Ms. Coll. 135
The Tom Everett Collection of Jazz Scores, 1971-2011: A Finding Aid
Eda Kuhn Loeb Music Library, Harvard Library, Harvard University
Harvard University, Cambridge MA 02138
© President and Fellows of Harvard College
Call No.: Ms. Coll. 135
Repository: Eda Kuhn Loeb Music Library, Harvard Library, Harvard University
Title: The Tom Everett Collection of Jazz Scores, 1971-2011.
Quantity: 1 collection (4.5 linear feet (8 file boxes).)
Abstract: Scores and memorabilia documenting 40 years of jazz at Harvard.
Douglas Freundlich and Michael Heller
Finding aid encoded by: Christina Linklater
Access to the collection is unrestricted.
Reproduction and/or publication of materials subject to copyright requires written
permission from a) the copyright owner, his/her heirs or assigns and from b) the Loeb
Music Library, owner of the original material.
Ms. Coll. 135, The Tom Everett Collection of Jazz Scores, 1971-2011. Eda Kuhn Loeb
Music Library, Harvard University.
For over four decades, Harvard University has fostered an active environment for jazz
performance and scholarship. Through the years, the university has hosted residencies
for jazz legends, sponsored courses and seminars on jazz topics, and maintained several
performance groups for Harvard students.
The central figure in promoting jazz at Harvard has been band director Tom Everett.
A trombonist by trade, Everett was hired in 1971 to direct the college bands, and
founded the Harvard Jazz Band later that year. While the early years saw the band
supporting itself by playing local dances, university support gradually increased,
especially through the Office for the Arts, allowing for official residencies and
formal commissions. Everett taught courses on jazz as well, inviting a parade of stars
to address and inspire Harvard undergraduates. This enhanced level of respect— aided
by the growing presence of jazz in the academic curriculum—bred good-will from the
artists themselves, who were welcomed with tributes appropriate to their accomplishments.
Everett amassed a significant collection of scores, correspondence, photographs, and
memorabilia. These materials represent both a personal and an institutional history.
When viewed collectively, the interaction between jazz musicians, colleagues, students
and friends serves to chronicle the university's evolving support for the jazz enterprise.
- Series I. Scores (by title).
- Series II. Memorabilia (by artist/event).
The collection contains 75 manuscript scores, parts and lead sheets from the Harvard
Jazz Band library and Tom Everett's personal archive dating from 1971. Included also
are letters, flyers, photographs and other memorabilia spanning 40 years of jazz at
- Series: I. Scores
- Box 1., All About Rosie. George Russell, composer. 18 parts.
Big band (5-5-3).
George Russell is best known as a music theorist and author of "The Lydian Chromatic
Concept of Tonal Organization," the theoretical basis for modal explorations of Miles
Davis, John Coltrane and Bill Evans. Russell spent over a decade teaching at the New
England Conservatory. "All About Rosie" was premiered at Brandeis in 1958. Russell
was usually protective of his compositions, but Tom Everett was able to strike a deal
with him that brought these parts to Harvard. The band has rehearsed the piece on
several occasions, but Russell's scores are quite challenging, and "All About Rosie"
awaits its first Harvard performance.
- Box 1., Coda. Steve Lacy, composer. Manuscript score; parts for clarinet, trombone, bass.
Manuscript acquired during Lacy's 1994 Harvard residency. Lyric, entered in score,
is the poem "Awkward Bridge" by Jack Spicer: Love isn't proud enough to hate / The
stranger at its gate / That says and does / Or strong enough to return / Or strong
enough to return (and back and back and back again / What was
- Box 1., Guide to the Symphony. Steve Lacy, composer. Score (photocopy), 11 pages.
Connected with Lacy's 1994 Harvard residency. Lyrics (possibly narration) begins:
"Three flutes, two oboes, English horn, two clarinets, snare, tuba, tambourine, and
a contrabassoon played by a worn looking blonde. The work is classical in for. Mit
Kraft: a wayward dance proceeds…"
- Box 1., Jackson Pollock. Jane Ira Bloom, composer. Lead sheet, treble and bass clefs, no chord changes.
Oscillates between 5/4 and 4/4 meter.
- Box 1., The Man Who got Away (for the Perfumed Scorpions). Harold Arlen, composer. Ken Schaphorst, arranger. Score, 5 pages.
