Our company president (and a few of us) got to see two of the military bands play recently. Here is a review he has written to share his experience with you:

I had the rare privilege of hearing two of the greatest touring big bands in the past week. Last Wednesday, March 23, I attended a concert by the superb US Air Force Airmen of Note at Ingram Hall at Vanderbilt University in Nashville. This past Tuesday, March 29, I was equally lucky to hear the US Army Field Band Jazz Ambassadors at Centennial High School in Franklin, TN. Both concerts were magnificent.

The Airmen of Note under the musical direction of SMSgt Joe Jackson (also lead trombone) was so good it made me want to sing and dance. Highlights included a wonderful flugelhorn solo by the SMSgt Kevin Burns on “Always and Forever.” As an old guitar player, I just really loved the extended solos by TSgt Geoff Reecer. Of particular interest was vocalist TSgt Paige Martin. Her uniquely unusual and beautiful voice was amazing. She is also the only white female vocalist I have ever heard scat. It was something to hear. Another highlight was an extended electric bass solo by CMSgt Paul Henry on Eric Clapton’s “Change the World.” It was a special pleasure for me to meet CMSgt Dudley Hinote (bass trombone) who is also the NCO in Charge of this great band. The performance was superb, and the CD with the program was a nice plus.

The Jazz Ambassadors gave a great concert as well even though the acoustics of the multipurpose room at the high school were quite inferior to those at Ingram Hall at Vanderbilt.  That didn’t stop me from enjoying a fantastic band and a fantastic performance.  Under the direction of CWO Gordon Kippola, the band was tight and really rocking. Every player was really strong with numerous extended solos. Big complements to the Rhythm Section of SGM  Jeff Lopez (bass), MSgt Tim Young (piano), SFC Todd Harrison (drums) and SSG Stephen Lesche (Guitar). They were solid and inspiring all night. Vocalist MSgt Marva Lewis has a sublime voice and made me cry when she did the Barry Manilow song “All the Time” with just a piano accompaniment.  The band did a nice tribute to David Hale, the Centennial High Band Director who is retiring this year.

So two great bands in less than seven days! Hard to beat that experience. If you have never heard either of these bands, do yourself a favor and go to a concert when they are in your town. Touring info for each group is below.

http://www.USAFBand.af.mil/events/index.asp

http://www.armyfieldband.com/pages/schedule/ja_sched.html

Al McCree

President

Altissimo! Recordings

The American Bandmasters Association and John Philip Sousa

Contributed by Jack Kopstein
Written by Jennifer Scott, 1995
Edited by Thomas V. Fraschillo, William J. Moody, 2006

During the early part of the twentieth century, the concert band performed more music of quality to the public than any other type of musical organization. Concert bands traveled throughout the United States, Canada, and Europe performing to thousands who otherwise would not have had an opportunity to experience formal concert hall performances. Although the concert band’s popularity was unquestionable, it generally was not considered to be on the same esoteric level as the orchestra; therefore, concert bands suffered a somewhat inferior status among musicians. Factors that contributed to this perception included the concert band’s concert venue, often out-of-doors, the difficulty of conductors to obtain a quality music education, a limited repertoire that with the exception of marches largely borrowed from the libraries of the orchestra, and a lack of camaraderie among the leading bandmasters/conductors of the period.

Dr. Edwin Franko Goldman, composer, conductor, and founder of the Goldman Band, recognized these problems and challenges to the band movement. Believing that quality music for band could and should be offered to the public, Goldman arranged for a small group of outstanding bandmasters to meet in New York in order to discuss the problems of their profession. All agreed that through a combined effort, better bands and better repertoire could emerge. Goldman’s idea for establishing The American Bandmasters Association (ABA) had its inception with this meeting.

Goldman continued to provide the momentum behind the ABA and was determined to improve not only the band’s profession, but also the collegiality among directors. With the oncoming impact of radio broadcasts and the decline in the popularity of the touring professional band, concert bands were forced to fiercely compete for performance venues. Goldman’s New York City band, however, experienced the opposite in that many of his concerts were broadcast on radio and became popular throughout the country. His New York audiences likewise increased through the influence of radio, and attendance at live concerts often exceeded 25,000. He became the second most famous bandmaster in the United States, behind the immortal John Philip Sousa.

Goldman’s rise in fame provided him the respect and contacts that he needed to gain interest and support for the ABA. During the summer of 1928, encouraged by favourable reactions in the profession, he met with Victor Grabel, conductor of the Chicago Concert Band, and Captain William Stannard, leader of the U. S. Army Band, in Columbus, Ohio, to begin discussing what resulted in the first formal steps towards the foundation of ABA.

