The entire program for the jazz hour (second hour) of Music USA, broadcast September 10, 1956.

The entire program for the first hour of Music USA, broadcast on January 17, 1957, and rebroadcast as #826-A on April 3, 1957.

The entire program for the first hour of Music USA, broadcast on July 10, 1956, and rebroadcast as #831-A on April 8, 1957. On internal documents, Conover had rated the program "AA," indicating that it was one he was particularly pleased with.

One of two reels of music from Trinidad found in Willis Conover's collection. The artists and recording date have not been determined.

An unedited program, without theme music or a program number, but likely intended for the first hour of Music USA, including an interview with Andy Wiswell, director of artists and repertoire (A&R) at Capitol Records.

Transcript of Willis Conover's interview with Billie Holiday for Music USA program #447-B, broadcast March 20, 1956.

The entire program for the jazz hour (second hour) of Music USA, aired on November 23, 1956. This program features Hungarian jazz musicians who sent a recording to Conover shortly before the Hungarian Uprising of 1956; this hour was apparently was quickly assembled to replace the original program #695-B which had been recorded in October, but set aside for this replacement. The musicians remain unnamed, presumably for their safety, as Conover notes that it is unknown whether the musicians in the recording were still alive. Gerry Mulligan, Tony Scott, Quincy Jones, J.J. Johnson, and Billy Taylor comment on the musical selections.

Transcript of Music USA program #576-B, a tribute to jazz trumpeter Clifford Brown, who died on June 26, 1956. The original interview was done on December 6, 1955, and first aired on Music USA #376-B.

The entire program for the jazz hour (second hour) of Music USA, including tune selections and an interview with Bob Shad, director of artists and repertoire (A&R) at Mercury Records, broadcast March 7, 1956.

The entire program for the jazz hour (second hour) of Music USA, including tune selections and an interview with Eddie Condon.

Fall/Spring performances program book from the 1955-1956 school year at the North Texas State College School of Music.

Transcript of Willis Conover's interview with Gene Krupa and Buddy Rich for Music USA program #310-B, completed on September 28, 1955. Final page is an excerpt of an interview with Bud Freeman at the Newport Jazz Festival, dated July 16, 1955.

Composition for solo piano

Recording of Bor Turel's Sonotranjosti.

Recording of Hugh le Caine's Ninety nine Generators. The title refers to the 99 organ sound generators sensitive keys - a separate generator for each note of the keyboard that can all be operated simultaneously. Le Caine here uses a resonance pedal and a device that can change the pitch to produce a vibrato or long glissandi impossible to achieve on an organ. The particular reverb of this piece is caused by the unusual acoustics of the place where it was realized.

Recording of John Gilliland interviewing Tony Bennett in Fort Worth, Texas. Gilliland later used this recording in the Pop Chronicles radio program series.

Photograph of Ray McKinley (left) presenting Jim Maxwell with a piece of paper and offering to shake his hand. Band members in the background hold their instruments while applauding and smiling in their direction. A handwritten note at the bottom of the photo says: "Jim Maxwell, formerly with the N.T. Jazz program, joins the Ray McKinley Band and on their appearance at T.W.U. Ray McKinley surprises Jim by presenting him with his Masters degree."

Interview with Nat "King" Cole by a Voice of America interviewer identified as Walter. The mention of Cole's NBC television show narrows the possible date range to 1956 or 1957.

Photographs of the Five Front jazz combo band on the Steve Allen Show. In the top photograph, nine men stand in a line. Gene Hall is the fifth man from the left, and he is wearing a dark suit and glasses. Steve Allen stands next to him on the right, wearing a gingham shirt, ribbon necktie, and slacks that have been tucked into cowboy boots. The bottom photograph shows the band members performing on a mat atop a dirt floor. Most of the suited young men are seated behind music stands. Onlookers can be seen milling about in the background behind a white fence.

Photograph of the Laboratory Dance Band posing on a stage with their instruments. Arranged in three rows, the group primarily composed of dark suited young men sit behind music desks. A bassist and a drummer stand with their instruments in the rear row. A young woman in a black dress sits in the front row to the left side. Standing on the right side of the photo is Gene Hall, an older man wearing a dark suit and spectacles. A small sign for the American Red Cross is hanging on the right side of the curtain that hangs behind the band. Rows of auditorium seating can be seen above the curtain.

Photographs of Gene Hall and the Laboratory Dance Band on stage with Jimmy Giuffre. In the top photo, Giuffre plays a clarinet on the far left of the photo. Gene Hall holds sheet music and stands to the right with his back to Giuffre. The band is sitting behind these two men and playing various instruments. Handwritten text beneath the photos says "Jimmy Giuffra [sic] - Guest Soloist - 1956."

The interview which accompanied Music USA #551-B, broadcast July 2, 1956, featuring Marshall Brown, John LaPorta, and four Farmingdale (New York) High School students.

The music of Danny Kaye is featured in a program apparently broadcast by the Voice of America's Yugoslav Service.

A transcript of the fifth hour of Willis Conover's interview with Louis Armstrong on July 13, 1956, with corrections made in blue ink by Conover.