Ken Schaphorst has been a mainstay on the Boston jazz scene since 2001. In 2011 he
chaired the Jazz Department of the New England Conservatory.
- Box 1., Myra. Benny Carter, composer. 3 versions of the original lead sheet from Carter; lead sheet arranged by Allen Feinstein;
piano arrangement by Gene Di Novi; 6-part vocal arrangement by Rob Opdycke.
Myra Mayman, director of the Office for Arts from 1973 to 2001 was a major supporter
of the Harvard Jazz Band. Myra made a strong impression on many visiting artists,
including saxophonist Benny Carter. When she retired in 2001, the band commissioned
Carter to write this piece in her honor. Carter's handwritten lead sheets were faxed
to the band prior to the first performance.
- Box 1., Night Skywriting. Jane Ira Bloom, composer. Lead sheet, no chords.
Printed on the back of Harvard University Band Stationery.
- Box 1., Oceans in the Sky. Steve Kuhn, composer. Lead sheet (photocopy), 2 pages.
Long before the university recognized jazz in any official capacity, Harvard was home
to pianist Steve Kuhn. Born in Brooklyn, Kuhn spent much of his childhood in the Boston
area, studying classical piano with Margaret Challoff. After graduating, he attended
the Lenox School of Jazz, working with Gunther Schuller, George Russell, John Lewis
and Bill Evans, and playing alongside Ornette Coleman and Don Cherry. Later in New
York, Kuhn played with some of jazz's leading figures in the post-bop era, including
Stan Getz, Kenny Dorham, Scot LaFaro and Oliver Nelson. He has the distinction of
being McCoy Tyner's predecessor in the John Coltrane Quartet. In 2008, Kuhn was honored
by the Harvard University Jazz Band in a tribute concert titled "The Harvard Connection."
- Box 1., Overture – Lady Day. Buck Clayton, composer. Score, 18 pages .
Big band (4-3-2).
Piece dedicated to Billy Holiday. The composition contains quotations from several
songs associated with Holiday: "God Bless the Child," "Easy Livin'," "Lover Man,"
"Nice Work if You Can Get It," "Love Me Or Leave Me," "All of Me," and "Them There
Eyes." For additional notes on Buck Clayton, see entry for "Harvard Swingster," below.
- Box 1., Panosonic. Jane Ira Bloom, composer. Lead sheet, no chords.
Acquired during Bloom's 2004 residency at Harvard. The concert culminating the residency
was dedicated to saxophonist Steve Lacy.
- Box 1., Pumpkin. Andrew Hill, composer. Lead sheet (photocopy), two staves, with chord symbols.
- Box 1., Sometimes the Magic. Jane Ira Bloom, composer. Lead sheets (photocopy) in concert and Bb versions.
For Steve Lacy. Commissioned by the Office for the Arts.
- Box 1., "Thesis" . Jim Hall, composer. Score (photocopy), 29 pages.
In preparing for a concert in his honor in 2004, veteran jazz guitarist Jim Hall provided
the Harvard Jazz Band with the score to a string quartet that he had written while
a student at the Cleveland Institute of Music in 1953. He had never heard the piece
performed in public. As part of the tribute, a string quartet of Harvard undergraduates
presented Hall with the world premiere of the piece, more than 50 years after it was
- Box 1., Trance. Steve Kuhn, composer. Lead sheet (photocopy).
Piece includes metric and enharmonic shifts. See additional notes on Steve Kuhn with
"Oceans in the Sky" entry above.
- Box 1., Two by Two. Steve Kuhn, composer. Lead sheet (photocopy).
See additional notes on Steve Kuhn with "Oceans in the Sky" entry above.
- Box 1., "U" Phoria. Cecil McBee, composer. Parts for trombone 3 (handwritten) and trumpet 2 (photocopy).
Commissioned by the Harvard Jazz Band. Premiered October 16, 2010 in a concert titled
"Walking the Bass Line: A Tribute to Milt Hinton," featuring bassist Cecil McBee.
The piece represents one of McBee's few forays into writing for big band.
- Box 2., 10,000 Men of Harvard . A Putnam, composer. Phil Wilson, arranger. Score, 11 pages, 2 parts (x 2).
Big band (5-5-5).
