MEMORIALS and TRIBUTES to MEMBERS
of the
AMERICAN BANDMASTERS ASSOCIATION
also including
Historically Significant Speeches and Articles
Compiled by Victor and Marilea Zajec
March 2008
Authors: Victor and Marilea Zajec
Copyright 2008
The American Bandmasters Association
All rights reserved.
This book is respectfully dedicated:
To the Founders and Charter Members of the ABA;
To the Past Presidents who guided the organization throughout the years; and
To the memory of John Yesulaitis, who for many years dutifully compiled, wrote and delivered
the Memorials for deceased members.
MARILEA DIXON ZAJEC
Marilea Zajec is a native of East Peoria, Illinois. She received BMEd and MMEd degrees from
VanderCook College of Music in 1964 and 1977. As a graduate student at Louisiana State University, she
played bassoon and contra-bassoon in the LSU Symphonic Band, the LSU Orchestra, and the Baton Rouge
Symphony. Her career as a music teacher and music coordinator in suburban Chicago schools spanned
more than twenty years. For twenty-five years she was a member of the Northshore Concert Band, under
the direction of John Paynter. She is a member of Pi Kappa Lambda, and an honorary member of Tau Beta
Sigma.
Marilea assisted her husband, Victor W. Zajec, in writing ―The Recipients of the Edwin Franko
Goldman Memorial Citation,‖ ―Past Presidents of the American Bandmasters Association,‖ the revision of
―Lest We Forget,‖ and ―The First 50 Years—Midwest International Band and Orchestra Clinic.‖
This book, ―Memorials and Tributes to Members of the American Bandmasters Association,‖ was
completed in Victor‘s memory.
PREFACE
This book of memorials and miscellaneous remembrances was originally intended to be a tribute to
the deceased members of ABA. When Victor Zajec was named ABA Historian in 2001, he was determined
to preserve and record information about all aspects of the organization. Believing that the status of the
ABA today is the result of the work done by those who went before, he wanted to make their stories easily
accessible to others. In this way, the knowledge of the activities of the deceased members—their
contributions to music, to bands, and especially to the ABA—could be available forever, and could easily
be retrieved and studied by current members. The initial plan was to amass the memorials that had been
read at each annual convention, and then to compile them into a single source that could be easily accessed
by ABA Members for purposes of research, or just interest.
During the course of extracting the memorials, the compiler realized that there were many other
published items of historical significance, also—some of them had to do with deceased members and others
involved active members. So in the spirit of preserving all available historical information for the ABA,
the decision was made to include the speeches of the past presidents, as well as other significant
presentations that had been made at conventions.
Although this volume contains information on approximately 300 Members and Associate Members,
unfortunately, not every deceased member is listed in this book. Over the years there have been many
times when memorials were not recorded, or when the names of deceased members were read, but no
memorial was given. This book is not intended to contain biographical sketches of all members, but rather
to present, in a single source, the information that is available in print from previous ABA publications.
In the spring of 2004, with a visit to the ABA Research Center at the University of Maryland, the
quest was begun to search all available Annual Convention Reports, ABA Newsletters, and miscellaneous
Bulletins. Memorials were extracted and the process of compiling them began. Although the holdings of
the ABA Archives are extensive, the collection is, nonetheless, incomplete. If any reader is in possession
of additional materials containing memorials, please consider donating them to the Archives.
Unfortunately, progress on the book was interrupted by Victor‘s sudden illness in the fall of 2004. In
the spring of 2005 following Victor‘s death, his widow, Marilea, informed the ABA that she would be
responsible for completing the project.
It is indeed a great honor and privilege to be able to collect and place into an accessible format the
life‘s work of these esteemed ABA members.
The main text of this book is arranged alphabetically, by surname, without page numbers. It is
designed in this manner so that additional information can easily be inserted each year, without problems
related to pagination.
When using the book, first go to the alphabetical Table of Contents near the beginning of the
book. If a Member‘s name is listed, then there is at least one entry for that person. (An entry for a person
may contain a memorial for him or her, a presentation about that person, or it may contain a speech that the
person himself gave.) If there are additional items listed under a person‘s name, then there are multiple
entries, one immediately following another. Second, go to the text portion of the book, and locate the entry
or entries. (Note: the text portion is arranged alphabetically, just as is the Table of Contents.)
ACKNOWLEDGEMENTS
The compilers wish to acknowledge those ABA members who were responsible for producing the
Annual Convention Reports, the ABA Newsletters, and the ABA Bulletins. Their records have provided a
valuable resource in recording the activities, proceedings and history of the ABA for the past eight decades.
Additionally, the research for this book was made possible through the competent and professional
assistance of the staff of the ABA Research Center at the University of Maryland.
TABLE OF CONTENTS
A
ALLEN, EUGENE - President‘s Address – 1989
ARNOLDI, HAROLD (1924 – 2001)
ARSERS, EARL O. ―Pat‖ (1905 - 1978)
B
BACHMAN, HAROLD B. (1892 - 1972)
President‘s Address - 1951
―The Wit and Wisdom of Harold B. Bachman‖ - by Richard W. Bowles – 1993
―Supplement to ―The Wit and Wisdom of Harold Bachman‖ - 1993
BAINUM, GLENN CLIFFE ―Rusty‖ (1888 - 1974)
―What the American Bandmasters Association Means to Me‖ –
by Glenn Cliffe Bainum – ca. 1953
―Remembrances of Glenn Cliffe Bainum‖ - by Richard V. Madden - 1975
―Glenn Cliffe Bainum Tribute‖ - by John P. Paynter - 1990
BARKER, WARREN (1923 – 2006)
BARR, ROBERT M. (1918 – 1988)
BARTOW, WILLIAM N. (ca 1875 - 1958)
BEELER, WALTER (1908 - 1973)
BEGIAN, HARRY - President‘s Address - 1985
―Introduction of New Honorary Life Member, Harry Begian‖ –
Text by Myron Welch, Read by Mark Kelly - 2001
BELLAMAH, JOSEPH LOUIS (1914 – 2001)
BELLIS, WARREN T. (1923 – 1994)
BENCRISCUTTO, FRANK ANTHONY (1928 – 1997)
BENNETT, DAVID (1892 – 1990)
BENSON, WARREN (1924 – 2005)
Memorial Tribute by John R. Bourgeois - 2006
BERDAHL, JAMES E. (1914 – 1996)
President‘s Address - 1969
BERG, CHARLES SIDNEY (1918 – 2000)
BIERLEY, PAUL - ―Preserving One‘s Historical Material‖ - 1984
BIERLEY, ROBERT L. (1910 – 1981)
BLOOMQUIST, KENNETH G. - President‘s Address – 1996
BLOOMQUIST, KENNETH G. – Remembering A. A. Harding – ABA Convention, 2008
BOOTS, FREDERIC WALLACE (1922 – 2006)
BOUNDY, MARTIN (1911 – 1998)
BOURGEOIS, JOHN R. - President‘s Address - 1992
BOWLES, RICHARD W. - ―Reminiscences of ABA‖ - 1996
BRANDENBURG, ARTHUR H. (1899 – 1986)
BRANDON, JOHN RAYMOND (1907 – 2005)
BRENDLER, CHARLES S. (1898 – 1965)
―What the American Bandmasters Association Means to Me‖ - ca. 1953
President‘s Address - 1955
BRITE, GEORGE C. (1926 – 2007)
BRONSON, HOWARD C. (1890 – 1960)
President‘s Address - 1949
―The Kable Concert Band‖ - 1987
BRUNKHORST, ROBERT O. (1892 - 1966)
BUCHTEL, FORREST LAWRENCE (1899 – 1996)
BUEHLMAN, BARBARA DIANE (1936 – 1997)
BUGLIONE, GODFREY (1879 - 1934)
BUTTLEMAN, CLIFFORD V. (1886 – 1970)
BUYS, PETER (1881 – 1964)
―Personal Recollections of the 2nd Annual (1931) Convention‖ - 1961
BYNUM, RAYMOND T. (1906 – 2003)
C
CAILLIET, LUCIEN (1891 – 1985)
CALLAHAN, MAURICE MOORE (1914 – 1997)
CALVERT, MORLEY F. (1928 – 1991)
CANEVA, DONALD E. (1936 – 2008)
CANEVA, ERNEST ORESTE (1907 – 1992)
CAREY, MILBURN E. (1912 – 2006)
―Past ABA Members I Have Known‖ - 1995
CARINO, LAUREANO G. - Address at ABA Convention - 1960
CARTER, HERBERT L., JR. (1920 – 2007)
CHENETTE, EDWARD STEPHEN (1885 – 1963)
CHRISTENSEN, CARL (1881 – 1963)
CHRISTENSEN, JOSEPH ZINN (1944 – 1998)
CHRISTIANSON, A. BERT (1913 – 2004)
CLARKE, HERBERT L. (1867 – 1945)
COLE, WILLIAM D. (1920 – 1979)
COOKE, HAROLD R. (1894 - 1974)
COVINGTON, WELDON (1908 – 2000)
COYLE, WILLIAM R. ―Ziggy‖ (1928 – 1997)
D
DALBY, MAX FOREMAN (1920 – 2005)
D‘ANNA, EDWARD (ca 1879 - 1965)
DARCY, THOMAS FRANCIS, Jr. (1895 – 1968)
DEAN, ROBERT W. (1916 – 1994)
DE VILBISS, RAY THOMURE (1919 – 2002)
DIXON, JAMES L. (1897 – 1984)
Address at ABA Convention - 1965
DOMBOURIAN, PETER M. (1920 – 1992)
DUNLOP, JAMES W. (1913 - 1975)
President‘s Address – 1972
DUNN, HOWARD (1938 – 1991)
DUNN, VIVIAN (1908 – 1995)
Address at ABA Convention - 1970
Remarks of Appreciation - 1983
DVORAK, RAYMOND F. (1900 – 1982)
E
EBBS, FREDERICK C. (1916 – 1984)
President‘s Address - 1983
―Fred Ebbs – Mentor‖ - by Mark Kelly - 2004
ECHENROTH, ALBERT W. (ca 1890 - )
EITEL, BUTLER - President‘s Address - 1980
ELSASS, J. FRANK (1913 – 1981)
ENIX, EDWIN PAUL (1917 – 2006)
ERICKSON, FRANK W. (1923 – 1996)
EVANS, JACK OLIVER (1915 – 2001)
EVANS, MERLE (1892 – 1987)
F
FABISH, THOMAS (1914 – 1982)
FALCONE, LEONARD V. (1899 – 1985)
FEASEL, RICHARD M. (1936 – 2008)
FEDDERSEN, JOHN F. ―Jack‖ (1913 – 1990)
FENNELL, FREDERICK (1914 – 2004)
FILLMORE, HENRY (1881 - 1956)
―Henry Fillmore‖ - by Al G. Wright - 1992
FITZGERALD, R. BERNARD (1912 – 2005)
FOGELBERG, LAWRENCE (1911 – 1982)
FOSS, ARDEEN (1916 - 1977)
FOSTER, ROBERT E. - President‘s Address - 1993
FOSTER, WILLIAM P. - President‘s Address - 1995
FRANK, JOSEPH L. JR. – (1924 – 2008)
FREY, GEORGE O. (ca 1883 – 1952)
―The Aberfoyle Band‖ of Chester, Pennsylvania - 1987
FULTON, JAMES M. (ca 1871 - 1940)
G
GABLEMAN, CHARLES (1913 – 1984)
GABRIEL, ARNALD - President‘s Address - 1981
GALEHOUSE, CLARK F. (1912 – 1983)
GANGWARE, EDGAR B., Jr. (1922 – 1994)
President‘s Address - 1987
GARIGLIO, RAYMOND JOHN (1930 – 2003)
GATLIN, F. NATHANIEL ―Nate‖ (1913 – 1989)
GEORGE, DONALD S. (1930 – 2002)
GLOVER, ERNEST N. (1901 - 1968)
GOEDECKE, DAVID S. (1929 – 1998)
GOLDMAN, EDWIN FRANKO (1878 - 1956)
President‘s Address at 1st ABA Convention – 1931
―Frank Simon Was Host to First ABA Convention‖ - 2000
President‘s Address at 2nd Annual ABA Convention - 1932
―What the American Bandmasters Association Means to Me‖ - ca. 1953
―Events in the Life of Edwin Franko Goldman Which Caused Him
to Think of ABA in the First Place‖ - by Herbert N. Johnston – 1979
―Backstage With the Goldman Band (Surprises and Non-Surprises)‖ –
by Robert L. ―Bob‖ Leist - 1993
GOLDMAN, RICHARD FRANKO (1910 – 1980)
GOULD, MORTON (1913 – 1996)
GRABEL, VICTOR J. (1886 – 1965)
GRAHAM, OTTO E., Sr. (1894 – 1970)
GREGORY, RONALD DOUGLAS (1920 – 2003)
GROLIMUND, JOSEPH M. (1895 – 1992)
GROTH, CHESTER E. (1900 – 1985)
GRUNDMAN, CLARE (1913 – 1996)
H
HALE, RALPH G. (1924 – 1993)
HARDING, ALBERT AUSTIN (1880 - 1958)
―Dr. Albert Austin Harding – A Profile‖ - by George C. Wilson - 1990
HARNER, PAUL A. (1903 – 1995)
HARPER, JAMES CUNNINGHAM (1893 – 1986)
President‘s Address - 1956
―Lenoir‘s Own – James Harper and the Lenoir High School Band‖ - Prepared by Frank M.
Hammond, Read by Herbert Hazelman – 1977
HARPHAM, DALE L. (1917 – 1993)
HARRIS, DALE CLARENCE (1900 – 1997)
HAUG, LEONARD HAROLD (1910 – 1992)
HAWKINS, ROBERT (1919 - 1981)
HAYNES, ARTHUR S. (1883 – 1969)
HAYWARD, RICHARD B. ―Dick‖ (1874 – 1961)
HAZELMAN, HERBERT (1913 - 2007)
―Herbert Hazelman Reminisces‖ - 1997
HEETER, EUGENE F. (1905 – 1987)
HELM, MALCOLM L. (1947 – 1994)
HENEY, JOHN JOSEPH (1903 - 1978)
HETTINGER, STANLEY D. (1932 – 1998)
HINDSLEY, MARK HUBERT (1905 – 1999)
President‘s Address - 1958
HINES, HAROLD CHENNY (1918 – 1998)
HOE, ROBERT (1922 – 1983)
HOUSE, KEITH E. (1926 – 2005)
HOUSEKNECHT, BRUCE (1916 - 1974)
HOVEY, NILO WELLINGTON (1906 – 1986)
President‘s Address - 1971
HOWARD, GEORGE SALLADE (1903 – 1995)
President‘s Address - 1957
―Reminiscing‖ - 1987
HOWLAND, RUSSELL S. (1908 – 1995)
HUNT, CLIFFORD O. (1917 – 2003)
President‘s Address - 1973
HUNT, NORMAN J. (1922 – 1986)
I
IVES, DARIUS ALBERT (ca 1877 - 1935)
J
JACOBSEN, JAMES (1920 – 2006)
JENSEN, LLOYD S. (1922 – 1980)
JOHNSTON, HUBERT NEELY (1911 – 2002)
President‘s Address – 1959
―The Philco Band—A Vignette of Band History‖ - 1987
―The Philco Band—Philco Corporation‖ - 1987
JONES, MERRILL LEE (1920 – 1989)
JORGENSEN, ROBERT D.
President's Address--2009
JORGENSON, JAMES R. (1926 – 2003)
JULIAN, W J - President‘s Address – 1990
K
KATTERJOHN, ARTHUR D. (1929 – 1980)
KELLY, MARK - President‘s Address – 1991
KELLY, WILLIAM LEONARD (1920 – 1998)
KENNEDY, DALE E. (1937 – 1987)
KERR, JAMES L. (1914 – 1970)
KILLION, MARLIN DEAN (1926 – 1997)
KING, JOHN W., Jr. (1921 – 1997)
KING, KARL L. (1891 - 1971)
KINYON, JOHN LEROY (1918 – 2002)
KISINGER, EVERETT DEAN (1912 – 1990)
KJOS, NEIL A., Sr. (1904 - 1972)
KLINE, JACK T. (1921 – 1986)
KRAUSHAAR, OTTO J. (1895 – 1979)
President‘s Address – 1962
KREIDER, FRANKLIN C. (1895 – 1981)
KUCINSKI, LEO (1904 – 1998)
KURTZ, SAMUEL (1909 – 1986)
L
LABARRE, EUGENE
LAMONACA, CAESAR (1886 – 1980)
LANDERS, ROBERT L. (1919 – 2004)
LANG, PHILIP J. (1911 - 1986)
LEACH, ROBERT (1894 – 1983)
LECHNYR, JOSEPH F. (1896 – 1959)
LEE, JACK KENNETH (1921 – 2005)
LEIDZEN, ERIK (1894 – 1962)
LETTOW, GILBERT G. (1943 – 2007)
LEVY, RALPH (1920 – 2007)
LHOTAK, FERDINAND R. (1879 – 1947)
LIDSTROM, HOWARD LEROY, Sr. (1910 - 1992)
LISK, EDWARD S. - President‘s Address - 2001
LITTLE, LOWELL P. (1915 – 1989)
LOBODA, SAMUEL (1916 - 1977)
President‘s Address - 1968
Personal Remarks at the 1976 Convention
LOCKE, JOHN R. - President‘s Address - 2006
LONG, JOHN LONG - President‘s Address - 1988
LOWRY, ROBERT E. ―Bob‖ (1921 – 2005)
LUDWIG, WILLIAM F., Sr. (1879 - 1973)
LYONS, HOWARD (1899 – 1979)
M
MADDEN, RICHARD V. (1912 – 1987)
MADDOX, ROBERT L. (1907 – 1996)
MADDY, JOSEPH E. (1892 – 1966)
MAHAN, JACK H. (1911 – 1995)
President‘s Address - 1974
―The Past-President‘s Pin‖ - 1992
MAILMAN, MARTIN S. (1932 – 2000)
MALONE, VERNON (1890 - 1951)
MANCINI, FRANK (1886 – 1964)
MANN, KEITH (1939 – 2001)
MANTIA, SIMONE (1873 – 1951)
McADOW, MAURICE CLARK (1904 – 2001)
McBETH, W. FRANCIS
―Remarks by W. Francis McBeth‖ - 1991
President‘s Address – 1994
McGINNIS, DONALD E.
President‘s Address - 1978
President‘s Address - 1979
Nomination of Donald E. McGinnis for Honorary Life Member –
by Mark S. Kelly - 1999
Comments on Dr. McGinnis - by Philip C. ―Carl‖ Chevellard – 2004
Nomination of Donald E. McGinnis for Honorary Life President –
by Richard Strange - 2007
McMILLEN, HUGH E. (1913 – 1992)
President‘s Address - 1975
MEAR, S. E. ―Eddie‖ (1894 - 1974)
MELICHAR, JAMES A. (1896 – 1994)
MERETTA, LEONARD V. (1915 – 2007)
MEYERS, ALBERTUS L. ―Bert‖ (1891 – 1979)
MICHALSKI, STANELY F., Jr. - President‘s Address – 1999
MILLER, VONDIS (1935 – 2003)
MINELLI, CHARLES (1914 – 2001)
MINOR, BENTON (1927 – 2003)
MINX, DONALD (1922 – 1982)
MOFFIT, WILLIAM C. (1926 – 2008)
MOORE, DONALD IRVING (1910 – 1998)
MOSES, EVERETT ALLYN (1893 – 1965)
MULLER, J. FREDERICK (1908 – 1894)
MUNDY, GENERAL CARL, Jr., Commandant, U.S. Marine Corps
―Remarks Before the American Bandmasters Association‖ – 1992
MURRAY, RALPH (1892 - 1973)
MUSSER, WILLARD ISAAC (1913 - 2003)
N
NEILSON, JAMES (1902 – 1985)
NELHYBEL, VACLAV (1919 – 1996)
NICAR, LUCIAN HOWARD ‗Zeke‖, Jr. (1933 – 1997)
NUTT, HUBERT ESTEL ―H. E.‖ (1897 – 1981)
O
O‘BRIEN, ROBERT F. (1921 – 2003)
O‘NEILL, CHARLES (1882 – 1964)
OSTWALD, ADOLPH (1902 – 1993)
P
PAYNE, CHARLES J. (1916 – 1999)
President‘s Address - 1970
PAYNTER, JOHN P. (1928 – 1996)
President‘s Address - 1977
PECHIN, ERNEST (ca 1892 - 1946)
PERKINS, THERON D. (ca 1875 - 1935)
PERSICHETTI, VINCENT (1915 – 1987)
PFOHL, JAMES CHRISTIAN (1912 – 1997)
PLOYHAR, JAMES D. (1926 – 2007)
POTTAG, MAX (1876 - 1970)
PRESCOTT, GERALD (1902 – 2005)
―The Key to the Future is Found in the Past‖ - 2000
PUFFENBERGER, EMIL W. (1909 – 1990)
R
RANDALL, GREGG O. (1917 – 2008)
RAY, EARL R. (1908 – 1995)
REED, ALFRED (1921 – 2005)
REED, FRANK L., Jr. (1899 – 1984)
REVELLI, WILIAM D. (1902 – 1994)
―Tributes to ABA Members‖ - 1984
―More Remarks‖ - 1991 [Note: contains vignettes on Goldman, Clarke, Simon, Harding, King,
Fillmore, Bachman, Bainum, Loboda, Dvorak, Yoder, Sams, Stewart, and McAllister]
REYNOLDS, GEORGE EARLE (1921 – 1992)
RICHARDS, J. JOHN ―J.J.‖ (1878 – 1956)
The Kable Concert Band - 1987
ROBERTS, EVERETT ―Bud‖ (1914 – 2006)
ROHR, ARTHUR W. (1916 – 1988)
RUSH, RALPH E. (1903 – 1965)
RUSSELL, MYRON E. (1904 – 1993)
S
SACHS, HENRY EVERETT (1881 – 1970)
SAIED, JAMES G. ―Jimmie‖ (1915 – 2004)
SAMS, LYNN L. (1896 – 1990)
―Report on Lynn Sams‖ - by Jim Strouse - 2003
Lynn Sams Interviewed by James Berdahl - 1984
SANTELMANN, WILLIAM F. (1902 – 1984)
―What the American Bandmasters Association Means to Me‖ - ca. 1953
President‘s Address - 1954
Convention Dedication - 1976
SAUNDERS, R. LESLIE ―Les‖ (1907 – 1970)
SAWHILL, CLARENCE (1906 – 1982)
SAYRE, DEAN (1918 – 2000)
SCHUELER, WILLIAM P. (1899 - 1978)
SCHULLER, GUNTHER - ―Remarks‖ - 1989
SCHULTE, FREDERICK F. (1891 – 1966)
―Frederick Schulte Remembered‖ - 1987
SCHULTZ, HERBERT L., JR. (1923 – 2007)
SELTENRICH, CHARLES P. (1913 – 1986)
SHEPARD, WESLEY (1908 - 1991)
SIMON, FRANK (1889 - 1967)
―The Armco Concert Band‖ - 1987
―A Big Man, Remembering Frank Simon‖ - by John Colbert - 2002
SKINNER, LYLE (1895 - 1973)
SLATER, KENNETH B. (1917 – 2005)
SLOCUM, EARL A. (1902 – 1994)
President‘s Address - 1963
―Earl Slocum Remembers the Early ABA‖ – 1988 [Note: contains vignettes on Bainum,
Santelmann, Pryor, Buys, Simon, Clarke, Harding, and Alford]
SMITH, CLAUDE T. (1932 – 1987)
SMITH, ROGER H. ( - 1975)
SMITH, SANDY S.
SMITH, W. BRAMWELL (1929 – 1993)
SNAPP, KENNETH O. (1916 – 1991)
SOUSA, JOHN PHILIP (1854 - 1932)
―Reminiscences from Col. William Santelmann‖ - 1984
―What Inspired Mr. Sousa to Compose ‗The Stars and Stripes Forever‘?‖ - 1988
SPERRY, GALE L. (1923 - 1973)
SPICER, RANDALL (1914 – 2002)
STANBURY, WILLIAM EDWARD (1897 – 1996)
STARK, MACK (ca 1886 – ca 1960)
STEWART, CARLETON LEE, Sr. (1907 – 1985)
President‘s Address - 1961
STRANGE, RICHARD - President‘s Address - 1986
STREEP, FOSTER DAVID (1914 – 1997)
SWARTLEY, LLOYD F. (1900 - 1975)
T
THIELE, CHARLES F. (1884 - 1954)
THIESSEN, EDGAR (1913 – 1984)
―I Know This Man, Edgar Thiessen‖ – by Ethel Thiessen - 1985
THURMOND, JAMES MORGAN (1908 – 1998)
TIMMEL, RUDOLPH E. (1905 – 1993)
TOWNSEND, RICHARD E., Sr. (1908 – 1985)
TRELOAR, SAM H. (ca 1865 – 1951)
TRUMBULL, WILMONT (1916 – 1983)
TRUTNER, HERMAN, Jr. (1876 - 1961)
TULL, FISHER A. (1934 – 1994)
U
UTGAARD, MERTON B. (1914 – 1998)
V
VAGNER, ROBERT STUART (1913 – 1989)
VOGEL, NELSON ARTHUR ―Nels‖ (1913 – 1983)
VOLKWEIN, WALTER E. (1911 – 1994)
W
WALKER, VESEY (1893 – 1977)
WALKER, WAYMAN E. (1923 – 1997)
WALTERS, HAROLD L. (1918 – 1984)
WATSON, RICHARD B. ―Scrubby‖ (1897 - 1975)
WEGER, ROY J. (1919 – 1991)
WELCH, MYRON WELCH – President‘s Address - 1997
WELKE, WALTER C. (1905 - 1975)
WENGER, HARRY J. (1906 – 1992)
WEST, PEARL LEONARD (1914 – 1999)
WHITCOMB, MANLEY (1913 – 1987)
WHITE, WILLIAM C. ( - 1964)
WHITING, CHESTER E. (1900 – 1985)
President‘s Address - 1965
WICKES, FRANK - President‘s Address - 1998
WILEY, CHARLES ALBERT ―Pete‖ (1925 – 1992)
WILEY, DEWEY O. (1898 – 1980)
―Dewey O. Wiley and The World Famous Cowboy Band‖ –
by Francis McBeth - 1994
WILEY, RUSSELL LEE (1903 – 1991)
WILLIAMS, ARTHUR L. (1902 - 1973)
WILLIAMS, EDGAR WARREN (1916 – 1984)
WILLIAMS, JAMES CLIFTON (1923 – 1976)
WILSON, GEORGE CLAY (1908 – 2001)
President‘s Address - 1966
WINKLER, MAX (1888 – 1965)
WINSLOW, ROBERT A. (1931 – 2006)
WITHERSPOON, GENE (1919 - 1979)
WRIGHT, AL G. - President‘s Address - 1982
Nomination of Al G. Wright for Honorary Life President –
by John R. Bourgeois - 2007
Y
YESULAITIS, JOHN (1916 – 2005)
President‘s Address - 1976
YODER, PAUL V. (1908 – 1990)
President‘s Address - 1964
―Paul Yoder Reminisces‖ - 1984
―Band and Its Activities in the World‖ - by Paul Yoder - 1984
YOUNG, RAYMOND GUINN (1932 – 1999)
Z
ZAJEC, VICTOR W. (1923 – 2005)
ZOFFUTO, MARCIA R. (1949 – 2008)
―MEMORIALS and TRIBUTES to MEMBERS of the
AMERICAN BANDMASTERS ASSOCIATION‖
Also including
Historically Significant Speeches and Articles
A
EUGENE ALLEN
President‘s Address - 1989
[President Allen announced that the usual speech by the president would be replaced by a slide show on the
history of the ABA that the Army Band personnel had designed. It was an exciting and deeply moving
experience to see the photographs and hear the well-written narration expounding and explaining our
incomparable heritage. The presentation was saluted with a standing ovation, well deserved by all the
personnel who had a hand in the production. BRAVO!]
President Gene Allen then concluded with these words:
From this ABA story, we understand that the great leaders in our movement during the past sixty years
have been active ABA members, and today this room is filled with the most influential leaders across North
America. And in the recent Inaugural Parade in our nation‘s capital, bands were led by your immediate
Past President, by your President, and by your President-Elect. And several other participating bands,
including all the senior military bands, were led by active ABA members. I believe we are in the
mainstream. Hundreds of communities from across our nation passionately pleaded to have their bands
included in the inaugural activities. I am aware of frequent trepidation that bands are no longer a viable
part of our society, but I see a different picture. America has tens of thousands of bands, and folks,
America loves its bands! Our obligation is to light a path of quality and integrity. Members of this body
recognize that, and have not only influenced instrumental music education in America over the past sixty
years, but have created the most advanced school music program in the world today. While we can
legitimately count our blessings, we cannot rest upon our laurels. Our concern for the educational
movement is expressed most eloquently in our Position Paper concerning the American school band
program. We‘re also committed to building a viable Foundation principal which will adequately support
the most important of all band composition incentives, the ABA/Ostwald contest, and other such worthy
projects. Most importantly, we must continue to reap the rewards of the warm friendships between
Members, wives, widows, and Associates which only ABA can provide. As bandmasters, we are aware
that our profession brings only small amounts of fame and certainly no fortune. Our rewards come from
creating quality music, from inspiring others to create quality music, and from those occasional moments
when we feel that we have stirred the souls of our fellow human beings. I urge that we never falter in our
efforts to carry out the goals and to uphold the ideals of this most special organization: The American
Bandmasters Association!
1989 ABA Annual Report
HAROLD ARNOLDI (1924 – 2001)
Harold H. Arnoldi was born in Detroit, Michigan on June 17, 1924 and died there on November 20, 2001
of congestive heart failure. He grew up in River Rouge, Michigan and attended the public schools there.
Harold began his musical adventures as a trumpet player. He earned his bachelor‘s degree in music at
Wayne State University and later returned to the university for his Master of Education degree. In 1950 he
began his career as an elementary school teacher where he taught for several years before becoming the
band director at the Redford High School in Detroit. In 1964 he accepted the band director‘s position at
Cass Tech High School, which ABA Honorary Life Member Harry Begian had just vacated. While still a
full-time teacher at Cass Tech, Harold taught part time at Wayne State University. Harold taught in the
Detroit City School System for 18 years. When Harry Begian left Wayne State University in 1969, Harold
became the Director of Bands there and remained until he retired in 1998. When the Detroit school system
cut the music program from its budget in 1978, Harold set up the Weekend School of Music. For a small
token fee, underprivileged children received private lessons from his university students. That program is
still in existence.
Harold spent 51 years as director of entertainment for the Detroit Lions football team, even though he was
very much involved in his normal musical activities. He arranged the pre-game and halftime shows, the
activities of the baton twirlers and cheerleaders, and he led the house band. Local high school and college
bands and special groups were given an opportunity to perform in front of a large audience. In 1998, on the
50th anniversary with the Lions team, the players gave him jersey number 50. One year later, when he
retired as director, the club gave him an official Lions helmet with his name on it. Additionally, Harold
was director of entertainment for the Michigan State Fair, and he directed The Boys Band for the City of
Detroit Parks and Recreation Department.
During his tenure at Wayne State University, Harold took his band on several world tours. In 1982 they
concertized in Japan and China, and in 1985 toured in Germany. Subsequent European tours were spent in
Belgium and France. Harold was great at raising funds—it was one of his many unique talents.
In 1985 the School Musician magazine recognized him as one of the ten directors who, in that year, made
outstanding contributions to music in the United States. Harold was awarded the George Washington
Honor Medal from the Freedom Foundation for producing and directing a series of award winning
broadcasts called ―The Band Played On.‖ Harold was associated with CBDNA, MENC, WASBE, and was
a member of the Michigan Bandmasters Association. He was also a Phi Mu Alpha Sinfonian. Harold was
elected to ABA membership in 1980.
Those who knew him well will tell you that Harold shared his passion for music with everyone. He loved
all kinds of music and was a consummate entertainer, lively at social gatherings, jovial and happy.
His mind was so well organized that he managed to do several jobs simultaneously. His work bordered on
perfection. It is safe to say that Harold really lived a life that was set to music.
2002 ABA Annual Report
EARL O. ―Pat‖ ARSERS (1905 - 1978)
ABA President Donald McGinnis read the names of ABA members who have died since the last
convention. This list included Earl O. ―Pat‖ Arsers. He was elected to ABA membership in 1964, and
passed away on August 10, 1978.
1979 ABA Annual Report
B
HAROLD B. BACHMAN (1892 - 1972)
A major portion of Dick Bowles‘ letter was involved with comments about the passing of Harold Bachman
in April, since Dick was so closely and intimately connected with this man who meant so much to all of us
who knew him. Dick reports that the ABA floral tribute was chosen by Mina Bachman to occupy a place
of honor by the pulpit at the funeral service. Dick‘s sentiments will be echoed by many when he says, ―I
doubt that anyone else can ever mean so much to so many as did our beloved Colonel.‖
1973 ABA Newsletter
Harold Bachman was elected to membership in ABA in 1932 and served on the Board of Directors in 1937,
1938, 1940, and 1951. He was Secretary-Treasurer in 1948, Vice President in 1941, and President of ABA
in 1950.
Lest We Forget, 2004 Revision
Note: The 1983 Annual Report noted the death of Mina Bachman, wife of Harold, in March 1982.
President Bachman‘s Address - 1951
Gentlemen: Now comes what is, for me, the hardest part of the convention, the next few minutes: that is,
the President‘s address.
In formulating plans for this convention early in the planning stages, it was decided we would, because of
the unsurpassed opportunities here [in Washington, DC] for visiting points of interest and hearing the fine
bands, both in their rehearsal quarters and in their concerts, cut our talking sessions to a minimum. I shall
try to carry out that example.
First of all, I want to say that in the planning of this convention I think we have had an exemplification of a
joint action on the part of the various services which could, perhaps, very well be taken as an example in
some of the other echelons of the various commands. It has been unsurpassed, the way the members of
these various services have cooperated in efforts to prepare for you what I am sure will be a most enjoyable
and a stimulating and inspiring convention.
Early in the planning I sent a letter to eight men for the Army Band, the Navy Band, the Marine Band, and
the Air Force Band, and their directors: Captain Darcy, Lieutenant Commander Holmes, Major Mear
(representing the Adjutant General‘s Office, Department of Bands), and Gib Sandefer (representing the
Associate Members here in Washington). I asked them to serve on a local convention committee, asked
them to get together and elect their own officers, and effect their own organization.
That they did. Major Santelmann was elected Chairman of the Convention Committee; Gib Sandefer the
Secretary-Manager (I believe this is his title). From that time on they have carried the ball, and I believe
you will see, as the convention progresses, that they have done a wonderful job of it.
Added to the committee of course, although not actually a member of the committee, but one who is
contributing greatly to our convention, will be Chet Whiting, of the Army Service Forces Band, whose
band you will hear tomorrow afternoon in a special concert. To all of those people, I want to give thanks
now, before I forget it.
Later on in the morning I will ask some of the members of the local committee to outline the convention
program, at least for the rest of the day, so you will know where to be, when to be there, and be prepared to
make the various appointments.
I wish I could point back to a year of tremendous and successful accomplishments on the part of the
American Bandmasters Association. My first feelings as President, the first few months, I must confess,
were one of frustration, in a way. I was President of an organization which I revere greatly; it was a
fulfillment of cherished dreams, you might say. Then it seemed for a while that we were not able to do
very much; it has seemed an organization which was set up for things like this but, in between times, there
did not seem so much that we could do. As I say, my first feeling was one of frustration, you might say.
Then I began to get the records of the accomplishments of our members and their various spheres of
activity. War came along, as you no doubt know, and made quite a change in the lives of many of us; and I
finally began to realize that the men in the key positions in every one of these services, the men who are
now in a position to set the policies for music in the various armed services, are all members of our
organization; the members of the College Band Directors Association. Our members are taking leaders‘
parts there. One of our members was elected President at this last meeting. And they are in the high school
field, and so on. The activities of our membership, when I began to look at them, were really quite
inspiring. So I came to the conclusion that perhaps that is the way we work, after all—not so much the
projects our organization, as an organization, carries out, but the accomplishments of our members in their
various spheres of activity.
I think that I mentioned that in a letter I wrote to the new members during the early part of the year, in
which I pointed out that our organization is not large, probably never will be large, and that many of us
seem to feel that its strength lies in retaining its status as an honorary organization in which we can honor
people who have done outstanding work in the various spheres of their activities.
Of course, if we are going to make it an honor for those people to belong to us, and if it is going to be an
honor for a man who has already done outstanding work, then we, as members, have to hold the banner
high and have to take leadership in setting high standards of band performance and professional ethics. If
we do that, the ABA, I think, will continue to wield a great influence for good on the bands of America.
I do want to say again that I just did not seem to be able to put my finger on the many projects which we, as
an organization, could carry on; but I have about come to the conclusion that our work is being done by our
individual members in their special spheres, and this is a place, perhaps, where that work is honored. I do
not know whether I am stating the creed of the organization, but that seems to be where my thinking on it
ended up.
In that connection, then, I think probably the most important business we have to transact here is the
selection of new members. They should be very carefully screened, and we will have more to say about
that later in the morning.
I do think you also should be thinking very carefully during the course of the meeting about the people you
want to propose for membership. There will be an opportunity for that later on in the convention, when we
entertain proposals for consideration at later meetings.
I want to give a personal word of thanks to Lynn Sams and Frank Reid (Lynn particularly) for this ABA
Newsletter they so kindly get out, as the thread which sort of holds our organization together throughout
the year. The very informality of it seems to be one of its greatest assets; I think it is even better than if we
had a monthly or a bimonthly magazine. There are a lot of music magazines; there is no other publication
which I know of which gives you, in such a readable form and such an informal form, the news about one
another and the things we do. I hope they will keep that going indefinitely; I think it has been a grand thing
for our organization.
Major Santelmann is here. As I say, I will probably be talking too much before the convention is over, and
I am going to try to set an example for short speeches by bringing mine to a close right now and
introducing the local committee again, for such information as they want to give you.
We decided to cut the business sessions to a minimum. I know there are many items of business which
could be brought up and discussed and chewed around, and motions passed on this and that, but I think all
those things which could just as well wait until next year we will defer until next year, and spend our time
this year in visiting these various bands, and in the lobbying—not the Washington variety of lobbying
[laughter], but that type of fellowship which many of us find to be the most stimulating part of our
convention. We want to have a lot of time for that.
So I am going to try to set the example by ending my President‘s address right now. I would like to call on
Major Santelmann, if he will, to introduce the members of his local committee. Could you briefly outline
the balance of the schedule for the day, so that we will know where and when to be, how to dress, and so
on. After that, then, we will proceed to a consideration of regular business. Thank you.
1951 ABA Annual Report
―The Wit and Wisdom of Harold B. Bachman‖
Presented by Richard W. Bowles - March 5, 1993
It is impossible to write a short history of Harold Bachman. He was a key player in too many games. At
the age of 27 he had already earned an international reputation as a military bandleader; for the next 10
years his position was strengthened as the leader of a traveling professional band. Starting in1927 he was
band music consultant for the Educational Music Bureau in Chicago. There he was one of the first to
present band clinics, one of which grew to become the Midwest Band Clinic. He wrote the manual
―Standards of Adjudication,‖ published by MENC, which stands today as the definitive statement on that
topic.
He was the Band Director at two major universities, starting with the University of Chicago in 1935. At the
age of 50, with America once again at war, he was called back into uniform, and served for five years as a
Special Services officer in the South Pacific. This second time he was mustered out as a Lt. Col., which
gave him the earned title of address, ―Colonel.‖
In 1948 he went to the University of Florida, and the band enrollment swelled from 30 to 150 almost
immediately. His university band included many veterans on the GI Bill, mature adults. One of them
asked, ―Mr. Bachman, we like you, but wouldn‘t feel comfortable calling you Harold; how should we
address you?‖ He replied, ―Just call me Colonel.‖ From that moment on, he was ―The Colonel,‖ a term
that has the proper mix of familiarity and respect.
His retirement in 1958 was a charade; he didn‘t retire—he just directed his boundless energy into
producing books and manuals, received countless awards, and guest conducted all over America. His last
major project, just before his death, was to establish a music program in the entire State Prison System of
Florida. In every aspect of the band world— military, educational, professional, music sales, and clinics
and contests— Bachman was a headliner.
The bare bones of Col. Bachman‘s career are on the leaflet which has been handed to you. Some of The
Colonel‘s fire, his unbounded enthusiasm, was brought out in December of 1967, when the Midwest Band
Clinic re-created Bachman‘s Million Dollar Band. Let‘s listen to the words and music of the first few
minutes of that program, a tape for which I wish to thank Barbara Buehlman and Victor Zajec.
(A 2-minute segment of a tape recording from ―Bachman‘s Million Dollar Band,‖ on the occasion of the
band‘s reincarnation at the Midwest Band Clinic in Chicago, December 14, 1967.)
I‘m not going to dwell on history. Today I want to talk about the man, the friend, the confidant, a person of
unique judgment and wisdom. He had a ready wit, and enjoyed nothing more than exchanging verbal
volleys with his many quick-witted friends.
One such exchange was at a Midwest Band Clinic where the topic was Programming. The panelists were
Harold Bachman, Charlie Brendler, director of the Navy Band at the time, Karl King, and Glenn Cliffe
―Rusty‖ Bainum of Northwestern.
As always, the Colonel arrived with the two legal-sized pages of mimeographed handouts for the directors
present. Bainum had a few notes scratched on the back of an envelope. Brendler and King were winging
it.
The others made Bachman go first. He made his usual classic presentation, with historical references,
philosophy, and summaries of trends as shown by programs from well-known bands.
Karl King followed, with a series of hilarious yarns about his experiences with circus bands. Then
Brendler took over, his mellifluous tones urging those present to program only the finest in music.
Finally, it was Bainum‘s turn. He said, ―Let me point out that Harold Bachman never had a problem with
programming—he just played those things simple enough for him to understand. And Karl King never had
a problem, because he programs only his own compositions. Charlie Brendler has no problem, because he
just plays those things he already has committed to memory. But, ladies and gentlemen—I have a problem!
The really remarkable thing about Bachman‘s career is that it ever happened, and the incredible rapidity
with which it matured. In 1916 this North Dakota farm boy got a degree in agriculture from North Dakota
Agricultural College. One year later, at the age of 25, he was the first enlistee in the state‘s National Guard
Band, and became its Chief Musician. That was July 15, 1917. He immediately recruited 28 other men to
join up. The Guard was called to active duty, and off they went for basic training.
On December 10th of that same year, the band arrived in France. On December 25, after listening to one of
the band‘s performances, General Hunter Liggett, Commander of the First Army, turned to an aide and
said, ―That band is worth a million dollars to the U.S. Army.‖ Forever after, it was the ―Million Dollar
Band.‖
That was 6 months from the time this kid from Harvey, North Dakota, with minimal training in music,
recruited this band.
In France during the year 1918 the band‘s enlisted strength ballooned from 28 to more than 100, with four
different units being sent all over Europe to satisfy the demands for programs. It included a string orchestra
and entertainers of all kinds.
Those of you with experience in the Armed Forces are realizing that Bachman‘s 116 th Engineers Band
invented what became Special Services in World War II.
Bachman and his men were mustered out of service March 11, 1919. This entire adventure, from start to
finish, had lasted only 19 months! Bachman had not yet had his 27 th birthday, but he came home as one of
the best known band leaders in America.
Back in North Dakota the governor requested that the band make a homecoming tour. Bachman used this
opportunity to form a professional band. What was conceived as a three-week tour became one of 33
weeks, then of more than 10 years, always as ―Bachman‘s Million Dollar Band.‖
The record shows that during the years 1920 to 1931 few bands in America traveled more miles, had longer
seasons, or played a more interesting variety of engagements to larger audiences than ―Bachman‘s Million
Dollar Band.‖
In the bad times of the late 20‘s, Bachman and Paul Whiteman were hanging around union headquarters in
New York City, hoping someone needing a band would call in. The call came, and both men were
interviewed. Bachman got the job because the caller said, ―I guess I‘ll hire your band; you‘re better known
than Whiteman.‖
The privilege of knowing Harold Bachman was one of my life‘s great experiences. On his retirement
in1958, his longtime friend and assistant, Reid Poole, became director, and I went to Florida as the assistant
band director, and became director two and one-half years later. I learned early never to follow Bachman
on a program.
I had an invitation to conduct a county clinic in Georgia, where the youngsters had been divided into two
groups on an audition basis. I was to have the best players.
The day before the clinic the person in charge called me saying that the director they had hired for the non-
select band had cancelled at the last minute, and did I have any suggestions for a replacement.
Bachman was in the outer office when the call came in. His retirement income was so limited that he
welcomed any and all guest conducting engagements. I put the caller on hold and asked Harold if we
would like to do it. ―Sure,‖ he said. ―Sign me up.‖
We each had a long, grueling day‘s rehearsal, and that night Bachman‘s non-select band played first.
The Colonel wore his white uniform, with brass buttons and braid, a costume that set off his silver white
hair to perfection. His band played its march with reasonable precision, and the audience applauded
enthusiastically, whether from pride or relief I‘ll never know. Next Bachman played a Grade II overture
that had some good sounds, music ideally suited for their modest talents.
The third selection was the killer. It was an excellent arrangement of a Danish folk song. The melody was
appealing, a tune I‘ll never forget, featuring two trumpets in thirds. (Sing and gesture.) This phrase
occurred several times. It was preceded by a four-measure vamp played in the brasses, ―Oompah Oompah
Oom Pah Pah,‖ and repeated. Each time, when the vamp was played Harold had the woodwind players lay
their instruments in their laps, tap their toes on the floor with the ―Ooms‖ and clap their hands with the
―Pahs,‖ like this. (Demonstrate.) At the same time, with his imposing bearing, he would turn slowly to the
audience with a half-smile on his face, beaming like a cherub, exposing his distinguished profile. Love it?
The audience simply beat their hands off clear to the elbows with applause and joyful laughter.
As his final selection, Harold played Paul Yoder‘s arrangement of ―This is My Country,‖ sustaining the
final chord long enough to allow the entire band to stand, and on the cutoff do a deep bow.
The audience leaped to their collective feet in a standing ovation, with applause that is probably still
echoing in that auditorium.
Okay. Now it‘s my turn. The audience‘s entire emotional initiative is already wrung out. My kids play
well, and I was proud of them, but even they knew that our program was anticlimactic.
Yes, Bachman‘s performance was theatric, but let me point out that he was not just playing music; he was
involving the audience in a musical experience, promoting himself, promoting the band world, and
promoting the schools before the common people that pay taxes and are responsible for the salaries of
music teachers.
Bachman never missed the opportunity to enjoy a good laugh, or to create one. In 1964 the Florida Band
commissioned Morton Gould to write his unique work, ―Formations,‖ for marching band, and I was telling
him about it.
I said, ―Harold, did you know that Morton Gould had his first composition published at the age of 6?‖ He
replied, ―Well, what do you know! I guess before that he just fooled around.‖
Bachman‘s position with the Educational Music Bureau in Chicago gave him an ideal base from which to
carry on the diminishing activities of the Million Dollar Band, including an engagement at the Chicago
Worlds Fair in 1934.
This also gave him the opportunity to help young band directors. He attended a program given by a junior
high band in Elgin, a Chicago suburb, where he heard some excellent band arrangements played in
manuscript. He learned they had been made by the director, another North Dakota native named Paul
Yoder.
Bachman told Joe Urbanek, whose last name is the last half of Rubank, the publishing firm, that if Joe
would publish some of Yoder‘s arrangements Bachman would guarantee selling enough of them through
the Educational Music Bureau to cover publication costs.
Urbanek bought eight of Yoder‘s arrangements for $25 apiece, and published them in a folio called ―A
Stunt Band Folio.‖ That folio sold many thousands of copies, and from that point on, Yoder‘s career was
firmly established.
In the early 1960‘s Bachman returned from a band clinic in Arkansas, where he heard an original piece for
band played in manuscript. He brought the score and parts back with him, and asked me to make a tape of
it with the Florida Band, which I did. He then sent the tape to John Bell, the owner of Southern Music Co.
in San Antonio. I‘m sure many of you have guessed that the piece was First Suite for Band, written by
Francis McBeth, a selection that was followed by many more that have become staples in the band
repertory.
There were others whom Bachman befriended and helped to push up the ladder of success. Harry Alford,
David Bennett, Joseph Olivadoti, Claude Smith, Roland Moehlmann, and of course Reid Poole, Dick
Bowles and Bob Foster come to mind.
Bachman had a unique sense of his place in the Continuum of History. He knew what to throw away, and
what to save. He had a tiny retirement office upstairs in the Music Building, with a desk, a filing cabinet,
and a couple of chairs. He was in the office every day, including weekends, and without in any way
interfering with the band program, was always available.
His work ethic was so dominant that he sometimes came in wracked by coughs, or otherwise not feeling
well. Once when we were trying to ―mother‖ him he shook us off, and said, ―Dick, you‘ve got to
understand that probably 90 percent of the work of the world is done by persons who don‘t really feel very
well.‖
He coined other aphorisms, such as, ―Most band programs could be improved a great deal by deleting a
number rather than by adding one.‖
When doing a clinic, the Colonel always took a fiberboard box loaded with percussion ―extras,‖ the little
things that even the best clinic hosts often forget: triangle beaters, maracas, tympani sticks in various
weights, sleigh bells, bird whistles, and the like. And after the concert, he personally gathered up all those
things, consulting the check list taped to the inside of the box, to make sure he had them the next time they
were needed. He would often find the last of the triangle beaters in the hip pocket of a kid as he left the
stage.
Bachman was a great favorite in every administrative office in the University. He gave me his secret for
this, saying, ―When you are involved in a disagreement, don‘t ever try to completely overwhelm your
adversary. Always leave him an out, a position to which he can retreat without losing his self-esteem. If
you overwhelm him, he‘ll be forearmed the next time, and in the end you‘ll lose.‖
In his book about the Million Dollar Band, Bachman tells another story that characterizes both his
ingenuity and his integrity. In 1918 when his band was stationed at Angers, France, they were subject to
strict censorship of their mail, going and coming. They were prohibited from revealing their whereabouts.
Remember the town was Angers, A-N-G-E-R-S. His wife and newborn son were living with her parents in
Fargo, ND. Bachman wrote to A N Bachman at the family address. Next he wrote to G E Bachman, same
address, and finally to R S Bachman. The family thought the war might be giving him delusions. But
when his fourth letter arrived, once again properly addressed, his father-in-law got out a map of France and
put things together. In a letter to Harold, his father-in-law wrote, ―A.N. Bachman, G.E. Bachman and R.S.
Bachman are all in good health and send their regards.‖
In his account of this incident, Bachman wrote, ―I hope this confession, after 44 years, of my thus
circumventing Army regulations, will not case too great a blemish on my military career in two World
Wars.‖
There is no doubt that time has erased that blemish.
1993 ABA Annual Report
―Supplement to ―The Wit and Wisdom of Harold Bachman‖
September 2, 1892 – Harold B. Bachman born in Harvey, North Dakota.
June 10, 1916 – B.A. in Agriculture, N.D. Agriculture College (ND State).
July 15, 1917 – Enlisted in North Dakota National Guard Band.
December 10, 1917 – Arrived France, band becomes 116th Engineers Band.
December 25, 1917 – General Liggett dubs band ―The Million Dollar Band.‖
1918 – Band grows to strength of more than 100.
March 11, 1919 – Mustered out of service, Fargo, ND.
April 2, 1919 – Civilian ―Million Dollar Band‖ organized.
1919 – 1927 – Million Dollar Band tours and winters in Florida.
1927 – Joins Educational Music Bureau in Chicago; continues professional career with union musicians
hired for specific jobs.
1927 – 1929 – Band regular feature on WLS, Chicago.
1934 – Band plays Chicago World‘s Fair.
1935 – Becomes Band Director, University of Chicago.
1942 – Recalled to active duty in World War II as Captain in Special Services.
1947 – Mustered out of WW II as Lt. Colonel, earns title Colonel.
1948 – 1958 – Director, University of Florida Bands.
1950 – Elected President, American Bandmasters Association.
1956 – Co-Director (with Ray Dvorak) of MENC Golden Anniversary All-American Band, 100 school
students from 50 states, with Robert Foster as first chair cornet.
1958 – Retires at University of Florida; guest conducts extensively.
1963 – Honorary Doctorate, University of Idaho.
1964 – First Recipient, CBDNA Honorary Life Membership.
1964 – First Recipient, ASBDA Edwin Franko Goldman Award.
1966 – Honorary Doctorate, North Dakota State University.
1968 – First person elected to Florida Music Educators Association Hall of Fame.
1970 – Chief architect of music program in the Florida Prison System.
April 10, 1972 – Suffers fatal stroke as he finishes a concert while conducting the Georgia All-State
Junior High Band.
1993 ABA Annual Report
GLENN CLIFFE ―Rusty‖ BAINUM (1888 - 1974)
―What the American Bandmasters Association Means to Me‖
by Glenn Cliffe Bainum – ca. 1953
To me, the American Bandmasters Association means an opportunity to meet with and exchange ideas with
the most distinguished men in the profession. It is a source of inspiration and stimulation which could not
be found elsewhere.
News Release to ABA Members ca. 1953
Hugh McMillen, President of the American Bandmasters Association, read the names of those members
who had passed on since the last meeting. This list included Glenn Cliffe Bainum, who passed away on
October 14, 1974. He had been a member of ABA since 1930.
Following President McMillen‘s address, Mr. John Paynter was called on to remark briefly on our late
Honorary Life President, Glenn Cliffe Bainum. As this convention was dedicated to the memory of Mr.
Bainum and as John had had such a close association with Glenn in his final months and years, it was
entirely appropriate that John should reminisce on this close association.
1975 ABA Annual Report
Following the 1975 Convention, the ABA Newsletter contained remembrances of Glenn Cliffe
Bainum, written by Associate Member Richard V. Madden.
Born in Olney, Illinois on January 6, 1888, he later moved with his family to Paxton, Illinois at the age of
ten, and played both alto horn and trombone with the Paxton Silver Cornet Band. I still recall the feigned
ego on his face as he recalled those times when he played ―Solo Alto Horn‖ because other members of the
section failed to show up for concert or rehearsal. At the University of Illinois he majored in English and
science and taught in several Illinois high schools before returning to the University to receive his B.A.
degree in 1913. During this time he started the wonderful association with Dr. Harding, which made him,
first, Dr. Harding‘s initial assistant conductor, and this was to continue on such a close basis through all the
years Mr. Bainum taught at Southern Illinois Normal University and at Northwestern, as well as his
supervisory work in Grand Rapids.
I arrived at Northwestern University in 1929, three years after Mr. Bainum had assumed the job as Band
Director there, and was to have the privilege of a close association with him as a member of the band in my
four years of pre-law; my nine years of full time and summer session study enroute to an MME degree,
which Mr. Bainum and Dean Beattie had convinced me would be more rewarding than Law; and for the
chance of playing under him in the fine professional bands that were the inspiration for much of his early
interest in arranging and transcribing the kind of music that he wanted the public to hear, and which was to
change the program format for bands from that time forward. In addition, I was privileged to have Mr.
Bainum associated with my company for thirteen rewarding years after his retirement from Northwestern in
1953.
Just as with Dr. Harding, whose assistants were to go on to top assignments in other universities and return
honor and prestige to their school and to their mentor, so also did Mr. Bainum attract top people to
Northwestern, where in return for long hours and not much money they were privileged to get an insight
into what motivated and drove one of the most capable, innovative and inspiring leaders in the history of
the concert and marching bands. His association with the American Bandmasters Association was a love
affair from the beginning and for a man who prized very few honors, there could be no one prouder of his
selection as ABA President, his long term as ABA Secretary-Treasurer, and his election as Honorary Life
President.
There is so much more that could be said and so many memories that each of you treasure, just as I do
mine. John Paynter, who with his wife Marietta, provided so much of the love and home he missed and
needed, wrote the obituary for the program of the Memorial Service in the afternoon and for the Memorial
Concert in the evening of November 10, 1974. Both the Service and the Concert, using only Bainum
transcriptions, were done with the good taste and deep feeling that so properly reflected the mood of those
attending. Thanks, Rusty, for having given so much to so many.
1975 ABA Newsletter
―Glenn Cliffe Bainum Tribute‖
By John P. Paynter
It was a matter of only a few minutes after my first meeting with Glenn Cliffe Bainum that I was employed
by the Northwestern University Band as a member of the student staff. I had come to Evanston to enroll as
a freshman in the School of Music without having seen the campus, without knowing about the
University‘s famous Band, and without having heard of Glenn Cliffe Bainum. From my little hometown of
Mineral Point, Wisconsin, Harvey Huxtable, a graduate of the Northwestern University Dental School and
Bernard Stepner, who for one year had been Mineral Point‘s high school band director and was later to be
one of my first Summer Session Band members, had a hand in pushing me toward Northwestern. When I
look back on it now, it seems incredible that I could not have known about Mr. Bainum, one of the most
admired and universally respected conductors and teachers in all of band music.
My clarinet audition on that fall day of 1946 surely could not have impressed this small, thinly-built man
who glowingly convinced me otherwise as he sped me into his office, hurried me through the playing, and
hustled me out again in less than four minutes. Before I could put my clarinet in the case, he door swung
open. ―You look like a bright guy with a log of energy. Do you know how to run a mimeograph
machine?‖ Of course I didn‘t, and of course, I never told him so. Instead, I went straight to work, put the
stencil on the drum of the machine upside down, and promptly ruined it. If he found me out, Mr. Bainum
never let on. He was content to build the ego and bolster the sense of belonging for a bumbling kid from a
small town who was trying to adjust to the life of a large urban university.
