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!

Contributed by Jack Kopstein

The Ottawa Wind Ensemble

Altissimo salutes our feature community band which is situated in the Canadian capital of Ottawa and performs numerous engagements in the capital region.

The Ottawa Wind Ensemble (OWE) was formed in 2005, drawing together current and former Canadian Forces musicians, music teachers, and other professional musicians, in a professional calibre group.

Under the direction of founding conductor, Mark Rocheleau, this 35 member ensemble performs the symphonic wind ensemble repertoire made famous by the Eastman Wind Ensemble, the rich concert band repertoire from North America and Europe, and the orchestral transcriptions of the famous composers. While the OWE is technically a community band, most of the members are fully involved in a life of music, whether it be as freelance musicians, music educators, or full time professionals. The raison d’être of the OWE is to perform at the highest calibre of musicianship possible, and anyone who attends a concert will appreciate this for themselves.

The ensemble’s conductor is Mark Rocheleau. Born and raised in Amherstburg, Ontario, (near the border city of Windsor Ontario), Rocheleau began his formal studies in 1979 at the University of Windsor, majoring on clarinet, and graduating with a Bachelor of Music, and Bachelor of Education. His private clarinet teachers were Dr. Imre Rozsnyai of the University of Windsor and Paul Schaller of the Detroit Symphony Orchestra. After four seasons with the Windsor Symphony Orchestra, he acquired a direct entry into the Canadian Forces Vimy Band in Kingston in 1985, where he broadened his musical experience playing both clarinet and saxophone. In August of 1994, he was posted to the Central Band of the Canadian Forces here in Ottawa and was eventually selected for a yearlong assistant conductor’s course, which he completed in 1999. In October of 2005, Mark had completed 20 years of service with the Canadian Forces and elected to retire. His project since then has been to form The Ottawa Wind Ensemble, which was founded in September of 2005.

Mark Rocheleau is joined in the Ottawa Wind Ensemble by several former professional military musicians who reside in retirement in Ottawa and environs. Several of the musicians have outstanding backgrounds in the music field.

Our hats off to the OTTAWA WIND ENSEMBLE, the Community Band Spotlight for March.

For more information on the Ottawa Wind Ensemble, please visit their website.

Please write to me if you would like your community band to be featured. The line is growing fast so GET ON THE BANDWAGON!

**If you are in a band or know of a band we should feature in our Spotlight,  please contact Jack at jack@militarymusic.com or Krista at krista@militarymusic.com

Contributed by Jack Kopstein

The following two vinyl recordings found in a Canadian Collectors catalogue are two of the most valuable and interesting recordings ever made in Britain. *Unfortunately, these recordings are not available on our website.

Masters of the March Volume 1
(Rodney Bashford and Leo Stanley)
Band of the Royal Corps of Signals / Droit DR91
Conducted by: Lt. Col. RB Bashford OBE and Major G. Turner MBE
Information below appears on both records

So many thousands of marches have been written that good march tunes are not easy to come by. Most of the successful ones sound simple, and it is this simplicity that makes them difficult to write. John Philip Sousa (the American march king) said that a good march must make a man with a wooden leg step out.

A large proportion of the march repertoire used by the British Army is of foreign origin but in this series we pay tribute to the British march writers past and present. The aim is to offer the listener a cross-section of a composer’s works, and some of the marches are appearing on record/cassette for the first time. Where possible two writers of contrasting styles appear on each recording and when appropriate the composer is invited to conduct his own works, thus ensuring an authentic interpretation.

The style of march writing has changed over the years. Many written in the mid 20th century depend inevitably and unavoidably on the cliché but had strong melodic lines with traditional harmonies. The titles rarely had any influence on the musical content and in the main would have been equally successful under other names. Recent contributions are more adventurous in harmony and rhythm and if written for specific occasions composers often draw on appropriate well known themes cleverly weaving them into their original thoughts.

Side One – Leo Stanley
Alamein / With Might and Main / March of the Commandos / The Partisans / Guard of Honour / The Mechanical Horse / Swift and Sure / Great Occasions

Side Two – Rodney Bashford
Marche Militaire / Foxhunters March / Splice the Mainbrace / Tyrol Troop / The Galloping Major / The Queen’s Company / Cavalry Walk-  Cavalry Ride – Cavalry Trot / The Light Division / The Inkerman March

Masters of the March Volume 2
(JH Howe and Kenneth Alford)
Regimental Band of the 1st Bn The Argyll and Sutherland Highlanders (Princess Louise’s) / Droit DR 92
Conducted by: Major JH Howe MBE and WO KG Lamb FVCM BBCM
(Major Howe Bio is taken from record cover)

Jimmy Howe comes from a Brass Band family. A native of North East England, he began his musical career playing the cornet in local colliery bands. In 1933, he joined the Royal Scots as a band boy, and served with his regiment in Palestine in 1938, and also in France at the outbreak of World War Two. Captured at Le Paradis, he was a prisoner of war in Poland and organized a Stalag Ban with instruments obtained through the British Red Cross which helped to sustain the morale of the men in captivity.

After the war, he studied at Kneller Hall and was appointed bandmaster of the Argyll and Sutherland Highlanders in 1949, serving with them in Hong Kong, British Guyana, Berlin and the United Kingdom. In 1956, he took the Band to Helsinki, playing at the British Industries Fair.

He was commissioned Director of Music to the Scots Guards in 1959 and was subsequently appointed senior Director of Music Household Division in 1970. The following year he was awarded the MBE for his services to Army Bands.

Since his retirement from the Army in 1974, he has conducted many leading Symphony Orchestras and the radio programme Friday Night is Music Night and Melodies for You. He is still active as a guest conductor and adjudicator of music festivals making appearances in the USA, Canada, and Europe. As well as the marches on this album, he has compositions of light music to his credit, also many arrangements of popular works are to be found in the military and brass band repertoires. He is a Vice-President of the national ex-Prisoner of War Association and an active member of the Dunkirk Veterans  Association.

Side 1 – Kenneth Alford
Holyrood / The Mad Major / Dunedin / Old Panama / Cavalry of the Clouds / The Vanished Army / Colonel Bogey on Parade
Side 2 – Jimmy Howe
Fairfield / Pride of Princess Street / The Civic / Balmoral Castle / Pentland Hills / Stalag March / Glasgow Fair / The Corner FlagCOnt

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