Jack Oliver Evans: His Life and His Contributions to the Ohio ...

JACK OLIVER EV ANS: HIS LIFE AND HIS CONTRIBUTIONS TO THE OHIO ST ATE 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.

iii

Dedicated to Carol J. Evans

and the many students whose lives

Jack 0. Evans molded

IV

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.

v

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.

VI

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

8. 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

9. 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. Westminster Chimes Sequence ........................................... 84 2. Incorrect Chimes Sequence ............................................... 85

LIST OF FIGURES

1. The Birth Certificate of Jack Oliver Evans .............................. 110 2. Bachelor's Degree from Western Reserve University .................. 111 3. Master's Degree from Western Reserve University .................... 112 4. Advertisement Poster for "Foxhole Frolics" show of the First Special

Service Platoon of the Ground Forces Reinforcement Command .... 113 5 United States Army Honorable Discharge Papers ...................... 114 6. Agreement between the ROTC, Band and Athletic Department at

Ohio State .................................................................... 116 7. Activities Band Program, Premier Performance ........................ 119 8. Concert Program from Palm Sunday Concert, Ohio Penitentiary .... 123 9. Western Union Telegrams from Florida State University ............. 124 10. Pasadena Star Article and Response ..................................... 125 11. Original Manuscript of "Chimes" introduction to Carmen Ohio ..... 127 12. Jack 0. Evans Memorial "A Celebration ofLife" ...................... 128 13. Worthington Civic Band Concert Program in Memory of

Jack 0. Evans ................................................................ 131 14. Gahanna Lincoln High School Band Program .......................... 134 15. A Musical Tribute to Jack 0. Evans ..................................... 137 16. Election Certificate to the American Bandmasters Association ...... 143 17. 1958 Rose Bowl Scrapbook ............................................... 145 18. fohn Adams High School Orchestra ...................................... 166 19. John Adams High School Orchestra ...................................... 167 20. Jack 0. Evans as Western Reserve Drum Major ........................ 168 21. Jack 0. Evans as Western Reserve Drum Major ........................ 169 22. Jack Evans in the Army .................................................... 170 23. "Manhattan Caravan" Variety Show in England ........................ 171 24. Jack Evans in Paris France, 1945 .......................................... 172 25. Manley and Leah Whitcomb and Jack and Carol Evans .............. 173 26. Buckeye, Scarlet and Grey Bands with Choruses ...................... 174 27. Jack and Carol Evans dotting the "i" in Script Ohio ................... 175 28. Jack Evans conducting ..................................................... 176 29. Jack Evans upon retirement.. .............................................. 177 30. Jack Evans receiving Ohio State Distinguished Service

Award at 1981 commencement. ........................................... 178 31. Jack Evans conducting OSU Alumni Band at Friendship Village ,

Columbus, Ohio ............................................................. 179 32. Jack and Carol Evans ...................................................... 180 33. Sketch of Jack Evans by Milton Caniff. ................................. 181

ix

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

2

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.

3

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 of Evans' 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

A1ihur's Round Table."1 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

5

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.

6

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 Jack Evans interviews, February 2000 7

The Evans family was forced to sell their home and relocate to a rental

property on Canton A venue (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 A venue 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,

8

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 of E. 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 so-

called 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


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

Jack Evans interviews, February 2000

10

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

6 Jack Evans interviews, February 2000 7 Jack Evans interviews, February 2000

11

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.


12

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 13

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.

11 Jack Evans interviews. February 2000 14

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

15

'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.


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.


17

\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.

15 Jack 0. Evans interviews, February 2000

19

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


21

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

22

"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. If you 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 Jack 0. Evans interviews, February 2000 23

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 19 3 5-19 3 6 of Evans 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 Evans, Jack 0. Thesis, Western Reserve University 19 Evans, Jack 0. Thesis, Western Reserve University 20 Evans, Jack 0. Thesis, Western Reserve University

24

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

25

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 because she lived a lot closer. "22

21 Jack 0. Evans interviews, February 2000 22 Jack 0. Evans interviews, February 2000

26

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.

27

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 of such 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 month thereafter until the total amount has been paid. "23

23 Shaker Heights Schools Teachers Contract

28

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.

:::4 Jack 0. Evans interviews, February 2000

29

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


30

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

26 Jack 0. Evans personal memoirs and notes 31

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.


32

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

33

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.

34

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


35

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 eight

week 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

36

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


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


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


39

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

32 Jack 0. Evans interviews, February 2000 33 Jack 0. Evans interviews, February 2000 34 Jack 0. Evans interviews, February 2000

40

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


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 Army-

issue 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 tum-

over in commanding officers, it took some time for an officer to realize


42

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 of Evans 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 thirty

five 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.


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.

46

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 all

purpose 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.


50

(charging was a good word describing Weigel because that was the way he was.

Kids in the band used to call him 'the Admiral. ')"4c 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:


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


52

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 Jack 0. Evans interviews, February 2000 43 Jack 0. Evans interviews, February 2000 44 Jack 0. Evans interviews, February 2000

53

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.

54

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

46 Interview with Donald McGinnis, April, 2002 55

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


56

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 of planning 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 of Page 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 of sound 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 h fi h . l" . ,,49 ave gone on to urt er specta z:::atzon.

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.

49 Ohio State University Monthly 50 Jack 0. Evans interviews, February 2000

58

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.


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 E

flat 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.


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 bell-

front 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

53 Jack 0. Evans interviews, 1979 I Evans, Jack 0. Master's Thesis, Western Reserve University, 1951. 61

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 194 7, 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 194 7. The band had

54 Jack 0. Evans interviews, 1979. 55 Jack 0. Evans interviews, February 2000.

62

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

56 Concert Programs of the Activities Band (University Archives) 63

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 present

day 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 194 7. 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 194 7-48 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

57 Jack 0. Evans interviews, March, 2000 64

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

58 Jack 0. Evans interviews, March, 2000

65

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

59 Interview with Donald McGinnis, April, 2002 67

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 100-piece 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 Ohio State University Monthly 61 Interview with Donald McGinnis, April, 2002

68

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. 62


69

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 fund

raising efforts were much the same for this trip. The budget had increased to


70

$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, if you had to figure that out on an hourly basis, just think how much you are worh,ingfor. You would be better off just 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, if you 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 if you 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


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


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" <lotter "play" the game. The

writer also added false quotations from Jack Evans saying inflammatory

statements about the Michigan Marching Band. Evans was enraged by this piece,

because it portrayed him as attacking another colleague, (William Revelli and the

Michigan Band) whom he admired. A flurry of letters were exchanged between

Evans, Ohio State, and the Pasadena Star. Figure 10 in appendix A is a

reproduction of the original satirical article and the consequential responses.

Even though the basis of this article was satirical and "tongue-in-cheek,"

Evans viewed this event as an attack on his credibility and personality. He was

serious about his job and about producing the best musical performances through

education. This article, he explained, injured his reputation and credibility, and

warranted a strong response.

THE STADIUM BANDROOM

Until 1960, the Marching Band held practiced in Rehearsal Hall, which at

one time was the University's livestock judging pavilion. John Herrick, Director

of campus planning approached Evans and explained the building space on

74

campus was becoming scarce. The area that Rehearsal Hall occupied (near Neil

Ave. and 19111 A venue.), was sought after by the electrical engineering, and other

departments as well. Herrick proposed moving the band to a new location so that

this area could be developed. Evans responded affirmatively to Herrick's

proposal. He asked only that the practice facility be located closer to the outdoor

field on the west side of the stadium. The field was in an ideal location, according

to Evans, and he thought the band's indoor facility should remain near the outdoor

field.

Herrick then asked Evans if he had considered a new location for the

practice facility. Evans had been observing the recreation room for students in the

stadium dormitories on the north east side of Ohio Stadium. He felt that the space

was not being used. Herrick investigated the matter and agreed that the space

would be more efficiently used by the band. This idea became an agreement.

Plans for the band's move to this facility were in motion. The original recreation

facility in the stadium had only two floors. It was not until the l 970's and the

admittance of women to the band that the bandroom was expanded to a third floor.

The recreation room was remodeled to accommodate risers. Locker rooms,

storage and office space was added, transforming the facility into a bandroom.

The Stadium Bandroom was first occupied by the Marching Band in 1960.

The band used its stadium facility for over four decades (1960-2001).

Through that time, the band underwent several personnel expansions. When the

75

band first used the Stadium Bandroom, it numbered one-hundred forty-four

musicians. By 1973 it had grown to two-hundred twenty-five marching and

playing members. The band had outgrown the facility, especially the rehearsal

hall.

In 1998, with the renovation of Ohio Stadium beginning, the band staff, led

by director Jon R. Woods, began planning a new band practice facility in the

stadium. Woods invited Jack Evans to attend meetings and to play an integral role

in the planning, design, and implementation of the new facility. According to Jon

Woods, Evans came to the meetings prepared. He had researched the previous

facility and discussed the students' needs in a new rehearsal space. One of Evans

most important contributions to the new band center design was the main rehearsal

room space. The original Stadium Bandroom primary rehearsal area had 2,200

square feet of floor space, far too small for 225 musicians with instruments. Evans

then calculated the number of square feet each player should have for optimal

performance conditions. His discussions with architects and engineers yielded a

final blueprint for the new band center having a rehearsal hall with almost 5,000

square feet of floor area. Jack's planning, experience, and knowledge were useful

in the design of the new band center, according to Jon Woods. "It was because of

Jack that we have the tremendous rehearsal hall in the Steinbrenner Band Center,"

said Woods.66

66 Jon R. Woods interview, March, 2002. 76

An interesting topic in band history at Ohio State was the issue of female

participation in each of the ensembles. A stigma existed around Jack because the

Marching Band had no women. When questioned c;bout the admittance of women

to The Ohio State University Marching Band, Evans responded, "I would have

lived well with that (women in band); some of the best band members (in my high

school band) were girls."67 Certainly it had been an all male organization from its

inception, and Evans recalled that female membership in the band was never an

issue when he was director. In 1947, the personnel roster of Evans' first Activities

Band listed a total of eighteen women. In the year prior to the start of the

Activities Band, The Ohio State University Concert Band had a female enrollment

of only three.68 Also, these eighteen women in the Activities Band of 1947 and

1948 organized into an informal sisterhood. Then, in 1950, this group of women

formed the Chi Chapter of Tau Beta Sigma, national band honorary sorority, at

The Ohio State University. Jack Evans was the original chapter sponsor and

served in that capacity for twenty-three years, from 1950 to 1973.

In relation to the Marching Band, it was not until the passage of the Title IX

Law and Higher Education Act of 1972 that the issue of female membership was

addressed. Evans Graduate assistant and later Director of the Marching Band

(1970-1983) Paul E. Droste made the landmark decision of admitting the first six

women into the ranks for the 1973 season.

67 Jack 0. Evans interviews, March, 2000. 68 Activities Band Program, 1948

77

SOUND RECORDINGS and MOTION PICTURES

Jack Evans produced the first sound recordings of the band just after

returning from the 1958 Rose Bowl. This recording took place in St. John Arena.

Reginald McGovern of Fidelity Sound Recordings made contact with the band at

the 1955 Rose Bowl. A partnership was then formed.

The Ohio State University Alumni Association sold 45 rpm records of the

band for one dollar. No proceeds were given to the band. Evans spoke to Jack

Fullen, Executive Secretary, about this matter. He was told that the band did not

need the money. Evans also proposed that the band record and sell LP's, but

Fullen said that people would never spend four dollars for an LP of the band. The

band sold 12,000 copies of the first commercial recording called "Volume One."

The success of the first volume prompted Capitol Records to take an interest in the

band. Evans was then approached by Marshall Glickman of Capitol Records, in

an attempt to become the sole selling agent of Band recordings. He estimated

Capitol could sell almost 100,000 recordings. This would have closed McGovern

out from The Ohio State Marching Band recording business. Because Jack was

loyal to McGovern, he turned down the offer from Capitol Records.

Reginald McGovern recommended a local Columbus recording engineer to

create recordings of the band. Robert Buchsbaum became the official recording

engineer of the Marching Band in 1958. In total, Jack Evans made three

recordings in his time with the band, beginning in 1958 with Volume 1, then in

78

1960 with Volume 2, and finally he made Volume 3 in 1963. Evans began

building a library of what today is a current catalog of over twenty-six commercial

recordings. Today, the band is widely regarded as the most recorded marching

band in the country, due to the efforts of Jack Evans, Charles Spohn, Paul Droste,

and now especially, director Jon Woods. ·

In addition to creating the first sound recordings with the Marching Band,

Evans also enlisted the first motion picture recordings of the band. In the late

1950's, technology on sound, television, and motion pictures began to grow.

Evans took advantage of this new technology and proposed the creation of motion

pictures of the band. In a partnership with the University's Department of

Photography and Cinema, Evans made the first sound motion pictures of halftime

shows and various other performances of The Ohio State University Marching

Band.

CHIMES and CARMEN OHIO

In his twelve years as director of the Marching Band, Evans created many

innovations on and off of the football field. Perhaps his greatest innovation, for

which Evans described as his most significant contribution to the Marching Band,

was the addition of "The Sound of the Campus Chimes" played as the introduction

to The Ohio State University Alma Mater, Carmen Ohio. The marriage of the

chimes to the Alma Mater occurred quite by chance. On October 23, 1954, Evans

79

created a halftime show for the Homecoming Game with Wisconsin entitled "A

Tour of the Campus" based upon the music of Let's Take an Old-Fashioned Walk.

The band took the audience on a trip around the campus, forming buildings and

recognizable landmarks. One of the most recognizable buildings on the grounds

of the University is Orton Hall. It was one of the original buildings on the Oval

and was built in 1879. Orton Hall houses chimes in its turret bell-tower. They toll

the quarter hour, half hour, and hour in Westminster Carillon style. The

Westminster chimes are traceable to 1793, as they were first used in St. Mary's

Church in Cambridge. At that time the chimes were referred to as the "Cambridge

Quarters. In 1859, Sir Edmund Beckett borrowed the melody for the Parliament

h. w . 69 c 1mes at estmmster.

At one point in the halftime show, the band formed the outline of Orton

Hall on the field and played an arrangement of the Westminster chimes written by

arranger Richard Heine. Band announcer Tom Johnson broadcasted to the crowd

that "an old familiar campus landmark is Orton Hall with the sound of the Campus

Chimes."70 The audience was awed by the sounds they heard and gave thunderous

ovation. The halftime show concluded and the Chimes arrangement was not used

again in the 1954 season.

During the days, weeks, and months following the game, Evans received

more correspondence and positive feedback than with any one show the band had

69 Songs of the Ohio State University, 1923 70 Script Ohio: 110 years of the Ohio State University Marching Band, 1988

80

done previously. In the winter months following and in preparation for the 1955

season, Evans developed the idea of using the chimes as an introduction to

Carmen Ohio. He had always felt that the Alma Mater needed some sort of

introduction. The Chime effect could be a way to arouse the crowd's attention to

for the singing of Carmen Ohio. 71 Evans asked arranger Richard Heine to re

arrange the chimes to fit as an introduction to the Alma Mater. The two spent

many hours on the Oval of The Ohio State University listening to the actual Orton

Hall chimes from various locations, trying to re-create with brass instrumentation

the ringing sound of the chimes. Creating the arrangement of the chimes was

difficult and tedious. Evans and Heine notated the sounds of the chimes in eight

parts originally, playing through many revisions and versions in band rehearsal,

until they had arranged for brass, an equivalent simulation of the Orton Hall

Carillon.

On September 24, at the Ohio State vs. Nebraska home football game of

1955, the band debuted the "sound of the campus chimes" to introduce Carmen

Ohio. Announcer Tom Johnson's script recalled" ... the unusual musical effect

which the band introduced last season at the Homecoming game in an imitation of

the Orton Hall Chimes. So many comments were received about that performance

that the band has decided to use the Sound of the Campus Chimes as an

71 Jack 0. Evans interviews, 1979 81

introduction to Carmen Ohio."72 From that date onward, the tradition of "Chimes''

and "Carmen Ohio" were forever married. Figure 11 in appendix A is a

manuscript facsimile of Richard Heine's and Jack Evans' collaborative "Chimes"

arrangementfrom 1955.

The construction of the chime effects is a fascinating study in musical

artistry. Originally, Heine wrote the arrangement with eight trumpet parts. He

only used trumpets because he wanted only the quality and timbre of the

instrument to reproduce bell tones. Heine recreated the chime sounds specifically

by using each trumpet voice as an independent bell clapper sounding only one

note. The Orton Hall chimes had no dampers, so the tones ring until their final

decay to silence. This was the effect that Heine achieved in his first arrangement

by designating each of the eight trumpet parts to an individual chime tone clapper.

All of the parts are related by the interval of a sixth, and the sustaining tones in the

lower trumpet voices created dissonances with the upper voices. At the

conclusion of the chime introduction, the band sounds three chords in A-flat

tonality. Richard Heine constructed these chords on the model of the "Hindemith

Fourth." He used the interval of a perfect fourth stacked in four pitches in the

interval of a fourth (C,F,Bb,Eb ). From this chord, the audience was provided with

the starting pitches Eb to Ab to begin singing Carmen Ohio on "Oh, Come ... " 73

Heine's selection of intervals and chords create a unique "blossom" of sound, as

72 OSU Marching Band Pressbook, 1955 73 Richard Heine Interview, 2001

82

each of the chimes are '"struck" and the overtones resonate with one another.

Evans worked tirelessly in rehearsal to achieve this blossoming musical effect

with the band.

At the conclusion of the Chimes introduction, the bell rings three times, and

then the alma mater begins. The reason for three tolls is simple. In the 1950's,

football games started at 2:00 in the afternoon. The halftime shows usually

included the alma mater and fell at about 3:00 in the afternoon. Heine and Evans

decided that the band should toll the correct approximate time when playing the

Chimes and Carmen Ohio.

One musical discrepancy existed for eight years after the start of the

tradition of the "Chimes" introduction. Evans received a letter in 1962 from

Richard Harris, director of the Grove City High School Band and avid clock

collector concerning the arrangement of "Chimes" that the band was playing.

Harris claimed that the way in which the band was playing the Chimes was not a

verbatim phrasal quote of the actual Orton Hall chimes and thus not a true

reproduction of the melody reproduced by the Westminster Carillon in London.

"The Westminster chime, done on four bells, is a tric!ty tune, interesting to analyze; and it suggests some insights for modern serial composition. It is a series of five melodic measures of four tones each. These five melodic measures are in a fixed mechanical series on the barrel mechanism that rotates and plays one measure for each quarter hour." 74

74 Harris, Richard. personal letter to Jack 0. Evans 83

The chiming mechanism's entire five measure repertoire is notated in Illustration

J. The entire phrase sequence is A-B-C-D-E. \Vhen the clock reaches each

quarter hour, the mechanism is unlocked to operate in .correspondence with the

number of quarter hours the time measures (I quarter= 15 minutes past and sounds

phrase E; 2 quarters= 30 minutes past and sounds phrase A-B; 3 quarters= 45

minutes past and sounds phrase C-D-E; 4 quarters= 60 minutes/the hour) and

sounds phrase A-B-C-D. Each quarter is chimed with its unique series. The

phrasal sequences according to time-of-day are demonstrated below.

Time Chime Phrase

:00 A-B-C-D :15 E :30 A-B :45 C-D-E :00 A-B-C-D

The hour and half past begin the same, and quarter after and quarter until end the

same way.

Westminster Chime Phrase Pattern

., r E r 1 •. Ir F r I e· Ir r r PhniscB PhniscC PlnseA

IJ F F 1°· IF r r le· II PhniscD l'hnlscE

Illustration 1

84

The arrangement of .. Chimes" that The Ohio State Marching Band played

for the first time in 1954, and then again in the 1955 season, was incorrect,

according to Harris. The phrasal pattern that the arrangement for the .band quoted

was C-D-E-D as demonstrated in Illustration 2 below.

lnc:omct Phrase Pattern in Original Chimes Arraogemeot

f 1r r r IJ F r PlnseC PlnseD

.... IF r r

r I"· II Illustration 2

Because of Jack Evans' meticulous nature, he accepted the advice of

Richard Harris and corrected the chimes for the 1962 season. The new

arrangement quoted in full, the Orton Hall and the Westminster chimes exactly, in

the pattern A-B-C-D, seen in Illustration 1.

Richard Heine disagreed with Harris' accusation that the chime pattern was

incorrect. Heine claimed that his arrangement of the chimes began after the thirty

minute/half-hour time, thus beginning with the C phrase, not the A phrase that

started each hour. 75 Evans, nonetheless, requested that Heine change the chimes

arrangement to begin with the A phrase each time, and to quote the full hour

A-B-C-D phrase.

