The next day boasted Dave Brubeck’s Quartet, the Gerry Mulligan Quartet, Eartha Kitt, and the Dizzy Gillespie Orchestra. Cecil Taylor gave a very early peek into the avant-garde alongside Steve Lacy and Buell Neidlinger. Mary Lou Williams performed for the first time publicly in five years. The Farmingdale (NY) High School Band forged the path for not only the Newport International Youth Band that would tour Europe the following year but also the long history of high school and college bands at the Festival over the ensuing decades. There were also sets by Don Elliott and Eddie Costa. While neither’s name is not well known now, both showed the Festival’s continued interest in pushing boundaries. The former was a calypsonian multi-instrumentalist. The latter, a pianist and vibraphonist who was so skilled at both he became the first to win two instrumental categories in DownBeat’s critics poll. Another mallet player on that day was Lem Winchester, a former cop turned professional musician.

But July 7th brought the year’s most memorable moment. The lineup included more traditional bookings like Teddy Wilson’s Trio, Sarah Vaughn, Oscar Peterson’s Trio, the Count Basie Orchestra, and the Jimmy Giuffre 3 with Jim Hall and Bob Brookmeyer. However, at the insistence of foundation board member John Hammond, the day started with a series of gospel groups. For most in the primarily white audience, it was the first time exposed to the form. The Drinkard Singers (including Whitney Houston’s mom Cissy), the Clara Ward Singers and the Back Home Choir were well received. Following them was the perhaps the greatest singer of the style, Mahalia Jackson, in her first secular appearance. The crowd gave a standing ovation." " (Rob Shepherd, https://postgenre.org/newport-jazz-part-iii/)