Capt. Stannard in August, 1928, recorded the original and lasting intent of ABA in a letter to Albert Austin Harding, Director of Bands at the University of Illinois: “We conceived the idea of creating an ABA for the purpose of furthering the interests of outstanding American Band Masters, and of interesting composers, arrangers, and music publishers in Wind Band music. . . . It would be the aim of the ABA to unite in a concerted effort to influence the best composers to write for the Wind Band.” Stannard also wrote that John Philip Sousa had been interviewed in connection with the proposed idea and that he was quite enthusiastic, consenting to act as President of the association. Sousa’s support was of vital importance since he was recognized as America’s foremost bandmaster. Sousa had the respect and personality necessary to motivate bandmasters to unite in Goldman’s cause.

Grabel and Stannard immediately began groundwork toward the official founding of the ABA. Stannard sought input from acclaimed bandmasters and Grabel organized meetings in Chicago when Stannard, Harding, Sousa and other bandmasters could meet. Goldman remained the guiding force behind the movement, while Grabel acted as the primary executive force. The organization took true formation at a meeting in Chicago on October 25, 1928. Grabel, Harding, and Stannard discussed many issues including the importance of key bandmasters, possible locations and times for the first formal meeting, the beginnings of the constitution which would be written by Grabel, and the procedures and qualifications for membership.

New York was approved as the first meeting place and the charter members assembled there on July 5, 1929. These members included Edwin Franko Goldman; Charles Benter, Director of the United States Navy Band, Washington, D. C.; J. J. Gagnier, Director of His Majesty’s Grenadier Guards Band, Montreal, Canada; Victor J. Grabel, Conductor of the Chicago Concert Band; Albert Austin Harding, Director of Bands at the University of Illinois; Richard B. Hayward, Director of the Toronto Concert Band, Toronto, Canada; Charles O’Neill, Director of the Royal 22nd Regiment Band, Quebec, Canada; Arthur Pryor, Director of Arthur Pryor’s Band, New York, NY; and Frank Simon, Director of the ARMCO Band, Middletown, Ohio.

Although the proceedings of this important meeting do not exist, the events can be somewhat retraced from a brief New York Herald Tribune article. Grabel’s draft of the ABA Constitution and by-laws were adopted and an official statement of the objectives of the ABA compiled. These initial objectives set forth the desire for a universal band instrumentation, a higher standard of artistic excellence, and the need to induce prominent composers of all countries to write for the band. At the end of the Constitution, Grabel listed John Philip Sousa as Honorary Life President and the following officers: Goldman, President; O’Neill, Vice President; Grabel, Secretary; and Harding, Treasurer. Simon, Clarke, and Hayward were elected Directors and Pryor was elected Chairman of the Membership Committee.

The first annual convention was held March 13-16, 1930, in Middletown, Ohio, the home-base of charter member Frank Simon and the ARMCO Band. By the second annual convention in 1931, the ABA had begun to move out of its organizational stages and into a decade of activism. World War II brought a redirection of focus for the entire country and caused the 1942 convention to be cancelled. During this difficult period, the ABA Newsletter was begun and served as the essential link that held the group together over the next six years. No conventions followed during the war and the original editor of the newsletter, Lynn Sams, is credited with keeping the interest in ABA alive.

The organization met again in 1947, in Elkhart, Indiana, with members eager to push the association forward in new directions. This convention marked the revival of ABA that has continued to meet annually. Conventions provide the ongoing process of growth and change necessary to adhere to the principles on which the organization was founded. The importance, however, of The American Bandmasters Association does not lie in its meetings, but in its membership. Some of the accomplishments of the collective and singular efforts of it members follow:

• John Philip Sousa’s enshrinement in the Hall of Fame of Great Americans through the leadership of Honorary Life Member Raymond F. Dvorak.

• The establishment of the Journal of Band Research through the leadership of past president Dr. Paul V. Yoder.

• The founding of the American School Band Directors Association by American Bandmasters Association member Mr. Dale Harris.

• The founding of the College Band Directors National Association by past president Dr. William D. Revelli.

• The founding of the National Band Association by past president Dr. Al G. Wright.

• The founding of the National Band Association Hall of Fame for Distinguished Conductors by Dr. William D. Revelli, president of the National Band Association, and founding president Dr. Al G. Wright.

• Establishment of The American Bandmasters Association Research Center at the University of Maryland, under the leadership of Dr. Paul V. Yoder.

• The founding of the Phi Beta Mu International Bandmasters Fraternity by past president Colonel Earl D. Irons.

• The establishment of The American Bandmasters Association/Ostwald Band Composition Contest by ABA associate members Ernest and Adolph Ostwald.