75 Richard Heine, inteiview, December, 2001. 85

Richard Heine commented on Evans' interpretive ability. Heine had the

talent to hear the intervals of the chimes and to create an arrangement that he

thought best reflected the actual carillon sounds, but Jack Evans had the ability,

according to Heine, to rehearse and teach the students in the band to produce the

sounds that were written on paper. Evans gave life to Heine's music. "His

attention," said Heine, "to the performance and the sound of the band was very

important. To Jack, a Saturday afternoon was a concert performance, not just a

football game. What we had was just unbelievable!"76

NATIONAL FREEDOM FOUNDATION AWARD

Jack Evans hired the first Graduate Assistants with the Marching Band. He

thought it was important for the graduate students to experience the band program

first-hand. He and his staff were creative in their halftime show planning. The

Marching Band performed a multitude of different music from various styles and

genres. The most famous halftime show that Jack wrote was entitled "It's a Grand

Old Flag." This halftime show traced the origins and history of the Flag of the

United States of America, and was so popular that the band performed it twice.

Some of the 150 original flags used in the show were the "Betsy Ross" Flag, the

Because of the show's popularity among the many throngs of spectators, and

because it was stirring and deeply patriotic, Jack was given "The National

76 Richard Heine, interview, December, 200 I 86

Rattlesnake Flag, a Viking Flag, and the Pinetree Flag flown at Bunker Hill, and

of course, the American Flag. 77

Freedom Foundation Award" in 1959. After the show, the accolades were

multitudinous, as a Columbus Citizen newspaper report stated:

"A Star spangled finale to a stirring half-time musical pageant tracing the history of the American flag was this perfect formation showing.flags, spelling out US.A., while Band Director Jack 0. Evans led the band in Sousa's thrilling "Stars and Stripes Forever".

While the band presented "The Story of the American Flag, " dozens of Boy Scouts stood at attention on all four sides of the field bearing the large collection of historical flags loaned for the occasion by the Anthony Wayne Chapter, Ohio Society, Sons of the American Revolution

The Ohio State band's halftime program was easily the most impressive here in many years and brought a thunderous,

d . . fi h d ,,78 stan zng ovatzon rom t e crow .

Ironically, this halftime show harkened to Evans' youth and friendship with

Frederick Fennell. One of Fennell's uncles was a member of the Sons of the

American Revolution. Evans participated in many of Fennell's family re-

enactments and patriotic celebrations during the summers in Cleveland.

Appendix D of this document is a performance record of all of the Marching

Band halftime show titles and music that the band performed during Evans' tenure

from 1952-1963. It provides insight into the creative show-planning that took

place while Evans was director. It was during his leadership that the concept of

77 Columbus Citizen Journal, 1959 78 Columbus Citizen Journal, 1959

87

the marching band halftime show theme came into usage and was developed into

the many formats and manipulations as seen in the performance record appendix.

Also included in the appendix Dis a year-by-year listing of Jack Evans' band

staff.

PROMOTION and PHILOSOPHY

Jack Evans was promoted to Associate Professor in 1955 and to full

professor in 1959. He had been assistant professor from his arrival in 194 7. A

letter dated 10 August, 1959 from Donald P. Cottrell, Dean of the College of

Education, said the following:

"Dear Professor Evans:

Recently the Director of the School of Music nominated you for promotion to the rank of Professor in the School of Music. I was pleased to endorse this nomination to the President and you were appointed by final action of the Board of Trustees on JO July, 1959. !wish to offer you congratulations upon attaining that point in your professional career when such high recognition, after consultation with a number of your colleagues, has been deemed appropriate. "79

Evans legacies to the Marching Band were generated in two philosophies. The

first was his notion of "Standardization and Simplification." He even gave lectures on

the standardization philosophy to various groups around the country. Evans always

searched for ways to simplify marching maneuvers, dance steps, phrases and passages in

marching music, and the field drill. For example, before Evans' time as director, students

79 Dean Cottrill, Official Letter 88

in the Marching Band executed an arm swing every two counts. Evans saw that

this made the band look imprecise and not polished, so he simplified the maneuver

by integrating the arm swing every four counts. Another simplification was made

to actually save time during the pre-game show. During the band's Ramp

Entrance before Evans' time, each complete rank filed onto the field on the same

yard-line. This forced the first person to have to march across almost half of the

field to get into position. To simplify, Evans divided the ranks so that each rank

would meet in the middle of the field, instead having the rank march across the

width of the field. Evans standardized the daily staff operations through

organization and routine.

Secondly, Jack Evans' favorite quotation was "Adjust to the Situation."

Because the band found itself in many different environments, the need for

flexibility and discipline was imperative. His saying fit each instance that a

change or adjustment had to be made to any aspect of the band and its routine

operation.80 Students lived by this motto and the band functioned with efficiency

under its precepts. Evans coined the phrase " ... to be early is to be on-time, to be

on-time is to be late." Students also recalled a sarcastic sign that hung on Evans'

desk. Boldly painted were the letters P-L-A-N A-H-E-A-D (but the "D" was

falling off of the edge of the sign)! Every band member from then to the present,

operates by these axioms.

80 Janet Ebert, interview, May, 2002 89

CHAPTER9

RETIREMENT; 1964-1972

Evans resigned as the Marching Band Director in the spring of 1964. He

asked for a change of assignment. Evans said this of his retirement:

'"I had seen too many people stay too long in a position, not just band directors, but coaches. People took assignments and stayed on and on. They would have been a lot better off if they had gotten out a little bit earlier than when they final(v did. I told myse(f, okay, you don't really want to do this, but to give it a fair shot, I'll do it for ten years. "81

At the end of Evans' ten-year directorship of the Marching Band, Eugene

Weigel was in the midst of retiring as Director of the School of Music. Evans did

not think it was fair to give Weigel' s replacement the task of immediately

replacing the Marching Band Director. In 1961, a new Director of the School of

Music was hired in Henry Bruinsma. Evans approached Bruinsma and offered to

stay as the Marching Band director for two additional years. This offer would

allow him to become acquainted with the job, the band, and the staff. The two-

year acclamation period for Bruinsma ended and Evans' last season with the band


was 1963. He did not retire from the position until the spring of 1964. Jack

recommended his assistant Charles Spohn to fill the position as the Director of the

Marching Band, beginning in the 1964 season. Spohn had been Evans' assistant

for his entire directorship, and was on the staff the last year Manley Whitcomb

was director. A letter that Evans wrote to the band summed his view on his

retirement.

"My decision to ask for the change of assignment was caused by the increasing pressure of trying to give proper attention to two jobs. Brass instrument majors have been the largest group in the school of music for many years, and the numbers increase each year. As head of that area, I find more and more need for my attention in administrative and supervisory capacities. With the rapid growth of the graduate department of the School of Music, I find more of my time and attention being designated in that area. The Marching Band has required almost my full attention from the beginning of August through the Autumn Quarter and a good share of my attention for the balance of the year. For five years as Associate Director and twelve years as Director, I feel that the time has come to turn over the leadership to a younger man. I have every confidence that the band will continue to operate at the same high level for many years. I thank you and all bandsmen of all those seventeen years for your loyalty, hard work, and desire to excel. You have made an outstanding contribution to your universi~v. I know that those of you who will be in school next year will want to continue to make this The Best Damn Band In The Land. "82

Sincerely, -Jack 0. Evans

Evans officially resigned his position as Marching Band Director on April 1, 1964.

A newspaper covered Evans' retirement.

82 Jack, 0. Evans, Letter to OSU Marching Band 91

"Professor Jack 0. Evans - director of Ohio State's marching band since 1952 - will leave that post this month to devote more time to teaching.

Under Prof Evans, the first sound movies of the band were made and three commercial records were cut and sold. Last autumn, the band and the department of photography won Freedoms Foundation Awards for the sound film, "It's a Grand Old Flag, " of the band's now-famous half-time flag show. Prof Evans also directed the band during two of the three Rose Bowl appearances that brought it national

. . ,,g3 recogmtzon.

Another publication said:

"Someone once estimated that Musician-Director Jack 0. Evans has performed before audiences totaling more than 6 million persons.

Not all in the same audience at the same time, of course. But for 11 years he served as director of Ohio State 's Marching Band, which averaged an annual audience of 550,000 at home and away games - and before that, he had directed the 100-piece Activities Band at the University for six years.

One of his find memories of that group was the Palm Sunday in 1949, when the Activiteis Band gave a special concert for 2, 000 inmates of the Ohio Penitentiary. The appreciative audience really let loose with applause whn a medley of "Stadium Echoes" was played and the familiar strains of "Across the Field" were heard, with the inmates joining . ,,84 zn.

In the Columbus Dispatch:

83

84 Newspaper Newspaper

"Under his leadership, the first sound movies of the band were made and three commercially produced long-play recordings issued. The band and the university's photography department received a Freedoms Foundation

92

Awardfor the sound film of the band'spopular flag slum' in Ohio Stadium.

But on-the-field performances on football Saturday afternoons in packed Ohio Stadium have given the Marching Band its greatest reputation.

With his bent for showmanship, Evans has arranged programs that generally have broken away from the routine half-time shows of many marching bands. And, of course, the highlight always is the Script Ohio. "85

School Of Music Director Bruinsma expressed regret over Evans' decision,

but added: "I am pleased ... that he will continue in the school of music as a major conductor of instrumental organi=ations. "86

Dean Donald P. Cottrell of the education college, of which the School of

Music is part, said, "I regret Evans' decision but praises him for his

"b . ,,87 contn utions.

On March 11, 1964, The Ohio State University Marching Band began a

new tradition for retiring band directors. The entire band appeared at Jack and

Carol Evans' front door to serenade the man who had so successfully led the

organization for twelve years. Carol and the entire neighborhood knew that the

band would play at their house, but Jack was unaware of the plans. Carol recalled

the evening because they were watching a Leonard Bernstein Children's Concert

on television. Jack kept hearing a booming sound, and exclaimed to Carol, "Why

85 Columbus Dispatch 86 The Columbus Dispatch 87 Columbus Dispatch

93

is he (Bernstein) allowing the bass drum to play so damed loud. The balance is

completely unreasonable!" Evans soon discovered the spectacle in his front yard.

"The Ohio State University Marching Band staged a surprise concert at the home of retiring director Jack 0. Evans Wednesday evening. Neighbors on Beautyview Court saw Evans conduct the band in "Carmen Ohio" for the final t

. ,,88 1me.

Another account from the Columbus dispatch:

"Ohio State University's Marching Band gave retiring director Jack 0. Evans a surprise serenade outside his home at 701 Beauty View Ct. Wednesday night.

Organized in less than 24 hours by a committee of four band members who notified other band members by telephone, about 90 of the band's 130 members participated in the music farewell salute.

Prof Jack 0. Evans, the man behind the horns and drums of Ohio State University's nationally acclaimed marching band, is laying down the baton after 12 years.

Ohioans attending half-time shows in the horseshoe stadium know what a terrific job Prof Evans has done with that al/brass and percussion band. He and his "110 frustrated plumbers and 10 musical drummers, " as bandsmen dub themselves, have brought pleasant moments to thousands of football addicts.

Prof Evans, usually mild mannered and quiet, is a tiger when working with his "boy. " He demands perfection and has come mighty close to the mark.

Professor Evans' 12 years' service to youth and music, in bringing prestige to Ohio's largest university and a state, deserves warm applause. His has been a bakers ' dozen. "89

88 Columbus Citizen Journal, April, 1964 89 Columbus Dispatch, April, 1964

94

The Dayton Daily News:

"One hundred of his Ohio State bandsmen marched in a farewell to retiring director Jack Evans here last night.

The high-stepping unit executed a column-left and halted in front of Evans' garage. Glassy-eyed, he stepped outside and stood staring, half-grinning at them. One close associate said, 'This is the first time in 1 7 years I've known Jack to be speechless. "90

The Ohio State Lantern:

"Before conducting the Alma Mater, Prof Evans said, "The Ohio State University Marching Band is bigger than any one person. And it will continue to be a great band because of

I l 'k ,,91 peop e l e you.

The Media coverage of Evans' retirement was prolific, as outlined in the

above articles. The band had received national media coverage, and portrayed a

standard of excellence during Evans' directorship. This achievement and national

attention given to the Marching Band was rightfully credited to Jack by the media.

It is important to highlight the fact that within two years ( 1962-1964 ), the

School of Music retired two of its most important people. In addition to Evans'

retirement from the band, Eugene Weigel left his long-standing post as Director of

the School of Music. Weigel' s influence, planning, and leadership were the

ingredients that brought the school success. He created a nationally recognized

90 Dayton Daily News, April. 1964 91 Ohio State Lantern, April, 1964

95

institution from virtually nothing. Donald McGinnis points to the fact that

Weigel' s ability to assemble the best people, efficiently utilizing them to their own

best abilities was the true strength and success of the The Ohio State University

School of Music.

Jack Evans had a profound respect for Eugene Weigel. On the occasion of

Weigel's retirement, Evans wrote:

"As the time of your retirement approaches, I am reminded of how much your work in the field of Music Education has meant to me.

I Recall your visits as supervisor of instrumental music, to John Adams High School where I was a ninth grade trombonist in the spring of 19 29. My training in instrumental music was unusually rich in the fine program which you helped build in the Cleveland Schools.

I also recall attending an Ohio State football game in 19 3 0 when I was thrilled by the performance of the band and had an opportunity to talk with you after the game. Little did I realize that some day I would become the director of the band.

From the first time you called me in 1947 to offer a position on the staff of the School of Music, I have considered myself a most fortunate man. As a teaching member of the faculty, I have enjoyed and profited by my work in the fine school which you have built. As a band director, I continue to reap the benefits of the solid program you established. It has been an honor to follow you in this work.

Carol will always remember you as a friend and colleague of her dad, as well as a warm friend of our own. We wish you the best of everything in your future activities. "92

Jack 0. Evans

92 Jack 0. Evans, personal papers 96

It was this genuine admiration that so many, including Evans, felt toward Weigel.

Donald McGinnis stated, "Eugene Weigel brought the people and personalities

together that created the wonderful place of music and teaching at Ohio State."93

After his retirement from the Marching Band, Evans remained as a member

of the brass faculty. He held the position of Head of Brass Instrument Instruction

in the Performance Division at the School of Music. By the 1960's the brass

faculty numbered seven because the brass department student enrollment had

grown tremendously, numbering over 100 students. The population of brass

students was larger than the entire vocal and piano departments. He also taught

brass methods classes to music education majors. Evans was particular about

applied music lessons. He articulated his philosophy of music and musicianship to

his students.

"You can't become a good musician by reading about it or talking about it. You have to actually make the music. Applied music becomes your laboratory through which you become a better musician. You apply what you learn in applied music to the larger laboratory experience- the bands,

h h d . d h . ,,94 ore estras, c oruses, con uctmg, an teac mg.

He also continued to administrate and conduct the Buckeye Scarlet and Gray

Bands. Evans conducted at least one of the bands through 1970.

During his time as a concert band conductor, Evans was a rehearsal

technician. Professor Evans gave a multitude of musical advice to ensembles,

93 Donald McGinnis, Interview, April, 2002 94 Jack 0. Evans interviews, March, 2000

97

such as," ... listen across the band. Find the melody? How do you receive the

melody, what do you do with it, and how is it handled after you have it?" He

always coached students to "go somewhere with a note; don't just sit on it." He

urged students to "finish a phrase of music," and to "be sensitive with the style and

character of the music. "95

ALL-OHIO BOYS BAND

Jack Evans played trombone in the All-Ohio Boys Band in 1932 under the

direction of Dr. Louis Pete. Pete directed the band from 1932-1966. Several

unique bands existed around the State of Ohio and were sponsored by the

American Legion and Veterans of Foreign Wars posts, and all of the bands met at

the State Fair to form the All-Ohio Boys Band.

The summer after Evans' arrival at Ohio State (1948), the Louis Pete

recruited Evans to be the low brass instructor. Evans relished this opportunity to

work on the staff of the band because it was a wealthy resource for his own

recruiting purposes at Ohio State. The students in the band were some of the best

high school musicians from around the state. By 1953, Evans' duties with The

Ohio State University Marching Band had become too extensive to allow him to

give three weeks of his time in August to the All-Ohio Boys Band. He proposed

to Louis Pete that he assist for the first week of rehearsals to get the band into

95 Janet Ebert, interview, May, 2002.

98

shape for the State Fair performances; Pete accepted his proposal. This agreement

freed Evans time for Marching Band preparations, yet still allowed him this

valuable recruiting tool.

Louis Pete directed the band for thirty-four years but had to retire in 1967

for health reasons. The band staff asked Evans to take over the directorship of the

group. Evans had been retired from The Ohio State University Marching Band for

four years. He agreed to conduct the band for two or three years on an interim

basis while a replacement was found. Evans was the director of the All-Ohio

Boys Band and also the All-Ohio Youth Symphony for three years (1967-1969).

While he served as director, Evans insisted on playing classic, standard,

challenging, quality concert literature with the ensembles. He felt that many

students at that time were being deprived of quality music by being forced to play

arrangements of popular music, instead of standard music that has withstood as

examples of quality. Jack Evans exposed the students not only to classics, but also

to many new compositions. His purpose was to create a worthwhile educational

experience for the student participants.

99

CHAPTER 10

FINAL RETIREMENT and BEYOND; 1973-2001

Evans taught for another ten years at Ohio State, before officially retiring in

1973 from the School of Music. Immediately after retirement, Evans began part

time work as a career counselor and recruiting coordinator in the School of Music

for another twelve years. In this position, he traveled for two years to different

high schools to recruit students to study music at The Ohio State University. He

then operated audition days, a guidance day, and a music opportunities day.

The Ohio State University Alumni Band began its tradition of performing

at Alumni reunion games in 1966. Evans helped to organize the first marching

Band Alumni Reunion. A group of the alumni band decided to create a

community band of sorts in 197 4. This group became known as the "Active

Band" and was directed first by Jack Evans from 1974 through 1979. This band

was a testament to life-long learning, and with Evans as its leader, it embodied the

relationship of dedication and loyalty between student and teacher. A majority of

the participants in the Active Band were former students of Evans'. Their interest

100

in playing in the band after so many years after college speak volumes about the

special lessons and direction that Evans gave their lives.

In 1985, Evans entered full retirement from the School of Music. He

remained active in music and education even after his final retirement. He served

in such capacities as adjudicator of solo and ensemble competitions, band contests,

and a multitude of other school music events throughout Ohio and around the

country. In 1985 and 1986, he spent time in Europe conducting bands and

teaching traveling student-musicians. Evans and his wife Carol were avid concert

attendees and rarely missed a performance of any band at Ohio State.

Jack and Carol Evans were active in their retirement. They attended

countless concerts and performances throughout Ohio and the United States.

Evans remained active in band adjudication. He also had a busy guest-conducting

schedule. Many Columbus-area school band directors and community band

directors invited Evans to conduct and critique their ensembles in preparation for

competition or concerts. The Evans attended the yearly reunions of the Marching

Band Alumni, and they never missed a "Skull Session" in St. John Arena before

every home Ohio State Football game.

Carol Evans' father, Griffith Jones, was the overseer of musical programs

at Lakeside, Ohio, a resort Chautauqua setting in northern Ohio on Lake Erie. The

family had a cottage there for many years. Because both Carol and Jack were

teachers, with some vacation time during the summer, they inherited Carol's

101

family cottage. They spent many summers in Lakeside, as they were avid boaters.

Jack was the "Captain" and Carol the "First Mate" of their twenty-four foot

Lyman powerboat. Evans initiated summer band camps at Lakeside. In addition,

he scheduled the Ohio State Alumni Band to perform in concert at Hoover

Auditorium in Lakeside, a facility Carol's father helped to plan. This concert is

the highlight of the Alumni Band's season.

Jack Oliver Evans fell into poor health in 2000 and struggled for several

months. He died on November 15, 2001 at the age of eighty-six. The Ohio State

University Marching Band dedicated its patriotic halftime show to him on

November 1 ih. A memorial service was held for Evans on Monday, November

19, 2001 in Weigel Hall Auditorium. The Ohio State University Trombone

Ensemble performed, as well as members from Marching Band and Alumni Band.

He was eulogized by students, friends, and family. Each speaker told a different

story, but the theme of his devotion to education and his students rang through

with crystal clarity. A group of his former students sang "Mr. Evans is our Hero"

as a final tribute. A facsimile of the program is located in appendix A.

The Ohio State Symphonic Band and University Band gave a concert in

tribute to Jack Evans on March 12, 2002. These two ensembles are the

descendents of the Buckeye Scarlet and Buckeye Gray Bands. The bands played

music that Jack loved and performed throughout his career. It was a musical

102

celebration of a musical man, outlining his life and accomplishments. A facsimile

of the program in located in appendix A.

Another touching eulogy was given by lifetime friend, Frederick Fennell in

the form of a letter to Carol Evans. In his letter, Fennell wrote:

Dear Carol,

"The first time I saw Jack Evans was very dramatic! He had one of those big-wheeled red scooters that everybody so liked, especially because of the high energy he was pumping into its race down the north sidewalk on Miles Avenue, headed west! He could go around the block in a flash. I had to meet him, which I did the next day at Miles Avenue Elementary School. We shared a common interest in music, and Jack seemed a special-interest person to Helen Kennerson who taught all music at that school, including the activity of an instrumental group. Wanting to play, his mother bought him a small tenor trombone which he brought for me to see. I was reading in rny back yard tent. Excited, he took it out of its case, assembled and blew air into it, then showing me how the movement outward always made different music. Interest and growth sped him on his way. He left Miles at the next round of school at a half year ahead of me for John Adams High. That was some musical place. Working close with Mrs. Kennerson, Jack got into lots of private teaching, and before becoming a student at Western Reserve [School of] Education, he was more than ready. I sure admired him playing and his gift as a teacher. I knew he would wind up at Ohio State and you knew all of this before I began to write it. So thanks to you for being his sweetheart. I was proud to be h . fl . d ,,96 zs rzen .