Parts for alto 1, piano/guitar. Commissioned as a concert closer for the Harvard Jazz
Band's first tour of the Dominican Republic in 1974; premiered at a concert featuring
trombonists Phil Wilson and Carl Fontana in the spring of that year. This event was
the band's first spring concert to take place at Sanders Theater, which became an
- Box 2., Bantu. Randy Weston, composer. Score (photocopy), 11 pages .
Big band (5-4-3).
Born in Brooklyn, pianist Randy Weston began his career with a piano style reminiscent
of Thelonious Monk and Duke Ellington. In the late-1950s he began collaborating with
trombonist Melba Liston, enlisting her to prepare the arrangements for his landmark
album "Uhuru Afrika." Liston's expertise in writing for large ensembles (she had previously
been an arranger and trombonist in Dizzy Gillespie's orchestra) was crucial to the
album's success. The two remained close for the next 40 years, with Liston serving
as Weston's primary arranger. "Bantu" is the third movement of "Uhuru Afrika," making
it one of the pair's earliest collaborations. Tragically, the Harvard concert would
also turn out to be their last. While both were invited, Liston was unable to attend
due to poor health, and died less than a week later, on April 23, 1999.
- Box 2., Disk Jockey Jump. Gerry Mulligan, composer. Gene Krupa and Gerry Mulligan, arrangers. Score (15 pages) and 4 parts (incomplete).
Big band (5-5-4).
Parts for trumpet 4, trombone 2, trombone 3, trombone 4. "Record copy, Jeff Friedman".
- Box 2., Don't be Afraid, the Clown's Afraid Too. Charles Mingus, composer. Sy Johnson, arranger. Score, 26 pages.
Big band (5-4-3).
In the 1950s, Mingus advocated a musical eclecticism that incorporated gospel roots,
intricate counterpoint, gradual changes of tempo, and what he termed "controlled chaos."
He collaborated in 1972 with arranger Sy Johnson for the big band recording, "Let
my Children Hear Music." An earlier Mingus tune, "Don't be Afraid," was reworked for
the project. Johnson's hefty score was used by Tom Everett and the Harvard Jazz Band
in a 1979 Mingus retrospective. Discrepancies between the score and the recording
highlight Mingus' willingness to make spontaneous decisions, such as incorporating
a set of tympani discovered in the back of the recording studio.
- Box 2., Gates of Harvard. John Lewis, composer. Score, 37 pages(disbound).
Big band (5-4-4), with percussion, string quartet and solo piano trio.
John Lewis of the Modern Jazz Quartet wrote this for a joint concert with the Bill
Evans Trio, representing an historic collaboration of two iconic pianists, both known
for their gentle touch and classical sensibilities. On page12 of this otherwise precisely
notated composition, Lewis writes in the piano part, "Voice as you wish," acknowledging
Evans' individuality as a harmonic innovator.
- Box 2., Hard Blues. Julius Hemphill, composer. Score. 5 pages, Subito Music.
5 saxes, trumpet, French horn, trombone, tuba, vibes, bass, drums.
"For K.C. Lyle"
- Box 2., I Cried for You . Arthur Freed, Gus Arnheim and Abe Lyman, composers. Score, 19 pages.
Big band (5-3-3) with cello, vocal.
From a collection of Pearl Bailey scores donated to Everett by band director Ron Model
of the University of Northern Illinois. Model had obtained this collection from drummer
Louis Bellson (Bailey's widow), who performed frequently at UNI toward the end of
his life. In the 1990s, when Model could not find suitable storage for these materials,
he asked Everett to house them at Harvard.
- Box 2., It Lingers, Her Perfume. Russ Gershon , composer. Score, 23 pages.
Big band (5-4-4).
Commissioned for a performance by John Carlson and the Harvard University Jazz Band.
During his undergraduate years at Harvard, saxophonist Russ Gershon worked as jazz
director and station manager of radio station WHRB while performing primarily in rock
contexts. He stayed in Boston after graduation, studying at the Berklee School of
Music and becoming more involved in the city's jazz scene. In 1985, Gershon founded
the Either/Orchestra, a group that remains a fixture of the city's jazz scene. In
1995, the Harvard Jazz Band invited Gershon back to his alma mater as a featured guest.
- Box 2., Knees Up. Michael Gibbs , composer. Score, 19 pages.
