Contributed by Jack Kopstein

Soldier’s Songs and Marches

The lives of soldiers in the armies of the world have often been expressed in song. Cavalry troops often sang on the march. ‘Singers to the Front” would be the shout and the men would form up in three lines while rare songs of every description were heroically voiced. Troopships, particularly of the British Navy were a hotbed of sing-songs with sailors and soldiers joining in and provided instrumental backgrounds with fiddles and concertinas.

The repertoire of the soldiers would consist of songs which they had learned at home; folk melodies, street ballads, sentimental ballads. Many of the songs had a military reference but much of the folksy material was of the common culture.

The songs were frequently written down by officers and bandmasters. One such song is the Speech of Sgt Smith, a Song of the Royal Engineers was written down by a Captain Ward to the tune of Chesapeake and Shannon.

Some regiments encouraged the singing of traditional songs as evidenced by the Somerset Light Infantry with a song called High Germany. In Britain the wealth of folk music spawned the entrance of the Regimental march into the legend of the units which fought in various campaigns., the most famous being the Welch tune Men of Harlech which celebrates the stand by the defenders of Rorke’s drift January 22nd 1879.

Much of the early improvised material gained wide usage. The Battle of Waterloo is one of the oldest songs which trace its ancestry back to men whom actually fought at Waterloo. Many of the authors of the songs cannot be traced but since the songs travelled usually from mouth to mouth, the words were often altered to fit the conditions of service. The American civil war tunes became the battle cry for many troops, on both sides of the war. Men marched into battle, with voices raised singing the songs of war such as Battle Hymn of the Republic and When Johnny Comes Marching Home, or the Confederate song O’ I’m a Good Old Rebel.

In Britain an officer of the Rifle Brigade wrote in 1809 wrote:
“Our men are in very high spirits, and we have a most excellent band of music and thirty bugle-horns, through every country village strikes up the old tune Over the Hills and Far Away.

The songs and marches of the British Army inspired a writer to pen a book called The Romance of the Regimental March and which included a background to several of the marches which had become the official march of British military units.

Very clearly many marches were derived from the music of well-known classical composers, but others were the very simple tunes which gave meaning to the every day life of the soldiers. The Royal family succeeded in contributing marches, the most well known being the Royal Artillery Slow March written by the Duchess of Kent in 1836.

Very often music was written or sung to celebrate battles and wars. In the US the Battle of Trenton was remembered with a tune by the same name in 1792 by a composer named James Hewitt. The official marches of American fighting units became standard fare for early military bands such as March of the First Alabama Volunteer Regiment by John Holloway 1837. Later composers would express themselves with music which fêted US Presidents. Andrew Reinagle an early American composer wrote Jefferson’s March in 1804. Later funeral music for a president became common as evidenced by The President Harrison Funeral march of 1841.

The songs which commemorate both wars and popular figures seem to have been the driving force behind the phenomenon of the rambling soldiers. The Death of General Wolfe at The Heights of Abraham in Quebec 1759 is an example of the longevity of battle songs.

The song Cheer, Boys, Cheer made its appearance around 1854 and contained a phrase which was the proverbial complaint in the British Army in the nineteenth century:

Here come General Howl and Scoff
The head of the hungry army

No soldier song better defines this decade than the hymn Amazing Grace. Every Canadian service person killed in action in Afghanistan has been honored with the bagpipe rendition of the song. It was played over and over to commemorate and remember those killed in New York during 9/11 attack. It has become thematic of police officers killed in the line of duty and Firemen whom have given their lives to save others. The lyrics begin “Amazing Grace, how sweet it is” refer to the reclamation of the soul; it is played more often today to recognize those that served and whom have given their lives to save others or in remembrance. The music and words appear below.

The narratives, songs and ballads have combined over the centuries to present a view of service life through the eyes of its rank and file. It is through this historical contribution that we both understand and praise the sacrifice for those who take up the call of arms.

ALTISSIMO! RECORDINGS
FEBRUARY NEWSLETTER 2010
Krista Slinkard, Altissimo! Staff

MINNEAPOLIS POLICE BAND

In Minneapolis, MN, the winter snow may be falling, the temperatures might be dropping, and the wind might hit you in the face, but the Minneapolis Police Band will play on. This was the case this past December when the band performed in the Holidazzle Parades in Minnesota in bone-chilling 16 degree weather. Now that’s dedication! This group of musicians enjoys playing no matter what the situation may be. Comprised of both civilians and officers, both active and retired, the band strives to make music fun for all, including themselves.