Twenty-eight years later I was sitting by Mr. Bainum‘s bedside when a very large, plain looking nurse
came into the room. He had just finished confiding in me that he had had a very bad day, with considerable
difficulty in breathing and a variety of other discomforts. ―How are you feeling, Mr. Bainum?‖ asked the
nurse. ―Fine! Never better!‖ Mr. Bainum answered with a big grin. ―You must really be feeling good to
have such a big smile on your face,‖ the nurse continued. ―It wasn‘t there until you came into the room!‖
said Mr. Bainum. Once again the personal, sincere charm of the man held sway, and the nurse left the
room a slimmer, prettier, happier person.
These two incidents are typical of the super-greatness of the man who led Northwestern‘s Bands for
twenty-seven years, before retiring in 1953. Mr. Bainum had a marvelous capacity for making you feel
stronger, smarter, more accomplished. The secret was his uncanny capacity for saying just the right thing
in such a uniquely original way that, punctuated with the warm intensity of his sparking eyes and
possessing smile, you just knew he meant every word of it.
Everyone who knew Mr. Bainum liked him. He made them feel that way because he never held a grudge;
he was never purposely unkind; he was not envious. He never looked back. He didn‘t have time to listen
to recordings of concerts he had conducted. He was too busy preparing the next one. He ignored his
unanswered mail, often dictating replies to an immense stack in one day, or sweeping it all from his desk to
the waste basket while he picked up the phone instead. His procedure for handling Christmas mail was
slightly more original and a great deal more efficient. He would simply turn over the greeting card and
write the words, ―same to you‖ before mailing it back to the sender. Somehow, from Glenn Cliffe Bainum,
it made a very personal message.
Just before coming to Northwestern as Professor of Music, Director of Bands and Director of Men‘s and
Women‘s Glee Clubs in the fall of 1926, Mr. Bainum had been director of music for the Grand Rapids,
Michigan public schools where he first served, then succeeded John Beattie. When Beattie came to
Northwestern as Dean of the School of Music he recognized at once the need for a face-lifting in the band
program. In the Big Ten, Northwestern needed a marching unit that could compare more favorable with
the snappy outfits fielded by Illinois and the University of Chicago. Mr. Bainum was persuaded to come to
Evanston, and he promptly built the thirteen-piece band to well over one hundred musicians in the first two
years.
He had been around music all of his life. Born in Olney, Illinois on January 6, 1888, he moved to Paxton,
Illinois when he was ten and soon played both upright alto horn and trombone in the famous Paxton Silver
Cornet Band. His father, Osci J. Bainum, was a highly respected teacher and administrator, and a great
scholar of the Bible. His mother, Ida Elizabeth Cliffe Bainum, provided him with the unique spelling of his
middle name and patience toward people.
At the University of Illinois, Mr. Bainum majored in English and engineering science, subjects he taught at
Piper City, Momence and Melvin, Illinois before returning to the University to complete his B.A. degree in
1913. He was a great favorite of the University‘s famed band leader, A. A. Harding, who regarded him as a
son and installed him as bass drummer for ―first percussionist,‖ later selecting him as his first assistant
conductor with the Illinois bands. Mr. Bainum went on to teach at West Aurora High School for a year,
and then moved to Southern Illinois Normal University where he was director of music from 1914 until
1922, except for two years away to serve as an officer in the United States Army Infantry. With two more
years (1922-24) at the University of Illinois for the purpose of completing a B.A. in Music, Mr. Bainum
moved on to Grand Rapids and then to Evanston.
In Evanston, in addition to his countless contributions as University Band Director, Mr. Bainum was
widely acclaimed for his gifted imagination for the gigantic; his place as originator of the two-hundred
piece College All-Star Marching Band; his importance as Associate Conductor to Frederick Stock for the
North Shore Music Festival; as Conductor of the Grant Park Symphonic Band that played for thousands of
people in the 1940‘s; and for the weekly radio programs which he conducted over radio station WMAQ in
Chicago. For all of the years he was at Northwestern, Mr. Bainum conducted the Waa-Mu Show Orchestra
and he continued to teach classes in conducting, band arranging, instrumentation and band techniques.
From 1942 until 1945 he served in the United States Army where he was made Chief of the Overseas
Music Branch of Special Services with responsibility for all music in the European Theater of Operations.
In all the years I knew Mr. Bainum, I saw him really ―low‖ only in the spring of 1953 when he was facing a
mandatory retirement that he couldn‘t accept. Seeing little challenge in his future, he was on the brink of
despair. Then suddenly, with the new schedule of availability, ―Mr. Band at Northwestern‖ became ―Mr.
Band of the United States.‖ In the years after his ―retirement,‖ Mr. Bainum conducted and taught in all
fifty states! He touched the lives of more than 50,000 musicians who ranged in age from elementary school
children to seasoned professionals. He directed thirty-piece rural school bands and massed festival
choruses, bands and orchestras sometimes numbering more than a thousand. Through it all, he continued to
pour out reams of manuscript; special transcriptions and arrangements for the players he conducted,
producing hundreds of new scores of old and new music, enriching the literature of bands and the lives of
band performers.
At the time of his death, Mr. Bainum was the Honorary Life President of the American Bandmasters
Association. He had served this prestigious organization as its Secretary-Treasurer for twenty-one years,
and was also a Past President. He had known and worked with the great names in bands of the past: John
Philip Sousa, Edwin Franko Goldman, Arthur Pryor, A.A. Harding, Frank Simon, Henry Fillmore, Karl
King and many others. His was a life that spanned several generations in the ever evolving role of America
bandmasters and band music. He had been honored by the College Band Directors National Association,
the National Band Association, the American School Band Directors Association, the Catholic
Bandmasters Association and countless state, county and municipal groups.
When Glenn Cliffe Bainum died on October 4, 1974, only the last two of his eighty-six years had been
spent in semi-activity. His fine sense of humor and bright wit were with him to the very end. He had
distinguished himself as a great teacher, an artistic conductor and a popular individualist. Although he was
not a story teller, he will forever be the subject of stories. Never the seeker of publicity, he was known
everywhere by everyone in the band music field. He authored no books, but his philosophy of teaching, his
view about life, his expression and his methods live on in the countless students who emulate him every
day.
He had the capacity for making everyone he met feel a little bit bigger; to know a little more happiness; to
love with more fullness. Glenn Cliffe Bainum truly fulfilled his purpose on this earth.
1990 ABA Annual Report
WARREN BARKER (1923 – 2006)
Warren Barker, renowned composer/arranger passed away in California on August 3, 2006. He was born
in that state 83 years earlier on April 16, 1923 in Oakland. As a student he played piano and trumpet in his
school band and then attended UCLA, where he studied under the composer Mario Castelnuovo-Tedesco
and Henri Pensis. After serving in the Army Air Corps, where he played in a band, he returned to Los
Angeles and began a long association with radio, television and movie studios. At age 24 he was appointed
chief arranger for ―The Railroad Hour,‖ the prime musical program of the National Broadcasting Company
(NBC). Barker has also been associated with the 20 th Century Fox, Columbia and Metro-Goldwyn-Mayer
studios as composer/conductor for motion pictures and television.
For seven years he served as composer/conductor of the highly rated comedy series ―Bewitched.‖ The
National Academy of Television Arts and Sciences honored him in 1970 for his original music in the
award-winning series ―My World and Welcome to It,‖ based on the life of James Thurber. Warren was
also on the arranging staff for the Oscar-winning movie ―Hello Dolly.‖
He became well known for his jazzy scores, such as his best-selling soundtrack album from the television
series ―77 Sunset Strip.‖ He worked as staff director for Warner Brothers Records for nearly a dozen years,
leaving in 1960 to focus on television work.
His TV credits include musical direction for the series ―Hawaiian Eye‖ and orchestrations for such Nick-at-
Night classics as ―Bewitched,‖ ―Daktari,‖ ―That Girl,‖ and ―The Flying Nun‖—including that little
xylophone signal that played whenever Samantha (Elizabeth Montgomery) wiggled her nose to cast a spell.
He imprinted a bit of 1970s cultural history into a generation‘s genetic code with his theme for the ―Donny
and Marie Osmond Show,‖ ―A Little Bit Country, A Little Bit Rock-n-Roll.‖ Barker also wrote the scores
for the films ―Strange Lovers‖ and ―The Zebra in the Kitchen.‖ He retired from the studio scene in the
early 1980s to devote his time to writing and conducting original compositions for concert bands and wind
ensembles.
Warren Barker was elected to membership in the American Bandmasters Association in 1991. He was also
a member of Phi Mu Alpha Sinfonia Fraternity, and BMI. During his long career he received commissions
from many outstanding music organizations, including the U.S. Air Force Band, the Royal Australian
Navy, the Northshore Concert Band and the Norwegian Army Staff Band. He will be greatly missed by all
of us.
2007 ABA Annual Report
ROBERT M. BARR (1918 – 1988)
Robert Barr passed away at his home on Jekyll Island, Georgia, on May 17, 1988 at the age of 69. He was
elected to membership in the American Bandmasters Association in 963.
Born in Konawa, Oklahoma, Bob shined shoes in a barbershop, saving enough money to buy a second hand
cornet for $5.00. His first teacher was an old Indian who once played trumpet in a circus band. Bob‘s
family moved to Wewoka, Oklahoma, where he played in the high school band directed by Everett Wilcox,
father of ABA member Don Wilcox. (The town of Wewoka is unique, in that it gave us three ABA
members: Bob Barr, Don Wilcox and Dick Thurston.)
Bob attended the Cincinnati Conservatory of Music on a scholarship and played professionally in the
Indianapolis Symphony and the Cincinnati Opera Orchestra. In 1946, following his Army service, he
became director of the Jordan High School Band in Columbus, Georgia, where he exerted an influence that
continues today. His bands won many national honors, including an American Legion award in 1952 as the
nation‘s outstanding high school band. Last year [1988] the John Philip Sousa Foundation named the
Jordan High School Band to its Historic Roll of Honor for Concert Bands from 1920 to 1960, recognizing
Bob‘s notable contributions to the development of high school bands. It was the only Georgia band so
honored.
In 1950 Bob helped found the Columbus Symphony Orchestra and served as its conductor until 1964, when
he went to Brunswick, Georgia to be the band director at Glynn Academy. He taught instrumental music in
schools in Oklahoma, Georgia, North Carolina, South Carolina, California and Vancouver, British
Columbia. He received many honors and awards, including First Chair of America Award by the National
Band Association, Teacher of Excellence by the Valley Forge Foundation, and Charter Member of the
Georgia Bandmasters Hall of Fame. He also served as president of the Georgia Music Educators in 1954.
Without lectures or pep talks, Bob taught his students that life was a performance. Every time they would
perform, regardless of their professions, they would be putting their reputations on the line, and to settle for
average was to live half a life. His students regarded him highly even though he was a hard taskmaster and
perfectionist.
Bob‘s legacy might be summed up in his own words: ―Life without music is a mistake.‖
1989 ABA Annual Report
WILLIAM N. BARTOW (ca 1875 - 1958)
William Bartow became a member of ABA in 1932. He was the conductor of The Standard Oil Band,
which was sponsored by The Standard Oil Company of New Jersey, located in Bayonne, New Jersey. The
band was founded in 1924.
1987 ABA Annual Report
WALTER BEELER (1908 - 1973)
Jack Mahan, President of the American Bandmasters Association, read the names of those members who
had passed on since the last meeting. This list included Walter Beeler, who passed away in 1973. He had
been a member of ABA since 1950.
1974 ABA Annual Report
Walter Beeler had a distinguished career as a band director, composer and arranger with most of his years
spent at Ithaca College in New York State, where he developed fine bands and also served as assistant
dean. Walt was also a fine trombone and baritone player and teacher and a most pleasant gentleman and
companion.
1974 ABA Newsletter
HARRY BEGIAN
President‘s Address - 1985
Like most of you, I have loved bands ever since I first heard and played in one. That love for bands as a
serious music making ensemble has never diminished up to the present. My commitment to bands as a
medium of musical expression also came early and remains undimmed.
By the time I reached college age I had arrived at a concept of what a BAND could and should sound like.
Unfortunately, this concept was not a result of my high school band experience. The concept came from:
playing in an excellent university band; hearing concerts by the University of Michigan Band (William D.
Revelli), and the Michigan State Band (Leonard Falcone); playing in an exceptionally fine National Guard
Band under a British band conductor; private study on cornet/trumpet with Leonard Smith, and on flute
with Larry Teal (both of the Detroit Symphony).
I used to get into symphony orchestra rehearsals where I was able to hear and watch ―great‖ conductors at
work. I observed conductors such as Reiner, Ormandy, Smallent, Stokowski and Walter.
When I got into band conducting as a high school band director, I felt I had become a member of what was
a tightly-knit fraternity in the 1940s and 1950s. They respected one another, generally, and worked closely
together for the improvement/betterment of bands and for acceptance of bands as a serious medium of
musical expression. The great university band conductors were the ―leaders‖ in the concert/symphonic
band field in the 40s and 50s. The great names were Harding, Revelli, Falcone, Bainum and Hindsley.
In those days (40s and 50s) band conductors were so united in their goals and objectives for the concert
band they evolved a balanced and technically capable instrument for the performance of serious music.
The university bands in the Midwest presented excellent concerts that were well attended. They played the
best music they could find to play—both original and transcribed works. They played the music well—
with good sound, balance and technical clarity and well in tune and with great musicality and regard for
style and pacing.
The concert/symphonic band as a musical medium had ―arrived‖ by the 1940s! They played music that
concert audiences could relate to without playing ―junk‖. One could also hear regular weekly broadcast
concerts by the Army, Navy and Marine Bands from Washington, DC and broadcasts of the New York
Philharmonic and the NBC Orchestras were regular features.
Then came the 1960s! Bands, like all American institutions, came to be questioned and ―splintered‖. The
close fraternal tie among band directors broke up. Band directors started to go into specialized areas: wind
ensemble, marching band, stage (jazz) band, and concert (symphonic) band.
Leadership in the band medium shifted to the younger generation of directors and away from the concert
band ideal: a disdain for transcriptions; looking ―down‖ at the march; concentration on the playing of all
that was ―new‖, original wind band music; a reaction against anything that could be classified as ―old‖ in
band music; the playing of anything new backed by the idea that anything ―new‖ deserved to be played for
a concert audience. The qualifying words became ―new‖ and ―original‖ with no regard for quality or
worth. More often than not, this music turned out to be music of little or no worth!
Band conductors began to associate with others of like thought in the four specialized areas. This caused a
widening of the split between band conductors in various band specialty areas. By the late 70s the band
field became very divisive. The band fraternity of conductors was ―splintered‖.
Conductors did not show open hostility to conductors of another specialization area than their own, but, too
often they got so they quit ―talking‖ or communicating with one another. Two very recent personal
experiences along this line:
1. polite rejection of my proposal to get together with the top officer in another band
organization to talk over directions and projects for our two band associations; and
2. being ignored by ―band colleagues‖ on a large Midwestern university campus when I
appeared there to deliver lectures/clinics on band related topics. No welcome or greeting
from any member of the band staff; not one member of the band staff attended my sessions on
this campus on two different occasions; the studio teachers of trumpet, clarinet, trombone and
percussion attended my lectures, along with the chairman of the music school.
A true incident that took place in a major university band department recently—a young band conductor
graduate of one of our top Midwestern universities who went to another of the top band departments as an
assistant conductor breezed into the office one morning to tell members and the Director of Bands as
follows: ―Have the bands here ever played the Lincolnshire Posy? You know, that‘s a great piece and our
top band should play it!‖ Such a remark reveals several things about the young man:
1. he evidently knows little or nothing about the band department that now employs him;
2. he hasn‘t bothered to look at programs to see what the bands at his present school play;
3. he obviously doesn‘t know what the bands have recorded on disc or tape;
4. he reveals that he was never told, or became aware of, what was happening musically in other
band departments other than where he went to school; and
5. such a remark could come from a student who has been ―brainwashed‖ in a band setting that
is committed to one ―specialty‖ approach and who regards other approaches as an anathema.
What have been the results of the ―splintering‖ of the band conductor fraternity that has resulted since the
60s? We have heard more band music played by bands; what one of my respected professors used to refer
to as ―non-music music‖ (looks like music, reads like music, but sounds like hell!‖). Too many band
conductors speak in ―artful‖ terms but reveal poor musical taste and discrimination in the music they
choose to play and the way they play it! The addiction to playing anything that is classified as ―new‖ or
―original‖ music for band, while stating that they feel that they have an obligation to perform anything that
falls into the ―new‖ or ―original‖ music category.
We Americans have always had an addiction to anything ―new‖ and tend to trust the words ―new‖ and
―good‖ (or worthwhile) as being synonymous. We also continue to look to European cultural musical
value as superior to our own. If you don‘t believe this, then reflect on these examples:
1. What kind of music did our 19th century ―New England‖ group of symphonists write?
2. Why was an American composer, the stature of Charles Ives, almost totally ignored until after
his passing?
3. Why are bands still looked down upon by the musical snobs in our country?
4. Why will American critics so often give a bad review of an excellent band performance while
gushing over a mediocre or even poor orchestra concert?
The band conductor specialization syndrome has also changed/affected players. We are seeing fewer
players coming into the university music schools. Those that do come into university music schools aren‘t
as good as they used to be. Band conductors all over the country are experiencing player shortages on
some instruments: oboe, bassoon, horn and tuba—also on clarinet. They are getting MORE players on the
following instruments:
TRUMPETS—but they play ―higher, louder and faster‖—not better;
FLUTES—so many, many of them—but they are less technically capable and too often are poor
readers and have terrible pitch problems;
DRUMMERS—many of them, but they will not play in a concert organization—their only
interest is in the marching band.
Does this recitation on the splintering of the band conductors into narrow specializations and the problems
resulting there from spell doom for the band movement? Not at all! Band conductors must come to the
realization that we have gone through an experimental period over the past 20 years and that the time has
come to adapt the distillation of those things that were musically good for bands and go forward. We must
drop our narrow, parochial views of specialization and return to the concert band and serious music-
making. We must do all we can to improve articulation between the various band associations (ABA,
CBDNA, ASBDA, and NBA) so that we can once again become a greater fraternity of band conductors.
We must reaffirm our faith in BANDS and go ahead as a united group as to band goals and objectives.
With regard for new music worthy of the time in preparation and performance, we must critically evaluate
all that we play and render the best musical performance of which we are capable. And finally we must
present, once again, the united front as band conductors working for the improvement and musical growth
of our medium that we did before the splintering specialization and divisiveness that we experienced from
the 1960s to the present!
1985 ABA Annual Report
―Introduction of New Honorary Life Member, Harry Begian‖
Text by Myron Welch, Read by Mark Kelly - March 10, 2001
ABA member for 36 years and one of the world‘s most renowned band conductors. For over fifty years he
has served bands and music education from high school to the university and professional stages…he has
also conducted operatic and musical comedy performances and a church choir.
Our nominee‘s first order of business as President of ABA in Tempe, April of 1984, was to appoint a
special committee to develop the ABA Permanent Fund—known now as the ABA Foundation, Inc.
It was Johnny Long, chair of that committee (along with Bob Rosevear, Al Wright and others) who
presented the membership with the completed Articles of Incorporation, along with the Certificate of
Incorporation, which he and his committee accomplished without expense to ABA for preparation or legal
fees.
I quote Johnny:
It was my hope in Tempe last year to have this important document completed and filed by our
Kiel, Wisconsin convention. This hope is now a reality and will serve as a historical landmark in
the future of this great organization.
The nominee and his wife marked the occasion by being one of the first to make a substantial contribution
to the Foundation at that business meeting.
Our nominee is one of the most ―high profile‖ ABA conductors, not only for our conventions, but his
legion of former students keep his clinician and guest conducting calendar full throughout the year.
A man of moral stature—an uncompromising and dedicated steward of musical integrity on the podium—
but a gracious and unassuming friend, acknowledged teacher and loyal colleague.
I quote from his President‘s Message at Kiel:
Like most of you, I have loved bands ever since I first heard and played in one. That love for
bands as a serious music-making ensemble has never diminished up to the present. My
commitment to bands as a medium of musical expression also came early and remains undimmed.
A quote from John Locke:
Harry Begian was like a musical father to me during my doctoral work at the University of Illinois
and in the nineteen years since then. As a high school student, I was inspired by his musicianship,
his intensity and his passion for excellence, and my inspiration continues to this day. Harry
Begian has changed my life forever. I will forever be thankful for all that he has meant to me.
And finally—from another former student, Myron Welch:
I so wanted to be there to make this introduction. It is just one way I wanted to say thank you on
behalf of the hundreds of students you have touched so deeply over the years. And, of course, this
is a special thanks from me, as you have been like a second father to me. The experiences of
playing in your bands will never be forgotten, and we will carry on the concepts of sound, blend,
balance and quality literature that you taught us so carefully.
You shared your musicianship, time and love of music with us, a gift we all treasure. Now if we
only had your innate musicianship!
Congratulations to my friend and mentor on this great honor of being nominated as an Honorary
Life Member of The American Bandmasters Association.
Ladies and Gentlemen—May I introduce our newest Honorary Life Member: Dr. Harry Begian.
(Note: Myron Welch‘s words, eloquently spoken by Mark Kelly, resulted in an overwhelming display of
respect and emotion for our dear friend and colleague, Harry Begian. An honor so well deserved!)
2001 ABA Annual Report
JOSEPH LOUIS BELLAMAH (1914 – 2001)
Joseph Louis Bellamah was born in Utica, New York on March 1, 1914 of Lebanese immigrant parents,
and died in San Antonio, Texas on September 13, 2001. His father was a former emir before leaving
Lebanon. Joe received his early education in the Utica school system where he played trumpet in the high
school band. In addition to his high school diploma, he earned the Bachelor of Arts, Master of Arts and
Doctor of Philosophy degrees. Joe began his teaching career in Weslaco, Texas High School, where his
bands consistently received superior ratings. One year, ten of his Weslaco band students occupied first
chairs in the All-State Band. Joe left Weslaco to become the band director at Sul Ross State University,
where his bands received national acclaim. He instituted a summer band camp at the university, where
enrollment grew to 1,600 students. His Sul Ross band was selected by the governor of Texas to perform at
ceremonies dedicating the Big Bend National Park. During his tenure at the university, Joe served as
District Governor of Kappa Kappa Psi, established a chapter at the University of Texas at El Paso, and
another chapter at Texas A & I University.
In 1960 Joe moved to San Antonio, where he became the band director at Jefferson High School. A year
later he accepted an invitation to become the band director at Texas A & I University in Kingsville, where
he remained for 19 years. The Lions Clubs of South Texas chose his A & I Band to represent them at their
International Convention in Los Angeles. They were declared the winning band of the parade, in which 36
professional and college bands competed.
Joe served as president of CBDNA‘s Texas Division and established the first Texas CBDNA International
Band. He was also elected CBDNA chairman of seven states and elected to serve on the National Board.
For 18 years he was symphonic band conductor and clinician for the University of Nevada at their Lake
Tahoe summer camp, where he also conducted classes for band directors.
In 1979 the National Band Association recognized Joe as one of the nation‘s leading jazz educators. From
1972 to 1987 he organized world band tours for the country‘s most outstanding jazz bands. Selected from
13 states, these young musicians made six trips to Europe, which included the Montreaux, Switzerland Jazz
Festival, twelve trips to Hawaii and three trips to China.
Joe played with the orchestras of Red Norvo, Frankie Carle, Meyer Davis, Herb Gordon and the San
Antonio Symphony. He established the A & I University Jazz Festival, which featured nationally famous
dance bands in concert, and Texas high school jazz bands in competition. Joe also served as trumpet
clinician for the Selmer Company and taught trumpet at the Wurlitzer Conservatory in New York City.
He was honored by Texas A & I University when they named a department building the Joseph L.
Bellamah Music Building. Texas A & I University bestowed on him the title of Professor Emeritus when
he retired. The Texas Bandmasters Association recognized him as Bandmaster of the Year. Joe was a
member of ASCAP, an author, arranger and composer. His instruction manuals for trumpet have long been
standards in their field.
Besides belonging to CBDNA, the Texas Bandmasters Association and the Texas Music Educators
Association, he was affiliated with Kappa Kappa Psi, Kappa Delta Pi, Alpha Chi and Phi Beta Mu. Joe was
elected to ABA membership in 1971. While working on his PhD at the University of Michigan, he became
editor of the Meyer Band News of Custom Music Co., with a circulation of 60,000.
We in ABA are indebted to Joe for his untiring efforts, which contributed so much to the success of our
1996 San Antonio Convention.
2002 ABA Annual Report
WARREN T. BELLIS (1923 – 1994)
Warren T. Bellis was born in Joplin, Missouri on April 1, 1923 and died of respiratory complications in
Moscow, Idaho on June 10, 1994. Like most of our members, Warren was introduced to music in the
schools of his hometown. He played clarinet in the Joplin High School band and orchestra.
During World War II Warren served in the Army Air Corps as a radio operator in the European Theater.
During a bombing run over Germany, his aircraft was shot down and he was the only survivor. He eluded
capture for seven days on enemy soil before safely making his way to the French border.
Following his discharge from the service, Warren attended the University of Michigan, graduating in 1949
with the Bachelor of Music degree in Woodwinds. A year later he received the Master of Music degree in
Woodwinds from the same institution.
Warren‘s first teaching position was as Director of the Marching Band and Instructor of Woodwinds at the
Wisconsin State College in Milwaukee from 1950 to 1952. He did double duty at this time, also serving as
Director of the Marquette University Marching Band. From 1952 until 1966 Warren was Director of Bands
at the University of Idaho.
After Warren received his Doctor of Musical Arts degree at the University of Michigan in 1967, he became
the first full-time Director of Bands at the University of Missouri in St. Louis. He held this position until he
retired in 1988. Warren helped to establish the Greater St. Louis Marching Band Festival, serving as its
director for twenty-two years. In 1981 he was president of the St. Louis Suburban Music Educators
Association and was named their Outstanding Music Educator of the Year in 1987.
Warren was active as a clinician, adjudicator and guest conductor and belonged to numerous musical
associations and fraternities, including: CBDNA, MENC, Phi Mu Alpha Sinfonia, Phi Beta Mu and Kappa
Kappa Psi. He was elected to ABA membership in 1962.
Although Warren‘s principal instrument was clarinet, he was proficient on flute, oboe, bassoon, bass
clarinet and saxophone. He frequently helped local conductors by sitting in when there was a need. On
one such occasion, Warren performed with the Normandy High School Symphonic Orchestra when their
bassoonist became ill on concert night.
After Warren received his master‘s degree at the University of Michigan, he asked Bill Revelli, his teacher
and mentor, this question: ―Now that I have all of this education and knowledge, what should I do with it?‖
Wild Bill, as many of his students in those days affectionately called him, said, ―You must do something
that will affect the lives of the most people.‖ Warren‘s wife, Lois, provided this answer: ―I am here to
testify that Warren took these words to heart. He was never one to advertise his own good works.‖
1995 ABA Annual Report
FRANK ANTHONY BENCRISCUTTO (1928 – 1997)
Frank Peter Anthony Bencriscutto was born in Racine, Wisconsin on September 21, 1928 and died of
cancer in St. Paul, Minnesota on August 28, 1997. Frank was the ninth of ten children of Italian immigrant
parents. His musical talents surfaced at the age of six when he and a friend won a singing contest at a local
theater. When he was ten he inherited his older brother‘s C melody saxophone and taught himself to play.
Two years later he played in a small combo on weekends, and at age thirteen he joined the musicians‘
union. He began his long professional career when he became a member of the Les Beck Orchestra.
During World War II Frank, a sophomore at Racine‘s Horlick High School, and one of his classmates
formed their own band. The eighteen-piece group became the most popular dance band in Racine during
the war years.
Following graduation from high school, Frank signed up for music courses at the Racine Extension Branch
of the University of Wisconsin, eventually transferring to the main campus at Madison. He was solo chair
clarinet in both the concert band and the symphony orchestra. He worked his way through school playing
professionally in big dance bands and small combos. In 1951 Frank received his Bachelor of Music degree,
graduating with honors. When his career was interrupted by the Korean conflict, he joined the U. S. Army
as a member of the Fifth Army Band in Fort Sheridan, Illinois. For three years he was the band‘s
saxophone soloist and chief arranger. When his tour of duty ended, Frank attended the Northwestern
University summer session before accepting a position with the Fennimore, Wisconsin school system.
Besides directing the Union Free High School Band, he was responsible for the entire high school choral
program and the elementary and middle school instrumental programs. He taught briefly at the East Junior
High School in Madison.
In 1956 Frank resumed his studies at the University of Wisconsin as the Elsa A. Sawyer Graduate Scholar.
Although his master‘s degree was in composition, he continued to perform on clarinet in the University
Symphony, the Madison Civic Symphony and the University Woodwind Quintet.
In 1958 Frank enrolled at the Eastman School of Music where he studied composition under Howard
Hanson and Bernard Rogers. He played first alto saxophone in the Wind Ensemble under ABA Honorary
Life Member Frederick Fennell. In 1960 Frank was awarded the Doctor of Music Arts degree in
composition and clarinet performance. Dr. Hanson was a major influence in Frank‘s life.
In the fall of 1960 Frank became Director of Bands at the University of Minnesota in Minneapolis, a post
he held for thirty-three years until he retired in 1993. Performances of his bands in the United States,
Canada, Mexico, Europe and Asia brought national and international acclaim. He introduced jazz into the
music curriculum of the university and established a reputation for excellence in his performing groups. He
was among the innovators who led the country in the change from traditional halftime football picture
formations with simple music phrases to elaborate, sophisticated arrangements in ―big band‖ style,
incorporating advanced harmonies and jazz rhythms.
In 1969 Frank and his band embarked on a seven-week tour of the Soviet Union, which ended with a
performance in the Rose Garden of the White House. Following the well-received performances in the
Soviet Union, Dimitri Shostakovich invited Frank to be his country‘s honored guest during the
International Tchaikovsky Competition in Moscow.
In 1980 the University Wind Ensemble became the first American concert band to tour the People‘s
Republic of China, where they were received enthusiastically.
Besides his career as an educator, Frank was active as a performer, conductor, arranger and composer. In
1970 the Minneapolis Symphony commissioned a work for alto saxophone and trumpet, which was later
revised for band and then published. In 1977 Frank won the International Neil Kjos Memorial Award for
the most significant contribution to band literature with his composition for choir and band entitled ―Sing a
New Song.‖ Other commissions included music for films and a new trumpet concerto for Doc Severinsen.
He wrote hundreds of compositions, arrangements and transcriptions with over fifty original published
works. He made significant contributions to music education through his method books for junior and
senior high school bands. Numerous articles appeared in music and band periodicals and he was a reviewer
of new music for The Instrumentalist magazine.
From 1991 through 1996 Frank spent six semesters in Tokyo, Japan as visiting professor, conducting the
wind ensemble of the Musashino Academia Musicae. In 1995 this ensemble performed at the Mid-West
Band and Orchestra Clinic. Two years later the Clinic awarded their prestigious Medal of Honor to Frank
posthumously.
Frank was elected to membership in ABA in 1966 and was a member of the Board of Directors in 1988 and
1989. He will be remembered as one of our most loyal and dedicated members.
1998 ABA Annual Report
DAVID BENNETT (1892 – 1990)
David Bennett, known to his close friends as ―Duke,‖ was born in Ida Grove, Iowa on September 3, 1892,
and died in St. Charles, Illinois on August 13, 1990, three weeks short of his 98 th birthday. His musical
talents surfaced early in life. At the age of 16, while still a student, he directed the Ida Grove High School
Band, and even had his own dance orchestra. Following graduation from high school at the age of 18, he
began his professional career as the orchestra pianist at the Sioux City vaudeville house and motion picture
theatre.
In 1919 Dave took his talent to Chicago, where he performed in nightclubs, on radio programs, and at
special gatherings. By that time he had mastered playing the flute, clarinet, saxophone and trumpet.
In 1925 Dave wrote a song for a dance troupe performing in Chicago. The song, ―Bye Bye Blues,‖ became
one of his greatest claims to fame. Irving Berlin published it, and almost every big name dance band of the
era recorded its own arrangement. Many vocalists—including Judy Garland, Bing Crosby, Perry Como
and Frank Sinatra—recorded their own versions of the song, also. ―Bye Bye Blues‖ is considered to be the
finest tap dancing song ever written.
Following his success with popular songs, Dave turned to composing and arranging in a more serious vein.
Subsequently he composed more then 200 original works and made countless arrangements of the standard
repertoire. His music played a vital role in the school band movement in this country. In his later years he
gave his entire music collection to Northwestern University School of Music.
Dave‘s wife, Denise, died in 1980, thus ending a 63-year marriage partnership. She was his official copyist
having prepared all of his manuscript scores and separate instrumental parts before they were sent to the
publisher. For the last three years Dave lived in the Baker Hotel in St. Charles, Illinois. In his room was
his favorite Steinway grand piano, on which he played every day, as he had done almost every day of his
life. Three times a week he performed for luncheons at the hotel, and several times a week he entertained
at local schools and at social events. His repertoire was extensive. He could play hundreds of songs from
memory, and was often call a ―honky-tonk‖ pianist, in the most complimentary sense of the word.
Dave was elected to the American Bandmasters Association in 1954. He was proud of his association with
the ABA, just as the ABA was proud of him. We will long remember his impromptu musicales, notably
his Knoxville and Oklahoma City performances.
Dave‘s daughter, Lucille, wants us to know that her father was a cheerful, energetic and happy man who
played his piano until shortly before he passed away. Perhaps Dave has given us the secret to longevity.
1991 ABA Annual Report
Note: The 1981 Annual Report noted the death of Denise Bennett, wife of David, on April 15, 1980.
WARREN BENSON (1924 – 2005)
Warren Benson, composer, conductor, educator, performer and author, passed away on October 6, 2005.
Born in Detroit, Michigan on January 26, 1924, he studied percussion and French horn at Cass Tech High
School, and he completed bachelors and masters degrees in music theory at the University of Michigan in
1951. He began performing professionally at the age of fourteen in theater orchestras and big bands, was
the timpanist of the Detroit Symphony in 1946, and was offered the Philadelphia orchestra timpanist‘s
position by Eugene Ormandy in 1948.
Don Sinta described Warren‘s teaching as ―a different style of teaching, characterized by an inquiry into the
student‘s mind and an openness about providing challenge to that student.‖ As a young educator, Warren
held positions at the Brevard Music Center in North Carolina, Anatolia College in Salonica, Greece (funded
by two successive Fulbright Fellowships), and Mars Hills College in North Carolina. He then taught
percussion, composition and theory at Ithaca College from 1953 to 1967, and composition at the Eastman
School of Music from 1967 to 1994. He also served as Distinguished Meadows Visiting Professor at
Southern Methodist University from 1986 to 1988. During the 1960s he designed and implemented two
pilot programs for the Contemporary Music Project. His first book, ―Creative Projects in Musicianship,‖
was an outgrowth of these projects. Other publications include his second book, ―…And My Daddy Will
Play the Drums: Limericks for Friends of Drummers,‖ completed in 1999.
Primarily self-taught in composition, Benson composed nearly 150 works for wind ensembles, orchestras,
choirs and chamber ensembles. His compositional output ranges in difficulty from simple songs written for
young children to music for professionals. Benson also wrote poetry, humorous prose and scholarly works.
In addition to being a composer, he has also been a notable teacher of percussion, composition, music
theory and music history. As a conductor, clinician and lecturer he has influenced improvement in the
quality of repertoire played by bands, raised performance standards and influenced educational philosophy
regarding creativity. Benson‘s compositional style is ―inclusive,‖ incorporating tonality, free atonality,
serialism, canons, ostinati, layering and other compositional techniques into a unique language embodying
lyricism. Benson found great inspiration in jazz and poetry and was highly influenced by nature,
languages, literature and travel. His orchestration has been pioneering, reflecting his interest in the
transformation of tonal colors through timbral modulation and other techniques. He has also championed
the use of soprano saxophone, English horn, bass saxophone, contrabass clarinets, percussion and piano in
his band music. Benson is best known for his wind ensemble compositions. The significance of this music
rests in its musical integrity, achieved through a balance of compositional craft, musical intuition and
imaginative orchestration.
Frank Battisti, in describing Warren‘s significance, once said: ―He has made a great contribution because
he has been a compass. He constantly reminds us of what ‗true north‘ is, and his participation in
organizations, his involvement, has always been one in which he questions. I think that he‘s basically
made the profession more aware of their responsibilities to music, to art and to creativity.‖ This was quite
evident through his participation in WASBE. Involved with WASBE since its inception, he served in a
variety of ways, including a term on the Board of Directors from 1987 to 1993. During this period, he
wrote the WASBE Statement of Understanding and made a memorable address at the 1987 WASBE
Conference on the ―Aesthetic Criteria for selecting an International Repertoire.‖
Warren Benson had worldwide influence on bands, band music, chamber music, composition and music
education. Warren once said, ―I write music for people: family, friends, professionals, and amateurs alike.
It is to give us pleasure that we collaborate, but not without serious commitment, exposure and risk, not
without striving for genuine expression, new challenge, and fresh solutions worthy of the art.‖
He received numerous awards and recognition through the years, including: four Fulbright Fellowships,
three Consortium Composer Fellowships (NEA), the John Simon Guggenheim Fellowship, the National
Endowment for the Arts, the New York State Council on the Arts, three MacDowell Colony Fellowships,
the Lillian Fairchild Prize, the Citation of Excellence from the National Band Association, the ―Diploma de
Honor‖ from Argentina‘s Ministry of Culture, and annually since 1960 the ―Serious Music Award from
ASCAP. He was elected to the NBA Academy of Wind and Percussion Arts, the Percussive Arts Society
Hall of Fame and nominated for a Pulitzer Prize in 1998 for ―Drums of Summer.‖ He was elected to
membership in the American Bandmasters Association in 1992. Benson is a founding member of both the
Percussive Arts Society and the World Association for Symphonic Bands and Ensembles (WASBE).
These many awards are secondary, however, when compared to the numerous people whose lives have
been changed by his innovative and visionary teaching and mentoring.
As composer, conductor, performer, writer and humorist, Warren Benson was perhaps best known for his
dynamic music for wind ensemble and percussion, and for his moving song cycles. His music has been
played and recorded worldwide by the Kronos Quartet, New York Choral Society, International Horn
Society and United States Marine Band, among many others. Benson‘s teaching career spanned over 50
years and culminated at the Eastman School of Music of the University of Rochester where he received the
―Citation to Faculty,‖ was recognized with the ―Kilbourn Professorship for Distinguished Teaching,‖ his
appointment as a ―University Mentor,‖ and his retirement as Professor Emeritus.
He is survived by his wife Patricia, a son and three daughters, and ten grandchildren. A Warren Benson
Archive has been established at Eastman‘s Sibley Music Library and a ―Warren and Pat Benson Forum on
Creativity‖ has been endowed. His archive is located at the Eastman School of Music, and his bio-
bibliography by Alan D. Wagner is published by Edwin Mellen Press.
2006 ABA Annual Report
Memorial Tribute Given by Col. John R. Bourgeois
I first met Warren in the late ‘70s when we both served on the board of the newly formed WASBE
organization, and from that moment on we became the closest of friends. I grew to know a man of
incredible warmth, humor, musicality and humanity. When the Marine Band traveled to Norway for the
Hamar Festival in June and July of 1989, Pat and Warren met us there and became Marine Band groupies
and traveled to every concert venue throughout the Norwegian tour. Then at WASBE in Spain, I remember
Warren, who despite his physical handicap, trekking throughout the mountains of the mystical Sardana in
the plaza of the cathedral at Barcelona following Sunday mass.
When the Marine Band performed at the Midwest Clinic in December 1988, Warren‘s music was featured
at the second concert at the MidNight Special. He conducted the Marine Band in a performance of his
―Symphony of Lost Songs‖ and ―Wings.‖
The groundbreaking for the Washington National Cathedral was held on September 29, 1907, with the
Marine Band performing under the direction of William H. Santelmann (Col. Bill‘s father). In the summer
of 1990 I was contacted by the officials of the Cathedral who requested that the Marine Band perform for
the completion of the Cathedral. I called Warren and asked if it might be possible for him to write
appropriate music for the ceremony, which was scheduled for that September. Without hesitation, Warren
said yes, and he chose to write a meditation based on a text written by Peter Folger, Ben Franklin‘s
grandfather. The poem, composed on April 23, 1676 was published in 1763 in a pamphlet entitled ―A
Looking Glass for Our Times.‖
So on September 29, with President George Walker Bush officiating, the final stone was set in place as
Warren‘s meditation, ―I am for Peace,‖ was given its premiere performance. Little did I know at that time
that my mother in New Orleans was watching the ceremony on television while she rested in her easy chair.
I later learned that as the music concluded she closed her eyes and drifted off into her final sleep of peace.
Three years later, on 13 September 1993, the Marine Band performed during the official signing of the
Oslo accords. As President William Clinton, Israeli Prime Minister Yitzhak Rabin, and PLO leader Yasser
Arafat shook hands, Warren‘s ―I am for Peace‖ played in the background.
I was proud to be Warren‘s sponsor for membership in ABA, and when he was presented to the
membership in 1993 we all observed a bit of the famous Benson humor. He reminisced about his good
friend Walter Beeler, with whom he worked at Ithaca for 15 years. ―Walter,‖ he said, ―was the most
consistent man I have ever known in my life. Mad as hell all the time!‖
Besides music and language, Warren and I shared another common vice—the limerick. While my attempts
were merely bad recitations by anonymous authors, his were his own original and brilliant gems. In 1998
he authored a book of musical limericks entitled ―And My Daddy Will Play the Drums.‖ The book, with
Warren‘s original art work, contains musings dedicated to his many friends and colleagues. My copy was
inscribed: ―to Dear John—such a friend everyone deserves,‖ and it included the following limerick:
One left if by hand, two rights if by sea,
Are for hopeful Marine Band drummers to be.
The audition test lick
Plus one you may pick;
―Marine Bayou Triplets‖ they‘ll call them, you‘ll see*
(*if they study my ―New Orleans Bayou Rudimental Technique and Crayfish Recipe Manual,‖
that is)
This wisp of a man was truly a musical giant and his creations for winds and percussion form a
legacy that will endure beyond our time. For as the leaves are falling, we hear a passing bell that
in its tolling resounds into a symphony of lost songs and as the diminuendo fades into the ether we
are left with the image of a solitary dancer who, in repose, says I am for peace.
Text provided by Col. John Bourgeois
JAMES E. BERDAHL (1914 – 1996)
James E. Berdahl was born in Sioux Falls, South Dakota on July 24, 1914 and died of cancer on March 13,
1996 in San Leandro, California. Early in life he showed an interest in music and was active in a number
of musical organizations in junior and senior high school.
In 1939 Jim graduated from the University of California at Berkeley with high honors. He was student
director of the California band in 1938. He earned his Master of Music degree at the University of
Virginia. In 1950 Jim returned to Berkeley to pursue a doctoral degree and became Director of Bands.
That same year he was elected to membership in ABA. Subsequently he served on the Board of Directors
in 1954, 1960, 1961 and 1969 and was elected president of ABA in 1968. He received an honorary degree
in music in 1972 from Augustana College in his native South Dakota.
In addition to numerous concert tours in the United States, his bands performed internationally at the
Brussels World‘s Fair in Belgium in 1958 and in Japan in 1970. Following the Japanese tour, Jim was
invited by the Japanese Band Directors Association to come back to share his musical knowledge with
them. In 1971 he took sabbatical leave and spent the year teaching and conducting. He was one of the
American pioneers and shared in the development of Japanese bands. He lived to see his efforts culminate
in a musical empire, which has become the admiration of the entire world.
Like so many of our ABA members, Jim was in demand as a clinician, adjudicator and conductor. He was
a member of the College Band Directors National Association and MENC. He was a Phi Mu Alpha
Sinfonian and an honorary member of Kappa Kappa Psi.
Jim loved the University of California and he loved the Cal Band and its traditions. His students were very
devoted to him. A week before Jim died members of the Alumni Band came to his home and serenaded
him. This unselfish gesture of love meant very much to Jim.
Albert Locher was the California Band announcer for 22 years. Over those years he got to know and
admire Jim. At the University‘s memorial service, Albert made the following remarks:
Somewhere he still has a band out of a rehearsal field, putting it through its paces, scolding them
for their articulation, teaching them the proper phrasing, making them do it again, until they get it
right. When the final notes echo to the heights, he is turning to the audience, bowing, flashing that
broad genuine smile we all remember so well. We will all miss him, but his music goes on.
We, too, in ABA will miss him.
1997 ABA Annual Report
Note: The 2000 Annual Report noted the death of Ida Berdahl, wife of James, on August 10, 1999.
President James Berdahl‘s Address - 1969
In welcoming you to the opening session of the 35tth Annual Convention of the unique organization that is
the American Bandmasters Association, I should like to make a few observations that I hope will generate
some thought about our special place in the world of bands, and in the larger world of music in general.
We have a great heritage. Founded by the initiative of Edwin Franko Goldman in 1929, with the first
convention hosted by our late Honorary Life President Frank Simon, and the Armco Band at Middletown,
Ohio in 1930, we have met together in convention every year of our 40 years of existence, except for five
years of World War II. We owe much to the foresight and vision of those founding members. Let me
quote from the objectives as stated at that original organization meeting in 1929:
To secure the adoption of a universal band instrumentation so that band publications of all
countries will be interchangeable; to induce prominent composers of all countries to write for the
band; to establish for the concert band a higher standard of excellence than has generally been
maintained; and to do all possible to raise the standards of bands and band music.
It would be foolish to say that those original objectives have all been accomplished. But I think it would be
fair to say that a good deal of progress has been made, and that the American Bandmasters Association and
its members have wielded much influence in that progress.
Where do we stand? Let me attempt an assessment. We have a pretty well-established instrumentation as
far as the United States and Canada is concerned. It is relatively easy to adapt music of England and the
British Commonwealth to our bands. The Orient, especially Japan, seems to be following our band
instrumentation, and, although the instrumentation of the bands of Continental Europe still adhere to their
own individual national historical development, judicious editing and adaptation can make their music
playable by our bands. The chief difficulty does not seem to be instrumentation, but lack of knowledge of,
and easy accessibility to, the music of other countries. Some of our members have made valiant individual
efforts to gain this knowledge and share it. I hope to see this continued on a more organized basis.
Great strides have been made in inducing first rank composers to write for the band. England was ahead of
us in this, but I think we are fast catching up. Maybe it is this lack of knowledge and accessibility I have
referred to, but I am not aware of more than a few isolated works for band by major European composers.
We can still go a long way in education and inducing our composers to write significant works for the wind
band. Are there some implications here for us? I think so.
Surely we can lay claim to a steady progress in higher standards of artistic excellence. We will hear
evidence of this in the high school, university, municipal and military band concerts at this convention. But
in our own American way these organizations are all indirectly subsidized to a greater or lesser extent by
their supporting institutions.
That leads me to a field which I think is a unique responsibility of the American Bandmasters
Association—professional band concerts in more of our cities, as is done now in a few, on a regular basis.
I believe the time is ripe for the invasion of the professional concert hall on its own terms. All the
ingredients are there, including a larger pool of qualified performers and larger and more affluent audiences
with more and more time for consuming cultural recreation. This will require the enlistment of many
forces—the musicians union, the impresarios and concert managers, the community and civic concert
associations, and yes, even the music critics! It will also require imaginative programming to appeal to that
vast potential audience, including the new works of merit that we as conductors can do with integrity (I
include ―3rd stream‖ and electronic music in this), as well as the proven classics of band literature, both
original for wind band and those transcriptions, new and old, that enhance the merit of the original version.
In conclusion let me say that the greatest classics the band has, that cannot be duplicated by any other
musical organization when played really well and with style, are MARCHES in all their diverse forms.
Appropriately enough, one of the forms of the March is A B A.
1969 ABA Annual Report
CHARLES SIDNEY BERG (1918 – 2000)
C. Sidney Berg was born in Rochester, Wisconsin on July 25, 1918 and died in Virginia Beach, Virginia on
April 20, 2000. He had broken his leg and returned home from the hospital for rehabilitation, but suffered
a relapse and died. Sid was a member of a musical family who moved from Wisconsin to Gary, Indiana
when he was about to enter the public school. Music became a part of his life in the seventh grade in
Gary—the band was without a drummer. Sid picked up the drumsticks and thus began his career as a
percussionist. He was a member of the Horace Mann high school and performed with numerous bands in
the city and with the Steel Band in Illinois. Following graduation, Sid became the timpanist with Father
Loch‘s Slovak Band, a well-known and popular local group. He performed with them on a European
concert tour. Returning from abroad, Sid enrolled in the University of Michigan, where he played in the
band under ABA Past President Bill Revelli. He earned both the BMus and MMus degrees in music
education at Michigan.
His teaching career began in the Fowlerville, Michigan high school, where he was the band director for
three years. In 1944 Sid heard that the Norfolk, Virginia school system was looking for a band director—
specifically, one who was a University of Michigan graduate. Although Sid didn‘t think he would be
interested in the position, he nevertheless bought a $35 train ticket and traveled to Norfolk to check it out.
He thought it would be worth a trip just to see that part of the country. In fact, Sid liked the possibilities
there so much that he accepted the position at Maury High School. His first band didn‘t have a band room
or very many instruments. However, what impressed him most was the administration‘s enthusiasm and
eagerness to support the band program. Sid encountered and overcame many obstacles. His early morning
band practices for halftime shows were frustrating because the yard lines on the field were smudged or
obliterated. He solved that problem by devising portable sidelines, a system subsequently adopted by many
other bands throughout the United States. Throughout his nineteen years at Maury High School his bands
and orchestras earned national recognition.
In 1963 Sid became director of music education for the Norfolk Public School System. During the
following 23 years, he established a string and harp program and initiated a series of All-City annual
concerts. He also organized and conducted an All-City Wind Ensemble.
For 42 years Sid was the principal timpanist of the Norfolk Symphony, a forerunner of the Virginia
Symphony. In 1972 he became the founder and principal conductor of the Tidewater Youth Orchestra and
in 1985 he founded and conducted the Tidewater Winds professional concert band. Working through the
school system, Sid was able to apply for grants for the Tidewater Winds as a non-profit organization and
raise tax-deductible donations from foundations, corporations and individuals. The Tidewater Winds
offered a summer serving to music lovers in the area. It has been a financial godsend for musicians in more
than a dozen musical organizations. Each season Sid offered a surprise—one year he presented George
Gershwin‘s ―Rhapsody in Blue‖ arranged for a concert brass orchestra. A reporter asked Sid what
Gershwin would have thought of the ―Rhapsody in Brass.‖ Sid replied, ―He would have hated it in the
score, but he would have enjoyed it as we are going to play it.‖ Sid gave his entire library to the Tidewater
Winds, making it possible to carry on the great tradition that he established.
Sid served as president of the Virginia Band and Orchestra Association and the Virginia Music Educators
Association. In 1975 the American School Band Directors Association awarded him the coveted Edwin
Franko Goldman Award for distinguished service in the school band field. Posthumously, he was awarded
an honorary Doctor of Music from Shenandoah University. Sid was recognized as one of the foremost
music educators in the state of Virginia. The Sidney Berg Memorial Scholarship fund was established in
his honor by Maury High School. He was elected to ABA membership in 1996.
Sid‘s wife, Betty, said that he was always a very busy man. Twenty-four hours of the day were not enough
to do all the things he wanted to accomplish. His mind was always active. He enjoyed the support of the
public and was greatly honored to see the concert halls filled to capacity at his performances. It was a great
joy for Sid to touch people with music. His presence among us was also a joy. It has ended much too
soon.
2001 ABA Annual Report
PAUL BIERLEY
―Preserving One‘s Historical Material‖ - 1984
It has been my privilege to know a sufficient number of you well enough and for long enough to recognize
that, for the most part, you are modest. I like this, because it makes me feel at ease around you. I earn my
living as an aeronautical engineer, so the time I spend in the music field must be used very efficiently.
Thus, your being modest and approachable enables me to go right to the point when I talk to you.
Actually, I spend more time in music than engineering, when you consider that every vacation, weekend
and free evening is spent in the performance of music or in doing research. My chief engineer doesn‘t like
this, but I just say, ―That‘s tough.‖
This modesty of yours sometimes gets in the way of history!
I know that most of you don‘t think anyone will ever be writing a full length book about you, but let me
assure you that your life history is important!
Why? Well, for one reason, suppose a biographer is writing about some famous person and you have been
associated with that person. Your life history, which tells of that association, is extremely important.
Let‘s use an example.
Do you think that anyone will ever be writing a full-length biography about the late John J. Heney? He was
an ABA man. How about the late Otto Kraushaar, another ABA man? Perhaps not. But these men kept all
their letters from Henry Fillmore. Before John and Otto passed away, they gave me access to those letters.
Each set of letters covered a different period, and they proved to be extremely vital links in my research on
Fillmore. Al Wright‘s letters covered still another period of Fillmore‘s life, and they, too, were a big help.
And what about the late Fred McCall, still another ABA man—and Henry Fillmore‘s closest friend in his
last years? Perhaps we‘ll never read a book about Fred, but I can‘t even begin to tell you how important his
mementos were—the ones his widow Betty passed on to me.
I‘m sure you can see what I‘m driving at. Even if you don‘t think you will ever be the subject of a full-
blown, definitive biography, your life story will some day be important to some biographer who will be
writing about one of your colleagues, and your association with that colleague will be of great significance.
Here‘s another angle. Maybe some day one of your descendants will be doing a genealogy and will ask,
―Wasn‘t Great-Gramps or Great-Uncle George some kind of high-powered bandmaster? How can I learn
more about him?‖
Okay, now let‘s do a switch.
Suppose you are a biographer, writing the life story of some famous musician. What kind of information
do you look for?
I‘ll tell you some of the things I look for….
1. What about your music manuscripts? Your compositions, arrangements, transcriptions. Are
they dated? Did you note the location?
When I first started research on John Philip Sousa, I had the good fortune of gaining the
confidence of his daughter Helen. She permitted me to study her father‘s manuscripts, which
had been locked in the family vault at the old estate on Long Island and not seen by anyone
outside the family since his death in 1932. Well, if you turn the last page of a Sousa
manuscript sideways, you‘ll find a notation something like this in the margin:
―John Philip Sousa April 26th, 1897 Boston, Mass.‖
There is was…name…date…location.
Okay, so I knew where Sousa was on that particular date. I entered this in my big fat day-by-
day log of his life. This, coupled with information from a variety of other sources, enabled
me to tell you what he was doing at nearly any time of his life. I can‘t tell you what time he
went to the bathroom on any given day, but I can come close! So…do you have dates and
locations on your manuscripts?
2. Do you keep all he letters you receive? What about carbon copies of the ones you send? I‘ve
already mentioned the importance of preserving letters.
3. What about clippings? Believe me, there‘s nothing like a clippings scrapbook, especially if
it‘s kept in some kind of chronological order. Example: Sousa kept a chronicle of his band‘s
activities in clippings scrapbooks. There are 85 of these huge volumes! They were like gold
to me. They were like gold to Herb Johnston, too. And they‘ll be even more valuable in the
future.
4. Do you keep photos? Are the photos labeled and dated? When I study a photo, I put myself
in the picture and look out. I ask such questions as these:
a. Who are these people?
b. What are they doing?
c. When was this?
d. What was the occasion?
e. What is the significance of the surroundings? And so forth.
Photos are vital, and it is essential that they be properly labeled. Many valuable historical photos
have been discarded because someone didn‘t know what they were. If photos are properly
labeled, they stand a much better chance of survival and of being re-discovered some day by the
right person.
5. Do you have tapes or records of all of your performances? Important rehearsals? Are they
properly annotated? Are there copies of the programs in the boxes or sleeves?
6. What about voice recordings? Your narration? Interviews? Your participation in symposia?
These are of considerable importance, especially to someone doing an oral history.
7. If you were in the military, are your complete military records intact?
8. What about documents of your involvement with professional organizations? If you‘ve kept
just the pages, are those pages dated?
9. What about your affiliations with fraternal organizations? Are these documented?
10. Have you kept all your old pocket calendars? The activities calendars from your desk?
11. Maybe you think keeping your old tax records or business records is silly, but let me assure
you that 100 years from now someone will find these extremely important! Even if you were
a complete nobody!
12. Have you compiled a list of your copyrights? The importance of these is self evident.
13. What about the articles or books you have written? If I want to know what was really in the
heart of someone, I can come close to this by studying the things my subject felt strongly
enough to put into writing.
14. Has any kind of history of your family been written? If so, is it preserved and accessible to
others?
I could go on and on, but let me sum this up with these thoughts:
One cannot write intelligently about a musician‘s music without knowing that musician
intimately—well enough to know how he would react in any given situation. One cannot write
intelligently about a musician‘s life without knowing his music thoroughly.
In closing, let me see a show of hands: How many of you have made provisions in your will, or other
provisions, for the disposition of your memorabilia?
If I have convinced any of you who did not raise your hands to make such provisions, I rest my case.
And I do hope you will give prime consideration to your own repository, the ABA Research Center at the
University of Maryland.
Thank you.
Paul E. Bierley, Research on John Philip Sousa and other music subjects
1983 ABA Annual Report
ROBERT L. BIERLEY (1910 – 1981)
Lt. Col. Robert L. Bierley passed away on February 24, 1981 at Walter Reed Army Medical Center. Col.
Bierley was 71 years old.
He was born in Renovo, Pennsylvania and grew up in Clearfield. He was graduated from Ithaca College in
New York with a degree in instrumental music. He had majored in piano, organ and trombone.
