing the Military Escort March. Weigel used the introduction of that piece to teach the students to double-tongue. Another connection that Jack Evans had to Eugene Weigel was through his wife Carol. Carol Evans' father was Griffith Jones, a nationally recognized leader in choral music and teaching. Griffith Jones and Eugene Weigel taught together at Cleveland Patrick Henry Junior High School before Weigel was promoted to supervisor of instrumental music in the Cleveland City Schools. Jack Evans enjoyed his time at Shaker Heights. He decided during the war that he would not stay at Shaker Heights for the remainder of his career. Upon his return to Cleveland, Evans attended OMEA conferences and other professional meetings and became acquainted with Manley Whitcomb. Whitcomb and Evans met when Whitcomb guest conducted a music festival comprised of schools from the Lake Erie League. These schools were from the west side of Cleveland and included Shaker Heights. Evans' band performed at this event, and many of his students participated in the festival honors band that Whitcomb conducted. In 1946, The Ohio State University Board of Trustees had given approval to Weigel and the School of Music to hire thirteen additional faculty for the upcoming academic year. Prior to the hiring of the new teachers, Whitcomb had 49

been teaching all of the trumpet and horn students. Weigel asked Whitcomb his suggestion for new applied faculty in areas of instrumental specialties. Whitcomb agreed to continue teaching horn, but requested that Weigel hire a low brass teacher and a trumpet teacher. Among the thirteen faculty positions hired for the autumn of 1947, Jack Evans was hired as the low brass teacher. He described the phone call that changed his career. It was the spring of 194 7 and Evans was still teaching at Shaker Heights. He recalled returning home in the late afternoon and found Carol on the phone with Weigel. .. .As soon as I got on the phone he said, "This is Eugene J Weigel, I'm director of the School of Music at Ohio State University. How would you like to come down here as an assistant professor teaching low brass instruments?" I gulped a couple of times and said, "OOH! Mr. Weigel, I would be interested in that. Where do we go from here?" He said, "I'll have to hear you play. Can you come down this Saturday morning?" This was a Wednesday afternoon. I hadn't been doing any playing at all because I was so busy at Shaker trying to build things up from the disaster. I said, "I guess I could get something ready to play by Saturday. What time do you want me? " He said, "ten o'clock. " 39

That Saturday morning, Jack and Carol drove to the Ohio State campus in their post-war Studebaker. Jack left Carol waiting in the car and walked into the music offices in the basement of Page Hall with his trombone in hand. Jack had not enough time to prepare adequately for the playing audition, thus, he waited very anxiously. After ten minutes, Evans recalled that Weigel "came charging in. 39

Jack 0. Evans interviews, February 2000

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(charging was a good word describing Weigel because that was the way he was. Kids in the band used to call him 'the Admiral. ')" 4 c Evans was invited into Weigel's office with the words, "let's talk." He left his trombone in the outer office. Evans handed Weigel his resume, complete with references from many of the most influential names in music from Cleveland. Weigel knew many of these people from his years as a teacher and music supervisor in Cleveland. He also reminded Weigel that he was the son-in-law of Griffith Jones, who taught with Weigel at Patrick Henry Junior High School in Cleveland. Weigel had already made up his mind after only fifteen minutes. He then stood and said, "I can't give you anything in writing today, but when we shake hands that means you are hired." Evans quickly shook his hand and said, "Mr. Weigel, I will look forward to working with you." Evans gathered his trombone and returned to his car without playing a note. Ironically, Manley Whitcomb returned from guest conducting in Cleveland the same weekend of Evans' interview. He told Weigel that he had heard a lot about a fellow named Evans while he was in Cleveland, and suggested that they look at him as a possible candidate for one of the new faculty positions. Whitcomb was surprised and glad when Weigel told him that Jack Evans had just been hired. A letter dated June 19, 1947 from Eugene J. Weigel officially offered Evans a teaching position at Ohio State. The document reads:

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Dear Mr. Evans, "I am very happy to inform you that the request for your appointment has been honored by Dr. Donald P. Cottrell, Dean of the College of Education, and in due formal contract will be sent for your signature. In the meantime, you may interpret this letter as an official appointment under the following terms: -Title- Assistant Professor; -Salary- $3,300 three quarters of service (summer quarter off with pay). Your assignment will be as instructor of Trombone majors and a music education course, Music 511 E, and other related music assignments necessary to make up the full load, not to exceed 22 hours per week. It goes without saying that I am delighted to be able to have you on our staff and I am looking forward to many pleasurable and profitable years of service. ' 41 -Eugene J. Weigel

Jack and Carol Evans moved to Columbus in the summer of 1947. He wanted to become acquainted with the University and the faculty with whom he would be working. Richard Duncan, his close friend from the Army, had been a graduate assistant at Ohio State in 1936. Whitcomb and Duncan became close friends during their time as graduate assistants. Duncan was back at Ohio State in the summer of 194 7. He was assisting Manley Whitcomb with teaching string classes at a summer music workshop on campus. Evans came to Columbus to visit Duncan, and was introduced to Whitcomb. Evans' wife Carol and

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Whitcomb's wife Leah also got to know each other, and became good friends at this time. Soon after his arrival to Columbus, Eugene Weigel asked Evans if he would assist with the Marching Band. Doubtful, Jack replied, "I thought I was getting rid of that stuff when I left high school."42 He saw the disappointment in Weigel's face. He then added, "but if you really need someone to help, I'll be glad to do what I can." 43 Jack Evans was then named assistant director of The Ohio State University Marching Band under Manley Whitcomb for the 1947 season. Whitcomb also asked the new trumpet teacher Forrest Stoll to also assist him with the Marching Band. The entire staff of the Marching Band in 194 7 was comprised of Whitcomb, the horn teacher; and assistants Evans, the low brass teacher; and Stoll, the trumpet teacher. A minor discrepancy existed concerning Jack's appointment to assistant marching band director. In one interview, Evans' claimed that Eugene Weigel asked him to assistant Whitcomb with the marching band. In yet another interview, Jack referred to the fact that Manley Whitcomb, in the summer of 1947, asked him to be a member of the marching band staff.44 In either case, Evans' reaction was negative. He thought that he had left his marching band teaching in Cleveland. He did not expect to be assigned to the marching band. Evans saw

42

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that \Veigel and Whitcomb were both disappointed by his negative response. Since he was a young and a new faculty member, he decided to honor their request and assist with the Marching Band. 45 In his previous interview with Eugene Weigel, Evans was told that his teaching load of students would be augmented with one section of freshmen music theory. However, in reality, he taught over thirty-two hours a week in private lessons. He taught all of the trombones, tubas, and baritone horns (now known as euphoniums), totaling thirty-two students. He also taught brass classes for music education majors for two quarters of the school year. Donald E. McGinnis was another prominent figure in The Ohio State University Band Department before the arrival of Evans. McGinnis was hired in 1941 to replace Clare Grundman as a teacher of woodwinds. He was also the assistant conductor of the Concert Band. Whitcomb, who had arrived on campus two years prior to McGinnis, asked him to be his assistant with the Marching Band, in addition to the Concert Band. McGinnis held the assistant position in both ensembles from 1941-1942. From 1943-1946 (World War II), he was an Officer of Communications for the United States Navy. Upon his return from service in 1946, he again assumed the position of assistant director of the Concert

45

It is interesting to note that until 1979, nobody on the band staff in the history of the School of Music at

Ohio State had been hired specifically for a band job. All of the band directors to that point ( 1979) had been hired in other areas such as applied music. This situation was the case with Jack Evans who was hired as a low brass instructor, and Donald McGinnis who was hired as a woodwind instructor. McGinnis later became conductor of the Ohio State University Concert Band from 1952 through 1979.

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Band and the Marching Band. (McGinnis conducted the Concert Band until 1979 and retired from the School of Music in 1981 ). Upon Evans' arrival, in the autumn of 1947, Manley \Vhitcomb gave the title of "Assistant Director" of the Marching Band to him. He promoted Donald McGinnis to the position of "Associate Director" of the Concert Band. Evans and McGinnis held these positions until 1952. Another discrepancy exists between the accounts of Evans and McGinnis as to whether Manley Whitcomb or Eugene Weigel appointed them to these Assistant and Associate positions. It is true that Whitcomb was the director of both the Marching and Concert Bands and that Evans and McGinnis were his assistants. It is also true that Weigel was responsible for all hiring of faculty in the School of Music. Evans claimed that Whitcomb officially appointed both him and McGinnis to their positions. McGinnis recalled that it was Weigel who made these appointments. 46 With Evans beginning his first season with the Marching Band, the year 194 7 marked another landmark decision in the history of The Ohio State University Marching Band. A new idea would revolutionize the marching system of not only The Ohio State University band, but would effect how bands marched throughout the country. Prior to 194 7, the Marching Band had no system of measured steps. The players marched down the length of the football field guiding to the right or left. Manley Whitcomb made the revolutionary decision to use a

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Interview with Donald McGinnis, April, 2002

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measured step. Band members were instructed to take eight, twenty-two and one half inch steps for every five yards down the length of the football field. The concept of a measured step was not a new idea. Whitcomb had seen the Massillon High School Marching Band from Massillon, Ohio use the six steps to five yards method. This step was similar to a military stride step, but it was refined and standardized to thirty inches per stride by the Massillon band director, George ("Red") Bird. 47 While at Shaker Heights, Evans also used the six-to-five step after seeing the Massillon Band use this system. Whitcomb and Evans discussed this system at length. They wanted to adapt the high step marching style of The Ohio State University Marching Band and combine it with a measured step system. The eight-to-five step (22 Yi inches) is shorter than a six-to-five step (30 inches). The high leg-lift style that the band used fit well with a shorter measured step. The shorter twenty-two and a half inch strides definitely facilitated the high leg lift. In addition, the eight-to-five step was a better match to the music. 48 Using eight steps to five yards fit phrasing and the time signatures (2/4 and 4/4) of martial music much better than did the six-to-five step. The six-to-five step gave a triple feel, whereas the eight-to-five step yielded a duple cadence. Jack Evans arrived at Ohio State in time to witness the beginning of construction on the new School of Music facility, Hughes Hall. The building was named for Royal D. Hughes, Chairman of the Department of Music before Eugene 47 48

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Weigel. The Department of Music was renamed the "School of Music" in 1945. The impetus, leadership, and design of the new School of Music facility came directly from Weigel. A newspaper recounted the event. "A great new era for music at Ohio State will open on Saturday, June 4 at 11 am. At that time, as a feature of the annual Alumni Reunion, the University formally will dedicate the School of Music's $1,000,000 building near the head of the Oval as Hughes Hall. The event will have great meaning for all alumni and all citizens of Ohio. But it will bring a special thrill of gladness to the music faculty and the all music majors among the students and alumni, for it will mark the successful culmination of more than 22 years ofplanning and work, much of it in the face of heavy handicap. Since its founding, the department has grown steadily both in the number of its students and the quality of its instruction. As it has expanded, music has occupied various quarters on campus, all of a more or less temporary and makeshift nature. For the past several years it has been functioning in five building including administrative offices in the basement ofPage Hall, lecture and practice rooms in the two former private homes near Fifteenth Avenue entrance to the campus, and rehearsal hall in the former livestock-judging pavilion on Neil Ave. The School of Music 's magnificent four-story building will bring nearly all of its activities under one roof While a few music conservatories may have larger facilities, the new building on campus will offer the very latest in classroom, studio, laboratory and auditorium arrangement. "Floating floors, "for example, are one of its many features. Every classroom and practice cubicle is equipped with these to keep vibration and transmission ofsound at an absolute minimum. In the last analysis any department, school and college is judged by the peiformance and accomplishments of its graduates. In this area the School of Music perhaps has 57

made its greatest contribution to the Universizv and the State of Ohio. Thousands of its graduates are teaching music in public school throughout Ohio while scores of other alumni . l"z:::atzon. . ,,49 have gone on to fiurther specta

A rumor circulated about the construction of the facility, in that its construction as a "music building" was not publicized. The architect's drawings, according to Evans, had the title "Classroom Building." Nothing was written on the plans to indicate that the facility was to be a music building. The reason for this deliberate omission was described by Evans. " ... the University was still very cognizant of the fact that the State Legislature was made up of agricultural people, and those people were not very friend~v toward the frills in education. Music was, to them, still a frill. The University administration thought that they could never get approval from the State Legislature if they called it a music building. So, it was called a classroom building. I know that this is true because I was there all the time it was being constructed. I saw it right from the beginning. "50

Although the cornerstone of Hughes Hall says 1948, the School of Music did not move into the facility until 1949. This time period at Ohio State was marked by growth and progress. The Great Depression and World War II had ended and The Ohio State University School of Music was one beneficiary ;)fthe economic boom and expansion. Even with the construction of the new facility, all of Evans' teaching occurred in Rehearsal Hall, located at the corner of Neil Avenue and 19th Avenue.