I hope you are well, ff (Frederick Fennell)

96 Letter from Frederick Fennell to Carol Evans

103

Jack Oliver Evans, always the teacher, always the gentleman. His

contributions and life cannot be measured in dollars and sense or fame. The

measure of Jack Evans is his passion for teaching and music. Jack Evans' value is

measured by his love for his students and, in tum, their love and devotion to their

own students.

A WARDS & PROFESSIONAL ASSOCIATIONS

With a career that spanned over sixty-four years, Jack Oliver Evans was a

highly acclaimed leader in music and education. He has had many hundreds of

awards, citations, and honors given to him throughout his life. These tributes

represent the physical record of the commendation given to Jack Evans. They are

a testament to the respect and revere in which many people held him. The

following list outlines Jack Evans' major accomplishments throughout his life.

Commendation from Governor of Arizona, Ernest McFarland, 1957

Election to The American Bandmasters Association, March 9, 1961

Award of Merit by the Lancaster, Ohio Chamber of Commerce, January 17, 1962

Bucket and Dipper Junior Men 's Honorary at Ohio State, May 4, 1964

The Ohio State University Athletic Council on Intercollegiate Athletics Varsity "O" Award, 1964

OSU Student council distinguished teaching award 1964-65

The Alfred J Wright Award presented on behalf of student leaders at Ohio State, May 4, 1966

104

Twen(v-six years of Devotion and Inspiration to The Ohio State Universi(v Concert Band, 1973

Recognition for 23 years of service to Tau Beta Sigma and Chi Chapter at Ohio State, April 8, 1973

Outstanding Service to Ohio Music Education Association, May 18, 1974

Script Ohio Award presented to Jack Evans, 1975

Columbus Zoological Society, 1975

Jack and Carol Evans, Honorary "i" dot in Script Ohio, October, 1979

The Ohio State University Distinguished Service Award, December 11, 1981

Election to The President's Club of the Ohio State University, November, 1882

The Sudler Trophy honoring the close historical relationship and outstanding contribution of National Intercollegiate Marching Bands to the American Way of life.,1984. To Jack Evans, Director 1952-1963 Inducted into the Columbus Senior Musicians Hall of Fame, June 3, 1985

The OSU School Of Music for outstanding service and devotion to the music profession during tenure of service, June 6 1985

Distinguished Service Award of the Ohio Music Education Association presented jointly to Jack and Carol Evans, February 14, 1986

22 years of meritorious service leadership and devotion to the Ohio State Fair Band, August 15, 1993

The Ohio State University School of Music Distinguished Service Award, May30, 1996

105

CONCLUSIONS and SUMMARY

Jack Evans' brilliant mind, integrity, and personal warmth and

consideration for all were the marks of an outstanding teacher and a genuine

person. He was truly a testament to life-long learning and musicianship, for it was

teaching, learning, and music that enveloped his entire person.

His contributions to the Ohio State University School of Music were

voluminous, as he was a presence at Ohio State for over fifty-four years. As a

professor in the Brass Department, Evans built the largest single entity of student

music majors in the School of Music. He was legendary for his ability to diagnose

and to cure the many ills that hampered students' musical and performance

progress. With many hundreds of techniques for teaching in his vernacular, Evans

was truly the teacher's teacher. His students left his brass classes and major

instrument lessons not only better able to perform on their own instrument, but

more equipped to teach the instrument to their own students; the mark of true

transference of knowledge.

In the field of band, he created performance opportunities for many

hundreds of students who did not have the opportunity to play in the Concert

Band. His Activities Band, later the Buckeye Scarlet and Grey Bands, afforded

106

students the opp011unity to play a wide repe11oire of quality band music at

numerous venues. The students in these ensembles had the chance to work under

a master teacher and to perform masterworks in the literature.

His work as the Marching Band Director is most notably recognized, as he

appeared for live audiences of more than six million people in his tenure. The

Marching Band assistant directorship and eventual directorship were originally

sidelines to his work in the School of Music. This original attitude toward the

band grew into a twelve-year avocation. His methods of standardization and

simplification brought the band success and a national reputation. He demanded

that the band perform to the highest of standards within his framework of

standardization and simplification. This was Evans' secret to success.

His retirement was only meaningful in word, not deed. Upon his

retirement, he remained as active in the school as he had been since the start of his

professional career. His teaching grew into recruiting and counseling in his later

years. The fact that he never stopped teaching is his most famous trademark. It is

the mark of his genuine concern for the institution, and for people. The

proliferation of knowledge was Evans' main avenue to the method of his own

teaching and the success of his pupils.

One of The Ohio State University community's most kind and thoughtful

persons, Jack Oliver Evans was the consummate educator and learner. His life

was a dedication to art, music, people, and the essence of genuine decency. The

107

benefits of his contributions to music education and bands in Ohio and to the

nation are still reaped today. Paul Droste, long time student and friend of Jack

Evans, summarized best in Evans' memorial service eulogy by saying, "Thank

God we all had Jack Evans in our lives!"

108

APPENDIX A

Selected Documentation

109

t I

~ 0

<t> PI.A.CE OF nmTB CERTIFICATE OF BIRTH

Co1Dlt7 ot ~~~ 1la Ro.-For State Registrar Only

/ //o

(3)

(8)

(3)

COLOR

~~CE i-fl':

(131 OC'_YoN

//A:-~~

ST.A.TE OF SOUTll CA.ll.OLIN.A. Bureau of Vital Statlat:lca

State Board of Healtla

(1S)

(18)

(18)

Registered No .• 0. <:;:/ .• (For use ot LocAJ it;~1i;l;~

PRESENT ///~ . POSTOFFICE / >'_ ~ OF MOTHER'-</ Cc---<--(& .JI

COLOR (17) AGE AT LAST . ;-, • OR ~ BIRTHOAY ...... ~L/, RACE ~ (Yan)/

u Give• aame addt!-d froa a au.pplemeatal ~eport

<:e> wu .. eaa • • ·cs·1gn·atli;e ·or ·w,rr;esa· r: · ·~sa·a.ry ·~niY · · ·· · · · · .. · · · · · ·· • whan question :3 le al&" e by mark> • ~

............................... 19 .... (27) FUed~,,1 ......... 111/.6':'<::s .~e.A,~';;(_~ Registrar · ~ _ Local Re~

•When there wo.a no attending pbyalclo.n or miawlte. then the to.ther, household , etc.. ahould .make thla return. It o. child breathes even once, It muat not be· reported aa all II born. No repori la dealr•d dt atlllblrtha

betore the lltth month ot prei:uancy.

Figure 1 The Birth Certificate of Jack Oliver Evans, ca. 1915

110

WESTERN RESERVE UNIVERSITY

TO ALL TO WHOM THESE LETTERS COME GREETING

ON THE RECOMMENDATION OF THE FACULTY OF

THE SCHOOL OF EDUCATION

THE TRUSTEES OF THE UNIVERSITY HAVE ADMITTED

JACK OLIVER EVANS

TO THE DEGREE OF

BACHELOR OF SCIENCE

UPON COMPLETION OF THE REQUIREMENTS

PERTAINING TO THIS DEGREE

GIVEN A T CLEVELAND OHIO JUNE SIXTEENTH

NINETEEN HUNDRED THIRTY SEVEN

lllCJJITAllY

~ Ol!AN

Figure 2 Bachelor's Degree from Western Reserve University, ca. 1937

11 1

WESTERN RESER VE UNIVERSITY

TO ALL TO WHOM THESE LETTERS COME GREETING

ON THE RECOMMENDATION OF THE COUNCIL OF

THE GRADUATE SCHOOL

AND THE FACULTY OF ARTS AND SCIENCES

THE TRUSTEES OF THE UNIVERSITY HAVE ADMITTED

JACK OLIVER EVANS

TO THE DEGREE OF

MASTER OF ARTS

UPON COMPLETION OF THE REQUIREMENTS

PERTAINING TO THIS DEGREE

GIVEN AT CLEVELAND OHIO SEPTEMBER TENTH

NINETEEN HUNDRED FIFTY TWO

SECJl.ETAJ\Y

DEAN

Ji'igure 3 . Master's Degree from Western Reserve University, ca. 1952

112

G.F.R.S. UN IT ·1 \\

//

~~ . ~ .

f ~ . . and his

~ Orchest ra Jerr.Y f ink 6 at the Drums \e\o C

So I Ovcharo~ WEDNO\/. - P

Figure 4 Advertisement Poster for "Foxhole Frolics" show of the First Special Service Platoon of the Ground Forces Reinforcement Command, ca. 1945.

113

.. ;.,• ...

J;onorafJle Jafjcf)argt

lFA'# ,J ~ *~ ad JACK .Q EVANS 35 916 850 PR IVATE FIRST CLASS

GROUND FORCES REINFORCEMENT COMMAND DETACHMENT 550

·-

Anug "'~ iladU1:k lftatff ~~~({!jj~~ae~ . ~~/,(e~{7~~~.

~~ J UN I T B SEPARATION CENTER #45 I ND I ANTQl:/N GAP . M 1 L RES PENNA

27 JANUARY 1 946

Figure 5.1

.. ~ti~ :7f_.°(- / JOHN E SM f TH· ,

MAJGR- AC ·

. .. .. . . . ... . . ... . .

·. ~· .. :· .

United States Army Honorable Discharge Papers, ca. 1946

114

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501.367

United States Army Honorable Discharge Papers, ca. 1946

115

0

The following le, in the opinion or the 1hsic Department and the nuta.r;r Department, an outline of a consolidation of the interests of the two Departments necessary for gu.id&nce in the formation of a 11niversit;r l!and.

(Al Organiza.tion

(1) Co!lllllencing with the Fall Qn.arter 1929 and subject to the approval of the President and the :Board of Trustees, the Department or lb.sic will take over from the Kilitary Depa.rtment the orga.niaa.tion,. control of, and reaponsibilit;r for, the maintenance of a :Band at this institution, -which will not :fall below 100 pieces for the first yea.r, and whose size will be 1.ncreased in succeeding years to meet the requirements outlined (in B-1, 2 11 3,) below.

(2). ~e :W.litary Department throuah one of its of:ticers detailed to the :Band shall be.ve su.pervision over the tollOllring i tem.az

(a) Determination (in conjunction with the lmsic nePartment) of mnsic to be bought for militaey f'unctiona.

(b) Decision &s to llbat lllD.8ic shall be pl11¥9d at purel.7 military f'Unctions. (c) Selection of Drum llajors after consultation with lb.sic Departments. (d) Decision as to the fornation to be adopted b7 the·:W.litary ~ This

:formation to confom to ·1a.r Department regulations as ne8.r'l.y as pre.cticable. · (e) Instruction in drill and maneuvering on the tielde (In order that the liili tary Depa.rtmen t lll8J" compq w1 th '\far Department regulations concerning credit for basic Jiilitary Training, it is thought that the officer detailed from the llilitary Department um.at drill the members of the lla.nd in marching and maneunring at least 3 hours per week during the Fall and Spring QJiarters) •

(f) Decision (af'ter con8Ultation lrith lhsic Department) as to what men shall be considered to have Bttcceasf'ulq oompleted the course in basic Jali~y Training. (Attendance at .Band practice to be subject to the regulations of the ).{!l!tary Department for students of the basic course).

(3) The Department of lohsic Bb&ll place in charge of the .Band & lllaician of outstanding qualifications who rill place the :Ban.d on the same .eta.tu.a with that of the foremost state universities Bu.ch e.e the University of Illinois and the University of Iowa. It shall be the especial duty of this Band lfaster to dnelop the three types of bands mentioned (in. :B-1, 2, 5,) below as ra.pid.1¥ as it is possible to do so. In this work he shall be aided by one Assistant of bis own choosing and by other Assistants which it rm.y be found necessary to grant him. It shall be one of the duties of the J3and Master to develop competent eta.dent directors for the :Banda :mentioned in :B-1 below.

(4) The Department of Ka.sic thru the 1!e.nd Ya.star shall b&ve superTision over the following items:

(a) Selection of music to be bought except as noted in (2-&) above. (b) Decision as to what 1111Bic shall be pleyed on all occasions, except

as noted in (2-b) above.

-1-

Figure 6.1 Agreement between the ROTC, Band and Athletic Department at Ohio State, ca. 1929.

116

(c) Selection of student Directors, lfanagers and Libra.ria.n.a. (d) llllsical arrangement of instruments in :Band while DBrching and when

rehearsing. (e) Condu.cti.ng of tryouts and admission to the Band. (f) Proportion of parts to be used. · (g) Selection of men to go on trips. (h) Determination of ~nts, (other tmn the regular formal for

mations of the llilita.ry Departnent, Y~ch ab..&11 have priority) to be filled. (i) Determination of occasions upon 'lllhich student and ABsistant Di

rectors may be used.

(:B) Porpose. It shall be the aim of the Depi.rtment of' lll.aic to develop three types of organizations:

1. Four llili ta.ry .Bmds of approximately 40 pieces ea.ch, eapeciall.7 for the, use of the llili tary Department.

2. A mass Band representing a combination of the f011r .Bands mentioned above for the use of the :W.litary Department, (who rill al:•ll7S have priorit7) · the Athletic Department, or the University in general upon special occasions.

3. A concert Band of selected players which will be available for occasions dema.nding a better type of nm.sic, especially for indoor concerts and certain lraJor univerai ty f'unctions.

( C) General. Tile Department of lhaic agrees toa

(1) Furnish the Military Department upon call either the follr lfilitary Bands or the llassed Ba.nd.

(2) Continue the present practice of traming a 100 piece .Band for the use of the Athletic Depe.rtnent during tb.e football season.

(3) Train and be responsible for Ul.e attendance of a 50 piece Band at the basketball games during the Winter ~ter.

(4) To consult with the proper authorities with a view to securing for members_of the ::Band who have completed their basic lCilitary Training e.nd other members of the Band who are not re<11ired to tslce this training suitable academic credit in the Departnent of lfllsic for their service in the :Bend, or suitable financial remneration such as a refund of tuition upon completion of the years work with the :Band or both.

(5) To use the services or the present Director and Assistant Director at no decrease in their present salaries and in such a VTa¥ as to cause them no undue or unreasonable embarrassment.

(6) Co-operate with the :Military Department in req11iring Band members to turn. out in the proper J.tilitary unliorm upon all llilitary occasions.

(7) To inflict suitable penalties for non-attendance and improper ltilitary uniform on the men in the Band who are not required to ta.lee Jlili tary Training.

(8) To train the lil..ssed l3and used at the football games such DE.rching formations and evolutions as im.y be desired by the Athl.eti.c Department and a.s would appeal to the public. (The time allotted to the lalitary Department (3 hours per week} during "this G,uarter will be used in perfecting the .Band in such marching formations as the JJu.sic Department decides to uae for the football games. The Officer from the mlitary Department rlll assist the !hsic Depart-

-2-

Figure 6.2 Agreement between the ROTC, Band and Athletic Department at Ohio State, ca. 1929.

117

ment in per:fecting these :formations. i ( 9) Secure necessary uniforms and e <p.ipnent used during :tootbaJil season.

(10) Secure proper uniforms for the Drum lla.Jors. (The design o* these uni:forms subject to the &r>pI'Ova.l of' the llili tary Depar1ment)~. ;/l

~ ,,. ~ . Ro D. Hue,he

• Department of' lfil.sic

Figure 6.3

i~.·~ G. L. !1!01111Send, Colonel, In:fantey, DOL, P.M.S.& 'f!e

Agreement between the ROTC, Band and Athletic Department at Ohio State, ca. 1929.

118

Figure 7.1

HILLIARDS

MUSIC BOOSTER CLUB

presents

THE OHIO STATE UNIVERSITY

· J.AcK 0. EvANs1 Director

TauB.SDAY1 MAR.ca I 1, 1948 HILLIAR.OS HIGH SCHOOL

8:15 P. M.

Activities Band Program, Premier Performance, ca. 1948

119

Figure 7.2

PROGRAM

Overture to ''Egmont1' ....... .. . . ............... . BeethO'Oen

Nimrod from ''Variations on an Original Theme" ... . ... . . . Elg•

Fantasia on "Funiculi Funicula" . . . . . . . . . . . . . . . . . . . . . Bellstetlt

Blue Moon . ........................ .. ..... . .. .. . Rodgers

INTF.RMISSlON

The Four Heralds . .. . . .... .. . . . ... . ... . .. . ..... . . Leitken TRVMPKT QoARTR'l"

Ernest Carib, Robert Ginther, John Kennedy, Le1Hc Susi

First Suite in E flat for Military Band . . . . . . . . . . . . . . . . . . . Holst I Chaconne

III March

El Relicario, Paso Doble .. . . ... . .... . . ... . .. .. ...... Padilla

Selection of Jerome Kern Songs. . . . . . . . . . . ... ....... . Le1d2en Who; They Didn't Believe Me; I've Told Every Little Star; The Touch of Your Hand; She Didn't Say Yes, She Didn't S;y No; Yesterdays; Look .for the Silver Lining


120

Figure 7.3

PROGRAM NOTES

That the college band has achieved a niche in college and community life which far surpasses the aims of the first embryo band master to collect a few students to play muaic, is evidenced by the following Declaration of Principles of the College Band Directors National Alaociation, a subaidiiry group of the Music Edncatora National Conference:

WE AFFIRM our faith in and our devotion to the College Band, which, as a serious and distinctive medium of musical expresgion, may be of vital service and importance to its members, its institution•, and its art.

TO ITS MEMBERS, the College Band, through exemplary practices in organization, training, and presentation, should endeavor to provide eft'ecth·e experience in musical education, in musical culture, in musical recreation, and in general citizenship.

TO ITS INSTITUTION, the College Band offers adequate concerti and per£orn1ances at appropriate functions and ceremonies, in the interests of musical culture :ind entertainment, and for the enhancement of institutional spirit and character.

TO MUSIC as an art and a profeaion, the College Band should bring increasing artistry, underatanding, dignity, and respect by thorough and independent elfort within the band's own immediate sphere, by leaderahip and sponsorship in the secondary ac:hool musical progr.im, and by cooperation with aU agencies pursuing similar mugicaJ goals.

TO THESE ENDS, we, the members of this Conference, pledge ounelvea to seek individual and collective growth as musicians, is teachers, as conductors, and as administrators."

The Ohio St:ite University has a staff of three directors, directing a program which serves the z6s members of the various bands. Thece directors are assisted by student librarians and managers, who receive valuable experience in preparation for their future as music educators. The many toW's, athletic trips, and other activities provide valuable experiences for the membership in fitting them for future life.

Four bands serve Ohio State University with appearances at athletic events such as football and basketball games; they provide music at ceremonies such as Commencement, Freshman Week Convocation, and wherever musical help is needed for outdoor pageantry. Concerts are provided to help take care of the mnsical needs of the Univeraity community. The sum total of these appearances total more than forty in a single year.

In serving music as an art and a profession, the Concert and Activities Bands, in addition to their performances on campus, play concerts in school communities throughout the state, thereby stimulating interest in school bands and music in general,

The Music on this cvening'a program is drawn from many sources. Written originally for orchestra, the "Overture to Egmont" has become, tran

scribed, standard literature for the concen band. The "Suite in E Flat" is outstanding among works written originally for band.

It is an excellent example of the English School. At least one of the variations in the "Fantasia" ie intended to be humorous.

This is purely light enteruinment. The Kern and Rogers 2ongs represent the beat in modem show music. In these

exc~lent arrangement& they become very pleasant listening.


121

Figwe 7.4

Flute1

Dorothy J ohn1on Mary Alice Miller Margery Thayer

Pit:t:ol• Wilmn Pearson

Oboe1

David H. Frantz Robert C. Reinhart

l11111aons

Joan Dillon George T. Pigg

B F/111 Cf•ri-ts Hilda Cayton Jun A. Davis Vincent DcPaecalc Patricia Dort Barbnra Fut p3 trick Hiatt Jania Jobnton Joecph C. Myers Eurcnc Nqlor Robert Rapp J aclc Smother1 Richard St:Lcy Fred .R. Stcdc J o=n Stolrnac:k M3rgarc:t Ann Studor Charlca Ulrey Warren Weiler Al:in Wi11i .. m1

JI.Ito Clttrmet

George N"7lor

l1 on C/11rinet

Harold DcR.olph Jack Stnuch

.8.fto Saophot1~r

Royce Eng'lander Robert Oesch

Teno,. S011of1hoe

Wilbur Hurd

11 arkone SOJCopAon11

James:&. Jrwin

Cornett :&dw3rd Albert M11ry Bintham Emcet Carib Gerald Cencebaugh Robert Hartman John Kennedy JcanLcuter•

PERSONNEL

Theodore Maddux Ari>y Min1h:all Shirley Robbins Richard Runk Corrine Ann Straley Charlene Studor

· Lc1lie Su1l Hmrold A. Weat

Tnm•ru Robert Ginther Thomu Haban John StAmclt Jimmie Thomp~n

FrmclsHorns • .O..Un Craig . Richard GriCRme:r Sanford A. Lane Gene Pillot Robert R. Schmidt Charles Shepherd

l111r#e•e1

lrcnc Fleischer Robert H~ningJama K. Herron .Earl Warnke Gear.re Younr

Tro•6otU1 Wayne Corry Jame• Gabriel Walter Hurd Ro,rcrKirk Lawrence Ma rt in Ro bcrt Powell George Schweiur Gerald Smith Richard Speir

T11/,,n

Glenn Barnhart Gene D'Angulo Richard Hauober!"r Dan Harton Frederick WIUl11111

TimJ-i Edward J. Smith

PffUU1io,.