• The establishment in 1962, of the Edwin Franko Goldman Memorial Citation to recognize persons outside the ABA who have rendered conspicuous service in the interest of bands and band music.

• The founding of the North American Band Directors Coordinating Council by ABA Associate member Dr. Forrest McAllister.

• The creation of the John Philip Sousa Foundation by Colonel George S. Howard.

• The inception of The American Bandmasters Association Foundation under the leadership of past president Dr. Harry Begian.

• The accomplishments of the ABA in concert band instrumentation.

• The encouragement and recognition of new music and composers both in and out of The American Bandmasters Association, beginning with the commissions of Dr. Edwin Franko Goldman.

• The more than half a century of dedication to the betterment of bands in every possible way.

• The encouragement of the development of the Japanese Band Directors Association through the efforts of past president Dr. Paul V. Yoder and associate member Walter Volkwein, and the nurturing of the Japanese Band Directors Association through American Bandmasters Association/ Japanese Band Directors Association joint meetings.

by Jennifer Scott, 1995

Edited by Thomas V. Fraschillo, William J. Moody, 2006

References:

Davis, Alan L. (1987) A History of The American Bandmasters Association, doctoral dissertation, Arizona State University.

The Constitution and By-Laws of The American Bandmasters Association.

Revelli, W. D. (1986). Interview with Alan L. Davis, August 14.

Santelmann, W. F. (1953) What The American Bandmasters Association Means to Me.

Sams, L. L. (1986). Untitled History of Bands in the United States, Unpublished manuscript.

Stannard, W. J. (1928). Personal correspondence to Albert Austin Harding, August 3.

Other sources:

Victor Zajec, Retired Dean of the Graduate School at Vandercook College in Chicago.

ABA Public Relations and Publicity Committee, 1995-96: Dr. James Croft, James Curnow, Lt. Col. Frank Dubuy, Emery Fears, Dr. Edwin Kruth, and Frank Wickes.

Contributed by Jack Kopstein
Posted with permission from the author Dr. Jill M. Sullivan

My original research started in December 2000. Using historical method and interviews with 79 women military musicians–most octogenarians–I discovered that there were eight U.S. women’s military bands and four drum and bugle corps serving during the war era. All ensembles were conducted by women, six of whom were music teachers before the war. Band members brought a variety of music experience and expertise with them into the military: music degrees, music teaching, professional dance band experience, and school, town, and industry band membership. Most women started their instrumental performing in school bands, and supplemented this instruction with private lessons. Women also remembered participating in other school instrumental activities prior to the war, such as rhythm bands, national band contests, solo and ensemble contests, and college bands. In addition to U.S. women’s military bands, Canada and England utilized women’s bands to serve their female troops. This World War II research led me to find more women’s bands that existed long before and after the war: the Women’s Air Force Band, the 14th Army Band, the Hormel Girls Drum and Bugle Corps, and nineteenth and twentieth century women’s town, military, immigrant, and suffrage bands. This important scholarly pursuit helps fill gaps in instrumental music history and music education by documenting women’s roles as instrumental musicians, music teachers, and conductors for a century in America (1870-1976).

During W.W. II the United States government created women’s reserve units and recruited women to “free a man to fight.” Each military branch enlisted women into separate units from the men and assigned these units catchy acronyms: the Coast Guard SPARS (Semper Paratus, Always Ready), the Army WAAC/WAC (Women’s Army Auxiliary Corps/Women’s Army Corps), the Navy WAVES (Women Accepted for Volunteer Emergency Service), and the Marine Corps WR (Women’s Reserve). Women enlisted from all parts of the country and held a variety of jobs, one of which was being a member of a military band.

All branches of the service had women’s bands. The first activated was in 1942 at the WAAC Training Center in Fort Des Moines, Iowa. The following year all other military branches started bands, while the WAAC–later named WAC–added four more to training centers around the country. The WAVES were the only branch of the service that did not have full-time duty status for its women’s military band. At the close of W.W. II, all bands were deactivated except the 400th WAC ASF Band which was renamed the 14th WAC Band in 1947, and lasted through 1976. The following year men were accepted into the band, the name was changed to the 14th Army Band, and a man was assigned as conductor. In addition, the WAC had the only female black band in the history of the United States military, the 404th, located at Fort Des Moines.

Band membership ranged from 28 to 48 players, with a mix of musical backgrounds from high school to college conservatory graduates, music teachers, and professional dance band experience. Women jumped at the opportunity to perform in a military band since performance opportunities for women were rare. Some women reported that they turned down the chance to become officers to be in a band.