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Weigel had previously obtained Rehearsal Hall from the Agricultural Department. They relocated to newly-constructed buildings on the west side of the Olentangy River. Rehearsal Hall was used by the department of agriculture as a stock judging pavilion. The floor of the building had been dirt, with a circular cobblestone track for parading cattle. After it was converted to a music building and given the name "Rehearsal Hall," it became the home of band activities. The Ohio State University Orchestra also performed national radio broadcasts from this venue. Before Weigel' s time, the band rehearsed in the two tower rooms at the north end of Ohio Stadium. These rooms were on each side of the rotunda entrance of the stadium. According to Evans, the band moved into Rehearsal Hall in the early 1930's,. Weigel then began the Saturday morning tradition of the "Skull Session" in this location. He had the idea for Skull Sessions because he wanted to use the time to make sure band members had their music and the drill charts memorized. Weigel wanted the students to use their heads to think through the show, thus he dubbed these rehearsals "Skull Sessions." Evans admitted that he never liked the name "Skull Session" and tried to avoid using the term. 51 The Skull Session grew into a game day concert. Because of the grand size of Rehearsal Hall, seven-hundred folding chairs could be arranged for public seating.

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The Skull Sessions became so popular that it was more difficult to obtain a ticket to Rehearsal Hall than to Ohio Stadium on a football Saturday. The instrumentation of the present-day Marching Band is not the same as when Jack arrived at in 1947. Eugene Weigel's philosophy for his change to an all-brass instrumentation in 1934 was based on two ideas. First, Weigel patterned the instrumentation of the band after that of a British brass band. He used the Eflat comet, B-flat comet and the E-flat alto trumpet. The E-flat alto trumpet was "a terrible instrument- the intonation was just awful," according to Evans. 52 Evans also claimed that the instrumentation was problematic because the music that the band played was not specially arranged for this instrumentation. The music that the Ohio State Band played was usually standard band arrangements utilizing woodwind parts. The band staff simply omitted the woodwind parts and had to write special E-flat comet and E-flat alto trumpet parts. This practice left the arrangements "hollow" and incomplete-sounding parts. This created the need for new band arrangements utilizing the brass instrumentation. Weigel enlisted the services of a student arranger who was a member of the band. In 1935, Richard Heine became the arranger for the Marching Band. Heine was a

masterful arranger and created the unique sound of the Ohio State Marching Band through his arrangements.

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The slide trombone parts were played on tromboniums (upright, valved, bell-front) and tenor horns (British baritone). The trombonium played the first trombone part, and the tenor hom was assigned the second trombone part. Both the trombonium and the tenor horn had terrible pitch tendencies according to Evans. The third trombone parts were played by "B" basses (single B-flat bass), which were actually large bore baritone horns. They were also undesirable in terms of pitch. In addition to double B-flat sousaphones, the band also had bellfront upright tubas in the key of E-flat. Weigel's second reason for changing the band to all-brass was that he believed that a brass instrumentation would fill Ohio Stadium with more sound than would a band with a mixture of woodwind and brass instruments. Evans later refuted Weigel's assumption that an all-brass band would sound louder in the stadium. He argued that the acoustics of woodwind instruments could also project in an outdoor setting. Furthermore, because of Evans' knowledge of sound transmission, he cited the fact that in order to double the volume, one could not simply double the instrumentation. An exponential acoustic equation proved that it took many times more than double the instruments to actually double the volume of a band. 53 Throughout his eventual tenure as director, Evans, while careful to honor the framework of Weigel' s brass band, he slowly standardized the instrumentation

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Jack 0. Evans interviews, 1979 I Evans, Jack 0. Master's Thesis, Western Reserve University, 1951.

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of the Marching Band and replaced the instruments that were of poor pitch, quality, and design. He adjusted the band's instrumentation to include comets in the key of E-flat and B-flat, tromboniums, baritones, E-flat alto horns, and B-flat and E-flat sousaphones. Evans thought that the sound of the band was too homogeneous. 54 The instrumentation outlined above created more variety of instrumental tone colors, giving the band a more complete and full sound.

THE ACTIVITIES BAND

Just before the football season of 1947, Manley Whitcomb asked Evans to start a second concert band. Up to this point in time, the university had only one concert band. Whitcomb knew that there were many students around the university who had played in their high school bands. These students had no band in which to play at Ohio State. Whitcomb believed that they were not attending to the students' needs. Evans and Whitcomb decided to form a second concert band, and that Evans would conduct the ensemble. Jack speculated that at least part of the reason Whitcomb wanted to start another concert band was because he wished to appease Evans, as he knew that Jack was not yet convinced of his role as the assistant marching band director at that time. 55 Evans and Whitcomb decided to call this new band the Activities band. The first Activities Band rehearsed in the fall quarter of 1947. The band had 54 55

Jack 0. Evans interviews, 1979. Jack 0. Evans interviews, February 2000.

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eighty-three players, nineteen of whom were women. The premier public concert perfonnance of the band was given on March 11, 1948, at Hilliard High School.

Figure 7 in appendix A is a facsimile of the first concert program of the Activities Band from 1948. The band played for various activities in and around the University and community. It performed for men's basketball games at the Coliseum located at the Ohio State Fairgrounds. The band also performed at Mirror Lake on campus, at area high schools, and in the men's and women's gymnasiums. It was featured at the dedication of St. John Arena, on Monday, February 27, 1957. Many of the concerts of the Activities Band were performed jointly with one of the University's vocal ensembles, involving as many as 677 students in combined performance in 1960. In its beginning years, perhaps the most unusual performance venue that the Activities Band played was a Palm Sunday Concert at the Ohio State Penitentiary, on April 10, 1949. 56 Figure 8 in

appendix A is a copy of that program. Evans felt that the name "Activities Band" was too trivial for what the band had become in its later years. Next to Concert Band, it was one of the finest musical organizations of its type in the State of Ohio. Evans then decided to change the name, but he was careful to choose a name that had no hierarchy connected to it. In 1956, the Activities Band became known as the "Buckeye Band." The band was so popular in the following years that it had grown to over

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130 players. In 1959, the Buckeye Band was split into two bands called Buckeye Scarlet and Buckeye Gray. Evans handled the division of musicians very carefully and decided to not make one band better than the other. He believed that students' morale would be adversely affected if they knew that they played in the "third" concert band. He divided the talent levels equally between the bands. 57 The Buckeye Scarlet and Buckeye Gray bands eventually grew into the presentday Symphonic Band and University Band.

PROFESSIONAL PLAYING IN COLUMBUS, OHIO

Jack Evans was an active performing musician in the Cleveland area when he came to Ohio State in 1947. He remained involved in playing professionally throughout the Columbus area. He played in the pit orchestra of several traveling shows, including South Pacific and the opera Die Fledermaus. The Columbus Philharmonic was a small orchestra conducted by Isler Solomon. This orchestra existed until the end of the 1947-48 season, the same year that Jack Evans arrived in Columbus. Jack speculated that the orchestra ceased to exist because Solomon "ran the programming into the ground". Solomon insisted on programming two contemporary symphonies on one program, and the non-musicians on the Philharmonic's board of trustees did not

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accept that choice. Consequently, audiences dwindled and the organization disbanded. George Hardesty was the Concert Master of the Philharmonic as well as the full time conductor of The Ohio State University Orchestra. He decided to petition support from ladies groups in Columbus to begin a "Little Symphony". The personnel roster consisted of only twenty-eight musicians, and Hardesty asked Evans to play trombone. Evans recalled a "union fuss" about his playing in the Little Symphony because he was new to Columbus. There were several trombonists around town who sought the job, however, Evans had experience playing in the Cleveland Orchestra, so he won the job. Evans played in the Little Symphony for its first three seasons, beginning in 1950 through 1952. Because he took over directorship of The Ohio State University Marching Band in 1952, he decided that his duties with the band would preclude him from playing in the symphony. As a member of The Ohio State University School of Music Faculty, Jack also played on special occasions throughout the academic year. In particular, he recalled playing in performances of Handel's Messiah and Stravinsky's Histoire du Soldat. 58

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CHAPTERS

MARCHING BAND DIRECTOR; 1952-1963

The year 1952 proved to be another pivotal year in the history of bands at Ohio State. Manley Whitcomb went to New York to finish his doctoral residency for the 1952-1953 academic year. This left his positions with the Marching and Concert Bands open. Weigel appointed Donald McGinnis Acting Director of the Concert Band, and Jack Evans Acting Director of the Marching Band for that year. Whitcomb had become a national figure in the area of bands. His success at The Ohio State University was noticed by Florida State University. The administration in Tallahassee was searching for someone to enhance the band program. They wanted to create a marching band of the same caliber of bands in the Mid-West and Big Ten Universities. Florida State attempted to hire Manley Whitcomb away from Ohio State. The administration was unsuccessful on their first attempt, as Whitcomb denied their request for employment. They then asked Whitcomb if he might recommend someone else, to which he responded, "my assistant, Jack Evans." Florida State then attempted to hire Evans, but after some contemplation, he also declined the job. Evans was content as Whitcomb's 66

assistant and as a low brass instructor. Figure 9 in appendix A shows two Western Union telegrams in correspondence.from the Florida State School of Music Dean K. 0. Kuesteiner to Jack Evans. Florida State attempted a second time to hire

Whitcomb. In the spring of 1953, Whitcomb finally accepted their offer to become Director of Bands. Whitcomb's leaving saddened Weigel and the faculty at Ohio State, especially his two assistants, Evans and McGinnis. In fact, they were so devoted to Manley Whitcomb that Jack Evans and Donald McGinnis offered Eugene Weigel their entire combined salary increases for the following year to use as incentive to keep Whitcomb at Ohio State. 59 It is unknown if Eugene Weigel made this overture to Manley Whitcomb. Upon Whitcomb's resignation from Ohio State as the Marching Band Director and Director of the Concert Band, a pivotal event took place in the history of bands at the University. The directorship of the Concert Band and the Marching Band was divided. In 1952, Donald E. McGinnis assumed the leadership of The Ohio State University Concert Band and Jack 0. Evans became the director of The Ohio State University Marching Band. Evans actually became the director of the Marching Band in 1953, although his directorship is retroactive to 1952 when he was Acting Director in the stead of Whitcomb. A newspaper

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article recalls the event of Jack Evans' hire to the Directorship of the Marching Band. "When the fabulous, fast-stepping Marching Band struts down the green playing field of Ohio Stadium this fall, the gentleman master-minding its musical maneuvers will be Prof Jack 0. Evans. The new director, an assistant professor of instrumental music at the University, will succeed Prof Manley R. Whitcomb, who resigned this spring to accept a position at Florida State University. No stranger to Ohio State's 'All American ' marching group, Jack Evans served as acting director of the organization last year during Whitcomb's absence on leave. In addition to his new assignment, Evans will continue as director of the 100piece Activities Band which he has headed since its formation in 194 7. " 60

The accounts of this split of duties between Concert and Marching Bands are different from the perspectives of McGinnis and Evans. On one hand, Jack Evans remembered meeting with Donald McGinnis and deciding to approach Weigel about splitting the duties of each band. Weigel, according to Evans, was reluctant at first, but then conceded to their request. Donald McGinnis told another version, claiming that it was Weigel' s decision to promote the them from assistants to the directors of their respective ensembles. 61 Regardless of who had the idea or by whose edict the split was made, this single event changed the band program at Ohio State. The quality of both the Marching Band and the Concert Band was enhanced immeasurably. The splitting 60

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of the band jobs allowed Evans and McGinnis to focus on their individual areas. Both men were highly detail-oriented and could focus all of their energies on their respective ensembles. The job of directing both ensembles was bigger than any one person, and the band program today reaps the benefits of the labors of both Jack Evans and Donald McGinnis. Evans described a conversation that Whitcomb and he had before Whitcomb departed for Florida State. The time frame was after Whitcomb resigned from The Ohio State University, and before Evans' and McGinnis' respective appointments to the head director positions of their bands. Evans claimed that Whitcomb urged him to not take over the Marching Band without also taking the Concert Band. Speaking from his own experience, Whitcomb had been offered the directorship of the Marching Band from Weigel in 1939. Weigel wanted to remain the Concert Band director. Whitcomb would only accept Weigel's offer under the condition that in addition to the Marching Band, he would also direct the Concert Band. Weigel reluctantly agreed to his stipulation. Whitcomb gave this same advice to Evans, urging him to lead both the Marching Band and Concert Band, or neither band. Because Evans was currently conducting the Activities Band and felt content with the assignment, he did not feel it necessary to bargain for the Concert Band in addition to all of his other duties.