Date: Approximately 1980.
Big band (5-5-4).
Commissioned by the Harvard Jazz Band. Tom Everett jotted down the names of the soloists
for the premiere performance, with a young Don Braden ('84) leading off. At Harvard,
Braden gigged extensively in the Boston area while majoring in engineering. After
graduation, he moved to New York, and has built a career performing with such jazz
greats as Betty Carter, Wynton Marsalis, Freddie Hubbard and Roy Haynes.
- Box 3., Liberation Genesis. Fred Ho, composer. 14 parts (incomplete, some duplicates). Score (photocopy), 18 pages.
Big band (5-4-4).
By the time Fred Ho arrived as an undergraduate in 1976 he had performed with the
UMass Amherst jazz ensemble led by legends Max Roach and Archie Shepp, and was developing
his own powerful voice on the baritone sax. Like his mentors, he believed that political
activism can be integrated into one's artistic mission. Ho's focus on civil rights,
black power and Asian-American issues is already evident in compositions from his
Harvard years, such as "Liberation Genesis" and "Blues for the Freedom Fighters."
- Box 3., Mom, Are You Listening?. J.J. Johnson, composer and arranger. Parts for piano, har pages.
See additional notes on J.J. Johnson in "Memorabilia" (Box #7).
- Box 3., Number 92. Anthony Braxton, composer. Score, 14 pages; guitar lead sheet; performance notes to the band; notes from copyist
who produced the parts; photocopy of title page.
Big band (4-3-4).
Performed in concert honoring Max Roach. While scored primarily in traditional notation,
"Number 92" uses highly irregular rhythms and harmonies, and shows Braxton's predilection
for pictorial titles.
- Box 3., Palo Alto. Jimmy Giuffre , composer. 7 parts (incomplete) .
Composed for Lee Konitz.
- Box 3., Playing in Traffic. Steve Swallow, composer and arranger. Score (photocopy), 38 pages.
Big band (5-4-4).
Commissioned by the Office for the Arts on the occasion of Swallow's residency at
Harvard. According to Tom Everett, the title refers to the "casual, death-defying"
behavior of Harvard students crossing Mass. Ave.
- Box 3., Prospectus. Steve Lacy, composer. Jeff Friedman, arranger. Part for soprano sax, 4 pages.
- Box 4., Saints Go Marchin' In. Gunther Schuller, arranger Score, 28 pages .
Date: 1958, copyright 1964.
Big band (5-4-4).
Published by MJQ Music, Inc. Composer and historian Gunther Schuller has played a
major role in jazz since the 1950s, when he coined the term "Third Stream" to refer
to music incorporating both jazz and classical elements. In the 1960s Schuller served
as president of the New England Conservatory, where Tom Everett also taught for ten
years. Schuller's two monographs, "Early Jazz" and "The Swing Era," remain standard
texts of jazz history.
- Box 4., Somebody Loves Me. Benny Goodman, composer. Parts for trumpet 2, trombone 1.
Photocopy from Yale Music Library. In 2008, the Harvard Jazz Band surprised Golson
with one of his earliest arrangements, written for Benny Goodman's orchestra in the
early 1950s. When Golson was first shown the piece, he initially had no recollection
of it. Tom Everett's discovery allowed both Golson and the audience to re-engage with
a work that had been forgotten for over half a century.
- Box 4., Sometimes There Just Ain't No Fish. Gil Evans, composer. Score, 8 pages.
Alto sax, baritone sax; trumpet, trombone, guitar, piano, bass, drums. From the Pearl
Bailey Collection (see notes for "I Cried for You," above) . The piece was recorded
by Bailey and a group under Evans' direction in July of 1950, just months after Evans'
historic collaboration with Miles Davis in the historic nonet sessions later known
as "Birth of the Cool." This arrangement reveals a different side of Evans, more stripped
down and lighthearted than the Davis sessions. Occasionally, however, the horn backgrounds
recall Evans' trademark dark timbres and dense harmonies.
- Box 5., Take the Zen Train. Fred Ho, composer. Score (photocopy), 30 pages; notes from the composer (2 versions).
Big band (5-4-5) with solo guitar.