Donald llall Devon Kclllint ThomaoMocan George F. Rbodc1

LJ6ruilm 1mtl M1n•a~er Geortc T. Pltg


122

THE OHIO STJ\TE U~IVb;RSITY ACTIVITIES Bl\rlD

Jack o. Evans, Director

P~ssents a Concert

at

THE OHIO STJ\TF: PENITE~JTIARY

Sunday~ April 10 at 8:30 A.M.

f{;j lf1 PROGRAM

A Manx Overture ••••••••••••••••••••••••••••••••••••••• ~:

Irisr. Tune from County Derry ••••••••••••••••••••• Grainger

Semper Pidel is l'::arch • o •••• ,. .......................... Sousa

Faith Eternal •••9•~··•••••••••4••••••••••••••••••••• Buys

Address: The Reverend itlil ton D. r!:cLean, Counselor of Religious

Activities at The Ohio State University.

Marc11, Parade of the Hepubl:'.l.c .... ~ •.• ~ .............. Chenette

Stradella Overture ••••••••••••••••Q•••••••••n••••~·Flotow

Armenian Dance •••••••••••••••••••••••••••••••Khachaturian

Selections from "The Chocolate Soldier" ••••••••••• Straus

Stadium Echoes Selection of Ohio State University Football Music

Figure 8 Concert Program from Palm Sunday Concert, Ohio Penitentiary, ca. 1949

123

rESTERN i=

UNION (43}:-" W, P. MARSHALL. PftUIOIJIT #

SYMBOLS

lencnll SUJa>ARD Tllllht palA<cl otl,!;I:. 'l'lloc GI nm1\" ST~A.IUl Tn!E •t ~amt.cldmlil•ll ..

rl:r"'.3 ' ·-~ !] :.W\' 11 44 CZB193 DL PD=TALLAH ASSEE FLO 17 950A= + r,.c. L ~r \ A '1

~J..i~

1-JACi< EVANS=

2993 NEIL AVE APT 61C VY=

- ' IF YOU ARE INTERESTED IN POSITION AS PIRECTOR OF BANDS

IN SCHOOL OF MUSIC AT FLORIDA STATE UNIVJ I SHOULD LIKE VERY MUCH TO SEE YOU ANY TIME ffTWEEN WED~ESDAY NOON FEB 18 AND SUNDAY MORNING FEB 22 TO TALK OVER THE SITUATION. SHALL BE AT NETHERLAND PLAZA HOTEL CINCINNATI OHIO IN

CO~NECTION WITH MTNA CONVENTION THERE~YO~R QUALIFICATIONS SOUND FINE TO ME FOR THE PROMISING SITUATION HERE=

DEAN K. O.KUESTEINER SCHOOL OF MUSIC f SU= \ 18 2 2 MT M A F s U= !P.A:..'<Y l\'JU. unsclAT1: GCCOGUTl~UXIO)LlT!J 1'ATltO:<S CO:>'ttjl!WIO lTS Sl:IW1CZ:

27 433P 0 EVANS~

2qo3 NE !L AVE APT 61C COLUMBUS.. OHIO=

W!LL YOU ACCEPT OFFlC!Al OFF ICER OF ASSISTANT PROFESSORSHIP OF !NSTRUMENTAL MUSIC AND DIRECTOR OF

I UN!.VERS!TY BAND WITH ANNUAL SALARY C\F $5500-.- SUB<!ECT TO CONF !RMAT ION BY STATE BOARD !N APPROXI MATELY 30

DAYS~ HOPE YOU CAN ACCEPT~ SCHOO L MftTER!ALS REQUESTED ARE !M THE MA!L !M TWO SEPAhATE PAC~AGES=

K 0 KLIERSTEINER DEAN SCHOO L OF MUSIC FSU=

Figure 9 Western Union Telegrams from Florida State University, ca. 1951

124

(Reprinted from the Pasadeno. Star-News)

USC Wants Purity Code For Bands by Jim Marugg

Eugene Ewell, who plays BB flat sousaphone for Ohio State, has had his academic status thoroughly investigated and has been found definitely eligible to play in the Rose Bowl, Big Ten conference commissioner Tug Wilson assured the Pacific Coast Conference today.

Ewell is the guy who will dot the "i" in the famous Script Ohio, trademark of the Ohio State marching band. He's been picked on numerous all-Americans this season.

"We're going to check into this thing ourselves," said Coast Conference Commissioner Vic Schmidt today. "And if we find they're putting in an ineligible ringer like they did in 1950, we're going to play the game under protest."

SCHMIDT WAS referring to the Ohio State band's last appearance in the Rose Bowl when the Buckeye tooters so mercilessly outclassed California's bandsmen. The guy who dotted the "i" that year was Richard Hansberger. It was found out after the game that Hansberger had been playing for five years. He had used up his eligibility the year before!

This startling revelation came amid California charges of "proselyting," "subsidizing" and "over-emphasis" of bands in the Big Ten, particularly those of Ohio State and Michigan.

California's band director who "resigned" under alumni fire shortly after the game, protested bitterly, "How am I supposed to coach a winning band against a bunch of ringers and five-year men? When I found out Hansberger was a five-year man, that was too much."

"We're going to have to draw up a Purity Code or Sanity Code for bands," a USC music authority said today. "And make those Big Ten guys stick to it. Why, I've heard that the bandsmen get more money under the table at Ohio State than the football players do!

"We can't expect to compete on an amateur basis with those pros."

WHEN APPRISED ot this Coast Conference reaction, Commissioner Wilson retorted angrily:

"There is absolutely no truth to the rumor that Eugene Ewell was given a Cadillac to go to Ohio State."

Wilson turned his verbal guns toward Tommy Walker, USC's band leader. "If that Walker is the same guy who kicked extra-points for the Trojans in 1947, how can he be eligible to lead the band this year? Let the Coast Conference mull over that one for a while. Speak of the pot calling the kettle black!"

JACK 0. EVANS, coach of the Buckeye band now en route here for the game and the parade, admitted that an abundance of good marching musicians manage to show up

Figure 10.1

at Ohio State each year but denied that he went out "beating the bushes" for good horn-tooting talent.

"Out of our 120 marchers, two drum majors, two student managers, and 10 alternates, 127 come from Ohio," Evans pointed out.

"We attribute our success to a long tradition of winning bands," Evans said. "We started out as a fife and drum corps in 1878 and developed into a band in 1879. We really hit the big time when we cut out all the reed instruments and substituted tromboniums and tenor horns in place of the sliding trombones. That was in 1934 when Coach Weigel (Eugene J. Weigel) was here."

SLIDING TROMBONES can really raise a ruckus in close-order, whirling formations, Evans explained.

"How about that number one ranking?" I asked. "We definitely deserve it," Evans snapped. 'That Michi

gan band is just a cheap imitation and the rest of them aren't . even in the same league. We played before 601,107 people this fall. Let Michigan try to match that."

I ASKED Evans if he had any tricks up his sleeve for the Rose Bowl game.

"Watch for our Script Ohio just before the kickoff. I can tell you that much because we've been using it for years. It's pretty tough to defend against.

"At halftime we'll use our double company front entrance, a sort of modified Do11ble Wing, you might call it. Theo we go into that Diamond Ohio Monogram shift. I can't tell you any more except that we're cooking up a few surprises. n

"Ewell will dot the 'i', won't he?" I asked anxiously. "You bet he will," Evans said, "and wait till you see how

be carries that BB flat sousaphone. He's the greatest I've ever coached, and that includes Hansberger!"

Ohio State University January 10, 1955

Mr. Lee M. Merriman, Editor Pasadena Star-News Pasadena, California Dear Mr. Merriman:

In your issue of Wednesday, December 29, there appeared an article written by a Jim Marugg about The Ohio State University Marching Band, of which I am the director. The article was undoubtedly intended to be humorous although no notation of this intent was printed. It is evident that Mr. Marugg failed in his intent since so many people, including a number of Californians, misinterpreted the article to the extent of expressing resentment about the way in which the article implies things which are not true. Even with an explanation that the article was written "with tongue in cheek," such as was carried with the reprint (published) in the Columbus Dispatch. the majority of readers. saw only

Pasadena Star Article and Response, ca 1955

125

the distorted facts and little of the humor. Where Mr. Marugg made his biggest error was in the

use of quotes. I, personally, strongly object to the use of my name in connection with the quotes in the article. I have never expressed the thoughts credited to me and am particularly disturbed about the remark concerning the Michigan band and the other Big Ten bands. I have never talked with Mr. Marugg in person or by phone. Nor have I ever expressed myself to anyone in the manner attributed to me in the article.

I was not aware of the nature of the article until the day before the game. By that time, the pressure of many details kept me from contacting your paper for a retraction. Since that time, I have been repeatedly embarrassed by references to the article. In an attempt to correct the impression given, I am sending a denial of the article to the full membership of the College Band Directors National Association and several interested publications.

Jack 0. Evans, Director The Ohio State University Marching Band

Pasadena Star-News

Mr. Jack 0. Evans, Director Ohio State University Marching Band Dear Mr. Evans:

January 12, 1955

This acknowledges receipt of your letter of January 10, which I am acknowledging by return air mail. May I state that when I looked into the background of the story to which you refer I was filled with consternation.

There is little that I can do other than to express our abject apology, to state that the writer of the story felt that he was being so obviously humorous that no one could take the piece seriously, and to assure you that I shall be happy to consider publication of any statement which you feel would help set this matter straight.

My great regret is that the pressure you were under while in Pasadena did not permit you to call this matter immediately to my attention, for my reaction would have been vigorous. It chanced that I, too, was under heavy pressure in preparation for the Tournament, and bad not read the sports pages in that issue. Consequently, your letter caught me in a total blind spot which I filled in immediately.

Jim Marugg, the writer, has been a member of our sports department for several years. He was on leave-of-absence for a year while overcoming infantile paralysis, which still sees him working at his desk from a wheel chair. Never before have we had so much as a complaint on Jim's work and it still surpasses my comprehension that even playfutly he could have built what was in itself a legitimate ~Cory around direct quotations which, facetiously or not, had been manufactured bv himself. · I am doubly distressed by this development, because all

of us in Pasadena hold Ohio State in the highest esteem, and knowingly would have done nothing to cause you the the slighest embarrassment. Above this, the Star-News is widely recognized as a conservative, responsible, and constructive newspaper.

I note in your last paragraph that you are sending a denial of the article to the full membership of the College Band Directors National Association and my only regret is that you did not enclose a copy in your letter to me. Should you feel this to be indicated, I would consider the feasibility either of writing directly to the same individuals or making a short statement which might be similarly used.

Jim Marugg's intent was of the best. His humor misfired with me as it now has with him. I should appreciate hearing from you again because I remain sincerely distressed that

Figure 10.2

the Star-News should have been responsible for such embarrassment to you or to your great university.

Lee M. Merriman, Editor

The ability to dream uo direct quotations was not confined to West Coast writers: Jim Schlemmer, Jour'24, of the Akron Beacon-Journal, filed a story from the Pasadena area that evidently was ins?ired by the Marugg fantasy.

Without crediting Marugg, Schlemmer eliminated the wilder statements (such as the Cadillac crack), then proceeded to mix in factual statements about the team with such fictional quotes as:

"'(Eugene). Ewell is absolutely eligible and will be there on the dot,' says Tug Wilson, the Big Ten Commissioner." (This after a paragraph conjecturing that the eligibility of Ewell was under 'scrutiny typical of an FBI investigation.')

"Victor 0. Schmidt, commissioner of the coast conference, isn't too sure. ·w~·re going to check this thing ourselves and if we find they're using a ringer as 1-dotter like in 1950 we'll play this thing under protest if we play at all.'

" 'Anything for an excuse to get out of a beating,' is the way Evans puts it."

"'We definitely deserve our No. I rating and appreciate having it,' (Evans) says.

" 'Our boys passed their test 100 per cent in that encounter with Michigan on Nov. 20. Michigan is just a weak imitation of our real thing . There's nobody else even a mild threat .. .'

" 'We have a right to be cocky,' (Evans) says. 'We'll even tell them what we're going to do and still beat them.

" 'Before the game we'll make our precision entrance and then go into our script 'Ohio.' Let 'em investigate Ewell all they want, he'll dot the I.

"'We'll join with the Southern Cal band for the National Anthem. It'll look on TV like united effort but they'll be hearing us.

"'At halftime, we'll do 'I love A Parade,' 'Buckeye Battle Cry,' 'Beautiful Ohio March' and 'Fight That Team Across The Field.'

"'We aren't planning anything too new or different although, of course, we'll spring a few surprises.' "

Director Evans, understandably shocked to find that a second writer had put words into his mouth, wrote Schlemmer a restrained letter asking for a retraction and explanation to Beacon-Journal readers. Schlemmer responded by printing Evans' letter in his daily column and following it with this:

"Watching the Ohio State band in action, an outsider would never guess that it is directed by one so lacking in sense of humor as your letter reveals you to be. I find it a most interesting letter; I appreciate getting it, and hope to profit by it.

"Being a musician, you would know nothing about this, of course, but reputable newspapermen never hurt anyone intentionally through their writings ...

"It is difficult to write anything that will prove interesting and entertaining for all those who are the public. There are some who can't read, some who won't, some who can't un· derstand, some who prefer to put false interpretation on what they read ...

"It did not occur to me while writing the Rose Bowl pregame piece about the bands, that anybody could fail to recognize the humor and levity intended ...

"[ might have guessed that some long-haired music maestro or some anti-vivisectionist would take offense at my reference to hari kari with busted baton, but I couldn't have guessed that the Long Hair would turn out to be the man with the shortest sense of humor: the Ohio State direct'or ... "

Pasadena Star Article and Response, ca 1955

126

eei.~ To"'~Ll.Lli~e'-!EP. > ,. >

Figure 11 Original Manuscript of "Chimes" introduction to Carmen Ohio, ca. 1955

127

Figure 12.1

Jack 0. Evans 1915-2001

"A Celebration of Life"

Weigel Hall Auditorium The Ohio State University

November 19, 2001 10:00 AM

Reverend N. Wayne Spangler Tom Cook, Organist

Jack 0. Evans Memorial "A Celebration of Life"

128

Figure 12.2

"A Celebration of Life"

Prelude ................................................................................................................. .

Words from Reverend Spangler ........................................................................ .

The Lord's Prayer - Congregation .................................................................... .

Our Father Who art in Heaven. Hallowed be Thy Name Thy Kingdom come. Thy Will be done, in earth, as it is in heaven.

Give us this day our daily bread. And forgive us our trespasses, as we forgive those who trespass against us.

And lead us not into temptation. but deliver us from evil: For Thine is the Kingdom, and the Power, and the Glory.forever. Amen.

Words from Paul Droste, fonner OSUMB Director, and fonner student ......... .

The OSU Trombone Ensemble .......................................................................... . Assisted by Professor James Akins, tuba Professor Joseph Ouchi, conducting

The Fire of Eternal Glory .......................................... Dimitri Shostakovich arranged by Jon Bohls

Salvation is Created .................................................... Pavel Tschesnokoff

Scripture Readings from the Old Testament ................................................... .

Words from David Koehler, former student ...................................................... .

Katherine Borst Jones, flute ............................................................................... . Rosemary Platt, piano

Morceau de Concours ........................................................... Gabriel Faure

Scripture Readings from the New Testament .................................................. .

Words from Thomas Trinter, former OSUMB member ................................... .

Words from Carol Ann Murray, niece ............................................................. .

Jack 0. Evans Memorial "A Celebration of Life"

129

Psalm 23 - Congregation .................................................................................... .

The lord is my shepherd; I shall not want. He maketh me to lie down in green pastures; He leadeth me beside the still waters. He restoreth my soul:

He leadeth me in the paths of righteousness for His Name's sake. Yea, though I walk through the valley of the shadow of death. I will fear no evil:

for Thou art with me; Thy rod and Thy staff they comfort me. Thou preparest a table before me in the presence of mine enemies:

Thou annointest my head with oil; my cup runneth over. Surely goodness and mercy shall follow me all the days of my life:

and I will dwell in the house of the lord forever.

Members of The Ohio State University Marching Band and Alumni ........... . Jon Woods and Raymond Castle, conducting Across the Field ............................................... arranged by Richard Heine Amazing Grace ...................................................... arranged by Ian Polster Carmen Ohio ................................................... arranged by Richard Heine

(Please stand and join in the singing of The Ohio State University Alma Mater)

Oh! Come let's sing Ohio's praise, and songs to Alma Mater raise. While our hearts rebounding thrill, with joy which death alone can still. Summer's heat or Winter's cold, the seasons pass, the years will roll. Time and change will surely show, how firm thy friendship 0-hi-o!

Benediction ........................................................................................................... .

Honorary Pallbearers: Richard Blatti Peter Borlin David Butler Eugene D' Angelo Paul Droste

Ushers:

Joseph Ouchi Bob Jones David Koehler Robert LeBlanc Donald McGinnis

Bob Murray Ian Polster Steve Walter Jon Woods

Students of Phi Mu Alpha, The Ohio State University School of Music

Figure 12.3 Jack 0. Evans Memorial "A Celebration of Life"

130

~ ~vVa 9Jfand W~e &~a£t -~~

fi-?U~ .26': .2tltl.2

y~~~~

Jack 0. Evans / 9 I 5 - ::oo I

Figure 13.1 Worthington Civic Band Concert Program in Memory of Jack 0. Evans

131

Figu,re 13.2

Program

American Overture for Band Jenkins

Zacatecas (Mexican March) Godina

First Suite in E Flat Holst 1. Chacoone 2. Intermezzo 3. March

Poet and Peasant von Suppe

American Folk Rhapsody No. 4 Grundman Down In The Valley Little Brown Jug Rosie Nell Hey Betty Martin, Tiptoe, Tiptoe

Here's To The Winner The Continental The Way We Were Que Sera, Sera

Lassus Trombone

arr. D'Angelo

Fillmore

Worthington Civic Band Concert Program in Memory of Jack 0. Evans

132

The Worthington Civic Band was formed in 1973, and is sponsored by the Worthington Parks and Recreation Department. The band has performed at the 1974, 1993 and 2001 American School Band Directors National Conventions. the 1983, 1989, 1992, 1998 and the 2001 Ohio Music Education Association Conferences. In addition to local concerts, the band performs for many area retirement and nursing homes, as well as for charity fundraising functions. They also collaborate with Junior and Senior High School Bands on concerts to promote "life long learning: Members range in age from 24 to 72, and many were college music majors. They must be past high school age and attend weekly rehearsals. The band traveled to Europe in July 1992, playing concerts in Germany, Austria and Switzerland. In the summer of 1995 they performed in Amsterdam, Brussels, Paris and London and in July 1997 performed at Disney World. The band toured Australia in 2000, and Hawaii in 2001.

All members volunteer their their time, and also pay their own way on trips. Donations received by the band are used for incidental expenses, with the primary funding being provided by the City of Worthington. ·

After playing clarinet in the band for five years, Elaine Ostrander became the director in 1980. She was the band director at Danville High School for 25 years, and is now the president of Colonial Music. Her degrees from The Ohio State University are Bachelor of Music in clarinet performance, Bachelor of Science in Education and Master of Arts. Professional memberships include past State Chair of ASBDA. Past President of Phi Beta Mu, past Secretary Treasurer of Local 338 AFM, Local 103 AFM, Pi Kappa Lambda, Delta Omicron and Tau Beta Sigma. She was inducted into the Ohio Band Directors Hall of Fame at University of Akron in December 1993, and received the prestigious Columbus Symphony Community Educators Award in March 2000. In June 2001, Elaine was inducted into the Columbus Senior Musicians Hall of Fame and received their 2001 Music Man Award.

Jack Evans was an inspiration to everyone who knew him. He was the ultimate teacher, and never missed an opportunity to relate a better way to accomplish a task. His knowledge was vast, yet his manner was humble. It was impossible to not learn something during a conversation with Jack Evans, or watching him rehearse, conduct a concert, or yell at a marching band through a PA system. Jack was a hero and a lifelong mentor to his students.