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62

ROSE BOWL APPEARANCES; 1950, 1955, 1958

The Ohio State University Marching Band gained national attention in the decade of the 1950's. The band made three trips to the Rose Bowl in ten years (1950, 1955, 1958). These trips aroused media attention as the band traversed the United States by train. Traveling to and returning from the Rose Bowl, the band made numerous concert appearances, participated in parades, and performed in field shows. The first trip was in 1949 for the 1950 Rose Bowl. Whitcomb was the director and Evans was his assistant. Many thousands of dollars had to be raised in order to send the band to the game. The University of Michigan Marching Band had been to the Rose Bowl previously and had used corporate sponsorship to pay the travel expenses. The idea of sponsorship was raised to pay for the Ohio State Marching Band's trip. This notion was quickly defeated by the University's Executive Secretary, Jack Fullen. The budget for the trip was $32,000.00. Fullen had an idea for a fundraising campaign called "Give a Buck for the Band." 63 This campaign fell short of raising the appropriate funds, yielding only $18,000.00. The Athletic Department, under the leadership of Dick Larkins, graciously paid the remainder of the expenses, '"no questions asked," according to Evans. In 1955, the University was again invited to the Rose Bowl. The fundraising efforts were much the same for this trip. The budget had increased to 63

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$45,000.00 and again Jack Fullen denied outside corporate sponsorship. He began another campaign appealing to alumni, but raised less than $30,000.00. The Athletic department again covered the remaining costs. The 1958 Rose Bowl trip brought about the same questions of sponsorship. This time the Athletic Department refused to allow another campaign that fell short of meeting the budgetary needs of the band. Twice the Athletic Department stepped in to defray the remaining trip costs, but refused to do so in this third trip (1958). The Athletic Department took public criticism during the previous two trips for having to "ask" the alumni for monetary assistance to send the band to the Rose Bowl. The previous campaigns fell short regardless, and the Athletic Department paid the difference each time. In 1958, the Athletic Department solicited outside sponsorship. The Athletic Department found a suitable partner and sponsor for the Band's 1958 Rose Bowl trip through Oldsmobile. The budget for this trip was $90,000.00. According to Evans, this trip was the best and most organized of the three Rose Bowl trips he attended. The Executive Assistant to the President of Oldsmobile was the band's personal liaison. The trains moved on time because the Traffic Manager was from Oldsmobile and this person also created the schedule. Oldsmobile also arranged for entertainment and activities for band members. Jerry Lewis and Connie Stevens were contracted by Oldsmobile to entertain the band. 71

The Ohio State University Football program achieved monumental success in the decade of the 1950's. A growing number of the University's academic faculty believed that the athletic success of the football team was overshadowing the educational aims of the institution. In 1961, the faculty council voted against accepting a bid to the Rose Bowl. Jack claimed that he '"stayed clear" of that situation and did not politic against the council and its decision. "I never was a big Rose Bowl fan. I felt that the thing was highly overrated and commercialized. Of course, I had to be careful who I said that to, but that was the way that I felt. I used to tell the kids in the band, look, you are making such a big thing out of this Rose Bowl, and actually, figure out all of the extra hours that it is taking you. Now, ifyou had to figure that out on an hourly basis, just think how much you are worh,ingfor. You would be better offjust to save a dollar a week and go on your own. You would have a better time and you wouldn 't have to work so hard. Of course, that didn't fly at all. I used to tell them, ifyou are here because you think you are going to get afree trip to the Rose Bowl out of it, you had better think again. You should never plan on something you have to depend on someone else to get for you. You are in for a lot of disappointments ifyou think the other way. In this case (1961 vote against going to the Rose Bowl), I kept telling the kids, this is out of our control. If we don 't get to go it is not our fault. If they want us to go, we can go. But, if it turns out the other way, and there is a good chance that it will, I don 't want to see you mopong around here, and I don 't want to see a big drop-off next year because you didn't get to go to the Rose Bowl and you think you deserved to. And we lived. Of course, the guys that missed that trip in 1961 still talk about it. But they understand, too. " 64

64

Jack 0. Evans interviews, March, 2000

72

The decision by the faculty council to not accept the invitation to the Rose Bowl was controversial, especially with members of the band. Evans felt great sympathy for the men in the band who had worked hard and truly deserved a trip to Pasadena, but he philosophically sided with the faculty council. The game had become too commercialized and Evans felt that too much emphasis was placed on the event. He agreed with the faculty council from an educational standpoint as well, agreeing with many sentiments that "the tail was wagging the dog. " 65 The trips that Jack Evans made with the Marching Band to the Rose Bowls of the 1950's were well documented and created many memorable moments for the students and staff, and for the many millions of fans and spectators who watched on with eager excitement. The Marching Band was truly known on a national scale through and after the decade of the 1950's. The bands train travel took it to performance venues and events in Texas, Utah, San Francisco, Los Angeles, Pasadena, and Denver to name a few. The Rose Bowl halftime shows were viewed by millions of Americans on television. The band became a symbol of an "All-American" organization rich in a tradition of excellence and it attracted its due national attention and fame. Appendix B features a scrapbook from the 1958 Rose Bowl, highlighting the band's travels and experiences.

In the midst of all of the positive attention and ambassadorship for The Ohio State University that the Marching Band generated, one event occurred that

65

Jack 0. Evans interviews, March, 2000

73

emotionally wounded Evans for many years after. A sports repo1ier, Jim Marugg, from the Pasadena Star wrote a satirical piece on the band and the academic eligibility of the sousaphone player who would dot the "i" in Script Ohio. The report compared the sousaphone player to a quarterback that was in academic jeopardy, and asked the question "Would the "i"

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............................... 19 .... (27) ......... 111/.6':'er to May) before ached and receiving on&-ha!f credL Piiot to the Call oJ 1990, band inslructlon began In grade five at aach of six elementary schools ~ling once per week In heterogeneous groups. Since Iha! time, band begins In grade six meeting twice per week homogeneous ~s and once per week ""' e lull band !n each or lhe lhree middle schools. Saven1h and eighth.graders meet by grade three times per week with sevenlhgraders secl!011Bllzing ona or those days. We are fortunate to have "!~house• staff speciallul!on on ftule, clarinet, high brass, low brass and percussion. The five ful·tlme staff merrt>ars aaalst 11ach other team teaching In Ill levels o( the P

.....

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145

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Figure 17.2 1958 Rose Bowl Scrapbook

.-;;.

I

Columbus

Friday

Saturday

Phoenix

Thursday

leave Los Angeles

January

January January

Sunday Sunday Monday

leave Denver Arrive Columbus

January

January

January

Arrive Denver

(Southern Pacific)

Saturday

Leave Oakland Pier

(3rd Street Station)

Friday

Arrive Son Francisco

6

5

5

4

3

2

December 29

December 28

December 28

(So uthern Pacific-Union Station)

Sunday

Arrive Alhambra

Leave

December 26

A

December 27

R

December 27

E

Friday

Thursday

Saturday

N

leave Dallas

I

Arrive Phoenix

Arrive Dallas

Leave

T

S TAT E U N I V E R S I T Y MARCHI.NG BAND

V

A.M. PST

a,oo

P.M. EST

11 ,30 A.M. MST

9,30 A.M. MST

12,30 A.M. PST

10,05 A.M. PST

1O,OO P.M. PST

a,oo

6,00 P.M. MST

2,30 P.M. MST

1,00 P.M. CST

1o,oo A.M. CST

9,30 A.M. EST

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Figure 17.3 1958 Rose Bowl Scrapbook

0

F . T. R ; I P

THE OHIO STATE UNIVERSITY MARCHING BAND

Rall Trip la Rate Bawl and stap-over palnh enraute.

M A . F!!'

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JACK 0 . EVANS

Figure 17.4 1958 Rose Bowl Scrapbook

Allen, Leonard Bachman, Gerc::Jld Bates, Don Betts, Dean Carlo, Mouricei Christopoulos, Paul Chenoweth, Jc1hn Oaulbaugh, Richard Egan, _Scott Florence, Dwight Emery, Gerald Gilliland, Stanton Hadden, Ray Harawa y, Cha,rles Hicks, Morris

Bb Cornet andl Trumpet

Muiic Arrange r

MR . RICHARD HEINE

MR . TOM JOHNSON Announcer

MR . CHARLES l. ~5POHN MR. RICHARD J . SU.lllOENDORF Auistant Directci•rs

Director, Ohio State Un iversity Band

•

Gruebmeyer, Orv ille Hill, William

Alto Trumpet

Rost, William Sellers, Gene Thomen, Ray Thompson, Kenneth Thorson, James Ventresca, Gino Wheaton, James Williams, Glenn Wilson, Rolland Wilson, Theodore Woodruff, Edward Yance, Robert

Burrows, John Clark, Stephen Duffy, Terry Jennings, Harold Maben, Robert Montgomery, Lee Pelleriti, Richard Pierce, Howard Roberts, Richard Stienecker, Charles Tatman, Kenneth

Eb Soprano Cornet

Kellogg , Tom Protsman, Thomas Tenney, Richard

MARCHING

• . .. _ 11..~ ~~

o . s. u. Hindmarch, Stanley Hlasten, Thomas Hooe, W. Clifford Horch, Phillip Kirk, Robert Konicek, Kenneth Lafrance, Charles Marshall, Ronald Matz, Robert Morton, Raymond Myers, Walter Naum, Byron Neal, Tom Nicholson, Fi r! Pittenger, Wayne Rago, Anthony

•

The precise columns of the smart Buckeye 120-piece Marching Band pay musical homage to the citizens P' of San Francisco during the 1957-58 Rose Bawl Trip. 1 ·

Brown, Robert Calvert, Ted Carnes, Philip Goltz, Glenn Hadley, Robert Hathhorn, Thomas Hoeltzel, Kenneth Hook, James Knoch, Gene Kuivinen, Ned Moore, Carman Nixon, Robert Polidoro, Vincent Sudduth, Oury

Alto Horn

BAND

\0

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MR. W. L. WOOO - Co ·ordlnolor

MR. E. L WARNER, JR. - Bond Evenh, Publlcotion1, Public Relotiorn

MR. A . 5, CORWIN - Tron1portal1on

Co-Chalrmu

EucutlYe Anhlant to th• General Sol .. Manager

MR . J. J . DOBBS

General Chairman

ORGANIZATION

Figure 17.5 1958 Rose Bowl Scrapbook

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OLDSMODILE

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Caldwell, Stepnen Ham ilton, Richard Holden, Jolin Kulick, Allan Pnillips, Micliael Roth, Robert

Bb Bass

Stamm, Gary

Peltoma, Robert Robertson , Donald Rogge, W illiam Santa-Emma, Donald Simmons, Richard

Kinney, Bradley

Abel , James Burks, Paul Carr, Don Conlin, Carl Droste, Paul Eberhart, Robert

Baritone Horn

.... ~

. - . ...

Benson, Anthony Caldwell, Josepn Coffman, Thomas Crutch, Kenneth Harden, Stephen Hedges, Cnarles Kentner, Donald

Tenor Horn

Duffy, Robert Eaton, James McDonald, James Noble, Robert Potter, Thomas Stanley, Donald Stewart, Jess Stinson, William Williams, Harry Windle, Robert

Copp, James

Beale, Elmore

Sousaphone

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APPENDIX C Selected Photography

165

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Figure 18 John Adams High School Orchestra; Jack Evans, top left, trombone section, 1930

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Figure 19 John Adams High School Orchestra; Jack Evans, far right, trombone section, 1931

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168

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Figure 21 Jack 0. Evans as Western Reserve Drum Major, 1936

169

Figure 22 Jack Evans in the Army, 1943

170

Figure 23 "Manhattan Caravan" Variety Show in England, Jack Evans, far right, 1944

171

Figure 24 Jack Evans in Paris,France, 1945

172

Figure 25 Manley and Lea Whitcomb and Jack and Carol Evans, 1950 Rose Bowl Train Trip

173

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Figure 26 Buckeye, Scarlet and Grey Bands with Choruses, Mershon Auditorium

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Figure 27 Jack and Carol Evans dotting the "i" in Script Ohio, 1975

Figure 28 Jack Evans conducting, ca. 1952

176

Figure 29 Jack Evans upon retirement, 1979

177

Figure 30 Jack Evans receiving Ohio State Distinguished Service Award at 1981 commencement

178

Figure 31 Jack Evans conducting OSU Alumni Band at Friendship Village, Columbus, Ohio, ca. 1996

179

Figure 32 Jack and Carol Evans, ca. 1987

180

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APPENDIX D Marching Band Performance and Show Record

182

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Boy Scouts Vote

Purdue

"Day of Champ ions"

Fanfare based on "Hail Purdue", "Hail Purdue", "Band of America March", "Jellalabad March". "The Stars and Stripes Forever", Medley of Big Ten College Songs, "Fight the Team Across the Field", "Only a Rose", "Buckeye Battle Cry", "Carmen Ohio"

Wisconsin

"A Record Session"

Fanfare based on "On Wisconsin", "On Wisconsin", "Bali Hai", Rachmaninoff's "Prelude in C# Minor", "Toreador Song" from "Carmen", "Walkin' to Missouri", "Tea for Two" , "The Little While Cloud that Cried" , "The Buckeye Battle Cry", "Carmen Ohio"

18-0ct

Washington St.