Commissioned by the Office of the Arts for the Harvard Jazz Orchestra. By the time
Fred Ho arrived as an undergraduate at Harvard in 1976 he had already performed with
the UMass Amherst jazz ensemble led by Max Roach and Archie Shepp, and was developing
a powerful voice on the baritone sax as well as a conviction that political activism
can be integrated into one's artistic mission. Ho's work is informed by the civil
rights, black power, and Asian-American movements.
- Box 5., Tribute. Slide Hampton, composer. Scores, 15, 16, 2, 19, 12, 33 pages.
Big band (5-5-4), string quartet.
Trombonist and composer Slide Hampton visited Harvard in 1981 to participate in a
tribute to saxophonist Charlie Parker. This handwritten original was a new work composed
by Hampton for the event. The suite is in six movements, new arrangements of pieces
made famous by Parker, including "A Night in Tunisia," Lover Man," "Parker's Mood,"
and "Anthropology." The concert was picked by the Boston Globe as one of the top ten
jazz concerts of the year.
- Box 5., Young Blood. Gerry Mulligan, composer. 2 parts for baritone sax.
Notes on Gerry Mulligan in "Memorabilia," Box #7.
- Box 6 (oversize)., Blue Skies. Irving Berlin, composer. Mary Lou Williams, arranger. Score,18 pages.
Big band (5-4-4).
This arrangement was originally commissioned for Duke Ellington's orchestra in 1944,
performed and recorded under the title "Trumpet No End." Ellington transformed the
piece into a feature for his trumpet section, each member soloing over the figures
written by Williams. When the Harvard Jazz Band organized a tribute to Williams featuring
pianist Geri Allen, this was one of several scores made available by the Williams
- Box 6 (oversize)., Harvard Fair. Peter Schickele, composer. Score, 9 pages.
Big band (5-4-4).
Best known as composer, scholar, radio host, and creator of the fictional pagesD.Q.
Bach, Schickele had visited Harvard on several occasions to perform his pagesD.Q.
compositions with the Wind Ensemble. On this occasion, according to Tom Everett, Schickele
was interested in revisiting some big band arrangements from his student days at Juilliard.
"Harvard Fair" is based on the commencement hymn "Fair Harvard," composed by the Reverend
Samuel Gilman for the university's 200th anniversary in 1836.
- Box 6 (oversize)., Harvard Swingster. Buck Clayton, composer. Score, 22 pages.
Big band (5-4-4).
Buck Clayton is known primarily as trumpet soloist for Count Basie's Orchestra. His
1990 visit to Harvard reunited him with former Basie section-mateEdison, Harry. Despite
well-known pieces such as "Lester Leaps Again," Clayton's significance as a composer
often goes unrecognized. Two of the three commissions from Clayton feature Harvard-themed
- Box 6 (oversize)., Quintergy. J.J. Johnson, composer. Score, 27 pages.
Big band (5-4-4) with 4 French horns, solo trombone (marked "J.J."), tuba, harp, percussion.
This autograph manuscript was donated by Johnson on the occasion of Harvard's Twenty-fifth
Anniversary Jazz Retrospective. The piece was originally commissioned by the U.S.
Air Force's Airmen of Note. The first page contains extensive instructions stressing
the role of the drummer in maintaining the energy of the piece. For additional notes
on J.J. Johnson at Harvard, see the entry in "Memorabilia," Box #7.
- Box 6 (oversize)., Take Me Back to Funk Nebraska. Peter Schickele, composer and arranger. Score, 10 pages .
Big band (5-4-4).
A few weeks after the premiere performance of Schickle's "Harvard Fair" (see entry
above), Everett received a new, unsolicited jazz/funk score from Schickele, "Take
Me Back to Funk, Nebraska" (the name of a real town). The Harvard visit, it appears,
had revived the composer's jazz muse.
- Series: II. Memorabilia (by artist/event).
- Box 7.40 Years of Jazz: A Celebration.
Program book, April 2011. Symposium program, 8 April 2011. Poster for concert, 9 April
2011. Notes from Cathleen McCormick (OFA) to Sarah Adams and Virginia Danielson, 22
April 2011. Cards from exhibit at the Isham Memorial Library, written by Douglas Freundlich
and Michael Heller, 7 April – 30 September 2011. Draft with Everett's annotations.
Sound files of interviews, with notes by Michael Heller.
- Box 7.Bauzá, Mario.