All of the ensembles had an assortment of patriotic duties that called for a variety of music. It was essential for each unit to perform concerts, march in reviews and parades, and perform at service clubs with a dance band. In addition, several of the groups had a Dixieland band, a drum and bugle corps, small chamber ensembles, instrumental soloists, vocal soloists, and choral ensembles. While touring the nation, these women helped raise millions of dollars in bonds for the war effort.

ALTISSIMO FEATURE ARTICLE

24 Notes That Tap Deep Emotions
Jari A. Villanueva

Altissimo is proud to present the history of “Taps.” We are pleased to provide this article with the permission of the author, Jari A. Villanueva (pictured below). Please access his website

TAPS
Of all the military bugle calls, none is so easily recognized or more apt to render emotion than the call ‘Taps.’ The melody is both eloquent and haunting and the history of its origin is interesting and somewhat clouded in controversy. In the British Army, a similar call known as ‘Last Post’ has been sounded over soldier’s graves since 1885, but the use of Taps is unique with the United States military, since the call is sounded at funerals, wreath-laying, and memorial services. Up to the Civil War, the infantry call for “Lights Out” was that set down in Silas Casey’s (1801-1882) “Tactics,” which had been borrowed from the French. The music for Taps was changed by Union General Daniel Butterfield for his Brigade (Third Brigade, First Division, Fifth Army Corps, Army of the Potomac) in July, 1862. Daniel Adams Butterfield (31 Oct. 1831-17 July 1901) was born in Utica, New York and graduated from Union College at Schenectady. He was the eastern superintendent of the American Express Company in New York, when the Civil War broke out.

Despite his lack of military experience, he rose quickly in rank. A Colonel in the 12th Regiment of the New York State Militia, he was promoted to Brigadier General and given command of a brigade of the V Corps of the Army of the Potomac. The 12th served in the Shenandoah Valley during the Bull Run Campaign. During the Peninsular campaign Butterfield served prominently when during the Battle of Gaines’ Mill, despite an injury, he seized the colors of the 3rd Pennsylvania and rallied the regiment at a critical time in the battle. Years later, he was awarded the Medal of Honor for that act of heroism.

As the story goes, General Butterfield was not pleased with the call for ‘Lights Out,’ feeling that the call was too formal to signal the days end. With the help of the brigade bugler, Oliver Wilcox Norton, Butterfield wroteTaps to honor his men while in camp at Harrison’s Landing, Virginia following the Seven Day’s battle. These battles took place during the Peninsular Campaign of 1862. The call, sounded that night in July, 1862, soon spread to other units of the Union Army and was even used by the Confederates. Taps was made an official bugle call after the war. The highly romantic account of how Butterfield ‘composed’ the call surfaced in 1898 following a magazine article written that summer. The August, 1898 issue of Century Magazine contained an article called “The Trumpet in Camp and Battle” by Gustav Kobbe, a music historian and critic. He was writing about the origin of bugle calls in the Civil War and in reference to Taps, wrote:

“In speaking of our trumpet calls I purposely omitted one with which it seemed most appropriate to close this article, for it is the call which closes the soldier’s day-‘Light’s Out’. “I have not been able to trace this call to any other service. If it seems probable, it was original with Major Seymour, he has given our army the most beautiful of all trumpet-calls”

Kobbe was using as an authority the Army drill manual on infantry tactics prepared by Major General Emory Upton in 1867 (revised in 1874). The bugle calls in the manual were compiled by Major (later General) Truman Seymour of the 5th U.S. Artillery. Taps was called “Lights Out” in these manuals since it was to replace the “Lights Out” disliked by Butterfield.

The title of the call was not changed until later, although other manuals started calling it Taps because most soldiers knew it by that name. Since Seymour was responsible for the music in the Army manual, Kobbe assumed that he had written the call. Kobbe’s inability to find the origin of “Light’s Out” (Taps) prompted a letter from Oliver W. Norton in Chicago who claimed he knew how the call came about and that he was the first to perform it.