"Leroy Anderson Show"

"The Buckeye Fanfare", "The Phantom Regiment", "Promenade", "The Syncopated Clock", "Waltzing Cat", "A Trumpeters Lullaby", "Fiddle Faddle", "Sleigh Ride", "Blue Tango", "Washington State Fight Song", "Jellalabad March", "Fight the Team Across the Field", "Le Regiment de Sambre et Meuse", "Carmen Ohio"

25-0ct

at Iowa

none

none

I I-Oct

N

.

Indiana

4-0ct

l/)

I I

"The Buckeye Fanfare". "School Days", "Indiana, Our Indiana", "Fight the Team Across the Field", "Carmen Ohio", "National Emblem March", "Marching Along Together'', "Ring Dem Bells", ''America the Beautiful", "Your Land and My Land", "Buckeye Battle Cry"

27-Sep

Director - Manley R. Whitcomb, Acting Director - Jack 0. Evans, Assistant Conductor - Forrest D. Stoll, Assistant Instructor - Charles L. Spohn, Drum Major Jim Bodman, Assistant Drum Major - Bill Rutledge, Manager Lloyd Du Vall, Announcer - Tom Johnson

Cf.. U_! Ill II ;.i I;:

I-Nov

8-Nov

15-Nov

22-Nov

"The March of at Northwestern the Toys"

Pittsburgh

at Illinois

Michigan

Percussion Fanfare, "The March of the Toys", "Toyland", "The Teddy Bear's Picnic", "Chattanooga Choo-Choo", Lone Ranger Theme, "Pony Boy'', "Parade of the Wooden Soldiers", "Go U Northwestern", "Buckeye Battle Cry", "Carmen Ohio"

Percussion Fanfare, "The March of the Toys", "The Teddy Bear's Picnic", "Toyland" "Chattanooga Choo"The March of Choo", Lone Ranger Theme, "Pony Boy", the Toys" "Parade of the Wooden Soldiers", "Pitt Panther Song", "Buckeye Battle Cry", "Carmen Ohio"

"A Record Session"

Fanfare based on "lllinois Loyalty", "Illinois Loyalty", "Bali Hai", Rachmaninoff's "Prelude in C# Minor", "Toreador Song" from "Carmen", "Walkin' to Missouri" , "Tea for Two" , "The Little While C loud that Cried", "Buckeye Battle Cry"

Fanfare based on "Michigan Victors March" , "Michigan Victors March" , "Beautiful Ohio", "For Homecoming Auld Lang Syne", "Home Sweet Home", "Hymn of "The Season of Thanksgiving", "Turkey in the Straw", "All of Me -Home Why not take all of me?", "Adeste Fidelis", "Top hat, Holidays" white tie, and tails", "As Time Goes By", "So Long", "Buckeye Battle Cry"

183

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1~ "Beautiful Ohio Fanfare", "Beautiful Ohio March", "Long, Long Ago", "Wagon Wheels". "Fine and Dandy",

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"The Ohio "Beautiful Ohio Waltz" combined with "Happy Birthday", Sesquicentennial" "Trees", "The Buckeye Barrie Cry", "lndiana, My lndiana", "Fight the Team Across the Field", "Carmen Ohio"

26-Sep

lndiana

3-0ct

at California

none

IO-Oct

Illinois

"An Evening WithT.V .. "

17-0ct at Pennsylvania none Director - Jack 0 . Evans, Assistant 24-0ct at Wisconsin none Director - Forrest D. Stoll, Assistant Conductor - Charles L. Spohn, Drum Major - 31-0ct Northwestern "Memory Tunes for Alumni" James E. Bodman, Assistant Drum Major David L. Baker, Manager - Richard Lazure, AnnouncerTom Johnson "The Ohio Harley 7-Nov Michigan State Story"

14Nov

21Nov

none "Drumbeat", "There's No Business Like Show Business", "Theme Music from the Ed Sullivan Show", "I'll Never Smile Again", "Back in the Saddle Again", Theme song of the "I Love Lucy" Show, Two Hearts ln Three Quarter Time", "Dragnet Theme", "Seems Like Old Times", "Cavalcade of Sports March", "All I Want for Christmas is my Two Front Teeth", "lllinois Loyalty Song", "The Buckeye Barrie Cry", "Carmen Ohio" none none "Go U Northwestern", "Down By the Old Mill Strean1", "ln My Merry Oldsmobile", Bugle Call "Reveille", "Oh, How I Hate to Get Up in the Morning" , "Chicago", "Brother, Can You Spare a Dime?", "June is Bustin' Out All Over", "Tenting Tonight", "The Buckeye Barrie Cry", "Round on the Ends and High in the Middle". "Carmen Ohio" "Michigan State College Fight Song", "Long, Long Ago", "You've Got to Be a Football Hero", "There'll Be a Hot Time in the Old Town Tonight", "Fight the Team Across the Field", "My Hero", "Carmen Ohio"

Purdue

"Purdue Fanfare", "Hail Purdue", "Strike Up the Band", "The Music of Theme from "An American in Paris". "Rhapsody in Blue", George "Love is Sweeping the Country", "Summertime", "S' Gershwin" Wonderful", "It Ain't Necessari ly So", ''rve Got Rhythm" , "The Buckeye Barrie Cry", "Carmen Ohio"

at Michigan

"Michigan Victors March", "Strike Up the Band", Theme from "An American in Paris", "Rhapsody in Blue", "The Music of "Summertime'', "S' Wonderful", "If Ain't Necessarily So", George "I've Got Rhythm", "The Buckeye Barrie Cry", "Carmen Gershwin" Ohio"

184

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2-0ct

9-0ct

16-0ct

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Indiana

-

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JI." ITI:'!Til

none

none

California

"Fight for California", "The Buckeye Battle Cry", "M y Hero", Medley of sections from "El Capitan" and "Hands Across the "Tribute Sea", "High School Cadets March", "Semper Fidelis March". to Sousa" "Washington Post March", "Sailing, Sailing", "The Thunderer March", "The Liberty Bell March", "The Stars and Stripes Forever"

at Illinois

"lllinois L-0yalty", "The Buckeye Battle Cry", Medley of sections from "El Capitan" and "Hands Across the Sea", "High "Tribute School Cadets March", "Semper Fidelis March". "Washington to Sousa" Post March", "Sailing, Sailing'', "The Thunderer March", "The Liberty Bell March", "The Stars and Stripes Forever"

Iowa

"The Ohio Bugle March", "Iowa Fight Song", "Mr. Touchdown U.S.A.", "Oh Where, Oh Where Has my Little "A Day at Dog Gone", "Oh Where, Oh Where has he Gone" , "How Dry I the Am", "- - - - - - - Hits the Spot", "A Pretty Girl is Like a Stadium" Melody", "You Ought to be in Pictures", "The Army Air Force Song", "No, No, A Thousand Time No", "The Buckeye Battle Cry", "Carmen Ohio"

Director - Jack 0 . Evans, Assistant Director "Fanfare Based on On Wisconsin", "On Wisconsin", Chimes Forrest D. Stoll, Assistant followed by stroke of three, "Old MacDonald Had a Fann", "A Tour Conductor - Charles L. "Cuddle Up a Little Closer'', "There's Something About a 23-0ct Wisconsin of Spohn, Drum Major Soldier", "Say It With Music", "A L-Ovely Way to Spend an Campus" George E. W. Souder, Evening", "Hallelujah", "The Buckeye Battle Cry", "Carmen Assistant Drum Major Ohio" Michael N. Trigg, 30-0ct at Northwestern none none Manager - Robert Damico, Announcer "Pitt Panther Song'', "This is your life theme" , "Where or Tom Johnson When", "School Days", "Let Me Call You Sweetheart", "This is "Mendelssohn Wedding Processional", "Heigh Ho, Heigh Ho, 6-Nov Pittsburgh your Life, It's Off to Work We Go", ""Rock-A-Bye Baby", "Don't Get Dad" Around Much Anymore" , "Thanks A Million", "The Buckeye Battle Cry", "Carmen Ohio"

at Purdue

"I Hear Music" (This Song Is You")

20Nov

Michigan

"I Hear Music" ("The Song is You")

I-Jan

S. California

none

13Nov

185

"I Hear Music", "I Love a Parade", Opening theme from 1st Movement of Beethoven's Fifth Symphony, Theme from 4th Movement of Brahms First Symphony, Section from Bach Chorale "Jesu, Joy of Man's Desiring", Themes from Wagner's Opera "Siegfried" , "Go'in Co'tin", "The Netherlands Thanksgiving Hymn", "Papa Loves Mambo", "Hail, Purdue", "Buckeye Battle Cry", "Carmen Ohio" "I Hear Music", "I Love a Parade", Opening theme from !st Movement of Beethoven's Fifth Symphony, Theme from 4th Movement of Brahms First Symphony, Section from Bach Chorale "Jesu, Joy of Man's Desiring", Themes from Wagner's Opera "Siegfried", "Go'in Co'tin", "The Netherlands Thanksgiving Hymn", "Papa Loves Mambo", "Mr. Touchdown, USA" , "Only a Rose", "Hail to the Victors", "Buckeye Battle Cry", "Carmen Ohio" none

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"Beautiful Ohio (Fanfare and March)", "Nebraska Fight "A Song" , "Metnories". "Stormy Weather" , "Singing in the Rain", Football "Thanks for the Memories", "Mr. Touchdown, USA", "You've Prelude" got to be a Football Hero", Campus Chimes, "Carmen Ohio"

Nebraska

I-Oct

at Stanford

none

none

Illinois

"A Latin American Fiesta"

Fanfare in Latin American Style, "El Relicario", "Brazil", "The Peanut Vendor" , "The Mexican Hat Dance", "When Yuba Plays the Tuba Down in Cuba", "Take it Easy", "Estrellita", "Serenade to a Sand Dune", "Toreador Song", "The Illinois Loyalty Song", "Buckeye Battle Cry", "Carmen Ohio"

15-0ct

-

s~-t;-~

24-Sep

8-0ct

.,.. .,..

I

Duke

"Melancholy Serenade", "Entry of the Gladiators", "Circus March" , "Circus Waltz", "It's a Lovely Day Tomorrow", "T. V. "Button Up Your Overcoat", Theme from Studio One show, Highlights" Theme from Robert Montgomery show, "Gobelues", Opening theme from 64 thousand dollar question show, "Blue and White", "Buckeye Battle Cry", "Carmen Ohio"

Director - Jack 0. Evans, Fanfare in Latin American Style, "El Relicario", "The Peanut Assistant Director "A Latin Vendor" , "The Mexican Hat Dance", "When Yuba Plays the Forrest D. Stoll, Assistant 22-0ct at Wisconsin American Tuba Down in Cuba", "Take it Easy", "Estrellita", "Serenade Director - Charles L. Fiesta" to a Sand Dune". "Toreador Song", "On Wisconsin", Spohn, Drum Major "Buckeye Battle Cry", Campus Chimes, "Carmen Ohio" George E.W. Souder, Assistant Drum Major Rick Marsh, Manager "Fine and Dandy", ''The Yellow Rose of Texas", "Hey, Mr. David L. Angus, "Hit Tunes Banjo", "Davy Crockett", "The Siamese Cat Song", "I'm an Announcer - Tom 29-0ct Nmthwestem of the Old Cow-hand", "The Man from Laramie", "Shake, Rattle, Johnson and Roll", "Go, U. Northwestern", "Buckeye Battle Cry", Year" "Carmen Ohio"

5-Nov

lndiana

"Opera Parade"

''Triumphal March", "Vesti la Giubba", "We Sailed the Ocean Blue", "When 1 was a Lad", "Back in the Saddle Again", "The Drinking Song", "Hearts and Flowers", "You've Got To Be a Football Hero", "Indiana, Our Indiana", "Buckeye Battle Cry", "Cannen Ohio"

"Beautiful Ohio", "Iowa Fight Song", "What's the Matter with Father", "Paramount News" fanfare, "Honey Babe", "I'll Be Ought to Seeing You", "Pete Kelley's Blues", "Rock Around the Clock", "There's something about a Soldier", "I'm Dreaming be in Pictures" ofa White Christmas", "Buckeye Battle Cry", Campus Chimes, "Cam1en Ohio" "You

12Nov

19Nov

Iowa

at Michigan

"A Saturday Date for Me and My Gal"

186

"Beautiful Ohio", "Michigan Victors", "Buckeye Battle Cry", "Carmen Ohio", Fanfare - based on "For Me and My Gal", "Beyond the Blue Horizon", Button Up Your Overcoat", "Stormy Weather", "Singing in the Rain", "Pete Kelley's Blues", "Dancing in the Dark", "Ginlme A Little Kiss", "Serenade to a Sand Dune", "Shake, Rattle, and Roll"