Founded in 1917, the band’s first official performance was for an Armistice Day parade in November of 1918. These musicians typically march in 4 or 5 parades per year in addition to other concert performances. There are approximately 28 members in the marching band, 17 in the swing band, and 35 in the concert band, with an age range of 18-88. In this group, there are several military veterans, including two who specifically played in the US Army band during their service to their country.

The music is generally selected by the director, but the band is always open to public suggestions for expanding their library. Two recent directors mastered the art of selecting music. Retiring at the end of 2007, Officer Robert Falk ended his 40-year service as director of the band, which began in 1967. Mr. Falk was a respected member and leader of the band and in the community. Upon his retirement, Bob Dynan stepped out of his Assistant Director role and into the shoes of the Director.

The band tries to make their concerts very audience friendly, and even have a vocalist to accompany them on certain songs and also be the Master of Ceremonies or drum major, depending on what role he needs to fill that day. The talented band has a wide repertoire of tunes to choose from to play. Favorites include “Them Basses,” “Stars and Stripes Forever,” “American Patrol,” and “in the Christmas Mood,” a favorite for December concerts and parades.

In addition to playing locally, they have worked with elementary schools to promote the continued study of music and music education, and they have also traveled across the US and Canada. In 2006, the Minneapolis Police Band had the honor of being inducted into the Minneapolis State Music Hall of Fame.

At the end of a day’s practice, the Minneapolis Police Band members either go home or go back to protecting those they serve. Just another day in the life, but all the more worthwhile when there’s music to be made, and for that Altissimo! salutes this band in the Community Band Spotlight.

For more information on the Minneapolis Police Band, visit their website.

Special Thanks to Patty Bjork for being an excellent interviewee!

If you know of a band that we should highlight, please let us know! Email Krista at krista@militarymusic.com

Contributed by Jack Kopstein

Today, the U.S. military is often used as an example of racial equality and opportunity, but before 1948 segregation was the rule. Even though President Truman ordered formal integration, President Franklin Roosevelt made a step forward six years before that by suggesting that the Navy create black bands to elevate the status of black Navy men.

During the World War II, blacks were recruited into the Navy to serve only as cooks, mess attendants, or stewards. By Executive Order of the President blacks were allowed to serve as yeoman and other ratings in 1942. Starting in 1943, 5,000 musicians were recruited from across the country to officially serve as musicians. They were then sent to the Great Lakes Naval Base, near Chicago, for training to play in big bands. As a result this experiment was called “The Great Lakes Experience of World War II.” Following training, 25-piece bands were formed to tour naval bases across the United States and to raise morale where they played. When the war ended, the musicians went home. Some of them formed bands or joined other bands, and some became renowned jazz artists and arrangers. A couple of the more notable ones were Von Freeman and Clark Terry, the jazz trumpeter who later performed with Duke Ellington and the ”Tonight Show” band. Many of them just went into other lines of work.

In Seattle, we know that one of these bands may have been stationed at Naval Air Station Seattle, now known as Warren G. Magnuson Park. One member of the band (not known if he is shown in the photo) was Alvin Larkins.  Larkins came to Seattle when the Navy stationed him at NAS Seattle in 1943. After a long career of teaching music, Alvin Larkins Park was named after him in the 1970′s. Other known members of the band include, drummer Duke Moore (arriving in Seattle in 1942). Moore and other black musicians were best known for the jazz group, “The Question Marks.” Another member was vocalist Babe Williams, known for his renditions of tunes by the Ink Spots and Mills Brothers.

On February 28, 2003, tribute was paid to the Navy’s first “official” black musicians through several events in Chicago.

Jive Bombers jazz band of World War II: In January 1943, the U.S. Naval Military Band transferred from the Great Lakes Naval Training Center in Illinois to Sand Point Naval Air Station in Seattle. A group of these musicians formed their own jazz ensemble, the “Jive Bombers.” This information and the band roster was prepared by Jacqueline E. A. Lawson and band member John Willis correctly captioned a photo in the collection of the National Archives.

The Naval Military Band, originally formed at Great Lakes Naval Training Center, consisted of about 24 members. The Military Band was transferred to Sand Point Naval Air Station in January 1943. They performed weekly at bond rallies in “Victory Square” which was located in downtown Seattle in front of the Olympic Hotel on University Street between 4th and 5th Avenues. They also participated in parades and performed at various Navy functions.

Several members of the band (about 18 of the below-named individuals) formed a jazz group, calling themselves the “Jive Bombers.” They performed locally (out of uniform) at various private functions — such as weddings and fraternity parties — often with jazz groups organized by local musicians such as Al Hickey and Bob Marshall.