Letter to Tom Everett, 7 September 1990. Flyer for Bauzá as Kayden Artist in Residence,
31 October - 1 November 1990. Program for Tribute to Mario Bauzá, 9 December 1990.
- Box 7.Bley, Carla and Steve Swallow.
Concert program for The Music of Carla Bley, 9 November 1986. Letter from Carla Bley
to Tom Everett, 4 December 1992. Letter from Carla Bley to Tom Everett, 19 August
1994. Letter from Steve Swallow to Tom Everett, 13 September 1994. Letter from Steve
Swallow to Tom Everett, 8 June 1996. Letter from Steve Swallow to Tom Everett, 8 December
1998. Letter from Steve Swallow to Cathleen McCormick, 30 April 1998.
- Box 7.Bloom, Jane Ira and Steve Lacy.
Letter from Steve Lacy to Tom Everett, Paris, 27 September 1995. Letter from Jane
Ira Bloom to Tom Everett, regarding her piece "Sometimes the Magic" (see score in
Box 1), New York, approximately 2004. Flyers, programs and press clippings, 1994-2004,
in chronological order.
One of the few artists to be honored twice by the Harvard Band was soprano saxophonist
Steve Lacy. The first tribute took place in the spring of 1994, when Lacy was brought
in to perform with guest artists Irene Aebi, Roswell Rudd, Ed Schuller and Don Byron.
Ten years later, just after Lacy's passing in 2004, saxophonist Jane Ira Bloom dedicated
part of her residency to Lacy, playing both his music and a new piece written in his
- Box 7.Brubeck, Dave.
Letters to Tom Everett, 19 April 1978, 20 October 1983, 3 November 1983.
Brubeck asks for Everett's advice on behalf of his son Darius; the elder Brubeck,
whose 1954 LP "Jazz Goes to College" epitomized his collegiate market niche, ironically
confesses, "Since I am not in the academic world…"
- Box 7.Carter, Benny.
Letter to Cathleen McCormick, 14 August 1993. Letter to Myra Mayman, 12 November 1998.
Letter to Tom Everett, 15 March 2001, Letter to Tom Everett, 16 May 2001. Letter from
Rob Opdycke to Tom Everett and Nat Dickey, 18 May 2001. Flyers, programs and press
clippings in chronological order, all 1988.
- Box 7.Clayton, Buck and Harry Edison.
Letter from "Sweets" to Tom Everett, Los Angeles, 20 July 1989. Letter from Nancy
Miller Elliott to Tom Everett, New York, 12 July 1989, written on a typed inventory
of Buck Clayton compositions. Letter from Harry Edison to Tom Everett, Los Angeles,
12 January 1990. Letter from Nancy Miller Elliott to Tom Everett, with photo of Buck
Clayton in silhouette, June 1993. Letter from Nancy Miller Elliott to Tom Everett,
with photo of "Nance and the Maestro" on Avenue C, [1993?]. Letter from Nancy Miller
Elliott to Tom Everett, includes cartoon of Herschel Evans by Buck Clayton, undated.
Christmas greeting card from "Sweets", undated. Additional flyers, programs and press
clippings 1990-1998, in chronological order.
- Box 7.Dijkstra, Jorrit.
Emails to Tom Everett, 28 July 2003, 10 November 2003. Biographical information sheet,
- Box 7.Dudley House Jazz Band.
Flyer for Zodiac Suite by Mary Lou Williams, 2010.
- Box 7.Everett, Tom.
Letter from Gary Burton to Tom Everett, Boston, 18 August 1978 (Burton declines Tom's
invitation to be a guest speaker in his class, admitting to some negative feelings
about teaching). Letter from Doc Cheatham to Tom Everett, undated. Email from Ross
Clayton to Jean Moncrieff, 28 September 2007. Letter from Chick Corea to Tom Everett,
Los Angeles, 23 September 1983. Letter from Tom Everett to Douglas Freundlich and
Michael Heller, Cambridge, MA, 16 February 2011. Letter from Tom Everett to Albert
Murray, Cambridge, MA, 6 April 2006. Letter from Drew Gilpin Faust to Geri Allen,
Cambridge, MA, 26 June 2008. Letter from Geraldine Freund to Tom Everett, Chicago,
18 March 1997. Letter from Norman Granz to Tom Everett, Beverly Hills CA, September
1983. Postcard from Talib Kibwe to Tom Everett, Lapland, 22 April 1999. Letter from
Gerry Mulligan to Tom Everett, Darien CT, 6 January 1993. Email from Peter F. (Peter
Francis) O'Brien to Tom Everett, 6 October 2007. Letter from Harry Paul to Tom Everett,
Boston, 4 November 1983. Letter from Roswell Rudd to Tom Everett, 18 September 1983.