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Nebraska

"Beautiful Ohio Fanfare", "Beautiful Ohio March", "Nebraska Fight Song", "Fine and Dandy", "I'm Sitting on Top of the World'', "Our Boys Will Shine Tonight", "Buckeye Battle Faces On C1y ", "The Poet and Peasant Overture'', "School Days", Campus" "Collegiate", "Getting to Know You" , "The Buckeye Battle Cry", "Carmen Ohio"

Stanford

"Stanford Fight Song", "The Buckeye Battle Cry", "Carmen "A Story Ohio", "It's a Grand Old Flag", "Rule Britannia", "The of the Marseillaise" , "Yankee Doodle", American Patrol", American "California, Here I Come", "I've Been Working on the Flag" Railroad", "Dixie", "Your Land and My Land", "The Stars and Stripes Forever"

at Illinois

Fanfare on "Something Wonderful", "Getting to Know You" , Music "March of the Siamese Children", "I Whistle a Happy Tune", from "The "Hello Young Lovers", "We Kissed in a Shadow", "Shall We King and Dance", "Something Wonderful" , "Illinois Loyalty", "The !" Buckeye Battk Cry", "Carmen Ohio"

Penn State

Fanfare on "Something Wonderful", "Getting to Know You'', Music "March of the Siamese Children", "! Whistle a Happy Tune", from "The "Hello Young Lovers" , "We Kissed in a Shadow", "Shall We King and Dance", "Something Wonderful" , "Penn State Fight Song", !" "The Buckeye Battle Cry", "Carmen Ohio"

Wisconsin

"On Wisconsin'', Fanfare on "St. Louis Blues", "St. James Infinnary", "When the Saints Go Marching In", "Sing: Sing: "Jazz at Sing", "How High the Moon" , "Laura", "Hound Dog", "The St. the Louis Blues March", "There is Nothing Like a Dame", "!Love Stadium" A Parade", "Rock Around the Clock" , "The Buckeye Battle Cry", "Carmen Ohio"

"Now

29-Sep

6-0ct

13-0ct

"°

II)

~

Director - Jack 0. Evans, Assistant Director Charles L Spohn, Assistant Director 20-0ct Richard J. Suddendorf, Drum Major - Rick E. Marsh, Assistant Drum Major - Larry Cory, Manager - Tom Larimer, Announcer - Tom 27-0ct Johnson

3-Nov at Northwestern

"Jazz at Fanfare on "St. Louis Blues", "St. James Infirmary", "When the the Saints Go Marching In", "Sing: Sing: Sing", "How High the Stadium" Moon", "Laura", "Hound Dog", "The St. Louis Blues March" Fanfare based on "Enjoy Yourself'', "Enjoy Yourself'', "Whistle While You Work", "Standing on the Comer Watching "Hobbies All the Girls Go By", "A Hunting We Will Go", "The Great for Dad" Gate of Kiev", "Bubbles in the Wine" , "Buckeye Battle Cry", "Carmen Ohio"

10Nov

Indiana

17Nov

at Iowa

none

none

Michigan

"A Parade of Toys"

"The March of the Toys", "March of the Mousketeers", "Chattanooga Choo-Choo", "Pony Boy", Excerpt from "The Flying Dutchman", "Parade of the Wooden Soldiers", "The Buckeye Battle Cry", "Carmen Ohio"

24Nov

187

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"The Buckeye Fanfare", "The Buckeye Battle Cry", "Texas "Highlights of Christian University Song", "Pomp and Circumstance", 28-Sep Texas Christian the University "Bali Hai" , "Round and Round We Go", "Beautiful Ohio", "Overture 18 12", "Fight the Team Across the Field", Year" "Carmen Ohio" 5-0ct at Washington 12-0ct

19-0ct

.....

If)

°'-

none

none

Illinois

"Transportation Around the World"

"Illinois Loyalty Song". Fanfare based on "Around the World" , Different versions of "Around the World'', "The Buckeye Battle Cry'', "Carmen Ohio"

Indiana

"Indiana, My Indiana". "Fanfare" on "Around the World" , "Around the World", French Fold Song used in the motion "Around the picture, "Fanfare", "Toreador Song" from "Carmen'', World in Eight "Snake Charmer Music". Pagoda Music, Indian Music. Minutes" Lone Ranger Music, "Rule Brittainia", "Fight the Team Across the Field", "Carmen Ohio"

Director - Jack 0 . 26-0ct at Wisconsin Evans, Assistant Director - Charles L. Spohn, Assistant Director - Richard J. 2-Nov Northwestern Suddendorf, Drum Major - Larry Cory, Assistant Drum Major Dave Alberts, Manager Koste Belcheff, 9-Nov Purdue Announcer - Tom Johnson

none "A Latin American Fiesta"

"Stars from Ohio"

none Fanfare in Latin American Style, "El Reli cario", "The Peanut Vendor", "When Yuba Plays the Tuba Down in Cuba'', "The Mexican Hat Dance", "Take it Easy", "Estrellita", "Serenade to a Sand Dune", "Buckeye Battle Cry", "Carmen Ohio" Fanfare on "Hail, Purdue", "Hail, Purdue", "Beautiful Ohio'', "You Ought to Be in Pictures", "Me and My Shadow", "Thanks for the Memory". "Home on the Range", "Little Joe the Wrangler", "Hey, There" & "Steam Heat" from "The Pajama Game", "The Buckeye Battle Cry", "Carmen Ohio"

16Nov

Iowa

"A Salute to Dad"

"Another Opening, Another Show", "Iowa Fight Song", "What's the Matter with Father", "01' Rockin' Chair's Got Me" , "Smoke Gets in Your Eyes", "Oh, Dem Golden Slippers", "I Want a Girl Just Like the Girl Who Married Dear Old Dad", "Thanks for the Memories", "The Buckeye Battle Cry", "Carmen Ohio"

23Nov

at Michigan

none

none

1-Jan

Oregon

Fanfare based on the interlude of the Oho State Fight Song - "Fight the Team Across the Field", "Fight the Team Across the Field", "Around the World", Traditional Indian "Ohio Stadium Music, "Lone Ranger" chase music, "Me and My Shadow", Hit Parade" "Serenade to a Sand Dune'', "Ring Dem Bells", "For Auld Lang Syne". "The Buckeye Battle Cry", "The Sound of the Campus Chimes'', "Carmen Ohio", "Down by the 0-hi-o"

188

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27-Sep

00

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4-0ct Director- Jack 0. Evans. I I-Oct Assistant Director Charles L. Spohn, Assistant Director Thomas R. Watson, Drum 18-0ct Major - Larry Cory, Assistant Drum Major Leonard Hart, Manager Donald Stanley, Announcer - Tom 25-0ct Johnson

SMU

~

Fanfare on "Beautiful Ohio", "Beautiful Ohio March", "Peruna", Train effects, "In My Merry Oldsmobile", "Memories of the "Memories", "Deep in the Heart of Texas'', "The Comet 1958 Rose Carillon", "Jellalabad March", "Fight the Team Across the Field", "When You Wish Upon A Star", "San Francisco'', Bowl Trip" "You Gotta Be a Football Hero", "The Buckeye Battle Cry", "Carmen Ohio"

Washington

none

none

at Illinois

none

none

Indiana

"Indiana, My Indiana", "Theme from Zorro", "The Hula Hoop "Fads of Song", "The Too Fat Polka", "A Pretty Girl is Like a Melody" , 58" "Sailing, Sailing'', "The Buckeye Battle Cry'', "Sound of the Campus Chimes'', "Carmen Ohio", "Down by the Ohio"

"Hear

Wisconsin

Those Bells"

"Jallalabad March", Bell Fanfare, "Ring Those Bells", "The Liberty Bell March" , "The Bells of St. Mary's'', "The Bells are Ringing for Me and My Gal'', "Jingle Bells", "To Look Shaq>", "Fight the Team Across the Field", "The Buckeye Battle Cry", "Carmen Ohio"

I-Nov at Northwestern

none

none

8-Nov

Purdue

none

none

Iowa

none

none

Michigan

none

none

15Nov 22Nov

189

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Duke

3-0ct at S. California

O"I Vl O"I

-

Director - Jack 0. Evans, Associate Director Charles L. Spohn, Assistant Director Thomas R. Watson, Drum Major - Leonard Hart, Assistant Drum Major Terry Burton, Manager Carl Conlin, Announcer Tom Johnson

10-0ct

Illinois

17-0ct

Purdue

24-0ct at Wisconsin

.G1'@·~

14Nov 21Nov

Indiana

_..,

"Fanfare on Beautiful Ohio", Beautiful Ohio March", "The Blue and the White", "Jellalabad March", "Pomp and "Tribute Circumstance'', "Fight the Team Across the Field", "Anchors to Eugene Away", "Go, U Northwestern", "Le Regiment de Sambre et J. Weigel" Meuse", "The Buckeye Battle Cry", "The Sound of the Campus Chimes", "Carmen Ohio" none

none

"Illinois Loyalty'', "The Buckeye Battle Cry", "Sound of the Campus Chimes", "Carmen Ohio", "It's a Grand Old Flag", "A Story "Rule Britannia", "The Marseillaise", "Yankee Doodle", of the "American Patrol", "Columbia, Gem of the Ocean", "California, Here I Come", "I've Been Working on the American Flag" Railroad", "Dixie'', "Alaska's Flag", "Hawaii Ponoi", "Your Land and My Land'', "The Stars and Stripes Forever", "Pledge of Allegiance", "America the Beautiful" none

none

none

none

"Parades 31-0ct Michigan State Through the Years"

7-Nov

~-

]L"i rIT'tTII

Fanfare on "I Love a Parade", "I Love a Parade", "National Emblem March", "The Thunderer", "Halloween March", "OSUMBLUS", "The Buckeye Battle Cry", "Sound of the Campus Chimes", "Carmen Ohio"

"The Irish Have a Great Day Tonight", "Sweethearts", "Just for "The Life Fun", "Jesu, Joy of Man's Desiring'', "Ah, Sweet Mystery of and Music Life'', "The Streets ofNew York", "Kiss Me Again", "The of Victor Italian Street Song", "March of the Toys", "The Buckeye Battle Herbert" Cry", "The Sound of the Campus Chimes", "Carmen Ohio"

Iowa

none

none

at Michigan

none

none

190

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24-Sep

Southern Methodist

none

none

I-Oct

Southern California

none

none

at lllinois

none

none

at Purdue

none

none

Wisconsin

"Homecoming at Disneyland"

"When You Wish Upon a Star". "Davy Crockett", "Old Man River", Excerpt from Wagner's "The Flying Dutchman", "Adventureland", "H1 Ho, Hi Ho", "The Mickey Mouse Club March", "The Buckeye Battle Cry", "Sound of the Campus Chimes" , "Carmen Ohio"

at Michigan State

none

none

8-0ct Director- Jack 0. Evans, 15-0ct Associate Director Charles L. Spohn, Assistant Director Ralph H. Moore, Drum 22-0ct Major - Leonard Hart, Assistant Drum Major Ben Kline, Manager 29-0ct Paul Schneider, Announcer - Tom Johnson 5-Nov 12Nov 19Nov

Indiana

"OSUMBLUS", "That's Where My (Dad's) Money Goes", "In Honor of "No, No, A Thousand Times, No", Mendelssohn's "Weddin~ March", "! Wanna Go Back to Oho State", "The Buckeye Dad's Day" Battle Cry", "What's the Matter With Father",

at Iowa

none

none

Michigan

none

none

191

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"Fanfare on Fight the Team", "Texas Christian Uni versity", "The Eyes of Texas Are Upon You", "I'm An Old "The Eyes of Cowhand", "Heading for the Last Round-up", "Old Texas are on 30-Sep Texas Christian MacDonald Had A Farm", "You're Got to be a Football Oho State Hero", "Hey, Look Me Over". "What Taken My Fancy'', Football" "The Buckeye Bartle Cry", "Sound of the Campus Chimes", "Carmen Ohio"

7-0ct

~

O'I

UCLA

"Beautiful Ohio", "Sing UCLA", "Buckeye Battle Cry'', "Sound of the Campus Chimes", "Carmen Ohio'', "Across the Field", Fanfare based on "The Battle Cry of Freedom'', "Music of the "Dixie", "Tramp, Tramp, Tramp'', "When Johnny Comes Civil War" Marching Home'', "The Girl I Left Behind". "Tenting on the Old Campground", "Eating Goober Peas'', "The Yellow Rose of Texas", "The Battle Cry of Freedom'', "The Battle Hvmn of the Reoublic" "Pomp and Circumstance'', "The Battle Hymn of the "The Land Republic", "Trees'', S' Wonderful", "How High the Moon'', Grant Story" "The U.S. Field Artillery March", "Illinois Loyalty", "The Sound of the Campus Chimes", "Carmen Ohio"