Here are the names of the musicians pictured at the top:

First Row
Robert Braxton, clarinet
Andrew E. Wade, III, clarinet
Al Hickey, clarinet
Wm. Funderburg, saxophone
Charles Ethridge, saxophone
John Irons, trumpet
“Doc” Wheeler, trumpet
J. Chavis, trumpet

Second Row
John Willis
“Baby” Greer
“Deany” Clark
Clifton Rice
Robert Young
unidentified
F. Leftrict
Dave Bradford
Alvin Cola

Standing
unidentified
Jarvis
J. Jacquet
Alvin Larkins
Robert Marshall
Edward Middleton
Edwin Middleton

After discharge from the service, some members of the Jive Bombers remained in the area and continued to play professionally for private and public social functions and dances. Additional local musicians who performed with these groups included: Kenny Boas (piano), “Baby” Greer, Ralph Davis (drums), Elmer Gill (piano), Duke Moore (drums), Johnny Moton (piano), Wyatt “Bull” Ruther (base), Leon Vaughn (trumpet), and Gerald Wiggin.

The Jive Bombers also made a recording of the Dixieland tune ROSETTA as seen above Since this recording is marked as “3” there may have been several others in the same series recorded by WESTERN RECORDING STUDIOS (Seattle Washington). The label shows the name THE USS Bunker Hill. It was one of 24 Essex class aircraft carriers commissioned during the war. The ship went into action in the Pacific in 1943 and the Jive Bombers band may have been the ship’s band and made the recording prior to shipping out.

On February 28, 2003, tribute was paid to the Navy’s first “official” black musicians through several events in Chicago.

Sources
Laney, Mary. Time has come to honor Navy’s black musicians in WWII. February 10, 2003 Chicago Sun Times.
Lazarus, Judy R. The Navy’s ‘jazzy’ history. February 2003. Great Lakes Bulletin.
Museum of History and Industry. Duke Moore drummer with The Question Marks. 2002.
Museum of Music. Integrating the Navy with Jazz: The Great Lakes Experience, 1942-1945.
May 19, 2003. Vibrations.
Seattle Parks and Recreation. Alvin Larkins Park. December 31, 2003

A Concert for Brass Band, Voice, and Piano
Contributed by Jack Kopstein

On September 27, 1974, the Music Division of the Library of Congress recreated a typical concert of brass-band and vocal music from mid-nineteenth-century America. Recorded selections from that concert were presented. These recordings were the result of several years of research by Jon Newsom of the Music Division and many more years of experience and study by the late Frederick Fennell, founder and former director of the Eastman Wind Ensemble and professor of music at the University of Miami, and Robert E. Sheldon, then of the Smithsonian Institution’s Division of Musical Instruments and presently Curator of Musical Instruments in the Music Division, Library of Congress. Because the purpose of these recordings was to demonstrate the style and quality of the popular music of the era, the musicians used instruments appropriate to the period.

Band concerts of the mid-nineteenth century frequently included vocal music, which as a genre was inseparable from the band music of the same era. The performances included a number of songs performed by Merja Sargon, assisted by Bernard Rose, who also plays two piano solos using the Smithsonian Institution’s 1850 Chickering square piano. Although this is a parlor instrument, it is the kind used by Jenny Lind on her American tour of 1850-52. The iron-frame piano, first introduced by Alpheus Babcock in 1825, was manufactured by Jonas Chickering in Boston in 1840 and was widely popular by the 1850s. Miss Sargon and Mr. Rose are joined in one piece by Robert Stallman, who plays a modern adaptation of the Boehm-system, wood, conical-bore flute. It produces a timbre very much like that of the 6- and 8-keyed flute common in the period.

The Programme (Click on a Track to Listen)
1.   Hunters’ Chorus, from The Rose of Erin (Band)
2.    O Summer Night, from Don Pasquale (Band)
3.    Ah! May the Red Rose Live Alway (Vocal)
4.    The Herdsman’s Mountain Song (Vocal)
5.    Captain Shepherd’s Quickstep (Band)
6.    Captain Finch’s Quickstep (Band)
7.    Indiana Polka (Band)
8.    Old Memories (Vocal)
9.    The Moonbeam Waltzes (Band)
10.    La Fontaine (Piano)
11.    Upon a Summer’s Day(Vocal)
12.    Slow March: Midnight! (Band)
13.    Scots Wha Hae: Variations (Piano)
14.    General Taylor Storming Monterey (Band)
15.    Lilly Bell Quickstep (Band)
16.    Why, No One to Love? (Vocal)
17.    Free and Easy (Band)