Col. Bierley taught music in the public schools of Brockway and Clarion, Pennsylvania. Following this, he
became director of vocal music in a Lynchburg, Virginia high school, when he also joined the 246 th Coast
Artillery Band of the Virginia National Guard. This band was one of the National Guard units to be called
to active duty in 1940. Two years later Robert Bierley graduated from the Army Music School in
Washington, D.C. Later he reorganized and commanded the 88 th Infantry Division Band and served with it
in North Africa and Italy in World War II. He joined the Army Field Artillery Band at Fort Meade after the
war. Col. Bierley then served as assistant director and finally as Director of the U.S. Army Field Band for
20 years before his retirement in 1966.
Col. Bierley was elected to membership in The American Bandmasters Association in 1951.
After his retirement from the military service in 1966 Col. Bierley served for eight years as Director of
Music at the Virginia Military Institute in Lexington.
The American Bandmasters Association shares in the loss of Col. Robert Bierley and the close of his
extensive career of service to the military music of our country.
1981 ABA Annual Convention Report
KENNETH G. BLOOMQUIST
President‘s Address - 1996
A colleague once said, the temptation to reminisce on occasions such as this is as irresistible as sneezing. I
certainly do this with apologizes to my distinguished colleagues in this room, many of whom have been
doing it for ages, and ages, and ages, and ages. I gave a lot of thought to what form my reminiscences
should take? A poem? Looking for a rhyme takes too much time. Something like a greeting card?
Greeting cards for all occasions are now a Hallmark of our times. They have become so humorous, that
nowadays, if you don‘t get sick or run over or pregnant, you end up missing half the laughs in life. No, I
decided to compose a bit of free verse. Free verse is best described as like playing tennis with the net
down.
I begin my verse by reminiscing about becoming President of the ABA, the highest honor in my life.
I hadn‘t been President very long before I learned that confidence is what you feel before you understand
the problems.
My older and long time ABA friends were telling me about the past.
My younger and newer ABA friends were telling me about the future.
I quickly surmised only the present was confusing.
I also discovered that, in ABA, just like the world, history keeps repeating itself.
The worst thing about that, which I discovered in working on this convention, is that every time history
repeats itself, the price goes up.
When I reminisce about being Director of the MSU School of Music, many horrors come to mind.
I learned to live with open-minded certainty and to make friends with ambiguity.
I also discovered that the faculty earned their salaries and the students earned their degrees in the same
way—fighting their laziness and ignorance every step of the way.
I learned to keep my eyes open and to understand the immortal words of Yogi Berra, ―You can observe a
lot by watching.‖
I learned a few other things that I‘ve never forgotten.
Wise watching begins, sometimes, by standing still.
Nothing is often a good thing to do.
In committee and faculty meetings, after all is said and done—more is usually said.
Or should it be said that, after all is said and done—more is usually said than done.
I also learned that when someone says, ―Take it or leave it.‖ Leave it!
Contrary to my band directing profession, I learned not to be on time all the time.
People will think you have nothing better to do.
I also learned not to take tranquilizers because I was being nice to people I didn‘t even like.
When I reminisce about my band directing days, so much more comes to mind. My days as a student at the
University of Illinois, learning from Harding, Hindsley and Kissinger, as an Assistant learning from Russell
Wiley. And then coming to MSU and following in the big steps of Leonard Falcone and Harry Begian.
I remember that to err is human, but not if you‘re playing solo cornet in Mark Hindsley‘s band.
I discovered that, on occasion, the percussion section really is building a dog house back there.
I remember not laughing when my director told me to go home and finger my parts.
I discovered that the baton really is a magic wand.
I recall that good contemporary music is not playing the national anthem in Ab and Bb at the same time.
Also, you don‘t get to a guest conducting gig in Roanoke, Virginia with an airline ticket to Roanoke, NC.
I guess that‘s enough of that free verse stuff. I just finished reading Colin Powell‘s book, ―My American
Journey.‖ I was very taken with the entire book and I‘d like to read all six hundred and twelve pages to
you. Seriously, I couldn‘t help but think of the ABA when I read a brief passage at the end of the book on
the next to last page. Powell was quoting a soldier who answered the question, ―How do you think the
battle will go? Are you afraid?‖ He answered, ―We‘ll do okay. We‘re well trained. And I‘m not afraid
because I‘m with my family.‖ He went on to say, ―This is my family and we‘ll take care of each other.‖
Colin Powell went on to say:
That story never fails to touch me. It is a metaphor for what we have to do as a nation. We have to
start thinking of America as a family. We have to stop screeching at each other, stop hurting each
other, and instead start caring for, sacrificing for, and sharing with each other. We have to stop
constantly criticizing, which is the way of the malcontent, and instead get back to the can-do
attitude that made America. We have to keep trying, and risk failing, in order to solve this
country‘s problems. We cannot move forward if cynics and critics swoop down and pick apart
anything that goes wrong to a point where we lose sight of what is right, decent, and uniquely
good about America.
It would be foolish to not admit that the ABA has its critics, both in and out of the Association. It should
also be remembered that it is friction that polishes a stone. I choose to believe that what I just quoted to
you from Colin Powell‘s book exists in the ABA. We are a family with incredible combined strength. We
care for each other and take care of each other. I certainly felt that from so many of you during the past
year as President.
A few months ago Annie and I were in Korea where we were offering some seminars to music teachers.
On the wall of the lounge where we were working was a list of 5 Facts followed by 5 Lessons focusing on
the way in which geese function while migrating. Frankly, I have no idea if they are factual. Since I‘m not
a hunter, I cannot offer personal verification. The closest thing we have in our house to a weapon is an
electric knife. Here‘s all you ever wanted to know about geese.
FACT 1 - As each goose flaps its wings it creates an ―uplift‖ for the birds that follow. By flying in a ―V‖
formation the whole flock adds 71% greater flying range than if each bird flew alone.
LESSON – People who share a common direction and sense of community can get where they are going
quicker and easier because they are traveling on the thrust of one another.
FACT 2 – When a goose falls out of formation, it suddenly feels the drag and resistance of flying alone. It
quickly moves back into formation to take advantage of the lifting power of the bird immediately in front
of it.
LESSON – If we have as much sense as a goose we stay in formation with those headed where we want to
go. We are willing to accept their help and give our help to others.
FACT 3 – When the head goose tires, it rotates back into the formation and another goose flies to the point
position.
LESSON – It pays to take turns doing the hard tasks and sharing leadership. As with geese, people are
interdependent on each other‘s skills, capabilities, and unique arrangements of gifts, talents or resources.
FACT 4 – The geese flying in formation honk to encourage those up front to keep up the speed.
LESSON – We need to make sure our honking is encouraging. In groups where there is encouragement,
the production is much greater. The power of encouragement (to stand by one‘s heart on core values and
encourage the heart and core of others) is the quality of honking we seek.
FACT 5 – When a goose gets sick, wounded, or shot down, two geese drop out of formation and follow it
down to help and protect it. They stay with it until it dies or is able to fly again. Then they launch out with
another formation or catch up with the flock.
LESSON – If we have as much sense as geese, we will stand by each other in difficult times as well as
when we are strong.
This says to me what the ABA has come to mean. A family of members, spouses and associates who are
here to take care of each other. I think it would be a good idea for all ABAers to carry a duck call in our
pockets. When we see another ABAer any place in the world, just pull out your honker and sound off. The
next time you see a flock of geese flying, think of the V formation they are flying in really as a big A which
means the American Bandmasters Association.
Thank you for all your wonderful support this past year. I am eternally in your debt. Thank you.
1996 ABA Convention Annual Report
REMEMBERING ALBERT AUSTIN HARDING
Kenneth G. Bloomquist
ABA Convention 2009
It is an honor to be asked to talk about Albert Austin Harding at this ABA Convention. It‘s always
dangerous to ask me to remember my past, because I can ramble!! Consequently, I have written out my
remarks....so you all can relax.
My experiences with Dr. Albert Austin Harding began in the fall of 1949 when I was a freshman at the
University of Illinois. My inspiration for attending the U of I came from my Boone, Iowa high school band
director, whom a few of you know. Dr. John E. Greene, a graduate of the U of I, is a terrific musician and
conductor, and rather subtly recruited me to the U of I by inviting me to help him drive there to turn in his
masters thesis. He had me bring my cornet and play for Mr. Hindsley and the cornet/trumpet teacher,
Haskell Sexton. I virtually never left.
I was very fortunate to get a job as one of two band librarians...a position I held throughout my years in
school. As a result of this I got to know Dr. Harding. In the fall of 1949, Dr. Harding was retiring as the
Director of Bands and ABA‘s own Mark H. Hindsley was officially taking over as Director of Bands. Dr.
Harding was still very much involved and around the band building.
World War II had been over for four years but we still had a lot of World War II veterans playing in the
university bands. At that time the U of I had one Concert Band, a First Regimental Band and two Second
Regimental bands and, of course, the 175 member Marching Illini. The band staff, the year before I got to
the U of I, included Dr. Harding with assistant directors Mark H. Hindsley, Clarence Sawhill, Everett
Kisinger, and Lyman Starr. In the fall of 1949 Clarence Sawhill went to the University of Southern
California as Director of Bands and, of course, Dr. Harding had retired. Dr. Harding had a Who‘s Who of
assistants which included the likes of Raymond Dvorak, the University of Wisconsin Director of Bands,
and Glenn Cliffe ―Rusty‖ Bainum, Director of Bands at Northwestern University.
With the World War II veterans still going to school on the G.I. Bill and so many great players still in
school, I felt very lucky to get into THE Concert Band. I was playing first chair 3rd Cornet, which actually
turned out to be a rather ―hot seat.‖ The Concert Band rehearsed one day a week on Tuesday afternoons
from 4:00 to 5:30 during the marching band season. The first rehearsals in the fall of 1949 were conducted
by Dr. Harding and were very unique to me - rehearse for one hour and perform a 30 minute concert. The
Concert Band honored the birthday of John Philip Sousa in the fall by playing weekly concerts that were
broadcast live, on radio, from the band rehearsal hall. As you all know, John Philip Sousa was born on
November 6, 1854. As some of you may remember, classes in most universities didn‘t begin until the last
week of September in those days so our first rehearsal was around the first week of October. On the four
Tuesdays prior to Sousa‘s birthday on November 6, Dr. Harding rehearsed the Concert Band from 4:00 to
5:00 pm on a broad variety of music composed by Sousa. At 5:00 pm a radio announcer with a production
crew would be on hand and we would perform Sousa‘s music. The announcer would talk about Sousa‘s
life and Dr. Harding would select, on the spot, what we would play. Everything we had rehearsed was
written on a blackboard, which was hanging on the wall in front of the band. Dr. Harding had a pulley
system with a wooden arrow that he could pull and select what we were going to play. He decided on a
selection as the announcer talked and we, the players, anxiously waited for the arrow to stop so we could
get the music up. During that fall, Dr. Harding never talked on the radio so, to me, the announcer seemed
to be talking randomly about Sousa.
The music, the notes we used for the Sousa concerts, came directly from the Sousa Library which Sousa
had given to the University of Illinois. Harding insisted on using the manuscript parts that Sousa had
donated. If you ever saw any of Sousa‘s manuscript you can imagine what a trial it was to read,
particularly at sight, one hour before we were to perform it. My fellow librarian and I would put those
valuable manuscript parts in the folders. Frankly, we didn‘t realize the value of those manuscripts and
treated them very casually. I must make a confession. Since I was a cornet player, I also passed out the
published versions of all the music to the cornet section. It was a heck of a lot easier to read and endeared
me to the section. The music was only in the folders one day so it was easy to pull off and no one was the
wiser.
Another librarian job we had to do was to catalog all of Sousa‘s music, which had been donated after Sousa
passed away in 1932. I don‘t know why it had not been cataloged, but we did it in the school year 1949-50.
I want you to know that I never stole a single piece of manuscript, but now, I wish I had!!
As a librarian for the U of I bands, I saw Dr. Harding almost every day in the fall of 1949. On Tuesdays he
would come to the band building around 3:00 to 3:30 in the afternoon and closet himself in his office until
band rehearsal. After band rehearsal he was available to see students and acquaintances. He stayed in the
band building until the wee hours of the morning transcribing music. I also did some copying of parts for
him and one time I was in on one of his famous ―all nighters.‖
Stories abound about Dr. Harding sitting at his desk transcribing, on score paper, with two copyists sitting
across from him and waiting for him to finish a page. As soon as he did, the copyists would start copying
parts, one starting at the top of the score page and the other at the bottom of the page. Usually they finished
a manuscript score page about the time he had finished another score page. In the early morning hours he
would say.....‖well boys, lets go get some breakfast.‖ He would take the copyists in his big black four door
car, ask them what time their first class was, and take off to an all night or early opening restaurant. My
source for many stories came from two of his copyists, Lyman Starr, one of the assistant band directors,
and my high school band director, John E. Greene.
In my experience with Dr. Harding on the podium, he was a very kindly, soft spoken gentleman. In my
capacity as first chair 3rd cornet player, we were rehearsing one of his transcriptions he had titled ―Kruetzer
Spins.‖ This rendition actually had a 3rd cornet solo which started on a 3rd space C and ended on high C.
When this 17 year old freshman saw this I almost fainted. I was scared of everybody, but particularly band
directors — all band directors. When it came time for me to play this solo everything went fine until I went
for the high C. Where that note was supposed to be – nothing came out. Dr. Harding stopped the band and
there was dead silence from everyone. Dr. Harding looked back at me in the back row on his right side of
the band and said something like this – ―nice tone, what kind of cornet are you playing?‖ I answered - ―a
Recording Olds cornet.‖ He nodded his head and said, ―let‘s try it again.‖ I nailed the high C and, once
again, he just nodded his head – end of story.
I had mentioned earlier about the several bands in the U of I band department which included the 175
member Marching Illini. This incredibly hugh band, in my eyes, had only one piccolo. On one occasion
during a conversation with Dr. Harding, I asked him why the Marching Band had only one piccolo. He
answered by saying....‖Kenny, I don‘t care if a band has seventy five players, or one hundred and seventy
five players, or one thousand one hundred and seventy five players, one piccolo is enough!.‖ I‘m sure all I
did was nod my head and go on about my business.
Dr. Harding had a beautiful florid conducting style. He used a long baton - Leopold Stokowski style, and
seemed totally immersed in the music he was conducting. The only time I ever saw him lose his temper
was after an early 1950s traditional month of March Anniversary concert performed by the Concert Band.
We had a very distinguished guest conductor, whom I will not identify because he was also a very
prominent ABA member. He conducted one of Dr. Harding‘s transcriptions on the concert, Ravel‘s
―Daphnis et Chloe.‖ and he did it from memory. He got lost a time or two but the band kept playing
because we knew the music so well. After the concert I was collecting the music folders on the stage after
everyone had left. There was only Dr. Harding and the guest conductor and me back on stage right, where
the clarinet section sat. I was within ten feet of them and I heard Dr. Harding literally yell at him in a very
firm and angry voice that he would never this band again. He told him he had no business conducting from
memory because he didn‘t know the piece and if the band hadn‘t been so good they wouldn‘t have made it.
I want you to know that, as one of the players in the band, I never said a word!!
As you may know, the University of Illinois ―Harding Band Building‖ was realized in 1958, which
happened to be a year that the U of I hosted an ABA convention. Dr. Harding was in attendance for that
grand occasion and I came to the campus from my high school band job in Taylorville, Illinois. Dr.
Harding passed away on December 3, 1958. Our revered colleague and friend, Dr. William D. Revelli,
made a remark about Dr. Harding that I will never forget because it was said more than once in my
presence. He called Dr. Albert Austin Harding the ―Father of University Concert Bands.‖ If there ever
was a statue erected to A.A. Harding, those words placed on the statue would certainly be appropriate.
Thank you President Bob Jorgensen and ABA friends for inviting me to talk about this great man in our
profession.
.
FREDERIC WALLACE BOOTS (1922 – 2006)
CWO Frederick Wallace Boots, USA retired, passed away on Monday, May 8, 2006 in Alexandria,
Virginia at the age of 83. He was born September 27, 1922 in Champaign, Illinois and graduated from high
school in Portage, Wisconsin in 1940. After completing two years of music study at the University of
Wisconsin-Madison, he enlisted in the army in 1942. At the end of World War II in 1945, he left the army
and returned to the University of Wisconsin where he earned a bachelor‘s and a master‘s degree of music in
1949.
After a position as Assistant Professor of Music at San Jose State College in California, he was recalled to
active service and became Warrant Officer Band Leader with duty at: Ft. Bliss, Texas; Korea; Tokyo,
Japan; West Point, New York; Heidelberg, Germany; and Ft. Monroe, Virginia. At West Point he was the
director of the cadet glee club.
Upon his retirement from the army in 1971 as Associate Band Master, U.S. Army Band, Ft. Myer, Virginia,
he was awarded the Legion of Merit Citation. Following his retirement, he was appointed head of Special
Services Division, Alexandria Libraries. He earned a Masters Degree in Library Science from Catholic
University and served 18 years in the Alexandria library system. He also was a Quality Assurance
Consultant for the Library of Congress Division for the Blind and Physically Handicapped.
CWO Boots was elected to membership in the American Bandmasters Association in 1968. Other honors
include: a life membership in the Virginia and National Federations of Music Clubs, as well as a life
membership in Phi Mu Alpha Sinfonia music fraternity. He was a Mason, affiliated with West Point Lodge
877, Sojourners, Heroes of ‘76 and Scottish Rite.
He is survived by his loving wife of 58 years, Patricia Pope Boots. He was laid to rest on Thursday, July 6
in Arlington National Cemetery with full military honors.
2007 ABA Annual Report
MARTIN BOUNDY (1911 – 1998)
Martin Boundy was born in Sunderland, England on October 2, 1911 and died in London, Ontario on
November 17, 1998. He was 12 when his parents immigrated to Stratford, Ontario. While a student in the
Stratford public schools, Martin played euphonium in the school band and performed with both the
Salvation Army Band and the Canadian National Railway Band. He studied organ with the organist of St.
John‘s United Church in Stratford, Ontario. In 1933 he was appointed organist and choir director at St.
Paul‘s United Church in Tillsonburg, Ontario and became the conductor of the Tillsonburg Citizens Band.
In 1936 Martin received the Diploma of Licentiate of the Royal Schools of Music in London, England in
organ performance. Three years later he assumed the post of organist and choir director of Wesley United
Church in London, Ontario.
Martin enlisted in the Royal Canadian Air Force in 1941 and conducted their Central Band in Ottawa. His
band appeared briefly in the movie ―Captains of the Clouds,‖ starring James Cagney. He was
commissioned in 1942 and became the Director of Music for the Royal Canadian Air Force overseas. The
seven bands under his command concretized all over the British Isles and Europe, including several
command performances at Buckingham Palace. He left the service after the war with the rank of Squadron
Leader. In 1947 Martin was appointed conductor of the London Police Boys Band and two years later
became the conductor of the London Civic Symphony, a position he filled for twenty years. In 1950 he
organized a 500-voice choir that performed with the symphony for ten years.
In the early fifties Martin had his own radio show called ―Martin Boundy and the Band.‖ For six years
during the summer months, his one-hour broadcast from Victoria Park Band Shell in London was carried
by the Canadian Broadcasting Company coast to coast.
In 1954 Martin joined the staff of Catholic Central High School as Director of Music. While band director
there, he was elected to ABA membership in 1961. In 1964 Martin took his band on a European concert
tour, highlighted by an audience with Pope Paul in Rome and an invitation to perform in the Pope‘s private
chambers for an audience of one!
In 1956 Martin and ABA member Al Wright were the conductors at the second summer session of the
International Music Camp in North Dakota. Subsequently he served as guest conductor and clinician at the
camp for twenty years. It was while teaching at the camp at the Peace Gardens that Martin was invited by
the Ministry of Education of Taiwan, China to visit Taipei as guest conductor. His visit there was most
successful. In 1957 the Police Boys Band was invited to perform at the Mid-West Band Clinic in Chicago.
In the 1960s when Martin was choir director at St. Peter‘s Basilica in London, Ontario, he was presented
the Bene Merente Medal by Pope John in recognition of Martin‘s contribution to music in the Catholic
community. This is an honor rarely conferred on a non-Catholic.
In 1967 Martin became Director of Music at Fanshawe College where he established an All-Province
Honors Band and Choir program. Although he retired in 1977, he remained active musically. During his
career he conducted and judged at camps in Wisconsin, Minnesota, Indiana, Michigan, New England and
all of the Canadian provinces.
Numerous honors and positions marked his eventful career. He was president of the Canadian
Bandmasters Association. In 1983 he was president of our American Bandmasters Association and had
served four terms on the Board of Directors.
He was honored by the Ontario Music Festivals Association, the Canadian Music Festival Adjudicators
Association and the London Organists and Music Teachers Association. He was given the Medaille
d‘Honneur, Confederation Musicalle de France, and was the first recipient of the National Band Award of
the Canadian Bandmasters Association. The National Band Association honored him with their Citation of
Excellence. Other awards were the Canadian Centennial Medal and the Queen‘s Jubilee Medal.
Martin‘s wife, Shirley, summed up his colorful career like this:
Music was Martin‘s life. He lived and breathed it from morning to night. When dying he said,
―I‘ve had a good life—no regrets.‖
And indeed he did have a very interesting life.
1999 ABA Annual Report
JOHN BOURGEOIS
President‘s Address - 1992
In thinking about what I would say today as your President, I was reminded of a poem by Shelley with
which I would like to preface my remarks.
―OZYMANDIAS‖
I met a traveler from an antique land
Who said: Two vast and trunkless legs of stone
Stand in the desert. Near them, on the sand,
Half sunk, a shattered visage lies, whose frown,
And wrinkled lip, and sneer of cold command,
Tell that its sculptor well those passions read,
Which yet survive, stamped on these lifeless things,
The hand that mocked them, and the heart that fed:
And on the pedestal these words appear:
―My name is Ozymandias, king of kings:
Look on my works, ye Mighty and despair!‖
Nothing beside remains. Round the decay
Of that colossal wreck, boundless and bare
The lone and level sands stretch far away.
This week we meet in the Capital of the World—Washington, DC—a city of monuments and a city which
is itself a monument. As we go through the week we will be constantly reminded of monuments, both
visually and aesthetically. You will see monuments of architecture, hear monuments of music, share
monuments of ideas. I am sure some of these will achieve their purposes more successfully than others—
those that do so convey a message and could be called living memorials, such as the Lincoln and Jefferson
Memorials, the Tomb of the Unknowns, the Kennedy Flame, and most especially the touching Wall of the
Vietnam Memorial.
ABA is a monument. It is the marble Stele upon which are inscribed the names of the kings and queens of
the American band movement in the 20th century. But is it a living memorial? Yes, we may answer, and
find that some of the requisites are fulfilled. We may cite the ABA Foundation and its support of the
ABA/Ostwald Composition Competition—which promotes new music for our bands—the ABA Journal of
Band Research, which promotes scholarship and research.
But to be vital, and not end up like Ozymandias, each one of us must remain totally involved. ABA is not a
resting place, a cold marble statue, or a still life. It is not Valhalla or the Elysian Fields where we are
content to have ―arrived‖ and be acknowledged by our profession. ABA must be an active collegium.
We must be advocates for bands, not just apologists. We must help one another, and maintain the highest
professional and moral ethic that can be expected of the role models we are.
To quote from the gospel of Mark, not the apostle, but Hindsley the prophet: ―Our aspiration and our
successes are in the hands of each of us an individual. We profit by example and learn from our leaders
and our peers.‖
Dear friends, you are the leaders, and to quote a popular exhortation, either lead, follow, or get out of the
way.
There is a dilemma today in our schools; a crisis in which we must become involved, not only as teachers
and professionals, but also as citizens and members of the community, with a voice regarding school
budgets and disbursal of appropriations in support of the arts. If we don‘t act now, we can expect our
progeny to wander across yet another monumental ruin in the desert which once was music education.
Let each one of us make sure that the monument that is ABA is vital and that it endures; that the flame of
ABA is carefully tended and that it burns brightly, and that the name ABA lives on through its works.
1992 ABA Annual Report
RICHARD W. BOWLES
Presented ―Reminiscences of ABA‖ - March 7, 1996
Karl King, one of ABA‘s Honorary Life Presidents, was determined to attend the 1970 ABA Convention in
Columbus, Ohio, despite having an advanced case of emphysema. He endured a long automobile trip from
Ft. Dodge, Iowa to Columbus, sitting in the back seat with his oxygen tank—his life-support system.
At the opening meeting Karl was one of the first persons introduced. Local host Don McGinnis said, ―Karl,
it‘s wonderful to have you here in Columbus.‖ Karl‘s response was, ―Thanks, Don. I‘m very happy to be
here in Columbus. In fact, I‘m happy to be anywhere.‖
As a band director and as an outdoor writer, I‘ve dealt with deadlines throughout my professional career.
One must recognize that life has some deadlines too, and there are some stories that just won‘t wait to be
told.
Many of those I will mention have long since departed this life. No doubt they are now striving to improve
the information of the Heavenly Choir of Angels, and urging Gabriel, the wall-shattering trumpeter, to
produce a less strident tone. Never are these departed friends required to march.
I was elected to ABA in 1963, and made a hurried trip to Greensboro for one day of that convention. The
following year, 1964, wife Tommy and I shared a full convention, right here in San Antonio. Southern
Music Company and Major Sam Kurtz, then conductor of the Air Force Band of the West, were the local
hosts. The convention program included a full blown military review at Lackland Air Force Base, with
Sam‘s band leading the parade. The ceremony had special meaning, with the War in Vietnam casting its
spectre over everything, and 8 million men under arms.
It was not all somber, however. Following the convention a busload of us went to Nuevo Laredo, just
across the border in Mexico, for a sight-seeing trip. We enjoyed a noonday banquet in a bar that was
closed on Sundays, but open to us as special guests. It started with round after round of Margaritas, with
Sam reminding everybody, ―Drink up—in Mexico we get the bar service by the hour, not by the drink.‖
That made for a very happy crowd. I‘m circulating a picture made that day, showing the happy crowd.
We were entertained by an excellent mariachi band—two violins, two trumpets, and five guitars.
Following the meal the band‘s leader told us that they had worked many hours memorizing Poet and
Peasant and Light Cavalry Overtures by ear, from old recordings, and wished to play them in our honor. It
was mind-boggling—try singing the horsey part of Light Cavalry in a moving 6/8, with the accents on
beats 2 and 5. It was wonderful!
That afternoon ABA members Harold Bachman, Paul Yoder and Neil Kjos saw a horse-drawn carriage
coming along, and flagged it down to take a ride. In due time they learned that it was the prized vehicle of
a house of prostitution, and that was their destination. (No, they didn‘t finish the trip.)
Mentioning mariachi bands calls to mind a trip to Mexico City which I shared with the Michigan State
band director, a young fellow named Ken Bloomquist, to judge bands on an educational trip. After
Saturday working hours, Ken and I went to Garibaldo Square, which is like a fairgrounds with 100,000
people milling about. There are dozens of booths where food is served. On every corner there are mariachi
bands, playing their hearts out, hoping that some rich hacienda owner will fancy their work, and employ
them to entertain the guests.
We learned something. The trumpet players, with different makes of instruments, different mouthpieces,
and different physical characteristics, all get the same sound—the Rafael Mendez sound. How can this be?
Obviously, the concept of tone quality is controlled by the ear, not the mouth, nor the instrument.
My awareness of Bandmasters as celebrities dates from 1934, when I graduated from high school in
Oberlin, Kansas. One week before I was scheduled to join my brother at Kansas State, my high school
principal got a telegram from Fred Green, who had just become Band Director at Phillips University in
Enid, Oklahoma. That position was made available by the move of Russell Wiley to Kansas University.
Green offered a full scholarship and a clerical job to the trombone player he had heard in a contest that
spring, so off I went to Phillips.
I was an able typist, and worked with Green many hours each week in planning and staffing the Tri-State
Band Festival, which Wiley had built into a national event. The headliners that year were Edwin Franko
Goldman, ABA‘s founder, and charter member Frank Simon, individuals who were already demigods in
the band world.
After one year at Phillips, Green became Band Director at Indiana University, which created the vacancy at
Phillips that Milburn Carey then filled. Green took me with him to Indiana. At IU I was a soloist with the
band, and worked as Green‘s secretary. That winter I went with him to the campus of the University of
Illinois, where I witnessed one of A.A. Harding‘s demonstrations of ―60 Instruments in 60 Minutes,‖ in
which Harding played every instrument at a college level of competence.
Green also organized a midwinter band clinic, and brought Goldman and Simon to the Indiana University
campus as eminent conductors. I was privileged, and awe-stricken, to attend the reception of these two
titans at the Green home. Goldman was aloof, reserved, secure in his place in the continuum of history.
Simon was outgoing, affable, a great story teller, willing to engage youngsters like me in conversation.
The following summer Green created the All-State Boys Band to play afternoon and evening concerts at
the Indiana State Fairgrounds in Indianapolis during the week-long state fair. The 10 principal players
were 1st chairs from the IU Band, the remainder about 70 carefully auditioned high school boys. The
director was Frank Simon, and I had the thrill of playing daily solos (―King Karneval‖) with the band,
Simon conducting. We also played ABA Honorary Member Ferde Grofe‘s ―Grand Canyon Suite,‖ in
which Simon drew forth delicious sounds from the band, that were a revelation to me.
The university players had responsibility for the conduct of the high school boys. One afternoon we
arrived back at the band barracks to find two of our clarinet players were parking cars in a vacant lot next to
the barracks, land that was actually free for the taking. They were charging 25 cents per car, doing well
financially, until we made them stop. The youngster who got the idea was an entrepreneur from birth. He
later administered the Gunnison Music Camps in Colorado, a man remembered by many of you—Robert
Hawkins.
In 1940 I became director of the high school band at Culver, Indiana. Fred Ebbs took over the Hobart,
Indiana band that same year, and we became well acquainted.
Two years later the United States entered World War II. In service, I became a Master Sergeant Acting
Bandleader of the 715th Army Air Corps Band, stationed in Columbus, Ohio. The Band Officer for the
Eastern Flying Training Command was ABA member Capt. Clate Chenette. Major Mark Hindsley was
Bands Officer for the Training Command, and we formed an enduring friendship.
In due time I was sent to the Army Music School in Washington, to qualify for a warrant. As ranking
noncom I became First Sergeant of the school, and got to know a fellow arranger and composer John
Kinyon. I also became well acquainted with the school‘s adjutant, Warrant Officer Junior Grade Samuel R.
Loboda. Sam was a remarkable young officer, highly regarded by his peers and admired by those serving
under him. In addition to his musical talents, Sam was a genius at manipulating the bureaucracy. As men
graduated from the 13-week school and got their warrants, Sam could send them almost anywhere in the
world where bandleaders were needed. How did he do it? He had no influence with generals. Instead, he
cultivated two of the girls in the Adjutant General‘s office who typed up the transfer orders, and it made no
difference to the girls who went where. Sam told them.
Following the war I went back to Culver for 5 years, with a one-year interruption for graduate study at the
University of Wisconsin. Band director Ray Dvorak was himself on leave that year, recovering from
injuries sustained in a train accident. Nevertheless, Dvorak monitored the pulse of the band program, and
supplied my first contract with Harry FitzSimons, the Chicago publisher who was an associate member of
ABA for many years.
As a graduate assistant in the School of Music, I was privileged to work with some outstanding students, a
super saxophonist named Frank Bencriscutto, drum major Don Marcouiller, and fine trombonists James
Christenson and James Jorgenson. There was also a lovely and talented pianist named Lorraine, who later
changed her name to Jorgenson.
I returned to Wisconsin for one of the Midwinter Director‘s Clinics and Band Concert. The UW Band had
just returned from Pasadena, and performed a Rose Bowl feature on the concert. The program read,
―Echoes from the Rose Bowl, featuring the Boosey and Hawkes Fanfare Trumpets.‖ The buzz from those
in the audience, however, was because the word ‗FANFARE‖ was spelled ―F-A-N-F-A-R-T.‖
We left Culver in 1953 for Lafayette, Indiana where I was director of the band and orchestra at Jefferson
High School. Perhaps my greatest learning experience was being in Lafayette when Al and Gladys Wright
arrived at Purdue University in1954, just across the river in West Lafayette. Prior to that time, the Purdue
Band‘s claim to fame was being the first band to break from formation and form a letter on the football
field. After Al Wright‘s first year, however, band enrollment doubled, and the Purdue Symphony Band
was filling the 6,000 seat Purdue Hall of Music to capacity for its concerts. Al willingly shared with me his
expertise as an administrator and promoter, and taught me the importance of being active in professional
organizations.
Al also shared his guest conductors with me, notably Henry Fillmore, who was president of ABA for 5
years, through World War II. When I took my high school band to Miami for the Orange Bowl
extravaganza, Henry invited the entire band, 116 of us, to his beautiful home. As the busses unloaded,
Henry pointed to his numerous orange trees, and said, ―Take all you want,‖ to the kids. The great thrill for
me was that on Henry‘s piano was the score to my ―Burst of Flame‖ March. He vowed that he liked it.
In Lafayette the first guest conductor I hired, in 1956, was a young man of 28 who was already a five-year
veteran as Director of Bands at Northwestern University, John P. Paynter. When I watched John work with
my band, and make it sound better than it did with me on the podium, I knew Northwestern had the right
man.
In March of 1958 Al presented a clinic featuring ABA member Harold Bachman, the Colonel of the Band
World. Bachman had announced his impending retirement at the University of Florida, and Al arranged for
a meeting between me and Harold. By that time I had music in many of the nation‘s band rooms, and I got
the job. For the next 14 years I enjoyed Harold‘s friendship, counsel, and endless reminiscences about
Arthur Pryor, Victor Grabel, Harding, and many others. I will not mention him further, since I told the
Bachman story at the New Orleans convention.
My first opportunity to become personally acquainted with William D. Revelli was the summer of 1959,
when I directed the Brevard Music Center high school band in North Carolina. One of my responsibilities
was to prepare the band for a special program to be guest-conducted by Honorary Life Member Revelli.
In the first rehearsal Revelli got perhaps two minutes into the selection and stopped the band. He turned to
the oboe player, a mature-looking girl who was un-awed by the Revelli presence. Bill said to her, ―Play
your Bb.‖ She complied. He turned to the principal clarinetist and said, ―Sound your tuning note.‖ He
pointed to the girl, then to the clarinetist, several times. The oboist‘s pitch was consistently a quarter-tone
below that of the clarinet. He said to the girl, ―Now honestly, doesn‘t that sound a little bit peculiar?‖ The
girl shrugged her shoulders and said, ―It sounds all right to me.‖ Revelli dropped his arms and said with
great sadness, ―You‘re very fortunate, my dear—you‘ll never suffer.‖
Revelli also had a mischievous side. In the mid-sixties, ABA member Herb Carter and I judged the
Alabama State Band Contest in Tuscaloosa, along with head judge William D. Revelli. The local band
directors, to make sure there was no collusion among us, placed our chairs and tables on risers about 6 feet
above the floor of the auditorium, so they could watch our every move. We soon learned how to
communicate, however, by sending notes back and forth with the runners who relayed our decisions to the
tabulators.
After one particularly execrable band, Revelli sent us a note, reading, ―That was the worst band I ever
heard.‖ A couple of bands later one appeared that was even worse. Revelli send another note, which read,
―Disregard my first message.‖
The judges‘ hearts were gladdened that afternoon with performances by several beautiful bands. One of the
very finest was the Robert E. Lee High School Band from Montgomery, led by an up-and-coming director,
Johnny Long.
No reminiscence would be complete without mentioning the comedy team of Paul and Rosie Yoder. Paul
kept a card file of jokes, with annotations as to when and where they had been used, so we could never say,
―Oh, I‘ve heard that one.‖ He and Rosie were like George Burns and Gracie Allen, with Paul as the
straight man and Rosie getting all the funny lines.
Harold Walters told the story about the time he and Paul were conducting a huge massed band from the
roof of a 3-story building in Conroe, Texas. Harold sweated through his march, and turned the baton over
to Paul. Paul said, ―I think I‘ll jump off this building.‖ Harold remonstrated, ―Oh, it‘s a nice band—they
can play.‖ Paul responded, ―But my march starts on an upbeat.‖
A final story. Arrangers, composers and writers all hate editors. We spend three weeks polishing a
beautiful phrase, and submit it for publication. The editor looks at it for 15 seconds and changes it. Here‘s
a beautiful illustration of bad editing:
The Pope died, and in due time arrived at the Pearly Gates of Heaven. He was greeted warmly by
St. Peter, who asked him, ―Your eminence, how would you like to spend your time with us here in
Heaven? What would you like to do?‖
The Pope thought a moment and responded, ―All my life I have had insufficient time for study of
the Holy Scriptures, especially the writings of Jesus Christ. If you would just set me up with a
study carrel and a copy of the Scriptures, I‘ll be very happy.‖
This was done, and for some time things went as planned. Then one morning St. Peter heard an
anguished scream from the Pope‘s study carrel, and rushed to his aid. ―Your eminence, what‘s the
matter?‖ The Pope was trembling, almost incoherent, and burst out, ―The translation is wrong!
The word should be ‗celebrate.‘ They left out the ‗r‘.‖
1996 ABA Annual Report
ARTHUR H. BRANDENBURG (1899 – 1986)
Arthur H. Brandenburg was born on February 21, 1899. He was a first generation American, born of
immigrant German parents who settled on a farm in Bremer County, Iowa. He died in Fairfax, Virginia on
August 23, 1986. Arthur played cornet in the Waverly, Iowa High School Band and in community bands
before attending Grinnell College in Iowa, where he earned the Bachelor of Arts degree. He completed his
Master of Music degree at Columbia University.
In 1924 Arthur‘s teaching career started in the Elizabeth, New Jersey school system, and eventually he
became Director of Music for the entire system. Before he retired in 1960, he had no fewer than five
different jobs all going on simultaneously. He taught at New York University on Saturdays while pursuing
doctoral studies; on Sundays he performed as an organist and was a choir director at several churches; he
directed summer music programs and band camps at Rutgers University; and he conducted the Elizabeth
Recreation Concert Band, which he had organized in 1944.
Arthur became a member of the American Bandmasters Association in 1960 and often expressed his
appreciation for the fellowship and professional relationships that ABA gave him. He was appointed
director of the ABA Research Center, a position he filled efficiently and with enthusiasm.
In 1957 Arthur was elected president of the American School Band Directors Association. His honors
included: honorary membership in Phi Beta Mu; the Edwin Franko Goldman Award; and the
Distinguished Service Award of the ASBDA.
Arthur‘s exemplary life and achievements assure that he will be remembered as a loving, caring gentleman
who promoted peace and musical harmony in human relationships wherever he was. His standards were
not easy to live up to, but just the pursuit of them has vastly enhanced the quality of our lives.
1987 ABA Annual Report
Note: The 1991 Annual Report noted the death of Margaret Brandenburg, wife of Arthur.
JOHN RAYMOND BRANDON (1907 – 2005)
John Raymond Brandon died peacefully at his home in North Little Rock, Arkansas on Monday, December
5, 2005 at the age of 98, surrounded by his children. He has been called the ―grandfather of Arkansas
bands‖ because of his leadership and dedication to the bands of that state. His longtime friend, Eldon
Janzen, said, ―Ray is probably the most important person in the history of bands in Arkansas. He wrote
books on curriculum guides before there were any.‖ Janzen remembers going with Brandon in 1954 to
judge the first contest that gave division ratings to bands in Arkansas. ―Before that they just critiqued the
bands, they didn‘t rate them,‖ Janzen said. ―We traveled to regional contests around the state and shared a
room one time. Every morning he got up early and ran five miles. I decided after that not to share a room
with him because he made me feel guilty.‖
Born on January 3, 1907 at Thornton, Arkansas, he was the son of the late William H. and Mae Chaffin
Brandon. His 3rd great-grandfather, Francis Brandon, of Halifax County, Virginia, fought with the Virginia
Militia in the American Army of Nathanael Greene against British forces under General Cornwallis at the
Battle of Guilford Courthouse on March 15, 1871. In October of that same year, he served with the
American Army in the conclusive battle at Yorktown, Virginia, and then escorted the British prisoners who
were surrendered there by Lord Cornwallis to their repatriation ports in Maryland.
Raymond Brandon‘s life lasted almost 100 years—spanning most of the twentieth century. His life
encompassed two world wars, an influenza pandemic, a global economic depression, the Korean and
Vietnam Wars, the Cold War, the demise of the Warsaw Pact and the fall of the Berlin Wall, not to mention
a multitude of amazing cultural and technological developments. He grew up with a horse-drawn buggy in
the front yard and stepped into the next world with internet and e-mail communications proclaiming his
departure and describing his accomplishments.
Mr. Brandon has remembered in writing, with fondness, his life as a young boy at the family farm near
Chambersville, Arkansas. In particular, he remembered his beautiful mother, Mae Chaffin, who died an
untimely death in the 1918-20 influenza pandemic. He also recalled his resourceful and energetic father,
William H. Brandon, who personally designed and constructed the family home and worked a magically
comprehensive and self-sufficient farm. Raymond recalled in detail the virtues and sometime hazards of
going barefoot through the fields and forests, interacting directly with animals and flora of the area, and a
friendly, yet sometimes combative relationship with his four brothers—Frank, Zachary, Fred and William.
Strategic alliances with his much younger sister, Vera, made for an interesting life as a boy.
Mr. Brandon‘s father and his high school teachers, though located in a rural area, were musically inclined,
enthusiastic and variously qualified. Mr. Brandon demonstrated early individual musical and
organizational talent and his interest in music began as a child, sparked by his father who sang at church
and who had a deep respect for music. Ray worked after school delivering telegrams for Western Union
and earned $15.95 to buy a cornet from Sears and Roebuck. This instrument functioned well for several
years, but was soon replaced by a gold-plated cornet given to him by his father. Mr. Brandon received his
early instrumental training through the local boys‘ band under the direction of Mr. Roy Martin. He soon
realized that he would pursue music as a career.
Upon graduating from Fordyce High School, he attended Hendrix College. After a few years at Hendrix he
went to work as the band director at Heber Springs. It was in Heber Springs that the single most important
event of Mr. Brandon‘s life took place—he met Ruth, and they were married.
After a short tenure at Heber Springs, Mr. Brandon became band director at Arkansas High School in
Texarkana. He held this position for 15 years and furthered his education during the summers. He
attended classes at the VanderCook School of Music, Lewis and Clark College, and Western State College
where in 1949 he received a master‘s degree. It was also in 1949 that he and his young family moved to
North Little Rock, where he remained director of bands until his retirement in 1971.
Mr. Brandon became an early dedicated music education professional, and in due course decided that a
statewide organization of music professionals would benefit all concerned. He was instrumental in
combining the existing fragmented professional organizations into a unified organization—the Arkansas
School Band and Orchestra Association. At the time of his retirement, he was asked to become the
Executive Secretary of the same organization. He served in this capacity along with his wife Ruth until
1999. At this time he was named President and Executive Secretary Emeritus by the organization he
served to faithfully.
Throughout Mr. Brandon‘s career he was active in numerous band and music associations. He was a
charter member of the Arkansas Bandmasters Association and also a charter member of the Omicron
Chapter of Phi Beta Mu. He was elected president of the American School Band Directors Association in
1970. In 1976 Brandon was presented the ―Mac‖ award by First Chair of America for outstanding
contributions to bands and band music. In 1977 he was named Arkansas‘ Bandmaster of the Year. At the
1977 ―Golden Anniversary‖ convention of the American School Band Directors Association, Mr. Brandon
was presented the Goldman Award, the highest award that ASBDA can bestow to an individual. Mr.
Brandon became a member of the prestigious American Bandmasters Association in 1986, and in 1992 Phi
Beta Mu, International Bandmasters Fraternity, recognized Raymond Brandon‘s contributions by naming
him to the Outstanding Bandmasters Hall of Fame.
Brandon preferred wearing a suit and tie and a handkerchief in his pocket. Friends said Brandon had
inspired students to perform their best, regardless of their musical abilities. He loved being with relatives
and enjoyed reading history novels. He also had a hobby of woodworking. Raymond Brandon is survived
by a multitude of friends, students and colleagues who celebrate his life and mourn his passing. For them
and for his family, he truly was the leader of the band.
In Raymond Brandon‘s Own Words…
Some of the most appreciative students I ever had were not necessarily the best musicians, by any means.
The important thing is that they loved music, and many times, they are the people who needed it the most.
It seemed to add so much pride and feeling of importance to their school life. I could give many examples
of what music has done for students who have gone through the band. There was a closeness in those
groups, like family. It was ―heart‖ that bound them together for the sheer love of music, for what music is
all about. To me, there is no emotional feeling that can come close to matching that of a great performance
of music by a band, orchestra, or choir that has performed better than it is possible to do. You can feel the
emotion spreading throughout the entire ensemble like a fire that consumes. No one has to say anything,
but there may be tears flowing. You can understand why I would not change anything in my life if it were
to be lived over again, other than I would try to be more loving.‖
Memorial read by Francis McBeth
2006 ABA Annual Report
CHARLES S. BRENDLER (1898 – 1965)
Born in New York City, the son of Isaac and Mary Brendler. Funeral services were conducted from the
Bernard Danzansky Funeral Home in Washington, DC. Burial was in Arlington National Cemetery on
August 2. The service at the cemetery was a transfer at the Administration Building. The United States
Navy Band participated in the services, playing ―America the Beautiful‖ as the body was transferred from
the hearse to the caisson, and then led the procession to the gravesite. Commander Brendler was interred in
section 48 at the cemetery, next to the victims of the Rio plane crash of several years ago, as per his
previously expressed wishes. Honorary pallbearers at the funeral and the cemetery were Lieutenant
Commander Mitchell, Anton Geiser (a band member), Joseph Reines, Lloyd Folts, John Reachmack,
Marcel Coviello, Ervin Swenson, and William Cameron, former band members.
Upon arrival at the gravesite the band and the Sea Chanters played and sang ―Eternal Father‖ for the
transfer of the body from the caisson to the grave. Upon completion of the graveside services, the band
played a slow version of ―Anchors Aweigh‖ as the flag was unfolded. Paying their last respects to
Commander Brendler was a large crowd which included representatives from all of the service bands, band
members, government representatives, and friends from all walks of life. Funeral arrangements were
handled by Bob Weiss, Commander Brendler‘s son-in-law.
―Charlie‖ Brendler, as he was affectionately known to ABA friends, was a self-made man; in his early
teens he started in music, on clarinet, and soon became solo clarinet with the John Wannamaker Band of
New York; he also played in the orchestra at the old Academy of Music on 14th Street. On September 26,
1913, he, at the age of fifteen, enlisted in the Navy in the rating of ―Landsman for Musician.‖ At that time
young performers of exceptional ability were accepted in that rating, now long since abolished. The salary
at that time was $17.16 per month. Charlie served aboard the USS Florida in Mediterranean waters at Vera
Cruz during the trouble there in 1914, and throughout much of World War I. In 1917 he was transferred to
Washington, D.C. as solo clarinetist of the new Washington Navy Yard Band which had just been
organized by the late Charles Benter, ABA member. It was this group of musicians who became the
official United States Navy Band by a special act of Congress on President Coolidge‘s Inauguration Day,
March 4, 1925.
Charlie Brendler and the U.S. Navy Band grew up together. He served as first chair clarinetist and featured
soloist, working up through the enlisted ranks until his appointment as Assistant Leader in 1938, and
Acting Leader in 1941. On February 17, 1942 he was appointed Leader of this world famous musical
organization and received the pay and allowances of a Lieutenant. On April 8, 1943 he was commissioned
a Lieutenant. On February 12, 1947 he was advanced to Lieutenant Commander, and on July 17, 1953
President Eisenhower appointed him Commander, the first naval officer to attain that rank in the field of
music.
During his years as Leader of the Navy Band and until his retirement on March 1, 1962, Commander
Brendler gained great distinction both for the Navy Band and for himself, conducting concerts in every
state in the continental United States, Canada and South America. His concerts in the Washington area
were always met with critical acclaim and he was often called the ―Dean of present day band directors‖ and
―Mr. Music.‖
In 1954 he was elected President of The American Bandmasters Association. He was also the recipient of
an Honorary Doctorate of Music from the Washington College of Music. He was the one and only
Honorary Member of the White House Correspondents Club, a member of the National Press Club, Kappa
Kappa Psi, Honorary Member of Canada‘s famed Kilties Band, and many, many other honors and awards.
His service awards included the Navy Commendation Ribbon. He composed many musical numbers and
made many arrangements.
Charlie Brendler was one of the most humble yet grateful men I have ever known; he had often expressed
to me his appreciation for his county, the United States, who gave a mere youth, such as he, with little or no
formal schooling, the opportunity to become a Commander in the United States Navy. Those of us who
knew him well know that he worked hard and long in his chosen profession, and that he was deserving of
his great success.
1966 ABA Newsletter
―What the American Bandmasters Association Means to Me‖
by Charles Brendler – ca. 1953
Through the American Bandmasters Association the conductors of America‘s most outstanding bands meet
to share ideas, exchange program material, and discuss their respective band problems. This professional
and fraternal association of the distinguished members of the American Bandmasters Association has
sponsored a splendid spirit of cooperation and unity of purpose among the band leaders of the United
States.
Among the many beneficial aspects of the American Bandmasters Association, one of the most meaningful
to me has been the annual convention where, in a spirit of congeniality, old friends gather to discuss their
mutual problems and goals. One inevitably comes away from these conventions stimulated by the
exchange of ideas, and the awareness that the band leaders of America are unified in a strong organization
through which they materially influence the cultural life of America.
News Release to ABA Members ca. 1953
President Brendler‘s Address - 1955
Gentlemen: It is indeed a pleasure for me to welcome all of you to our 21 st active convention. Indications
are that this convention will be one of the best. It is my hope and desire that in the future the American
Bandmasters Association will reach even greater heights.
Being President of our Association has been a great honor, and the highlight of my musical career. Before
I go any further, I want to take this opportunity to thank Dr. Goldman for his cooperation, assistance, and
wise counsel during my tenure in office.
Glenn Bainum was another staunch pillar, as always. Naturally, during the past year I have had much
correspondence with Glenn, and his ―Johnnie-on-the-spot‖ action with his help and advice is an example of
the old saying, ―When you want something done right, take it to a busy man.‖ We of the ABA are indeed
most fortunate to have someone like Rusty Bainum.
My thanks, also, to Jim Harper, Vice-President, and to the many members who have worked and served
with me on the various committees. They all answered the call cheerfully and willingly. And our deepest
thanks and appreciation go to the Musical Instrument Manufacturers of Elkhart for their untiring efforts to
make our stay in Elkhart this year enjoyable, and the convention a huge success.
I am happy to report that the American Bandmasters Association is on the forward march again and
accomplishing worthwhile things. There appears to be greater interest in our conventions. Throughout my
travels this year, I have had the pleasure of speaking to many members personally. I have received many
comments and much constructive criticism for the solution of various problems. I have received ever so
many inquiries, by mail, and in person, regarding membership in the ABA. This is indeed a very healthy
situation, for the life blood of any organization is in its new members.
From time to time bandmasters have asked to be proposed; we prefer that they be invited. It should be our
prerogative to choose bandmasters because of their outstanding achievements.
We were organized as a professional organization of active bandmasters, and one of our important purposes
is the advancement of bands and band music. In order that we reach this goal, it is imperative that we elect
to regular membership only those who are qualified. It will then be an honor for a bandmaster to be invited
to join the ABA. Ray Dvorak has something interesting along the lines of regional membership, which will
be presented to you later.
Now let‘s focus our attention for a moment on our present members. To strengthen our membership, I
think we should find a way to eliminate from membership all those who have shown no interest in our
organization over a period of years. It is understandable that some members may not be able to attend all
convention. Perhaps, at times, because of sickness or some other reason. Unless a member is an invalid or
is incapacitated by permanent illness, it is inconceivable to me that a member could have an acceptable
excuse for continued absence from conventions. I would say that it demonstrates a definite lack of interest.
It is my thought that such members should be automatically dropped from our rolls. I offer this thought for
your serious consideration.
Once again I want to say how much I enjoyed serving as your president this past year. And now, let‘s put
the show on the road and get to the business at hand.
1955 ABA Annual Report
GEORGE C. BRITE (1926 – 2007)
George C. Brite
July 6, 1926 - May 13, 2007
Memorial written by Don Wilcox
ABA Memorial Speaker – Gary Green
George C. Brite was born July 6, 1926 in Tulsa and passed away Sunday, May 13, 2007 at the age of 80 in
that same city. His teaching career at Sapulpa High School was the ―stuff of legends‖ for 34 years
from 1953 through 1987. Having grown up in bands in Oklahoma, I have known and admired George
Brite and his work since I was in high school. He was the band director at Sapulpa when I was still playing
in Paul Enix‘s high school band in Chickasha! For three decades it was common practice for about one
third of the low brass sections in the Oklahoma All-State band to be his students. He was a master teacher
in every sense, but absolutely amazing in his work with low brass players. When I conducted the
Oklahoma All-State band one year, four of the six tubas were from Sapulpa.
Mr. Brite received a bachelor's degree from the University of Tulsa in 1947 and a master's degree in music
education from the University of Michigan in 1952. He met his wife, Maxine, at Rogers High
School in Tulsa, where she played in his 12-piece band. They married in 1947.
Alex Claussen, Sapulpa High School's current band director, and a former student of Brite's, said that Mr.
Brite put Sapulpa on the map through his work with the band, which performed across the country.
Under Brite's direction, the Sapulpa Band was invited to perform at the Cotton Bowl parade in 1972, the
presidential inaugural parade for President Reagan in 1985, and the Orange Bowl parade in 1986. Claussen
said Brite "pushed himself so hard to make sure all his students had a great experience." Sapulpa celebrated
George Brite Day to honor his retirement in 1987 and dedicated the Sapulpa High School George Brite
Band Hall in 1996. Mr. Brite also conducted the Summer Starlight Band Concert series during the 1980s
and early '90s at the River West Festival Park Amphitheater in Tulsa. The Starlight Band has given free
concerts to the Tulsa community each summer since 1947. In addition to his membership in the ABA, Mr.
Brite was a member of the Oklahoma Bandmasters Association, the Oklahoma Educators Association and
the National Educators Association.
HOWARD C. BRONSON (1890 – 1960)
A letter from Howard, written March 17, 1959, telling of his visit to the Army Hospital at Fort Lee,
Virginia and the encouraging news he had received from the doctors—so encouraging that they had agreed
that Howard and Frances could make a brief trip to Jackson, Mississippi to become acquainted with their
first and only grandson—and then a very fine letter written September 24, 1959 from Jackson encouraged
me to believe that we might see the Bronsons with us again at the Madison convention. Howard was most
enthusiastic in writing of his anticipated trip to the West Coast, with stop-off visits in Nebraska and South
Dakota, where Howard would attend the Sousa reunion in Los Angeles, at which the combined Long Beach
Municipal Band (ABA Charlie Payne) and the Los Angeles County Band (ABA Art Babich) were to
perform, followed by the annual Sousa banquet at the Palladium in Los Angeles.
The sad new in Frances‘ wire to me, stating that Howard had passed away on January 23, therefore came as
a great shock.
Col. Howard Curtis Bronson died Saturday, January 23, 1960 in the hospital at Richmond, Virginia. He is
survived by his wife, Mrs. Frances Bronson, a daughter, Mrs. Robert Neil of Jackson, Mississippi, and a
grandson, Scott Neil. At the funeral service conducted by the Rev. Edward Morgan III, members of the
Westmoreland Masonic Lodge acted as honorary pallbearers, with a large representation from the
Westmoreland Raritan Club, and Post 252 American Legion, to which organizations Col. Bronson
belonged. Burial followed Wednesday morning in Arlington National Cemetery with full military honors.
ABA Chet Whiting and the U.S. Field Force Band were in attendance, as were ABA members Mr. and
Mrs. Pete Buys, Col. Santelmann, Col. And Mrs. George Howard, John Yesulaitis, Lieut. Harry Mueser,
Lieut. A.R. Teta, representatives from the Pennsylvania Bandmasters Association, the Army and Navy
Bandsmen Association and many friends and fellow officers.
Howard began his musical career at the age of 12 as a member of the Cadet Band of Watertown, South
Dakota. Enlisting in the United States Navy prior to World War I, he became the youngest assistant
bandmaster in the Navy. After serving in the Navy, he was commissioned Lieutenant in the U.S. Army in
1918 and was a World War I leader of the famous 51 st Field Artillery Band. In 1919 he resigned from the
Army and became a member of the world famous Sousa Band in 1921, where he remained under the
leadership of the great March King until after 1929, at which time he resigned to accept the directorship of
the Kable Bros. Company Band and the 129th Infantry Band of Mount Morris, Illinois.
As a Captain, Howard was assigned to duty in Washington in June of 1941 and became the first Music
Advisor ever appointed to the War Department. During the following six years he initiated and supervised
the Army Music Program which was designed to foster morale in the Army through soldier participation.
From that date on, Col. Bronson‘s life was a busy one, organizing music courses, Army Service Forces,
radio programs and at the peak of the war, seeing that two million ―hit kits‖ (10 most popular songs of the
month and recordings) were distributed to American soldiers and sailors throughout the world. In this
―Special Services Branch‖ Col. Bronson was chief over a staff of 200 officers and enlisted men. He was
awarded the Army Commendation Ribbon, the Special Services Distinguished Service Citation, and a
special commendation from the Commanding General of the 8 th Army in Japan. He was also presented the
Award of Merit by the National Association of American Composers in1942 and 1943, and again in 1944-
45 for his outstanding contribution to American music. He was a composer and excellent clarinetist.