Director- Jack 0 . Evans, Associate Director 14-0ct Illinois Charles L. Spohn, Assistant Director - Paul Fanfare on "Across the Field", "Across the Field", "Sound of E. Droste, Drum Major the Campus Chimes". "Carmen Ohio", "Dixie", "Tramp, Terry Burton, Assistant Drnm Major - Ben Kline, 21-0ct at Northwestern "Music of the Tramp, Tramp", "When Johnny Comes Marching Home", Civil War" "The Girl I Left Behind", "Tenting on the Old Manager - Paul Campground", "The Yellow Rose of Texas'', "The Battle Schneider, Announcer Cry of Freedom", "The Battle Hymn of the Republic" Tom Johnson 28-0ct at Wisconsin

4-Nov

Iowa

11Nov

at Indiana

18Nov

Oregon

25Nov

at Michigan

none

none

"Jubilation T. Cormpone'', Traditional Dogpatch wedding music, "Country Style" and "Turkey in the Straw", "Across "Li'! Abner at the Field", "Le Regiment de Sambre et Meuse", "The Homecoming" Buckeye Battle Cry", "The Sound of the Campus Chimes", "Carmen Ohio" none

none

"Strike Up the Band', "Poletine" Bugle March, "Hail Columbia'', "The Buckeye Battle Cry'', "Across the Field", "Strike Up the "Jellalabad March", "Down By the 0-hi-o", "I Ain't Down Band" Yet", "Le Regiment de Sambre et Meuse", "What's the Matter With Father" "Strike Up the Band', "Poletine" Bugle March, "Hail "Strike Up the Columbia'', "The Buckeye Battle Cry", "Across the Field". "Down By the 0-hi-o", "I Ain't Down Yet", "Le Regiment Band" de Sambre et Meuse", "The Buckeye Battle Cry"

192

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"Across the Field" Fanfare, "Across the Field". "M y "Columbus, in Hero", "Beautiful Ohio", 'Happy Birthday to You", Sousa's its "Manhattan Beach March", "Beyond the Blue Horizon", 29-Sep North Carolina Sesquicentennial Theme from the Brahms First Symphony, "Kida!", "Pomp Year" and Circumstance", "The Buckeye Battle Cry", Sound of the Campus Chimes, "Carmen Ohio" 6-0ct

13-0ct

N

\0

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at UCLA

at lllinois

Director- Jack 0. Evans, Associate Director 20-0ct Northwestern Charles L. Spohn, Assistant Directors Nelson Amos and Jeff H. Cook. Drum Major Wisconsin Ben Kline, Assistant 27-0ct Drum Major - Roger Harper, Manager 3-Nov at Iowa Darryl Ruggles, Announcer - Tom Johnson 10Indiana Nov

17Nov

24Nov

Oregon

Michigan

none

none

"Another Opening', Another Show", "Camelot", "Put on a Happy Face", Selections from "The Unsinkable Molly "Buckeye Brown", Selections from "West Side Story'', "The Buckeye Broadway" Battle Cry", "Sound of the Campus Chimes", "Carmen Ohio" "Another Opening', Another Show", "Camelot", "Put on a Happy Face", "l Ain't Down Yet", Selections from "West "Buckeye Broadway" Side Story", "The Buckeye Battle Cry", "Sound of the Campus Chimes", "Carmen Ohio" "I Hear Music", E-Yah", "A Mighty Fortress Is Our God", "Men of Music, Strauss Waltz Medley, "Seventy-Six Trombones", "Down Past and By the Old Mill Stream", "Across the Field", Sound of the Present" Campus Chimes, "Carmen Ohio" none

none

"Dad's Day Show"

Fanfare based on "Across the Field", "Stout Hearted Men", "The Big Cage Gallop" , "Then the Red, Red Robin Comes Bob, Bob, Bobbin Along", "A Pretty Girl is Like a Melody", Commercial theme, "The Band Played On'', "The Buckeye Battle Cry" , "What's the Matter With Father? He's All Right", Sound of the Campus Chimes, "Carmen Ohio"

none

none

"Physical Fitness for Youth"

Fanfare on "Across the Field", "The Victors'', Fanfare on "Go, You Chicken Fat, Go", "Go, You Chicken Fat, Go", "Entry of the Gladiators", "Carousel Waltz", "The Skaters' Waltz'', "Country Style", "Turkey in the Straw". "The Band Played On", "The Buckeye Battle Cry", "Sound of the Campus Chimes", "Carmen Ohio"

193

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l

I

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I

h.li~

"A Salute to the "Across the Field Fanfare", "Across the Field", "The Sesquicentennial Aggies", "Fanfare", "Hail Columbia", Slow March from of the Battle of "Scipio", "Rule Britannia'', Excerpt from the "Overture 28-Sep Texan A&M Lake Erie 1812", "America", "God Save the King", "The Buckeye Battle Cry", "Sound of the Campus Chimes", "Carmen (September l 0, 1813) Ohio"

5-0ct

12-0ct

..., °'~

at Indiana

Illinois

none

none

"Across the Field", "Oskee Wow Wow", Pastoral from "William Tell", "Oh, What a Beautiful Morning", "Hail. Hail, The Gang's All Here", Excerpts from "Siegfried", "A Football Day "Stormy Weather'', "Funiculi, Funicula", "Where, Oh Where, Has My Little Dog Gone", "Whose Lazy, Hazy, at Ohio State" Crazy Days of Summer", No, No, 1.000 Times No", "The Buckeye Battle Cry", "Le Regiment De Sambre et Meuse", "Sound of the Campus Chimes". "Carmen Ohio"

Director- Jack 0. Evans, Associate Director none 19-0ct at S. California none Charles L. Spohn, Fanfare based on "Trumpet Voluntary" , "Trumpet Assistant Directors Voluntary'', "A Hunting We Will Go", Excerpts from Fred M. Dart and Jeff H. "Brass Through "Sonata Octavi Toni", "OSUMBLUS'', "The Buckeye Cook, Drum Major - 26-0ct at Wisconsin the Ages" Battle Cry", "Sound of the Campus Chimes", "Carmen Link Harper, Assistant Ohio" Drum Major - Sam "Beautiful Ohio Fanfare", "Beautiful Ohio March". "That's Bates, Manager - Darryl "Information on Where Our Money Goes", "Smoke Gets Jn Your Eyes", Ruggles, Announcer 2-Nov Iowa State Issue No. "School Days", "Collegiate", "Beautiful Ohio", "Marching Tom Johnson Along Together", "Hallelujah", "The Buckeye Battle Cry", I" "Sound of the Campus Chimes", "Carmen Ohio" "Stout Hearted Men", "The Big Cage Gallop", "When the "Leisure Red, Red Robin Comes Bob, Bob, Bobbin", Commercial 9-Nov Activities for Penn State Theme, "The Band Played On", "The Buckeye Battle Cry", Dad" "Sound of the Camous Chimes", "Carmen Ohio" Fanfare based on "Trumpet Voluntary", "Trumpet Voluntary", "A Hunting We Will Go", Excerpts from "Brass Through "Sonata Octavi Toni", Trumpet call from "Overture to 16Northwestern Leonore No. 3". "Pilgrims' Chorus", "OSUMBLUS", "The Nov the Ages" Buckeye Battle Cry", "Sound of the Campus Chimes", "Carmen Ohio"

23Nov

at Michigan

"Across the Field Fanfare'', Pastoral from "William Tell Overture", "Oh, What a Beautiful Morning'', "Hail, Hail, The Gang's All Here", "Stormy Weather", "Funiculi, "A Day at the Funicula", "Oh Where, Oh Where Has My Little Dog Stadium" Gone?", "Those Lazy, Hazy, Crazy Da ys of Summer", "Le Regiment do Sambre et Meuse", "The Buckeye Battle Cry"

194

APPENDIX E

Personal Stories and Testimonials

The author of this document, in order to gain as much insight into the person of Jack 0. Evans, polled many of his former students through electronic mail. The author requested personal stories, anecdotes and any other personal information from The Ohio State University Marching Band Alumni about Evans and specific instances when he positively affected their lives. The following is a selection of the various responses that the author received about the life and contributions of Jack 0. Evans.

195

I can remember Professor Evans saying "Walk softly!" ·when the band was using Rehearsal Hall, the former livestock judging arena. I was a freshman alternate and was often running errands. When I thought he might hear me, my every footfall sounded like a small explosion! I was only a so-so F-Row trombone player (newly introduced to valves) and was terrified by Evans' knack for spotting anyone who was faking. How did he do that? I remember how Professor Evans always told us to show respect for bands from other scho'ols. Of course we felt we were the best, but Evans was never sarcastic or catty about a visiting band. Like other traits, this was part of an Evans "package," a life lesson in decency and consideration for others. Ben Kline, '59-'62 asst. drum major, drum major OSUMB

Know your limitations and adjust! This was one ofJack's "isms" that I applied throughout my career. I suspect you will get this same input about ADUSTING from a lot of the men who marched in the band under Jack. I marched in A Row for 5 years from 1957 to 1962, and was squad leader for three of those years. As a freshman I was first introduced to this phrase in the old Ag Hall band room. During one ofJack's brief lectures to the band about memorizing music, he explained, ''Just because the man (in those days it was all men) next to you can learn the music in one pass does not necessarily mean you can memorize it that fast. Some will need to take it to their dorm rooms and work on it every night of the week. The goal is to be ready for Saturday and whatever it takes for you. " I discovered that I could learn the music relatively easily, but soon realized that other skills or demands on my time seemed to taker longer than my peers. As I functioned in the band as well as in life, I applied this phrase to many a circumstance. "Set your goals and yes, even aim as high as you desire, but be honest with yourself about your strengths and weaknesses and implement a plan to do what ever it takes (ADJUST) to prepare yourself to achieve them." Terry Duffy

196

I don't have anything earthshaking on Jack except to relate my own experiences coming of age as a budding Buckeye bandsman. I first encountered Jack in district and state instrumental solo contests in the early l 950's where I was performing trombone solos to be graded by an accomplished trombonist. Jack was a long time judge at these competitions and I still have some of his critique sheets from these performances. I also played for 4 years in the All Ohio Boys Band which performed at the State Fair each year. Jack was then an assistant to Dr. Louis E. Pete and directed one of the 2 "half' bands that played concerts around the fairground each morning and afternoon. When I enrolled at OSU in the fall of 1954 and tried out for the marching band, there he was again, directing the marching band! I converted from slide trombone to trombonium in one week of intense fingering practice. I made the band as a freshman, and the first ramp entrance into Ohio Stadium is and will remain one of the peak experiences of my life. (The others: My first solo flight and my first carrier landing as a naval aviator.) In those days the band consisted of"10 musicians and 110 frustrated plumbers" according to the tin ears in L row. Jack would aften be greeted by the band with a chorus of "Mr. Evans is our hero, our hero, our hero; Mr. Evans is our hero, our hero is he. He looks like a greyhound, and runs like a dachshund; Mr. Evans is our hero, our hero is he!!" (I may have the hounds mixed up but you get the idea.) These were also the years when the entire stadium would stand up and sing "Goodbye, Woody; Goodbye, Woody, Goodbye, Woody; we're glad to see you go" if he dared to lose a game in his first years as coach. In 1954 we went to the Rose Bowl along with our Natioinal Championship Buckeyes to beat up on USC. This was the year it rained on the Rose Parade and the game. After the first half was over we were lined up in the end zone ready to take the field for our halftime show. Woody came over to talk to Jack about keeping the band off the field to save the turffor the players in the second half. Jack listened to him and then put it to the band. Needless to say, we voted unanimously to perform despite Woody's request. Result: Evans -1, Hayes - 0. Jack was a terrific director, his shows were imaginative, the arrangements were mostly Heine, and the standards of marching and musicianship which he demanded were of the highest order. My years in the band under Jack remain life highlights to this day! I've only made one band reunion due to living in California all these years, but the one year (1985) I did come back - there was Jack conducting the "Chimes" 197

and running around the field H'ith his bullhorn trying to some semblance of our former glory.

~whip

our aging forms into

Unforgettable, that's Jack! Ralph Kling Trombonium 1954 - 1955

As a young high school student in Greenville, OH in the very early 1960s I made my first trip to Ohio Stadium to see the OSUMB under the direction, at that time, ofProfessor Jack 0. Evans. Simply put, it changed my life. Somehow I made it to "C" Deck undetected to witness my first "Chimes I Carmen Ohio". When the sousaphones pointed their bells toward the sky I heard a sound unlike any other. I fell in love with the Ohio State University Marching Band that very day. Nearly 35 years later, thanks to Dr. Jon Woods, I became a part of the OSUMB family. One of the first people I wanted to talk to was Jack Evans to let him know how much hearing and seeing his OSUMB had meant to me for all those years. Jack was a delight and he made me feel right at home. I made great use of his insight into the OSU organization. One could not help but learn from Professor Evans as he was the consummate educator. Over the next few years I got to know Jack and Carol Evans quite well and I always enjoyed talking with them. I consider myselfprivileged to have h,71own Jack 0. Evans. His contributions to the lasting legacy that is The Ohio State University Marching Band cannot be overstated. It is men like Professor Evans that constantly inspire me to give 100% effort at all times to TBDBITL. God bless you, Jack! Ken McCoy Graduate Assistant Dir. 1995 - 1997 Staff Arranger 1995 to the present.