Figure 13.3 Worthington Civic Band Concert Program in Memory of Jack 0. Evans

133

~~RANNA LINC04 HIGH SCHOOL

GOLD BAND In concert

at1he

2002 - OHIO MUSIC EDUCATION ASSOCIATION

QUEEN CITY CONFERENCE

Figure 14.1

Friday, February 8 2:00 p.m.

Millennium Ballroom Cincinnati, Ohio

Jeffrey D. Shellhammer, Conductor

Dr. Donald E. McGinnis, Guest Conductor

Diane Ballard, Charles Miiier, Anne Brandyberry,

Kelly Shellhammer, Greg Miller: Band Staff

Gahanna Lincoln High School Band Program

134

'i

Program

March Grandloso (1909/2001 )--·-· Roland. Seitz/Andrew Glover···········-.. ··-······ .. --.......... Barnhouse

Roland Forrest Seitz was bom in 1867 on a farm in southem Pennsylvania. He attended the wellknown Dana Musical Institute in Warren, Ohio, receiving a bachelor's degree in 1898. He subsequently made his home in Glen Rock, Pennsylvania, close to his birthplace, where for many years he taught music, conducted and toured with bands and operated his own publishing company. While Seltz composed over 50 marches, he Is remembered best for his magnificent "March Grandiosoq, a favorite of bands since it was first published In 1909.

Allelula (1997) •.•.• ,_ .............. ,_,.,_ ..... Ralph ManuelfTravia Cross •. -··--···-···· .............. Theodore Music

Ralph Manuel's "Alleluia" must surely be one of the most popular a cappella choral worki:; composed in recent years (1987). Much of its appeal can be attributed to the rich harmonies and vocal scoring, but the profound sentiments of the "Alleluia" text cannot be underestimated. This arrangement of the work begins almost tentatively, with solo alto saxophone plaintively stating the melody, as If the composer !s asking God "why?" or offering a begrudging praise in the aftermath of a difficult life experience. After brief contrapuntal episodes, perhaps recalling memories of happier times, the main theme returns triumphantly wi1h fulf scoring, as If the composer has reached a true understanding and acceptance, joyously offering praisa to God throughout the trials and tribulations of human lite.

Ghost Train (1994) ~-............... m ..... --.... ,_. Eric Whitacre ····-·············· ...... - ..... _" ____ , .... Hal Leonard

The legend of the Ghost Train, a supernatural machine that roars out the night through forgotten towns and empty canyons, is deeply rooted In American folklore. It Is this spirit which composer Eric Whitacre (b. 1970) worked to capb.lre with contemporary textures and effects.

Scossa Elettrlca (1899/2001)--····Glacomo Pucclnl/Cha11es Vates .................................. ,_,.,_ •• Ludwig

The "Electri<: Shock' March by the famous Italian composer Puccini (1868-1924) was written on the occasion of the first cemennlal of the electric battery. The City of Como, Italy offered tributes to Alessandro Volta, the Italian scientist for whom the electrical unit of force, the volt, is named. The original, written for piano, boasted of a lyrlcal Trio sectlon. This arrangement also Jncfudes a special ~~ .

Allerseelen (1955) •••.•.••.••• -···-···-· Richard Strauss/Albert 0. Davis---····-····-············· .. ••••••• .. •• Ludwig In Memory of Professor Jack 0. Evans

Dr. Donald E. McGinnis, Conductor

SubllUed •An Souls Day", this art song, along with others, achieved similar success as the famous tone poems of this master of orchestration. This arrangement was a favorite of Professor Evans to whose memory we dedicate the performance today.

American Pageant {1987) ·······-··········-·······Thomas Knox ........... ·--··········-·······--··-···· ............ Ludwig

This composition was commissioned for the inauguration of President Richard M. Nixon in 1973 and has been used at each subsequent inaugural. The melodies presented here are a permanent reminder of our heritage which now, since September 11, 2001, take on e11en greater meaning in expressing a sense of national pride.

Figure 14.2 Gahanna Lincoln High School Band Program

135

Professor Jack 0 . Evans 1915-2001

Jacll Evans was one or the most rospecled music e~ators and bend directors 1n our Slate and NaUon. His long cant&r In music began as a junior tigh student In 1he Cleveland Public Schoole where he taught lessons. Jack enlell!d Weslem Reserve University In t933, one of six students In the School ot Education. carol JDOllll (Evans), another mambDI of that class, became Jack'.& wire In 1938. The Evans' taught In lhe Shaker Heights school system untll Jack was drafted Into the Anny In 1943, eventuallyleadng a Special SllMces Show Band In England and Franca.

Jack was one of 13 new faculty hired for the OSU Schoel of Music In the fall of 1 947. Ha taught Jaw brass, 1aslaled with 1he m11Cting band and soon rounded the ActlvH!as Band which waa !alllr eplll and renamed as the Symphonlo llt1d University Bands. Jack's twelw 5811$0ns as dllldor of the mllld11rQ blll'lcl were martwld by hla lnlllstenca on higher standllfda ol maR;hlng and piaylllg. For many years alter hi& 1973 Rllirement, he continued to adjudicate OMEA evenls and !JUesl conduct school bands.

II ts dlfflCUit to 1ummar1ze lhe me;or accompllshmanes In a nr11 tha1 was so full and lnPuentlal. He was most pivud or Iha OMEA Oiatingulllhed SeN!ce Award 1hat he received fclntly wllfl his wPe Carol, and tis memberalip in The Amelfcan Banctnasler.i Assoclallo/l. To the end of his Itta, he waa sUhhering hi& ldeanboul mualc and llfe. Whanevar band members get togelhert.o talk about Jack, the memories rocus on 1he high 1tandarda and his life-time inPuence on each of hi~ stu®nls.

Dr. Donald E. McGinnis Donald E. McGinnis was bom In Barbar1on, Ohio, in 1917 and graduated from Wadsworth High School. Ha received degrees

In clatlnet palformanca and music educallon l!Om Oberlin Cailage and MA and PhD dagnias In lheoty and composnlon from Iha Untvenslty of Iowa. In 1941 Dr. McGinnis began a forty year career ar The Ohio State Unlverslly, and wu collduc!Or or ttte Concert Bandfnxn 1952to 1979.

Major band pltlform.nces were In Camegle Hall, Unooln Cerilef, MENC convet1tloo$ In Phlladelphla and Allanllc City, ASBOA nalkloal cnnvenllon In Cleveland and Iha Sliver AnniYarsa.iy (1967) of the CBONA In Ann Albor. The Concert Band acllleved lnlellllllional l'l!()()gfli!ion and p ruduced many lnlltmallonally dlatribuled recordlnge. As a servlca IO Ohl!> band conductora and clhlNS, OMEA Jaqdred band music; was l9COl'Clld for more then twenty yetn.

Al Ohio Slale, Dr. McGlnris laiqrt nula, clarinet and conducting and WH chairman or tM Performance Division for many years. HI! also saMld 88 acllng DIAICIOI' of the Sc:hool of Music Jn 1973-74.

DI". McGinnis was elected lo membership In The American Bandmaaler& Assoclatton In 1956, served as Ptealdent and was eloctad t.o Honorary Ufe Membellhlp In 1999. Among many awards, he waa honored wllh lhe Menlor Award from the Association of Concert Bands 8lld In 2001 was named one of the fusl flve bend conductors In the Ohio Phi Bala Mu Hall of Fame.

Dr. Mc:Glnnls c:ontinuae an ectiw mus/cal canier on bolh ffut& 111111 clulnet, u conduc:lor, cRnlclan and adjudicator. He teaches nuta, clarinet and conduc:llng to a select number or private stlldents.

Gahanna-Jefferson Schools The Gahanna.Jellerson PubRc Sd!ool 01aU1cl la localed In the nonhaastem por1!on ol Franklin County, approximately eight miles

from downtown Columbus. The dis1rict.C0R19roml11e& rural, rasldantlel and industrial areas wllh a population of approximately 36,000 pal!IOlla. Theie ara seven elemenlaly schocle (K·S), th111e middle achoais (~) and one high schocl (enrollment 2000) wilh a district enrllilment or 7000.

Gahanna-Jefferson Bands The Lincoln High School Gold Band Is p811 of a total muslo program In the Gahanna-Jellerson Schools. At the high school, th9fll

Is a separate freshman band (72 me!Tbers) as _, as a sanlor band of grades 10-12 (156 members). The senior band meets es a marohlng band during the flral quartef of the year and then !s divided, by auditkin, JnlO Blue and Gold Concert Bands. All thl'ff bands reh811188 dally (47 minute pericds) and receive one fUl graduation Ct9dlt par yaar. Two jm2 bands meet on allemllling days (Novarrt>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<ogram wllh lhe sixth mal'lt>er (part-lime) directing the high scllool fazz bands.

The three Lincoln con cart band& annually pelfonn W!n1er(JaJ1oary), Prism (March) and Senior Raccignlllon (May) Concerts along wffh entering OMEA Adjudicated Events on a yeaily balls. Freshman Band has earned Stale Superior rallngs Jn Class C ('92·'96, '98-'01 ) Whie Blue Ban.d hes earned Stale Superiors In "C" ('88· '91 ) and in "8" ('93, '94, '96· '01 ) and Gold Band Slate Superiors In "A" ('87-'89) and "AA" r90·'01 ). Addlllcnally, Gold Band has pelformed ml OMEA profesaional conlereoces ('95, '97, '99), Ill& BGSU New Music Reading Clinic ('89, '95), the MldWasl lnlamalional Band and Orchestra Clinic In Chicago r92). ASBDA Olio Cl!nlc ('90) and the Ohio Band Olreclors Clinic at Aluon Uriverslty ('90).

Gold Band nas, In the past aevenl&en years had the opportunlly to WDfk wfth guests Mr. Herbert Spencer. Mr. Jim Akins, Mr. Gary Lewis, Mr Roger Cichy. Mr. Elrrot De!Borgo, Mr. Rober! Fie ming, Mr. Ray Cramer. Mr. Mark Kelly, Dr. Tlmolhy Swlnehan, Dr. Tlmolhy Mahr, Or Betry Kopetz. Dr. Asher Tut, Mr. Craig Kirchoff, Dr. Donald McGinnis, PmfeS.!lor Jack Evaos, Dr. Karel Husa, Dr. Francis McBeth and Or Alfred Reed.

Figwe 14.3 Gahanna Lincoln High School Band Program

136

T · H · E

OHIO S1i\1E UNIVERSITY

College of tlie Arts School of Music

presents

Jack 0. EVans

Figure 15.1

A Musical Tribute

Symphonic Band Richard L. Blatti, Conductor

and

Universiry Band Carol Hayward, Conductor

Tuesday, March 12, 2002 8:00 p.m. Weigel Hall Auditorium

A Musical Tribute to Jack 0. Evans, Ohio State Symphonic Band and University Band

137

Program

Master of Ceremonies

UniversiJy Ba11d

Symphonic Overture

Irish Rhapsody

Overture in Bb

Amparita Roca

• # . INTERMISSION .

Symphonic Band

Overture: Beatrice and Benedict

Jack 0. Evans: Student, Mentor, Soldier Military Escort

Fantasie on a Danish Theme N ationa1 Emblem

Esprit De Corps

Jon Waters

Charles Carter

Clare Gnindman

Caesar Giovannini

Jaime Texidor

Hector Berlioz trans. Franz Henning

Harold Bennett ed. Frederick Fennell

Albert Oliver Davis E.E. Bagley

ed. Frederick Fennell

Robert Jager

Symphonic and University Bands Carmen Ohio arr. Roger Cichy

Figure 15.2 A Musical Tribute to Jack 0. Evans, Ohio State Symphonic Band and University Band

138

Jack Oliver Evans was bom in Charleston. South Carolina on May 3, 1915, his mother's binhday. He was the son of John Paul Evans, who was presumed lost at sea on the Battleship Texas during World War I. Jack, his mother, and younger sister were sent to Cleveland to live with his father's parents for the duration of the War. Consequendy, the loss of his father caused Jack and his family to take up permanent residence in Cleveland.

Jack auended school in the Cleveland public school system and said this of his education, "l never had o bad teacher." He began to play the trombone while in elementary school. He was able to purchase a Cleveland.made H. N. White trombone for twenty-five dollars from proceeds through a newspaper route. He then had the impetus to take lessons on his instrument, paying twenty-five cents per session.

Jack told of his childhood and life-long friendship with Frederick Pennell. Jack described Fennell in one of their first meetings as the .. cocky little drununer." The two participated in Boy Scouts, went camping, spent time with one.another's families, and shared many musical experiences together. When they entered John Adams High School, Jack was the Drill Sergeant and Fred was the Drum Major.

rn 1932, the John Adams High School Orchestra, underthedin:ction of Amos Wesler, won the National Orchestra Competition in Chicago. In that same year, Jack participated in the Music Educators' National Conference (MENC) National Orchestra and earned first chair. Because of his participation, he was offered half scholarship to Interlochen, but could not raise the remaining funds to attend. Also, in 1932, Jack was a member of the All-Ohio Boys Band, under the direction or Louis Pete.

Jack began teaching even bdore he graduated from high school. He was as close to a middle school band director without being paid as one could get while still in high school. He taught many private lessons and various other musical coaching to middle school students. The choice and path for Jack Evans was clear. He entered the Westem Reserve University college of education in 1933. His class had six students, four of whom had perfect pitch. His future wife Carol was in his class and recalled that she would spy the starting pitch on Jack• s aural dictation because he had perfect pitch and she did not.

Upon graduation from Western Reserve, he obtained his first teaching job in 1937 in the Shaker Heights school system. He served as band director for almost ten years there. In the summers of 1942 and 1943, Jack played in the Cleveland Orchestra Summer Pops, and would occasionally be called to substitute al various events and run-out concerts during the regular season.

From September of 1943 lhrough January of 1946, Jack served in the United States Anny. In 1944, he was convoyed to England as part of lhe Special Services Show Band. In his absence, his wife Carol assumed his duties as band director wilh her own job of choir director at Shaker Heights. He returned to the U.S. and to civilian life in 1946 and resumed his teaching position at Shaker Heights. •

Inthesummerofl947,JackandCarolmadeamajordecision. EugeneWeigel,director of the Ohio State University School of Music, interviewed and quickly offered Jack a position on the faculty. Jack gladly accepted and was assigned to teach low brass classes, as he was one of thirteen new faculty hired that year. In his first yearat Ohio State, Jack saw the need for another concert band to meet lhe needs of and 1he growing population of students. Jack created the Activities Band in 1947. In addition to concert performances, the band also played for Ohio State's home Basketball games. Jack saw Ibis band grow in size quickly. The name of lhe band was soon changed to "The Buckeye Band," and soon thereafter, high enrollment made necessary two bands called "The Buc:keye Scarlet Band" and the "Buckeye Orey Band'' respectively.

Jack knew the director of the OSU Marching Band at the time, Manley Whitcomb. Through their friendship, Whitcomb invited Evans to assist him with the marching band. Florida State University recruited Manley Whitcomb to build a Marching Band and band program like

Figure 15.3 A Musical Tnlmte to Jack 0. Evans, Ohio State Symphonic Band and University Band

139

Ohio State•s. Jnitially, he turned Florida State's offers down. They then recruited Jack. but he too declined lheiroffers. Florida Slate tried once again to recruit Whitcomb and he finally accepted. In 1952, Jack Evans filled Manley Whitcomb's position as director of the Ohio State Marching Band. This started a twelve-year career of innovation and excellence with the marching band. Jack's contributions to the marching band are numerous. He standardized the spacing in fonnations. He made all flanking maneuvers correspond with the right foot. Jack standardized the 22.5 inch 8-to-5 step size, and replaced alto trumpets with tlugelhoms. He changed the arm-swing from every two beacs to every fourth beat to simplify and create a more uniform and precise look. His halftime shows were innovative. His bands made several Rose Bowl appearances. He created the first recordings and the first motion pictures of the marching band in 1958. Evans refined the sound oftbe band through attention 10 music and the musicianship of his sbJdents. It was detail in music upon which Jack focused much time and effort. He was also respon.s.ibJe for setting up a system of organizati<ln for the band and staff.

One of his most unique innovations was the addition of the sound of the Campus Chimes lo the Alma Mater Cannen Ohio. It was Richard Heine who created the arrangement, listening to the Orton Hall Westminster style chimes from all parts of the oval. He took notaaion oflhe sounds he was hearing and skillfully created a band arransement that most closely resembled the actual sounds of the campus chimes.

It was Jack Evans who married the Chimes with cam.en Ohio. He wanted a way to tell the football audience that the alma mater was about lo be played. The chimes were a perfect fit

Jack retired as the director of the Marching Band in 1964. He retired from the School of Music in 1973, but served as a career counselorfor the school for another twelve years after his official retirement. Jack returned to the AU-Ohio Boys Band I State Fair Band and conducted it from 1967· 1969. He was the first director of the OSU Alumni Band from 1974-1979. His roost recent work was involved with the planning of the new Steinbrenner Band Centerin Ohio Stadium. He was instrumental in the desi&n of this new facility. Jack Evans' career was highlighted by a span of 54 years of service to Th«? Ohio State University.

His awards were numerous. In 1956, Jack was given the Freedom Foundation Award for an inspiring patriotic halftime show entilled "It's a Grand Old Flag." He received the OSU School of Music Distinguished Service Award in 1964. Jack was given 1he Script Ohio Award by the TBDBlTL Alumni in 1975. ln,1981 he was honored with The Ohio State University Distinguished Service Award. Jack and Carol Evans were &Jvcn the Ohio Music Education Association Distinguished Service Award, an honor that had never been given jointly and has not since been given jointly to a married couple. Jack was inducted into the American Bandmasters' Association.

Jack Evans has meant many things to many people. 1lic stories and testimonials arc endless. We all have our own unique memories of Jack. Always the teacher· he is stiJl educating us, through the example he set throughout his life and through the kind of people that he has influenced us to become. We are all better people for having known Jaclc, and the world is a better place for having Jack in it.

·Jon Waters, 2002


140

University Band Carol Hayward, Conductor

Flute Bass Clarinet Horn Tuba Stefanie Baughman Bethany Brake Monica Baumann Amy Ashcraft Kate DeRhodes Jason Kirschenbaum* Adam Behrman Kenn Bates Jennifer Drum Ben Cipriany Trevor Curry Margaret Hershberger A.Ito Sax Jeff Hageman Ryan Morehead Erica Howard• Brian Baldwin Alexandra Hilditch Josh Parsley* Lisa Johnston Clayton Bettin* Jen lben* Zach Roberts Won Kyung Ko Melanie Fellows Tracey Keller Jude Smith Betty Lee William Giallournkis Charles Kuehn Christine Lonergan Samuel Lasse Eric Rovtar String Bass " i Katie McNiff Robert Olmon B.J. Schweikert Nathan Smith I

Melissa Meola Brett Profitt I Teresa Miedler Kenny Sparkes Trombone Percussion l Karissa Murphy Josh Barclay Jim Dumond

I Sarah Schafer Tenor Sax Lauren Collister Leslie Gravely Michelle Sheridan Bob Henz* James Davis Thomas Landis I Tracy Paroubek Greg Drozd* Felicia Miramontes

I Oboe Jason Duffy EricOlmon Amy Fuller* Bari toneSax Brian Foster William Strucke

Greg Golub* Zak Kimble Bassoon Geoffrey Wiggins David Lenz Nathan Amador Derrick Maxey Nicole Hulec Trumpet Steve McCartney Ryanne Kennedy* Ken Baird Chris Penley

Ben Bettin Sarah Pillivant Cl.arinet Elizabeth Cannon• Shannon Stieg Melissa Backus Chris Colburn Amy Tarr Bill Belisle Mall Couling Lonny Young Hsin-Yi Chen Jennifer Czocher Angela Choong Brandon Dickerson Euphonium Louise Friend Jonathon Fairman Michael Billman Lois Hadley Michael Haig Thomas Dole Sarah Jones Andrew Headington Dan Dumond Dan Mead* Brian Hoffmeister Shawn Gelsinger* Stacy Morehead Jackie Hurst Michael Landefeld Chelsea Rhinebarger Radhika Kesaria Sarah Mosher Elizabeth Ribich Ben Kindred Troyo•Neal Donald Seelig Jessica MacMurray Jeanne-Marie Volpe Kristin Smilh Chris Meister Viktor Tucay Christine Vaughn Melissa Sweigart Amy Yuncker

*Principal Rachael '.Zimmennan

Figure 15.5 A Musical Tribute to Jack 0. Evans, Ohio St.ate Symphonic Band and University Band

141

The Symphonic Band Richard Blatti, Conductor

Piccolo Alto Saxophone Trombone Emily Toemer *Katie Dean Michae! Albrecht

Mercedes Mehring James Arthur Flute *James Defrancesco Melanie Angert Tenor Saxophone Joshua Goodwin Clay Hammond Andrew Harris Ken Huff Tracey Hurt Samuel Weissberg *Nathan Muehl Bari Saxophone Laura Nieman Matt Guirerri Bass Trombone Joe Panzner Danny Golde Emily Teemer Trumpet Joe Lewis Jessica Weiner Rachel Arpin Andrew Stankey

Curtis Amrein Oboe *Matthew Bain Euphonium Staci Riffle Ryan Hoverman Melanie Ammons *Jessica Russell Alfred Kwon *Natasha Anderson

Michael Martin Gaelynn Dooley Bassoon Nathan McGee Jenny Green Ryanne Kennedy Michelle Mormon NichLee Stephen Ondak Tuba *Adrienne Smith Kevin Pfefferle Michael Poretta Ashleigh Windnagel Derek Rudd *David Smith

Aubrey Yuzva Joseph Witkowski Bb Clarinet Yo-hang Ahn French Horn Percussion tDeanna Brizgys *Nicole Dulmage Mike Bailly Laura Kuttler Amanda Purcell Rachael Demland Anabelle Maggard Eric Scarbrough Nathan Greene Andrea Miskovch Jessica Robinette Michael McCarthy tTracy Paroubek Aimee Smith Brett Wade *Sarah SantiJli Ali Williams Sara Winters Tamre Schemine Jared Wolfgang *Adam Wolfe Bill Stewart Jeffrey WiJkinson Sarah Wiggins Manager

Michael Poretta Bass Clarinet •principals Dan Mead tassisting musician


142

Figure 16 Election Certificate to the American Bandmasters Association

143

APPENDIX B

1958 Rose Bowl Scrapbook

144

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Dec

emb

er

29

a,o

o A

.M.