Letter from Teddy Wilson to Tom Everett, Westwood, N.J., 5 May 1978.
- Box 7.Everett, Tom.
Course syllabi, 1979-1990, arranged chronologically. Afro-American Studies 138: The
Jazz Tradition. Afro-American Studies 127: The Jazz Tradition. Harvard Extension E-100:
Miles Davis: The Evolving Artist.
- Box 7.Gibbs, Terry.
Signed photograph, 2000.
- Box 7.Golson, Benny.
Email to Tom Everett, 14 March 2008. Tech outline for "Along Came Benny."
- Box 7.Harvard University Jazz Band (1972-2011).
Miscellaneous photos, undated. Concert programs, brochures, posters, newspaper clippings;
The first item, a photo with Everett kneeling in the lower left, shows the very first
lineup of the band at the end of their first year. The early programs represent watershed
moments for the group. In 1972, the band played its first formal concert as part of
a program that also included the Wind Ensemble and the Harvard Band. In 1974, they
played their first annual concert at Sanders Theater. The event was underwritten by
the Harvard Summer School, whose director, Thomas Crooks, was a jazz fan and amateur
pianist. The Sanders Concert has remained an annual tradition ever since, with funding
provided by the Office for the Arts since 1979.
- Box 7.Haynes, Roy.
Envelope with Haynes' custom stamp, addressed to Tom Everett. Newspaper article from
the Harvard Crimson, April 2009.
- Box 7.Hill, Andrew.
Newspaper articles from the Boston Globe, Boston Herald American, Boston Phoenix,
24-28 April 1992. Concert program and Learning from Performers flyer from 1992 Harvard
residency. Letter from Andrew Hill to Tom Everett, Jersey City N.J., 2 November 1998.
Letter from Andrew Hill to Tom Everett, Jersey City, N.J., 10 June 1999. Letter from
Andrew Hill to Tom Everett, Portland, OR, (undated).
- Box 7.Ho, Fred.
Programs for the 2009 Harvard Arts Medal Ceremony and concert. Brochure for the University
of Wisconsin-Madison Arts Institute Interdisciplinary Artist in Residence, 2008. Promotional
- Box 7.Jacquet, Illinois.
Letter from Illinois Jacquet to Tom Everett, 15 March 1982. Program for Learning from
Performers, 18 November 1984. Program for The Jazz Reunion, 17 April 1987. Harvard
University Gazette article, 10 April 1997. Program for the Harvard Jazz Band 25th
Anniversary Concert, 12 April 1997.
- Box 7.Johnson, J. J.
Articles in Harvard University Gazette and Arts Spectrum for Johnson's Residency,
18-20 April 1996. OFA press release, 12 June 1996. Letter from Tom Everett to J.J.
Johnson, Cambridge, MA, 6 August 1996. Letter from J.J. Johnson to Tom Everett, 10
October 1996. Letter from J.J. Johnson to Tom Everett, Indianapolis, IN, 19 May 1999.
Letter from J.J. Johnson to Tom Everett, 5 June 1999. 6 letters from J.J. Johnson
to Tom Everett, undated. Christmas card from J.J. Johnson to Tom Everett, undated.
Handwritten note for introduction speech. Revised plan for J.J. Johnson Brass Orchestra
recording sessions, September 1996. Post by Johnson to friends concerning his illness
(2 pages). Email from Tom Everett to OFA announcing Johnson's death. Photographs and
Perhaps no residency was more poignant than that of trombonist J.J. Johnson. As a
trombonist himself, Tom Everett had long idolized the bebop master, faithfully collecting
his scores and recordings. The two first met during the 1980s through Everett's work
with the International Trombone Association. When originally invited to do a residency,
the shy Johnson was hesitant, and only after five years of coaxing did Everett persuade
him to visit. The handwritten excerpt of Johnson's opening remarks makes reference
to Everett's tenacity in bringing him to the university. The residency solidified
their friendship, with Johnson asking Everett to conduct several pieces on his final
album, "The Brass Orchestra" (1997). The two remained close friends until Johnson's
death in 2001.