198

Jack was a stickler for perfection and timeliness. He gave us lessons in the art of moving a four ·wide row through a IYvo-wide door. He would preach "·when you get through the door, MOVE IT OUT!". Another remembrance was the after Paul Warfield and the Buckeyes had trounced Michigan in Ann Arbor. We were at the Michigan student union enjoying an after game celebration, when he addressed the band. He indicated that even though we had won the Big Ten Championship, there was a very good possibility that we would not be going to the Rose Bowl. A week later, the faculty council voted not to accept the bid invitation and the infamous riots on High St. commenced. William A. Smith B flat Comet 1960-62

My memory ofJack has always been ofgood things. I played baritone in the marching unit all four years from 194 7 through 195 0. The 'snow bowl' was probably the last time I saw Jack before graduating. During the 1970's I was living in Anaheim, CA, and when Ohio State came out to the Rose Bowl I would always go to UCLA and watch the band at one of their practices. I would usually run into Jack and talk to him a few minutes. He always remembered me, even after twenty years. I don't remember when Jack became our 'hero', I think that it was during my four years in the band. I think it may have been the Rose Bowl trip to the 1950 game that resulted in him being more than just another band director. I have only good memories ofJack. Charlie Swink

My name is Tim Watson. I played eefer in the OSUMfrom 1962 to 1966. My connection with Jack goes back much farther than my years at OSU. Jack was the assistant and later conducter of the All Ohio Boy's Band - now the All Ohio Fair Band - . His wife -Carol was my younger brother's choir director at Central High School. 199

The single most important contribution, in my opinion, that Jack left to those tvho !mew him was his drive for peifection. During rehearsals - whether OSUMB or The All Ohio Band - we never finished a piece without stopping to fix something. Jack had the most uncanny ears. He could hear the most minute mistake. We were rehearsing for a show with the OSUMB. On Mondays, we played through the music. Jack looked at me and said the third note of the fourth measure is an e-jlat. I had missed it but I couldn't understand how he could have heard it. He stopped rehearsal once and pointed to the trombonium section. "One ofyou three is out of tune". He tuned the three bones and sure enough one was out. The All Ohio Boy's Band had a reunion each year at the fair. The current band played a concert and anyone who had played in the band was invited to bring his instrument and join in the last number - Stars and Stripes Forever. One year I came to the reunion and brought my horn. Jack was standing not too far from me. After the march, I went over to shake hands with Jack. Jack looked at me and said, "Boy the guy standing next you was really spreading his tone wasn't he?" He was right - the guy was blasting with no control. As a freshman in the OSU Band, I was lucky enough to be in ''A" row. We were practicing the ramp entrance inside the stadium. We were getting ready for the first game of the season. After the high step, we started down the field. I could see a flash out of the corner of my eye. Then I felt the flat side of a clipboard across my backside and then a voice in my ear - "Tim, when you play in my band, you get your knees up!!" I never had a problem with that again. I hope these stories are helpful to you. I also hope they show the love, awe reverence I hold for a great teacher and friend.

Tim Watson

Although I was in the OSUMB just after Jack retired, I do have a couple ofJack stories for you (don't we all!) Jack's wife, Carol, was my junior high general music teacher and I knew quite well who her famous husband was. When I played a solo at the school talent show Jack was in the audience for both shows; needless to say, I was extremely nervous and even spotted him in the crowd. His compliment was worth more than all the applause from the rest of the people. 200

I took Jack's "Brass Pedagogy" (a.k.a., The Gospel According to St. Jack) and did a term paper on vibrato. I quoted Arthur Pryor, Sousa's incredible trombonist, as saying "I use slide vibrato." When I got the paper back Jack had written "No, he did not." When I questioned Jack about this, he told me that he had a friend who had played with Pryor for years and that Pryor only THOUGHT that he used slide vibrato. In actuality, he used jaw vibrato. On(v Jack would refute a quote from the source. I almost argued but then realized that it was Jack and the odds were nil and less ofgetting anywhere! Good luck with the paper. If everyone who has a Jack 0. story responds it will run to several volumes! Tom Selby Baritone Hom 1965-68

!was a student in the OSU Marching Band underJackfrom 1954 through 1958. We went to the Rose Bowl in '54 and '57. I was band manager during the 1957 season and Rose Bowl trip. In 1965 I returned to OSU to pursue the Ph. D. and was a Teaching Assistant to the Marching Band, then directed by Charlie Spohn. During my freshman year, I played treble clef baritone. When I came to the first practice my sophomore year, there was bass clef music in my folder. Panicking, I went to Jack and told him that I can't read treble clef Jack took one look at me and said in his very1 controlled straightforward way, "Learn it!" I did. The great thing about the guys around me, they helped me all they could. When I was manager my senior year, I came down with strep-throat but was trying to get some props finished for that Saturday's show. When Jack saw how sick I was, he said, "Quit trying to be a hero and go home. " He may have been demanding, but he A?lew when to have the best interests of his students at heart. I admired Jack and real(v enjoyed the years under his direction. I wonder how many respondents remember as part of a Rose Bowl trip sitting in on the TV show of "This is Your Life" and seeing Jack, while sitting in the audience with the rest of us, with the biggest set offalse teeth you ever saw. Damn, he did have a sense of humor. Koste A. Belcheff, Ph.D. Baritone '54 - '58; '65 - '67 201

Jack had a distant speaking engagement during marching season. As he explained his schedule, he announced that Forest Stoll would be in charge of the next rehearsal. Then, ~with an uncharacteristic slip of the tongue, said "I'll be out of tune". The band hissed, booed, laughed and razzed Jack for sometime after that trip. Oldsmobile sponsored the band's 1958 Rose Bmvl trip and it was a little plusher than our 1955 Rose Bowl trip. I believe our only "concession" was to play a Heine arrangement of" Merry Oldsmobile' that included antique car horns -- dah, dee,dah, dee--in the middle. It was one of about four numbers we played in the Tournament ofRoses parade... Two of the others were Across the Field and Buckeye Battle Cry. Anyway, at a pre-Bowl rehearsal break at Occidental College, Jack described the new lineup of Oldsmobile models. " The 98. Super 88, 88 and the urinate---just a little car to piss around in ... " In the mid-1980s, I was a University Development Officer in the Northern Ohio Region. Several times I was able to schedule events connected with Concert and Marching Band concerts, and Men's Glee Club performances. At Toledo, I invited Jack to speak to our Alumni at dinner before the concert. Jack and Carol and I had a enjoyable time at the table. At the concert in a big venue at the University of Toledo, Jack was invited to conduct the Star Spangled Banner. As he customarily did when he was our Director, Jack turned to the audience and gave it the best invitation to everyone to join in singing with his huge upswing ready for the downbeat. I was thrilled with this repeat of his 'command of the audience" to honor America... As B Row Squad Leader, I was at the meeting following the first marching rehearsal of the new band---the 40 hour pre-season week. As we graded the new prospects, Jack told us of one guy trying our on Baritone or Alto who had an artificial limb just below the knee. He had asked for no special consideration in the tryouts. I thought little about it since he would not be marching near us. Later, as I went to my car, a new bandsman came hobbling in from the practice field. In a friendly comment, I asked if he had blisters and he acknowledged that he did. Next day, I learned that the blisters were not on the young man's feet! He made the band and marched in the Rose Bowl with us that year. Was this a first?

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In my third year in OSUMB, I had braces on my teeth that had shmp hooks for the rubber bands at night. I carried sponge bands I put across my upper and lotver front teeth so I could play. As BIO, I was one of the two leading the ramp entrance for the 110 musicians (the other 10 were the drummers on the field). I had to shift to 3rd Cornet from 1st, but kept my marching position. At one point in rehearsal hall, he had us play a section over because he wasn't hearing the sound he expected. Out of the then world's largest brass band, he had heard me playing a different part! I didn't bother him when he needed French Horn players for Activities Band to play for basketball. We four volunteers took four group lessons on the horns-converting from b flat trumpet to e flat and f on the double horn, playing four valves left handed, with sponges on my teeth. Fortunately, the French Horn embouchure was easier than trumpet. and I was playing third horn. At our debut on Horn, I was making it on the marches. But when they turned out the lights and spotlighted the flag for the Star Spangled Banner.......... . Jack had a big impact on my college experience. On the Olds-sponsored trip, only the four of us who were married where allowed to take our wives on the train. Then, on the Monday before the Rose Bowl, he gave us the beautiful chauffeured Scarlet and Gray Oldsmobiles with large OSU seals on the doors for a night on the town. The tour of Disney Sound Studios was being limited to music majors. When I asked Jack to include me--a Radio-TV major--he let me join the memorable tour at the 1955 Mud Bowl. Coach Woody Hayes complained that the band tore up the field at half time of that rain-drenched bowl game that ruined uniforms, Jack simply didn't respond. Years later, retired coach Hayes was made an honorary member of TBDBITL Alumni Band, a group Jack originally directed. And Woody dotted the "i". Thanks for the opportunity to share this. Rolland E. (Rollie) Wilson Trumpet, 1951, 52, 53, 54 and '57 ROTC Band '50-'5 l, Activities Band '53, '54.

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!first experienced the OSU Marching Band when, as a seventh grader and having played cornet for ftt'o years, I was invited to join the Junior and Senior Classes from our High School when they attended a football game there in the stadium. Our seats were in the South stands, and I will never forget the incredible "Ramp" entrance. Needless to say, that experience really created a burning desire in me to play and march in that fine band. I arrived at Ohio State in the fall of 1953, having graduated/ram a small school in Northern Ohio at Spencer. There were 22 in my graduation class. My father, John Florence, the school Superintendent, and also an Ohio State Grad, had been both my Math and Physics teacher. I enrolled in the Engineering School, however, since I had not had Trigonometry in high school (there had not been sufficient student interest to offer the course) I was accepted with a deficiency, and had to take Trig the first quarter. All my life I had lived in small towns, so Columbus was really the big City to me. Even though I had done well academical(v in my very small high school, being faced with the Trig class, in addition to everything else, I decided to focus on my classes that first year and not try out for the Marching Band. But, when I learned that there would be tryouts for the ROTC Band, I decided to give that a try. And, Jack was the man in charge of the auditions. When he heard me play, he said "and where were you during Marching Band Tryouts?" He made me promise to give it a go the next year, and I did. What an experience! My Marching Band career li'as launched. Jack was a joy to have as a Director. He was easy to follow and you never were in any doubt as to how he wanted the song passages played. He was a master at keeping daily rehearsals on track, working the individual instrument sections, handling the variety of musical styles that Dick Heine created for us, jogging to the practice field from our rehearsal hall to set an example for us, and being consistent in the musical standards he insisted upon. My first year in the band, 1954, and my last year, 1957, the Buckeyes earned an invitation to the Rose Bowl. We had our own chartered Union Pacific trains, with rehearsal stops every day along the way. There were stops at Boulder (Hoover) Dam, San Francisco, Las Vegas, with a police escort for our parade down the "strip", Knotts Berry Farm, Disneyland, Warner's Brothers Studios, and the Grand Canyon, Besides a wonderful itinerary, the food and service on the train were 5 Star. That.was really my first exposure to real fine dining as well as to extended train rides. Prior to my first Rose Bowl trip, I had only been out of Ohio a few times - to Michigan and Niagara Falls on vacations with the family. So, my 204

experiences with the Marching Band really gave me a good taste for this great land of ours. Dwight Florence 407 Old State Rd. Berwyn, PA 19312-1130

Back in '52, the year I started at OSU, I was in a "brass" class taught by Professor Evans. It was a class where we all had to learn how to play all the brass instruments. About 2 or three weeks into the class, one of the students, a trumpet player told Jack that he just wanted to play the trumpet like Maynard Ferguson (the best jazz trumpet player at that time). Well, jack thought for a minute and replied "Maynard Ferguson breaks all the rules ofplaying, and before you can do that, you have to learn all the rules first". Then, the entire class broke-up. Mel Ponzi, Tuba 52 - 54

My name in Jan Thomas Lust. I was in the band 1962 thru 1967. I was there for the last two years ofJacks reign. I was also a VERY active member of the alumni band, and was instrumental in convincing Jack to direct the Alumni Band. My story goes back into the 50's. I knew Jack when I was in High School. I went to Mifflin H.S. (in the Columbus area) and was the first graduate of that HS to actually march as a regular in the OSUMB. I also played under Jack in the All Ohio Boy's Band. The OSUMB was 120, all male. The memory I would like to share is about my first year in the band. I made the band on my playing, not my marching! I was a music major (trombone), and never heard Jack play a note. I was also an alternate in the OSUMB. My marching was sloppy. I was like an uncoordinated yearling! Jack, I am sure you have heard this, usually was perched somewhere atop the stadium when reviewing the drills and formations. His voice would boom over the loudspeakers, and you couldn't see him. Thus, the nickname GOD!