PST

lea

ve

Los

A

ng

ele

s

Thu

rsda

y J

an

ua

ry

2 1 O

,OO

P.M

. PS

T

(So

uth

ern

P

acif

ic-U

nio

n

Sta

tio

n)

Arr

ive

S

on

F

ran

cisc

o

Fri

day

Ja

nu

ary

3

10,0

5 A

.M.

PST

(3rd

S

tree

t S

tati

on)

Lea

ve

Oa

kla

nd

P

ier

Sat

urd

ay

Ja

nu

ary

4

12,3

0 A

.M.

PST

(Sou

ther

n

Pac

ific

)

Arr

ive

D

en

ve

r S

un

day

J

an

ua

ry

5 9,

30 A

.M.

MST

lea

ve

Den

ver

Su

nd

ay

Ja

nu

ary

5

11,3

0 A

.M.

MST

Arr

ive

C

olu

mb

us

M

on

day

J

an

ua

ry

6 a,o

o P.

M.

EST

...... ~

-....l

Fig

ure

17.3

19

58 R

ose

Bow

l Scr

apbo

ok

M

A. F

!!' 0

F

. T.

R

; I

P

Ral

l T

rip l

a R

ate

Baw

l an

d st

ap-o

ver

paln

h en

raut

e.

THE

OH

IO

STA

TE

UN

IVER

SITY

MA

RC

HIN

G

BA

ND

-..i::. 00

Fig

ure

17.4

JAC

K

0.

EV

AN

S

Dir

ecto

r, O

hio

Sta

te U

niv

ersi

ty B

and

MR

. C

HA

RL

ES

l.

~5POHN

MR

. R

ICH

AR

D

J.

SU

.lll

OE

ND

OR

F

Au

ista

nt

Dire

ctci

•rs

MR

. T

OM

JO

HN

SO

N

Ann

ounc

er

MR

. R

ICH

AR

D

HE

INE

M

uii

c A

rran

ge

r

Bb

Co

rnet

and

l T

rum

pet

All

en,

Leo

nar

d

Bac

hm

an,

Ger

c::J

ld

Bat

es,

Don

B

etts

, D

ean

C

arlo

, M

ouri

cei

Chr

isto

poul

os,

Pau

l C

hen

ow

eth

, Jc

1hn

Oau

lbau

gh

, R

icha

rd

Ega

n, _

Sco

tt

Flo

renc

e,

Dw

igh

t E

mer

y,

Ger

ald

G

illi

land

, S

tan

ton

H

add

en,

Ray

H

araw

ay,

C

ha,

rles

H

icks

, M

orri

s

1958

Ros

e B

owl S

crap

book

The

pr

ecis

e co

lum

ns o

f th

e sm

art

Buc

keye

12

0-pi

ece

Mar

chin

g B

and

pay

mus

ical

h

om

age

to t

he c

itiz

ens

P'

of

San

Fra

ncis

co d

uri

ng

th

e 1

95

7 -5

8 R

ose

Baw

l T

rip.

1 ·

• •

• .

.. _11

..~ ~~

o. s.

u.

MA

RC

HIN

G

Hin

dm

arch

, S

tan

ley

H

last

en,

Th

om

as

Hoo

e,

W.

Cli

ffor

d H

orch

, P

hill

ip

Kirk

, R

ober

t K

onic

ek,

Ken

neth

L

afra

nce

, C

har

les

Mar

shal

l,

Ron

ald

Mat

z,

Ro

ber

t

Mo

rto

n,

Ray

mo

nd

M

yers

, W

alte

r

Nau

m,

Byr

on

Nea

l,

Tom

N

icho

lson

, Fi

r!

Pit

ten

ger

, W

ayn

e R

ago

, A

nth

on

y

Ros

t, W

illi

am

Sel

lers

, G

ene

Th

om

en,

Ray

T

ho

mp

son

, K

enn

eth

T

hors

on,

Jam

es

Ven

tres

ca,

Gin

o

Wh

eato

n,

Jam

es

Wil

liam

s,

Gle

nn

W

ilso

n,

Rol

land

W

ilso

n,

Th

eod

ore

W

oodr

uff,

E

dw

ard

Y

ance

, R

ober

t

Alt

o T

rum

pet

Gru

ebm

eyer

, O

rvil

le

Hill

, W

illi

am

Kel

logg

, T

om

Pro

tsm

an,

Th

om

as

Ten

ney

, R

icha

rd

Eb

So

pra

no

C

orn

et

Bur

row

s,

Joh

n

Cla

rk,

Ste

ph

en

Duf

fy,

Ter

ry

Jen

nin

gs,

H

aro

ld

Mab

en,

Rob

ert

Mo

ntg

om

ery,

L

ee

Pel

leri

ti,

Ric

hard

P

ierc

e,

Ho

war

d

Rob

erts

, R

icha

rd

Sti

enec

ker

, C

har

les

Tat

man

, K

enn

eth

BA

ND

Alt

o H

orn

Bro

wn,

R

ob

ert

Cal

ver

t, T

ed

Car

nes

, P

hili

p

Gol

tz,

Gle

nn

H

adle

y,

Rob

ert

Hat

hh

orn

, T

ho

mas

Hoe

ltze

l,

Ken

neth

H

ook

, Ja

mes

Kno

ch,

Gen

e

Kui

vine

n,

Ned

Moo

re,

Car

man

N

ixon

, R

ober

t

Pol

idor

o,

Vin

cen

t S

uddu

th,

Our

y

.......

+:

\0

Fig

ure

17.5

~·:4>.

!·~~~-

;·~~

-N

·--.

.\ "*•

. . '. 5-'

:. -

. .

-.

... <

Jq

_ ~-~l

l'.i.\\ll:

'~~,~

~~··"'"'~---~..,-

-~-~.

· r.-

::=..~.··

. ~"<!:~.:

~..a

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11.itjM

i:w.: ·*

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. . '

l !l

6

t (j

{1

t ...

~,;

.__.W .. j,1~ -

OL

DS

MO

DIL

E

OR

GA

NIZ

AT

IO

N

Gen

eral

Ch

airm

an

MR

. J.

J.

DO

BB

S

Euc

utlY

e A

nh

lan

t to

th

• G

ener

al

Sol ..

Man

ager

Co

-Ch

alrm

u

MR

. A

. 5,

C

OR

WIN

-T

ron1

port

al1o

n

MR

. E.

L W

AR

NE

R,

JR. -

Bon

d E

venh

,

Publ

lcot

ion1

, Pu

blic

R

elot

iorn

MR

. W

. L.

W

OO

O-

Co

·ord

lno

lor

Bar

ito

ne

Ho

rn

Abe

l,

Jam

es

Bur

ks,

Pau

l C

arr,

D

on

Con

lin

, C

arl

Dro

ste,

P

aul

Eb

erh

art,

Rob

ert

Kin

ne

y,

Bra

dle

y P

elto

ma,

R

ob

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Rob

erts

on,

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nal

d

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liam

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anta

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ma,

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on

ald

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imm

ons,

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icha

rd

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mm

, G

ary

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s

Cal

dw

ell,

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tep

nen

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amil

ton,

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icha

rd

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den,

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lin

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ulic

k,

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an

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llip

s,

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liae

l R

oth

, R

ober

t

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usa

ph

on

e

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le,

Elm

ore

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pp

, Ja

mes

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fy,

Rob

ert

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on

, Ja

mes

McD

onal

d,

Jam

es

No

ble

, R

ober

t P

ott

er,

Th

om

as

Sta

nle

y,

Do

nal

d

Ste

war

t,

Jess

S

tins

on,

Wil

liam

W

illi

ams,

H

arry

W

indl

e,

Rob

ert

Te

no

r H

orn

Ben

son,

A

nth

on

y

Cal

dw

ell,

Jo

sep

n

Co

ffm

an,

Th

om

as

Cru

tch

, K

enn

eth

H

ard

en,

Ste

ph

en

Hed

ges

, C

nar

les

Ken

tner

, D

on

ald

Man

ches

ter,

Ja

son

R

icha

rds,

L

owel

l S

mit

h,

Ro

ger

Th

isse

n,

Wil

liam

W

olf,

D

avid

Tro

mb

on

ium

Daw

son

, Ja

me

s F

ern

, Ed

ward

H

emey

er,

T

erry

N

oe,

D

av

id

Pen

der

gra

ss,

Fran

k

Po

lste

r,

Ian

S

pai

n,

Dav

id

Th

om

as,

Joh

n

Th

om

pso

n,

Fra

nk

Sn

are

D

rum

Fre

eman

, D

avid

G

roo

m,

Dav

id

Huf

f,

Dav

id

Mar

snal

l,

Wal

ter

Purs

er,

Jose

ph

1958

Ros

e B

owl S

crap

book

Un

ger

, G

ero

ld

Vo

re,

Vol

W

ork

man

, P

aul

Bos

s D

rum

Ben

der

, R

ich

ard

C

ottr

ill,

D

arre

ll

Wes

t, R

icha

rd

Cy

mb

als

Fu

lmer

, R

ob

ert

Hor

t,

Ira

Dru

m M

aio

r

Co

ry,

lorr

y

Ass

t. D

rum

M

ajo

r

Alb

erts

, D

ave

Stu

dent

Ma

na

ge

rs

Bel

cnef

l, K

oste

S

ing

er,

Jam

es

-Vl 0

DE

C.

19

57

II

Fig

ure

17.6

19

58 R

ose

Bow

l Scr

apbo

ok

ON

T

HE

T

RA

IN

s ~-

~~

I

I '

., .....

... .. .

"All

Ab

oar

d!"

B

etw

een

C

olu

mb

us,

O

hio

, an

d

Pas

aden

a,

Cal

i·

forn

ia,

tim

e p

asse

d q

uick

ly f

or

the

nea

rly

25

0

0.S

.U.

offi

cial

s,

Mar

chin

g

Ban

d

mem

ber

s an

d O

ldsm

ob

ile

per

son

nel

w

ho

mo

de

the

trip

to

th

e R

ose

Bow

l.

Nat

ura

lly

, th

e h

ard

-wo

rkin

g m

emb

ers

of

the

0.S

.U.

Mar

chin

g

Ban

d

mad

e th

e m

ost

o

f th

eir

leis

ure

ho

urs

b

etw

een

p

ara

de s

top

s -

pro

of

of

wh

ich

is

b

orn

e o

ut

by

the

ph

oto

gra

ph

s.

The

wo

rm s

mil

e fl

ash

ed b

y P

hyll

is A

. S

hir

key

, (r

igh

t ce

nte

r)

a m

emb

er

of

the

Ho

mec

om

ing

Q

uee

n's

C

ou

rt,

bea

rs t

esti

mo

ny

to

the

wo

nd

erfu

l ti

me

exp

erie

nce

d b

y t

he

enti

re

ento

ura

ge

of

the

spec

ial

tra

in

wh

ich

ca

rrie

d

the

O.S

.U.

an

d

Old

smo

bil

e of

fici

als

to t

he

Pas

aden

a cl

assi

c.

......

Vo

.....

.

Fig

ure

17. 7

19

58 R

ose

Bow

l Scr

apbo

ok D

AL

LA

S

('::.,

The

"E

yes

of

Tex

as"

wer

e fo

cuse

d o

n t

he

0.S

.U.

Mar

chin

g

Ban

d d

uri

ng

th

e st

op

-ov

er a

nd

para

de i

n D

alla

s an

De

cem

ber

2

7.

A

visi

t ta

th

e D

alla

s h

ead

qu

arte

rs

of

the

Tex

as

Ran

ger

s,

wel

com

ing

ce

rem

on

ies,

th

e ac

qu

isit

ion

o

f p

rop

er R

ang

er h

ead

gear

by

mem

ber

s o

f th

e B

and

an

d

a co

nce

rt

by

th

e b

and

smen

w

ere

incl

ud

ed

amo

ng

th

e h

igh

lig

hts

en

joy

ed

by

th

e 0

.5.U

. g

rou

p

to

this

b

rig

ht

star

in

the

"lo

ne

Sta

r S

tate

."

DE

C.

19

57

......

Vt

N

DE

C.

19

57

..

Fig

ure

17.8

19

58 R

ose

Bow

l Scr

apbo

ok

PH

OE

NIX

...

· , v

i v

1 Hi

t. ~· w

~ ~

... r

W

l •,

' ....

l '

',\

t: ''u 1

\'\'

~ i)· "

" · ·.

.

~ •

i ~ ..

.. ..

• w

l ~ ~

i H

•,:

Vf

'.

• .. ¥

i .

f ~-

.. it

· ·

· '"e ~ ·

ll-1.

, 1

' ' '

,, ' '

f ,

' '

ft t

"'Ji

--~~~

J

Su

nn

y P

ho

enix

bec

ame

the

trad

itio

nal

gra

ci

ous

host

as

ci

ty

offi

cial

s tu

rned

o

ut

to

gre

et t

he

0.S

.U.

con

tin

gen

t o

n t

he

trip

to

th

e W

est

Co

ast

an

d

the

To

urn

amen

t o

f R

oses

P

arad

e an

d

foot

ball

cl

assi

c.

The

B

ucke

ye

Mar

chin

g

Ban

d ad

ded

o

touc

h o

f g

lam

or

by m

akin

g a

n a

pp

eara

nce a

t th

e "G

ou

lash

B

owl"

in

M

on

tgo

mer

y

Sta

diu

m,

Ph

oen

ix.

The

ch

arit

y e

ven

t w

as

plo

yed

bet

wee

n a

ll

star

fo

otba

ll

pla

yer

s fr

om

Pho

enix

an

d

Tuc

son

. P

rett

y Ju

dit

h C

ash

, O

.S.U

. "H

ome

com

ing

Qu

een"

, p

ose

s at

up

per

rig

ht

wit

h

equ

ally

at

trac

tiv

e M

iss

Ari

zon

a,

Do

nn

a R

iggs

of

Ph

oen

ix.

;ttl

._

____

. . 1:·1··

·~

• •

-h

-•

• ~

' .

"' ~ ~

. -

f,, .~~·

''L

' .,

I ~~

~ &

.• • .zd.~

-jl:} ..

.. ~

:!'._·

,

~

. ... -

-Vl w

Fig

ure

17.9

19

58 R

ose

Bow

l Scr

apbo

ok

AN

D

A

L

H

A

M

a O

CC

ID

EN

TA

L

R

A

CO

LL

EG

E

The

co

lorf

ul

0.5

.U.

Ban

d

was

b

esie

ged

by

wel

l-w

ish

ers

on

ar

riva

l in

Alh

amb

ra,

Cal

if.

Dur

ing

thei

r W

est

Co

ast

stay

, th

e b

on

d

mem

ber

s m

ade

Occ

iden

tal

Col

le

ge

thei

r h

ead

qu

arte

rs.

Pho

tos

at

rig

ht

sho

w

som

e o

f th

e b

on

dsm

en

pre

par

ing

p

rop

s fo

r th

e R

ose

Bow

l g

am

e's

h

alf-

tim

e ac

tiv

itie

s.

0.S

.U.'s

"H

om

eco

min

g

Qu

een

" Ju

dy

C

ash

(l

eft,

top

ov

al)

an

d

her

co

urt

, w

ere

wel

co

med

to

Cal

ifo

rnia

by

Mrs

. K

en

Ho

ote

n,

{rig

ht)

p

resi

den

t of

th

e U

nive

rsit

y A

lum

ni

So

ciet

y in

S

ou

ther

n C

alif

orn

ia.

DE

C.

19

57

~

.....

Vi ~

DE

C.

Fig

ure

17.1

0 19

58 R

ose

Bow

l Scr

apbo

ok

~~DO~ -<~

OTEL

__

z..

_ ..

. 1... ...

... :-:

n-'"

' 1'

fw

-J

. ,jrJ~l»

~·.tr«

Los

An

gel

es

resi

dent

s,

long

ac

cust

om

ed

to

spec

tacu

lar

even

ts,

wer

e tr

eate

d

to

ano

ther

w

hen

th

e 1

20

-pie

ce

blu

e-cl

ad

ran

ks

of

the

0.5

.U.

Mar

chin

g

Ban

d

per

form

ed

a pr

e-R

ose

Bow

l G

ame

conc

ert

on

th

e g

reen

law

ns

of t

fie

Am

bas

sad

or

Hot

el.

The

on

loo

ker

s ap

pla

ud

ed

loud

an

d l

ong

as t

he

ban

d s

tep

ped

bri

skly

to

it

s p

re-a

rran

ged

co

ncer

t si

te

an

d

qu

ick

ly

form

ed

a se

mi-

circ

le

aro

un

d

Ban

d

Dir

ecto

r Ja

ck 0

. Ev

ans .

.......

VI

VI

LO

S

Fig

ure

17.1

1 19

58 R

ose

Bow

l Scr

apbo

ok

ANGELES24-~

Th

ere

wer

e m

any

in

tere

stin

g t

hin

gs

to d

o a

nd

see

du

rin

g t

he

Ban

d's

fo

ur

day

sta

y i

n Lo

s A

ng

eles

. le

ft t

op

, 0

.5.U

. D

rum

Maj

or

Larr

y C

ory

giv

es

a fe

w

inst

ruct

ion

s o

n

bat

on

tw

irli

ng

to

star

let

Co

nn

ie

Ste

ven

s d

uri

ng

a

sig

hts

eein

g to

ur

of

the

Par

amo

un

t P

ictu

res

Stu

dio

s in

Ho

lly

wo

od

. A

nd

th

ere

to

gre

et t

he

ban

dsm

en

an

d

the

"H

om

eco

min

g

Qu

een

" an

d

her

co

urt

on

th

e se

t o

f hi

s n

ext

mo

vie

, "

Roc

k-A

-Bye

-Bab

y",

was

Co

med

ian

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rry

lew

is.

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ura

lly

, Je

rry

had

th

e O

hio

g

rou

p

in

stit

ches

b

efo

re it

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sp

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l b

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o re

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ur

of

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er L

os A

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hig

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gh

ts.

fAA

lit£R

S HA

RK

lT

DE

C.

19

57

.......

Vl

O'I

JA

N.

Fig

ure

17.1

2 19

58 R

ose

Bow

l Scr

apbo

ok

TH

le

TO

UR

NA

MleN

T

OF

The

hig

h-s

tep

pin

g 0

.5.U

. M

arch

ing

Ban

d (

left

to

p)

pac

es t

he

bea

uti

ful

flo

ot

ente

red

in

th

e 6

0th

an

nu

al

To

urn

amen

t o

f R

oses

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arad

e b

y O

hio

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tate

U

nive

rsit

y.

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in t

he

pas

t, t

he

mil

es-l

ong

para

de d

ow

n P

asad

ena'

s C

olo

rad

o

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lion

s w

ho

vie

wed

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e sp

ecta

cle

in

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son

an

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n t

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isio

n.

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flo

ats

belo

w,

from

lef

t to

rig

ht,

are:

th

e g

ran

d p

rize

win

ner

, a

ren

dit

ion

of

a Ja

pan

ese

sum

mer

ho

use;

"T

he R

ocke

t H

oney

moo

n11

, by

th

e O

dd

Fel

low

s an

d

Reb

eko

hs

org

aniz

atio

ns;

an

d t

he

Uni

vers

ity

of

Ore

go

n f

loat

.

R0

51

:5

.......

VI

-...J

AN

D

Fig

ure

17.1

3 19

58 R

ose

Bow

l Scr

apbo

ok

RO

SE

B

OW

L

GA

ME

Sp

ort

swri

ters

cal

led

th

e O

hio

-Ore

go

n g

am

e o

ne

of

the

bes

t R

ose

Bow

l co

nte

sts

in r

ecen

t y

ears

. T

he

har

d-f

ou

gh

t g

am

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e in

..._(.~.lid:l

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fou

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ther

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on

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e fi

eld.