Norton wrote: Chicago, August 8, 1898
“I was much interested in reading the article by Mr. Gustav Kobbe, on the Trumpet and Bugle Calls, in the August “Century.” Mr. Kobbe says that he has been unable to trace the origin of the call now used for Taps, or the “Go to sleep”, as it is generally called by the soldiers. As I am unable to give the origin of this call, I think the following statement may be of interest to Mr. Kobbe and your readers. During the early part of the Civil War I was bugler at the Headquarters of Butterfield’s Brigade, Meroll’s Division, Fitz-John Porter’s Corps, Army of the Potomac. Up to July 1862, the Infantry call for Taps was that set down in Casey’s Tactics, which Mr. Kobbe says was borrowed from the French. One day, soon after the seven days’ battles on the Peninsular, when the Army of the Potomac was lying in camp at Harrison’s landing General Daniel Butterfield, then commanding our Brigade, sent for me, and showing me some notes on a staff written in pencil on the back of an envelope, asked me to sound them on my bugle. I did this several times, playing the music as written. He changed it somewhat, lengthening some notes and shortening others, but retaining the melody as he first gave it to me. After getting it to his satisfaction, he directed me to sound that call for Taps thereafter in place of the regulation call. The music was beautiful on that still summer night and was heard far beyond the limits of our Brigade. The next day I was visited by several buglers from neighboring Brigades, asking for copies of the music, which I gladly furnished. I think no general order was issued from army headquarters authorizing the substitution of this for the regulation call, but as each brigade commander exercised his own discretion in such minor matters, the call was gradually taken up through the Army of the Potomac. I have been told that it was carried to the Western Armies by the 11th and 12th Corps when they went to Chattanooga in the fall of 1863, and rapidly made it’s way through those armies. I did not presume to question General Butterfield at the time but from the manner in which the call was given to me, I have no doubt he composed it in his tent at Harrison’s Landing. I think General Butterfield is living at Cold Spring, New York. If you think the matter of sufficient interest and care to write him on the subject, I have no doubt he will confirm my statement.”

-Oliver W. Norton

The editor did write to Butterfield as suggested by Norton. In answer to the inquiry from the editor of the “Century”, General Butterfield writing from “Cragside”, Cold Spring, under the date of August 31, 1898 he wrote:

“I recall, in my dim memory, the substantial truth of the statement made by Norton, of the 83rd Pa., about bugle calls. His letter gives the impression that I personally wrote the notes for the call. The facts are, that at the time I could sound calls on the bugle as a necessary part of military knowledge and instruction for an officer commanding a regiment or brigade. I had acquired this as a regimental commander. I had composed a call for my brigade, to precede any calls, indicating that such were calls, or orders, for my brigade alone. This was of very great use and effect on the march and in battle. It enabled me to cause my whole command, at times, in march, covering over a mile on the road, all to halt instantly, and lie down, and all arise and start at the same moment; to forward in line of battle, simultaneously, in action and charge etc. It saves fatigue. The men rather liked their call and began to sing my name to it. It was three notes and a catch. I can not write a note of music, but have gotten my wife to write it from my whistling it to her, and enclose it. The men would sing, “Dan, Dan, Dan, Butterfield, Butterfield” to the notes when a call came. Later, in battle, or in some trying circumstances or an advance of difficulties, they sometimes sang, “Damn, Damn, Damn, Butterfield, Butterfield”. The call of Taps did not seem to be as smooth, melodious and musical as it should be, and I called in some one who could write music, and practiced a change in the call of Taps until I had it suit my ear, and then, as Norton writes, got it to my taste without being able to write music or knowing the technical name of any note, but, simply by ear, arranged it as Norton describes. I did not recall him in connection with it, but his story is substantially correct. Will you do me the favor to send Norton a copy of this letter by your typewriter? I have none.”
-Daniel Butterfield

On the surface, this seems to be the true history of the origin of Taps. Indeed, the many articles written about Taps cite this story as the beginning of Butterfield’s association with the call. Certainly, Butterfield never went out of his way to claim credit for its composition and it wasn’t until the Century article that the origin came to light. There are however, significant differences in Butterfield’s and Norton’s stories. Norton says that the music given to him by Butterfield that night was written down on an envelope while Butterfield wrote that he could not read or write music! Also, Butterfield’s words seem to suggest that he was not composing a melody in Norton’s presence, but actually arranging or revising an existing one. As a commander of a brigade, he knew of the bugle calls needed to relay troop commands. All officers of the time were required to know the calls and were expected to be able to play the bugle. Butterfield was no different he could play the bugle but could not read music. As a colonel of the12th N.Y. Regiment, before the war, he had ordered his men to be thoroughly familiar with calls and drills. never went out of his way to claim credit for its composition and it wasn’t until the Century article that the origin came to light. There are however, significant differences in Butterfield’s and Norton’s stories. Norton says that the music given to him by Butterfield that night was written down on an envelope while Butterfield wrote that he could not read or write music! Also, Butterfield’s words seem to suggest that he was not composing a melody in Norton’s presence, but actually arranging or revising an existing one. As a commander of a brigade, he knew of the bugle calls needed to relay troop commands. All officers of the time were required to know the calls and were expected to be able to play the bugle. Butterfield was no different he could play the bugle but could not read music. As a colonel of the12th N.Y. Regiment, before the war, he had ordered his men to be thoroughly familiar with calls and drills.