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One ve1y rainy day, I finally got an opportunity to march. Someone for some reason didn't make practice, and when the alternate was called for .. .I ran like h--to claim the spot on the field. This time I made it before someone faster beat me to it. I was proud. This was the first time I would march with the REAL band. After that day .. .I was a regular for the next four plus years until I graduated. But that moment was special. I savored it. I wanted to NEVER forget the milestone, and I wanted to remember something of that day that I would carry with me the rest of my life. Well, that I did! Not exactly in the grandeur and glory I pictured, but the experience I would never forget. Years later, Jack and I would laugh about it... to my surprise, he never forgot that moment either. It must have been one of the best laughs he ever had. During the incomparable Script Ohio, I was SOOOO intense, I squared my every corner, and became so exalted by the elation of the experience, I forgot I was on a grassy, wet and slippery field! During the final crossover, my feet went out from underneath me and I went HEAD FIRST.... into the mud.... landed directly on TOP of my Trombonium! My mouth was bloody, I was covered from head to toe with mud.... and all the other members of the marching band were laughing like crazy! Jack stopped the entire script! His voice boomed from the heavens .... "Get up Lust, and get back in line. I hope for your sake you did not damage that school instrument!" I struggled to my feet ... back aching... went on to Jack's count to finish my first Script Ohio. I was in such fear ofJungle Jack, I never told anyone my third valve did not work at all after that, and I faked it for the rest of the season rather than to face Jack's wrath. I found out all those years later, that Jack always knew what I had done. He said nothing to me, because he was teaching me a valuable lesson in honesty. I could not come clean with him, so I would suffer with a damaged horn the remainder of the season. Yes, Jack was tough. It has been written, that some teachers can teach, some can lead and some can inspire. Jack was more than all of these to me ... to me he made a difference, and I am sure that anyone that ever knew Jack 0. Evans not only respected him, but loved him ..... Jack will never be forgotten, of this I am sure ...... . Jan T. Lust Alumni 1962 - 1967 (R- Row) 206

It 1'vas winter quarter of my ji-eshman year 11'/zen my three roommates persuaded me to try out for the Activities Band. They were already playing in the Band, and even though I was, at best, a mediocre trombone player, I got up enough courage to audition and was accepted. (I was an Art Ed major not a Music major.) Thus began my life long association and admiration ofJack 0. Evans. That association with Jack and with the band program at Ohio State essentially changed my college career. I learned many things from him that I took with me into my teaching experiences. One thing, in particular, became a hallmark in my teachingAL WAYS GIVE KIDS A CHANCE. In addition to just playing in the Band, there were many other activities that evolved over those four years. Those activities really became the center of my lour college years. In the fall of 1949, the Buckeye Band Girls was formed by thirteen girls from the Concert and Activities Bands. Jack was our faculty advisor and sponsor. Perhaps just as important, he was our friend! On April 29, 1950, this group became the charter members of Chi Chapter of Tau Beta Sigma. Jack's guidance, encouragement and assistance was, in large part, responsible for the early success of our chapter. For the 1950-1951 school year, Chi Chapter was the winner of the Tau Beta Sigma Achievement Award. On a purely personal level, Jack opened several other opportunities for me. These gave me self-confidence, status, inspiration and friendships. It made me a better student, person and teacher. Some of those friendships have lasted a lifetime! In the winter of 1951 he took the Activities Band to Frederick High School for a concert. This was my hometown. Talk about status and what a thrill! We played to a packed house. I guess maybe you'd have to be from a small rural area school to appreciate the impact this had on me -on my brother who was a base drummer in the Band - and on my family. Jack made that all possible and acted as if it was "all in a day's work." A couple of other major events occurred in my college years that, I am convinced, were instigated by Jack. Fall quarter of 1951, Manley R. Whitcomb, Director of Bands and Marching Band Director, approached me to make the props for pregame and half-time shows. Also to do other somewhat art related projects. I am sure TVhit would not have even known who I was ifJack had not suggested my name. What a fun job and again a real self confidence builder. I spent that quarter as a paid staff member of the Marching Band. (A note here, so while I am listed as a secretary in the TBDBITL Alumni Club rooster, I never sen,ed in that capacity. I guess they didn't know where else to put me when I was invited to join.) 207

As/all quarter drew to a close, Whit contacted me because he wanted a ve1y large portrait painted ofJohn Phillip Sousa. Again, I am convinced it was at Jack's suggestion that I was asked. I'm sure because when I hesitated to under take such a challenge, it was Jack who encouraged me by saying, "I know you can do it." So I spent winter quarter of my senior year (19 52) painting the portrait. It was painted spec(fically to be used as a backdrop for all the activities of the American Bandmasters Association Convention held on the Ohio State campus that spring. In 1961, when my husband and I were on our way to Germany, (Dave was in the Army) we stopped to visit Jack in Hughes Hall. He.filled us in on the location and escapades of "Sousa. " It was then that I learned that the painting was hanging in the Marching Band rehearsal facilities and had become somewhat a part of the rich traditions of the OSUMB. Jack made me feel very special and my husband was very impressed. When, in 1989, we came back to my first TBDBITL reunion, the portrait was sitting at the base of the stairs in the entrance to the stadium band rooms. The first thing Jack said to me that Friday night was, "Did you see your Sousa?" Seeing it for the first time with the little "saying" taped to the background was such a pleasure and Jack wanted me to be sure to bask in the moment. I sure did! When we were in college we used to sing to Jack, "Mr. Evans is our hero, our hero is he ........... "and I can't remember if our little ditty said he looked like a bloodhound and ran like a greyhound or the other way around, but there was no question, HE WAS OUR HERO! It was a privilege to have been influenced and taught by Jack 0. Evans. I am I We are much better people because he was there! Ruth Shipley Engel, BS '52 Activities Band, '49 - '53 Trombone

I was a member of the band for four years (59-62) serving as section leader of "L" row my senior year. Twice was my performance given special acclaim by Jack Evans when in practice during my freshmen year over the load speaker he announce: "Gray-why don't you realize your uncoordinated and do something about it" and "Gray-that was the stupidest thing I have ever seen you do." That load speaker conveyed some dry humor as no one will ever forget that practice in the early '60s when after marching for a half an hour in the rain, Jack 0. announced: "is it raining down there?" 208

Such were the memories of The Marching Band but the greatest thrill of all vvas the ramp. Very few experiences in life combine the maximi::ed senses realized in the ramp entrance. Combining music, marching, concentration, sound, sight, smell, etc. into a 90 second period of time was a very exhilarating experience. I am very proud to have been a member of TBDBITL. John C. Gray Percussion, 1963

My last performance with the OSU Marching Band was at the 1952 Michigan game. We knelt on the sideline watching the Michigan band's half-time show. It ended with a formation MICH and the U of M Alma Mater. Three bass horn players in the C halted 20 yards from where they should have been. The C looked misshaped. I laughed out loud. Jack Evans, Director from 1952 to 1962, heard my laugh. He looked me right in the eye and very clearly said, "you haven't put on your show yet. " I was sorry and ashamed for saying what I did. I was jittery as we took the field. Here I was an experience senior with four years behind me. What if I made "the big mistake after laughing at others?" But, my concentration was the greatest ever and I did not make a mistake. My season and one of the most important chapters of my life ended with that show. I will always be grateful to Jack Evans, a great teacher and a great band director, who taught me how to be a man. I will always be gratefitl for the teaching by example of all those others who were also members of the band during those years. Jack Evans and Manley Whitcomb before him said many things which stuck with me and have helped shape my philosophy of life. I have listed only one situation and it is so true. Every performance is new. Every audience is new, "do it right, as you have not put on your show yet!" Roe W. Hildreth

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SELECTED BIBLIOGRAPHY

Books Bonn, George S. A History of Bands at the Ohio State Columbus: Kappa Kappa Psi, 1936 Script Ohio: 110 Years of the Ohio State University

University.

Marching Band. 1988

Bonner, John Brian. Eugene Weigel: Major Contributions to the Music Program at the Ohio State University. Master's thesis, The Ohio State University Press, 1973. Evans, Jack 0. "An Experiment in the Use of Electronic Instruments to Develop Accuracy of intonation in the Playing of Specific Intervals." Master's thesis, Western Reserve University, 1951.

Illustrations "Foxhole Frolics" poster

Periodicals Droste, Paul E. "The Beginning of a Tradition: The Story of the First OSU Marching Band Alumni Reunion." TBDBITL Newsletter, 1993. Ohio State University Marching Band, "Press books" 1952-1963. The Ohio State University Monthly. v. 40, no. 8 May 15, 1949. The Ohio State University Monthly 44, no. 9 June 15, 1953 The Ohio State University Monthly 46, no. 5 February, 1955 210

The Ohio State University lvfonth~v 55, no. 8 April, 1964 The Ohio State Universitv - Monthlv- 59, no. 7 March, 1968 The Ohio State

Universi~v

Monthly 70, no. 2 October, 1979

The Ohio State University Monthly 73, no. 5 January, 1982

Newspapers Columbus Citizen Journal, Tuesday, October 2, 1956. Columbus Citizen Journal, Sunday, October 7, 1956. Columbus Citizen Journal, Tuesday, March 10, 1964. Columbus Citizen Journal, Thursday, March 12, 1964. Columbus Dispatch, October 2, 1956. Columbus Dispatch, March 9, 1964. Dayton Journal Herald, March 10, 1964. Dayton Daily News, Tuesday, March 12, 1964. Ohio State Lantern, Oct 12, 1961 p. 7. Ohio State Lantern, v.134 n. 112 Thursday, March 12, 1964.

Interviews Evans, Jack 0. Interview by Paul E. Droste. Transcribed tape recording. Columbus, Ohio, 17 February, 2000. Evans, Jack 0. Interview by Paul E. Droste. Transcribed tape recording. Columbus, Ohio, 18 February, 2000. Evans, Jack 0. Interview by Paul E. Droste. Transcribed tape recording. Columbus, Ohio, 25 February, 2000. 211

Evans, Jack 0. Interview by Paul E. Droste. Transcribed tape recording. Columbus, Ohio, 16 March, 2000. Evans, Jack 0. Interview by Beverly Mosley. Tape Ohio, 1979.

recording. Columbus,

Evans, Carol J. Interview by Jon Waters. Columbus, Ohio, 20 March, 2002. Heine, Richard. Interview by Paul Droste and Jon Waters. Video Recording. Tampa, Florida, 30 January, 2001. Ebert, Janet. Interview by Jon Waters. Columbus, Ohio, 12 May, 2002. McGinnis, Donald E. Interview by Jon Waters. Columbus, Ohio, 8 April, 2002 Woods, Jon R. Interview by Jon Waters. Columbus, Ohio, 10 May, 2002.

Archived Documents The Ohio State University Archives, Ohio State Marching Band Alumni Club (RG 50/i/l), "Audio Tapes of Broadcasts: Jack 0. Evans: Tapes 5 and 6: 1979," Accession 186/87 The Ohio State University Archives, School of Music (RG 31/d/5), "Concerts and Recitals: 194 7-1960." The Ohio State University Archives, Ohio State Marching Band Alumni Club (RG 50/i/l), "Clippings: ca. 1961-1964," Accession 143/85. The Ohio State University Archives, Ohio State Marching Band Alumni Club (RG 50/i/l ), "Jack Evans Scrapbook: ca. 1947-1948," Accession 174/88. The Ohio State University Archives, Ohio State Marching Band Alumni Club (RG 50/i/1), "The Ohio State University Bands Seventy-Fifth Anniversary," Accession 180/85. The Ohio State University Archives, Biographical Files, "Evans, Jack O." The Ohio State University Evaluation Program: Basic Who's Who Form no. 4734, 29, March, 1947. 212

The Ohio State University Archives, Ohio State Marching Band Alumni Club (RG 50/i/l), "Kline, Benjamin: Correspondence: 1973," Accession 143/85.

Letters

Fennell, Frederick. Letter to Carol Evans, December, 2001. Richard Harris. Letter to Jack 0. Evans, Oct 22, 1968. Cottrill, Dean of the College of the Arts. Letter to Jack 0. Evans Electronic mail letters of shared experiences.

Official Documents Jack 0. Evans. Certificate of Birth Bachelor of Science Degree, Western Reserve University, 1937 Master of Arts Degree, Western Reserve University, 1952 Biographical Material; Jack 0. Evans, Professor of Music Emeritus, The Ohio State University State Of Ohio, Teaching Certificate, 193 7 Music Manuscript Original- "OSU Chimes" Arranged, Heine I President Rightmire Papers on the "formation of a University Band"

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