Because of permanent physical disabilities incurred in the line of duty, Col. Bronson was retired from
active duty in 1947 and had made his home ever since in Westmoreland County, Virginia. He was a Past
President of the American Bandmasters Association and an Honorary Life President of the Sousa Band
Fraternal Society, and former President of the Army-Navy Bandsmen Association, Inc.
Col. Bronson formed the present Army Field Forces Band, first composed entirely of men with combat
experience. This band was formed after the Battle of the Bulge, and upon their return home this combat
group of musicians drew record crowds wherever they appeared. Countless thousands of service men were
indebted to Howard for the cheer and comfort which the music he provided brought to the front line troops,
as well as to those in more protected positions. The American Bandmasters Association is indebted to
Howard for his sincere interest and activity in the growing years of our Association, which interest
continued throughout his lifetime.
Quoting from the Hague-Mont Holly, Virginia paper:
Bandsmen throughout the United States lost a top conductor in the death, Saturday, of Col.
Howard C. Bronson. Musicians will regret the loss of a fine clarinetist. But how about those who
have known him in Westmoreland County, where he took up residence with his wife and daughter
in 1947 after retiring from the U.S. Army because of ill health. Our loss is indeed great. Yes, we
have lost a man whose musical ability was nationally recognized; one who was always more than
generous in sharing his talent with his neighbors. Time and time again Col. Bronson used his
influence to bring the very best in band music to this area. But even more important,
Westmoreland has lost an outstanding citizen, a gentle, kindly man, who never spared himself
when there was something he could do for the community, his friends and his church. May we
join the legion of friends at this time in extending our deepest sympathy to his immediate family.
And still another one of our pioneers is gone. He was one of my closest personal friends. His presence will
be missed but his accomplishments will live forever.
1960 ABA Newsletter, written by Lynn Sams
Note: The 1992 Annual Report noted the death of Frances Bronson, wife of Howard, on February 8, 1992.
President Bronson‘s Remarks in ABA Concert Program
―Our Twentieth Anniversary‖ - 1949
Is there anyone who does not get a thrill and whose feel fail to tap in tempo when he hears the music and
rhythm of a brass band? Young and old alike respond to the lilt of a march or the chorus of brass and
reeds. Yes, such music adds joy and comfort and is an inspiration which lifts us above the ordinary routine
of life.
Twenty years ago, the leading bandmasters of the nation, led by the late John Philip Sousa and Dr. Edwin
Franko Goldman, organized the American Bandmasters Association. Through these years the interest in
and for band music has constantly been promoted by this organization. Thousands of school children have
learned the joy of playing in bands throughout the country. They have raised the level of music
appreciation not only for themselves but for numberless citizens who have heard them play. Some have
earned their college education through their ability to perform on some band instrument. For many, it has
meant hundreds of miles of educational travel, touring with their school bands. Others have made music a
career, while those who followed other vocations have encouraged the younger generation to participate in
music as they had done before.
Municipal bands have flourished as a result of the interest and encouragement of the American
Bandmasters Association. Standards of artistic excellence have been raised and composers have been
encouraged to write for bands. In many other ways this organization has served to add to the cultural
advancement of every community, without thought of monetary gain or self-aggrandizement on the part of
individuals. This Association has every right to be proud of its record over the past two decades, and on
that foundation, it will strive to achieve greater results and to constantly widen its sphere of influence for
good band music in the years to come.
1949 Concert Program of the 15th ABA Convention
―The Kable Concert Band‖
Kable Brothers Printing Company - Mount Morris, Illinois
The Band of The Kable Brothers Printing Company was founded by the two Kable brothers in 1896 at
Mount Morris, Illinois. It grew into one of America‘s most favorably known industrial bands. Two of its
conductors became presidents of ABA.
Howard C. Bronson, conductor from 1929 to 1941, became music advisor to the War Department in June
of 1941, as a captain. He served with great distinction until 1947, retiring as a colonel. Colonel Bronson
became an ABA member in 1932, and was chosen to be the eleventh president of ABA in 1948 at Sioux
Falls, South Dakota. J.J. Richards conducted the band from 1941 to 1945 and from 1950 to 1955. He
became the twelfth president of ABA at Charlotte, North Carolina, in 1949.
1987 ABA Annual Report
ROBERT O. BRUNKHORST (1892 - 1966)
Fred McCall, President of The American Bandmasters Association, expressed sympathy and condolence to
the families of recently deceased ABA members. Among the names mentioned was Robert O. Brunkhorst,
who was elected to membership in 1958.
1967 ABA Annual Report
FORREST LAWRENCE BUCHTEL (1899 – 1996)
Forrest Lawrence Buchtel was born in St. Edward, Nebraska on December 9, 1899 and died of pneumonia
on November 8, 1996, a month before his 97 th birthday. His town had no electricity and relied on the
telegraph at the railway office for important messages. Forrest‘s father was a traveling merchant who sold
hardware from a wagon. After his father opened his own store, Forrest listened to Sousa Band recordings
played on the hand-cranked mechanical Victrolas sold at the store. His family moved to Corn, Iowa when
Forrest was 15. He played trombone in the community band. During one Sunday afternoon concert the
town whistle summoned all volunteer firemen, including the band director, who handed his baton to young
Forrest and said, ―I know you can do it!‖ He did, and the experience inspired him to enroll at the age of 17
in a correspondence course in conducting at the VanderCook School of Music. Forrest soon became the
permanent conductor of the band, for which he transcribed many band arrangements from the recordings he
heard in his father‘s store. He often improved on the boring second and third cornet and clarinet parts, a
skill he later used in writing his own compositions for young bands.
After Forrest graduated from the Corn Consolidated High School in 1917, he enrolled in Simpson College
in Indianola, Iowa. He graduated from there in 1921 with an A.B. degree. While a student at Simpson, he
was chosen from the entire student population of Iowa as the state‘s candidate for the Rhodes Scholarship.
Forrest‘s first teaching assignment was in Scott High School in Grand Rapids, Michigan. In addition to his
school work, he played first trombone in the Grand Rapids Symphony Orchestra. After five years in Grand
Rapids, he joined the faculty of Kansas State Teachers College in Emporia, Kansas. He taught there from
1925 until 1930, then moved to Evanston, Illinois. For the next twelve years he taught in several Chicago
public schools: at Land High School and at Amundsen High School.
In 1932 Forrest earned the Master of Science degree at Northwestern University. At this time Forrest was
studying trombone with H. A. VanderCook, and he decided to continue his education at VanderCook
College. In 1933 Forrest had the distinction of being a member of the first graduating class of VanderCook
College as he received the Master of Music degree in Education.
Forrest became a member of the faculty at VanderCook College where he taught composition, arranging,
theory and brass instruments for 24 years. (His colleagues and friends called him ―Frosty.‖) For almost 70
years Forrest divided his time between teaching, composing and arranging. He was a prolific composer
and arranger. He was especially interested in music for school bands, having produced more than 800
works for soloists, ensembles and music teachers. More than 300 are listed in the Kjos music catalog
alone.
A member of ASCAP, Forrest received numerous honors during his career. He cherished his election to
ABA in 1953 and was given an Honorary Doctorate by his alma Mater, Simpson College. We in ABA
mourn the loss of four of our talented composers: Vaclav Nelhybel, Clare Grundman, Frank Erickson and
Forrest Buchtel.
1997 ABA Annual Report
BARBARA DIANE BUEHLMAN (1936 – 1997)
Barbara Diane Buehlman was born in Chicago, Illinois on November 26, 1936 and died in Evanston,
Illinois on September 26, 1997 following a lengthy bout with cancer. She was educated in the Chicago
public schools and played French horn in the Lakeview High School Band. Barbara attended Northwestern
University where she played in the band and served as secretary of the band office. There she received her
Bachelor of Music Education degree in 1959 and her Master‘s degree a year later.
Her teaching career began in the Round Lake, Illinois school system. There for twenty-three years she
served the school district as director of bands and Coordinator of Fine Arts. Her bands received national
recognition with first division ratings in district, state and national competition. In 1983 she assumed full-
time responsibilities as Executive Administrator of the Mid-West Band and Orchestra Clinic. In addition to
her duties with the Clinic, she was the Secretary-Treasurer of the Illinois Grade School Music Association
and was the Assistant Conductor and Business Manager of the Northshore Concert Band. She was in
demand as a guest conductor, clinician and adjudicator throughout the United States and Canada. She was
awarded the Golden Rose award of the Women Band Directors International Association.
In 1995 she received Northwestern University‘s Alumni Merit Award for the School of Music, and the
Mid-West Clinic Medal of Honor. VanderCook College awarded her an Honorary Doctorate in 1996 and
she was named the first recipient of the Quinlan and Fabish John P. Paynter Lifetime Achievement Award.
The Association of Convention Operations Management gave her their Meeting Professional of the Year
award.
Barbara‘s band arrangements and transcriptions have been widely acclaimed and performed. Her method
books have started countless students on their instrumental careers. As a band director, she was one of the
pioneers whose achievements created opportunities for other women directors.
Barbara was a board member of the National Band Association and the Percussive Arts Society. She was
an Honorary Member of Tau Beta Sigma and Phi Beta Mu. She was also a member of the American
School Band Directors Association.
At the memorial service for Barbara, Ray Cramer, President of the Board of Directors of the Mid-West
Band and Orchestra Clinic, gave this eulogy:
Barbara Buehlman was many things to many people—administrator, aunt, arranger, sister, teacher,
conductor, friend, colleague, sister-in-law, magician, musician, counselor, visionary, inspirational
leader and motivator.
Few people have the opportunity to impact as many lives as Barbara did during her lifetime. Through her
personal contact with students while teaching, of course, but also through the Mid-West Clinic, she has
helped shape and mold literally thousands of music educators through her tireless efforts as Executive
Administrator.
Each year she worked diligently to bring to the Mid-West the best possible clinics, lectures, concerts and
music merchants in our profession. The inspiration derived from being part of the Mid-West Clinic can
change musical aspirations and goals for one‘s entire professional career!
Barbara‘s life was the perfect picture of one‘s dedication and loyalty to music. She showed all of us how
music can dramatically impact our lives in so many positive and powerful ways.
In closing, I would like to paraphrase a line heard in THE PHANTOM OF THE OPERA:
―The music of Barbara‘s life will always be a song in our heart,‖ and the music will not end!
1998 ABA Annual Report
GODFREY BUGLIONE (1879 - 1934)
The Membership Committee records, with deepest regret, the death of Godfrey Buglione, who had been
elected to membership in 1931. [Director of the 159 th Infantry Regimental Band, Oakland, California]
1935 ABA Newsletter
CLIFFORD V. BUTTLEMAN (1886 – 1970)
Clifford ―Cliff‖ Buttleman passed away in the Buttleman home in Horton, Michigan on September 3, 1970.
He is survived by his wife Eulalia, one sister, three nephews and two nieces. His was a long and
distinguished association in the music world, both in the commercial field and in the field of music
education. He lived at various times in Jackson and Kalamazoo, Michigan, in Chicago, Illinois, in
Washington, D.C. and Boston, Massachusetts. He was the first Executive Secretary of the Music Teachers
National Association, now the Music Educators National Conference. This position began with the
opening of their business office in Chicago in 1930. He served in this capacity until his semi-retirement in
1955, but continued as a consultant for the conference until his illness.
During World War I he served as a one dollar a year man with the War and Treasury Departments in
Washington, D.C., on the welcome and recreation committee for soldiers stationed in Europe. He was one
of the founders of the Jackson, Michigan Rotary Club and was associated there with the Acorn Press. He
was also advertising manager for the Jacobs Band and Orchestra publications in Boston, Massachusetts.
Buttleman attended Ferris State, from which he received a distinguished alumnus award, plus awards from
Boston University, the Music Educators National Conference, and the Edwin Franko Goldman Award
given by the American Bandmasters Association. Cliff was a member of the Horton, Michigan Masonic
Lodge, an Honorary Member of Sigma Nu Alpha fraternity (Symphonia Fraternity of America), and the
Congregational Church. He was the MENC Association ABA representative until the MENC withdrew
their membership.
1971 ABA Newsletter
PETER BUYS (1881 – 1964)
The unexpected death of our good friend ―Pete‖ came as a shock to his family as well as to his many
friends. The announcement was received and read at the opening session of the San Antonio convention
last March. His son, George Buys, wrote me last April:
Dad‘s passing came as a shock to all of us. He appeared to be in good health when I went with
him to his doctor on Wednesday, and on the following day it was all over.
Peter Buys was born and reared in Amsterdam, Holland. He first came to the United States in 1897 and
served with the band at West Point, during which time he became a U.S. citizen. From 1912 to 1930 he
was associated with and was arranger for John Philip Sousa. Following his years with the Sousa Band he
became director of the Huntington, Pennsylvania Municipal Band and served as a teacher of music on the
faculty of Juniata College. He became band director of the Hagerstown, Maryland Municipal Band in
1920, in which position he served until his retirement in 1960. Following his receiving the honorary degree
of Fellow of Music, the Dara Musical Institute conferred on him the honorary title Doctor of Music.
During his career he amassed a record of more than 2000 transcriptions and arrangements and more than
200 published and unpublished compositions. A biographical sketch of Peter Buys reveals the following:
Conductor, composer, educator…Arranger and member of Sousa‘s Band 1912-1930…Faculty member and
organizer of instrumental department at Juniata College 1913-1930…Director Hagerstown, Maryland
Municipal Band 1920-1960…President American Bandmasters Association 1939-1940…Honorary
Member Pennsylvania Bandmasters Association…Honorary Member Maryland Band Directors
Association…Honorary Life Member U.S. Navy Band…Member Musicology Society…Member
ASCAP…Director Emeritus Hagerstown Municipal Band 1960…Author of ―A Brief History of Bands in
the U.S.‖ (written for the U.S. Department of State)…Honorary degrees: Fellow in the Art of Music,
Doctor of Music.
Peter Buys was the associate editor of ―Who is Who in Music 1940‖…Contributor of musicological
material to various periodicals…Frequent guest conducting appearances with concert bands and symphony
orchestras…Recipient of many national and local honors…Musical education in Europe and the
U.S….Recently completed Opus #123 (for band…Completed well over 2000 transcriptions, arrangements,
etc….Listed in Who is Important in Music, ASCAP Biographical Dictionary, Who is Who in Music,
Diccionarion enciclopedico de la Musica, Barcelona, Spain…Who is Who in America, International Who
is Who, Who is Who in the East, Musicians International Directory (London, England).
Pete and Lena Buys were two of the most loyal and faithful attendants at ABA conventions in the
organization. Pete was an untiring worker for the welfare of bands. His quiet humor and his participation
in events of a ―lighter nature‖ as well as serious were highlights at ABA conventions. Lena has been in
poor health for almost two years. The last news about her stated that she was in the Fahrney Keedy
Nursing Home in Hagerstown and had suffered a broken hip. Immediately following Pete‘s death it was
considered inadvisable to give her the many letters of condolence which had been written. And with the
death of Peter Buys we find another vacant chair in the great bands of the past and in the thinning ranks of
those who did so much for early day bands. But their contributions will long be remembered—and
appreciated.
1965 ABA Newsletter
―Personal Recollections of the 2nd Annual (1931) Convention of the
American Bandmasters Association‖
As Related by Past President Peter Buys - 1961
First, some pre-convention impressions.
In Edwin Franko Goldman‘s suite there assembled many new faces. It was the first convention for Herbert
Clarke and his brother Ed, both old friends whom I had not seen in 17 years, although we had corresponded
regularly.
Several members brought their ladies for the first time. Some more new members as well as old ones were
present, including publishers, manufacturers, etc.
Our excellent host, Walter M. Smith, Sr., was on the job. While it was during prohibition days there was
never any lack of spiritual refreshments. You see, the prohibition officer of Boston happened to be a
member of Walter‘s Band. It was a great convenience and we made great use of him.
Mr. Sousa arrived the second day of the convention and appeared to be in excellent health.
The principal business of the whole convention was the matter of an ABA
instrumentation. Mr. Goldman had appointed a committee in Middletown. He asked me to take the
chairmanship. I accepted, well knowing what I was in for. That year was spent in research at the
Congressional Library and in sending questionnaires to all well known bandmasters in the U.S. It was a
busy time.
Our 2nd, 3rd, and 4th meetings in Boston were turned over to me. After these interesting and fruitful
meetings my new draft was accepted and unanimously adopted by the members and publishers present. I
made it a point to have it understood that this was an entirely flexible instrumentation.
Four hundred or more professional musicians from the Greater Boston area were assembled on the huge
stage of Mechanic‘s Hall, ready to rehearse for the annual concert. After some opening adjustments, I
rehearsed my ―Governor‘s March.‖ There was no trouble at all. I had to use a megaphone to talk to the
percussion section. No, we did not as yet have loud speaker systems.
After Mr. Sousa rehearsed his famous suite ―Looking Upward,‖ he suggested that we walk back to the hotel
together. This was reminiscent of the walks we used to take before train time on the road with ―The Band.‖
We both enjoyed our walk and talk, and I left him in the best of spirits. Neither of us realized that this was
the last walk we would have together.
Came the concert. A filled auditorium. A wonderful concert but much, much too long. Mr. Sousa started
conducting his suite at 11:50 p.m. The concert was over at 12:40 Sunday morning. Many of the audience
remained with us to the very end.
Entertainment was sumptuous. Every luncheon and dinner was an invitation affair sponsored by a music
club or civic organization.
An invitation from Theron Perkins brought us to Framingham where he staged a splendid concert by a boys
band. This was, of course, after we had been properly fed at the country club.
Good old Sammy Harris invited his close friends (about 8 or 9 of us) to a dinner party. He took us to a
secluded and famous seafood place where we had an excellent shore dinner with all the trimmings. Karl
King told us that he was somewhat embarrassed with dishes he had never heard of and he didn‘t quite know
how to tackle a 14-inch lobster. He promised to get even with us if we ever came to Iowa where he would
show us up with his corn dinners.
Reunions were going on all over the place. There was little consideration of time. When I reached the
train after the concert on Sunday night I was a near exhausted as I have ever been, and I am sure I was not
the only one.
Note about the 400 piece band—
Herbert Johnston has sent a clipping from the Jacobs‘ Orchestra Monthly for April 1931 which throws
some light on the 400-piece band assembled for the Gilmore Memorial Concert on Sunday, April 12. It
states in part:
The gala concert will be given Sunday at which the new Sowerby, Hadley, Busch numbers will be
played under the batons of their respective composers. John Philip Sousa, Edwin Franko
Goldman and other members of the Association will conduct at this concert. The band will consist
of seventy-five picked players, increased to 400 for special effects and climaxes.
1961 ABA Annual Report
RAYMOND T. BYNUM (1906 – 2003)
Raymond T. Bynum was born in Springdale, Arkansas on August 14, 1906 and died in Abilene, Texas on
August 1, 2003, two weeks short of his 97th birthday. Following graduation from high school in 1922, he
enrolled in Hardin Simmons College in Abilene. After two years of college, he taught in Toyah, Texas,
earning enough money to finish his degree. He graduated from Simmons College in 1926 with a bachelor‘s
degree in Spanish. Even though he had no musical experience, he became a member of the first Cowboy
Band. He soon was playing a beat-up bass horn, which he shared with a football player. Whenever the
player was free to play music, Ray had to watch from the sidelines. Eventually Ray‘s father and a teacher
bought him a saxophone.
In 1926 the Abilene school system hired him to teach Spanish. As a new teacher, Ray drew gate-keeping
duty at football games. To get out of this chore, he created a high school marching band. Bands were
already a mainstay at many Texas colleges, but no high school in the state had one. Eight students signed
up to be band members, and Ray found eight more. He led the sixteen in street clothes onto the field to
play music, march, and entertain the crowds during the half time of an Abilene football game. This was the
first Texas high school band to appear at a half time show, for which every Texas high school band owes
some measure of homage to Ray.
From 1926 to 1946 Ray was the cog of the Abilene school‘s musical program. Besides the band, he
directed the school orchestra, started a feeder system at the junior high and elementary schools, and in 1938
started a girls‘ band. His bands were winning awards, as other music programs in the state were following
Abilene High‘s lead. Ray was a creative promoter. When his high school band finished thirteenth out of
fifteen bands in an out-of-state contest, Ray simply told the president that his school finished first among
all of the competing Texas bands. In recognition of his contributions to Abilene High School, the band
rehearsal room was renamed Bynum Band Hall.
In 1946 Ray joined the faculty of McMurray College with the challenge to rebuild the band that had
disbanded at the start of World War II. He began rehearsals in a surplus barracks building with two dozen
students. If he found students who played the accordion, those students would march alongside the horn
and piccolo players. He even used Medieval herald trumpets and a steam calliope to give shows a circus
touch. Ray ran a disciplined class. There were lectures on etiquette, and guest visitors talked about proper
manners. He was fluent in Spanish and a master of English grammar. Any student who was found to be
speaking incorrectly was immediately corrected. Dr. Bryce Jordan, a member of the band from 1937 to
1941 recalled a time when Ray heard him mispronounce the word ―toward‖ as ―too-ward.‖ ―Not correct,‖
Ray would say, and immediately remembered to quote an example from an old parlor song: ―Her pappy
turned the picture toward the wall.‖ It was one of the many bits of learning that never left Jordan, who
eventually served as president of the Pennsylvania State University system.
Forty-six years and thousands of students later, Ray retired in 1972. He never forgot a student‘s name, the
instrument he played, and the musical skill the student possessed. By his desk there were three books: a
Bible, a dictionary, and the latest poetry book he was reading. Keats and Tennyson were his favorites. Ray
ignited a passion for music in thousands of students. Many followed him into music professionally. The
late Gideon Waldrop became dean of the Juilliard School of Music. When Ray retired, five of his former
students were directing bands in Abilene. While at McMurray, his band brought together sixty couples in
marriage, only two of which have gone sour.
Ray was very proud of his membership in ABA, to which he was elected in 1953. Ray Jr. had this to say
about his father‘s first visit to an ABA convention:
To illustrate his excitement over his election to ABA, I am reminded how determined he was to
take his family of four children between the ages of five and seventeen to the 1954 convention at
West Point Military Academy in New York state. Only after arriving did he learn that it was quite
unusual for members to include their families. The trip from Texas to West Point was a most
memorable experience for all of us. True to February‘s unpredictable weather, the experiences in
the family car included a dust bowl quality dust storm in Texas, six inches of falling snow in Ohio,
and severe thunderstorms with lightning and tornadoes in Missouri and Oklahoma. In spite of all
that, the weather in New York was beautiful, and the thrill of a first trip to New York for four
Texas children was very great. My five-year-old sister Sue was particularly intrigued at ABA
member Dr. Glenn Cliffe Bainum‘s ability to wiggle his ears, most certainly a mark of great
showmanship.
In 1960 Ray was awarded an honorary Doctor of Music degree by Oklahoma City University, and one year
later was honored as the Texas Bandmaster of the year. He served as president of the Texas Music
Educators Association and the Texas Bandmasters Association. The Raymond T. and Mary Catherine
Bynum band scholarships were established by McMurray College honoring his memory.
Ray spent the last few years making occasional appearances and attending ceremonies in his honor. His
last public appearance was on November 2, 2002 at the McMurray College homecoming. Confined to a
wheelchair, he sat on a podium in the Bynum Band Hall named in his honor. Surrounded by his former
students he conducted his favorite march, composed by his long-time friend John Philip Sousa, ―The Stars
and Stripes Forever.‖
In December 1999 the Abilene Reporter News named Ray one of the Abileneans of the millennium,
honoring him for his contributions to the arts. After retirement, Ray and his wife Mary converted their
back yard into a large rose garden. In some respects the roses became Ray‘s students. He knew each
flower that bloomed, down to the growth rate. Ray‘s achievement and his ever present cowboy hat and
cigar will be a reminder of a life well lived.
(Editor‘s note: much of the material in this memorial came from the newspaper.)
2004 ABA Annual Report
Note: The 1986 Annual Report noted the death of Catherine Bynum, wife of Raymond, on September 17,
1985.
C
LUCIEN CAILLIET (1891 – 1985)
Lucien Cailliet passed away on January 3, 1985 at the age of 93. Born in Chalons-Sur-Marne, France, he
received his musical education at the French National Conservatoire, where he studied arranging and
composition with Paul Fauchet, Gabriel Pares, and Vincent D‘Indy.
During World War I Cailliet rose through the ranks to become a band director in the French Army. In the
early 1920s he toured the United States with the Gard Republican Band and later returned to live here.
Besides playing clarinet and arranging for Stokowski and Ormandy and the Philadelphia Orchestra, he
taught at the Curtis Institute of Music. His varied career brought him to the National Music Camp at
Interlochen, Michigan and to the University of Southern California, where he taught arranging and
composition. He was a member of the Screen Composers Society and ASCAP since 1946.
From 1957 to 1978 Lucien was Music Education Director for the G. Leblanc Company. His many honors
include two French Presidential Citations: the Officer of the Order of Arts and Letters, and the Officer of
the Academy. Lucien was elected to membership in the American Bandmasters Association in 1959. At
the Toronto ABA convention he became an Honorary Member of Kappa Kappa Psi, and in 1983 he
received the Harding Award of the American School Band Directors Association.
Lucien was an extremely energetic, kind and generous person who devoted much time to helping his
students and friends.
His numerous publications are testimony of his arranging and composing talents. A fitting tribute to his
memory is his transcription of ―Elsa‘s Procession to the Cathedral.‖
1985 ABA Annual Report
MAURICE MOORE CALLAHAN (1914 – 1997)
Maurice Moore Callahan was born in Girard, Kansas on December 8, 1914 and died in San Marcos, Texas
on February 8, 1997, following a massive stroke. Maurice spent his early childhood in Girard and attended
the public schools there. Maurice‘s musical talent was evident at an early age, so his parents arranged for
violin lessons at a nearby college. His Russian violin teacher, Miss Hesselberg, had the reputation of being
a terror. Not pleased at how Maurice had performed a passage, she called out impatiently, ―I could yust
yump out of the vindow!‖ Little Maurice quietly laid down his violin and obliged by opening the window
to expedite her departure.
The Callahan family moved to Parsons, Kansas where he attended high school and junior college. Maurice
attended Bethany College in Lindsborg, Kansas. He was a scholarship student and directed the student
bands at concerts and athletic events. He was the band‘s euphonium soloist and played first chair viola in
the symphony orchestra. After he earned the BA degree from Bethany College he went to Colorado State
College in Greeley, where he received his Master of Arts degree. His master‘s thesis, ―The History and
Development of Symphonic Bands in America,‖ has become an important research tool. Doctoral studies
took him to Columbia University, the University of Cincinnati and the Cincinnati Conservatory of Music.
While in Cincinnati, he took euphonium lessons with ABA member Frank Simon. Maurice became an
accomplished performing artist and had numerous opportunities to play professionally but chose to make
teaching his career. Many of his articles relating to his field of expertise appeared in many periodicals and
music magazines.
Maurice was drafted into the Army during World War II and served this country for four and one-half
years. Two of those years were spent in India, where he was an Army Air Corps transportation technician.
In 1948 Maurice joined the faculty of Bemidji State University as Director of Bands. That same year he
established the Bemidji Band Camp and was in charge of the operation for five years. The camp continues
to flourish.
In 1952 Maurice was a member of the faculty at Southwest Texas State University. After two years he left
there to teach at the University of Minnesota in Duluth. He was Director of Bands there from 1955 until
1960. He returned to Southwest Texas State University as Director of Bands and was there until his
retirement in 1979. He brought the university bands into national prominence.
Maurice was a major figure in Texas music education and very active as a clinician, adjudicator, mentor
and guest conductor, both in the United States and internationally. He belonged to numerous musical
associations and fraternities, including CBDNA, Phi Mu Alpha Sinfonia, Phi Beta Mu and Kappa Kappa
Psi.
Among his honors were the Cooper Foundation Award for outstanding scholarship at Colorado State
University and the Alumni Award of Merit for Distinguished Service from his alma mater, Bethany
College. However, he felt that his greatest honor was his election to ABA in 1950.
Maurice‘s nephew, Steve Dehlen, offered this testimonial at his uncle‘s memorial service:
Maurice had a compassion for the needy, quietly seeking jobs for talented students who otherwise
could not continue in school. When he learned of an exchange student not having a coat, Maurice
anonymously purchased one for him. Such acts of caring, and there were many, were a part of his
character. Tolerance for betrayal and distortion of the truth was not in him. Solid Midwestern
values learned from his parents permeated his character. He was a strong supporter of Christian
higher education, verbally and financially.
1997 ABA Annual Report
MORLEY F. CALVERT (1928 – 1991)
Morley F. Calvert died on September 6, 1991 in Barrie, Ontario, Canada.
Although he was born in Brantford, Ontario on June 11, 1928, he spent most of his youth in Montreal.
Morley graduated from McGill University with a Bachelor of Music degree. Post-graduate studies took
him to the University of London, to Esztergom, Hungary, and to the Danube Band Summer University in
Austria. His teaching career began at the Westmount High School in Montreal, where he was Director of
Instrumental Music for twelve years. Subsequently he taught at Lindsay Place High School in Pointe
Claire, Quebec, a position he held for thirteen years. In spite of his busy instrumental teaching schedule,
Morley was active as a choir director, organist and composer.
In 1958 he founded the Monteregian Music Camp in Ayres Cliff, Quebec, and was its director for twelve
years. He organized and led the McGill University Concert Band and the Lakeshore Concert Band of
Montreal. He also served as bandmaster of the Salvation Army‘s Montreal Citadel Band and was an
organist and director of numerous church and civic choirs, including the Hamilton Civic Concert Choir.
Morley was a member of the Canadian Band Director Association, serving as president of the Ontario
chapter and Nation Executive Vice President. A member of the Quebec Music Educators Association, he
served as president from 1958 to 1960. Morley was also a member of the Ontario Arts Council. He was
elected to the ABA in 1979.
Morley belonged to the Society of Composers, Authors and Publishers of Canada. His compositions and
arrangements for band, brass, and choir ensembles have touched the lives of many amateur and
professional musicians throughout Canada and the United States. Morley appeared as conductor,
adjudicator, and clinician around the world. In 1970 he conducted a program of his compositions on the
BBC in London.
Although Morley retired several years ago, he continued to teach a light schedule at the Mohawk Junior
College in Hamilton. He didn‘t just want to grow old gracefully, he wanted to grow old actively.
1992 ABA Annual Report
DONALD ERNEST CANEVA (1936 – 2008)
Don Caneva was born on October 10, 1936 in Lockport, Illinois and passed away August 29th after a nine
year battle with kidney cancer. He was dedicated to music as both a director and an educator. He taught
music at every school level from elementary through college. With a musical background of being a third
generation band director, Don received his Bachelor of Music Education degree from DePaul University
and Master of Arts degree from the University of Hawaii. He began his teaching career at the age of 17
with the St Dennis Band in Lockport, IL.
After graduating from the University of Hawaii, Don organized the band program at the new John Hersey
High School in Arlington Heights, Illinois. The band flourished under his direction. During his 10 years as
the Director of Bands, the Hersey Bands were privileged to perform with some of the ―giants‖ in the music
field including, Frederick Fennell, Carmen Dragon, Arthur Fiedler, Rafael Mendez and ―Doc‖ Severinsen.
Under Don‘s direction, the band also performed at numerous prestigious events which included the Cotton
Bowl Parade, Orange Bowl Parade, Tournament of Roses Parade and the College All-Star Game. His band
was placed on the list of the Sousa Foundation‘s Roll of Honor of Historic High School Concert Bands. In
1976, at the age of 39, Don was one of the youngest band directors to be elected to membership in the
American Bandmasters Association. He also served as chairman of the ABA Foundation which funds
worthy causes in the field of music education, and served on the International Relations Committee and the
Enrichment Committee.
In 1978, Don accepted the position as Band Music Editor for the Kjos Music Publishing Company and
moved with his family to San Diego. After a year, he was hired as Youth Group Department Head of the
American Broadcasting Company‘s Travel Network Corporation. After seeing the potential for growth in
the music industry, Don founded ―World of Music‖ Festivals, which for many years held music festivals
for junior and senior high school bands, orchestras, and choirs throughout the United States. It was highly
successful and he was owner and president for over 25 years.
Don was appointed conductor of the Coastal Communities Concert Band in Encinitas, California in 1987.
The band grew from its original size of 30 players to an outstanding concert band with over 80 enthusiastic
members. They traveled extensively to destinations such as Hawaii, Switzerland, Austria, and Italy. They
won many prestigious awards, including the ―Sudler Silver Scroll Award‖ from the John Philip Sousa
Foundation (1998), and the Gold Prize at the International Alpine Music Festival in Switzerland (2001). In
2007, the documentary ―Community Band – Our Lives in Music‖, produced in association with and
highlighting the Coastal Communities Concert Band, is a tribute to the universal need to make and share
music, with behind-the scenes stories of passion, dedication, commitment, and hope. This documentary
was recently awarded an Emmy and has been broadcast extensively on KPBS.
At the time of his death, Don was still active in the American Bandmasters Association, as well as
chairman of the Sudler Silver Scroll Committee. He still played an active role in the Coastal Communities
Concert Band, and was able to conduct the band until the last few months of his life. He was a very loved
member of the community, and will be missed by all who knew him.
He is survived by his wife, Brenda; four children: Chris, Amy, Keith and Danielle, seven grandchildren,
sisters Denise Desanto of Libertyville, IL, Diane Caneva of Addison, TX, brother Tom Caneva of
Champaign, IL, stepmother Lillian Caneva and many cousins, nieces and nephews.
2008 Annual Report
ERNEST ORESTE CANEVA (1907 – 1992)
Ernest Oreste Caneva was born in Asiago, Italy on December 8, 1907 and died in Lockport, Illinois on
April 4, 1992 after a prolonged illness. His family immigrated to the United States in the early 1900s,
settling in Clinton, Indiana. Ernie‘s first music teacher was his father, Luciano. When he was eight years
old, Ernie started playing alto horn and snare drum in his father‘s band. At the end of World War I, his
family returned to Italy. In 1924 the Canevas returned to the U.S., settling in the Chicago area, where Ernie
played with dance bands in Chicago and Joliet. He and his brother Carl operated music studios in Joliet,
Aurora, Lemont and Lockport.
Ernie received both his Bachelor and Master of Music Education degrees from VanderCook College of
Music. He did additional graduate work at Northwestern University and DePaul University.
In 1931 Ernie became the band director at Lockport Township High School, a post he held for forty years.
His bands were among the best in the nation, garnering numerous top honors in competition. The most
notable contest took place in Mason City, Iowa, sponsored by Warner Brothers in conjunction with the
premiere of the movie ―The Music Man.‖ The nationwide competition attracted bands from forty states.
The Lockport Band won first place and received $10,000 worth of instruments and a ten-day tour of the
eastern United States.
Ernie organized and taught a number of bands in the area‘s elementary schools, establishing a feeder
system that benefited his high school program.
Although Ernie retired from high school teaching in 1972, he continued his musical activities for more than
ten years. He organized the Providence Catholic High School Band and reinstated community concerts
with the Dellwood Park Band. He organized a campaign to build a band shell at Dellwood Park in
Lockport. The city honored him by calling it the ―Ernest O. Caneva Performing Arts Center.‖ The Band of
Lockport established the Ernest O. Caneva Memorial Music Scholarship Fund in his honor.
Numerous honors and awards were bestowed on Ernie: the prestigious ―Mac‖ award, the Edwin Franko
Goldman Distinguished Service Award from the Illinois Music Educators Association, the Distinguished
Service Award from VanderCook College, the Phi Beta Mu Hall of Fame at Northwestern University, and
an honorary doctorate from Central Christian College in Bartlesville, Oklahoma. He was elected to
membership in ABA in 1958. Ernie was a member of the National Band Association and a charter member
of both the American School Band Directors Association and Phi Beta Mu.
Ernie was both a composer and arranger. He was in constant demand as a guest conductor, clinician and
adjudicator. He composed more than 70 works, including overtures, novelties and marches for band, and
arranged numerous charts for jazz bands.
As a high school director, Ernie was sometimes thought of as a gentle tyrant, often stopping a rehearsal on
the first note because it wasn‘t perfect. He tried it again and again until it was perfect.
Don Caneva tells of an incident during his father‘s last year at Lockport High School. Ernie was rehearsing
a piece with an oboe solo. He stopped the band and addressed the errant soloist: ―Mary, I don‘t agree.
You‘re playing notes instead of making music. But your mother didn‘t play it very well, and your
grandmother not at all!‖ How many other teachers can boast of teaching three generations of students?
1993 ABA Annual Report
MILBURN E. CAREY (1912 – 2006)
Dr. Milburn E. Carey passed away Thursday, April 20, 2006 in Texas at the age of 94. Dr. Carey was a
revered Honorary Life Member of the ABA and certainly one of the longest serving members (67 years!)
having been elected to membership in 1939 at the age of 27, the youngest member ever elected to the ABA.
He was born February 25, 1912 to Ernest and Vivian Carey in Marion, Indiana. He received a Bachelor of
Science degree in public school music in 1935 from the University of Illinois, a Master of Music in 1943
and Doctor of Education degree in 1955, both from Columbia University. A noted music educator, Dr.
Carey is listed in ―Who‘s Who in America‖ primarily due to his long-term contributions in band, orchestra,
choral and drum corps music.
He was probably most widely known as the driving force and managing director of the Tri-State Music
Festival in Enid, Oklahoma. He became the director of this event in 1936, and was its director for 47 years.
He was credited with evolving a local band contest, which had been started in 1932 by Russell L. Wiley,
into a complete music festival with vocal and string components, as well as extensive solo and ensemble
events, attracting up to 22,000 participants annually, primarily from Texas, Oklahoma and Kansas.
(Personal note from the author, Don Wilcox: I was one of the many participants in this event. I tagged
along to Tri-State with my dad‘s high school band from Wewoka for years, and later participated for seven
years myself, from the 6th grade through high school in Chickasha, Oklahoma. Sigurd Rasher was the
adjudicator for my 6th grade sax solo in a church basement in Enid when I was 12.)
During this time period the Tri-State involved hundreds of famous names in the band world as adjudicators
and clinicians, and received international acclaim. Dr. Carey was also serving as the bandmaster, head of
the music education department and Director of the School of Fine Arts at Phillips University. In addition,
he was also the choir director at the First United Methodist Church, as well as the founding director of the
American Legion ―Legionettes,‖ an all-girl drum and bugle corps, which played for 14 years, sponsored by
the American Legion. The group toured to California and New York. He organized the Red Carpet
Country Choir and Instrumental Ensemble, which toured Europe four times. Dr. Carey also served on the
Board of Education for 16 years, serving two terms as president. All of this took place in the small town of
Enid, Oklahoma.
He served as national president of Phi Beta Mu, the International Bandmasters Fraternity, for 23 years and
was named International Honorary Life President. He was a recipient of the Friend of Phillips University
award in 1999
Special note from Velma Wiley Bogart:
Dr. Carey was my band and orchestra director, flute teacher and we played in a woodwind quintet
together during my four years at PU where I received a Music Ed degree. I worked in the office
for Tri-State during that time and took my own little band from Hennessey, Oklahoma to the 25 th
Tri-State.
My dad, Russell L. Wiley, preceded Dr. Carey as band director at Phillips and held a band contest
there in 1932, which evolved into Tri-State Music Festival in 1933. From 1934 to 1968 Daddy
was the band director at the University of Kansas. In 1936 he started Midwestern Music Camp,
which is still going strong. Daddy passed away in 1991 and Milburn, as chaplain, read a tribute to
him at ABA, which Daddy loved very much.
My husband, Sam, and I enjoyed very much a couple of ABA concerts in Dallas recently.
Dr. Milburn Carey was a leader and touchstone within the ABA for 67 years, a span that may never be seen
again. His spirit and devout personal faith will always be remembered with love and respect.
2007 ABA Annual Report
Note: The 1986 Annual Report noted the death of Betty Carey, wife of Milburn, on October 18, 1985.
―PAST ABA MEMBERS I HAVE KNOWN—FIRST DECADE‖
Presented by Milburn E. Carey - March 9, 1995
I consider myself indeed fortunate to have enjoyed an extended acquaintance with more than 100 members
of this Association who have been promoted to serve as Bandmasters in a still higher calling. Although I
have known more than 100, 70 of them regular convention attendees, I am limiting my remembrances to
the first decade of this organization, which ends with the first of my 56 years of membership. I feature 34
outstanding Bandmasters who have certainly made an impact on my life. You have seen their names in our
―Lest We Forget,‖ but perhaps they were just names to you.
I knew seven of the nine charter members.
My first contact with A. Austin Harding was in Flint, Michigan at a National High School Band Contest
where I was participating in the oboe solo events. My Marion, Indiana high school bandmaster took me to
Harding‘s hotel room, and while he was dressing for the parade, I played portions of my competition solo.
Dr. Harding, then ABA Treasurer and later the 3rd Honorary Life President, assured me that I would have
scholarships in both band and symphony at Illinois.
Most of my contacts with ABA members were at Illinois when I was a member of the Concert Band and
Band Librarian. There, Dr. Harding brought other charter ABA members to the National Band Clinics as
featured guest conductors-clinicians. At Illinois I first saw our Founder and 2 nd Honorary Life President,
Dr. Edwin Franko Goldman. Before I went to Phillips University as Bandmaster, Managing Director of the
annual Tri-State Music Festivals, Leader of the 189th Field Artillery and 45th Infantry Division Bands, Dr.
Goldman had served as a featured adjudicator-conductor at Tri-State. I invited him several times to
continue to serve in these same capacities. In 1948 when the Phillips Band was in New York City for the
International Lions Clubs Convention, Dr. Goldman invited our band to play a 45-minute concert prior to
his band‘s program in Central Park, On the Mall. For me it was a unique experience to hear applause from
25,000 listeners. I had not experienced that in Enid, Oklahoma. Later, when I was directing the summer
session bands at Columbia University, Dr. Goldman invited me several times to conduct his band.
Dr. Frank Simon, Director of the ARMCO Band and the 4 th Honorary Life President, came to Illinois to a
National Band Clinic. Later, I invited him several times to judge and conduct at Tri-State, and on one
occasion he played ―Willow Echoes‖ with the Phillips Band.
Victor Grabel, Director of the Chicago Professional Band, was a featured conductor at a National Band
Clinic, and he visited in the band library. My first contact with Captain Charles O‘Neill, Director of
Canada‘s Royal 22nd Regimental Band, was at my first ABA convention in Hagerstown, Maryland in 1940.
Later, I brought Captain O‘Neill to Tri-State as a guest conductor.
In the summer of 1939, as a graduate student at Northwestern University, I became acquainted with charter
member J.J. Gagnier, Director of the Grenadier Guard‘s Band of Canada. He had been brought to conduct
the summer session band by Glenn Cliffe Bainum. I played oboe in the band and attended Gagnier‘s
classes as well as chatting with him several times. Captain R.B. Hayward, Director of the Toronto Concert
Band, was President at the Hagerstown convention. I talked with him there as well as at the next
convention in Madison, Wisconsin.
Following the charter members are the first active members taken into the Association in order of their
membership.
At the National Contest in Flint, Michigan I went up to John Philip Sousa, our first Honorary Life
President, whom I found standing alone at the hotel desk. He autographed a souvenir program for me and
seemed interested in me as a young instrumental musician. The next year, at Illinois, he and his band
played a concert on his last tour. Dr. Harding had arranged a banquet for the Sousa Band with the
University Concert Band and, as Band Librarian, I talked with him about his vast repertoire. Following his
death in 1932, 42 trunks of his band library came to Illinois and, as Band Librarian, I had much to do with
its early use.
Peter Buys, Municipal Band Director, was the Hagerstown convention host. On a tour to the organ factory
there, we sat together and visited about his compositions for clarinet, band and other instrumental works.
Henry Fillmore, composer and arranger, came to Illinois to conduct on an annual concert. Dr. Harding, in
his invitation to Henry, said, ―Be sure to bring your dog Mike,‖ who had been featured on Fillmore‘s
national radio programs. As an oboist sitting in the front row, I was close to Fillmore and Mike. I later
brought Henry to Tri-State and he invited me to judge in Miami in 1950.
Karl King, Composer, Director of the Barnum & Bailey Circus Band, had also been featured as a clinician
at an Illinois concert and to conduct his marches dedicated to Illinois and the band.
I brought Karl, our 5th Honorary Life President, to Enid several times to judge and to conduct. On one visit
he wrote and dedicated a march to me and the Phillips Band.
Simon Mantia was a featured baritone soloist of the Goldman Band. In my schooling at Columbia and
visits to the Goldman Band concerts, I made it a point to attend when Mantia was featured and to talk with
him afterward.
Everett McCracken was the Director of the Baylor University Band. Being fellow denominational
university Bandmasters, we were often found judging together at the same contests in the Southwest, and
naturally we spent time reviewing our relationships in the quiet times.
I first met Glenn Cliffe Bainum, the 6th Honorary Life President, at a National Band Clinic. Harding often
asked him to play bass drum for he had done so as a member of the Illinois Concert Band. In 1939 I
became better acquainted with him at Northwestern, and one summer I shared, along with Hugh McMillan,
as librarian to the University All-State Band for the Chicago Tribune Football Classic when Bainum had
the band. He also came to Tri-State several times when I got to know him better.
My first contact with Herbert L. Clarke, former soloist with the Sousa Band, was at Illinois. He was there
as a featured conductor at one of the National Band Clinics. On one of the programs of the Illinois Concert
Band the 1812 Overture was listed. Dr. Harding asked Herbert casually if he would conduct it and he
readily agreed. He stepped smartly to the podium and conducted the lengthy Tschaikowsky overture
without asking for or referring to any music. I was thoroughly impressed. A few years later I was on a
judging panel with him in Lubbock, Texas, and had a picture taken with him in front of the school where
the contest was held. Still, a few years later five of my grandchildren graduated from that school. I
brought Herbert L. Clarke to Tri-State several times as a conductor-clinician. His talks were well attended
and thoroughly enjoyed.
I might add that at one of the annual Tri-State Music Festivals I assigned Harding, Clarke, Simon, King and
Fillmore to adjudicate Class A bands. There was no fault found with their decisions!
One year there were 22,000 participants from twelve states and 125 judges.
My first acquaintance with Captain Thomas Darcy, Director of the U.S. Army Band, was at the early ABA
conventions. A few of my graduate students became members of this band when I had further contacts
with him.
A. R. McAllister was well-known in Illinois and elsewhere as the Director of the National Champion High
School Band. Preliminary state contests were held at the University where I first knew him for the first five
years I was there. Later, he came to Tri-State as a featured conductor.
Ernest Williams was in attendance at the early conventions where he was easily available for conversations,
sometimes regarding his own School of Music.
I first met Harold Bachman at Winona Lake, Indiana when his Bachman‘s Million Dollar Band on a
Chautauqua tour played in the Billy Sunday Tabernacle. I was enrolled in a summer band camp there.
Harold asked me to play 2nd oboe in the concert sitting next to Joe Olivadoti. Later, I knew Bachman when
he came to Illinois for the clinics and when he often served as a conductor at Tri-State. One of his sons was
stationed at Fort Sill, Oklahoma. Harold would come early to visit with him in Lawton, Oklahoma or in
Enid.
I first met Howard Bronson at the Madison convention in 1941. I was on a short leave from federal service
as the leader of the 189th Field Artillery Band stationed at Fort Sill. Howard invited me to serve as a
Special Music Officer during WWII for he was in charge of all army music activities.
When I went to Sioux Falls, South Dakota as National President of Phi Beta Mu to charter a chapter, I met,
and several times talked to Carl Christensen, director of bands at South Dakota State College in Brookings.
Raymond Dvorak was my oboe instructor four years at Illinois. I later renewed our close relationship when
he was injured in a train wreck coming to Tri-State and was hospitalized there for eight weeks. On one of
my visits to him he said, ―Milburn, I had two of the greatest thrills in my life today,‖ as he lay in bed with a
cut-off arm in bandages and a leg in a cast. ―What were your two great thrills today?‖ I asked. He replied
enthusiastically, ―In a wheelchair I put my good foot on the ground. I never realized my good feet on the
ground before. My second great thrill was to listen to the birds. I never seemed to have time to listen to
them before now.‖
R. A. Dossche, a professional flutist from Belgium became a high school Bandmaster in San Antonio. I
worked with him several summers at Texas Tech during their band camps.
Carl Hoyer was a Bandleader of a New Mexico National Guard Band. When we were activated to federal
service at Fort Sill in 1940, in our Square Division, his band was one of the nine Division Bands which
included the 189th Field Artillery Band that I conducted.
I first met Joseph E. Maddy at a National Band Clinic. Then, in 1933 I served as a Camp Music Librarian.
Frederick Fennell and Bill Ludwig, Jr. were the principals in the percussions, with the Interlochen Bowl
just an open door away from the library. One summer at Interlochen I shared conducting the three bands
with Clarence Sawhill and appeared there several times later as a guest conductor for a few days. Joe
Maddy‘s first home was in Wellington, Kansas, just across the border north of Enid. One of his sisters
lived in Enid. Joe and Ray Dvorak were on the Rock coming into Enid for Tri-State when it was struck by
a gravel truck, causing an accident. This was in 1948 when the Chicago Union was fighting Joe‘s national
broadcasts at Interlochen, and as a result of this condition, the Enid train wreck and Joe Maddy were on TV
and radio several times. Also, Tri-State was mentioned occasionally.
My acquaintance with Sidney Mear was through ABA. I first met him at the 1941 Madison convention.
Later, in military circles with Howard Bronson, we were in several meetings together. I brought him to
Tri-State in the late 40‘s.
Joe Maddy brought Bill Revelli, Honorary Life Member of ABA, to Urbana to a National Band Clinic the
first year Bill was at Michigan. As a high school bandsman in Class A, we were often in the Indiana state
band contests when the Hobart Class B band was playing. At Gunnison, Colorado in the 50‘s I became
much better acquainted with Bill when he directed the top band. I shared one of the three next bands with
Glenn Cliffe Bainum and Harold Bachman.
C. R. Tuttle was my high school Bandmaster. I played in his bands five years and was oboist and Drum
Major in several national high school band contests. Although in college circles the cry was ―Beat Notre
Dame,‖ in Marion the thrust we heard was ―Beat Joliet,‖ for Tuttle was intent on this project. He gave
lessons before school, at the noon hour, after school till late at night, all day Saturday and Sunday
afternoons. He was somewhat successful at Tulsa in 1931 when Marion won 2nd place to Joliet in the last
National Band Contest. A month later he fell while running up the steps of the post office. Soon after, he
had a stroke, lingered for a few months, and died at 42 years of age.
I first met Ed Chenette when at Illinois. He brought his DeKalb High School Band to Urbana for the state
contests. Ed wrote works which were favored by many directors. I brought him to Tri-State when he was
Bandmaster at Stetson University in Florida.
James Harper, Lenoir, North Carolina High School Bandmaster and the 7th Honorary Life President of
ABA, was a prominent member from 1936 to 1986 and was president in 1955. I often talked to him at
ABA meetings.
I met Ralph Rush at Interlochen in the 30‘s when he was director of a high school band in Cleveland, Ohio.
I kept in touch with him and brought him to Tri-State from his position at the University of Southern
California.
Harry Alford came to Illinois soon after writing his special arrangement of ―The World is Waiting for the
Sunrise.‖ Dr. Harding asked him to come to the podium to conduct the concert band in his arrangement
during the clinic. I was surprised at his extreme reluctance to conduct. Harding was just as insistent and
finally he came to the podium. It was a shaky beginning for his knees were shaking so much that he had
difficulty making a downbeat. When the band began to play he followed the beat well and his most
effective arrangement made another terrific hit.
I enjoyed a long relationship with Colonel Earl D. Irons. It began in 1935 and continued until his death in
1967. He came to Tri-State each year and we often found ourselves together at band contests and band
camps and visiting in our respective homes. The Colonel was the 14 th President of ABA.
Carleton Stewart and I were the only two judges at the Western Slope Band Festival in Grand Junction,
Colorado in 1937. We continued our contacts at contests and ABA conventions until 1985.
D. O. Wiley was at Texas Tech when I first became acquainted with him. His brother, Russell, had brought
him to Tri-State in 1933 and I continued with these invitations. D. O. brought me to the Tech band camps
twelve times as conductor-teacher and oboe soloist. I also went to Lubbock at least two times to judge
contests. His son, Pete, later an ABA member, told me I gave him his first oboe lesson when he was in
junior high school.
Richard Franko Goldman, William Kunkel, Graham T. Overgard, Russell Wiley and I became members of
ABA in 1939. Following his father‘s passing, Richard Franko became conductor of the famous Goldman
Band with summer concerts in New York‘s Central Park, Brooklyn‘s Prospect Park and in Lincoln Center.
Richard invited me several times to conduct the band when I was director of the Columbia University
summer session bands. My wife and I enjoyed a supper with him and his wife in their apartment at One
University Place.
William Kunkel had been a piccoloist with the Sousa Band and later was director of the University of New
Mexico Band. I invited him to Tri-State where he appeared as an adjudicator and piccolo soloist with the
Phillips Band.
Overgard was director of both sections of the 2 nd Regimental Band at Illinois and director of the Urbana
High School Band when I was a student at Illinois. In 1938 he, Lucien Cailliet, famous composer, and I
made up the jury at a National Regional Band Contest in Grand Junction, Colorado. While Cailliet gave
the bands a 1st Division, Overgard considered them in 5th Division. I found myself in between their
ratings.
Russell Wiley had preceded me at Phillips University by two years. I became well acquainted with him in
twelve visits to the Mid-Western Music Camp at Lawrence, Kansas and in his several visits to Tri-State.
His daughter, a talented flutist, became a student at Phillips with me serving as her mentor. She now lives
in Arlington, Texas.
At my first ABA convention, L. Bruce Jones and Paul Yoder were invited to membership. Bruce had
preceded me at Illinois by three years and was developing an outstanding high school band in Little Rock,
Arkansas. He later moved to LSU where he continued to focus on the concert band. He found his new
university president, a military retiree, to be interested only in the marching band for military reviews and
football games. Bruce attempted to satisfy this idea by starting a drum and bugle corps which he discussed
with me at the West Point convention. In addition to his high school band work, Bruce conducted Baptist
Church choirs, using the income to purchase land and cattle, looking forward to retirement. Just three
months after retirement he passed away before he had time to enjoy his years of well earned relaxation.
I first met Paul Yoder at a National Band Clinic at Illinois. As a junior high Bandmaster in Evansville,
Indiana he came to Urbana with Claude B. Smith, his supervisor, of the Smith-Yoder-Bachman series. I
kept in touch with Paul when he was in Aurora, Illinois and later when he was turning out many band
compositions and arrangements of pop tunes such as ―Boogie Woogie Bugle Boy.‖ We became close
friends with him and Rosie. Several times Paul, an ABA Honorary Life Member, came to Tri-State,
usually writing a band number for the Honor Band or a selection for the Grand Finale combining the Honor
Band, Chorus and Symphony. We often asked him to emcee our banquet, for his unique and clever humor
was enjoyed by all.
All of the new members taken into ABA by 1940, in addition to being recommended by a member of the
Association, were required to take a test or examination consisting of four parts. 1. Write a two-page
history of bands in North America and Europe. 2. In three pages, name prominent Bandmasters in North
America and Europe allying them with the bands they conduct as well as their accomplishments and
service to their constituents. 3. From a given 16-measure melody, harmonize it in four or more parts. 4.
From a given 4-part 16-measure phrase, arrange it for concert band on full score pages of manuscript paper.
Of the 70 active members taken into this Association in the first ten years who have passed on, I had more
than a speaking acquaintance with 34 of them. I was blessed with this truly special fellowship.
Briefly, I wish to mention six of the outstanding Associate Members of the early era who have passed on.
They are Lynn Sams, who literally kept ABA together by inaugurating the Newsletter during WWII when
meetings were not held. Lynn was also special for he was busy in my native state at the C. G. Conn Co.,
and a close friend. Richard Madden of the Chicago Musical Instrumental Co. followed Lynn with the
Newsletter. Richard and I were in the National Oboe Solo Competition in Denver in 1929 and then carried
on our friendship, he at Northwestern and I at Illinois, and later when we played together in the oboe
section of the summer band at Northwestern.
Max Winkler of Boosey-Hawkes Belwin and I became well acquainted during my six summers living in
New York City. I came to know Neil Kjos, Sr. when he was a band director in Urbana, Illinois and well
known as an ―E-fer Clarinet Soloist.‖ Jack Fedderson of Selmer was my first roommate at Illinois, even
though it was for one night only. We worked together on several projects in later years. Bill Ludwig, Sr.
of the WFL Drum Co. was always at the Illinois clinics and visited regularly in the band library. He later
came to Tri-State several times, bringing with him his son, Bill, Jr.
Literally, there are thousands of anecdotes in my association with the men I have named but time does not
permit me to elaborate on them. My assignment was to ―Reminisce‖ with ABA members of the first ten
years, limited to those who have passed on.
I was honored with membership in ABA 56 years ago and I am honored to be with you here today.
1995 ABA Annual Report
LAUREANO G. CARINO
Address to ABA Membership - 1960
President Dvorak and Gentlemen of the Convention:
As Honorary President of the National Band Association of the Philippines, I take this opportunity to
express my gratitude to Dr. Dvorak and the distinguished members of the Board of Directors for inviting
me to be your guest in this annual convention of your association. The American Bandmasters Association
is a very well known organization among musicians in my country, and our beloved President of the
Philippine Republic, His Excellency Carlos P. Garcia, who is also a great lover of music, immediately
approved my official trip to be with you to attend this convention. Modesty aside, I come to you as
unofficial ambassador of good will of my country, poetically known as the‖
Pearl of the Orient,‖ and politically known as ―the show window of Democracy‖ in the Far East. What we
are now and much of what we have, we confess we owe to the benevolence of your country. But for this
alone, the friendship between your country and mine shall remain firm and solid forever. It is in this spirit
of friendship that I come to you now hoping to learn what I can, and bringing home with me something that
will enrich the culture of my country—music in general and band improvement in particular.