What could account for the variation in stories? My research shows that Butterfield did not compose Taps but actually revised an earlier bugle call. This sounds blasphemous to many, but the fact is that Taps existed in an early version of the call Tattoo. As a signal for end of the day, armies have used Tattoo to signal troops to prepare them for bedtime roll call. The call was used to notify the soldiers to cease the evening’s drinking and return to their garrisons. It was sounded an hour before the final call of the day to extinguish all fires and lights. This early version is found in three manuals the Winfield Scott (1786-1866) manual of 1835, the Samuel Cooper (1798-1876) manual of 1836 and the William Gilham (1819?-1872) manual of 1861. This call referred to as the Scott Tattoo was in use from 1835-1860. A second version of tattoo came into use just before the Civil War and was in use throughout war replacing the Scott Tattoo. The fact that Norton says that Butterfield “composed” Taps cannot be questioned. He was relaying the facts as he remembered them. His conclusion that Butterfield wrote Taps can be explained by the presence of the second Tattoo. It was most likely that the second Tattoo, followed by “Extinguish Lights”, (the first eight measures of today’s Tattoo), was sounded by Norton during the course of the war.

It seems possible that these two calls were sounded to end the soldier’s day on both sides during the war. It must, therefore, be evident that Norton did not know the early Tattoo, or he would have immediately recognized it that evening in Butterfield’s tent. If you review the events of that evening, Norton came into Butterfield’s tent and played notes that were already written down on an envelope. Then Butterfield “changed it somewhat, lengthening some notes and shortening others, but retaining the melody as he first gave it to me.” If you compare that statement while looking at the present day Taps you will see that this is exactly what happened to turn the early (Scott) Tattoo in Taps. Butterfield as stated above, was a Colonel before the War and in General Order No. 1 issued by him on December 7, 1859 had the order: “The Officer’s and non-commissioned Officers are expected to be thoroughly familiar with the first thirty pages, Vol. 1,of Scott’s Tactics, and ready to answer any questions in regard to the same previous to the drill above ordered” Scott’s Tactics include the bugle calls that Butterfield must have known and used. If Butterfield was using Scott’s Tactics for drills-then it is feasible that he would have used the calls as set in the manual. Lastly, it is hard to believe that Butterfield could have composed anything that July in the aftermath of the Seven Days battles which saw the Union Army of the Potomac mangled by Lee’s Army of Northern Virginia. Over twenty six thousand casualties were suffered on both sides. Butterfield had lost over 600 of his men on June 27th at the battle of Gaines Mill and had himself been wounded. In the midst of the heat, humidity, mud, mosquitoes, dysentery, typhoid and general wretchedness of camp life in that early July, it is hard to imagine being able to write anything. In the interest of historical accuracy, it should be noted that it is not General Butterfield who composed Taps, rather that he revised an earlier call into the present day bugle call we know as Taps. This is not meant to take credit away from him. It is only to put things in a correct historic manner.

Following the Peninsular Campaign, Butterfield served at 2nd Bull Run, Antietam and at Marye’s Heights in the Battle of Fredericksburg. Through political connections and his ability for administration he became a Major General and served as chief of staff of the Union Army of the Potomac under Generals Joseph Hooker and George Meade. He was wounded at Gettysburg and then reassigned to the Western Theater. By wars end, he was brevetted a brigadier general and stayed in the army after the Civil War, serving as superintendent of the army’s recruiting service in New in New York City and colonel of the 5th Infantry In 1870. After resigning from the military, Butterfield went back to work with the American Express Company. He was in charge of a number of special public ceremonies, including General William Tecumseh Sherman’s funeral in 1889. Besides his association with Taps, Butterfield also designed the system of Corps Badges, which were distinctive shapes of color cloth sewn on to uniforms to distinguish units. Butterfield died in 1901. His tomb is the most ornate in the cemetery at West Point despite the fact that he never attended. There is also a monument to Butterfield in New York City near Grant’s Tomb. There is nothing on either monument that mentions Taps or Butterfield’s association with the call. Taps was sounded at his funeral.