- Box 7.Jordan, Sheila.
Article in Arts Spectrum, December 1997. Flyer for "Jazz Voices" concert, 13 December
1997. Letter from Sheila Jordan to Tom Everett, 30 March 1998. Lyrics to Rhythm-ning.
- Box 7.Redman, Joshua.
Program for the Harvard Arts Medal Celebration, 1 May 2008. 2 photographs.
Redman's father, Dewey Redman, was a well-known tenor saxophonist who played with
Ornette Coleman; his mother, dancer Renee Shedroff (whose last name he used during
his Harvard years, as seen in HUJB programs) introduced him at an early age to Indonesian
and Indian music. Redman graduated summa cum laude with a concentration in social
studies, and was accepted at Yale Law School, but decided to defer his studies to
spend a year in the New York jazz scene. He never looked back, becoming one of the
most prominent saxophonists of his generation. In 1991, Redman won the Thelonious
Monk Jazz Competition, and then came under contract with Warner Bros. Music. He continued
to perform in prominent venues and has served as artistic director of the San Francisco-based
- Box 7.Terry, Clark.
Flyer for Tribute to Count Basie with Clark Terry, 18 December 1985. Autographed flyer
for Tribute to Clark Terry, 6 March 1993. Letter from Clark Terry to Tom Everett,
Bayside, N.Y., 7 April 1993.
- Box 7.Weston, Randy.
Letter from Randy Weston to Tom Everett, Brooklyn, N.Y., 5 February 1999. Letter from
Randy Weston to Tom Everett, Brooklyn, N.Y., 7 February 1999. New Year's greeting
card from to Tom Everett and Cathleen McCormick, undated.
- Box 8 (oversize).Harvard University Jazz Band.
Poster for Trombone Blowout, autographed by Carl Fontana and Jimmy Knepper, 13 April
1991. Poster for Moody's Moods, 10 April 2010.
- Box 8 (oversize).Jacquet, Illinois.
Poster for Jazz for Life, autographed by Illinois Jacquet, 3 February 1989.
- Box 8 (oversize).Marsalis, Wynton.
Poster for Music as Metaphor: A Lecture and Performance, 28 April 2011.
Jazz -- Lead sheets.
Music -- Manuscripts.
Big band music -- Scores and parts.
Arlen, Harold, 1905-1986
Bauzá, Mario, 1911-1993
Berlin, Irving, 1888-1989
Bloom, Jane Ira
Clayton, Buck, 1911-1991
Clayton, Buck, 1911-1991
Dameron, Tadd, 1917-1965
Di Novi, Gene
Dijkstra, Jorrit, 1966-
Edison, Harry, 1915-1999
Elliott, Nancy Miller
Evans, Bill, 1929-1980
Evans, Gil, 1912-1988
Freed, Arthur, 1894-1973
Gershwin, George, 1898-1937
Gibbs, Michael, 1937-
Gibbs, Terry, 1924-
Gillespie, Dizzy, 1917-1993
Goodman, Benny, 1909-1986
Granz, Norman, 1918-2001
Hall, Jim, 1930-2013
Hill, Andrew, 1931-2007
Ho, Fred Wei-han
Hodeir, André, 1921-2011
Johnson, J.J., 1924-2001
Jordan, Sheila, 1928-
Kern, Jerome, 1885-1945
Knepper, Jimmy, 1927-2003
Krupa, Gene, 1909-1973
Lee, Thomas Oboe
Lewis, John, 1920-2001
Lyman, Abe, 1897-1957
Marsalis, Wynton, 1961-
McHugh, Jimmy, 1894-1969
Mingus, Charles, 1922-1979
O'Brien, Peter F. (Peter Francis)
Ory, Kid, 1886-1973
Parker, Charlie, 1920-1955
Powell, Morgan, 1938-
Putnam, A., active 1918
Reynolds, Herbert, 1867-1933
Russell, George, 1923-2009
Weston, Randy, 1926-
Williams, Mary Lou, 1910-1981
Wilson, Phil (Trombonist)
Wilson, Teddy, 1912-1986
Winstone, Norma, 1941-