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ecis

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atio

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ug

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ure

17.1

4 19

58 R

ose

Bow

l Scr

apbo

ok

DIS

NE

Y

I • =,. r

LA

ND

As

part

o

f th

e R

ose

Bow

l ac

tivi

ties

, th

e O

.S.U

. M

arch

ing

B

and

w

as

invi

ted

to

wo

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-fam

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ollo

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e fi

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lace

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are

as

incl

ud

e M

ain

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anta

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ure

17.1

5 19

58 R

ose

Bow

l Scr

apbo

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BE

RR

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FA

RM

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tt's

Ber

ry F

orm

, a

reco

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ost

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loca

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os A

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ure

17.1

6 19

58 R

ose

Bow

l Scr

apbo

ok

s A

N

F

R

Res

iden

ts

of

So

n

Fra

ncis

co

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lled

to

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e p

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arch

ing

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atch

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the

0.5

.U.

Bon

d d

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to

the

"Go

lden

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ate"

ci

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icia

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reet

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gs

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e ex

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ded

to

the

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io g

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on

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sto

ph

er.

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ne

at

extr

eme

top

lef

t sh

ow

s th

e b

an

d

-O'I -

Fig

ure

17.1

7

A

N

c I

s c

0

form

atio

n p

roce

edin

g p

ast

the

Vet

eran

s M

emo

rial

, b

irth

p

lace

o

f th

e U

nite

d N

atio

ns

org

aniz

atio

n.

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er

hig

h

ligh

ts

incl

ud

ed

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her

man

's

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arf,

w

her

e th

e b

an

d

mem

ber

s so

w

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ifo

rnia

cr

ab

coo

ked

in

a

stea

m

po

t, hi

stor

ic

Sea

l R

ocks

, p

roven

der

at

Tom

D

iMag

gio

's

{bro

ther

o

f ex

-bas

ebal

l g

reat

Joe

DiM

agg

io)

fam

ed

rest

aura

nt

an

d o

ther

pla

ces

of

gen

eral

in

tere

st.

-... -

1958

Ros

e B

owl S

crap

book

D

E

N

v E

R

A

ND

O

N T

HE

T

RA

IN

Aft

er s

ever

al f

un-p

acke

d da

ys,

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O.S

.U.

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chin

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an

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any

ing

of

fici

als

an

d w

ives

sta

rt t

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p b

ock

to

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umbu

s.

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env

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nd

ay,

the

enti

re g

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ook

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att

end

chu

rch

serv

ices

bef

ore

res

umin

g

Its

east

ern

tr

ek.

.......

0\

N

Fig

ure

17.1

8 19

58 R

ose

Bow

l Scr

apbo

ok

AT

TE

ND

IN

G

OF

FIC

IA

LS

F

RO

M

Pro

fess

or J

ack

0.

Eva

ns,

Dir

ecto

r,

Mor

chin

g B

ond

Mrs

. E

van

s

Ch

orl

H l

. S

po

hn

, A

uis

ton

t D

irec

tor,

Mor

chin

g B

ond

Mrs

. S

po

hn

Ric

hard

J.

Su

dd

end

orf

, A

nis

tan

t D

irec

tor,

Mar

chin

g B

and

M

rs.

Svd

dend

orf

Geo

rge

H.

Sie

bert

, T

rip

Bus

ine

u M

anag

er;

Un

iver

sity

D

irec

tor

of

Pu

rch

aHs

Mrs

. S

ieb

ert

Sam

uel

R

. B

eitS

.r,

Au

isto

nt

Tri

p B

usin

en

Man

ager

; D

i· re

cto

r o

f Pe

no

nn

el

Bu

dg

et

Mrs

. B

eitl

er

Dr.

Jo

mes

H

. M

cCre

ary,

A

uo

ciate

Ph

ysi

cian

U

nive

rsit

y H

ealt

h ..S

ervi

ce

Mrs

. M

cCre

ary

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liam

F.

R

ound

s Jr

., A

u't

Dir

.c:t

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c R

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son

, B

ond

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ipm

ent

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no

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; In

stru

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ool

of M

usic

M

n.

Wil

son

Ric

hord

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ne,

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d A

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ger

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ond

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liam

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. D

roke

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or

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alte

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n,

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Mrs

. W

alte

rs

TH

E

UN

IV

ER

SIT

Y

Cho

rley

F.

Mil

ler,

U

niv

enil

y C

ompt

roll

er

Mrs

. M

ille

r

Dr.

J. W

. W

ilce,

D

irec

tor,

U

niv

enit

y H

ealt

h S

ervi

ce

Mrs

. W

ilce

Pro

fess

or

Eug

ene

J, W

eige

l, B

ond

Dir

ecto

r E

mer

itus

; D

ire

ctor

Sch

oof

of

Mus

ic

Mrs

, W

eige

l

Pro

fHso

r Ja

mes

E

. P

ollo

rd,

Pro

fess

or

of

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nali

sm

Mrs

. P

olla

rd

(Ch

aper

one

s)

Wil

liam

E.

Lin

ch,

Uni

vers

ity

Arc

hit

ect

Mrs

, L

inch

Dr.

Wo

lter

E.

Duf

fee,

Tea

m P

hys

icia

n

Mrs

. D

uffe

e

o.

s.

u.

MA

RC

HI

NG

B

AN

D

Rig

ht -

The

gia

nt

stat

ue

of

form

er O

.S.U

. P

resi

den

t W

illi

am

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ley

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om

pso

n

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ds

lone

ly v

igil

bef

ore

th

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.5.U

. li

bra

ry n

amed

in

his

ho

no

r.

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m i

ts h

um

ble

beg

inn

ing

in

18

73,

wit

h on

ly 1

7 s

tud

ents

, ed

uca

ted

an

d h

ouse

d i

n a

sin

gle

bu

ild

ing

, O

hio

Sta

te

Uni

vers

ity

has

gro

wn

int

o o

ne

of

the

nat

ion

's l

ead

ing

uni

vers

itie

s.

- °' w

Fig

ure

17.1

9

w

I N

N

I

N

G

T

(All

left

to

ri

ght)

fr

on

t ro

w:

Bel

losa

ri,

Sch

ultz

, K

ilgo

re,

J.

Jon

es,

Co

wan

s,

Bea

m,

Fon

tes,

V

ia,

Wen

tz,

Fie

lds,

S

eilk

op,

Z

uh

ars,

A

rno

ld,

lem

on

, C

row

l,

Bal

lmer

. S

eco

nd

ro

w:

Hes

s, a

ssis

tan

t co

ach

; C

orr

, N

agy

, D

ishe

r,

Bee

rman

, C

ook

, H

. Jo

nes

, C

on

no

vin

o,

Job

ko

, M

arti

n,

Cis

co,

co-c

apta

in;

Bro

wn,

co

ca

pta

in;

Su

ther

in,

Th

om

as,

Tri

vis

on

no

, Z

awac

ki,

T.

C

row

ford

, B

alda

cci,

P

ro

ven

zo,

Bre

ehl,

Dil

lman

, as

sist

ant

fres

hm

an c

oac

h;

Wea

ver

, as

sist

ant

fres

hm

an

coac

h.

Thi

rd

row

: H

ead

C

oac

h

Hay

es,

Dre

sser

, O

ku

lov

ich

, M

arsh

all,

W.

WO

OD

RO

W

HA

YE

S

Hea

d

Foo

tbo

11 C

oac

h

RIC

HA

RD

C

. LA

RK

INS

D

irec

tor

of

Ath

leti

cs

1958

Ros

e B

owl S

crap

book

E

A

M

0 •

s •

u •

Ho

ust

on

, W

hit

e,

Sch

rom

, S

chen

kin

g,

Sch

ofr

oth

, S

py

chal

ski,

Ja

mes

, A

. C

row

ford

, C

lark

, K

rem

bla

s,

Bo

wer

mas

ter,

Mo

rgan

, F

ronk

, W

agn

er,

Rob

inso

n,

Bal

len

ger

, le

Bea

u,

Go

dfr

ey,

fres

hm

an c

oac

h;

Str

ob

el,

assi

stan

t co

ach

. B

ack

row

: R

ush

, as

sist

ant

coac

h;

Fek

ete,

ass

ista

nt

coac

h;

Sar

kk

inen

, as

sist

ant

coac

h;

Ad

ule

wic

z,

Wal

sh,

Gag

e,

Bai

ley,

L

ord

, M

cMur

ry,

Mic

hae

l,

Wil

son

, R

ow

lan

d,

Cra

ig,

Sam

uel

s,

Her

rman

, M

atz,

B

ryan

t,

Kre

akb

aum

, M

ora

n,

An

der

s,

Cla

rk,

assi

stan

t co

ach

.

o.

s.

u.

CH

EE

R

LE

AD

ER

S

Joy

ce

C.

Cla

rk

J. l.

R

ich

ard

son

E

ilee

n l.

M

enze

r R.

A

. B

ell

Sh

aro

n

M.

Sh

elto

n

R.

E.

Noc

ks

E.

G.

Dav

is

R.

D.

Sta

gg

J.

l.

B

arth

olo

mew

(d

oes

not

appe

ar i

n p

ho

to)

.........

.--,..

........

+."!

·~

-·r

•"f>

l .

• -~

· •~

..;::-.-

'-.!---

:~

--

- ~

Fig

ure

17.2

0 19

58 R

ose

Bow

l Scr

apbo

ok

APPENDIX C

Selected Photography

165

.......

0\

0\

Fig

ure

18

John

Ada

ms

Hig

h S

choo

l Orc

hest

ra; J

ack

Eva

ns, t

op le

ft, t

rom

bone

sec

tion

, 19

30

,_.

0\

--.J

---

--~-

-.

---

'-

',

Fig

ure

19

John

Ada

ms

Hig

h S

choo

l Orc

hest

ra; J

ack

Eva

ns,

far

righ

t, t

rom

bone

sec

tion

, 19

31

• I J

Figure 20 Jack 0. Evans as Western Reserve Drum Major, 1935

168

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

.......

-....)

~

Fig

ure

26

B

ucke

ye, S

carl

et a

nd G

rey

Ban

ds w

ith

Cho

ruse

s, M

ersh

on A

udit

oriu

m

--..J Vl

Fig

ure

27

Ja

ck a

nd C

arol

Eva

ns d

otti

ng th

e "i

" in

Scr

ipt

Ohi

o, 1

975

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

,. ((l . ~ ~

~ Ire-. JACK T6061TL

witM w~~ ~Nf s ~,JJ~j tl-bt( Ho~

pOUSHe

Figure 33 Sketch of Jack Evans by Milton Caniff

181

APPENDIX D

Marching Band Performance and Show Record

182

~ Cf.. U_! Ill II ;.i I;: I I . ~lrrtt ... • t I • • •

"The Buckeye Fanfare". "School Days", "Indiana, Our

Boy Scouts -Indiana", "Fight the Team Across the Field", "Carmen

27-Sep Indiana Ohio", "National Emblem March", "Marching Along Vote

Together'', "Ring Dem Bells", ''America the Beautiful", "Your Land and My Land", "Buckeye Battle Cry"

Fanfare based on "Hail Purdue", "Hail Purdue", "Band

"Day of of America March", "Jellalabad March". "The Stars and

4-0ct Purdue Stripes Forever", Medley of Big Ten College Songs, Champions"

"Fight the Team Across the Field", "Only a Rose", "Buckeye Battle Cry", "Carmen Ohio"

Fanfare based on "On Wisconsin", "On Wisconsin",

"A Record "Bali Hai", Rachmaninoff's "Prelude in C# Minor",

I I-Oct Wisconsin Session"

"Toreador Song" from "Carmen", "Walkin' to Missouri", "Tea for Two", "The Little While Cloud that

Cried", "The Buckeye Battle Cry", "Carmen Ohio"

Director - Manley R. "The Buckeye Fanfare", "The Phantom Regiment",

Whitcomb, Acting "Leroy "Promenade", "The Syncopated Clock", "Waltzing Cat",

Director - Jack 0. 18-0ct Washington St. Anderson "A Trumpeters Lullaby", "Fiddle Faddle", "Sleigh

Evans, Assistant Show" Ride", "Blue Tango", "Washington State Fight Song",

Conductor - Forrest D. "Jellalabad March", "Fight the Team Across the Field",

Stoll, Assistant "Le Regiment de Sambre et Meuse", "Carmen Ohio" N Instructor - Charles L. 25-0ct at Iowa l/) none none "' Spohn, Drum Major --

Jim Bodman, Assistant Percussion Fanfare, "The March of the Toys", Drum Major - Bill "Toyland", "The Teddy Bear's Picnic", "Chattanooga

Rutledge, Manager - I-Nov at Northwestern "The March of

Choo-Choo", Lone Ranger Theme, "Pony Boy'', Lloyd Du Vall, the Toys"

"Parade of the Wooden Soldiers", "Go U Announcer - Tom Northwestern", "Buckeye Battle Cry", "Carmen Ohio"

Johnson

Percussion Fanfare, "The March of the Toys", "The

"The March of Teddy Bear's Picnic", "Toyland" "Chattanooga Choo-

8-Nov Pittsburgh the Toys"

Choo", Lone Ranger Theme, "Pony Boy", "Parade of the Wooden Soldiers", "Pitt Panther Song",

"Buckeye Battle Cry", "Carmen Ohio"

Fanfare based on "lllinois Loyalty", "Illinois Loyalty",

"A Record "Bali Hai", Rachmaninoff's "Prelude in C# Minor",

15-Nov at Illinois Session"

"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",

Homecoming "Michigan Victors March", "Beautiful Ohio", "For

"The Season of Auld Lang Syne", "Home Sweet Home", "Hymn of

22-Nov Michigan Home

Thanksgiving", "Turkey in the Straw", "All of Me --

Holidays" Why not take all of me?", "Adeste Fidelis", "Top hat, white tie, and tails", "As Time Goes By", "So Long",

"Buckeye Battle Cry"

183

~ . - :urm .ti~ t.1.il:i' l ~~ 1~ • I I

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

26-Sep lndiana "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"

3-0ct at California none 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

IO-Oct Illinois "An Evening the "I Love Lucy" Show, Two Hearts ln Three Quarter WithT.V .. " 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"

Director - Jack 0 . 17-0ct at Pennsylvania none none

Evans, Assistant 24-0ct at Wisconsin none none Director - Forrest D. "Go U Northwestern", "Down By the Old Mill Strean1",

Stoll, Assistant "ln My Merry Oldsmobile", Bugle Call "Reveille", "Oh, Conductor - Charles L. How I Hate to Get Up in the Morning", "Chicago", ,.., Spohn, Drum Major - "Memory Tunes

"' 31-0ct Northwestern "Brother, Can You Spare a Dime?", "June is Bustin' Out °' James E. Bodman, for Alumni" - All Over", "Tenting Tonight", "The Buckeye Barrie Cry",

Assistant Drum Major - "Round on the Ends and High in the Middle". "Carmen David L. Baker, Ohio"

Manager - Richard Lazure, Announcer-

Tom Johnson "Michigan State College Fight Song", "Long, Long Ago",

7-Nov Michigan State "The Ohio Harley "You've Got to Be a Football Hero", "There'll Be a Hot

Story" Time in the Old Town Tonight", "Fight the Team Across the Field", "My Hero", "Carmen Ohio"

"Purdue Fanfare", "Hail Purdue", "Strike Up the Band",

14-"The Music of Theme from "An American in Paris". "Rhapsody in Blue",

Nov Purdue 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"

"Michigan Victors March", "Strike Up the Band", Theme

21-"The Music of from "An American in Paris" , "Rhapsody in Blue",

Nov at Michigan George "Summertime'', "S' Wonderful", "If Ain't Necessarily So",

Gershwin" "I've Got Rhythm", "The Buckeye Barrie Cry", "Carmen Ohio"

184

~Gm . ll ITT'~ .. ' - ... • I I ~ ~j.ljrtll I.it JI." ITI:'!Til

25-Sep Indiana none none

"Fight for California", "The Buckeye Battle Cry", "My Hero", Medley of sections from "El Capitan" and "Hands Across the

2-0ct California "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"

"lllinois L-0yalty", "The Buckeye Battle Cry", Medley of

"Tribute sections from "El Capitan" and "Hands Across the Sea", "High

9-0ct at Illinois to Sousa"

School Cadets March", "Semper Fidelis March". "Washington Post March", "Sailing, Sailing'', "The Thunderer March", "The

Liberty Bell March", "The Stars and Stripes Forever"

"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 16-0ct Iowa 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

Director - Jack 0 . Evans, Cry", "Carmen Ohio"

Assistant Director - "Fanfare Based on On Wisconsin", "On Wisconsin", Chimes Forrest D. Stoll, Assistant

"A Tour followed by stroke of three, "Old MacDonald Had a Fann",

Conductor - Charles L. 23-0ct Wisconsin of

"Cuddle Up a Little Closer'', "There's Something About a

:Ji Spohn, Drum Major -

Campus" Soldier", "Say It With Music", "A L-Ovely Way to Spend an

°' George E. W. Souder, Evening", "Hallelujah", "The Buckeye Battle Cry", "Carmen - Assistant Drum Major - Ohio" Michael N. Trigg,

30-0ct at Northwestern Manager - Robert none none

Damico, Announcer - "Pitt Panther Song'', "This is your life theme", "Where or Tom Johnson When", "School Days", "Let Me Call You Sweetheart",

"This is 6-Nov Pittsburgh your Life,

"Mendelssohn Wedding Processional", "Heigh Ho, Heigh Ho,

Dad" It's Off to Work We Go", ""Rock-A-Bye Baby", "Don't Get

Around Much Anymore", "Thanks A Million", "The Buckeye Battle Cry", "Carmen Ohio"

"I Hear Music", "I Love a Parade", Opening theme from 1st "I Hear Movement of Beethoven's Fifth Symphony, Theme from 4th

13-Music" Movement of Brahms First Symphony, Section from Bach

Nov at Purdue (This Chorale "Jesu, Joy of Man's Desiring", Themes from Wagner's

Song Is Opera "Siegfried" , "Go'in Co'tin", "The Netherlands You") Thanksgiving Hymn", "Papa Loves Mambo", "Hail, Purdue",

"Buckeye Battle Cry", "Carmen Ohio" "I Hear Music" , "I Love a Parade", Opening theme from !st

"I Hear Movement of Beethoven's Fifth Symphony, Theme from 4th

Music" Movement of Brahms First Symphony, Section from Bach 20-

Michigan ("The Chorale "Jesu, Joy of Man's Desiring", Themes from Wagner's Nov

Song is Opera "Siegfried", "Go'in Co'tin", "The Netherlands

You") Thanksgiving Hymn", "Papa Loves Mambo", "Mr. Touchdown, USA", "Only a Rose", "Hail to the Victors",

"Buckeye Battle Cry", "Carmen Ohio"

I-Jan S. California none none

185

I~ j'Thmfl ii'tifu: """ - I s~-t;-~ ~ 'IJ!JIIllH:.!lli --

"A "Beautiful Ohio (Fanfare and March)", "Nebraska Fight

24-Sep Nebraska Football Song", "Metnories". "Stormy Weather" , "Singing in the Rain", "Thanks for the Memories", "Mr. Touchdown, USA", "You've

Prelude" got to be a Football Hero", Campus Chimes, "Carmen Ohio"

I-Oct at Stanford none none

Fanfare in Latin American Style, "El Relicario", "Brazil",

"A Latin "The Peanut Vendor" , "The Mexican Hat Dance", "When

8-0ct Illinois American Yuba Plays the Tuba Down in Cuba", "Take it Easy",

Fiesta" "Estrellita", "Serenade to a Sand Dune", "Toreador Song",

"The Illinois Loyalty Song", "Buckeye Battle Cry", "Carmen Ohio"

"Melancholy Serenade", "Entry of the Gladiators", "Circus March", "Circus Waltz", "It's a Lovely Day Tomorrow",

15-0ct Duke "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 -Forrest D. Stoll, Assistant

"A Latin Vendor" , "The Mexican Hat Dance", "When Yuba Plays the

Director - Charles L. 22-0ct at Wisconsin American Tuba Down in Cuba", "Take it Easy", "Estrellita", "Serenade

Spohn, Drum Major -Fiesta" to a Sand Dune". "Toreador Song", "On Wisconsin", .,.. "Buckeye Battle Cry", Campus Chimes, "Carmen Ohio" .,..