My country, the Republic of the Philippines, merely known as the Philippines, has a population of 25
million enjoying the highest standard of living in all Asia as a result of its nearly 50 years of contact with
the United States. It has a democratic form of government under a constitution patterned nearly after that
of the U.S. This is the reason why my country is known as the ―show window of democracy‖ in the Far
East. English is spoken everywhere by everybody, young and old, because the English language is the
medium of instruction from the grade school up to the college and graduate levels. So much for statistics
and a little history, I hope I have drawn a clear picture of my country.
I present an invitation to the members of the ABA to visit the Philippines and I assure them that they will
have a wonderful time. I will be in the airport to meet you with two keys—the key to my car for your own
use to be at your disposal 24 hours a day, and the key to my bungalow in Tagaytay city (the most popular
vacation resort among tourists because of its scenery, climate and exclusiveness) where I will invite you to
live.
1960 ABA Annual Report
HERBERT L. CARTER, JR. (1920 – 2007)
Herbert Leland Carter, Jr.
November 13, 1920 – May 21, 2007
Memorial written by Don Wilcox
ABA Memorial Speaker: Bill Malambri
Long time ABA Member Herbert Leland Carter, Jr. was born in Mayfield, Kentucky, on November 13,
1920, the youngest son of Herbert Leland and Kate Morris Carter, and passed away Monday, May 21,
2007. Herb graduated from Murray State University where he began his career as a clarinetist and jazz
musician. There he also met and married Louise ―Put‖ Putnam. During World War II he served in the
United States Air Force as a woodwind specialist and conductor. After the war he earned a Master of Arts
degree from Columbia University and continued study at the Julliard School of Music in New York.
In 1946 Herb and Put moved to Greenville, N.C. where he established a band program at East Carolina
University. During his tenure of over 40 years he was a dynamic partner in the growth of the School of
Music, serving as Director of Bands and Chair of the Instrumental Music Department. He established the
first jazz band, ―The Collegians,‖ directed summer music camps and state high school band clinics, served
as adjudicator for music festivals across the country, and recruited many musicians to ECU. Herb‘s
Symphonic Wind Ensemble performed at meetings of the College Band Director‘s National Association
and the Music Educator‘s National Conference. Under his direction, the wind ensemble premiered original
works by such noted composers as Gould, Giannini, Dello Joio, and Persichetti who was a close personal
friend.
In addition to his membership in the ABA, Herb served as president of the Southern Division of the
College Band Directors National Association, president of the North Carolina Bandmasters Association,
and Province Governor of Phi Mu Alpha Sinfonia Fraternity. He was selected as one of the ten most
outstanding music directors in the United States by the School Musician Magazine and received the
Citation of Excellence by the National Band Association.
After his retirement in 1987 Herb and Put continued to be active in the university and community. They
served as tutors, volunteered for Meals on Wheels, and were active members of St. Paul‘s Episcopal
Church. They loved to play golf both in Greenville and in the North Carolina mountains where they spent
their summers. Herb was a loving husband, father and grandfather. He fought a long and determined battle
with Alzheimer‘s disease and was a true gentleman through it all.
EDWARD STEPHEN CHENETTE (1885 – 1963)
Edward Stephen Chenette was born in London, Kentucky on August 17, 1885. He died of coronary
thrombosis in Bartow, Florida on September 10, 1963. Interment was in Wildwood Cemetery, Bartow,
Florida.
Ed was one of the very early school band directors in the United States. His first school band was at North
High School, Des Moines, Iowa in 1908. He later directed, and in many instances organized, school and
municipal bands in DeKalb, Illinois; Shamrock, Texas; Honey Grove, Texas; Carlsbad, New Mexico;
Miami Beach and Haines City, Florida. While teaching and directing in Florida, he was President of the
Florida Bandmasters Association.
As Director of the World Home Show Band in 1914 and 1915 and while in Canada, he and practically the
entire band (with his brother Clate, an ABA member, as assistant) enlisted in the Canadian Army, where Ed
served as Bandmaster with the Canadian Expeditionary Forces. He was later invalided back to the United
States and brother Clate took over as director.
From 1918 to 1920 he directed the Iowa State College Band. From 1921 to 1923 he was director of the
famed Eveleth, Minnesota Municipal Band. He was also director of the Illinois State American Legion
Band at the time of their trip to Paris, France in 1927.
Ed studied music at Alsbury Conservatory of Music in Des Moines, at Chicago Musical College, and at the
VanderCook School of Music. He was a composer and arranger of note, and has a large number of school
band compositions to his credit. In 1950 he retired from active musical life and resided in Florida until his
death.
Ed was a member of the Methodist Church, the American Legion, was a Shriner, and a member of ASCAP.
Close relatives attending the funeral were the widow, Mrs. Maude Chenette; Mr. and Mrs. Clate Chenette
of Georgiana, Alabama; son Stephen Chenette, now first trumpet with the Minneapolis Symphony
Orchestra; and daughter Mrs. Constance Chenette Bax of Murfreesboro, Tennessee.
It is most difficult to pay suitable tribute to one whom I have known as long as I have known Ed and the
Chenette family. I have grieved with both Ed and Clate in the loss of their brothers ―Tex‖ and ―Jimmie‖—
both excellent musicians—and in the loss of their parents. I have long admired the Chenette family for
their interests, activities and successes in music. Ed was another one of the pioneers in the school band
field, yet he was also most active in the professional field. His humorous and sometimes provocative
articles written for the old Jacobs Band Monthly, and other music magazines recall to my mind such stories
as ―Alto Pete—The Demon Soloist.‖ Ed consistently claimed, humorously, that in his research on
―Trumpets of Jericho‖ that it was not the vibrations from the trumpet‘s blasts which brought down the
walls, it was the strenuous work of the baritone section whose labors undermined the foundations on a pre-
arranged signal, kicked the last remaining props loose—and the walls came tumbling down.
1963 ABA Newsletter
CARL CHRISTENSEN (1881 – 1963)
Born in Copenhagen, Denmark on August 26, 1881 where he started his music training at the age of six,
which training and study continued in Tyler, Minnesota where he located after coming to the U.S. and at
which time he was still a child. Continuing the private study of music and playing with semi-professional
musical organizations, he joined the staff of South Dakota State College in 1906 as instructor of violin and
director of the orchestra, becoming director of the band in 1911. In 1918 he was named professor and head
of the department of music. Named professor emeritus of music in 1951, he continued working with his
first love—the band—throughout the fall of 1953.
Affectionately known as ―Christy‖ to all students, faculty members and friends, he first gained national
honor and recognition for the South Dakota State College Band, and for himself, when his band paraded
before the King and Queen of England when they were in Winnepeg, Canada in 1939, and at which time
they won first honors as the outstanding marching band.
In 1929 he was awarded an Honorary Bachelor of Music Degree by the McPhail School, and in 1932 he
became South Dakota‘s first bandmaster to be accepted as a member of The American Bandmasters
Association. In the early 20‘s Christy gave generously of his time and ability in helping beginner school
bands in South Dakota and western Minnesota. His early day band clinics and his helpful guidance to
young instructors were responsible for the successes of many later well known band directors, teachers and
players.
In 1950 he was presented with the first $1,000 George Lincoln Brown award for ―able and inspiring
teaching and help,‖ at which time the college named the day ―Christy Day‖ and the alumni presented him
with a new Buick automobile as a token of their feeling.
ABA member Karl King wrote and dedicated one of his early day college marches to Christy—―The South
Dakota State March.‖ In 1961 South Dakota State honored him by dedicating the ballroom in the new
Pugsley Union Building in his honor and naming it the Christy Ballroom; congratulatory messages received
at that time included those of the late President Kennedy as well as Dwight D. Eisenhower. In 1963 he was
presented a 60-year Masonic award.
Funeral services were held in the Baptist Church in Brookings, South Dakota; music was by the South
Dakota State University Brass Ensemble, and by Joan Orvis on violin and Mrs. Leland Sudlow, organist.
Honorary pallbearers included many of Christy‘s fellow and former faculty members, and long time friends
in Brookings. Active pallbearers included many of his former students, now band directors and teachers.
Christy was preceded in death by his wife on June 29, 1956. He is survived by two daughters, Mrs. Leona
M. Leland of Seattle, Washington, and Mrs. Vivian Potter of Madison, Wisconsin, and a son Lorin of Los
Angeles.
From the time of Christy‘s first election to membership in ABA, and up until he was no longer able to
travel, there were none who were more faithful attendants at ABA Convention than Carl and Mrs.
Christensen. He was always ready and willing to accept any assignment of ABA work. His suggestions
and advice were highly regarded, but never given unless he was asked. His music and his compositions
were inspiring, and his kindness and thoughtfulness can never be forgotten.
1966 ABA Newsletter
JOSEPH ZINN CHRISTENSEN (1944 – 1998)
Joseph Zinn Christensen was born in Ogden, Utah on March 15, 1944 and died in Rochester, Minnesota on
September 17, 1998 from complications of a liver transplant. He grew up in Ogden where he began his
musical journey.
Joe attended the public schools of his hometown and played trumpet in the school band. After graduation
he enrolled in the Utah State University. After two years he transferred to the University of Michigan
where he earned his Bachelor and Master of Music degrees in 1967 and 1968. While studying at Ann
Arbor, he was also a Visiting Professor at Eastern Michigan University.
For five years, until 1974, he was a faculty member at Louisiana Tech University before joining the staff of
Iowa State University as Associate Director of Bands. In 1980 he became Director of Bands, overseeing
the work of seven different instrumental groups. Joe‘s wind ensemble was known for its superb musical
technique and style. In 1987 and 1990 the ensemble performed in Mexico on tours sponsored by the
United States State Department.
Joe served as the state chairperson of the College Band Directors National Association from 1986 until
1993. He was college affairs chairperson of the Iowa Bandmasters Association from 1986 to 1988 and
became their president in 1988. He served as college affairs chairperson and president of the Iowa Music
Educators Association from 1988 to 1992. During this period he was also Co-chairperson of the Iowa
Alliance for Arts Education, State Chairperson of the Society for Music Education, board member of
Iowans for Arts Education and president of the Big Eight Band Directors Association. Besides being an
honorary member of the Golden Key National Honor Society, he was the recipient of the Iowa State
University Faculty Citation of Excellence in 1993. A year later he was named to the Ames Convention and
Visitors Bureau Hall of Fame.
In 1996 the National Band Association honored him with their Citation of Excellence. During his career
Joe was a clinician and adjudicator throughout much of the nation and in Winnipeg, Canada.
Joe was elected to membership in the American Bandmasters Association in 1998 and planned to attend his
first convention this year. We were all looking forward to welcoming him to our fellowship.
Behind the long list of honors and accomplishments was simply an outstanding person. Joe always had
time for his students. He challenged them without intimidating them, at the same time nurturing and
inspiring a love of music. He really gave his life to his band and music. Students and alumni gratefully
remember his dedication.
The Iowa State University Foundation has established the Joseph Christensen Band Scholarship in his
honor.
1999 ABA Annual Report
A. BERT CHRISTIANSON (1913 – 2004)
Bert Christianson was born August 15, 1913 in Council Bluffs, Iowa, and died on June 10, 2004. Bert‘s
talent in music was apparent at an early age. He began with the C-melody saxophone and clarinet. As a
teenager he traveled to Glacier National Park in Montana to play in the Glacier Park Orchestra. Bert
graduated from Central High School in Grand Forks, North Dakota. He earned the bachelors degree in
music from the University of North Dakota.
Bert taught music and science in the public schools in Idaho for six years. During World War II he served
as director of the 363rd ASF Band (from 1942-46). While he was stationed in Vancouver, Washington, he
met and married Shirley Jean Beckett. After World War II Bert taught music at Genesee High School and
attended the University of Idaho, where he received the masters degree in 1947. Upon receiving the
degree, he was appointed Director of Bands and Associate Professor of Woodwinds at Central Washington
University.
From 1947 until his retirement in 1978 he taught woodwinds, conducting, and music education courses and
conducted the wind ensemble.
Above all, Bert was a loving husband and father and spent precious time with his children and their
families at the Christianson family vacation home in nearby Leavenworth,
Washington.
2005 ABA Annual Report
HERBERT L. CLARKE (1867 – 1945)
―The Anglo-Canadian Leather Company Band (The Huntsville Band)‖
Anglo-Canadian Leather Company - Huntsville, Ontario, Canada
This famous band, founded in 1914, achieved its place in band history before ABA was founded.
However, it is included as an ABA industrial band because of its undeniable record under its most famous
conductor, Herbert L. Clarke. The band was started by a small group of Italian immigrant employees of
The Anglo-Canadian Leathern Company at Huntsville, Ontario, Canada, a small town of 2,000 people
located about 100 miles north of Toronto. Charles O. Shaw, the head of the company, adopted the band
and embarked on a program of improvement. He induced the already-famous Herbert L. Clarke to come to
Huntsville in 1918, and the rest is history. Some professional critics rated the band as the best ever
assembled in North America during the five years of Clarke‘s leadership. Upon leaving Huntsville in 1923
Herbert L. Clarke became conductor of The Long Beach [California] Municipal Band where he remained
for twenty years, serving with great distinction.
Herbert L. Clarke became an active member of ABA in 1930 and was elected its third president at Toronto
in 1934.
1987 ABA Annual Report
WILLIAM D. COLE (1920 – 1979)
William Cole of Bellingham, Washington died July 1, 1979 at the age of fifty-nine. He was born in
Norton, Kansas on June 6, 1920.
William Cole was elected to membership in The American Bandmasters Association in1969. He had
served as Director of Bands at Lake Washington High School from 1948 to 1954, and at Stadium High
School in Tacoma, Washington until 1957. He joined the University of Washington staff in 1957, where he
directed the Husky Marching Band and the University Concert Band. In 1970 he became Director of
Bands and Instrumental Music at Western Washington University in Bellingham.
Bill was an active professional musician for many years, playing lead trumpet with Les Brown‘s Band and
principal trumpet with the Seattle Symphony Orchestra.
Cole received a Bachelor of Science degree in Music Education from the University of Illinois in 1946, and
did post-graduate work at Los Angeles City College. He received a Masters Degree in Conducting from
the University of Washington in 1957. Bill belonged to the College Band Directors National Association
and served as President of the Washington Music Educators Association from 1972 to 1974.
He was actively involved as a guest conductor, adjudicator and clinician throughout the Northwest, Alaska
and Hawaii. Bill conducted the Seattle Junior Orchestra and was the founding conductor of the Seattle
Concert Band, one of America‘s few professional concert bands. He made his last appearance conducting
the Seattle Junior Orchestra on June 2, 1979 and was eagerly planning a concert with his university wind
ensemble for the Music Educators Conference this spring; thus, he passed away in the midst of a busy and
involved career.
Bill Cole left a musical legacy in the lives of colleagues and students who knew him and worked with him.
1980 ABA Annual Report
HAROLD R. COOKE (1894 - 1974)
Hugh McMillen, President of the American Bandmasters Association, read the names of those members
who had passed on since the last meeting. This list included Harold R. Cooke, who passed away on
October 11, 1974. He had been a member of ABA since 1961.
1975 ABA Annual Report
WELDON COVINGTON (1908 – 2000)
Weldon Covington was born in Alvord, Texas on March 5, 1908 and died in Austin, Texas on July 10,
2000. He grew up in a musical family—his father played clarinet and his brothers played trombone, piano,
saxophone and percussion in their church orchestra. At the age of six, Weldon started to take piano lessons
and his musical career began when, as a nine year old, he became the pianist for his Baptist church. His
feet didn‘t even reach the pedals. He was chided by some of his peers as a piano-playing sissy. Weldon
responded to their bullying by lifting weights for a year, building his physique so noticeably that the bullies
never bothered him any more. Weldon was quite a remarkable young man. He also played the trumpet and
for several years commuted to Fort Worth for a weekly lesson. He played in the high school band, and as a
junior became the band director when the school lost its director and considered dropping the band
program. Weldon also played on the school basketball team. Usually he played with the team for the first
half of the game, directed the band during the halftime break, and rejoined the team to play the second half.
In 1925, after graduating from high school, he attended the North Texas Agricultural College at Arlington
and was a student of ABA Past President Colonel Earl D. Irons. After serving as band soloist and assistant
band director for a year, Colonel Irons encouraged him to enroll in the Ithaca Conservatory of Music to
study under the famous band director Patrick Conway. After finishing the two-year course Weldon earned
his diploma and accepted a teaching position at the Marietta, Oklahoma high school. There he directed the
band, the city band and his church‘s choir.
In 1929 ABA member D. O. Wiley, director of the Cowboy Band at Hardin-Simmons University, hired
Weldon as assistant director and trumpet soloist. He was a featured soloist with the band on their three-
month European concert tour. Weldon graduated from Hardin-Simmons with a B.A. in music and later
earned his M.A. in music at the University of Texas.
In 1931 Weldon was hired to direct the Austin, Texas high school music program. At his first band
rehearsal he had eight members, his orchestra had six, and the choir 30. At their first football game, twelve
band members rooted for their home team. In order to keep the band playing together, Weldon would play
the trumpet with one hand and beat the bass drum with the other, and if he quit, they quit. Although all of
his first-year band members were boys, he succeeded in convincing his superintendent and principal that
girls should be allowed to play in the band. Weldon eventually developed his bands into state and national
contest winners. He also composed the school song, ―Loyal Forever.‖ It was during his tenure at Austin
High School that Weldon was elected to ABA membership in 1952.
After 21 years with the Austin High School program, he was promoted to Supervisor of Instrumental Music
for the Austin district, retiring from that position in 1973. Although he never taught at the Covington
Middle School in southwest Austin, when the school was dedicated in 1986 it was named in honor of
Weldon and his wife, Verna. Incidentally, Verna has the distinction of being the first female band director
in Texas. In gratitude for the honor bestowed on him and Verna, Weldon composed the middle school‘s
alma mater, ―Loyalty and Honor.‖
Weldon took great pride in the personnel decisions he made, staunchly stood by them, and had a unique
talent for recognizing musical ability. In 1961 he recommended a music student in his senior year at the
University of Texas to fill a position at the O. Henry Junior High School in Austin. All of us can agree that
Weldon made a great choice when he hired [future ABA Past-President] Bob Foster as that director. He
was also greatly impressed by the potential of a 22-year-old female band director from Mississippi. He
recommended Paula Crider to be the band director at Crockett High School in Austin. In spite of doubts
and protests from the school‘s personnel department, he hired her, and she became the first female band
director in a Class 4A school. After a notable career developing outstanding musical groups and more than
fulfilling Weldon‘s high expectations, Paula became the director of the University of Texas Longhorn
Band.
Weldon served as president of the Texas Music Educators Association and was later inducted into their
Hall of Fame. Following his retirement from all activities, Weldon was inducted into the Austin High
School Hall of Honor. In the early 1940s he was director of the 143rd Infantry Band and for 26 years he
directed the Austin Municipal Band.
The legacy of Weldon‘s long and illustrious career is one that few that match and fewer will surpass.
2001 ABA Annual Report
WILLIAM R. ―Ziggy‖ COYLE (1928 – 1997)
William R. Coyle was born in Columbus, Ohio on March 16, 1928 and passed away in his sleep on
December 22, 1997 in Worthington, Ohio. He was known to his family and friends as ―Ziggy,‖ a nickname
he took from Ziggy Elman, featured trumpet soloist with the Tommy Dorsey Orchestra. Educated in the
public schools of Columbus, he played trumpet in the Columbus West High School Band. At the age of 14
Ziggy was invited to sit in and play with Dan Crawford‘s dance orchestra at the high school prom. He
enjoyed the experience so much that he joined the American Federation of Musicians at the age of
fourteen! In 1944, at age sixteen, Ziggy played in the Chuck Selby Band, one of whose members was our
own ABA member Dick Bowles. Dick was the director of the Lockbourne Air Force Base Band, located
just southeast of Columbus.
Following graduation from high school at the age of sixteen, Ziggy enrolled in The Ohio
State University where he eventually earned the Bachelor of Science in Music Education
degree. He began his teaching career at Starling Junior High School in Columbus and the
Columbus East High School.
From 1946 through the early 1970s he led his own Ziggy Coyle dance band, featuring himself on trumpet
and his wife, Margie, as vocalist.
In 1952 Ziggy formed a partnership with Warren Wesler and opened the Coyle and Wesler music store.
Eventually, Ziggy became the sole owner and operated six Coyle Music Centers. He was especially
supportive of local school music programs and was always giving things away, especially his time and
wisdom. Many aspiring young musicians benefited from his generosity when he furnished them with
instruments they could not afford to buy.
Ziggy founded the Columbus Annual Jazz Band Festival, which his business sponsored for thirty-six years,
specializing in student workshops and clinics. One of the first noted artists to participate was Jack
Teagarden.
When Ziggy retired in 1991 he turned over the business to his son Jeff. Coyle Music was elected to ABA
Associate Membership in 1970. Ziggy served as Secretary of the Associated Members Committee and was
named Honorary Associate Member in 1989.
Some of Ziggy‘s many personal and professional accomplishments include: Co-Founder and Past
President of the National Association of School Music Dealers; Past President of the National Association
of Music Merchants; Treasurer of the Mid-West Band and Orchestra Clinic; Honorary Board Member of
the Jazz Arts group in Columbus; Co-Founder of Omega Music Dealers group; Past President and
Executive Secretary of the North American Band Directors Coordinating Committee; member of the
Founding Board of Directors of the Columbus Brass Band and supporter of The Ohio State University in
numerous ways.
Early in 1987 ABA Associate Member Jimmy Saied told Ziggy of his John Philip Sousa dream. It was his
hope that ―The Stars and Stripes Forever‖ be adopted as the nation‘s official march. Ziggy was to serve as
national chairman while Jimmy would portray Mr. Sousa at concerts throughout the United States. Jimmy
did appear in more than one hundred concerts and generated hundreds of thousands of signatures. On
December 11, 1987 President Ronald Reagan‘s signature made the dream a reality. We are indebted to
Jimmy and Ziggy for their sacrifices and perseverance. On January 4, 1998 at a service celebrating the life
of William R. ―Ziggy‖ Coyle, ABA member Jack Evans and a fifty-four piece Ohio State Alumni Band
performed ―The Stars and Stripes Forever‖ in his honor.
Ziggy authored two books: ―Twentieth Century Music Men‖ and ―Ziggy, the Biography.‖ (If you haven‘t
read them, you should.) Ziggy was a member of numerous other organizations: Doc Severinsen‘s Big
Band, National Concert Band Association and an Honorary Member of Phi Beta Mu.
In 1983 one of the greatest honors given to Ziggy was The Ohio State University Distinguished Service
Award. It is one of the university‘s most coveted honors presented at the commencement ceremony. The
award singles out special individuals recognized for their service to the university and community rather
than for their academic achievements. Other awards came from the Greater Columbus Salvation Army, the
Columbus Citadel Band, Distinguished Alumni and Golden Circle Award from the Alpha Omega
Fraternity, the Alumni Citizenship Award from The Ohio State University Alumni Association, The Ohio
State University School of Music Distinguished Service Award and an Honorary Doctorate from
VanderCook College.
Ziggy was a unique, unselfish person, one who left his mark on an industry nationally and on music
education throughout Ohio. In a letter to Margie Coyle, our Secretary, Dick Thurston, wrote:
Ziggy has been a familiar figure in our ABA ranks for almost thirty years. His firm, Coyle Music
Centers, was truly a leader in the music industry; and Ziggy, its representative since 1970 and an
Honorary Associate Member since 1989, was just such a leader in our Associate Member ranks.
He filled several important posts, and his dedicated efforts on behalf of the entire ABA
organization were an inspiration to us all. Adding to that, his engaging personality and warm
friendliness to all, we realize that our loss is profound, indeed.
1998 ABA Annual Report
D
MAX FOREMAN DALBY (1920 – 2005)
Max Foreman Dalby, 84, died March 20, 2005. He was born in Driggs, Idaho, August 22, 1920 to Cleon
Ezra Dalby and Ethelwynne Griggs Dalby. He married Betty Marler on December 18, 1941. Following
her death in 1992, he married Marjorie West Crow of Palisade, Colorado. Max spent his childhood in
Idaho, Western Colorado, and Salt Lake City, graduating from West High School in 1938. He received a
bachelor‘s degree from Brigham Young University, a master‘s degree from San Diego State University and
an EdD from Utah State University.
Like a growing number of ABA members, Max was a second-generation band conductor and
instrumentalist, and even a second-generation ABA member. His father, Cleon E. Dalby, studied with Hy
Lammers of the Sousa Band, and with William H. Bickett of San Francisco. The elder Dalby made his
career primarily as a music educator, but also performed on the trumpet. He organized many band concerts
and band competitions during his career. Cleon Dalby was an ABA member and was honored as a
Trendsetter in Music Education in Colorado.
Max obviously came into the business with a strong background and a powerful example in his father.
Max was the principal clarinetist in the early years of the Utah Symphony, and during three years of
military service he conducted the 249th Army Ground Forces Band in the Canal Zone, Panama. Dalby
established the instrumental music program of the San Diego Diocese school system in 1946 and
administered it until 1950. Max was the instrumental music director of Cyprus High School, Magna, Utah
1950-1951; Ogden High School, Ogden, Utah 1951-1955; and Weber College, Ogden Utah 1955-1957.
From 1957 to 1985 Max served as a faculty member at Utah State University. While there, he was
coordinator of music education, director of bands, head of the music department, conductor of the USU
Symphony Orchestra, cofounder and conductor of the Cache Chamber Orchestra, and founder and
conductor of the USU Alumni Band. Max received the Distinguished Service Award from Utah State
University and in 1994 was named Utah State‘s ―Alumnus of the Year.‖ He was elected to the American
Bandmasters Association in 1979.
During his long and distinguished career Max served as president of several professional organizations. He
was active as a conductor, clinician and adjudicator in 25 states, Canada and Europe. Throughout his
career, Max gave thousands of private music lessons. The comments of his former students and colleagues
speak warmly and with deep respect of his musicianship, but even more of his genuine caring and
dedication to his students as individuals, and his positive influence on their lives.
Max is survived by his wife Marjorie, and children: Diana Edvalson, Ogden; Kim (DaNaze) Dalby,
Bluffdale; Jonathan Dalby, Ft. Wayne, Indiana; Chris (Beth) Dalby, Clearwater, Florida; Rebecca (Ron)
Nelson, Kaysville; Bruce (Mirle Hernandez) Dalby, Albuquerque, New Mexico; Victoria (Michael) Sweet,
Gardnerville, Nevada; Cynthia (Paul) Watson, Salt Lake City; Mariann (George) Lucy, Salt Lake City; 27
grandchildren and 15 great-grandchildren.
Read by ABA Memorial Speaker David Blackinton
2006 ABA Annual Report
Note: The 1993 Annual Report noted the death of Betty Dalby, wife of Max, on April 12, 1992.
EDWARD D‘ANNA (ca 1879 - 1965)
George C. Wilson, President of The American Bandmasters Association, paid a brief and poignant eulogy
for members of the association who had passed away recently. The name of Edward D‘Anna was included.
He was elected to membership in 1937 and passed away in1965. Edward D‘Anna was the conductor of the
Carborundum Band, which was sponsored by The Carborundum Company of Niagara Falls, New York.
The band was founded in 1926.
1966 and 1987 ABA Annual Reports
THOMAS FRANCIS DARCY, Jr. (1895 – 1968)
Captain Thomas Francis ―Tom‖ Darcy, Jr. was born in Vancouver, Washington where his father was an
Army musician at Vancouver Barracks, and later an Army Bandmaster. Tom once told me that he was
practically raised in the army, where he many times lived in the barracks until he was found by the officers
and ordered home. He first studied cornet with his father; he later studied with the late ABA member
Ernest S. Williams, Max Schlossberg, the Institute of Musical Art, and the United States Army Bandmaster
School. He first performed on cornet at age 7 in his home town of Vancouver.
ABA member Eddie Mear tells of meeting Tom Darcy and occasionally playing in the same bands on
Chautauqua circuits sometime around 1911 or 1915.
Tom became an Army Bandleader at Handelaincourt, France during World War I at age 22; from 1917 to
1924 he was Assistant, then Leader of the 18th Infantry and 1st Division Band; and from 1924 to 1935 was
Assistant Leader and cornetist with the United States Army Band; he also served as Dean of the U.S. Army
Music School from 1941 to 1945.
In World War II he took the U.S. Army Band of 86 men overseas where they saw service for approximately
two years. Over a period of his years in the service, Tom was awarded the Silver Star with Cluster, Purple
Heart, French Fougere, and the Verdun Medal.
In 1946 he retired from the U.S. Army and founded Somerset Music Press, where he did considerable
composing and arranging. Included in his compositions are: Alma Mater, An American Overture, An
International Affair, Army of the Free, El Burrito, Festival Overture, Gremlins, King Arthur, March
Fantastique, March of the Free Peoples, Misty Mountain, National Geographic, Nocturne, Okinawa, Pride
of the Capitol, La Princesita, Private Kilroy, Processional March 1 and 2, Rhapsody, Romance, Shaff, Then
Marched the Brave, Trip for Trumpeters, United States Army, With Flags Unfurled, and Youth on Parade.
A note from ABA member Col. William F. Santelmann (as told to him by ABA member Lt. Col. Sam
Loboda, Leader of the United States Army Band): Tom had been in a bad automobile accident on the
Pennsylvania Turnpike. It was not known if he had gone to sleep or died at the wheel. He was buried in
Arlington Cemetery, Washington, D.C. with the United States Army Band playing the burial services. The
flag was presented to Lt. Col. Sam Loboda, Leader of the U.S. Army Band, as there was no one from
Tom‘s family there to receive it.
His death brought sorrow.
1969 ABA Newsletter
ROBERT W. DEAN (1916 – 1994)
Robert W. Dean was born on August 4, 1916 in Kearney, Nebraska and died on September 29, 1994 in
Waterloo, Iowa following heart bypass surgery. Bob started playing clarinet in Kearney, organizing his
own grade school and high school bands. Bob performed at a state music contest in Minden, Nebraska
where John Philip Sousa was the adjudicator. Later at a social gathering Mr. Sousa gave Bob a quarter,
which he mounted as a souvenir to be treasured during his lifetime. This experience impressed Bob so
much that it influenced his desire to become a band director. Eventually Bob gave over fifty-two years of
service to the music profession.
Bob received his Bachelor of Science in music from the Kearney, Nebraska Teachers College, and his
Master‘s degree from Northwestern University. During his forty-year teaching career in the public schools,
Bob was band director and instructor of instrumental music in Iowa high schools in Spencer, Belle Plaine
and Mason City, and in Wells, Nevada. Bob first taught at the Elko County High School in Wells in 1938.
The school had an enrollment of 100 students, 65 of whom were members of the band! Bob took them to
the regional contest in Ogden, Utah where they received a superior rating.
Bob‘s teaching was interrupted when he served in the Army for two and a half years. His special services
unit landed in France on D-Day plus 4.
Bob was the director of the high school and municipal bands in Spencer, Iowa in 1960 when he was elected
to the American Bandmasters Association. In 1980 Bob joined the University of Northern Iowa at Cedar
Falls where for 14 years he was professor of music education and supervisor of instrumental music student
teachers. He was still active at the university when he died. His colleagues and students thought of him as
a music missionary, a fervent advocate of public school music with an endless passion for music education.
David Reul, past president of the American School Band Directors Association eulogized him, saying:
With the passing of Bob Dean, another giant has left the ranks of the band world. It‘s almost
incomprehensible to younger generations how men like William D. Revelli and Robert W. Dean
could live their lives, totally and unequivocally dedicated to the act and art of teaching—down,
almost, to their last breath.
Bob was a charter member and past president of the ASBDA, and past president and honorary life member
of the Iowa Bandmasters Association. For nine years he served as chairman of the board of electors for the
National Band Association Hall of Fame of Distinguished Band Conductors. He received the ASBDA
Edwin Franko Goldman Award for distinguished service to bands. Other honors were bestowed by the
University of Nebraska, the University of Northern Iowa Music School, the Iowa Bandmasters Association
and the National Band Association. He was also given the Mid-West International Band Clinic Medal of
Honor. Last November in Bob‘s behalf, his wife, Dorothea, accepted the 1994 National Federation
Interscholastic Association Award of Merit.
Bob donated his body to the University of Iowa College of Medicine. This generous contribution to the
advancement of medical science and the welfare of mankind was thus acknowledged by the College of
Medicine. ―To give of one‘s self so that others may live in health and happiness is a truly noble gesture.‖
We can add our own Coda: in a sense, he‘s still teaching.
1995 ABA Annual Report
RAY THOMURE DE VILBISS (1919 – 2002)
Ray Thomure DeVilbiss was born in Chicago on January 9, 1919 and died in Sioux Falls, South Dakota of
congestive heart failure on December 13, 2002. When he was three years old his family moved to Three
Rivers, Michigan. He started taking violin lessons at an early age and later took up the cornet. In 1934
when Ray was fifteen the family moved to Marshall, Missouri where he played violin in the high school
orchestra and cornet in the band. While living in Michigan, Ray had his first experience playing jazz music
in a six-piece combo. While attending the University of Missouri, Ray used this experience to play with
various dance bands, earning money to defray some of his tuition expenses. Although he was a pre-med
student, he continued playing violin and trumpet in the university symphony orchestra and in the band. By
his junior year he became a music major and an accomplished violinist. Following graduation, he began
his teaching career in the Unionville, Missouri high school as director of both the orchestra and band, in
addition to teaching a science course. His musical groups participated in many contests, earning ―I‖
ratings. Ray‘s teaching was interrupted by World War II. He joined the Navy and served as a naval
communications officer in the Pacific Theater.
In 1946 Ray returned to the University of Missouri to complete his master‘s degree in music. Additional
study took him to Drake University and the University of Michigan. Ray next taught for seven years in the
Winterset, Iowa public schools system, and again his bands earned first division ratings. While at
Winterset, Ray also played in the Simpson College orchestra and in the area concert bands and jazz
orchestras.
In 1953 he joined the music faculty of the University of South Dakota as Director of Bands, a position he
held for 28 years. In addition to his university obligations, Ray played in the Sioux City Symphony and
other Siouxland area orchestras. He developed and maintained an exemplary university band program until
his retirement in 1981. Ray played solo trumpet with the municipal band for 25 years. When ABA
member Leo Kucinski retired as director of the band, Ray succeeded him and became only the fourth
director of this internationally famous band. He served in this capacity until he retired in 1997.
During his career Ray established a national reputation as an adjudicator, festival coordinator, clinician,
orchestra player and author. In 1964 he founded the Upper Midwest Music Camp and managed it until
1981.
Ray‘s many awards include the Phi Beta Mu National Outstanding Service Award, the South Dakota Music
Educators Association Service Award, charter membership in the South Dakota Bandmasters Hall of Fame
and the Iowa Bandmasters Association Award. In 1974 he was recognized by the School Musician
magazine as one of the ten most outstanding band conductors in the United States. In 1981 the University
of South Dakota established the Ray T. DeVilbiss Band Scholarship Fund in his honor. Ray became a
member of ABA in 1968.
Ray‘s personal philosophy regarding music was this:
Music gives us the opportunity to rediscover that ―memorable moment.‖ What is the ―memorable
moment‖? It can‘t be bought, tasted or seen, yet any musician knows that it exists. It could be
called that momentary chill that tingles your spine at the climax of a stirring march, a patriotic
hymn, a thrilling overture, solid jazz, a powerful symphony or a tranquil tone poem. This, I
believe. Participation in music develops our inner self, our feeling for the arts, for beauty, for
creativity—this is what it is all about.
We would be remiss if we did not include some verses by our ―poet laureate.‖ This he called ―Treasures
Untold.‖
Talent wasted for want of a chance.
Talent un-nurtured, How to enhance?
Encourage, enlighten, Open a door
To visions, horizons never before!
Give if you can, To talent worthy be.
Music enhances Man – Help to set it free.
2003 ABA Annual Report
JAMES L. DIXON (1897 – 1984)
James L. Dixon, husband of psychic and columnist Jeanne Dixon, died in our nation‘s capital on May 16,
1984. He was born in England but came to the United States as a child.
During World War I he served with the air arm of the United States Army in France.
His life‘s work was in real estate. Jim Dixon owned one of the largest real estate firms in the Washington,
D.C. area. Although he had no formal training in music, he was an amateur composer who earned a
legitimate membership in the American Society of Composers, Authors and Publishers.
Jim, who was an Honorary Associate Member of ABA, was a staunch supporter of bands and band music
and was co-sponsor of one of ABA‘s conventions that was held in the nation‘s capital.
One of his greatest services to the American Bandmasters Association was his work as co-chairman of the
John Philip Sousa Memorial Committee, which established the John Philip Sousa Stage at the Kennedy
Center for the Performing Arts.
1985 ABA Annual Convention Report
Speech to the ABA Convention - 1965
Mr. President, Distinguished Guests, Members of the American Bandmasters Association, Ladies and
Gentlemen: Allow me to welcome you to the nation‘s capital.
You do me a great honor indeed in appointing me chairman of this wonderful ABA Convention. I‘m sure
that when your president sold your Board of Governors on appointing me to this very important
assignment, he just automatically thought that I would be doing most of the heavy and tedious work that
goes with such an assignment. But, Gentlemen, I must confess to you here and now that I have done none
of the work required to put this convention into being. In fact—to make a very long, long story short on
this subject—it is a genuine pleasure for me to tell you that none other than your own good president, Col.
Chester E. Whiting, has done at least 90% of the work involved with this undertaking.
Of course, no man by himself alone deserves all the credit for successful accomplishments of this kind—it
is only through the help and influence of many people that such things are carried out to peak performance.
Nevertheless, to Col. Chester Whiting goes great credit for this convention.
Very frankly, I often wonder how I came to be tied into the American Bandmasters Association and also
the Sousa Memorial. But on thoughtful reflection, I am sure that it came through the influence of none
other than our dear departed friend, Lt. Charles Benter. Charley Benter called me early one morning about
five years ago and asked me for a job. He got it. And it was one of the finest relationships between two
men I have ever enjoyed. Subsequently, he arranged for me to meet Col. George Howard. We had lunch at
the National Press Club. At that luncheon, Col. Howard asked me the very simple question as to what my
claim to fame was in the musical world, and I answered him just as simply by saying that ―as far as music
is concerned, Col. Howard, I must confess that I guess, music-wise, I would be regarded as a counterfeiter.‖
However, we did discuss one of my songs and Col. Howard was kind enough to have it scored for band
arrangement, and I hope to have the pleasure of conducting the U.S. Marine Band with this number during
this convention.
Again, Gentlemen, when I say you do me great honor at making me chairman of this convention bureau, it
is indeed still another great honor when you allow me to lead this great Marine Band playing my own
composition. The District of Columbia is my home town. It will be my first attempt at leading a band.
And speaking of the District of Columbia, our nation‘s capital, permit me to say, Gentlemen, that just as the
stars and stripes in Old Glory are the symbol of freedom, and just as the American Eagle is the symbol of
strength, just so is the District of Columbia, our nation‘s capital, the symbol of greatness, and anything that
goes on here should not be second great, including this great American Bandmasters Convention, because,
just as every citizen of this nation prides himself about his own home town, the facts are that the District of
Columbia is everybody‘s other home town. This is our nation‘s capital, Gentlemen, and every citizen owns
a small piece of this great capital city of which I am personally very proud. And I‘m sure that every other
citizen is also. God Bless America!
And now if I may for a few moments touch on the subject of the Sousa Memorial and what it means to you
and me. I‘m sure that George Howard thought that when he made me Co-chairman of the Sousa Memorial,
he too thought that I would be doing most of the work. But I fooled him also. George Howard has not only
done at least 90% of the work involved in this great work, but he has also brought to all bands throughout
the nation a new stature: a new high level of dignity when, through his masterful handling of affairs with
Mr. Roger L. Stevens, chairman of the Board of Trustees for the National Cultural Center, the new Sousa
Bandshell to be erected therein will not only be for the purpose of accommodating the great symphony
orchestras of the world performing in this great new Sousa Shell, but all of our type bands, as well.
Therefore, no longer will our great brass bands be playing ―second fiddle‖ to orchestras, great or not so
great, and it certainly is about time that the ABA be given this equal recognition.
And now just a few words about the funding, financing, of this great Sousa Memorial. It takes money to do
this job. We are committee to raise $100,000 by June of this year in order that we not only qualify for this
great honor but to also earn the right to pay this everlasting tribute to the late, great John Philip Sousa.
Gentlemen, Bandmasters all, This is your heritage! Like the runners in a great marathon race, the baton has
been passed to you, and you, and you, and yes, to all of you. And we must not betray our trust to that great
heritage. If the baton has been passed to you, and the baton is now your instrument, then let us master that
instrument to lead us on to victory in the establishment of the John Philip Sousa Memorial in the new
national cultural center, in our nation‘s capital. No group of men ever had a greater opportunity to pay
individual homage to the grand old patriarch of American bands and American band music.
In closing, I repeat, it is indeed a great honor to be associated with you fine gentlemen, and I am deeply
grateful. God Bless You—all of you.
1965 ABA Annual Report
PETER M. DOMBOURIAN (1920 – 1992)
Peter M. Dombourian died of cancer in New Orleans on January 13, 1992 at the age of 71. Elected to ABA
membership in 1970, he served on the Board of Directors for two years beginning in 1974.
A lifelong resident of New Orleans, he was a graduate of Fortier High School. Peter earned his bachelor‘s
and master‘s degrees in music education from Louisiana State University. In 1989 his alma mater awarded
him an honorary Doctor of Humane Letters degree.
In 1947, following service in World War II as a battery officer, Peter began his teaching career in the
Orleans Parish School System, an association that lasted for forty-two years. His school activities were
again interrupted in 1951 and 1952 when he served in the Korean War. Peter served both as Acting
Supervisor and Supervisor of Instrumental Music on the Parish School Board. For twenty consecutive
years his bands received superior ratings from the Louisiana Music Educators. Besides extensive
appearances in the United States, his bands concertized in Japan, Mexico and Canada, and he himself made
guest appearances with the Sony Band in Tokyo and the Prefecture Police Band in Paris.
In 1974 Peter inaugurated a music program at the Benjamin Franklin High School for gifted students.
Among the many students he taught at Franklin was the famous trumpeter Wynton Marsalis. Peter taught
part time until his retirement in 1991 for health reasons. Peter was active in New Orleans musical circles.
He was conductor and board member of the Summer Pops Orchestra, director and conductor of the Petit
Theatre du Vieux Carre, conductor of the Civic Symphony, and founder-conductor of the New Orleans
Concert Band.
During his career Peter was member and president of the Louisiana Music Educators Association,
convention chairman for the Louisiana Music Educators National Conference, state chairman of the
National Band Association, and President of the Louisiana chapter of Phi Beta Mu. In 1986 Peter was
elected to the Louisiana Music Educators Hall of Fame.
In a letter to Joyce Dombourian, Dick Thurston made the following reflection on Peter‘s life:
To all of us in ABA, I know, Peter Dombourian was ―Mr. New Orleans,‖ with a life and career
full of musical spirit and flair that distinguishes that great city. His achievements as the
preeminent music educator in New Orleans have few parallels; the achievements of the Marsalis
brothers, significant as they are, are only examples of the thousands of lives he touched,
illuminated and inspired.
1992 ABA Annual Report
JAMES W. DUNLOP (1913 - 1975)
Eulogy read by ABA Past President Clifford O. Hunt.
It is a privilege for me to pay tribute on your behalf to the late Dr. James W. Dunlop.
His influence in the field of music education and his exemplary conduct as a human being will be long
remembered. To make band music important in the cultural life of this continent, we need many more men
such as Jim Dunlop to set the example and lead the way.
Many fine tributes have been paid to Jim through his associates at Penn State University. President Dr.
John W. Oswald said that it was difficult to know how they would get along without him, since Jim was
Director of the Penn State Blue Band for 29 years. Jim was extremely proud of the achievements of his
school and particularly proud of the prowess of the football team, which provided the opportunity for his
band to be present at the Bowl Games for at least seven consecutive years.
During my twenty years in the ABA, he had become one of my closest friends, and we became even closer
during the years I followed him through the Chairs of this organization. During the subsequent years, we
were together adjudicating in Vienna, at which time Helen and Fay became very good friends. Jim and Fay
visited with us in Canada while Jim adjudicated our National Competition. One week before his untimely
passing, we were making plans for him to adjudicate the Kiwanis Festival in Toronto following his planned
retirement after the Bowl Game in 1975.
Jim Dunlop had tremendous respect for and pride in the ABA, and you will remember how fervently he
tried to insist on attendance at conventions. I don‘t think anything less than a disaster would change his
plans to attend the annual ABA convention. This is why he had such strong views regarding those who
seemed only to attend when it suited them. His type of dedication is rare today, and I hope that his example
will be a guide to all our members. You get from any organization only to the degree in which you
contribute. Jim Dunlop gave fully of himself to ABA.
Jim was honored by many organizations, which is a testimonial to his standing in the community of
musicians. In 1972 Jim was awarded the Citation of Excellence by the executive committee of the National
Band Association for ―an outstanding contribution to bands and band music.‖ He also had received the
University‘s ―excellence in teaching award.‖ He was President of the Pennsylvania Music Educators
Association and President and Secretary-Treasurer of the Pennsylvania Collegiate Bandmasters
Association. He also served as President of the Eastern Division of the College Band Directors and, of
course, served this organization as President, with distinction. Jim was a member of Phi Mu Alpha,
professional music fraternity; Phi Delta Kappa, professional education fraternity; and Kappa Kappa Psi,
honorary music fraternity. He was faculty counselor to Sigma Phi Epsilon, social fraternity. His service to
Penn State has been recognized in honors awarded by Skull and Bones, senior men‘s honorary, and Alpha
Phi Omega, service fraternity. He also found time for active participation in St. Paul‘s United Methodist
Church, service clubs, etc.
Through his skills and example, Jim has influenced the lives of thousands of young people, many to the
profession of music and many to help fulfill their lives in other endeavors.
We share with Fay and her family their great loss, and I know that his influence in this organization and all
others with which he participated will be felt for many years.
1976 ABA Annual Report
Note: The 2001 Annual Report noted the death of Faye Dunlop, wife of James.
President Dunlop‘s Address - 1972
Distinguished members of the ABA, honored guests and visitors—It is a pleasure to welcome you to the
opening meeting of our 38th Annual Convention.
During the past year I have served in person and in writing as your president. There will never be another
―in person‖ thrill to equal the one I had when I represented you at the Kennedy Center on October 7, when
the band world assembled to applaud the Inter-Service Band concert and the dedication of the John Philip
Sousa Memorial Stage.
Several weeks ago, on a cold, snowy Sunday afternoon, I read and reread the President‘s Message given
from this podium in Toronto, Columbus, Elkhart, Long Beach, Coral Gables, Evanston, Washington, San
Antonio, Greensboro, and Lafayette for guidance on what to say to you today. Several of my predecessors
hit upon:
The History and Tradition of the Band
Band Literature and Band Proficiency
On the Founding of the ABA
Instrumentation and Music of Bands Outside the U.S. and Canada
Commissioning New Works
The Past, Present and Future
More Radio Exposure of Band Music
The Cornet
Communication
Encouraged Membership to Express Opinions
Accept the Challenge of Keeping ABA Vital, etc., etc., etc.
For the next few minutes I want to talk with you about the State of the Union, ABA, if you please, on a
subject very near and dear to me: attendance at our annual meetings.
When we nominate a man for active membership, it is done in good faith and we assume membership will
mean something to him and he will attend our meetings and participate. Not always so.
Later today I will display a chart showing the 10-year attendance record of every active member of this
organization. This chart was constructed from the membership list as printed in the official convention
programs from 1962-1971 and the attendance record as printed in the secretary‘s official minutes for the
same ten annual conventions.
I do not intend to stand here and bore you with columns of figures on attendance, but let me say this now:
the record shows that we had 172 members in 1962 and now boast 215. During this 10 year period, we hit
a high of 59% attendance in 196 and a low of 43% in 1963, for an average of 51.1%.
Fifty-one percent! Is this good enough for the Elite of the Band World? I don‘t think so. We have 9 men
who have never attended a convention since elected, 8 who have not made a meeting in 10 years, 2 in 9
years, 1 in 7 years, 6 in 6 years, 8 in 5 years, and 17 who haven‘t been with us since 1968. Why aren‘t
many of the other 49% here today? There are basically two reasons: 1. we have elected men to active
membership who are not really interested in ABA; or 2. our programs are a disappointment to them the few
times they have attended. Travel, finances, retirement, and professional commitments naturally enter into
the picture. Speaking of professional commitments, there are 51 other weeks in the year when we can give
local concerts, guest conduct, give clinics, adjudicate, etc., etc. Sorry, I cannot accept these as legitimate
excuses for not attending ABA. Travel distance, health and finances for some of our members should
certainly be taken into consideration.
Lack of interest in ABA…well, that‘s something else.
I‘m not sure we have always invited the right men to join our organization. Why do we really need
someone like Mr. ―X‖ who has not attended a meeting since I last saw him at Purdue. For his ―name‖ or
his $15 dues? Ridiculous!
I would personally rather elect an ―up and coming‖ high school or small college man who lives and
breathes the hope that some day he‘ll receive that telegram of invitation to be one of us.
Later this morning I will appoint a committee to thoroughly study this matter and instruct them to make a
preliminary report at the final business meeting of this convention and give a final report next March. I
will charge them to consider introducing legislative action which will very clearly define procedures to
drop non-active members. I encourage you to talk with the members of this committee and express your
views on this subject. It is your ABA.
I know how long most of you would put up with this record of attendance in the bands you conduct.
Is it time now to get rid of some of this ―dead wood‖ or do you wish to continue to accept their dues as
―active‖ members?
During the next four days the chairmen of committees I appointed last March will report to you on the
activities of their various groups. I do not intend to duplicate their report at this time, but I do wish to thank
them now for their interest and dedication.
Ours has been a team effort. Your Board of Directors—Foss, Harpham, Minelli and Mahan, chaired by
Nilo Hovey; Vice-President Hunt; our gracious and efficient host Jack Mahan; this grand gentleman on my
right [Col. William Santelmann] whose first love (after Margaret and the Marine Corps) is, I am sure,
ABA; and finally your grateful President. Only 21 men living today have known the thrill of being
introduced as the President of ABA. You‘ll never realize what that can mean to you until you stand in this
spot. I thank you again for this honor and privilege.
When we return to our homes after four glorious days in Texas, those of us on the team hope you will recall
and be tempted to agree with the final live in a song made popular by one of my favorite male vocalists---
―IT WAS A VERY GOOD YEAR.‖ Thank you.
1972 ABA Annual Report
HOWARD DUNN (1938 – 1991)
Howard Dunn passed away on June 2, 1991 after losing his battle with cancer. Born in Nashville,
Tennessee, he grew up in Dallas. A graduate of Woodrow Wilson High School, Howard earned his
bachelor‘s degree at Southern Methodist University and his master‘s degree at North Texas State
University.
In 1961 he became band director at Lake Highlands High School in Dallas, where for ten years he directed
award-winning bands. As band director at the Skyline Learning Center he developed an innovative music
program that is still in place.
Howard‘s next assignment took him to Richardson High School, where for six years his bands consistently
received highest honors in local, state and regional competition. From 1979 to 1990 he was a tenured
professor of music education at Southern Methodist University, where he conducted the band and their
Meadows Wind Ensemble.
In 1985 Howard founded the Dallas Wind Symphony and was its Artistic Director. The group had the
honor of performing for Queen Elizabeth during her Dallas visit. Howard belonged to a number of
professional organizations, including the Texas Music Educators Association and the American
Bandmasters Association. He was elected to ABA membership in 1978. Howard was in demand
internationally as guest conductor and clinician and was considered one of the world‘s leading authorities
on literature for the wind band.
The managing director of the Dallas Wind Symphony, Kim Campbell, said this about Howard‘s career:
His number one goal was education; and his second the performance of wind music. Howard was
at the forefront of music education in America for thirty years, working with thousands of
students.
1992 ABA Annual Report
VIVIAN DUNN (1908 – 1995)
Lt. Colonel Sir Francis Vivian Dunn, Honorary Member of ABA, was born at Jubbulpore, India on
Christmas Eve 1908 into a family with more than a century‘s service in military music. He died in England
on April 3, 1995 at the age of 86.
Vivian was the first military Director of Music to be knighted. His father was Bandmaster of the Second
King‘s Royal Rifle Corps, and later Director of Music of the Royal Horse Guards. His grandfather was
Band Sergeant of the First Battalion West Riding Regiment.
Vivian attended Peter Symonds College, St. Helen‘s College and the Royal Academy of Music, where he
played violin in Sir Henry Wood‘s Queen‘s Hall Orchestra.
After World War I his father‘s regiment was stationed in Germany, where Vivian attended the
Konsesrvatorium der Musik at Cologne. Later he studied harmony and composition under Walter
O‘Donnell, the conductor of the BBC Military Band. Once described as ―40 parts artist, 60 parts practical
technician,‖ Vivian was a talented composer and arranger. In 1935 he arranged the traditional English air
―Early One Morning‖ (known to irreverent bandsmen as ―The Whore‘s Lament‖), which was called ―Globe
and Laurel.‖ It became the regimental slow march. He composed the music for the film ―The Cockleshell
Heroes‖ and a number of quick marches, some of which were ―The Captain General,‖ ―The Admiral‘s
Regiment,‖ ―Soldiers of the Sea‖ and ―Commando Patrol.‖
Vivian spent nearly 40 years with the Royal Marines Band Service, establishing it as one of the finest in the
world. He was an imposing figure on ceremonial occasions and a compelling conductor on the rostrum.
Vivian was always immaculately dressed, showing exactly the regulation half-inch of cuff while
conducting. It was said of him that when he lifted the baton it was like a call to arms, and that his rendering
of the national anthem would have quelled an insurrection.
Before he was appointed Director of the Portsmouth Division Band in 1931 at the age of 22, Vivian had
been a member of the first violin section of the BBC Symphony Orchestra under Adrian Boult. Vivian
demanded the highest musical standards throughout his career, but constantly reminded his bandsmen that
they were marines first and musicians second.
Vivian and his bands had close links with the Royal family. His musicians performed at the wedding of the
Duke of Kent and Princess Marina of Greece in 1939. They were regular performers on the royal yacht
during the reigns of King George V, King Edward VIII and King George VI, and most recently for Queen
Elizabeth II on Her Majesty‘s Yacht Britannia. In 1936 his band played an important role at the funeral of
King George V and the next year at the coronation of King George VI.
During the Second World War Vivian, who spoke fluent German, carried out extra duties in cipher and
intelligence work.
In 1955 when the Royal Marines Band Service was formed, Vivian was appointed Director of Music. He
led highly successful concert tours to Canada in 1958 and 1959, to the United States in 1965, and
throughout the British Commonwealth.
Vivian was elected a Fellow of the Royal Academy of Music in 1953, a liveryman of the Worshipful
Company of Musicians in 1956, and Master of the Worshipful Company of Musicians in 1987. He was
elected to Honorary Membership in ABA in 1969 and served as President of the International Music
Society in 1977. This is how Vivian described his duties as Master of the Worshipful Company of
Musicians:
The office carries great responsibility of heading the Court in all its deliberations to maintain the
awards, medals and prizes for all manners of musicians, composers and the creation of
opportunities for the advancement of music internationally.
When Vivian was installed as Master of the Worshipful Company, guests included Sir Yehudi Menuhin,
Sir Charles Grove and ABA member Dr. Al Wright.
In 1989 Vivian had the privilege of installing His Royal Highness Prince Philip, Duke of Edinburgh as
Honorary Freeman of the Worshipful Company of Musicians. This royal event brought Vivian
congratulations from Her Majesty the Queen and the Queen Mother, who had preceded Prince Philip as an
Honorary Freeman.
Vivian recorded many LP records, which sold in large numbers, especially overseas. They contained some
of the finest military music ever recorded. He retired from the Royal Marines in 1968.
Vivian was an approachable and friendly man—always interested in the welfare and musical development
of the thousands of musicians who passed through his School of Music. His allegiance to ABA was
constant and his presence at our conventions was most pleasant and noteworthy.
1996 ABA Annual Report
Sir Vivian Dunn‘s Address at ABA Convention - 1970
Mr. President, Mr. Secretary-Treasurer, Members of the Board of Directors and Members of the American
Bandmasters Association: I wish to express my appreciation of the privilege and courtesy that has been
extended to me by your president in inviting me to give the keynote address to the 1970 convention of your
Association. It is an invitation I regard as a great honor and, I hasten to assure you, one that I take as a
great responsibility, but at the same time, gave me tremendous pleasure to accept. I am quite unashamed to
say that I feel intensely gratified by the confidence that has been placed in me, and my fervent wish is that I
shall be able to discharge my obligation in a manner that is not only fitting, but worthy of the great
traditions of this renowned Association—an Association that commands the admiration and respect of our
profession throughout the world, for to be a member of the American Bandmasters Association is a
hallmark that carries a rare and envied distinction in the realm of bands and their music.