How did it become associated with funerals? The earliest official reference to the mandatory use of Taps at military funeral ceremonies is found in the U.S. Army Infantry Drill Regulations for 1891, although it had doubtless been used unofficially long before that time, under it’s former designation “Extinguish Lights.” The first use of Taps at a funeral was during the Peninsular Campaign in Virginia. Captain John C. Tidball of Battery A, 2nd Artillery ordered it played for the burial of a cannoneer killed in action. Since the enemy was close, and worried that the traditional 3 volleys would renew fighting, Tidball had the bugler sound Taps as a tribute to the fallen man. The custom, thus originated, was taken up throughout the Army of the Potomac, and finally confirmed by orders. This first sounding of Taps at a military funeral is commemorated in a stained glass window at The Chapel of the Centurion (The Old Post Chapel) at Fort Monroe, Virginia. The window, made by R. Geissler of New York, was dedicated in 1958 and shows a bugler and a flagstaff at half mast. The window design is based on a painting by Sidney King. In that picture a drummer boy stands beside the bugler. The grandson of that drummer boy purchased Berkeley Plantation where Harrison’s Landing is located.

The site where Taps was born is also commemorated. In this case by a monument located on the grounds of Berkeley Plantation. This monument to Taps was erected by the Virginia American Legion and dedicated on July 4, 1969. The site is also rich in history, for the Harrison’s of Berkeley Plantation included Benjamin Harrison and William Henry Harrison-both presidents of the United States and one a signer of the Declaration of Independence. It must be pointed out that other stories of the origin of Taps exist. A popular one is that of a Northern boy who was killed fighting for the south. His father, Robert Ellison a Captain in the Union Army, came upon his son’s body on the battlefield and found the notes to Taps in a pocket of the dead boy’s Confederate uniform. When Union General Daniel Sickles heard the story he had the notes sounded at the boy’s funeral. There is no evidence to back up the story or the existence of Captain Ellison. As with many other customs, the 24 notes that that comprise this solemn tradition began and continues to this day and although Butterfield merely revised an earlier bugle call, his role in producing those 24 notes gives him a place in the history of music as well as the history of war.

Jari A. Villanueva is a Master Sergeant in the United States Air Force Band at Bolling Air Force Base in Washington DC. A graduate of Peabody Conservatory and Kent State University, he is currently working on an exhibit to be opened at Arlington National Cemetery and research on what will hopefully result in a work entitled “Day is Done, The History of Bugle Calls in The United States With Particular Attention To Taps.”

Community Music from the Golden Heart of Alaska
CONCERT BANDS IN THE LAST FRONTIER

Contributed by Jack Kopstein
Edited by Krista Slinkard

Today’s Fairbanks Community Band is part of a long tradition in Fairbanks history. Fairbanks bands have existed almost continuously from the near the beginning of the 20th century, but names and dates are subject to dispute; it all depends on whose memory you consult. Despite changing names, conductors, and even type of music played, the bands of Fairbanks’ past inspired the Fairbanks Community Band to be what it is today.

The band that is known today has a heritage of many different beginnings as the years went by. Earliest records document a town brass band in 1905 with nine members directed by Charles Westley. According to a concert brochure dated in the 1950s, a 10-piece Cowboy Band was organized in 1909. Then, in 1914, William Gobracht, a very tough instructor with a heavy German accent according to Chuck Grey, organized and directed a band of 18 members. In 1920, V.F. Jake Jacobs took over leadership of the band until 1945. The band was in a hiatus until 1948 when it was taken over by Kenneth Lauritzen, who invited William Gobracht, who by this time was likely in his 80’s, back to conduct some of the rehearsals and a concert or two. Two years later in 1950, Eva Myhre took over as conductor of the community band, which finally had to disband in 1952 due to the Korean War.

In 1956 Tom Brady started the University Civic band comprising university students and community members, but no one remembers for just how long this particular phase of the band’s past stuck around. From 1959 through 1961, Bob Boko ran a community Band with Jack O’Connor. In 1961 Jack left the state and Bob Boko took over the reins of the Lathrop High School Band Program. His departure marked the end of the community band program in Fairbanks until the fall of 1994 when George Wiese, Band Director of West Valley High School, and Donald Hildie, Band Director of Lathrop High School, saw a need for a community band. They approached Tracy Gibbons, who was the director of the University of Alaska Fairbanks (UAF) Wind Ensemble, to see if he would have the time to conduct a community band as well. When he agreed to conduct, the three of them went to an attorney to draw up a set of by-laws for the band and to apply for non-profit status.

In 1997, Gibbons left the University of Alaska, vacating his position as conductor, and the Board of Directors asked then-retired band director Boko if he would reprise his role from the early 1960s and take over the job as conductor. When Boko retired from the band in the spring of 2004, the Board called on Hildie, the now retired Lathrop High band director, to assume his position. Hildie agreed and took the job of conductor/music director for the community band in the fall of 2004.

After a two-year run as conductor, Don retired from the band after a farewell concert on October 22, 2006 and the baton passed to Ann Musco, a faculty member in the UAF Music Department and conductor of the UAF Wind Symphony. Ann was the director of music and conductor of the concert band until the summer of 2007, when she passed the baton on to Roger Ridenour.