George E.W. Souder, O'I - 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 Year" and Roll", "Go, U. Northwestern", "Buckeye Battle Cry", "Carmen Ohio"

''Triumphal March", "Vesti la Giubba", "We Sailed the Ocean

"Opera Blue", "When 1 was a Lad", "Back in the Saddle Again", "The

5-Nov lndiana Parade"

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 "You Father", "Paramount News" fanfare, "Honey Babe", "I'll Be

12-Iowa

Ought to Seeing You", "Pete Kelley's Blues", "Rock Around the Nov be in Clock", "There's something about a Soldier", "I'm Dreaming

Pictures" ofa White Christmas", "Buckeye Battle Cry", Campus Chimes, "Cam1en Ohio"

"A "Beautiful Ohio", "Michigan Victors", "Buckeye Battle Cry",

Saturday "Carmen Ohio", Fanfare - based on "For Me and My Gal",

19-at Michigan Date for

"Beyond the Blue Horizon", Button Up Your Overcoat", Nov

Me and "Stormy Weather", "Singing in the Rain", "Pete Kelley's

My Gal" Blues", "Dancing in the Dark", "Ginlme A Little Kiss", "Serenade to a Sand Dune", "Shake, Rattle, and Roll"

186

, .... ''!:l~

'I ... ~rroffa I~, • t I 11J.FH'"\ 'll: :.11 •

"Beautiful Ohio Fanfare", "Beautiful Ohio March", "Nebraska

"Now Fight Song", "Fine and Dandy", "I'm Sitting on Top of the

29-Sep Nebraska Faces On World'', "Our Boys Will Shine Tonight" , "Buckeye Battle

Campus" C1y ", "The Poet and Peasant Overture'', "School Days",

"Collegiate", "Getting to Know You", "The Buckeye Battle Cry", "Carmen Ohio"

"Stanford Fight Song", "The Buckeye Battle Cry", "Carmen "A Story Ohio", "It's a Grand Old Flag", "Rule Britannia", "The

6-0ct Stanford 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"

Music Fanfare on "Something Wonderful", "Getting to Know You",

from "The "March of the Siamese Children", "I Whistle a Happy Tune",

13-0ct at Illinois King and

"Hello Young Lovers", "We Kissed in a Shadow", "Shall We

!" Dance", "Something Wonderful" , "Illinois Loyalty", "The

Director - Jack 0. Evans, Buckeye Battk Cry", "Carmen Ohio" Assistant Director - Fanfare on "Something Wonderful", "Getting to Know You'', Charles L Spohn, Music

"March of the Siamese Children", "! Whistle a Happy Tune", Assistant Director - 20-0ct Penn State

from "The "Hello Young Lovers" , "We Kissed in a Shadow", "Shall We

"° Richard J. Suddendorf, King and

Dance", "Something Wonderful" , "Penn State Fight Song", II) Drum Major - Rick E. !" ~ "The Buckeye Battle Cry", "Carmen Ohio"

Marsh, Assistant Drum Major - Larry Cory, "On Wisconsin'', Fanfare on "St. Louis Blues", "St. James

Manager - Tom Larimer, "Jazz at Infinnary", "When the Saints Go Marching In", "Sing: Sing:

Announcer - Tom 27-0ct Wisconsin the Sing", "How High the Moon", "Laura", "Hound Dog", "The St.

Johnson Stadium" Louis Blues March", "There is Nothing Like a Dame", "!Love

A Parade", "Rock Around the Clock", "The Buckeye Battle Cry", "Carmen Ohio"

"Jazz at Fanfare on "St. Louis Blues", "St. James Infirmary", "When the 3-Nov at Northwestern 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'' ,

10- "Hobbies "Whistle While You Work", "Standing on the Comer Watching

Nov Indiana

for Dad" All the Girls Go By", "A Hunting We Will Go", "The Great

Gate of Kiev", "Bubbles in the Wine" , "Buckeye Battle Cry", "Carmen Ohio"

17-at Iowa

Nov none none

"The March of the Toys", "March of the Mousketeers" , 24-

Michigan "A Parade "Chattanooga Choo-Choo", "Pony Boy", Excerpt from "The

Nov of Toys" Flying Dutchman", "Parade of the Wooden Soldiers", "The Buckeye Battle Cry", "Carmen Ohio"

187

11•(iID; ' "00 t..!J !J_!Ill HO! I I '' J~"fln::ft.li • I I

"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", Year" "Overture 18 12", "Fight the Team Across the Field",

"Carmen Ohio"

5-0ct at Washington none none

"Transportation "Illinois Loyalty Song". Fanfare based on "Around the 12-0ct Illinois Around the World" , Different versions of "Around the World'', "The

World" Buckeye Battle Cry'', "Carmen Ohio"

"Indiana, My Indiana". "Fanfare" on "Around the World" ,

"Around the "Around the World", French Fold Song used in the motion

19-0ct Indiana World in Eight picture, "Fanfare", "Toreador Song" from "Carmen'',

Minutes" "Snake Charmer Music". Pagoda Music, Indian Music. Lone Ranger Music, "Rule Brittainia", "Fight the Team

Across the Field", "Carmen Ohio"

Director - Jack 0 . 26-0ct at Wisconsin none none Evans, Assistant

Fanfare in Latin American Style, "El Relicario", "The Director - Charles L. Spohn, Assistant "A Latin Peanut Vendor", "When Yuba Plays the Tuba Down in

Director - Richard J. 2-Nov Northwestern American Cuba'', "The Mexican Hat Dance", "Take it Easy", ..... Suddendorf, Drum Fiesta" "Estrellita", "Serenade to a Sand Dune", "Buckeye Battle If)

Cry", "Carmen Ohio" °' Major - Larry Cory, -Assistant Drum Major - Fanfare on "Hail, Purdue", "Hail, Purdue", "Beautiful

Dave Alberts, Manager - Ohio'', "You Ought to Be in Pictures", "Me and My

Koste Belcheff, 9-Nov Purdue "Stars from Shadow", "Thanks for the Memory". "Home on the Range",

Announcer - Tom Ohio" "Little Joe the Wrangler", "Hey, There" & "Steam Heat"

Johnson from "The Pajama Game", "The Buckeye Battle Cry", "Carmen Ohio"

"Another Opening, Another Show", "Iowa Fight Song", "What's the Matter with Father", "01' Rockin' Chair's Got

16-Iowa

"A Salute to Me", "Smoke Gets in Your Eyes", "Oh, Dem Golden Nov Dad" Slippers", "I Want a Girl Just Like the Girl Who Married

Dear Old Dad", "Thanks for the Memories", "The Buckeye Battle Cry", "Carmen Ohio"

23-at Michigan

Nov none none

Fanfare based on the interlude of the Oho State Fight Song - "Fight the Team Across the Field", "Fight the Team

"Ohio Stadium Across the Field", "Around the World", Traditional Indian

1-Jan Oregon Hit Parade"

Music, "Lone Ranger" chase music, "Me and My Shadow", "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

·M '-=" I ~ \~ .

JI l{_!J _!II 111 :i!,!. •

Fanfare on "Beautiful Ohio", "Beautiful Ohio March", "Memories "Peruna", Train effects, "In My Merry Oldsmobile",

of the "Memories", "Deep in the Heart of Texas'', "The Comet 27-Sep SMU 1958 Rose Carillon", "Jellalabad March", "Fight the Team Across the

Bowl Field", "When You Wish Upon A Star", "San Francisco'', Trip" "You Gotta Be a Football Hero", "The Buckeye Battle Cry",

"Carmen Ohio"

4-0ct Washington none none Director- Jack 0. Evans.

I I-Oct Assistant Director -

at Illinois none none

Charles L. Spohn, "Indiana, My Indiana", "Theme from Zorro", "The Hula Hoop Assistant Director - "Fads of Song", "The Too Fat Polka", "A Pretty Girl is Like a Melody",

Thomas R. Watson, Drum 18-0ct Indiana 58" "Sailing, Sailing'', "The Buckeye Battle Cry'', "Sound of the 00

"' Major - Larry Cory, Campus Chimes'', "Carmen Ohio", "Down by the Ohio" °' - Assistant Drum Major -Leonard Hart, Manager - "Jallalabad March", Bell Fanfare, "Ring Those Bells", "The

Donald Stanley, "Hear Liberty Bell March", "The Bells of St. Mary's'', "The Bells are Announcer - Tom 25-0ct Wisconsin Those Ringing for Me and My Gal'', "Jingle Bells", "To Look Shaq>",

Johnson Bells" "Fight the Team Across the Field", "The Buckeye Battle Cry", "Carmen Ohio"

I-Nov at Northwestern none none

8-Nov Purdue none none

15-Iowa none

Nov none

22-Michigan none

Nov none

189

mm - • :_u~ m u :.i 11

.G1'@·~ ~- _.., . • I I !Ell ]L "i rIT'tTII •

"Fanfare on Beautiful Ohio", Beautiful Ohio March", "The

"Tribute Blue and the White", "Jellalabad March", "Pomp and

26-Sep Duke to Eugene Circumstance'', "Fight the Team Across the Field", "Anchors

J. Weigel" Away", "Go, U Northwestern", "Le Regiment de Sambre et

Meuse", "The Buckeye Battle Cry", "The Sound of the Campus Chimes", "Carmen Ohio"

3-0ct at S. California 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",

10-0ct Illinois of the "American Patrol", "Columbia, Gem of the Ocean",

Director - Jack 0. Evans, American "California, Here I Come", "I've Been Working on the Associate Director - Flag" Railroad", "Dixie'', "Alaska's Flag", "Hawaii Ponoi", "Your Charles L. Spohn, Land and My Land'', "The Stars and Stripes Forever", "Pledge

Assistant Director - of Allegiance", "America the Beautiful" O"I Thomas R. Watson, Drum Vl O"I Major - Leonard Hart, 17-0ct Purdue none none -

Assistant Drum Major -24-0ct at Wisconsin none none

Terry Burton, Manager -Carl Conlin, Announcer - "Parades

Fanfare on "I Love a Parade", "I Love a Parade", "National

Tom Johnson 31-0ct Michigan State Through Emblem March", "The Thunderer", "Halloween March",

"OSUMBLUS", "The Buckeye Battle Cry", "Sound of the the Years"

Campus Chimes", "Carmen Ohio"

"The Life "The Irish Have a Great Day Tonight", "Sweethearts", "Just for

and Music Fun", "Jesu, Joy of Man's Desiring'', "Ah, Sweet Mystery of

7-Nov Indiana of Victor

Life'', "The Streets ofNew York", "Kiss Me Again", "The

Herbert" Italian Street Song", "March of the Toys", "The Buckeye Battle

Cry", "The Sound of the Campus Chimes", "Carmen Ohio"

14-Iowa

Nov none none

21-at Michigan

Nov none none

190

. Tij • .lP'l:b k !'• - I I -- ~

• ; I I l~UJJJJ.lli.~ ··~ 11 'I'; ffi'ITO>

24-Sep Southern Methodist

none none

I-Oct Southern

California none none

8-0ct at lllinois none none Director- Jack 0. Evans,

Associate Director -15-0ct at Purdue none none

Charles L. Spohn, "When You Wish Upon a Star". "Davy Crockett" , "Old Man

Assistant Director - "Homecoming River", Excerpt from Wagner's "The Flying Dutchman",

Ralph H. Moore, Drum 22-0ct Wisconsin at "Adventureland", "H1 Ho, Hi Ho", "The Mickey Mouse <:> \0 Major - Leonard Hart, Disneyland" Club March", "The Buckeye Battle Cry", "Sound of the

"' - Assistant Drum Major - Campus Chimes" , "Carmen Ohio"

Ben Kline, Manager - at Michigan Paul Schneider, 29-0ct

State none none

Announcer - Tom Johnson "OSUMBLUS", "That's Where My (Dad's) Money Goes",

5-Nov Indiana "In Honor of "No, No, A Thousand Times, No", Mendelssohn's "Weddin~ Dad's Day" March", "! Wanna Go Back to Oho State", "The Buckeye

Battle Cry", "What's the Matter With Father", 12-

at Iowa Nov

none none

19-Michigan

Nov none none

191

I~ • ILD!m I !J !J !.l!lli!-1.J)J I I

h \f' rrr:fu'i • •I I !

-~

"Fanfare on Fight the Team", "Texas Christian University",

"The Eyes of "The Eyes of Texas Are Upon You", "I'm An Old

Texas are on Cowhand", "Heading for the Last Round-up", "Old

30-Sep Texas Christian Oho State

MacDonald Had A Farm", "You're Got to be a Football

Football" Hero", "Hey, Look Me Over". "What Taken My Fancy'',

"The Buckeye Bartle Cry", "Sound of the Campus Chimes", "Carmen Ohio"

"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'',

7-0ct UCLA "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"

Director- Jack 0 . Evans, "Pomp and Circumstance'', "The Battle Hymn of the

Associate Director - 14-0ct Illinois "The Land Republic", "Trees'', S' Wonderful", "How High the Moon'',

Charles L. Spohn, Grant Story" "The U.S. Field Artillery March", "Illinois Loyalty", "The

Assistant Director - Paul Sound of the Campus Chimes", "Carmen Ohio"

~ E. Droste, Drum Major - Fanfare on "Across the Field", "Across the Field", "Sound of O'I Terry Burton, Assistant the Campus Chimes". "Carmen Ohio", "Dixie", "Tramp, -

Drnm Major - Ben Kline, 21-0ct at Northwestern "Music of the Tramp, Tramp", "When Johnny Comes Marching Home",

Manager - Paul Civil War" "The Girl I Left Behind", "Tenting on the Old Schneider, Announcer - Campground", "The Yellow Rose of Texas'', "The Battle

Tom Johnson Cry of Freedom", "The Battle Hymn of the Republic"

28-0ct at Wisconsin none none

"Jubilation T. Cormpone'', Traditional Dogpatch wedding

"Li'! Abner at music, "Country Style" and "Turkey in the Straw", "Across

4-Nov Iowa Homecoming"

the Field", "Le Regiment de Sambre et Meuse", "The Buckeye Battle Cry", "The Sound of the Campus Chimes",

"Carmen Ohio"

11-at Indiana

Nov none none

"Strike Up the Band', "Poletine" Bugle March, "Hail

18- "Strike Up the Columbia'', "The Buckeye Battle Cry'', "Across the Field",

Nov Oregon

Band" "Jellalabad March", "Down By the 0-hi-o", "I Ain't Down

Yet", "Le Regiment de Sambre et Meuse", "What's the Matter With Father"

"Strike Up the Band', "Poletine" Bugle March, "Hail 25-

at Michigan "Strike Up the Columbia'', "The Buckeye Battle Cry", "Across the Field".

Nov Band" "Down By the 0-hi-o", "I Ain't Down Yet", "Le Regiment de Sambre et Meuse", "The Buckeye Battle Cry"

192

I~ • . !~

....... I I ~~ • j I ! ..!J!J~lllHWll

"Across the Field" Fanfare, "Across the Field". "My "Columbus, in Hero", "Beautiful Ohio", 'Happy Birthday to You", Sousa's

29-Sep North Carolina its "Manhattan Beach March", "Beyond the Blue Horizon",

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 at UCLA none none

"Another Opening', Another Show", "Camelot", "Put on a

"Buckeye Happy Face", Selections from "The Unsinkable Molly

13-0ct at lllinois Brown", Selections from "West Side Story'', "The Buckeye Broadway"

Battle Cry", "Sound of the Campus Chimes", "Carmen Ohio"

Director- Jack 0. Evans, "Another Opening', Another Show", "Camelot", "Put on a Associate Director -

20-0ct Northwestern "Buckeye Happy Face", "l Ain't Down Yet", Selections from "West

Charles L. Spohn, Broadway" Side Story", "The Buckeye Battle Cry", "Sound of the Assistant Directors - Campus Chimes", "Carmen Ohio"

Nelson Amos and Jeff "I Hear Music", E-Yah", "A Mighty Fortress Is Our God", N H. Cook. Drum Major - "Men of Music,

Strauss Waltz Medley, "Seventy-Six Trombones", "Down \0 27-0ct Wisconsin Past and °' Ben Kline, Assistant By the Old Mill Stream", "Across the Field", Sound of the ~

Present" Drum Major - Roger Campus Chimes, "Carmen Ohio" Harper, Manager - 3-Nov at Iowa none none

Darryl Ruggles, Announcer - Tom Fanfare based on "Across the Field", "Stout Hearted Men",

Johnson "The Big Cage Gallop", "Then the Red, Red Robin Comes

10- "Dad's Day Bob, Bob, Bobbin Along", "A Pretty Girl is Like a

Indiana Melody", Commercial theme, "The Band Played On'', Nov Show"

"The Buckeye Battle Cry" , "What's the Matter With Father? He's All Right", Sound of the Campus Chimes,

"Carmen Ohio" 17-

Oregon Nov

none none

Fanfare on "Across the Field", "The Victors'', Fanfare on

"Physical "Go, You Chicken Fat, Go", "Go, You Chicken Fat, Go",

24- "Entry of the Gladiators", "Carousel Waltz", "The Skaters' Nov

Michigan Fitness for Waltz'', "Country Style", "Turkey in the Straw". "The

Youth" Band Played On", "The Buckeye Battle Cry", "Sound of

the Campus Chimes", "Carmen Ohio"

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1~~ • I:~ I""' I

h.li~ • •I I l I tJ_!J_'. l ll HI.I II

"A Salute to the "Across the Field Fanfare", "Across the Field", "The Sesquicentennial Aggies", "Fanfare", "Hail Columbia", Slow March from

28-Sep Texan A&M of the Battle of "Scipio", "Rule Britannia'', Excerpt from the "Overture

Lake Erie 1812", "America", "God Save the King", "The Buckeye (September l 0, Battle Cry", "Sound of the Campus Chimes", "Carmen

1813) Ohio"

5-0ct at Indiana 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",

12-0ct Illinois "A Football Day "Stormy Weather'', "Funiculi, Funicula", "Where, Oh

at Ohio State" Where, Has My Little Dog Gone", "Whose Lazy, Hazy, Crazy Days of Summer", No, No, 1.000 Times No", "The

Buckeye Battle Cry", "Le Regiment De Sambre et Meuse", Director- Jack 0. Evans, "Sound of the Campus Chimes". "Carmen Ohio"

Associate Director - 19-0ct at S. California Charles L. Spohn,

none none

Assistant Directors - Fanfare based on "Trumpet Voluntary" , "Trumpet

..., Fred M. Dart and Jeff H. "Brass Through Voluntary'', "A Hunting We Will Go", Excerpts from

~ Cook, Drum Major - 26-0ct at Wisconsin "Sonata Octavi Toni", "OSUMBLUS'', "The Buckeye °' the Ages" - Link Harper, Assistant Battle Cry", "Sound of the Campus Chimes", "Carmen

Drum Major - Sam Ohio"

Bates, Manager - Darryl "Beautiful Ohio Fanfare", "Beautiful Ohio March". "That's Ruggles, Announcer - "Information on Where Our Money Goes", "Smoke Gets Jn Your Eyes",

Tom Johnson 2-Nov Iowa State Issue No. "School Days", "Collegiate", "Beautiful Ohio", "Marching I" Along Together", "Hallelujah", "The Buckeye Battle Cry",

"Sound of the Campus Chimes", "Carmen Ohio"

"Leisure "Stout Hearted Men", "The Big Cage Gallop", "When the

9-Nov Penn State Activities for Red, Red Robin Comes Bob, Bob, Bobbin", Commercial

Dad" Theme, "The Band Played On", "The Buckeye Battle Cry",

"Sound of the Camous Chimes", "Carmen Ohio" Fanfare based on "Trumpet Voluntary", "Trumpet

Voluntary", "A Hunting We Will Go", Excerpts from 16-

Northwestern "Brass Through "Sonata Octavi Toni", Trumpet call from "Overture to

Nov the Ages" Leonore No. 3". "Pilgrims' Chorus", "OSUMBLUS", "The Buckeye Battle Cry", "Sound of the Campus Chimes",

"Carmen Ohio"

"Across the Field Fanfare'', Pastoral from "William Tell Overture", "Oh, What a Beautiful Morning'', "Hail, Hail,

23-at Michigan

"A Day at the The Gang's All Here", "Stormy Weather", "Funiculi, Nov Stadium" Funicula", "Oh Where, Oh Where Has My Little Dog

Gone?", "Those Lazy, Hazy, Crazy Days of Summer", "Le Regiment do Sambre et Meuse", "The Buckeye Battle Cry"

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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.

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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 of Jack'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 of Jack'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

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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 turf for 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"

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and running around the field H'ith his bullhorn trying to ~whip our aging forms into some semblance of our former glory.

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, of Professor 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 myself privileged 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.

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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 of Jack has always been of good things. I played baritone in the marching unit all four years from 194 7 through 19 5 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 of Jack.

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.

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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 of you 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 of Jack 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.

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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 of getting 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 of false teeth you ever saw. Damn, he did have a sense of humor.

Koste A. Belcheff, Ph.D. Baritone '54 - '58; '65 - '67

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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 of Roses 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

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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 of playing, 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 of Jacks 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 of Jungle 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)

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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 of Jack 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 teaching-AL 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 19 51, 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 if Jack 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.)

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As/all quarter drew to a close, Whit contacted me because he wanted a ve1y large portrait painted of John 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 5 2) 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?"

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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 University. Columbus: Kappa Kappa Psi, 1936

Script Ohio: 110 Years of the Ohio State 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

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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.



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

Evans, Jack 0. Interview by Beverly Mosley. Tape recording. Columbus, Ohio, 1979.

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. 194 7-1948," 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.

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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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Jack Oliver Evans: His Life and His Contributions to the Ohio ...

Documents

Transcript of Jack Oliver Evans: His Life and His Contributions to the Ohio ...