For those who do not know me, and perhaps may not even have heard of me, I believe that I should present
my credentials. Prior to my retirement in December 1968, I held the appointment of Principal Director of
Music Royal Marines, the professional head of the Royal Marines School of Music and the Royal Marines
Band Service, a position which carried with it the privilege of directing the music during four reigns of the
Kings and Queen of England. Her Majesty Queen Elizabeth the Second, in 1969, was graciously pleased to
confer upon me the Order of Knighthood as a Knight Commander of the Royal Victorian Order, and the
British Government created me an Officer of the Most Excellent Order of the British Empire. I am a
Fellow of the Royal Academy of Music in London, the academic robe of which I wear in your honor today,
and a Past President of the Royal Academy of Music Club. I am also a Liveryman of the ancient City of
London guild the Worshipful Company of Musicians and an Honorary Member of the Kneller Hall Club of
the Royal Military School of Music. I was also one of the original members of the BBC Symphony
Orchestra. To these has been added an honor of which I am intensely proud, as only the third Englishman
to receive this coveted honor—the first being Gustav Holst—the election as an Honorary Member of the
American Bandmasters Association.
My first duty, therefore, is to express to the Members of the Association my profound pleasure and pride on
being created one of your distinguished Company, a privilege I can unhesitatingly say, I regard as an
accolade of professional recognition. May I take this opportunity of conveying my warmest thanks and
appreciation to you all for the honor you have done me.
My second duty is to say (endorse) that it is the firm desire of your President that the business of the
Association shall command the best attention and perception of all present so that the maximum success
may stem from practical proposals, wise deliberations and erudite decisions. May I underline this desire
for outstanding achievement in your work, by quoting a familiar expression in Great Britain: ―…and the
best of British luck to you!‖ May I also express the wish that the business of the day shall be equaled by
the quality of your social occasions, wherein warm friendship, good humor, mutual appreciation and
cordial hospitality, I know, will abound. On these occasions the ABA is fortunate in possessing the
guarantee of a lovely elegance by the presence of your ladies, whose beauty, charm and wit add such grace
to the proceedings.
You will be interested, I am sure, to hear of the band situation in Great Britain where, I am happy to report,
the quality and skill is excellent. The principal bands are, of course, to be found in the Services where such
organizations as the Royal Marines, the Guards, the Royal Artillery, the Royal Engineers and the Royal Air
Force, to mention but a few, continue to maintain the British tradition of very fine bands that are famous
throughout the world. They are the counterparts of the equally fine bands of the United States Armed
Forces, whose brilliance and magnificence I know so well, from having had the privilege of being the guest
conductor of the principal bands in Washington, DC in 1968. In this respect, I believe that I am the only
foreigner to have the distinction of being invited to conduct the bands of all four Services at successive
concerts—a matter of the greatest pride to me.
I am also happy to report that a considerable interest and awareness in the concert band is growing in my
country at the Royal Schools of Music where there are wind bands that have an excellent standard. They
do not compare in size, as yet, with the great bands of the American universities and high schools, but the
quality and skill is there because the players are embryo professionals. I have always attributed the overall
lack of numbers in British civilian bands to the difference in climate, where the United States has a
considerable advantage and enables the marching bands to flourish in abundance. The marching band, I
know, is the backbone of the American scene, the very essence of Americana, and from it stems the core of
the university and the junior bands. These I know from first hand experience, through being invited to
direct the splendid and imaginative band camps at Kansas University and Lamar State College, Beaumont,
Texas.
In the British Isles there are bands at the colleges and schools, but the principal activity and accent is very
much on orchestras. The musical education is excellent and the teaching thorough. Alongside this,
although we do not have the equivalent of your fine municipal concert bands, we do have, however, one of
the strongest band traditions in the world—that of the brass band. In this particular field is a very live
tradition well over a century old, and throughout the land are to be found really excellent bands in the shape
of Town Bands, Works and Colliery Bands together with School Bands and the Salvation Army. The
competition is fierce and championship contests are organized annually on a national level for the leading
bands in their different divisions.
I will not dwell at length on the European scene because it would take far too long. But suffice it to say
that fine and well organized bands exist in every country, in the Services, the Municipalities, Universities
and Schools. In Norway, Sweden, Denmark and Holland, there are Band and Directors Associations.
There is a difference in instrumentation in some countries born of very long standing, which the United
States and Great Britain discontinued in certain instances many years ago. I wish to add my voice in
support of the proposal that I understand is extant, to create a worldwide organization of bands. This would
be a most splendid thing in principle and in accordance with the cultural and technological advance that is
taking place in the world today. I believe that the American Bandmasters Association, because of its
standing, is in a position to play a leading part in the creation of such a laudable conception. During the
time I am with you at your convention I shall be very interested to learn of the proposals that so far exist.
That the task is a mammoth one is all too clear to understand, but a pioneering and conciliatory spirit of
good will is the ―Keynote‖ from which so much progress and value could come to the band world as a
whole. May I say that if I can be of any assistance to this project, it is a subject that would lie very close to
my heart.
The aim of the future is towards a closer relationship between the bands of all nations, whereby the power
and appeal of their music can bring great benefit to a troubled world. The youth of today has problems.
They question shrewdly, they can be impatient, difficult to satisfy and quick to erupt under the wrong
circumstances. But we who work with those who occupy themselves with our music, know that there is
little inclination to create trouble because of the inner satisfaction gained from the absorbing nature of their
work. This is the example to all and the reward from your dedicated direction and enterprise. I am,
therefore, completely sincere in my belief that, outside our own profession, there should be no possible
misconception by administrators, laymen, the arts, science, commerce and particularly the world of music
at large, from the title to its acknowledged accomplishments—your Association is internationally esteemed
as of the highest state.
In conclusion I wish to pay a special personal tribute to those members of the ABA whom I have had the
pleasure of knowing and working with during my visits to the United States, and for whom I have the
utmost admiration—Colonel George Howard, my oldest friend from the days when we first met in England
in World War II. Colonel Bill Santelmann, another old friend dating from 1949. We have a special bond
because we are both ―Leathernecks‖ of the old brigade! This Marine situation also applies to Colonel Al
Schoepper and Captain Dale Harpham and no less to Commander Anthony Mitchell and Commander Don
Stauffer, whose United States Navy Band will delight us later this week. Colonel Sam Loboda and
Lieutenant Colonel Gil Mitchell of the United States Army are real buddies of mine and Lieutenant Colonel
Arnald Gabriel, United States Air Force, who besides my knowing in Washington and Kansas University, I
have had the pleasure of entertaining in London.
I have left until the coda of my list a very dear friend for whom my regard knows no bounds—Dr. Russell
Wiley of Kansas University. Anyone who enjoys his friendship will tell you that to know him is a
rewarding experience. I have only ever met his brother, D.O. Wiley, once, but that was sufficient to
convince me what unique and splendid men they are, and how this lovable family quality is inherited by
Dr. Charles ―Pete‖ Wiley of Lamar State College.
During this week I know that I shall add to this list of wonderful friends by meeting those whose names are
already well known to me. In doing so, I want you to know that I am realizing and fulfilling a long
cherished ambition.
Mr. President and Gentlemen, I thank you for the courtesy of your attention and the honor you have done
me by the invitation to deliver this keynote address.
1970 ABA Annual Report
Sir Vivian Dunn‘s Remarks of Appreciation—March 5, 1983
Mr. President, Mr. Chairman, members of the Board and the members of The American Bandmasters
Association, may I ask that I be permitted to express my appreciation of being among you during this 49 th
annual convention.
In 1969 you granted me the privilege and the honor of being your Honorary Member and it is always a
pleasure to be with you because one recognizes so many old friends, so many splendid men in the field of
music of professional integrity and remarkably good humor. Therefore, I come as often as I can but I
would ask you to understand how deeply I always feel to be present at your deliberations.
I go back, as your president has said, to World War II when it was Colonel George Howard who proposed
my name…and Colonel Bill Santelmann and those wonderful old friends of mine from a few years
ago…and the nomination was accepted. I would like you to know how proudly I bear that title of Honorary
Member.
And now, in England, whenever I go to conduct the splendid young musicians, they say to me, ―Gee,
what‘s that?‖ So I go through the list and say, ―I was pretty good in this and that,‖ etc., and I come to the
end and I say, ―That was awarded to me for courage beyond the call of duty, in the face of the enemy, at
rehearsal!‖
May I conclude by saying that the election of your president for next year could not be more apropos. I
have known Martin since he conducted the Royal Canadian Air Force Band in England and I am sure that
the dedication and all of the qualities you expect in your president will be found in him in abundance.
Could I just make one further observation. I have always been terribly impressed by the works of Paul
Bierley, the marvelous research and everything he did in his books on Sousa, and I came across his recent
production and could I comment to all of my friends and members—if you will get your noses into that,
you will be all the better.
Mr. President, Mr. Past-President and members of the Board, thank you very much for granting me this
opportunity to express my appreciation and for being among friends where I always feel at home.
1983 ABA Annual Report
RAYMOND F. DVORAK (1900 – 1982)
Raymond F. Dvorak, esteemed Honorary Life Member of the American Bandmasters Association, passed
away on November 15, 1982 at the age of 82. Elected to ABA membership in 1932, Ray served on the
Board of Directors in 1940, 1951, 1956, 1957 and 1960. He was elected president in 1959 and became an
Honorary Life Member in 1980.
A native of Algonquin, Illinois, Ray received his Bachelor of Science and Bachelor of Music degrees from
the University of Illinois. In 1926, while assistant band director at Illinois, he introduced Chief Illiniwek,
whose war dance is still a popular feature at Illini sports events.
At the age of 34, Ray became the Director of Bands at the University of Wisconsin, a position he held until
his retirement in 1968. Ray was responsible for the singing tradition of ―Varsity,‖ the university‘s alma
mater.
Although seriously injured in a 1948 train crash, Ray‘s optimistic outlook on life and courage turned a
personal tragedy into triumph. In 1955, after being voted Wisconsin‘s Handicapped Man of the Year, Ray
organized the Wisconsin Rehabilitation Association and served as its first president.
Ray campaigned successfully to have our first Honorary Life President, John Philip Sousa, inducted and
enshrined into the Hall of Fame for Great Americans. Ray also became an authority on Sousa‘s performing
style and shared his expertise with us.
Numerous professional achievements and personal honors marked his career. Countless lives have been
enriched because Ray was here.
1983 ABA Annual Report
Note: The 1995 Annual Report noted the death of Florence Dvorak, wife of Raymond, on July 19, 1994.
E
FREDERICK C. EBBS (1916 – 1984)
Frederick C. Ebbs, retired Director of Bands at Indiana University, passed away on September 25, 1984, at
the age of 68. In 1955 he was elected to membership in the American Bandmasters Association, served on
the Board of Directors in 1978 and 1979 and became the president in 1982.
Fred was born in Amherst, Ohio on January 13, 1916. He received his early education there. He earned a
bachelor‘s degree from Baldwin-Wallace College and a master‘s degree from the University of Michigan.
His musical career began as Supervisor of Music for the Rittman, Ohio schools. Later he served as
Director of Bands at Hobart High School, Baldwin-Wallace College and the University of Iowa.
Fred led three bands to the Rose Bowl—two from the University of Iowa and one from Indiana University.
In 1966 his University of Iowa Band represented the United States on a three-month European concert tour,
winning high praise from Portugal, Spain and the Soviet Union. In 1984 he and the Indiana University
Band participated in the American Bandmasters and Japanese Bandmasters Association meeting in Japan.
Twice Fred was given the Alumni Merit and Achievement Award by his alma mater, Baldwin-Wallace
College, and he also received the Edwin Franko Goldman Award from the American School Band
Directors Association.
Director of Bands at Indiana University from 1967 until 1982, Fred also was a visiting professor at the
universities of Michigan and Illinois, and New York University at Buffalo. He was very active
internationally as a clinician, guest conductor and adjudicator.
Fred served as President of the Northern Indiana Band, Orchestra and Vocal Association in 1944, and of
the Iowa Bandmasters Association in 1961. He was a member of a large number of music associations and
fraternities. A memorial scholarship was established at Indiana University in his honor.
His colleagues at Indiana University were proud of Fred‘s achievements. They agreed unanimously that
―he helped to make Indiana University a prominent and respected school nationally in the band field.‖
1985 ABA Annual Report
President Ebbs‘ Address - 1983
Distinguished gentlemen of The American Bandmasters Association: It is a pleasure to address you at this
first meeting of the 49th Annual Convention. During the past year I have tried to serve you to the best of
my ability as president of this illustrious organization.
May I say that it has been a very interesting, and at times a rather hectic year. Before we left Indianapolis
last spring, the editor of our Journal of Band Research, Dr. Warren George, Associate Dean of the
Cincinnati Conservatory, resigned and left a vacancy which had to be filled. Although practically all of the
actual publication work is taken care of by Dr. John Long and his competent staff at Troy State, the editor
is solely responsible for the content of this periodical. Although we have a number of people within our
organization who are capable and well qualified to assume this post, it was my feeling that the publication
might have more credibility if the editor were not a member of ABA. After discussing this with available
officers and members, I appointed Dr. Jon Piersol, Associate Dean of the School of Music of Florida State
University as the new editor. Dr. Piersol is one of the most erudite students I‘ve had in 45 years of
teaching. He is a member of Phi Beta Kappa and a first rate musician, serving as solo clarinetist with the
University of Iowa Band for several years. Jon had a highly successful career as a high school band
director and was doing equally well in college when the administrative bug bit him. And last but not least,
he‘s the son of our illustrious colleague Frank Piersol, so you can bet that at home he had band for
breakfast, lunch and dinner.
Shortly after the Indianapolis Convention, we learned that Conn-Slingerland would no longer sponsor the
ABA Composition Award, which had been funded by Ostwald Uniforms since 1956. Now here is an
example of the many talents and resources within ABA. While talking to various officers and committee
chairmen during the course of association business, I mentioned our problem and asked for ideas.
It was Jim Nielson who finally said, ―Let me think about this and I‘ll call you back.‖ Two or three days
later the phone rang and Jim‘s idea went something like this: Write a detailed letter explaining ABA‘s
needs and send it to Vito Pascucci, President of the National Association of Band Instrument
Manufacturers, and see what happens. This is what happened. A week or so after my letter went out, the
answer arrived from Mr. Pascucci saying that the members of the association were being canvassed and he
was very optimistic about the outcome. His optimism was well founded and ABA is deeply indebted to
Jim, Vito and NABIM for their help and generosity in sponsoring the 1983 Award. Without going into
detail at this time, I will say that sponsorship for next year‘s award seems to be progressing quite well and
we hope to have the final arrangements completed in the next few weeks.
In contrast to these detailed and rather weighty responsibilities, it was a fun occasion to represent ABA in
the presentation of the Edwin Franko Goldman Award to Vito Pascucci and Clare Grundman. Jim Neilson
organized the program at Kenosha, and the entire personnel of the Leblanc and Holton factories were given
a morning off for the presentation. Believe me when I say that it was a very impressive occasion. It was
equally impressive, but in a different way, at Ohio State University a couple of weeks ago when Clare
Grundman received the same award. The setting was a super concert by the Ohio State University Band
under the direction of our new ABA member Craig Kirchhoff, and Jack Evans and Don McGinnis were the
organizing forces behind the entire event. Both of the recipients were highly honored and most grateful for
this recognition. Their letters of appreciation to you, through the office of the president, are reproduced in
the report.
As we were leaving for Kansas City last Saturday afternoon, the mailman arrived with the reprint of the
1932 American Bandmasters Association Annual. There are a number of interesting articles in this booklet
and I‘m sure that everyone here will find it a delight to read. ABA members are receiving it through the
courtesy of the recently deceased Bob Hoe, who had spent more than a year and considerable money in
printing and sending it to you. As many of you know, Bob was rather outspoken in his beliefs, and the
letter which accompanied the booklet may not be such delightful reading for some of us. Let me say in
passing, that it would be difficult to find a man who had a bigger love affair with the concert band than Bob
Hoe, and one who would invest his personal finances for that love to the extent that Bob did.
The original Annual was printed shortly after the 1932 meeting of ABA in Washington, DC in the third
week of April. Sousa had died about five weeks earlier, and I am sure that his passing had a marked effect
on that particular convention.
The 1932 Constitution and By-Laws also makes interesting reading, and I was reminded that membership
in ABA in those days was strictly by examination. Several of my heroes in the band world were members
of ABA, and I remember hearing a general description of various parts of the test. When entrance
requirements were changed from examination to the present system, I also remember hearing that at least
one member felt so keenly that this was a huge mistake and standards would suffer, that he resigned his
membership immediately.
In 1932 President Edwin Franko Goldman‘s message contained an interesting paragraph on membership.
Included was this sentence: ―Our doors are open to all bandmasters of North and South America, whose
musical ability meets our requirements, and whose business ethics are beyond reproach.‖ I don‘t believe
that anything has changed much today. In 1932 the musical ability was determined by examination, the
business ethics by the judgment of the membership—today it is all determined by your judgment.
Today three new or recent members were introduced and the next few days give you the opportunity to
sponsor someone who will be voted on a year from now. I urge each of you to consider the worthiest
colleague in your area and make your recommendations. Harry Begian and Jack Mahan have the necessary
forms. The rest is up to you.
Any work involved in the president‘s job is particularly rewarding because one really gets to know the
officers and committee members of our organization. The committee reports will bear witness to some
outstanding work in all areas, but there is one group that has spent countless hours and raised more than a
few dollars in fulfilling their duties. Two trips here to Kansas City to check out the facilities of this fine
hotel and meet with the local hosts convinced Ruth and me that your Convention Committee has worked to
give you one of the finest conventions in the history of the organization and I promise that you will be
aware of this as each day progresses.
The Lord has richly blessed The American Bandmasters Association this year, and I have every reason to
be optimistic that He will continue to do so. I, in turn, feel richly blessed in having this opportunity to
serve you.
1983 ABA Annual Report
―Fred Ebbs – Mentor‖
Presented by Mark Kelly—March 5, 2004
There is no way in which I can fully express to you my respect, love and affection for Uncle Fred. He was
simply as decent, dedicated, sincere, and honest as any person I have known. Totally unselfish, he cared
little for notoriety or fame. Yet he earned great fame and deserved recognition everywhere he taught and
lived. Fred Ebbs‘ contribution to the band world would be beyond what an award or words could
describe—(his 1980 Tempe feeling when elected VP, what will Ruth say?).
I first met Fred on the fairgrounds of the Iowa State Fair in August of 1954. He had just taken the position
as Director of Bands at the University of Iowa, and as was his nature, he had to get around the state and see
what was going on with bands. He and our good friend Pearl West were sitting in the shade on a park
bench, listening to our Centerville Municipal Band in concert. From that initial meeting, Uncle Fred
became my closest friend, colleague, mentor, and my buddy, if you will.
Himie Voxman was responsible for bringing Fred to Iowa City. Himie knew Ebbs‘ great reputation as a
director of marching bands, but he had never heard his concert band. Himie made a special trip to
Baldwin-Wallace College in Ohio to hear a concert, and after hearing the first piece on the concert, knew
Fred was the one for the position. (Jack Evans and Don McGinnis—get him out of Ohio).
Members of the Iowa Marching Band were not familiar with Ebbs‘ style and only a few were really trying
to understand his methods. I believe it was at Fred‘s first Homecoming game at the close of the half-time
show that the entire stadium rose to its feet cheering the band. From that time on everyone knew they had a
winner. (He took art/drawing classes in high school and that is the reason he was able to fashion such
perfect marching band formations.)
The Alumni Band at an Indiana football game removed hats showing plastic skull caps showing bald heads
while patting their stomach—crowd roared—and who will ever forget Fred returning to Iowa City with his
first I.U. marching band and the show climaxed with the release of hundreds of pigeons—sort of a Peace
type show popular in the late 60s—the crowd went wild. Tom Davis (University of Iowa marching band
director and former assistant to Fred at Iowa for ten years) never recovered—―You and those ___??___
pigeons,‖ he kept repeating. You can imagine the grin on Fred‘s face!!
Fred‘s early music training began with piano lessons. His mother would place an alarm clock next to the
piano bench, which was set to ring after 15 minutes. If she felt the practice was not productive the clock
would be re-set for an additional 15 minutes, or another 15 minutes or until she felt Frederick had
accomplished what was necessary. Fred commented that he might not have been the smartest kid in the
world, but not so stupid as to realize how important it was to use his time wisely.
Fred seemed to never seek the limelight—given to avoiding it when and if he could, and was in complete
command of himself at all times, in all places.
In May of 1984 Fred and I adjudicated the Daytona Beach Music Festival. Sitting in his hotel room
following the final evening of judging, I remarked to Fred that several of us wanted to honor him and
recognize his retirement, which was to be a few months later. In his unique manner of humility, but total
honesty, he replied: ―No way, Mark. I do not want you to do anything. Please do not make a special event
of my retirement. I prefer no special recognition.‖ How many of us can make that same statement?
Fred once said that every man makes three important decisions in his lifetime—his vocation, his mate, and
his decision about God. By the time Fred had taken his job at Hobart in 1940, decisions one and three had
already been made. Little did he know that within a few short years there would be decision #2, his mate.
We are told that Fred always thought that it was his decision to choose Ruth as his mate, but he found much
later that her mind was made up a year or more before Fred finally got around to asking for her hand in
marriage in 1945.
So often Fred and I in the late evening would settle matters of the band world as we held the telephone in
one hand and the spoon for ice cream in the other—he often referred to himself as the Bald Eagle from
Indiana, and yours truly as the Bald Eagle from Bowling Green. And he enjoyed calling our secretary
named Bonnie Bess, Bessie Bon; humor was always a part of the conversation.
I think Fred had many doubts in 1965 (while I was a Graduate Assistant for bands) if the PhD program at
Iowa was a good fit for me, who at that time had been teaching 15 years in the public schools. He was
right, and we spent countless hours riding to and from campus while the issue was discussed.
We roomed together at Midwest for many years and I shall never forget waking one morning listening to
Fred hear Ruth telling him the water heater had exploded in their home. But of course he remained calm.
Nor will I ever forget Fred and I sitting on the lawn of the Holiday Inn in Sandusky, Ohio one hot summer
evening discussing football formations and show ideas—and the clip-on ties, Hush Puppy shoes, and the
trousers that needed hitching up a bit.
I found it an experience sitting next to Fred in church trying to remain on key while he was definitely not. I
could never understand how he could tune a band so perfectly and in church find the melody so elusive.
Fred Powers, Superintendent of Schools while Fred was a student at Amherst wrote:
I have a framed piece of paper which had been used to find out how the members of the band were
going to get to an out of town performance in 1930. Some of the students had written, no way—
Mother will take me, my brother will take me, and so on and so on. After the name of Frederick
Ebbs was printed in large letters—Never mind me, I‘ll get there somehow.‖
Powers often looked at this framed reminder remembering that Ebbs did get there somehow.
Chuck Erwin, long time cornet soloist with the Marine Band, former student of Fred‘s at Hobart and
Associate Conductor of the Marine Band, wrote:
Had it not been for that patient guidance and constant encouragement—with stern discipline
applied when appropriate—that young cornet player would never have survived the rigors of the
U.S. Marine Band. Throughout Fred‘s life there have been many similar stories. This man was
truly a rock thrown into the sea of life, and the ensuing ripple touched and moved everyone in its
ever widening circle.
In a tribute to Fred, Jim Neilson wrote:
Some of the giants in the band world of my generation are given, at times, to shrouding
themselves in a better than thou sort of holiness; but not Fred Ebbs. He was affable, kind,
courteous—at times to a fault—and a paragon of virtue. He was always a gentle man of integrity,
both in and out of the world of bands. Memories of who he was and of his accomplishment for
good will linger long in the lives of those who were touched by this man‘s greatness. What a
legacy he left, to do good and be good. We are thankful that this man lived among us, practicing
what he preached.
In Uncle Fred‘s own words I close:
It is a known fact that man hears a great deal of music during his life—either on purpose or by
chance. The making of music has become a great field of endeavor in our world and the teaching
of it holds a unique attraction for many people. For these people there is always a deep sense of
fulfillment in observing the development of their young musicians individually or in ensemble
along with the performance of the music itself. The associations with my teachers and students
have been one of God‘s richest blessings in my life and will always continue to be.
At his induction ceremony into the Amherst High School Hall of Fame, I said the following:
Ladies and gentlemen: If Fred were standing here today, he would have been far more
brief—a bit uncomfortable at the recognition—but genuinely touched by this honor. He
would have responded with dignity and humor—and I expect his final thought might
have been this remark: ‗I owe most of my success to you, Ruth, and to God for giving
you to me as my wife. Thank you.‘
2004 ABA Annual Report
ALBERT W. ECHENROTH (ca 1890 - 1954)
Albert W. Echenroth became a member of ABA in 1941 and resigned in 1952. He was the conductor of
the P.T.C. Band, sponsored by The Philadelphia Transportation Company of Philadelphia, Pennsylvania.
The band was founded in 1919.
1987 ABA Annual Report
BUTLER EITEL
President‘s Address - 1980
I‘d like to say how pleased I am that this is an association of Active Members, Associate Members, and
Wives. It would be difficult to over-estimate the importance of you ladies, your influence on our daily
lives throughout our careers, the happiness we share, your support in times of stress and tears, and your
immense contribution to these conventions. Please remember always that the ABA Convention is a family
affair.
And to our professional colleagues, the Associate Members—we don‘t sing your praises often enough, nor
loudly enough. Many of us, in our early years of teaching, were bailed out of ignorance by you and your
staff. You have rescued us all from time to time, provided a post-graduate education from across the
counter, and encouraged us when we were most in need. I thank you for that and for being a part of us in
ABA.
I‘d like to offer four suggestions this morning for the enrichment of our membership, individually and
collectively.
No. 1. Through out this convention, indeed as a theme for this convention and beyond, I would like us all
to give top priority to reestablishing and deepening our feeling of fellowship. We are all equals in ABA by
virtue of our election to membership in this, the most elite conductors‘ society in the world. But just HOW
elite we are is perhaps not that important. (Last month, at a reception following a concert by Ray
DeVilbiss‘ very sensitive University of South Dakota Band, Leo Kucinski, Ray and I were chuckling
together, saying how much fun it is to go to an ABA Convention and stand around and tell each other how
great we all are. We‘re all very good at that, and someone was reminded of a presidential candidate who
once said that coaching football, directing a band, and running for political office have a lot in common.
You have to be smart enough to understand the game, and dumb enough to think it‘s important.) Perhaps
how elite we are is NOT that important, but how deep and sincere our fellowship and compassion for each
other is, IS vitally important. Indeed, with the exception of the recognition of outstanding accomplishment
through election to membership, our continuing fellowship and interaction on both a personal and
professional level is our very excuse for existence.
In the broadest sense, the development of the immortal spirit of man and its obvious impact on the depth of
his musicianship (revealed each time he raises a baton) depends much more on expanding the breadth and
depth of his BEING than it does on exchanging information on new band publications or a new trill
fingering. This ―involved fellowship,‖ as I choose to call it, can lead through increased musicianship to
another objective of ABA as outlined in our constitution, that of encouraging more good composers to
write for us. For, just as surely as we become more astute and perceptive judges of find literature, and
interpret this literature with increasing sensitivity, so will the profound composers be attracted to write for
the band, because few writers of serious music want their compositions sandwiched into a concert of
questionable content. Nor do these composers wish their music poorly played or superficially interpreted.
No. 2. Strive to bring more to your profession by totally escaping from it—frequently, regularly and
intelligently. To approach the demanding dimensions of the masterpieces, much more than the study of the
score is required. The conductor‘s overall development must be commensurate with the creator of the
piece. Otherwise there exists no common bond beyond the mere technical.
The avaricious consumption of good prose can truly help in this expansion of one‘s mind. In the well-
known book ―Confessions of an Ad Man‖ by Ogilvy, head of one of our country‘s leading ad agencies, the
author offers the provocative premise that a great deal of man‘s potential for success can be gauged by how
he uses his vacation time (based on 3 weeks per year). Ogilvy says a man should read a book a day (yes,
that‘s 21 books in 21 days) on topics other than his primary field to expand his breadth of mind and
broaden his interests. Logic would suggest to a musician a parallel approach to record study—e.g.,
devoting significant blocks of time to the exclusive study of opera, symphony, and chamber music.
Traveling, visiting and living with others whose shared experiences can enrich our lives is equally
important. And that, as a part of ABA, is a staggering potential for growth. It cannot be done very well on
a structured basis; it‘s much better done informally. But the potential is there. Go after it!
No. 3. Let‘s love more—really love. We talk of ―love for ABA,‖ ―love in ABA,‖ ―love for ABA friends
and family.‖ There are really four kinds of love, four stages of love. They‘re progressive steps of
development, each more difficult than the preceding:
Step l. To love one‘s family, and love one‘s friends. Not too difficult. Achieved by most with
little effort.
Step 2. To love those who are more successful than we (sometimes our competitors). Now the
shoe starts to pinch a bit.
Step 3. To love one‘s enemies. Beyond reach for many of us. And
Step 4. God‘s love.
In a complete lifetime, most of us are lucky if we make it to Step 2. In the book ―The Fabulous
Philadelphians‖ Eugene Ormandy says that ―no conductor ever really wants another conductor to succeed
too much.‖ I hope that is a commentary that does not apply to ABA. I hope we can work our way from
Step 2 to Step 3 on the way to Ultimate Love. When we reach out to others, and we take them in, we get a
really positive mirror. It‘s the only way we really have of seeing ourselves.
It seems to me that one of the love-related aims and purposes of ABA should be to be helpful to younger
members (not chronologically, but in seniority). Every time in my life when I have needed help (and I am
the originator of the plea, ―I need all the help I can get‖), there has nearly always been some wiser head
close by if I but sought him out. In one specific instance when I needed direction, my counselor was our
mutual friend Past President George Wilson. It was when I was first elected to ABA and went to my first
convention. After a couple of days of meetings and concerts, I finally went to George in desperation and
asked, ―When do the clinics start?‖ George smiled and his reply, given in the kindest manner, brought
ABA truly into perspective for me, and I‘d like to share it with you. He said simply:
These men are nearly all renowned clinicians, conductors and educators. Collectively they have
presented thousand and thousands of clinics and are in demand constantly. Most of them don‘t
need clinics. If they did, they shouldn‘t have been elected.
I‘m sure George didn‘t mean, and I don‘t mean do imply literally that we‘re so good we don‘t really need
clinics. Maybe what we mean is, ―We‘re beyond help!‖
But, if you come to an ABA convention looking for education, it‘s here! There‘s an endless amount to be
gained through picking the brains of these ABA stalwarts. They have had experiences most of us have
never dreamed of. They combine great talent, incredible varieties of experiences, and mature wisdom.
These people possess the possibilities of enriching your life beyond comprehension. But you must take the
initiative. Take the free time which is provided in the ABA schedule, go to lunch or dinner with these
people, have a meaningful visit in depth, and you will have gained a unique richness unavailable from any
other source. And I include in this our astute Associate Members, many of those business expertise and
experiences parallel the best of our conducting careers. Gaining a knowledge of the business side of this
profession can make us all more effective. Parenthetically, but emphatically, I‘d like to say that
worshipping the past is not my thing. We should all agree that our sights must be on the future, but these
men, these giants of ABA, sharing with us, permit us to stand on their shoulders and see more clearly into
that future. As one noted historian said when viewing the future: ―All we have to go on are the patterns of
the past. Everything else is guess work.‖
No. 4. Because we all wish to preserve and deserve the honor of proclaiming the ABA THE elite, THE
most prestigious musical organization, it seems to me we must accept the responsibility for monitoring our
own membership, just as we have the right to expect monitoring by the American Medical Association and
other respected professions. Some understandable reluctance to do this is frequently based upon the caveat
―Judge not that ye not be judged‖; but if judgmental responsibility were not accepted by anyone, we would
have to abdicate our role as parents, and as educators, and we could not have the judicial system in this
country which guarantees our freedom.
Finally, I believe the true status of ABA is as an honorary organization for bandsmen of musical distinction
and exemplary character. As such it is recognized throughout the world. As such it is unique among the
artistic, professional, and scientific groups of the civilized world. I urgently suggest that we keep it that
way. It is our uniqueness that makes us great. At the risk of our combined immodesty, we are in a broad
sense the Phi Beta Kappa of the band world. I think our modus operandi should continue to be:
impeccable standards, warm fellowship, compassionate concern, and Love.
Thanks for the privilege of serving as your president, and I hope your week in Tempe is filled with joy,
productivity and much Love.
1980 ABA Annual Report
J. FRANK ELSASS (1913 – 1981)
J. Frank Elsass passed away on January 1, 1981. Born in Waynesboro, Ohio on March 3, 1913, he was 67
years old.
In 1978 he became Professor of Music Emeritus at the University of Texas in Austin. Frank had joined the
university faculty in 1948, serving as conductor of the symphonic band, professor of trumpet and cornet,
and conductor of several musical comedies throughout his career at the university. He was most active and
popular as a clinician and guest conductor throughout the Southwest.
Frank received his bachelors and masters degrees from New York University and his doctorate from the
University of Texas. He had additional study at the Ernest Williams School of Music and at the University
of Michigan.
Before joining the staff at the University of Texas he taught at San Jose State College, the University of
Michigan, Stanford University and the Ernest Williams School of Music.
At the age of 20 he became the youngest cornet soloist to appear regularly with the famed Goldman Band
in New York City. He was a member of the band from 1933 to 1940, appearing as soloist on NBS and
CBS broadcasts.
In 1966 Frank was elected to membership in The American Bandmasters Association. He was a Rotarian
and a Mason and held memberships in many organizations, among them the CBDNA, the Texas
Bandmasters Association, Pi Kappa Lambda, Sinfonia, Phi Kappa Lambda, the Texas and National Music
Educators Associations and the American Association of University Professors. He served in the U.S.
Navy from 1942 – 1945.
His final illness was a rare, little known disease. Frank lived with dignity through those trying years, and
was a blessing to all who knew him, especially to those who ministered to him. Thus his life, his work and
even his final days all left a mark of distinction to those he touched.
1981 ABA Annual Report
EDWIN PAUL ENIX (1917 – 2006)
Edwin Paul Enix ended a long battle with cancer in December of 2006, after a long and distinguished
career as a leader in the band field in the state of Oklahoma. He was born in Ottawa County, Oklahoma on
October 21, 1917. He graduated from Miami High School in 1933 at the age of 16 and attended Oklahoma
A & M College, graduating with honors in 1937, having been named their ―Outstanding Graduating Music
Major.‖ After graduation, he married his college sweetheart, Juanita Sinclair, of Stillwater, Oklahoma and
began his teaching career in 1937 in Konawa as the Director of Band and Orchestra. At age 19 he was one
of the youngest accredited teachers in the history of the state of Oklahoma.
In the following years he moved to similar positions in Pauls Valley and Ardmore. In 1946, following his
military service, where he was honored as the director of the 639 th Army Air Corps Band, he was named
the Director of Instrumental Music at East Central State College in Ada. In 1952 he left East Central to
teach at Chickasha High School and the Oklahoma College of Liberal Arts. Later, in 1959, he moved to
Midwest City, having been named Director of Instrumental Music at Midwest City High School. He
served in that position for twenty years until he had to take medical retirement in 1979. During his storied
career, Paul‘s bands compiled an extraordinary record of superior ratings at regional and state scholastic
music contests. On numerous occasions his bands were named as the ―Outstanding Band‖ in many state
and southwest regional music festivals.
Two of Paul‘s finest honors came in the early 1970s when he was awarded the A.R. McAllister ―MAC‖
Award, the highest national honor to be awarded to a band director in the U.S. This award was presented
on national television at halftime of the ―Game of the Century,‖ Oklahoma vs. Nebraska in Norman in
1971. The very next year, in 1972, Paul was inducted into the prestigious American Bandmasters
Association.
He was also honored as the first active band director to be named to the Oklahoma Bandmasters Hall of
Fame. Mr. Enix received several honors within the Mid-Del School District as Outstanding Teacher and
was a member of the district‘s Hall of Fame. Following his retirement in 1979, Mr. Enix continued to stay
active in instrumental music through judging at music contests and festivals in the tri-state area. He was
also a popular guest clinician who traveled to many universities and high schools around the region.
In his later years he served as the Conductor and later as the Music Director of the Oklahoma City
Community Orchestra. E. Paul Enix was one of the pioneers of modern secondary school instrumental
music in the state of Oklahoma. In a career spanning five decades, Mr. Enix was responsible for the
musical education of thousands of instrumental and string students, and his inspiration and guidance led
scores of his former students to follow him into musical education careers in colleges and secondary
schools from coast to coast.
2007 ABA Annual Report
FRANK W. ERICKSON (1923 – 1996)
Frank W. Erickson was born in Spokane, Washington on September 1, 1923 and died suddenly in
Oceanside, California on October 21, 1996. He began his musical journey with piano lessons at the age of
eight and trumpet lessons when he was ten. His first composition, ―The Fall of Evening,‖ was a piece for
concert band written while he was a senior in high school. World War II interrupted Frank‘s studies. He
served with the Army Air Corps as a weather forecaster but also managed to find time to arrange music for
several Army bands.
After the war, Frank scored and arranged music for several jazz bands and studied composition with Mario
Castelnuevo-Tedesco. In 1948 he entered the University of Southern California where he studied
composition with Halsey Stevens. During this time he also served as arranger for the U.S.C. Band.
Subsequently, Frank taught orchestration at U.C.L.A. and theory and composition at San Jose State
University.
Frank‘s first published composition, ―Little Suite for Band,‖ appeared in 1951. Since then more than 500
compositions and arrangements have been published. He formed his own publishing company in 1995. He
had finished writing a number of pieces before his untimely death. His wife, Mary, plans to keep the
publishing business going in order to ensure that his final compositions will be available for the music
education world.
Dennis Zeisler, band director at Old Dominion University, is recording a number of Frank‘s music, which
will be released on a series of CDs and will be called ―Frank Erickson Band Classics.‖
Frank was greatly in demand as arranger, clinician, conductor and adjudicator and received awards
honoring his achievements. He was elected to membership in ABA in 1965.
Frank was among the best known and admired professionals in the educational music industry. Few in the
profession have stood as tall as Frank or have made as many invaluable contributions. Several generations
of musicians have found challenge and inspiration in the music that came from his pen.
Frank‘s wife, Mary, sent me the following personal note:
Frank‘s idol, outside of music, was Albert Schweitzer. Although Dr. Schweitzer‘s humanitarian
efforts are widely known and respected, Frank felt it was Albert‘s philosophy based on what he
termed ―reverence for life,‖ embracing with compassion all forms of life, that set him apart from
other men. I could see the same quality of love and caring in Frank.
1997 ABA Annual Report
JACK OLIVER EVANS (1915 – 2001)
Jack Oliver Evans was born in Charleston, South Carolina on May 3, 1915 and died of a blood infection in
Columbus, Ohio on November 14, 2001. After his father lost his life while serving in the U.S. Navy during
World War I, Jack, his mother and sister moved to Cleveland to live with his paternal grandparents. He
was educated in the Cleveland public school system and played trombone in the John Adams High School
band and orchestra. One of his classmates and a close friend was ABA Honorary Life Member Frederick
Fennell. Jack was a member of his high school orchestra that won the National Orchestra Contest in
Chicago in 1932. That same year he was principal trombonist of the MENC orchestra that performed in
Cleveland. He was also a member of the All-Ohio Boys Band.
Although Jack did not know his wife, Carol, during their high school years, she played flute in the
Cleveland Heights High School Band under ABA Honorary Life President Mark Hindsley. Jack entered
Western Reserve University in 1933, part of a class of six in the School of Education. One of his
classmates was Carol Jones, who later became his wife. Jack could boast of an achievement very few
could match: he could get all six members of his class into his 1927 Pontiac Roadster by using the front
seat and the rumble seat. In 1935 and 1936 Jack was drum major of the marching band. He and Carol
graduated in 1937 with degrees in music education. Carol accepted a position in the Cleveland public
school system while Jack became band director at Shaker Heights High School. When they were married
in 1938 Carol was forced to leave the Cleveland school because married women were not allowed to teach
there. She then accepted a position in the Shaker Heights system where she directed choral music. In
addition to his high school duties, Jack frequently performed with the Cleveland Symphony Orchestra as a
substitute. In 1942 and 1943 he was a member of the Cleveland summer pops orchestra.
In 1943 Jack was drafted in to the U.S. Army and served in the U.S. and Europe. He was a member of the
Special Services Branch and led their Show Band in England and France, entertaining the Allied troops.
Fronting the band with his trombone, he was often mistaken for another famous trombonist, Glenn Miller.
For the two years that Jack was serving his country, Carol directed the Shaker Heights Band. Jack returned
in 1946 and resumed his teaching position for a year.
In the spring of 1947 Jack applied for a low brass teaching position at The Ohio State University. Although
he was prepared to audition, he was hired without playing a note because of his excellent reputation. In the
fall of 1947 Jack joined the faculty of The Ohio State University School of Music. He formed a lasting
friendship with another faculty member at the School of Music—ABA Honorary Life Member Don
McGinnis. At this time former ABA member Manley Whitcomb was the university marching band
director. He was so impressed with Jack‘s experience as the marching band director at Shaker Heights that
he made him his assistant. While Manley was on leave of absence to work on his doctor‘s degree at
Columbia University, Jack became the interim Marching Band Director. Three years later the position
became permanent when Manley was hired by Florida State University
Jack‘s years as director were marked by his insistence on very high standards of marching and playing. He
standardized many of the band‘s fundamental movements and a number of his shows had patriotic themes.
In 1956 the band received a Freedom Foundation Award for a show called ―It‘s a Grand Old Flag,‖ which
traced the history of America‘s many flags. Jack led the band at the Rose Bowl in 1955 and 1958 when the
university football teams played there. Jack was elected to ABA membership in 1961, having been
nominated by his colleague, Dr. McGinnis. He was a member of the Board of Directors in 1985 and 1986.
Some of the committees he served on were the Goldman Citation Committee, the Endowment Committee
and the Constitution Revision Committee. Jack was most proud of the Ohio Music Education Association
Distinguished Service Award that he received jointly with his wife Carol. Although Jack was the assistant
director of the All-Ohio Boys Band that played at the State Fair, he became the permanent director for the
summers of 1967, 1968 and 1969.
In February 2001 Jack, Don McGinnis and ABA member Bob Fleming (of Ohio) were elected to the Phi
Beta Mu Hall of Fame for Ohio.
After Jack retired in 1973, he spent the next twelve years as a part-time counselor in the School of Music.
Right up to the end of his life, he was still sharing his ideas about music and life and spending much time
volunteering his services. It is difficult to summarize the major accomplishments in a life that was so full
and influential.
When the Ohio State football stadium renovation was being proposed and the band room in the northwest
corner of the stadium was to be replaced, Jack was prepared to offer advice. He came to meetings armed
with statistics, measurements and definite ideas to share with architects and members of the planning
committee. He wanted facilities of the new Steinbrenner Band Room to be more than adequate for decades
to come. The Jack O. Evans Scholarship in music in the Ohio State College of Arts was established in his
honor.
Another distinct honor after he retired was his selection as the first director of TBDBITL active alumni
band. He was very proud to be associated with those who called themselves TBDBITL – The Best Damn
Band in the Land.
2002 ABA Annual Report
MERLE EVANS (1892 – 1987)
―The most famous circus musician of the century, Merle Evans, died in a Sarasota nursing home on
December 31, 1987 at the age of 95, silencing forever his solid silver cornet and ending an era of circus
history.‖
Merle was born on December 26, 1892 in Columbus, Kansas. His interest in the cornet began at the age of
ten when his parents bought him a cornet for $16.90. Instead of spending hours on schoolwork, Merle
practiced his horn. At sixteen he joined the S.W. Brundage Carnival Troupe, beginning an unbelievable,
life-long musical adventure. He ballyhooed for traveling medicine shows, made music on a Mississippi
riverboat, performed in Uncle Josh Spruceby‘s Melodrama Show, and even filled in as a part of a comedy
act.
In 1916 he joined the Buffalo Bill Cody Wild West Show and performed with that legendary figure of the
West for three years. In 1919 he became director of the Barnum & Bailey Circus Band and spent half a
century with the ―Greatest Show on Earth,‖ playing over thirty thousand performances without missing a
single show. According to a study made by the American Federation of Music, Merle performed before
audiences estimated to be 165 million people, more than any other musician in history. Many of his circus
compositions have become classics.
In 1966 Merle was awarded the Mid-West Clinic Medal of Honor. Several years ago he appeared in
concert with the United States Army Band on the Capitol steps in Washington, D.C., where he received two
medals and a plaque from President Ronald Reagan recognizing his distinguished career. In May of 1987
he was one of the first circus performers to be inducted into the ―Ring of Fame‖ by the Sarasota Circus
Foundation. Yet Merle himself said that his most cherished honor was his election to the American
Bandmasters Association in 1947.
Merle will be fondly remembered as ―a prodigious musician, dedicated trouper, a sparkling personality—a
walking treasure of circus‖ who earned his billing as ―The Toscanini of the Big Top.‖
(Editor‘s note: The source for this material was the Sarasota Herald-Tribune of January 1, 1988.)
1988 ABA Annual Report
Note: The 1983 Annual Report noted the death of Nena Evans, wife of Merle, in March 1982.
F
THOMAS FABISH (1914 – 1982)
Thomas Fabish passed away on October 10, 1982. Born in Rochester, New York, he received his early
education in Illinois. His Bachelor of Music degree was earned at VanderCook School of Music, where he
taught from 1948 until 1955. Lewis University in Lockport, Illinois conferred on him an honorary
doctorate of laws in 1963.
We in the American Bandmasters Association learned of Tom‘s unique dedication and devotion to music
after he became a member in 1956.
Tom is probably best known as the founder of the Catholic Youth Organization Band in Chicago. This
year is the 50th anniversary of the C. Y. O. Band. To mark the occasion, a special memorial observance and
concert will take place in honor of Tom Fabish.
Tom pioneered the establishing of music education in a large number of Catholic schools in Chicago. It is
impossible to measure the impact and influence he had on Catholic school music programs in the Midwest.
For 25 years Tom was the band director at DePaul University. He returned to his alma mater, VanderCook
School of Music, to finish out his legendary career.
For over 50 years Tom deeply touched the lives of many people. From him they learned how to feel and
experience the beauty and joy of music.
1983 ABA Annual Report
LEONARD V. FALCONE (1899 – 1985)
Leonard V. Falcone, Band Director Emeritus at Michigan State University, died on May 2, 1985, a month
after celebrating his eighty-sixth birthday. He became a member of the American Bandmasters Association
in 1951 and served on the Board of Directors in 1961 and 1962.
Born in Roseto, Italy, Leonard was sixteen years old and an accomplished musician when he emigrated to
the United States. He came to Ann Arbor, Michigan to join his brother Nicholas, who later became the
band director at the University of Michigan. Leonard attended the University of Michigan where he
mastered the violin, before leaving in 1927 to become the band director at what was called the Michigan
Agricultural College in East Lansing.
Although he planned to stay there for only one year, he remained for forty years at Michigan State
University. His arrangement of the ―Spartan Fight Song‖—later known as the ―Falcone Fight‖—was
played at hundreds of sports events and still is used today. In 1935 when Leonard‘s brother suffered a
hearing loss, he commuted between Michigan State University and the University of Michigan to direct
both bands.
Leonard‘s musical achievements were nationally and internationally acclaimed. As a renowned euphonium
player, teacher and conductor, he passed on his expertise to many students. He was a member of numerous
prestigious musical organizations. Among his many honors were an Honorary Doctorate conferred by
Michigan State University in 1978, and his induction in 1983 into the National Band Association‘s Hall of
Fame for Distinguished Band Conductors.
In 1985 Leonard had planned to take the Michigan State University Alumni Band on a concert tour of Italy,
including a performance in his own hometown. Dubbed the ―Falcone Italian Band Tour,‖ Leonard‘s
coveted dream became a reality through the efforts of loyal alumni. Although Leonard was with them in
spirit only, the performances of his ―Falcone Italian Tour Band‖ were a tribute to the memory of a great
pioneer in the band field.
1986 ABA Annual Report
RICHARD M. FEASEL (1920 – 2008)l
A life-long resident of DeLand, Florida, Stetson University Professor Emeritus Richard Feasel passed away
on October 30th at the age of 88. Obviously best known for his many accomplishments as a musician,
teacher and conductor, he was also an Eagle Scout and a World War II veteran who was awarded the
Bronze Star and the French Croix de Guerre.
As a freshman at Stetson in 1938, Feasel composed ―Go Hatters, Go‖, Stetson‘s pep song, as a part of his
march ―The Pride of Stetson‖. He graduated with a Bachelor of Arts in Music in 1942 and received a
Master of Arts in 1947 after serving during the war in the U.S. Signal Corp. He joined Stetson‘s Music
faculty in 1946 and was named the head of the instrumental music department in 1948. He conducted
Stetson bands for 25 years and the orchestra for 9 years, while teaching clarinet, aqcoustics, audio
electronics, conducting and orchestration. In addition to his duties at Stetson, he served as both clarinetist
and associate conductor for the Florida Symphony for four years, and played in the Daytona Beach
Municipal Band for 28 years.
During his long career, he published more than 200 marches, pep songs, and calls to praise. A member of
the ABA Hall of Fame and a longtime member of the Florida Bandmasters Association, Feasel was also
past president of the Florida Composers League. He served as an associate director of the London
Symphony Orchestra‘s central Florida appearances from 1967-74, and was a consultant on the Ford
Foundation‘s Young Composers Project. In 1975 Feasel was named by the ―School Musician‖ magazine
as one of the ten most outstanding music educators in the United States. Recently, Stetson University
announced that a band rehearsal hall in the new Mary B. McMahan music school addition will be named in
his honor at the request of former student and donor Lenvil Dicks.
Always active in the community, Feasel was past president of the DeLand Civic Music Association and the
Lake Winnermissett Civic Association. He was a lifelong member and served for years as a deacon in the
First Presbyterian Church of DeLand.
After he retired from Stetson University, he and his wife built a second home in the mountains of
Burnsville, N.C. where they enjoyed spending half of each year for the next 20 years. A life-long avid
outdoorsman, he enjoyed camping, hunting and fishing. In an era where many careers cover a wide
geographic span, Richard Feasel leaves behind a legacy of life-long dedication and service focused almost
entirely on the community of DeLand, Florida and his beloved Stetson University.
Annual Report 2008
JOHN F. ―Jack‖ FEDDERSEN (1913 – 1990)
John F. Feddersen, known to us as ―Jack,‖ died on October 4, 1990 in Elkhart, Indiana, having suffered
from Parkinson‘s disease for more than 21 years. Jack was born in Clinton, Iowa on May 27, 1913. He
attended Wartburg College in Clinton for two years before transferring to the University of Illinois. In
1933 he graduated Magna Cum Laude with a degree in business and was elected to Phi Beta Kappa.
Before joining the Selmer Company as their advertising manager, Jack traveled for a year with the Glenn
Lee dance orchestra. He played sax, clarinet and sweet potato, besides writing some of the band‘s
arrangements.
Jack was hired to work for Selmer by Honorary Associate Member Joe Grolimund. Jack left Elkhart to
manage one of Selmer‘s New York stores, and during this time took the opportunity to earn a Master of
Business Administration from New York University. For three and a half years, beginning in 1940, he
managed the Jesse French Piano Company in New Castle, Indiana. Twice his plant was awarded the
Army-Navy ―E‖, the government award for excellence. In 1945 Jack was elected vice president of Selmer
and became president in 1960. Eight years later, when Selmer merged with Magnavox, he was made vice-
president of the latter company. Jack retired from Selmer in 1974.
During his career, he was active both in business and in his community. In 1951 he was president of the
National Piano Manufacturers Association of America. Five years later he was chosen president of the
American Music Conference, and served as director and member of the board of the National Association
of Band Instrument Manufacturers. He was also a member of the Board of Directors of the Premier Drum
Company of Leicestershire, England. The Alumni Association of the New York University Graduate
School of Business Administration named him their ―Man of the Year‖ in 1972, awarded for ―outstanding
and professional business success.‖
In 1980 Jack was among thirteen people selected by the Board of Trustees of New York University as an
Albert Gallatin Fellow for outstanding generosity and strong commitment to the school. He was a Life
Member of Phi Mu Alpha Sinfonia, a member of Beta Gamma Sigma and an Associate Member of ABA,
representing the Selmer Company.
Among the many worthwhile causes he generously supported were the Elkhart Concert Club and the
Elkhart Symphony Society. Recently the Concert Club dedicated their program to his memory, and on
Saturday, March 9 the Symphony will do the same. He gave his collection of seventy original Rembrandt
religious etchings to the Snite Museum of Art at the University of Notre Dame.
Alfreida Feddersen is comforted by the memory of their happy 30-year marriage. She said, ―Jack was a
low key person who taught people without them knowing it. He was a dear, dear man with a beautiful
spirit.‖
1991 ABA Annual Report
FREDERICK FENNELL (1914 – 2004)
Frederick Fennell was born July 2, 1914 in Cleveland, Ohio and died on December 7, 2004. His family had
its own fife and drum corps. Every 4th of July the corps recreated performances of Revolutionary War
music. He performed with the corps at age seven.
He studied percussion with members of the Cleveland Symphony Orchestra and attended the National
Music Camp at Interlochen. In the fall of 1932 he entered the Eastman School of Music as a percussion
major. He led the University of Rochester marching band and the Eastman Symphonic Band. After
completing a master‘s degree he joined the Eastman faculty in 1939 as a percussion instructor and
conductor of the symphony band.
In November 1951 Frederick contracted a serious case of hepatitis. He used this time to reflect on the
sonorities of reed, brass and percussion, and on the clarity of having one player on a part. In 1987 he
wrote, ―Each player would be the soloist his private teacher always taught him to be.‖ The Eastman Wind
Ensemble‘s first rehearsal was September 20, 1952.
Frederick Fennell is one of the most recorded conductors. His recordings have been musical examples for
conductors throughout the world. His articles and clinic demonstrations on Conducting, Conducting
Exercises, Style, and Analysis of Wind Instrument compositions have been basic for the serious
conductor‘s repertoire.
Frederick Fennell received many awards. Among them are: Honorary Doctor of Music from the
Oklahoma City University in 1967; the Mercury Record Corporation Gold Record in 1970; in 1985 he
received the Star of the Order of John Philip Sousa; and in 1961 the Citation and Medal from the
Congressional Committee for the Centennial of Civil War for a two-volume recording, ―The Music of the
Civil War.‖
He was Associate Music Director of the Minneapolis Symphony Orchestra from 1961-1964, Conductor in
Residence at the University of Miami School of Music from 1965-1980, and Principal Guest Conductor at
Interlochen Music Academy. He was elected an Honorary Life Member of ABA in 1977.
To close I would like to read a communication from his daughter, Cathy Fennell Martensen:
Dad died peacefully in his sleep early in the morning of December 7, 2004. Elizabeth and I were
at his side. I had promised him that I would do all I could to get him back to Siesta Key so he
could watch the sun set over the ocean. With the help of Hospice, he arrived home in time to see
the brilliant orange and pinks in the western skies that evening. A bit before midnight, Dad told
me he was ―frustrated and disappointed.‖ When I asked him why, he replied, ―There‘s no
drummer yet. I can‘t die without a drummer! I told him I love him, and that ―Heaven‘s best
drummer was on the way.‖ Moments later he said, ―I hear him! I hear him! I‘m OK now.‖ This
was my final conversation with my dad. Dad asked to be cremated and that I scatter his ashes in
the woods at Interlochen, Michigan this summer. This, of course, I shall do.
2005 ABA Annual Report
Note: A 2007 newsletter noted the death of ABA Associate Member Elizabeth Ludwig Fennell, wife of
Frederick Fennell, on April 21, 2007.
HENRY FILLMORE (1881 - 1956)
―Henry Fillmore‖
Remembered by Al G. Wright - March 5, 1992
Thank you, President John [Bourgeois],
I appreciate being invited to give reminiscences. It places one in a situation where you become, in the
ABA, one of those ―monuments‖ John mentioned in his wonderful President‘s Address.
Before I go into the reminiscences, I would like to suggest that every ABA member should have in his
library, and have read, three books: one is the John Philip Sousa book by Paul Bierley; one is the new
autobiography, ―A Symphony in the Sky,‖ by Colonel George Howard, published by the Sousa Foundation
and available from Southern Music Company; and ―Hallelujah Trombone,‖ which is the story of Henry
Fillmore, by Paul Bierley.
I knew Henry from 1938 until I left Miami in 1954, and continued an extensive correspondence with him
for the last two years of his life, much of which appears in Paul Bierley‘s book, ―Hallelujah Trombone.‖
Henry was a very warm person, a very ebullient person, a very excitable person—and he had a very varied
life. He grew up in a home of ministerial background. He became a rebel at an early age, ran away from
home to marry the love of his life, Mabel—who was a dancer—and they joined a small circus, nothing like
Barnum & Bailey, and of some doubtful reputation because they did a lot of gambling, in which Henry had
no part. In this circus Mabel rode a camel in the parade before and after; and Henry‘s job was to ride the
bicycle down the incline, jump the ―death-defying‖ gap, land on his feet, pick up the trombone and lead the
circus band—and that fitted Henry very well.
The second 25 years of his life, he built the Fillmore Music Company in Cincinnati, became a composer—
he wrote over 200 works—he became a businessman, built a wonderful publishing company, very
successful, and a musical instrument company in Cincinnati. He also ran the Fillmore Band, which, with
Frank Simon‘s band, the Goldman Band, and so forth, were the successors to the Sousa Band. In the last
25 years of his life he retired to Miami because his doctor in Cincinnati told him that he had only six
months to live. (He did have a very bad heart.) Being Henry Fillmore, he decided that he was going to
have one helluva good time those last six months—which became the next 25 years!
Henry‘s love of his life was the ABA (after Mabel), and he believed so strongly in the ABA, he saved it.