The following summer, Roger, expecting to be transferred out of state, resigned as director and was replaced by Wendy Ward, a music teacher in the Fairbanks North Star Borough School District. At the present time, Wendy is still director of the Concert Band, and is an active member of the Jazz Band, where she plays alto saxophone.

The Fairbanks Community Band is a non-profit organization for the presentation and support of rehearsals and concerts. Their members are adult musicians who want to continue performing as a lifelong avocation and to support the musical development of members of the local community. Participants are all volunteers and come from a wide variety of roles within the community. Most of the members received their early training in public school music programs, and some continued to study music through college or in the military. A number of members are active or retired music teachers looking for a creative outlet to play their instruments as well as lead their school groups in music education

The concert band (sometimes called a wind symphony or symphonic band) includes about 55 people who play woodwinds, brass, and percussion instruments. Their performances are drawn from the full range of the concert repertoire from marches to symphonies to popular compositions both old and new. The group meets from September through May and plays four concerts each year in a local auditorium at the Park Arts Center. The band does not charge admission for public concerts. Donations are welcome. Both bands present concerts, either separately, together, or with other groups. In the off-season, the band splits into smaller versions including a concert band and a jazz band.

The Concert Band is active from May through July, mostly playing concerts outdoors. The outdoor repertoire features music more suitable for that environment than the indoor performance repertoire, but may include some of the same pieces. Outdoor performances are informal. Audiences often move about during concerts. Kids, pets, and families are especially welcomed as are picnic lunches or snacks.

The Jazz Band is structured as a traditional Big Band. This is a group of about 16 performers, typically including 5 saxophones, 4 trumpets, 4 trombones, piano, bass, and drums. A vocalist or a guitar may be added to the basic group. The Big Band is modeled after the popular bands of the jazz and swing eras, many of which continue today. The history of big band music is rich and diverse. The music includes many forms of dance music and several varieties of jazz. The band often features vocal or instrumental solos by band members or guest artists.

Both bands play for community events and in support of non-profit organizations and are also available for hire for private events and special occasions. The Bands play occasional concerts and appear with other local performance groups, and they occasionally join with the Concert Band for a combined concert. Fees for performances are used to expand our libraries and to purchase and maintain our performance equipment.

During the summer, the bands play several outdoor concerts including the Wednesday evening concerts program at Golden Heart Plaza in downtown Fairbanks. They are a regular participant in the annual Golden Days Parade, the midnight sun festival, community walks and other celebrations. One or both groups usually play at the fair in August.

In addition to the concert schedule, the Concert Band provides music for graduation ceremonies of the Adult Learning Programs of Alaska, and other small schools which cannot provide their own music. We are proud to provide this community service to enhance the experience of students completing their high school education.

Because of their high involvement with the local community, and because we happen to think Alaska is pretty cool, we are proud to present the Fairbanks Community Band from Fairbanks, Alaska, as the Altissimo! Community Band Spotlight for the Month of May 2010.

For more information on this band, please visit their website here.

If you know of a band or are in a band you’d like to see featured in our Spotlight, please email Krista at krista@militarymusic.com.

An Air Force Band album has hit the charts! Congrats to SMSgt Joe Jackson and the USAF Airmen of Note on this exciting accomplishment!! “Cool Yule” is available on iTunes from Altissimo here.

The following announcement was posted on the USAF Band’s website (view original post here).

“Cool Yule Climbs the Charts!”
by Master Sgt. Brian McCurdy
The USAF Band

1/31/2010 – BOLLING AFB, D.C. — In January, “Cool Yule”, the latest release from the Airmen of Note, climbed to number 2 on the jazz chart of JazzWeek. JazzWeek is the definitive Jazz and Smooth Jazz national radio airplay chart–a weekly report of the top fifty Jazz and Smooth Jazz recordings played on radio stations across the United States and Canada.

Senior Master Sgt. Joe Jackson, the Music Director of the Airmen of Note, was overwhelmed with the massive appeal of the recording. “The public and media response to ‘Cool Yule’ has exceeded our expectations, and has exceeded any of The Air Force Band CD projects any of us here in the Note have been involved with,” he said.

To hear what all of the buzz is about, you can download two of the tunes from “Cool Yule” from our website. “Up on the Housetop” (arranged by Master Sgt. Alan Baylock), and “Auld Lang Cha Cha Cha” (arranged by Sgt. Jackson) are currently available. While you’re there, you can navigate other downloads available from The USAF Band.

Congratulations to the Airmen of Note on this terrific accomplishment!