[He was elected president in 1941.] During the war, no one could travel; so Henry, being a good executive,
simply ―froze‖ the ABA until the end of the war. And so he was president for six years, the only president
to serve that long. At the end of the war, it looked as if the ABA was going to fall apart—people were
gone, people had lost contact—and so he and Lynn Sams started the ABA Newsletter, and brought the
ABA back together. They put on the first convention after the war—1947—and from that time on we have
really flourished.
Henry‘s philosophy for the ABA was that it should be composed and it is—of directors of all sorts of
bands: junior high, high school, military bands, business bands, college bands—it should be most catholic
in its selection of representation. The only thing is that the bands we selected directors from should be of
the very highest quality, whether they be a junior high band or the U.S. Marine Band. And he said that we,
in our meetings, should play music of all kinds, too, which we do: symphonic transcriptions, new
compositions, marches, etc. He had very catholic tastes in music. That was his philosophy—that ABA is
for all of us. The one criterion is superior excellence in our field.
[Al went on to reminisce about Henry‘s bringing new pieces to Al‘s high school band in Miami to read
through before being published; about Henry‘s guest conducting activities; his strong interest in education;
his love of entertaining; his activities in the Florida Bandmasters Association; and his colorful appearances
as conductor on ABA convention concerts. Al also recalled the incident in which Mr. Sousa, when
conversing backstage with Henry, praised the march ―Military Escort,‖ saying that he (Sousa) wished his
name were on it, and wondering who the march‘s composer, ―Harold Bennett,‖ was. Henry eventually told
Mr. Sousa that he, Henry, was in fact Harold Bennett, one of his many pseudonyms.]
In 1956 Henry Fillmore died. ―Military Escort‖ was played at his funeral, and Fred McCall in his final
lines said, ―We know now there‘s a trombone in Heaven.‖
1992 ABA Annual Report
R. BERNARD FITZGERALD (1912 – 2005)
R. Bernard Fitzgerald died February 20, 2005 at the age of 93. He completed a forty-five year career in
teaching when he retired in 1976 as Professor Emeritus after twenty-seven years at the University of
Kentucky. During that time he was Chairman of the Music Department and Director of Bands for seven
years. Bernard taught at the Jordan Conservator y of Music of Butler University, Emporia State Teachers
College, the University of Idaho, and the University of Texas. He earned music degrees at Oberlin College
and Jordan Conservatory of Music. His publications include more than twenty-five compositions, one
hundred instrumental arrangements for brass, and thirty-five articles about music. Professional
memberships include ABA, CBDNA and ASCAP.
2005 ABA Annual Report
Note: The 1989 Annual Report noted the death of Ina Fitzgerald, wife of Bernard, on August 16, 1988.
LAWRENCE FOGELBERG (1911 – 1982)
Lawrence Fogelberg, the Music Man of Peoria and Pekin, died on August 5, 1982. He was 71 years old.
His bachelor‘s degree was earned at Northern Illinois Teachers College and his master‘s degree at
Northwestern University. For over 46 years Larry was band director at Woodruff and Pekin High Schools.
He was also associated with the Bradley University and Pekin Municipal Bands.
Of the honors, plaques and trophies which Larry had won, two were most values: being elected to
American Bandmasters Association membership in 1952 and the 1968 MAC Award, named for A. R.
McAllister.
We in the American Bandmasters Association will remember Larry through his varied career, which
encompassed professional, academic, military and civic activities. The rest of the world has just begun to
know him as the man who inspired his son, contemporary singer Dan Fogelberg, to write a musical tribute
to his father. Now the entire world knows of ―The Leader of the Band‖. Here is the concluding verse of
that song:
The leader of the band is tired and his eyes are growing old.
But his blood runs through my instrument and his song is in my soul—
My life has been a poor attempt to imitate the man,
I‘m just a living legacy to the leader of the band.
I am the living legacy to the leader of the band.
1981 Hickory Grove Music, ASCAP
1983 ABA Annual Report
ARDEEN FOSS (1916 - 1977)
At the time of his death, Ardeen Foss was ABA President. President Elect Donald McGinnis assumed the
role of Interim President until his own presidency began in 1978.
Note: The 1983 Annual Report noted the death of Rachel Foss, wife of Ardeen, on December 7, 1982.
ROBERT E. FOSTER
President‘s Address - 1993
There is an old saying that ―success is not a destination, it is a journey.‖
My year as President of the American Bandmasters Association has been one of the great journeys of my
life, and WHAT A JOURNEY IT HAS BEEN!
Everyone said, ―Hey, don‘t worry about it. Everyone will help. There is no other group anywhere like the
ABA, where everyone is so caring and helpful.‖ And this is true. ABA does care!
Someone said, ―One thing you don‘t have to worry about is the ABA/Ostwald Composition Contest. It is
going great. Howard Dunn hosts it and Pete Wiley runs it. ―If it ain‘t broke, don‘t fix it!‖
Then Howard got sick, and we agreed to move it to Lawrence. Then, we lost Howard, and then we lost
Pete, and we had to get a new chair mid-stream. No problem! Jim Keene agreed to do it, and he will run a
great meetings. Then Alice Keene got sick, and Jim could not come so he sent Jimmie Howard Reynolds
down, driving from Champaign-Urbana for the meeting, which was being held north of Dallas for the first
time in many years. Before the weekend was over we had been the recipient of the largest snow storm in
over 70 years in Lawrence, and we darn near all had to spend the night at Jim Barnes‘ house, while Myron
Welch and Jimmie Howard Reynolds had the pleasure of a long, all-night drive north into a blizzard, trying
to get home. But we got it done; and we have a great new Ostwald award winning composition which you
will hear later in this meeting.
Two major events of the past year have created crises in our band and music programs, and have provided
an opportunity for the American Bandmasters Association to provide leadership to our friends and
colleagues throughout this country, and I am very pleased to be able to report that ABA did respond, and
that the response and efforts of our members DID MAKE A DIFFERENCE!
The first of these crises had to do with the America 2000 program, which had been put in place by Lamar
Alexander, who as Secretary of Education (graciously loaned to the rest of the country by the great state of
Tennessee) presented a model school program to the American people which did not include a single arts
component. This is the program we told this group about during last year‘s convention, and which all of
the band and educational groups in the country have been rallying to respond to.
ABA joined the other leading band organizations, specifically the National Band Association, and the
College Band Directors National Association (our own Ray Cramer, president), working through our
TASK FORCE ON SCHOOL BANDS under chairman Ed Lisk to prepare one of the most important and
comprehensive studies ever undertaken in this important area. One of the results of their work was one of
the most comprehensive and important presentations, presented to one of the largest audiences, at the last
Midwest International Band and Orchestra Clinic in Chicago in December.
MENC, working with the National Association of Music Merchants (NAMM) and the National Academy
of Recording Arts and Sciences, has taken a major leadership role in trying to deal with the crises in music
in our schools, and they have done so with two major initiatives. One of these is their national standards
project, which Dorothy Straub, the president of MENC, calls ―the most significant development in music
education in the schools in our lifetime, perhaps in this century—if we (the music advocates, including
band people) speak with one voice to make the words a reality.‖ This project is working to develop
national educational standards for music in America.
The second of these initiatives is the National Coalition for Music, a project designed to provide local, or
―grass roots‖ support for music and arts programs in our schools. There are already 41 state coalitions for
music education, which are working to develop advocacy groups in virtually every community. These two
projects continue to be identified as the top priorities for MENC at this time.
I reviewed these projects and was a little surprised, and very disappointed, to realize that there was not a
single band person involved in either of these MENC projects, even though it was absolutely obvious that
the projects could and probably would have a profound effect on school bands. The list of organizations
supporting the coalition did not include our group, although ABA members and associate members have
been among the most vocal and effective individuals working on the Coalition since its inception. NBA
and CBDNA have also been very concerned about this matter, and they were also missing.
I called Dorothy Straub, and visited with her about our concerns in these matters…which are absolutely
consistent with her, and MENC‘s goals. I also mentioned to her the disturbing discovery that not a single
band person was involved at a decision making level in either of these projects, although we have members
with great experience and expertise in both of these areas, and we have been and will continue to be
actively involved in both areas.
As a result of those conversations, there have been some very positive results.
1. One was what I consider a ―break-through‖ meeting in Chicago when Dorothy Straub, John
Mahlmann, executive secretary of MENC, and Ray Cramer as president of CBDNA, had an hour
long discussion in which we reaffirmed our interest in working with MENC, and being involved in
decisions that will affect bands.
2. A second result was the addition of the American Bandmasters Association to the list of
organizations supporting the National Coalition for Music Education.
3. Ed Lisk, who is chairman of the ABA Task Force on School Bands, was added to the project, and
now serves as ABA‘s official representative to MENC and to the Coalition; and
4. Dr. William J. ―Bill‖ Moody was designated as the representative of ABA working with the
national committee in the National Standards in the Arts project. Dr. Moody has done extensive
work in this area, and is an articulate and eloquent spokesperson for Bands and for quality.
The good news is that the most important band organization in the world is now represented on these two
very important projects…that BANDS are now represented…and that we, through that representation, will
have a voice in the projects and decisions that will affect American school bands in the future.
Fall 1992 was an exciting time in many different ways. It was during the early fall that we became aware
of Senate Bill #3114, Section 514, which, if passed, would have eliminated the professional bands from our
military academies.
In checking out the information on this, I was told that the bill was in Congress; that it would pass; and that
if passed, the president would sign the bill into law.
The American Bandmasters Association again took a leadership role nationally, as we became a part of one
of the largest support efforts ever launched in behalf of a music program. Letters were sent to every
member of ABA, every member of NBA, then, through Ray Cramer, to every member of CBDNA. In our
area alone letters were sent to every member of the Kansas Bandmasters Association. We handed letters to
every student in our program…nearly 500 students, whom we urged to write, and to get their parents to
write. We sent letters home with every high school and junior high school band director in our District,
some of whom had their band students all write their congressmen and senators the next day, and many of
whom sent copies of the letter home so parents, as well as friends and neighbors, could write. Some
ministers wrote, and posted the letters so their congregations could write. The band and music industry was
very involved through all of their national organizations, working through their representatives and dealers.
At Wingert-Jones Music in Kansas City, a card with the information and the name and address of the
senators from Missouri and Kansas was included in every package which was mailed out…some 300 per
day. From our band office at the University of Kansas, we distributed over 4,000 letters.
The result of this effort was one of the largest and most successful advocacy efforts that many of our
Senators and Representatives have ever encountered. I believe you can safely estimate that there could
easily have been over 10,000 letters written in response to this call for action; and since each letter had the
potential to generate many additional letters, there is really no way to determine how large this letter
writing campaign actually became.
At one point in the campaign, a representative of the music industry called Senator Sam Nunn‘s office in
Washington to determine the progress and the status of the bill. (Senator Nunn, as I am sure you all
remember, was the primary sponsor of the bill.) She did not get to talk with Senator Nunn, but she did talk
with one of his aides who said, ―Don‘t you people know that this bill contains the entire defense initiative
for the entire United States, and the only thing we are getting any mail about is the BANDS?
I have a stack of copies of letters from ABA members that is about 10 inches high (although I did not ask
for copies), and I have a good supply of letters of response from various Senators and Representatives.
Most of the early letters were form letters, and many of you got them. They basically said, ―Thank you for
your interest. I do not happen to agree with you, but I appreciate your writing.‖
The first letter I received from our Senator, Nancy Kasselbaum, was like that one. The second letter,
however, was quite different. It said, ―Because I have received so many thoughtful letters from concerned
constituents, I have reconsidered my position, and I am changing my vote. I will vote against the bill.‖
And a lot of other Senators changed their minds also.
The result of this great effort by our membership and by the efforts of others was that the bill was defeated.
It would have passed, but it didn‘t! The bands were saved…at least for the time being.
WE CHANGED THE COURSE OF HISTORY!
We showed the concerned band people in this country that:
WE COULD MAKE A DIFFERENCE!
PEOPLE WORKING TOGETHER CAN ACCOMPLISH GREAT THINGS THAT NONE OF US
INDIVIDUALLY COULD EVER DREAM OF ACCOMPLISHING.
YOUR ABA CAN PROVIDE AN EFFECTIVE AND MEANINGFUL LEADERSHIP
ROLE…WORKING FOR ALL BANDS AT EVERY LEVEL…THAT WE CARE!
WE CARE ABOUT SUPPORTING THE GREATEST SERVICE BAND PROGRAM IN THE HISTORY
OF THE WORLD…BUT, WE ALSO CARE ABOUT THAT KID IN THE BAND IN HIS OR HER
SCHOOL.
FIRST, WE CARE ABOUT MAKING CERTAIN THAT HE OR SHE HAS THE OPPORTUNITY TO
LEARN TO PLAY, AND TO BE IN A BAND…WE CARE ABOUT BEING CERTAIN THAT THE
NEXT GENERATIONS WILL HAVE THE OPPORTUNITY TO ENJOY THE THRILL AND
SATISFACTION OF MAKING MUSIC—JUST AS WE HAVE HAD THAT PLEASURE—and this will
be through the National Coalition.
AND SECOND, WE CARE ABOUT THE QUALITY OF THAT INSTRUCTION AND ABOUT THE
QUALITY OF THAT BAND, and that will be addressed by the project on National Standards in the Arts
through Bill Moody.
What a journey it has been…and What an Adventure!
Being president of the American Bandmasters Association is one of the most humbling, in some ways
intimidating, adventures of my life…but with the journey came the opportunity to serve the greatest
organization I know—the organization of the truly GREAT in our profession.
One cannot help but look with awe and admiration at the list of Past Presidents…a list which is simply a
Who‘s Who of the most admired, and the greatest band leaders in this century!
I carry the banner of ABA with great pride; and I have run the journey with joy and enthusiasm. I love
bands, and I love ABA, and I am honored to have had the opportunity to serve.
To paraphrase several of our ―other kinds of Presidents‖: GOD BLESS BANDS; AND GOD GLESS THE
ABA!
Thank you.
1993 ABA Annual Report
WILLIAM P. FOSTER
President‘s Address - 1995
To the officers, members, spouses, associations of the American Bandmasters Association, ladies and
gentlemen, I am honored to present the traditional president‘s address. Due to the essence of time brought
about by an overload of presentations, I will reduce and redefine my remarks to a minimum summary.
Although presidential addresses are usually considered an exercise in futility, it is my hope that these words
will break the mold.
On the occasion of this sixty-first Annual Convention of the American Bandmasters Association, as the 57th
President, I cordially extend a warm welcome to each of you.
The legacy and rich heritage of the American Bandmasters Association makes one realize that we are all
standing on the shoulders of giants. At this time I pay homage to my dear friend, colleague, role model and
mentor, the late Dr. William D. Revelli. As most of you know, Bill Revelli made the speech nominating
me as Vice-President of ABA in New Orleans in 1992.
The person who was my confidante over the years and who motivated and inspired me to write and to
submit the material on my doctoral dissertation ―Band Pageantry‖ to Hal Leonard for publication was Dr.
Paul V. Yoder.
It was Dr. Raymond F. Dvorak who prognosticated the one day I would become president of ABA, the
most prestigious music/band organization in the country.
It was Col./Dr. Henry Fillmore who brought national attention to the Florida A&M College Band and its
young conductor in 1951 by conducting the FAMC Band in a musical selection and bringing the Orange
Blossom Classic Football Game to a halt. That scene was unprecedented in American Sports.
I shall always remember, with gratitude and appreciation, Col. Eugene W. Allen who invited the Florida
A&M University Symphonic Band to perform in a joint concert with the United States Army Band in
concert at Constitution Hall, Washington, DC in 1979. This occasion represented the first time a civilian
band performed in a joint concert with one of the four major service bands of the United States.
I have known Dr. Al G. Wright since his days as director of the Miami Senior High School Band, a period
of almost five decades extending through his tenure as director of the Purdue Bands. It was my pleasure to
be associated with Al on many projects and on other professional occasions. During my early years 1966-
1969, I well remember how Col. William F. Santelmann and Margaret, Col. Samuel R. Loboda and Aggie
and Jack H. Mahan and Florence took me by the hand and extended their friendship to me and Ann.
I am indebted to Dr. John M. Long and Mary Lynn for a personal and professional association and
friendship extending over a long period of time in a number of joint engagements.
My association with Bob Foster covers many years, dating back to the Gator Growl at the University of
Florida where the Florida A&M University Marching Band was guest performer before the largest student
Pep Rally in the country, with an attendance of over 65,000. The relationship continued through the period
when Bob was serving as host at the University of Kansas when I received the University of Kansas
Distinguished Service Citation at Commencement, and today where he is serving as host for this
convention of which I serve as President. I salute Bob and Becky Foster and sons, especially Randy, for
their hospitality and as host of this great and wonderful convention.
The ABA is proud to have had a total of 512 elected members, only eight secretary-treasurers, fifty-nine
conventions and ninety-five resignations, or eighteen percent of the membership.
For the week of March 6, 1995, Lawrence, Kansas is the center of the band world, as the world‘s band
royalty will descend upon the University of Kansas.
Edwin Franko Goldman and John Philip Sousa will always be revered for creative efforts in founding and
giving status to the American Bandmasters Association.
In our deliberations at this convention it would be apropos and wonderful if we could return to the principal
objective of the Founders, that of being mutually helpful and to promote better music. Since our first
convention was one that emphasized ―mutual helpfulness,‖ such implementation should always be a first
goal and objective. We need to revisit our roots. We must never lose sight of keeping pace with the
changing times.
The operational structure of the American Bandmasters Association has kept it on the cutting edge of the
band program. Although much has been accomplished, there remains much to be done if the goals of the
association are to be attained.
We are very proud and elated in regard to the task forces on ―School Bands,‖ ―Adult Bands,‖ ―Band Radio
Broadcasts‖ and strategic planning for Instrumental Education.
The American Bandmasters Association has been an integral part of the National Coalition for Music
Education as represented at the National Music Education Summit, which was held in Washington, DC on
September 23 and 24, 1995. The personnel of ABA were instrumental in the passage of Goals 2000.
The ABA supports the proposal of the National Endowment for the Arts, the Music Educators National
Conference (MENC) and the National Association of Secondary School Principals to manage Goals 2000.
The 1994 legislation counts the arts among the basic academic priorities of American schools. In this
effort, ABA joined forces with sixty-five other music organizations at the National Music Education
Summit.
The ABA joined the National Academy of the Recording Arts and Sciences to have wind music/band
music category added to the current list of 87 categories in two (2) different groupings under consideration
for a Grammy nomination.
You will be pleased to learn that H.R. 789 was opposed because this legislation was designed to eliminate
payment for background music in bars, taverns, restaurants and stores. It is most important that those who
make a living from our music be compensated.
At this juncture, I wish to suggest your attention to the report of the Enrichment Committee. The format
and content in regard to the function of this committee is important to the lifeline of ABA. The outcome of
this report will keep ABA on the ―cutting edge‖ of the future of ABA.
It is hoped that every member will support the ABA Foundation program through contributions.
The Goldman Memorial Citation Committee has the potential to assist ABA in reaching high horizons.
It is hoped that the International Relations Committee will expand its participation in the best interest of
ABA. It is important for ABA to think on a global basis.
The area and operation of the Membership Committee remains a gray area of the organization. It is
amazing to know the number of highly qualified and competent band directors who are turned down for
membership. It may be that personal/subjective thoughts of the membership should be discarded and that
objective criteria prevail. There is a considerable amount of dissatisfaction expressed about the
membership operations. This is the Achilles area of ABA.
ABA should move with all deliberate speed toward more involvement in the area of ―National Endowment
for the Arts.‖
One of the bright areas of ABA is the ABA/Ostwald composition contest. However, one of the needs for
this area is a 100 to 200 percent increase in the amount of money for award winners.
One of the major needs of the Public Relations and Publicity Committees is more activity by the chairs and
committee members.
The history and archives of the ABA is dependent upon the Video/Photo Committee to produce and to
video tape our outstanding members. Since life is uncertain, this committee is asked to speed up its
operation.
The opportunity to serve The American Bandmasters Association as a member of the board of directors,
member and chairman of fund raising for the ABA Foundation, Vice President, President-Elect and then as
President was a wonderful adventure and a very exhilarating experience. Unquestionably, this is a great
and noble organization, one in which I have held membership for thirty years, dating back to 1965.
In closing, I wish to express my thanks and gratitude for your wonderful support and assistance to me, the
57th President of the American Bandmasters Association.
1995 ABA Annual Report
JOSEPH L. FRANK, SR. (1924 – 2008)
The bands of the state of Texas lost a legendary leader on November 8, 2008. Joseph L. Frank, Sr., was
born November 11, 1924, at Fort Ethan Allen near Burlington, Vermont, the son of highly respected band
director and composer, Warrant Officer Frank Frank, who was a career bandmaster in the United States
Army. Growing up on numerous military posts, Joseph heard band music nearly every day. He began his
instrumental studies on the flute and piccolo and his earliest band participation was with the Highland High
School Band in Fort Thomas, Kentucky, under J. B. McKenna. The band was highly thought of at that
time and represented the State of Kentucky at the New York World‘s Fair in 1939.
When Joseph‘s father retired after 33 years of military service, the family moved to Brownsville, Texas.
Joseph Frank performed with the Brownsville High School Band and graduated in 1942. He attended
Texas Tech in Lubbock and played in the band there under D. O. ―Prof‖ Wiley, but left for military service
after only one semester. He spent most of the next three years playing in bands of the Army Ground
Forces. After the war, with the help of the G.I. Bill, he resumed his musical studies at the University of
Texas at Austin, playing in the band under Bernard Fitzgerald.
He began his teaching career as a junior high school band director in Harlingen, Texas in the fall of 1949
and while in this position he earned his Bachelor of Music degree from The University of Texas. He
immediately began work on his Master of Music Education Degree and two years later was named the head
director at Harlingen High School. During his tenure at Harlingen the band soon gained widespread
recognition as a three-time winner of the prestigious Buccaneer Days Festival in Corpus Christi. After
completing his Masters degree in Music Education, Mr. Frank moved to Richardson, Texas, in 1961 and
began work as head director at Richardson High School. Over the next eight years the Richardson High
School Band enjoyed widespread acclaim for its outstanding performances throughout Texas, Mexico, and
at the Midwest International and Orchestra Clinic in Chicago. His high school bands at Harlingen and later
at Richardson, never received less than a First Division rating in UIL concert performance.
In 1969 Joe Frank was asked to serve as full time music coordinator for Richardson I.S.D. Within the next
few years, the district experienced explosive growth, going from one high school to four and from five
music personnel to fifty-five. Under Mr. Frank‘s leadership the music programs in Richardson I.S.D.
flourished as new teachers, facilities and equipment were added. Many of these newly hired young
directors, gaining knowledge and experience in the music curriculum he developed, went on to become
outstanding leaders in the band field. Mr. Frank served his last four years in the band field as the conductor
of the Symphonic Band and Associate Professor of Instrumental Music Education and Southern Methodist
University in Dallas.
In his profession Joseph Frank was a leader in music education in Texas and the southwest for over a half-
century. He served the Texas Music Educators Association as State Band Chairman and inaugurated both
the state honor band program (which remains essentially in its original format to this date), and the area
tryout system for all-state band students. He later served as State Orchestra Chairman as well. Following
his retirement in 1984, he continued to be called upon to serve as music consultant, lecturer, clinician,
conductor, and adjudicator throughout the Southwest. He was elected to The American Bandmasters
Association, and was named ―Orchestra Director of the Year‖ by the Texas Orchestra Director‘s
Association. The Texas Chapter of Phi Beta Mu Bandmaster‘s fraternity inducted him into the Texas
Bandmaster‘s Hall of Fame.
Everyone I have spoken to in preparing this memorial has had a personal connection and he will be
remembered as a leader in every aspect of the band movement in his beloved Texas. Bill Moody, who
notified me of Joe‘s death, mentioned that Joe had been a friend of his and that his son had played principal
horn in Moody‘s Symphonic Band at UT. Joe Frank and Marian, his wife of over 50 years, have three sons
who were all active in the Richardson High School Band program. Joe Frank Jr. is retired from Sherman
High School and now lives in Georgia where he teaches and clinics part time. James Frank directs the
Plano Senior High School Orchestra in Plano, Texas. David Frank, an outstanding baritone player, is
currently a successful business owner in Richardson.
GEORGE O. FREY (ca 1883 – 1952)
George Otto Frey, former director of instrumental music at Girard College for many years, and a soloist at
the White House during the administration of Theodore Roosevelt and William Howard Taft, died Sunday
at his home, 800 Ardmore Avenue, Ardmore, Pennsylvania. He was 69.
Mr. Frey, husband of Dr. Marie E. Currie-Frey, a member of the medical staff of the Board of Education,
also played with many famous orchestras, including those of Victor Herbert, Patrick Conway and Arthur
Pryor. He played the euphonium, the cello and the trombone.
He was graduated from Girard College in 1898 and enlisted in the Spanish-American War. He later
became a member of the U.S. Marine Band, and remained with that organization until January 1916. He
was named an instructor in music at Girard College, and in 1926 became director of instrumental music.
Mr. Frey also was an instructor and lecturer on bands and orchestras at the University of Pennsylvania, and
received a Bachelor of Music degree from that university. He was a member of the American Bandmasters
Association and honorary member of the Pennsylvania Bandmasters Association, the musical Alumni of
the University of Pennsylvania, a director of the Musical Fund Society, a past president of the Girard
College Alumni, and a member of Local 77 of the American Federation of Musicians. He was a Mason.
Mr. Frey is also survived by a son, George A. Frey of Lebanon, and a daughter, Mrs. Margaret T. Hickman
of Charlotte, North Carolina.
1952 ABA Newsletter
―The Aberfoyle Band‖ - Chester, Pennsylvania
George Frey became a member of ABA in 1930. He was the conductor of The Aberfoyle Band, which was
sponsored by The Aberfoyle Manufacturing Company, of Chester, Pennsylvania. The band was founded in
1926.
1987 ABA Annual Report
JAMES M. FULTON (ca 1871 - 1940)
James Fulton became a member of ABA in 1934. He was the conductor of the Waltham Watch Co. Band,
which was sponsored by the Waltham Watch Co. of Waltham, Massachusetts. The band was founded in
1914. He passed away on May 6, 1940, and is buried in the Mt. Auburn Cemetery in Cambridge,
Massachusetts.
1987 ABA Annual Report (plus additional information)
G
CHARLES GABLEMAN (1913 – 1984)
Charles Gableman died at his birthday party one day before his seventy-first birthday on June 3, 1984.
Chuck was an Associate Member, representing the C.G. Conn Company from 1962 until 1970, and the
Gemeinhardt Company from 1971 until 1974. He became an individual Associate Member in 1975.
Chuck was born in Waverly, Ohio, where he received his early education. Although he was a business
major at Ohio State University, he was an active trumpet player in the university bands for three years. In
1936, while Chuck was still a senior, Lynn Sams hired him to work in the C.G. Conn store in Elkhart,
Indiana. He serviced all of the United States west of the Mississippi River. His next assignment was at the
Conn store in Lansing, Michigan, where he met Pauline, who later became his companion for life.
During World War II, Chuck enlisted in the Navy and rose to the rank of Gunnery Officer. After the war,
he returned to the Conn Company as National Sales Manager and Vice-President. In 1970 he left the Conn
Company to become Vice-President of the Music Industry Council and also a member of the National
Association of Band Instrument Manufacturers.
Chuck has two loves: Dixieland music and cooking. Each Labor Day weekend he and a group of Conn
employees met for a reunion. He was always in charge of the cooking.
Chuck lived a full life, totally dedicated to the music industry because he really believed in it and its future.
He was a notable credit to his profession and a staunch supporter of the ABA. He was one of the best-liked
persons in the band instrument industry.
1985 ABA Annual Report
Note: The 1982 Annual Report noted the death of Pauline Gableman, wife of Charles, on November 5,
1981.
ARNALD GABRIEL
President‘s Address - 1981
This past year has been the most exciting and fulfilling experience of my life. To have served this august
body as both president and host has given me a perception of my fellow bandsmen that I never thought
possible. Having attended conventions for the past 17 years, I knew it would be difficult to follow in the
footsteps of my illustrious predecessors. They have all made important contributions. I hope mine will
also be meaningful, for my actions as President, and the remarks in this address, are those of a man
dedicated to the principles and brotherhood of ABA.
My observations should not, in any way, be perceived to be the imposition of my own will on ABA, but
hopefully, are reflective of the views of the members of the organization. I have tried to listen and react to
the forces within the group. I have tried to be a government of the governed.
The metaphor which states that ―The President is the guiding force of the Ship of State‖ is no longer valid.
Today, music, and indeed every phase of our society, is in a posture of great technological change, of social
upheaval, of economic constraints, and psychological stress. Today, justification and accountability are
more than ―buzz‖ words—they are the very essence of our survival. We must be aware of these forces, or
this organization, our bands, and our profession, will not continue into the next decade.
Within the ranks of ABA are many forces—forces which we as leaders of ABA must heed. To ignore them
would insure our decline.
It is not simply that I am a member of the U.S. Air Force that I compare these forces to those which
aerodynamically affect the flight of an airplane. These forces are much more sophisticated than those of
the archaic ―Ship of State‖ and are far more dramatic and accurate in humanistic terms.
There are four forces which act upon an airplane in flight: drag, lift, thrust, and gravity. Each force must
be present in proportion, or the airplane will not fly. The four forces which keep ABA aloft are its history,
the present, the future, and the voices of dissent. Each must be present in proper proportion, or ABA will
not fly.
The history of ABA is glorious, but it has given us much more than platitudes. It has given us a flight plan
for the present and a course to the future. Our purpose and philosophy are stated in our constitution. If we
are looking for direction, we need only refer to that document to return us to a proper course.
Article II, Objectives states: ―Encourage prominent composers of all countries to write for the concert
band.‖ William Schuman, Paul Creston, Henk Badings, and Alberto Ginastera have all responded to that
exhortation. In our Resolutions, it is stated that we should ―give consideration to enriching the convention
programs and furthering the objectives of the Association by such means as keynote speakers and guest
conductors from other than the band field; presentation of papers, clinics, and demonstrations on new
approaches and developments, and to other types of features which may be professionally beneficial to the
Association and it members.‖
Accordingly, we will have briefings by the National Endowment for the Arts, the Music Educators National
Conference, the American Choral Directors Association, and the American Symphony Orchestra League.
Additionally, there will be a concert by Heritage Americana and remarks at our annual banquet by
America‘s foremost music critic, Mr. Paul Hume. Yes, our history has given us a guideline for the present
and the future. But more than that, it has given us a rich heritage of dedicated people. We must never
forget the tremendous contribution made to the band movement by the venerable members of ABA. We
must bestow upon them the honor and dignity which they so richly deserve. We must be sensitive to their
needs as the years take their toll. But as we look back with pride, we must also be mindful of the needs of
the future.
To continue our analogy, the lift required for smooth flight is the present. The present is replete with
ongoing projects of ABA. The Composition Contest has spawned many prolific composers and has
enriched the repertoire of the modern concert band worldwide. The ABA Research Center is, and will
continue to be, the definitive repository for band related items. The Journal of Band Research serves a
valuable academic need.
The International Relations Committee Report is glowingly descriptive of the activities of our membership
throughout the world. The Philosophy and Purpose Committee provides a stimulating springboard for the
President-Elect as he prepared for the presidency. These are but a few of the continuing projects which
provide the lift so vital to our flight!
The future thrust of our organization is in the hands of our members who are concerned with the continuing
development of our art form. That thrust belongs to those of us who realize that music is a living, breathing
art form which will grow only if we nourish it. Music must have new directions, or it will be relegated to
the museum. There must be experimentation with the 12-tone row, alleatory, and other techniques which
we must be unafraid to program. The future will very soon be the present, so we must be certain that the
art form of the future is responsive to the artistic needs of the future. As with the past and the present, the
force of the future must be kept in proper balance.
And finally, to ignore gravity, or the voices of dissent, is to adopt the ostrich stance. For out of the voices
of dissent can come resolutions of satisfaction. I must confess that before I became President of ABA, I
was unaware that there was dissatisfaction with the conductors selection procedure for ABA concerts, a
dissatisfaction which has been with us for a number of years. Responding to the needs of our membership,
a questionnaire was drawn up, asking for your opinions in this regard. That data will be compiled and
evaluated and, hopefully, implemented by my successor. There are other voices of dissent—the tacit
voices. These are the voices which speak to me the loudest. We have been rightfully concerned about non-
attendance of some of our colleagues at our conventions. However, rather than consider their possible
expulsion, perhaps we should ask ourselves why they do not attend. Perhaps we are not meeting their
educational, musical and other professional needs! The force of these voices of dissent are necessary, for
these voices, if heeded, can help prevent our complacency and provide the impetus to insure our
responsiveness and viability.
Drag, Lift, Thrust, and Gravity….
History, The Present, The Future, and Dissent….
These are the forces which impact on continued and safe flight. They will always be there. In fact, they
must always be in evidence or there can be no successful progress. The challenge, then, is to the officers of
the ABA—a challenge to keep these forces in proper perspective, not to place undue emphasis on any one
force, but to be sensitive to all voices.
It is a fact that we are living in turbulent times. It is also a fact that just prior to breaking the sound barrier,
a jet aircraft encounters violent turbulence. But with the pilot exerting careful control, smooth flight is
ultimately achieved. I know that Al Wright and Fred Ebbs can meet this challenge. I hope our future pilots
are equal to their ability.
These comments are merely one man‘s observations, whose interest is to serve ABA, of which I am
enormously proud, and whose members I have come to admire and respect.
I pledge my continued support to the officers and members of ABA as long as God gives me the strength
and His guidance.
1981 ABA Annual Report
CLARK F. GALEHOUSE (1912 – 1983)
Clark F. Galehouse, President and Founder of Golden Crest Records, passed away on January 3, 1983 at
the age of 70. Born in Pontiac, Illinois, he grew up in Creston, Iowa. While in high school his musical
talent earned for him several first division awards in violin and voice. He graduated from Drake University
with a major in music. During the big jazz band era, Clark performed on the saxophone with several well-
known bands, including Paul Whiteman.
Although Clark did not continue as a performer, he was well prepared for a career recording the music he
loved. His three subsidiary companies—Golden Crest Records, Crest Records, and Shelley Products,
Ltd.—are among the nation‘s top recording and custom pressing companies. Because of Clark‘s integrity
and recording ability, Crest Records has been regularly chosen to record major musical events in the
professional and academic communities.
Clark‘s wife, Aleece, expressed a determination to maintain the high standards he established over the past
36 years.
In recording our music, Clark left us a legacy, a generous memory of himself.
1983 ABA Annual Report
Note: The 1992 Annual Report noted the death of Aleece Galehouse, wife of Clark, on January 28, 1992.
EDGAR B. GANGWARE, JR. (1922 – 1994)
Edgar B. Gangware, Jr., retired Director of Bands at Northeastern Illinois University, died on February 28,
1994 at the age of 71. He succumbed to a heart attack while in the YMCA swimming pool. In 1956 Ed
was elected to membership in ABA, serving on the Board of Directors in 1972 and 1973 and becoming
president in 1986. In recent years he served with vigor and enthusiasm as the Sergeant-at-Arms.
Ed was born in Sandusky, Ohio and received his early music education there. He earned a bachelor‘s
degree from Whittenburg University in Springfield, Ohio. Subsequently he received his master‘s degree in
music and his PhD in philosophy from Northwestern University, where he was assistant band director
under ABA member Glenn Cliffe Bainum.
Ed began his career as Director of Bands at Boston University. Next he served as Director of Instrumental
Music at Bemidji (Minnesota) State Teachers College for 14 years. The remainder of his career was spent
as Director of Bands at Northeastern Illinois University until he retired in 1991.
Ed was in demand as a clinician, adjudicator and guest conductor. He was a member of a large number of
professional and educational organizations, including CBDNA and NBA. Ed was Chairman of the North
American Band Directors Coordinating Council, Editor of ―The School Musician‖ magazine, and president
of the In and About Chicago Music Educators Club. Ed was a World War II veteran, having served in the
Philippine Islands.
Northeastern Illinois University established the Edgar B. Gangware, Jr. scholarship in his memory. None
of us can forget Ed‘s devotion to ABA. We will fondly remember the versatility and talents of our
distinguished and faithful friend. Thinking of Ed, J Julian said, ―There are a lot of givers and takers in this
world. Ed was the consummate giver.‖
1994 ABA Annual Report
Note: The 1992 Annual Report noted the death of Euala ―Debbie‖ Gangware, wife of Edgar, on June 27,
1991.
President Gangware‘s Address - 1987
This past year has been the culmination of three years of special concerns about the ABA, its well being, its
past, its future and the relationship of its members. It has been a year filled with excitement, concern, and
with much work to be done with little enough time to properly accomplish the goals one sets for himself.
As one approaches the end of his presidential year the tendency to assess the year‘s activities is almost a
necessary function. The results are often less than hoped for, but one‘s work and positive influence may
well linger on for more time than realized.
Of prime importance for the past two years has been the concept, formation, and implementation of the
ABA Foundation, a concept deemed absolutely necessary in the best interests of funding the ABA-Ostwald
Award and future potential projects. The monumental work of Bob Rosevear, John Long, Dick Strange,
Bill Foster and Lowell Samuel, and support from an ever increasing majority of individual ABA members,
has resulted in the reaching of our primary goal of $50,000 last December. These members deserve a
rousing round of applause. That‘s the good news. The bad news is that interest rates have fallen and the
winning stipend may have to be raised, so our initial goal must be revised upward.
The second item that I feel is important concerns the unpublished book of Lynn Sams. This book, which
contains the memoirs of a man who has experienced so much of the history of the band movement in
America, has now been read by a good number of ABA members. It is agreed by all that this potential
book has merit and is most interesting. There is a difference of opinion as to the form it should take when
published. We are asking permission to publish it so that speedy action can be taken once the form of
publication has been decided.
Real strides were made this year in expanding relations between the ABA and the band community in
Europe. Through the work of Merton Utgaard and his committee, we have closer ties with our British and
European friends. The possibility of a European band appearing on a future ABA concert at one of our
conventions is closer than ever before. We are so pleased to have with us this year Sir Vivian Dunn,
representing the British Isles.
One of the most unique experiences about surviving the Presidency of the ABA is that no matter how much
you give to the ABA, you receive much more than you give. Of all that one receives the most exhilarating
experience of all is that of positive person-to-person relationships. There are some persons who claim to be
self-made band directors and whose theme song is ―Do It My Way.‖ I don‘t believe it for one second.
Every one of us has many persons to thank for whatever progress we have made. To begin with, let‘s thank
our students. Without them most of us would wave our arms and create nothing. Without these students
we would not have community or military bands, either.
We also need to thank our teachers/directors. Some of us were lucky—our directors were better with
broader experience than others. Some directors were lucky enough to have as their mentors people who are
in this room or one whose spirit here lingers on. They were the luckiest of all. The ABA has always given
us a direct link to our heritage—they were and are our heritage. In addition, they are very much in the
present and their influence will lead the direction of American Bands in the future.
However, ABA relationships go much deeper than this. The relationship among members is the uniqueness
of ABA. After all, that was the initial purpose of the founding of this organization. Mr. Sousa, Dr.
Goldman, Herbert L. Clarke, Frank Simon, Austin Harding, Mr. Bainum, Col. Bronson and Harold
Bachman must all be smiling when they look down and see how well the original purpose of ABA has been
realized.
For the President of ABA, the closeness of relationship is the life-blood of his potential success. He begins
and ends his term of office with the closest relationship with our venerable Secretary/Treasurer—Jack
Mahan. His continuing efforts have charted a clear path for each of the ABA officers. His contribution is
monumental, to say the least. My personal thanks to Jack and Florence are also monumental.
One‘s relationship with the other officers, the committee chairmen and members enables the president to do
much more than could ever be realized by oneself. But this still is not the end. It has been my lot in life
never to have had a professional secretary—not at any university, not at the School Musician, and not for
this tenure of office. Two people most concerned with this convention have realized this and have done
much more than their share to fill my shortcomings. The first person is J Julian, whose concept of
organization and the staff he has created must be one of the very few super university band organizations in
America. I owe great thanks to J and Faye, Jim Sparks, Zeke Nicar, Gayle Hunter and to all of J‘s graduate
staff for realizing when I needed help and giving it immediately.
Last, and believe me not least, is the new relationship that develops with your spouse. It is not easy to
always do your job when you and your wife have one or two regular jobs. To Debbie, my special thanks
for realizing when my back was to the wall and always being there to bail me out.
Doing it ―My Way,‖ no, Frank Sinatra. ―My way‖ is the composite influence of many relationships, some
almost totally unrealized. In life, and especially in the ABA, our theme has to be ―You‘ll Never Walk
Alone.‖
Thank you for listening.
1987 ABA Annual Report
RAYMOND JOHN GARIGLIO (1930 – 2003)
Raymond John Gariglio was born in Peru, Illinois on November 16, 1930 and died in Carolina Beach,
North Carolina on November 24, 2003 after a long and difficult battle with multiple sclerosis. Ray was ten
years old the first time he heard a clarinet and immediately fell in love with it. His parents bought him a
ten dollar Sears and Roebuck clarinet. From then on his life was totally consumed with music. At thirteen
he was playing dances, clubs and roof parties on weekends. At sixteen he once played at a bar under a
brothel. Age wasn‘t an issue as he was with the band.
In high school Ray was playing the rebel music of the day. He ignored a memorable bit of advice. His
band director told him he would go crazy if he continued playing jazz because the music was vulgar. Ray
graduated from Peru High School in 1948 feeling that he was leading a charmed life, as World War II had
come to an end. The big band era was really in full swing and he was playing it.
From 1949 to 1952 Ray studied at the American Conservatory of Music, taking composition under Leo
Sowerby and earning a Bachelor of Music degree in clarinet and theory. During this time he performed in
the Illinois Valley Orchestra. Besides active participation in several music ensembles, he taught in his own
studio and was woodwind instructor at a number of Chicago area high schools.
In 1952 Ray enlisted in the Army, and during the Korean conflict he spent his tour of duty at Fort Sill,
Oklahoma, as principal clarinetist and director of the 89 th Army Band. After his discharge in 1955, Ray
returned to the American Conservatory to earn his Bachelor of Music in composition, and a year later
received the Master of Music in Music Education at Northwestern University. Next Ray signed a contract
with the Lyric Opera of Chicago as solo clarinetist. At age twenty-four he was perhaps the youngest
clarinetist to perform with the opera, an appointment that lasted for nine years. A critic once called Ray
Chicago‘s premier clarinetist.
Thor Johnson signed Ray as solo clarinetist and personnel manager for the Chicago Little Symphony,
which toured the United States, Mexico and Canada from 1960 to 1966. Ray was clarinetist and saxophone
soloist with the NBC television and WMAQ radio symphony orchestra in Chicago. Subsequently he was
an assisting artist with the Chicago Symphony, Chicago Chamber Orchestra, University of Chicago
Chamber Orchestra, the New York City Opera Company and the London, Russian, Polish and Japanese
Ballet companies, performing under such notable conductors as Dmitri Metropolis, George Solti and Arthur
Rodzinski. He also performed with jazz groups, backing such artists as Ella Fitzgerald, Gerald Mulligan,
Charles Byrd and Woody Herman. He appeared on the Bob Hope, Jim Nabors and Perry Como shows.
In 1966 Ray joined the faculty of the University of North Carolina at Greensboro as chairman of the
woodwind department and band director. He remained active as a performer, both to keep himself
proficient and to set a good example for his students. He was also an accomplished pianist, flutist and
saxophonist.
Ray formed a jazz band at the university and inaugurated the first jazz curriculum in the entire University
of North Carolina system. His own jazz band, known as Mr. G‘s, performed locally. From 1966 to 1984
Ray was a conductor, lecturer, soloist, adjudicator, clinician and jazz consultant. He participated in
workshops and music festivals on more than one hundred fifty occasions. From 1959 to 1967 Ray was
associated with the Peninsula Summer Symphony Orchestra of Fish Creek, Wisconsin.
In 1971 Ray‘s jazz ensemble was awarded a State Department tour of Guantanamo Bay, Cuba. For six
consecutive nights at the Navy base they performed classical jazz, rock, Latin American and Dixieland
music. Ray also conducted three summer programs in Haiti with the Haitian Philharmonic Orchestra.
While there he researched Haitian music. Ray composed and arranged numerous works and contributed
many articles to music publications. He was elected to ABA membership in 1980, and he was also an
Honorary Member of Phi Mu Alpha Sinfonia.
In 1981 Ray was diagnosed as having multiple sclerosis. By age 55, Ray‘s twentieth year at the university,
the MS had taken control of his muscles and had stolen his coordination. After bouts of anger and self-pity,
Ray returned to Carolina Beach, North Carolina in 1985. Although MS had slowed him down, music kept
him going. It reentered his life when a woman asked him to compose a piece for a children‘s choir. This
eventually led to his pet project—an all-flute ensemble of local musicians called the Coastal Carolina
Flutes. He composed over 150 pieces for them and arranged the music to their level of playing, which
produced a very professional sound.
Throughout his life Ray most certainly touched the lives of hundreds of students, as well as many others
who were fortunate enough to have worked and played beside him. He was a legend, and many of us will
continue to grieve over the loss of such a special and talented man.
2004 ABA Annual Report
F. NATHANIEL ―Nate‖ GATLIN (1913 – 1989)
F. Nathaniel Gatlin, Professor Emeritus, Virginia State University, was born in Summit, Mississippi on July
5, 1913. He died on April 16, 1989 after collapsing on the Virginia State University auditorium stage just
before he was to receive a plaque of appreciation for his musical achievements as founder and conductor of
the Petersburg Symphony Orchestra.
Nate received his bachelor‘s degree at Oberlin, his master‘s from Northwestern University, and his Doctor
of Education from Columbia University. An honorary degree, Doctor of Humane Letters, was awarded to
him by Iowa Wesleyan College.
Nate began his teaching career in the public schools of Gary, Indiana and Dayton, Ohio. He held teaching
positions at Bennett College, Lincoln University, Elizabeth City State University, and North Carolina A &
T University before joining the staff of Virginia State University in 1974, where he taught for 29 years.
Nate was elected to ABA membership in 1974.
Upon his retirement in 1976, Nate founded and became the conductor of the Petersburg Symphony
Orchestra, which has become a permanent cultural asset in that city. This is a noteworthy achievement,
since it is a non-professional orchestra made up entirely of 75 unpaid musicians. In 1980 he received a
Community Service Award given by the Richmond Times-Dispatch newspaper. It noted that the
Petersburg Symphony was Nate‘s ―impossible dream, and one of the most significant examples of all
ages—various races, people from all walks of life being brought together for a common purpose.‖
Nate never retired. He called music a ―life companion.‖ On the subject of retirement, he said:
I feel better when I‘m working. What does retiring mean? You give up when you retire. I‘d go
nuts doing nothing. He who retires, rots. As long as I can do it, and feel I can do it, I‘ll do it.
1990 ABA Annual Report
Note: The 1996 Annual Report noted the death of Mildred Gatlin, wife of Nate.
DONALD S. GEORGE (1930 – 2002)
Donald S. George was born on March 30, 1930 in Newark, New Jersey and died on December 31, 2002 in
Eau Claire, Wisconsin. His entry into the world of music was the clarinet, which he played in high school.
Love of music was instilled in Don early in life. His father was a ―band nut‖ who often took Don to
parades and almost every Saturday had him listen to band broadcasts. Later Don came to admire the dance
bands of Benny Goodman and Duke Ellington. This attraction to Benny Goodman came through Don‘s
study of the clarinet. He especially was impressed with Duke‘s saxophonist, Johnny Hodges, because he
also played the sax. Don played both instruments in dance bands, concert bands and Dixieland groups.
Don attended Ohio Wesleyan University, but left after his sophomore year to enlist in the U.S. Air Force.
He served with the Sampson Air Force Base Band where he was solo clarinetist. Following his four-year
tour, Don earned his Bachelor of Science, Master of Arts, and doctorate degrees at Teacher‘s College,
Columbia University. He began his teaching career at Midland Park, New Jersey and later continued it at
Mount Lakes, New Jersey. During the thirteen years in the school systems, he also was Director of Bands
at Glassboro State College Fine Arts Camp. Don took additional music courses at the Eastman School of
Music and the Mannes College of Music. Studying with the choral conductor Harry Wilson at Columbia
University added another dimension to his activities as choral conductor.
Don became a member of the music faculty at the University of Wisconsin Eau Claire in 1968 and enjoyed
a fruitful career there until he retired in 1995. In 1993 he helped found the Chippewa Valley Concert Band,
consisting of adult musicians of all abilities. He was also director of several church choirs.
Donald belonged to a number of national organizations, including CBDNA, NBA and the International
Clarinet Society. He served as guest conductor and clinician throughout Wisconsin, Minnesota, Illinois,
New Jersey and Canada. When asked to mention personal career highlights, Don pointed to a framed
certificate on his office wall naming him a member of ABA in 1990.
Don remained active after retiring, doing volunteer work in music therapy. The day after he retired he
joined a guitarist and played for the inmates in the Eau Claire County Jail. He regularly visited a nursing
home, playing hymns on his clarinet while moving from person to person, attempting to engage the interest
of each person and establish eye contact. On one occasion, Don visited a woman who was no longer
responsive and was comatose. He walked to her bed, took her hand in his, started talking to her, and then
sang a hymn. He spoke to her about the beauty of hymns and their meaning. Suddenly, the woman sat up
and started to talk and even sang along on a hymn. She and Don carried on a most amazing conversation
about heaven. Later the woman called her daughter and told her that an angel had been there and sang to
her. Don had acquired a new profession as music therapist – angel!
Eventually Don himself became a resident of the nursing home, suffering from Alzheimer‘s disease, which
eventually took his life. Edith, Don‘s wife, said:
I have watched Alzheimer‘s rob me of my best friend over the past seven years and I am glad the
battle is over. He is finally at peace.
2003 ABA Annual Report
ERNEST N. GLOVER (1901 - 1968)
Ernest Glover was born in Perth, Australia, and studied music in England, Canada and the United States.
ABA associate member Fred Moogk of Waterloo, Ontario knew Ernie over a long period of time in
Canada, but does not have authentic information as to his early life and family.
Ernie first gained recognition in music when he was trombonist with the Anglo-Canadian Leather
Company Band in Huntsville, Ontario during the time the late ABA member Herbert L. Clarke was the
director.
ABA member Eddie Mear remembers Ernie‘s coming to him at the Regent Theatre in Flint, Michigan
about 1922. Eddie said:
He came to the stage door at intermission with his trombone under his arm and a note from Herb
[Herbert L. Clarke] asking that I do what I could for this boy. This was about the time the
Huntsville Band folded. The Regent Theatre happened to need a trombone to augment the
orchestra for the next week‘s engagement, so I put him on. Later Ernie loved to tell how I had to
show him the place and break in the rookie who was utterly without routine. The next week he
got a job with the Strand Orchestra downtown, where that famous all-girls orchestra was playing
[The Boston Fadettes]; then Frank Simon wanted a trombone manager and I sent Ernie to Frank,
and the rest is history, how Ernie managed and booked Frank‘s ARMCO Band and was the
Assistant Conductor.
Ernie was elected to membership in ABA the first time in 1929, but dropped out in 1949 (according to
Secretary Col. Santelmann‘s records). He applied for, and was again elected to membership in 1967. ABA
members who attended the Long Beach convention later told this writer of their pleasure in again seeing
Ernie back in ABA and of their pleasant visits with him, and reminiscences of his days with the ARMCO
Band and the Cincinnati Symphony. It was during my talks with Ernie in Long Beach that he agreed to
send me the history of his early days, and the many musical organizations in which he served. I regret that
time did not permit his doing this.
1969 ABA Newsletter
DAVID S. GOEDECKE (1929 – 1998)
David S. Goedecke was born in Walla Walla, Washington on December 3, 1929 and died of cardiac arrest
in Stockton, California on February 4, 1998. His father was a company representative with the Shell Oil
Company, which meant that the family moved many times. When he lived in Bremerton, Washington
Dave was in the sixth grade and had begun playing the trumpet. Two years later Dave was living in Kent,
Washington and was in the eighth grade. Although he played in the band throughout high school, he also
played football. It was not unusual to see him leave the team at halftime to go on the field and perform
with the band.
Dave enrolled in Washington State University as a chemistry major and played on the football team.
Chemistry lost its appeal so he became a music major. He played in the band and soon became the student
director of the choir and band. He received his Bachelor of Arts and Master of Arts degrees from
Washington State.
The Korean conflict interrupted his musical plans. He joined the Marine Corps and became a member of
the Department of Pacific Band and was stationed at Treasure Island in San Francisco. After his discharge
he returned to resume his teaching career at Bellevue, Washington High School as band director. Two
years later he became band director at the Olympia, Washington High School, a position he held for ten
years. During the 1965-66 school year Dave was selected by the School Musician magazine as one of the
10 Outstanding Music Educators in America.
He enrolled in a doctoral program at the University of Oregon and was made assistant director of bands.
Unexpectedly he had to take over the production of the halftime shows when the director broke his leg.
After receiving his Doctor of Musical Arts degree, Dave joined the University of the Pacific in Stockton,
California as Director of Bands and Associate Dean of the Conservatory. During his twelve years there he
was extremely effective in advancing both the instructional and performance quality of the band and wind
ensemble programs. He was a vigorous proponent in developing and promoting the Jazz Ensemble and
jazz courses. He also expanded and improved the music education curriculum. In 1984 Dave became a
faculty member of the California State University in Turlock, California, serving as Coordinator of Music
Education and Director of Jazz Studies.
Dave was elected to ABA membership in 1982. His warm and friendly presence enriched and enlivened
many of our conventions. The California Music Educators Association gave him the Byron Hoyt award as
the outstanding music educator in California for 1990-91 and the California Band Directors Association
gave him their Lifetime Achievement Award. He was a member of the College Band Directors National
Association and the International Association of Jazz Educators.
Dave was in great demand as a clinician and adjudicator in the areas of concert, jazz and marching bands.
He was a featured trumpet soloist with numerous high school, college and professional bands and
orchestras. In 1988 he was the featured soloist on an international concert band tour of New Zealand and
Australia, including a performance at the Brisbane Expo ‘88 World‘s Fair.
He has conducted the California All-State Concert Band, the California Music Educators All-State Band
and the California Band Directors Association All-State Symphonic Band. He conducted all-state bands
throughout the United States, including Alaska and Hawaii. Internationally he directed in West Germany,
Japan, Hong Kong, Malaysia, Singapore, New Zealand and Australia. For two summers he was clinician,
adjudicator and conductor of the International Music Festival in Sydney, Australia. The band he conducted
there included outstanding student and adult musicians from five countries. The performances took place
in the Sydney Opera House.
Dave was a past president of the International Association of Jazz Educators, past president of the Western
Division of the Music Educators National Conference and a past president of the California Music
Educators Association.
One of Dave‘s former students, Dr. Eric Hammer, Director of Bands at the University of the Pacific, had
this to say:
Dave taught music education as he lived it, with a relentless yet joyful pursuit of excellence. This
was not an act, but his habit, and it inspired all of us who had the opportunity to work with him.
1998 ABA Annual Report
EDWIN FRANKO GOLDMAN (1878 - 1956)
President Goldman‘s Address at 1st ABA Convention – 1931
It is my great privilege and pleasure to welcome you here as members of the American Bandmasters
Association at our first convention, and I feel grateful to you who are here for having laid aside your other
important duties in order to be present for this important session, and that you may be of service to this
newly-formed organization. I realize fully that many of you have come from great distances, and at great
sacrifice in order to do your part in the great work which our organization hopes to accomplish. And so I
say, ―A Most Hearty Welcome,‖ and my profound thanks. At the same time I am aware of the fact that
those members who are not present in person are with us in thought and in spirit, as their many messages of
good will indicate. These messages will be read later on.
The American Bandmasters Association was formally organized in July 1929. The first meeting was
purely one for the purpose of establishing our organization. Today we are organized and ready to function,
and it is in our power to set new and better standards for bands and band music. The foremost bandmasters
of the United States and Canada are already members of our organization, and our doors are now open to
all bandmasters of North and South America whose musical ability meets our requirements, and whose
business ethics are beyond reproach. I mention ―business ethics‖ because in the past there have been
bandmasters whose business dealings were not fair, and as a consequence they did much to bring discredit
to bands and upon the musical profession at large.
Within a short time we hope to have every capable bandmaster in the Americas as members of our body.
You who are now members have the privilege of proposing others. We want our new society to be the
outstanding organization of its kind in the world. By uniting in our efforts for better bands, better band
music and a Universal Instrumentation, we are positively going to raise the standards, and once they are
raised, they will be maintained through the efforts of the ABA.
Our organization will wield a great influence over all those who are concerned with music, both from the
artistic as well as the commercial sides, and even upon those who merely listen. We do not want the band
to be looked upon merely as a thing for parades and picnics. We do not want to feel that a few men in
uniforms carrying instruments constitute a band. And we will not admit that the band is inferior to the
orchestra. Our Honorary President, John Philip Sousa, said recently, ―The band is not inferior to the
orchestra—it is different.‖ And I agree with him fully and will add to that by saying that in many respects
the band is superior to the orchestra, just as in some ways the orchestra is superior to the band. Each can
achieve effects which the other cannot. In other words, each has its own sphere. The two great advantages
the orchestra has over the band are first, there is a universal instrumentation for it, which is the same in all
parts of the world, and secondly, the great composers write directly for orchestra. If the instrumentation for
bands did not vary in each country, I feel sure that composers would be glad to write directly for band. This
would give them a greater outlet for their works than they now have, and incidentally, would greatly
increase their incomes. There is no reason in the world why they should not conceive some of their works
directly for band, especially since bands are popular in all parts of the world, and probably surpass
orchestras in numbers. Every city or town has its band—perhaps only a small ―town band‖—but it has a
band, whereas it may not have an orchestra. It will be one of our objects to try and induce some of the
foremost composers of our time to write for the band. We will be able to assure them that every member of
our association will purchase and perform their works. We shall also offer prizes in order to induce our
own composers to give us original compositions for band. With very few exceptions, everything which our
bands perform—whether they be symphonies, overtures, suites, grand opera music, comic opera selections,
etc.—are merely transcriptions and arrangements made from the orchestral scores. We have no music of a
definite structure and a definite instrumentation which we can call our own. I hope that day will come
when the orchestras will play transcriptions and arrangements of works that were written directly for band.
I am sorry to have to say that we have not enough professional bands today. And there are very few
professional bands that rehearse regularly, or perform frequently enough to keep the members together.
Most of the bands have little or no business, and the members are required to earn their livelihood through
other channels than music. Each large city ought to be able to support a good-sized band, a band whose
members can and should devote all their time and energies to music. At least, this is my idea of what a
professional band should be. The standard of bands has, with few exceptions, been materially lowered
during the last decade, because the members play together too seldom, and when they do play, they seldom
have the same personnel. The future should remedy many of the existing evils, for the schools and high
schools of the country are achieving wonderful results in the field of music. The progress which the school
bands have made in the last ten years is little short of phenomenal, and some of these bands are now
superior to many of our so-called professional bands.
I could go on for hours speaking along these lines, but as I have prepared another paper to be read at a later
meeting, I shall curtail my remarks along these lines for the present.
We hope, sometime in the future, to arrange for a Congress of Bandmasters from all over the world, in an
effort to have a definite standard instrumentation adopted for Concert Bands. If this can be arranged, it will
be the greatest step forward the band has ever made. The orchestra has a standard instrumentation and
there is no reason why the band should not have. Times are different than they were fifty years ago. We
must progress. There is a general complaint all over the world that ―mechanical music‖ is ousting
individuals and organizations from their positions. If this is so, I repeat that now is the time to try to arouse
bands from their years of slumber. A universal band instrumentation will make the band publications of all
countries interchangeable. At present, with few exceptions, this is impossible. When this is achieved, it is
going to mean better bands, better editions, better arrangements, and increased repertoire, more income for
the publishers, greater royalty for the composers, and a higher standard in everything pertaining to bands
and band music. It will also mean that prominent composers will be interested enough to give the band the
consideration it deserves, and write directly for it occasionally.
Our Honorary President, John Philip Sousa, will, I am happy to say, be with us at tomorrow‘s session when
I shall have a special greeting for him.
It will probably interest our members to know that we are now an incorporated organization, incorporated
under the laws of the State of New York. We have had emblems made, and it is my wish that each and
every member wear this emblem at all times. The emblem, a gold pin, is designed in the form of an outline
of the map of North and South America, from which we draw our membership. At this time I should like
to suggest that all members have printed on their stationery the words ―Member of the American
Bandmasters Association.‖
In conclusion, we must give a vote of thanks to the people of Middletown who have so kindly helped in the
arrangement and management of this convention. They have given of their time and efforts, and have done
everything possible to make this occasion a memorable one, and as you all know, they have succeeded
admirably. I wish to extend my personal thanks and appreciation to all those individuals and organizations
who have helped to make this convention a success, and I shall ask that one of our members move a special
vote of thanks from our organization as a body. To Frank Simon we owe a special debt of gratitude, and I
want him to know and feel that he has endeared himself to every members of the ABA. To Ernest N.
Glover, Mr. Simon‘s assistant, a special word of praise is also due.
I wish to thank the following members for having prepared interesting papers to be read:
John Philip Sousa Herbert L. Clarke
Capt. Charles O‘Neill Victor J. Grabel
W.J. Stannard A.A. Harding
J.J. Gagnier Karl King
Capt. R.B. Hayward
A special word of thanks is due our wonderful Secretary, Victor J.Grabel, who has been the mainstay of our
association, and who has worked diligently in its behalf. Our Treasurer, Austin A. Harding, also deserves
thanks as do the various other members of our committee.
In conclusion, I want to say that the American Bandmasters Association stands ready at all times to endorse
every worthwhile effort of bands and bandmasters, composers and arrangers, publishers and musical
editors, instrument manufacturers, etc. Let us go away from this meeting resolved to advance the interests
of bands and band music, and to take advantage of the many fine suggestions which will be offered during
the course of these meetings. We have seen many new faces here and made many new friends. Let us
cement this new friendship and cling close together in the future, for ―in union there is strength.‖ Let us
hope that each future meeting will give us added impetus, and see our ideals blossoming.
1930 ABA Annual Report
―Frank Simon Was Host to First ABA Convention‖
(Additional quotations from the account of the 1 st Annual Convention of The American Bandmasters
Association, prepared for distribution to Music Magazines by Edwin Franko Goldman, ABA Founder and
the First President.)
This was undoubtedly one of the best fed Conventions in history. Mr. Goldman‘s account tells of
luncheons and banquets every day. Prominent citizens of Middletown and Cincinnati, officials of the
American Rolling Mills Co., sponsors of the ARMCO concert band, and prominent figures from the world
of music, greeted the visiting bandmasters on numerous festive occasions.
*****
The keynote of good fellowship at both the business and social sessions of the Association was well
established at this first Convention. At one luncheon the bandmasters were entertained by the playing of
humorous selections from the manuscripts of the late Herman Bellstedt….At a formal dinner ―when the
orchestra struck up, all dignity was cast aside as everyone hummed and whistled the well known trios of
marches of the famous bandmasters present.‖
*****
Mr. Goldman explained that at the organization meeting in New York in July there was not time enough to
invite all who should belong to become members of the Association. Recommendations for new members
were acted upon. In greeting the Associate Members, Mr. Goldman said, ―We want your suggestions and
advice. Anything you have to say will be welcome.‖
*****
Karl L. King spoke in glowing terms about ―that grand old man, Major Landers‖ who introduced the Iowa
Band Law, since which time similar laws have been passed in twenty-eight states.
*****
Early Friday morning the delegates arose to meet the train which brought Lt. Cmdr. John Philip Sousa, the
beloved Honorary Life President of the American Bandmasters Association. The Middletown High School
Band of sixty pieces played a Sousa march as the train pulled in and the school boys received the thrill of
their lives as the venerable dean of all bandmasters picked up the baton and directed them through his
―Stars and Stripes Forever.‖ The parade from the depot to the hotel was the occasion for much enthusiastic
cheering.
*****
At the Friday morning meeting Mr. Goldman welcomed Mr. Sousa and spoke of him as the most loved and
best known musician in the world. He thanked him for the kind interest he had taken in the ABA by
attending the first Convention. Mr. Sousa responded with thanks.
*****
In connection with discussions on the problem of inducing prominent composers to write for the band, Mr.
Sousa commented that ―whenever the composer finds a market for his goods he will write for the wind
band‖. Treasurer A. Austin Harding suggested that we stimulate the writing for concert bands, as they do
in England, by subscription.
*****
The Secretary, Victor Grabel, on behalf of the ABA, presented Mr. Sousa with a beautiful baton,
appropriately referring to the veteran leader as ―the field marshall of bandmasters‖.
*****
The final official business meeting was called to order by Mr. Goldman at 10:00 o‘clock Saturday morning.
A paper by Arthur S. Haynes titled ―A Plea for the Army Bandmaster‖ was read by Henry Fillmore. Lieut.
J. J. Gagnier read a paper on ―Development and Use of the Alto, Bass and Contra-bass Clarinets in the
Present Instrumentation‖. Capt. R. B. Hayward presented an excellent paper on ―Comparison of English,
French, German, Italian and American Instrumentation of Concert Bands‖. Vice President O‘Neill read a
paper on ―Qualifications for the Complete Bandmaster‖. (Other professional papers delivered during the
convention are mentioned in the reprint from the Musical Observer.) The highly constructive order of all
papers presented was freely commented upon.
*****
The same officers were elected for the ensuing year.
*****
After a sumptuous banquet given by ARMCO, the guests were taken to a concert of the Cincinnati
Symphony Orchestra where a special program had been prepared by the noted conductor, Fritz Reiner. Mr.
Reiner extended a unique courtesy to Mr. Sousa as he brought the world‘s greatest bandmaster to the stage
to conduct two of his most famous marches, ―El Capitan‖ and ―Stars and Stripes Forever‖. The response
was a spontaneous outburst of enthusiasm.
*****
The concert by the ARMCO Concert Band on Sunday afternoon, March 16 th, 1930, wrote a ―glamorous
finish‖ to the First Annual Convention of The American Bandmasters Association.
The first half of the concert, broadcast over a nationwide network, opened with Mr. Harding conducting the
overture ―La Princess Juane‖ of Saint Saens. Mr. Grabel followed with ―Melody‖ by Charles Gates Dawes.
Capt. Hayward conducted his own patrol ―The Khaki Review‖. Mr. Goldman conducted ―Finlandia‖ by
Sibelius. Lt. Benter conducted his march ―Irresistible‖ and Capt. Charles O‘Neill conducted his poetic
overture ―The Knight Errant‖.
As Mr. Sousa stepped on the stage he was greeted with thunderous applause. He directed his own epic
suite ―Dwellers of the Western World‖. That Mr. Sousa was delighted with the ARMCO Band was very
much in evidence by his sly smile and twinkling eye. In speaking of it he said, ―It was remarkable,‖ and
praised its symphonic structure.
Peter Buys, of the Hagerstown Municipal Band, closed the first portion of the program with a march he had
written especially for the occasion, called ―The Iron Master‖.
The second half of the program was informal. Frank Simon introduced each of the visiting bandmasters
and several of them conducted their favorite composition. The printed programs do not list the men who
appeared on this portion of the program but Frank recalls that the following men conducted. He says there
may have been one or two others.
Lt. Philip Egner, ―Ballet Music from Samson and Delilah‖
Lt. J. J. Gagnier, ―Palace Pier‖
Karl L. King, ―Barnum and Bailey‘s Favorite‖ March
Henry Fillmore, ―The Whistling Farmer Boy‖ (featuring his dog, Mike)
Glenn Bainum, ―I‘m on My Way to Dublin Bay‖
Albertus Myers, ―Game Preserve March‖
George Frey, ―The College Cadet March‖
Ernest Glover, ―Long Beach is Calling‖ March by Herbert L. Clarke
Sam Treloar, ―Industrial Progress‖ March
A great ovation came as Ernest N. Glover, Manager and Assistant Conductor, brought Edwin Franko
Goldman to the stage and presented him with a beautiful gold medal from the ARMCO Concert Band in
compliment to Mr. Goldman‘s inspired leadership as the founder and first President of the American
Bandmasters Association. Mr. Goldman responded with ―On the Mall‖.
Cheering and handclapping from a standing audience filled the proud moment when Frank Simon pinned a
medal from the ARMCO Concert Band on the coat of his beloved bandmaster, John Philip Sousa. In a
voice choked with emotion he said, ―This is the happiest moment of my life, to pin this medal, the gift of
the ARMCO Concert Band, on the coat of my old bandmaster, the fount of my inspiration.‖ Mr. Sousa
responded with four of his immortal marches.
*****
In acknowledging receipt of a check for $1,000, which represented the proceeds from the final concert,
Treasurer A. Austin Harding expressed confidence that it would be instrumental in encouraging better band
music in the future.
*****
Dr. Carl Busch, of Kansas City, Mo., was elected to Honorary Membership at this Convention and in
acknowledgment sent the following letter:
Dear Mr. Grabel:
I have in the past been frequently honored by various musical organizations, but nothing has given
me such pleasure as your letter of March 26 th notifying me of honorary membership in the
American Bandmasters Association. This feeling, of course, is very natural because I have so
many friends in your association and because the things you are trying to accomplish are so close
to me. I shall certainly enjoy receiving the report of your Middletown convention. With sincere
thanks and in full appreciation of the great honor you have conferred up me, I am,
Sincerely yours, (signed) Carl Busch
2000 ABA Annual Report
President Goldman‘s Address at 2nd Annual ABA Convention - 1932
The American Bandmasters Association is just three years old, and when I consider what has been
accomplished in this brief space of time, I feel thrilled indeed. The ABA was formally organized on July 5,
1929, with about ten members. We have passed the experimental stage, for we have already accomplished
some remarkable results toward the uplift of bands and band music. Some of our ideas and ideals have
already been realized. Others are in the process, and many new ones will be set in motion before very long.
From a small beginning we have grown to a position of worth and importance, and our influence is now
being felt wherever band music is known. We have no axes to grind, we have no ulterior motives, we seek
no personal gain. We are banded together for one prime object—the betterment and advancement of bands
and band music.
It has been reported to me that in some quarters it is believed that we consider ourselves a ―closed
corporation‖—a sort of ―last tribunal.‖ Such a thought is farthest from our intentions. Our doors are open
to all bandmasters of North and South America whose musical ability meets our requirements, and whose
business ethics and beyond reproach. Our idea is not to close our doors. We want every bandmaster who
is interested in our cause to join our ranks. We want to grow in membership just as we do in ideals. We
want our society to be the outstanding organization of its kind in the world, and to wield a good and useful
influence over all those who are interested in winds band music.
The Band must be elevated to its rightful place. It must not be considered inferior to the orchestra either
artistically or musically. It is not inferior! It is merely different. It is just as good a medium for artistic
musical expression. Each has its own sphere, and each is capable of achieving different effects and
different tonal combinations. A well-organized band, consisting of capable players properly rehearsed, will
compare favorably with the best symphony orchestra. Such a band can achieve effects not possible to a
symphony orchestra, just as the orchestra can achieve certain effects that the band is incapable of. The
orchestra has the great advantage of a universal instrumentation, while the band instrumentation varies in
almost every country. This has been one drawback to the advancement of bands. I am glad to note that our
Committee on Music and Instrumentation has been working diligently on plans to bring about a universal
band instrumentation. Last year we adopted a standard instrumentation for America which seems to have
met with general favor. Our committee since that time has been in touch with publishers and bandmasters
in England, Germany, France and Italy, and some of these are willing to cooperate with us in this important
matter. The chairman of this committee, Peter Buys, has done monumental work and deserves our thanks
and approval.
I look forward to the day when American bands can perform band music of all the foreign countries
without the necessity of rearranging the music, and also when the foreign bands can use the American band
editions. When that day arrives, composers, publishers, arrangers, performers and audiences will be greatly
benefited.
The band movement in America cannot be equaled any place in the world, even though we are still in our
infancy. There are thousands of high school and institutional bands, far surpassing the number of
orchestras. New standards and new ideals have been set for these bands, and many of them surpass our so-
called ―professional bands.‖ They have discarded the old type of band music and are now insisting upon
playing the music of the masters. The old type of band is a thing of the past. The new Concert Band has
taken its place, and is here to stay!
In the past the band was ignored by the great composers. This was another drawback. Last year the ABA
induced such composers as Henry Hadley, Percy Grainger, Dr. Carl Busch, Leo Sowerby and others to
write original compositions for band. These were performed with great success at our Boston convention.
One of our own members, Capt. R.B. Hayward of Toronto, also wrote an Overture.
For our convention this year Ottorino Respighi, Italy‘s most famous composer, has written a special
number, as has Gustav Holst, one of England‘s greatest composers. Among other new band compositions
are a Tone Poem by Nathaniel Shilkret, and other original compositions by Peter Buys, George C. Gault,
Maurice Arnold, Capt. Charles O‘Neill of Quebec, Lieut. J.J. Gagnier of Montreal, myself, and others.
For next year‘s convention the great French composer Maurice Ravel has promised to write a work for
band. We can safely say now that the band will soon have a repertoire of its own. Perhaps more real
composers have written directly for band in the last two years than ever before, and I am proud to be able to
say that this has been brought about through the efforts of the ABA. This is indeed recognition such as the
band has never before had. When composers realize the importance and artistic value of the band, surely
we are on the right road.
Formerly, we had to depend solely upon transcriptions and arrangements made from orchestral scores. We
are now building a repertoire of our own. In fact, in some instances the tables have been turned. Gustav
Holst wrote ―Hammersmith‖ for band—and then transcribed it for orchestra. It was performed by the
Boston Symphony Orchestra recently. Nathanial Shilkret also wrote his tone poem ―Skyward‖ for band
and then arranged it for orchestra. There are ten new numbers, especially composed for band, which are
having their first hearing at our final concert. We are making progress—and I might say—making band
history.
In regards to the publishers, such firms as Carl Fischer, Inc. and G. Schirmer, Inc. have adopted all our
recommendations and suggestions in regard to a new standard instrumentation, better arrangements and
better editions. Their new editions meet our requirements in every way. Their spirit of cooperation has
been marvelous indeed. It is to be hoped that with the many new and fine arrangements now being issued,
some of the old and inadequate ones will be discarded by our bands. The famous old firm of G. Ricordi
and Co., publishers of most that is best in Italian music, have decided to issue each year a certain number of
works for band according to the instrumentation recommended by our association. This is another step
forward. The Ricordi firm will publish the new Respighi work at once. It will be printed in America.
Eight or ten other works for band will also be brought out within the next few months.
The firm of Elkan-Vogel in Philadelphia, representing the seven largest French publishers, has received
permission to publish other works for band, including some by Debussy. The Associated Music Publishers,
Inc., who represent the large German publishers, are also now cooperating with us. All these firms are
cooperating with us in our desire to raise band standards. We must back up their efforts and do all in our
power to encourage them. It becomes our duty to give preference to those works that have been especially
composed for band, because they will be the most effective and will show the band to the best possible
advantage. These works will sound precisely as the composers intended they should, and because of that
fact will be superior to works that are merely arranged for band.
As for band arrangements, we will always be obliged to use them, but we must entirely eliminate some of
the mediocre and bad ones. We must insist upon the best. Some of the poor arrangements have brought
discredit to bands. We should single out for performance those works which have been prepared with the
most care and most artistic arrangement for the band. We must do out duty to those composers and
publishers who are working in the interest of the cause which our organization represents.
Our membership is divided into two classes, active and associate members. The associate membership
includes, besides the leading publishers, practically all the leading manufacturers of wind instruments, as
well as others, who have the interest of the band at heart. As I have said on previous occasions, we all
know that the best wind instruments in the world are made in the United States. Our manufacturers are
making great strides and they have done everything possible to help us realize our goals.
At our first two conventions the relative merits of the cornet and trumpet were thoroughly discussed, and it
was unanimously voted that the cornet should be restored to its rightful place in the band. I will not discuss
this topic at length now, for I believe that both these instruments are beginning to be used in the proper
manner now in most of our bands. We want cornets as well as trumpets, but both should be used in their
proper places, and for the playing of appropriate parts. Walter Smith now uses the cornet in his solo work
instead of the trumpet as heretofore. This will have its effect upon other soloists.
Since last year we have lost our most illustrious member [John Philip Sousa], the best-known and most-
loved musician of his time—a man who had helped make this world a better and happier place in which to
live. To the great mass of music lovers in all parts of the world he was always an idol, but to those who
knew him at close range, he was a source of inspiration. His career was crowned with brilliant successes
and unusual achievements.
Many musicians have had successful careers and achieved international fame, but I say without fear of
contradiction that John Philip Sousa was the most popular and universally loved conductor who ever lived.
Children and grown-ups who never even heard of Bach, Beethoven or Wagner knew the name Sousa. To
know him was to love him!
Anyone who was ever privileged to come in close contact with him will never forget the twinkle of his eye,
his ever-ready wit, his kindly interest in everything worth while, and his willingness to cooperate in every
movement for the advancement of bands and band music.
It was my pleasure to act as judge with Mr. Sousa at several National Band Contests held in the West, and
it was always a great thrill for me to see hundreds of thousands of people cheer him and pay homage to
him. No king ever received such ovations, or ever had so many honors thrust upon him. Sousa was a real
king—The March King of the world. He was loved for his music as well as for his personal qualities and
his splendid character. He helped raise the band to a place of dignity and distinction. John Philip Sousa is
no more, but his name and fame will endure forever and bring inspiration and joy to music lovers all over
the world.
The final concert is given as a tribute to the memory of Mr. Sousa. Our last concert was a Gilmore
Memorial Concert. Gilmore and Sousa! These are two golden names in the world of music. These two
names bring to my mind more vividly than ever the importance the band has played in the development of
music and in creating a love for it. The band evidently makes a greater appeal to the largest number of
people—the masses as well as the classes—for in the history of the musical world no conductors of
symphony or grand opera orchestras have ever achieved the world-wide fame and popular acclaim of
Gilmore and Sousa. There have been some outstandingly popular symphony conductors, but their
popularity was limited to a certain class of music lovers. The fame of these two bandmasters was
universal. It becomes our duty therefore to maintain a high standard in our bands and in our music. We
must go onward, upward. Two great band leaders have pointed the way. Let us follow in their footsteps.
1932 ABA 3rd Annual Report
―What the American Bandmasters Association Means to Me‖
By Edwin Franko Goldman – ca. 1953
As founder of the American Bandmasters Association, the organization is naturally something of which I
am very proud. Before this organization was established, bandmasters did not know each other nor were
they interested in each other. There was no unified attempt to do anything for the advancement of bands
and band music.
The American Bandmasters Association means much to me because it has achieved worthwhile
improvements which have affected all types of bands. In other words, it has set an example and a very high
standard.
It has brought together the best band minds of this and other countries. It is primarily an association of
professional bandmasters. University, college and high school directors are invited to join in tribute to
outstanding achievement.
The American Bandmasters Association has wielded a healthy influence in the past and can do still more in
the future. Each and every member derives benefit from his membership, not only musically and
artistically, but socially as well.
News Release to ABA Members ca. 1953
―Events in the Life of Edwin Franko Goldman
Which Caused Him to Think of ABA in the First Place‖
By Past President Herbert N. Johnston - 1979
My purpose this morning is to share participation with you in celebrating our fiftieth anniversary, and
specifically to talk with you about the great man who founded The American Bandmasters Association and
was its guiding light for so many years, and whose spiritual heritage became a legacy which affects our
thoughts and actions, even today.
A moment ago I called Edwin Franko Goldman a great man. He was truly that in every sense of the word.
As a man of distinction E.F.G. was gifted with remarkably good looks, a magnetic personality, great
powers of persuasion, firmness of purpose, and unwavering fortitude and perseverance in pursuing what he
thought to be right. His integrity and his attention to ethical values were legendary among his peers.
His musical credentials, too, were always in good order at the highest levels—as a solo and ensemble
player (cornet/trumpet), as a composer-arranger, and, of course, as one of the world‘s great band
conductors.
These were formidable assets, indeed, and they were all brought to bear upon the formation of ABA.
By 1929 Edwin Franko Goldman—not yet known as Dr. Goldman—had achieved great popular and artistic
success, as well as economic security. He had already been a beloved public figure in New York City for
some years when, with the coming of network radio in the mid-twenties, he became a national figure as
well.
His rise to fame and glory had not always been easy. It was out of his sometimes bitter personal
experiences along the way that the idea for ABA was born. As he fought his way onward and upward, his
sensitive nature had occasionally been offended by the crudities of envy, petty jealousies, competitive
professional pressures, and sometimes even anti-Semitism. A number of events of this kind come to mind,
but I will mention only the one—the last one—which triggered E.F.G. into action on the ABA idea.
This occurred in 1927, when the Goldman Band was doing a season of commercially sponsored radio
programs on a weekly basis. The programs were always introduced as Edwin Franko Goldman and The
Goldman Band. Several noted guest conductors were also presented during the season—always announced
as Mr. XYZ, conducting The Goldman Band. One well-known guest took exception and wanted to be
billed as Mr. XYZ and His Band (which it wasn‘t). The affair became rather heated and quite acrimonious,
ending favorably only when E.F.G. retained an attorney and threatened to sue on the grounds of libel and
defamation of character.
In the telling, this incident may seem to be quite mild, or even amusing. I can assure you that it was
anything but amusing in the highly charged musical media atmosphere of that time, especially to E.F.G.
Goldman was deeply hurt by what he considered to be unprofessional conduct, and he resolved to do
something about it. Six months later he put forth his idea and began to talk it up, and the next year ABA
came into being. Our constitution, despite some changes over the years, still reflects the Goldman
conviction that friendship and mutual helpfulness among bandmasters would lead to peace and progress in
the band movement.
ABA, once begun, remained under a strong Goldman influence and inspiration for some twenty-eight
years. Until 1955 his presence graced our conventions and generated an atmosphere of dignity, respect and
righteous well-being.
As if in confirmation, let me give you two brief quotations from letters that have come my way recently
from two of our illustrious past-presidents:
1. I guess that all the esteem that we all felt for him, without actually knowing why, was justly
proper.
2. Some way, we must bring back the dignity, love and respect we had in ABA when Dr.
Goldman used to sit on the rostrum and look down on us with varying expressions, according
to the things that were taking place on the floor at the time.
Perhaps, at this time of anniversary celebration, it would be well to reflect upon the Goldman heritage and
let its inspiring warmth enfold us a bit more closely once again.
1979 ABA Annual Report
―Backstage With the Goldman Band (Surprises and Non-Surprises)‖
By Robert L. ―Bob‖ Leist - 1993
What a surprise….What a great and wonderful surprise when President Bob Foster called inviting me to
speak to this group of the most accomplished people in the band world. And what a challenge…a
challenge to bring new information to you which you have not heard numerous times before, on a subject
about which you are thoroughly versed, our founder, his accomplishments, his influences and his band. To
rely solely on my memory would generate about 30 seconds worth of information; so I read, I researched, I
mused, I reminisced, and I do believe that I have come up with some previously ―unadvertised intrigue,‖
along with some personal experiences and observations of my own.
Franko Family: Where to start? First surprise: Right here in New Orleans, where both the Franko Family
and the Goldman family settled settled upon their emigration from Germany circa 1850.
Let me speak first about the Franko Family. Hamman Franko, formerly Hamman Hollander, left Germany
owing to what he called ―restrictions on his personal freedom,‖ and at that time changed his name from
Hollander to Franko, which means ―free‖ in French. Knowing in advance that he would settle in New
Orleans, he wanted to fit into the French Community. Well, fit he did! He made a fortune in retail jewelry
and cotton. He was passionately opposed to northern abolitionists in their efforts to end slavery. No
surprise! He was shipping cotton to England by the boat load and guess who was picking it? Not Eli
Whitney. There‘s more. He financed a small army of his own, sending them into the field under the name
of ―The Franko Guard.‖ Therefore it was no surprise when the Union Army took New Orleans in 1862 that
they put Hamman in jail. I‘m not making this up. His wife Helene paid $5,000 to arrange his escape
dressing in ―drag‖ (disguised as a woman). The Franko family somehow got on a boat and escaped to
Germany.
All the Franko children were gifted musicians and while in Germany were given a thorough musical
education. Their father had no less than eight grand pianos installed in their elaborate home, to make sure
there were no excuses for not practicing. (Does that sound anything like your home?)
A few years later President Lincoln pardoned Hamman Franko and the entire family returned to New
Orleans where, this time, Hamman‘s business ventures failed and he lost most of his fortune. This takes the
Franko family to about 1870.
Goldman Family: The Goldman Family were exceptionally successful, bright and musical, but they were
fated to tragedy. Mayer Goldman was recognized as a prominent resident of New Orleans, and he received
public attention for his work during the Yellow Fever epidemic about 1852. Tragically he was burned to
death while traveling on a Mississippi River Boat from New Orleans to Louisville, Kentucky.
Mayer Goldman‘s oldest son, David, who was to become Edwin‘s father, decided to study law. Although
he was considered to be a brilliant pianist and violinist, he chose to make his living as a lawyer.
In 1871 David Goldman and Selma Franko married and moved to Louisville, Kentucky where Edwin was
born in 1878 to these two brilliant and talented people.
Later the family moved to Indiana where again tragedy struck the Goldman family. Edwin‘s father died at
age thirty-eight, suffering a long illness which drained the family finances. His mother Selma was forced
to move her family to New York to live with her father Hamman Franko. It became necessary at this point
for Edwin and his younger brother Walter to be placed, temporarily, in a Hebrew Orphan Asylum until
Selma would be able to reestablish herself on a stable financial basis. Edwin was just nine years old.
Selma taught violin and piano and among her students was a young Jerome Kern. It‘s a small musical
world.
Edwin Franko Goldman: With such an impressive, talented and intellectually astute family background,
one might expect a quick success story in music for Edwin. Not so! At the Orphan Asylum he had the
opportunity to play the alto horn. Surprise! He was considered to have ―absolutely no talent.‖ (I‘m betting
the valves were in backwards.) Later he had a second opportunity to study the cornet, to which he became
totally devoted and wonderfully accomplished to the point where he earned first chair with the
Metropolitan Opera Orchestra at just 17 years of age. It was not within Edwin‘s personality to remain, as
he put it, ―a part of a machine‖ for the rest of his life. His goal was to develop a concert band.
His first big break came in 1924. Before the season began, the Guggenheims approached Edwin for an
estimate of what it would cost for them to underwrite the entire summer concert season. Edwin asked for
and received $76,000 for a sixty concert series with a sixty piece band.
Instrumentation would vary slightly through the years depending on (a) money and (b) player availability.
However, as long as I have been associated with the Goldman Band there was never a 2nd Eb Alto
Saxophone.
During most of these years we had an Eb Alto Clarinet player named Ray Scott, a wonderful person, and he
was also the librarian. I‘m sure he was a good player because I could see his fingers moving quickly and in
tempo, but I never heard a note. It‘s like having a major symphony orchestra with one viola. They don‘t
do that, why should we? May I suggest that you reread a great article by J.J. Gagnier on the use of Alto,
Bass and Contra-Bass clarinets originally published in the ABA Annual in 1932 and reprinted for the Sousa
Commemoration a few years ago. If you can‘t find it, write to me and I will be glad to make some copies
for you (free).
Richard Franko Goldman: In 1937 son Richard Franko Goldman became assistant conductor. Perhaps
his most important contribution was the role he played encouraging contemporary composers to write for
band. Surprisingly, and unknown to many, he often had difficulty convincing Edwin of some of these
program ideas. Evidence of this is supported in a letter to Percy Grainer from Richard in frustration over
scheduling Henry Cowell‘s ―Celtic Suite‖:
I need not explain to you again that I am not the boss…you know the position in which I am and
that my ideas and intentions take a little while for realization!! But I shall keep plugging for the
performance of Cowell‘s music.
The performance finally took place in 1939.
If, in Webster‘s famous dictionary, he had defined the word ―contrasting‖ as characterized by the
personalities of Edwin and Richard Franko Goldman, he would have had the perfect metaphor, as accurate
in definition as: ―a juxtaposition of dissimilar elements.‖ Richard was not, for better or worse, the same
characteristic, outgoing, aggressive, and self-assured individual as was his father Edwin. Richard was
quiet, modest, considerate, sensitive, introspective and warm. Richard was a scholar. At 16 he graduated
from a high school for the exceptionally gifted and entered Columbia University. Surprisingly he did not
major in music. He specialized in Philosophy, Romance Languages and English. Richard was fluent in
seven languages. He pursued his musical education at his own expense, studying piano and composition.
His father paid no attention to his musical education at all. It is, therefore, no surprise that Richard‘s
working relationship with his father was not always smooth.
1956 marks a major turning point in the Goldman Band. Bill Revelli‘s comments in Tempe 1991 tell it
best: (slightly paraphrased)
We had dinner with him (Edwin). We left in January and I was due back in June to conduct, and I
said, ―I‘ll see you and the band on the Mall in June.‖ And that great man put his arm around my
shoulder and said, ―I don‘t think so.‖ He was dying and knew it. I never saw him again.
Richard took over the full responsibilities of the Goldman Band in the spring and summer of 1956. Up to
this point Richard had also been conductor of the Princeton University Band and this new position required
that he resign that post. I was very flattered when he recommended me and I auditioned and interviewed
and was appointed in the fall of 1956. For the next fourteen years I was Conductor of the Princeton
University Band. In 1970 my position as school principal in Northport, Long Island became evermore time
consuming and it was with much regret that I had to resign the Princeton position.
Richard found that raising money for the summer concert series for the Goldman Band was increasingly a
problem. The Guggenheims were reducing their contributions and the costs were escalating.
In the fall of 1968 Richard was appointed to the Directorship of the Peabody Institute and Conservatory of
Music in Baltimore. With this extra responsibility it would have been difficult for him to handle the day to
day details of the Goldman Band from Baltimore. Richard hired Ainslee Cox as full time manager in New
York, as well as assistant conductor.
As the years passed, not only were the physical demands considerable but the financial worries a strain. In
1979 Richard decided to disband the ensemble. He dissolved the corporation and made a gift of the
Goldman Band Library to the University of Iowa.
When Richard terminated his band it was final, decisive and conclusive. The end of an era, as he so often
expressed it. The numerous times that he and I would ride together from his suite in the Salisbury Hotel on
57th Street N.Y. to either Prospect Park or Central Park for an evening concert he would reiterate his intent
to me so frequently that I became sensitive and embarrassed that the might have thought that I had aspired
to carry on as conductor of the Goldman Band after its discontinuance. As it happens, I had no such intent.
I have no way of knowing whether Richard had these same discussions with Ainslee Cox, but I do know
that when he decided to disband his ensemble in 1979 he fully expected to spend his remaining years
pursuing other of his many interests and that the Goldman Band would not exist. He did not know that he
had only a few months to live. He died in January 1980, just seven weeks after it was discovered that he
had a brain tumor.
The band which is now performing under the Goldman name is not a family approved group. After two
generations of developing a standard of excellence second to none, and considering that the Goldman Band
had achieved the highest position of musical honor bestowed on the name Goldman, one has concerns
about whether this group is or is not maintaining that same level of programming, musical vitality,
performance standards and worldwide acclaim which have become associated with that of the Goldman
name. This is exactly what Richard wanted to avoid, as he confided to me in our many personal
conversations.
Personal Reminiscence: I met Richard for the first time when I returned to Juilliard after the war. He was
in charge of the Literature and Materials courses which were a new and broader concept of what we used to
call theory. By this time I had considerable experience arranging for the service bands and Richard picked
that up right away. From that time on we worked closely together and as Richard became busier he began
to turn over a number of his arranging assignments to me.
About the Bach Fantasia: Having graduated from Juilliard in 1949, I entered Columbia University in
pursuit of a Masters Degree. At that time Juilliard was just two blocks away and we kept in close touch.
At Columbia I enrolled in an independent study course entitled ―Special Problems in Arranging.‖ Upon
hearing this, Richard said, ―Great, do the Bach Fantasia. Father has been asking for this for a long time.‖
(We probably should have called it The Chorale from the Fantasia in G, because the fantasia parts are
keyboard flights of fancy before and after the chorale section.)
Richard‘s instructions were to go to the New York Public Library and study everything I could find about
organs—the stops, the couplers, the ranges, the registration, etc. And I did. Bach did not designate what
stops were to be used. I simply imposed the stops I would have used if I were an organist. (Incidentally, I
do this with everything I write.) In effect, The Bach Fantasia was my Masters Degree Arranging Project.
As you may know, the full score of this arrangement was never published. I had enough copies of the full
score made for this year‘s ABA Officers, Board of Directors, ABA Foundation and our host Frank Wickes.
I spoke with Arnold Broido at Presser who said we may make as many copies for this for use by any
ABAers who might wish to have one. I hope we can work that out.
Other Surprises: In1965 Richard asked me to become Assistant Conductor of the Goldman Band. I was
delighted and looked forward to the opportunity,…until reality set in. May I quote from a letter Richard
sent to me dated May 10, 1965:
I have already scheduled you to make your first appearance with us on Wednesday, June 30,
conducting the following:
Procession of Nobles Rimsky-Korsakov
Military Overture Mendelssohn
Reflections Nixon
Passacaglia C. Scott
Jubilation R. Ward
Now that seems pretty easy for the first time out. Everybody knows the Procession. I knew the
Mendelssohn and the Nixon and I scored the Scott and the Ward pieces. No problem, right? Wrong!
Listen to the rest of the letter.
We will have played the Mendelssohn and the Nixon with me conducting but the others will be
unrehearsed.
This got to be standard procedure. Ask Bill Revelli about ―Universal Judgment‖ in 1932.
Haunting Questions: From my experiences conducting the Goldman Band I have to ask, are we preparing
out student bandmasters for the realities of what really happens on the podium on a breezy summer
evening? At Juilliard I learned all the good stuff about music. I could even identify the Italian, French and
German augmented 6th chords. But they never once mentioned the thing I needed most in Central Park on a
windy evening,
‖Windclip Technology.‖
I am preparing a course of study to fill this deplorable gap in our music education training. So far I have
completed two chapters:
Chapter I. Windclipology
(a) The Elbow Technique
(b) Clip controlled collation
(c) The slide over maneuver
Chapter II. Scorectomy Lossitis (Loss of Score)
(a) When several pages blow over, smile until the band catches up to the page
you‘re on.
(b) When either you are lost in the score, or several pages have blown away
during which there are meter changes, use the ―Tossed Salad‖ maneuver.
(c) How to develop the ―Kick beat or not‖ Technique.
Personal demonstrations of the above. Bob Leist
1993 ABA Annual Report
RICHARD FRANKO GOLDMAN (1910 – 1980)
Dr. Richard Franko Goldman, educator, composer, and conductor of the Goldman Band, died January 19,
1980 at the age of 69. He was born in New York City in 1910.
Dr. Goldman was the son of Edwin Franko Goldman, founder of The American Bandmasters Association
and the Goldman Band. He succeeded his father as a conductor upon the latter‘s death in 1956. Dr.
Goldman was known to thousands of New Yorkers who flocked regularly during the summer months to
hear the free concerts given by the Goldman Band under the auspices of the Guggenheim Foundation.
A Phi Beta Kappa graduate from Columbia University, with a major in art history and archaeology, Dr.
Goldman‘s activities extended in many directions: he studied music privately, both in the United States
and Europe; he earned a living during the 1930s by churning out adventure stories for pulp magazines; and
during his career he wrote numerous scholarly works, including three concerning the band: ―The Band‘s
Music‖ (1938), ―The Concert Band‖ (1946), and ―The Wind Band‖ (1961). His article on ―Modern Music‖
for the New Oxford History of Music won him a Deems Taylor Award and a New American Society of
Composers, Authors, and Publishers Award. Other awards were the Alice M .Ditson Conductors Award in
1961 and a Guggenheim Fellowship in 1962.
Dr. Goldman‘s teaching career started as a member of the Ernest Williams School of Music in 1934. He
joined the faculty of the Juilliard School of Music in New York City in 1947, and was chairman of its
Department of Literature and Materials of Music from 1952 to 1960. At various times he was a visiting
professor at Princeton University, Columbia University, and New York University. He received honorary
degrees from Mannes College of Music in New York, Lehigh University, and the University of Maryland.
In 1968 Dr. Goldman joined the Peabody Conservatory of Music, and for eight of his nine years at the
school he was both director of the nationally known conservatory and president of its parent body, the
Peabody Institute. Upon his retirement in 1977, he was made President Emeritus of this institute.
Dr. Goldman‘s death will be most intensely felt by those who came in direct contact with him, for he was a
very civilized man, simple and warm in manner, despite his vast erudition and notable accomplishments.
1980 ABA Annual Report
Note: The 1985 Annual Report noted the death of Sandra Goldman, wife of Richard, in January 1985.
(Note: For further information on Richard Franko Goldman, please refer to the entries for Edwin Franko
Goldman.)
MORTON GOULD (1913 – 1996)
(Note: The source for the following memorial is Bernard Holland, Music Editor of The New York Times.)
Morton Gould, Honorary Member of ABA, was born in Queens, New York December 10, 1913 and died
unexpectedly in Orlando, Florida on February 21, 1996. As a small child Morton was fascinated by the
family‘s player piano and tried to imitate the key motion with his own fingers. On Armistice Day, 1918, at
the age of five, he reproduced the tune of ―The Stars and Stripes Forever‖ at the piano without a single
mistake, signaling the musical talent that was quickly taken up and pursued with energy. Morton attended
the Institute of Musical Art, now known as the Juilliard School of Music. He studied composition with
Vincent Jones and piano with Abby Whiteside. He wrote his first piece at age six and was a busy piano
recitalist in New York during his teenage years.
Morton remained close to the piano all of his life. His composition ―Two Pianos‖ was written for the
Murray Dranoff Two-Piano Competition in Miami in 1987. His ―Ghost Waltzes‖ was the required new
music piece at the 1989 Van Cliburn International Competition in Fort Worth.
Morton‘s career was always firmly rooted in commercial rather than academic endeavors. From 1935 to
1942 he served as the composer, arranger and conductor for the Mutual Network radio station WOR,
producing a weekly program of music. He provided similar services with such popular radio network
shows as the ―Cresta Blanca Carnaval‖ and ―The Chrysler Hour.‖ These ventures produced a number of
compositions, including ―American Concertette for Piano and Orchestra‖ and the ―Latin American
Symphonette.‖
Morton had considerable success as a conductor. In 1966 he won a Grammy Award for an Ives recording
made with the Chicago Symphony. Conductors who performed his music were Arturo Toscanini, Leopold
Stokowski, George Solti, Andre Previn, Eugene Ormandy and Arthur Fiedler. Morton was surprised that
much of his music that was not really intended as classical music ended up in the symphonic repertory.
Morton wanted to share his music with others. Communication was always terribly important to him.
Many of his pieces for orchestra, piano, voice and various ensembles used the concert format to house the
elements of jazz, pop, folk music and marching band. His two Broadway musicals were ―Billion Dollar
Baby‖ and ―Arms and the Girl.‖ Agnes de Mille, Jerome Robbins and George Balanchine choreographed
ballets to his compositions ―Fall River Legend,‖ ―Clarinade‖ and ―I‘m Old Fashioned.‖
An elegant, busy and highly social man, Morton was especially astute in the business of music. He was
president of the American Society of Composers, Authors and Publishers from 1986 until 1994 and was on
its board since 1959. He was associated with the American Symphony Orchestra League and served on the
music panels of the National Endowment for the Arts in Washington, DC. (His skill as an arts
administrator was a perfect mirror for the intelligent, hard-headed skills he brought to writing music.)
More than 100 long-playing records of his music have been on the market. The list of his major
compositions occupies six pages of his ASCAP biography and bears such titles as Santa Fe Saga, Holocaust
Suite and American Salute. He was commissioned by the Pittsburgh Youth Orchestra to write a piece for
rap singer and orchestra. He called it ―The Jogger and the Dinosaur.‖ It had its premiere in 1993.
The two capstones of Morton‘s career came in 1994 and 1995. He was the recipient of a Kennedy Center
Honors Award from President Clinton in 1994 and the next year won the Pulitzer Prize in music for ―String
Music,‖ a 30-minute work commissioned by the National Symphony Orchestra as a tribute to its longtime
conductor Mstislav Rostropovich.
Morton was elected to ABA membership in 1956 and to Honorary Membership in 1979. ABA member
Phil Lang and his wife Ruth were Morton‘s very close friends and their families spend much time together.
When Ruth and Phil were married in 1941 Morton was their best man. Last year Ruth had the pleasure of
presenting Morton with an Honorary Award from the Goldman Band at New York‘s Lincoln Center.
Marilyn Bergman, president of ASCAP, said of Morton:
America has lost one of its most distinguished composers and conductors, and the creative
community has lost one of its great leaders. His vigor and spirit led us to believe that he would
live forever and in fact—through his music—he will.
1996 ABA Annual Report
VICTOR J. GRABEL (1886 – 1965)
Victor Grabel was born in Prairieville, Texas. He began the study of the cornet at age 15. ABA member
Everett McCracken, later director of bands at Baylor University, states that Victor organized the first band
at TCU, which was then in Waco, Texas, and that Victor was the director of that band in 1906. From the
Grabel scrapbooks, which the family loaned to me, I read that it was in 1906 when Victor first heard the
great Sousa Band that he determined to be a band leader. He attended the Dana Band School in Warren,
Ohio and studied under the late Bob Gilland.
I obtained the following information from Captain Arthur S. Haynes, former cornet soloist in His Majesty‘s
Irish Guards Band in London, England, who came to the U.S. as soloist and assistant leader of the Kiltie
Band, and later director of the 7th U.S. Infantry Band:
Victor Grabel was a shy, gentle, scholarly lad when he enlisted in the band of the 7 th U.S. Infantry
in March 1906 at Ft. Wayne, Detroit, Michigan. The following year the regiment was transferred
to Fort McKinley, Philippine Islands. His life as a soldier-musician was not a happy one, and he
neither sought nor accepted friendships among those with whom he served. He had a consuming
ambition to be a music director and to this end he purchased a large number of phonograph
records of classical works, which he was wont to direct with great dignity in the squad room,
while his fellow musicians would hoot and engage in all sorts of horse play, including the
throwing of shoes and books. After Victor suffered these indignities for some two years an
opportunity presented itself by which any soldier with less than a year to complete his enlistment
was permitted to take his discharge and serve on the Manila Police Force, subject to passing a civil
service examination. Victor took his examination, passed it handsomely and received his
honorable discharge. Instead of reporting to the police, however, ―Cap‖ Haynes, who in the
meantime had become the bandmaster and Grabel‘s only sympathizer, cashed his final pay check
and hustled him aboard a freighter bound for Osaka, Japan. While Haynes and Grabel remained
good friends throughout the latter‘s lifetime, their lives separated and personal contact was
infrequent.
Captain Haynes has other information concerning Victor, about which I will write later. I also understand
that at the suggestion of Victor Grabel and the late ABA member Dick Dunn, that Dick Dunn directed
Captain Haynes‘ humoresque, ―The Girl I Left Behind Me,‖ at the first convention of ABA.
Records available to me do not show how long Victor remained in Japan, nor what he did while there, but
do show that for a time he directed the 3rd Regiment Band at Hillsboro, Texas.
ABA member Harold Bachman wrote a splendid article on Victor Grabel for the January 1966 issue of
Music Journal. But in the Grabel information which Harold and I exchanged it could not be determined if
Victor had been director of the Lansing Vocational School Band at one time, nor could some other dates be
determined.
In 1914 Victor organized his first Chicago professional band, and in 1916 he was engaged to direct and
teach the Richland Center, Wisconsin school band, where he remained less than one year, leaving to enlist
in the Navy at Great Lakes. It was at Great Lakes that Victor became well acquainted with Sousa who
recommended Victor to take a Navy Band aboard the flagship USS Pennsylvania. ABA member Otto
Kraushaar was a member of this band. Discharged after World War I, Victor directed the municipal band
in Danville, Illinois and for five years had charge of all music for the Western Electric Company of
Chicago. He also organized another Chicago professional band and worked with the Chicago Tribune in
their early day Chicagoland Music Festivals. During World War II Victor substituted for ABA member
John Heney at Stetson University when John went into military service. Victor‘s later life was spent in
Lake Helen, Florida until illness forced him to live with relatives in Mineral Wells, Texas, where he passed
away.
Victor Grabel was one of the Charter Members of ABA and was its first secretary-treasurer, serving for
many years. Later, Victor resigned from ABA.
(Ed. Note [Lynn Sams]: I am writing a far more complete story on Victor Grabel for the ABA Research
Center, but time does not permit me investigating other sources of information which I have only recently
obtained.)
Victor contributed greatly to the band movement in the United States.
1966 ABA Newsletter
OTTO E. GRAHAM, Sr. (1894 – 1970)
Otto E. Graham, Sr. was born in Fredericktown, Missouri on July 21, 1894. He had lived in Waukegan,
Illinois since 1919 until moving to Florida in 1967. He is survived by his widow Cordonna; four sons—
Eugene of Orlando, Florida, Otto, Jr., head athletic director of the Coast Guard Academy, Victor of
Arlington Heights, Illinois, and Richard of Waukegan; 10 grandchildren, 1 great-grandchild, 1 brother, and
1 sister. He was preceded in death by 2 brothers, Ben and Lee. Otto, Sr. was eulogized by Ellis Fuqua,
Waukegan Unit District School Board President:
The passing of Otto Graham, Sr. this morning in Orlando, Florida is indeed a loss to all who were
fortunate to know him and benefit from his efforts. He served this community as director of music
at Waukegan High School for 40 years. He was a moving force in the pioneering of the
instrumental music program in the high school and was a dynamic leader in the development of
the high standards for band competition in the State of Illinois. Even after his retirement, Mr.
Graham served the cause of education in this community by service on the grade school board for
seven years, five as its president. Speaking for the Board of Education and the entire school
community, I wish to express our sincere sympathy to Mrs. Graham, her sons and their families in
this time of sorrow. Our community and Mr. Graham‘s scores of former students have greatly
benefited from the life of service of this man. We have lost a real friend.
Otto Graham Sr.‘s first contact with music was an old pedal reed organ. He started to play the piano
shortly after his 9th birthday. His musical career started at age 9 when he began singing in a church choir.
At 10 he began taking flute lessons, and in high school he sang first tenor in male and mixed quartets. He
played flute in the high school orchestra and also played on the football, basketball, baseball and tennis
teams.
Otto moved to Florida, working on dredge boats, digging canals to drain the water from the Everglades. In
1915 he decided on a musical career, and enrolled at State Teacher‘s College at Kirksville, Missouri, where
he majored in music. It was here that he considered an operatic career, so he studied voice, theory, and
history of music, as well as instrumentation and orchestration. After a stint in the Army during World War
I, he came to Waukegan to head the newly created department of music at the Waukegan High School. He
was made an Honorary Life Member of the Waukegan American Federation of Musicians, and an
Honorary Legion of Honor by the International Supreme Council of the Order of DeMolay. He also
received service awards from the North Chicago Chamber of Commerce, the Waukegan High School
Board, the Fraternal Order of the Eagles, and the Waukegan Philharmonic Society. Otto was also director
of the First Baptist Church Choir for 10 years.
The four Graham sons who survive him also were gifted with musical talent. Son Eugene won the national
championship on oboe and was later a member of the United States Marine Band. He also played viola in
the National High School Orchestra and in the string quartet that placed first in the National Contest in
1936. Son Otto played French
Horn in the brass sextet that won the National Contest in 1937, and he also played cornet, violin and piano.
Son Victor was a National Contest winner on oboe and played oboe in the woodwind quintet that placed
first in the National Contest in 1941. And son Richard was a member of the French horn quartet that won
first place in the State Contest in 1949.
Mrs. Graham taught music in the Waukegan, North Chicago, and county schools for several years. She
played the pipe organ in Baptist, Methodist and Presbyterian churches for 35 years.
Otto Graham enjoyed people. This writer well remembers Otto visiting Disneyland at the time of the ABA
Long Beach Convention of 1961, and of his praise for Vesey Walker‘s Disneyland Band, and his boyish
pleasure with the Disneyland rides. It seemed that he enjoyed everything and everybody, yet it was he who
brought pleasure to others.
Raymond Dvorak and H.E. Nutt represented the ABA at the funeral services, which were held on the
campus of the Waukegan High School. The funeral was held the following day. Ray Dvorak reported that
at the memorial service one of the Psalms that had been set to music by Otto was played on the organ and
read by one of the ministers. Ray writes:
It was as fine a piece of music as I have ever heard. For all the years I knew Otto (from 1923) he
never revealed his efforts in musical composition.
1971 ABA Newsletter
Note: The 1988 Annual Report noted the death of Cordonna Graham, wife of Otto, on October 1, 1987.
RONALD DOUGLAS GREGORY (1920 – 2003)
Ronald Douglas Gregory was born April 29, 1920 in Walton, New York and died January 22, 2003 in Juno
Beach, Florida. His mother was a church organist. She tried to persuade him to play the piano but Ron
chose to play the cornet. When he was eight years old, having played the cornet for several years, his
mother drove him through the New York mountains into northern Pennsylvania to hear John Philip Sousa‘s
band. By the age the age of fourteen Ron was playing regularly in the Baptist church and with a dance
band playing in an off-limits saloon. His mother was always nearby waiting to take him home. He was
active in high school, performing in band, orchestra and glee club.
Although Ron‘s father wanted him to major in engineering, Ron wanted to study music at a big Midwestern
college with a marching band. He won a Montgomery Ward scholarship and chose to attend The Ohio
State University. While at the university, Ron was a member of a dance band that played at fraternity
dances and nightclubs. Besides being Ron‘s mentor and inspiration, Professor Eugene Weigel was a
disciplined and doting father figure. Following graduation, Ron accepted a position in the West Unity,
Ohio schools, teaching vocal music, band, instrumental music and chemistry. A year later he taught in the
Franklin, Ohio high school. In one year his band earned a ―superior‖ contest rating. At this time Ron was
privileged to attend many of ABA member Frank Simon‘s ARMCO band concerts in nearby Middletown.
Ron joined a jazz band for Saturday night jam sessions. The popular group became known as the Kats
Kavern. As a community service, he helped organize high school jazz bands in neighboring villages,
through which teenagers were given the opportunity to gain confidence and respect.
In 1944 Ron enlisted in the Navy and was assigned to the Key West, Florida, Fleet Sonar Materiel School.
He became an instructor and earned his commission at the V12 Officers School at Rensselaer Polytechnic
Institute. After the war Governor Thomas Dewey established the Associated Colleges of Upper New York
State in order to provide veterans the opportunity to study under the G. I. Bill. Ron was hired as an
assistant to the president of the college. Still a military officer, Ron operated out of the base at Plattsburg,
New York, traveling all over the state recruiting veterans for those colleges.
In 1948 Eugene Weigel recommended Ron for a position at the University of Utah. Their president wanted
a marching band modeled after that of Ohio State. The Utah football team was scheduled to play the
University of Southern California and Professor Weigel felt that, under Ron‘s direction, the Utah band
could compete with ABA member Clarence Sawhill‘s band. In the years Ron served as Director of Bands,
his marching band shows were styled after the script marching formations used by OSU. During this time
Ron and a friend carpooled to Eugene, Oregon to earn their doctor‘s degrees. While at Utah he was elected
to ABA in 1955.
One year later he became Director of Bands at Indiana University. Once again his halftime formations
resembled the script format of OSU. Ron was a member of Phi Mu Alpha, CBDNA, and was President of
Kappa Kappa Psi Music Honorary. His enthusiasm and charisma earned him the university‘s Most Popular
Professor award.
Subsequently he took on various projects. He went to Africa and Spain to study ethnic music. H was guest
conductor in several European countries. While in England he was invited to conduct a concert of the
Kneller Hall Band. The only other American so honored was ABA member Bill Revelli. He was a
conductor and educator in thirteen countries.
Ron‘s last position was as Dean of Music at Milliken University. He was hired specifically to develop
credible school and community orchestras. He founded the Milliken-Decatur Symphony Orchestra and the
supporting Symphonic Orchestra Guild. Among the artists who performed with the orchestra under his
direction were Buddy Rich, Carlos Montoya, Pete Fountain, Dave Brubeck, Edie Adams, Chet Atkins,
Eileen Farrell, Hoagy Carmichael, Mel Torme, Benny Goodman, Patti Page, Doc Severinsen and Peter
Nero.
Ron composed a number of Alma Mater fight songs. His publications include books on marching bands,
music and formations.
In assessing Ron‘s colorful career, his wife, Betty, remarked:
It‘s heart-warming to know that many lives are touched during the life of a leader who gives his
best and inspires in others the impetus that makes a difference.
2003 ABA Annual Report
JOSEPH M. GROLIMUND (1895 – 1992)
Joseph M. Grolimund, Honorary Associate Member, was born on November 5, 1895 in Fergus Falls,
Minnesota, and died on July 10, 1992 in Elkhart, Indiana at the age of 96, after an extended illness.
Joe attended the Fergus Falls public schools, but left school after the eighth grade. Subsequently, he was
employed by the local newspaper, the Fergus Falls Journal, and the Great Northern Railroad. He was self-
taught on drums and flute. In 1914 he toured with a small musical group playing vaudeville shows in
Minnesota towns, traveling to the theaters by train.
Joe was a veteran of World War I, having served in the Navy. He was one of five ABA members who
were assigned to battleships: Otto Kraushaar on the U.S.S Pennsylvania, Dale Harris on the U.S.S
Wisconsin, William Stanbury on the U.S.S Kansas, Lynn Sams on the U.S.S Louisiana, and Joe on the
U.S.S. Kentucky. It is well worth repeating what Lynn said about them: ―We sailed the nautical high seas
and hit the musical high C‘s – but none of us reenlisted. I doubt if some of us have ever seen a battleship
since.‖
In the early 1920s Joe was hired by Ludwig & Ludwig in Chicago, and later he worked for his old friend,
ABA Associate Member William F. Ludwig at the Ludwig Drum Company. In 1930 Joe joined the H & A
Selmer Company, became its president in 1951, and was named Chairman of the Board in 1960. He guided
the firm, which started out as a small importer of Paris-made instruments, and turned it into one of the
largest manufacturers of band instruments in the world. In 1957 Joe was knighted by the French Consul
General, becoming a Knight of the Commercial Merit of France, in recognition of the outstanding services
performed by him in the development of trade between the U.S. and France.
Joe was active in many civic organizations. He was Past President of the Elkhart Chamber of Commerce, a
Policy Committee member of the U.S. Chamber of Commerce, and Past President of the Elkhart Lions
Club, which honored him in 1989 with the Melvin Jones Fellowship Award for deep commitment toward
serving others. Joe represented the Selmer Company, which was elected to Associate Membership in ABA
in 1953. For a time her served as Chairman of the ABA Associates.
In his letter of condolence to Joe‘s wife, Dick Thurston praised him, saying:
Joe‘s election to the rank of Honorary Associate Member, which comparatively few attain, is
profound evidence of the esteem to which he was held by all of us. He will be greatly missed and
fondly remembered.
1993 ABA Annual Report
Note: The 1998 Annual Report noted the death of Adelyn Grolimund, wife of Joseph, on April 28, 1997.
CHESTER E. GROTH (1900 – 1985)
Chester E. Groth, musician and businessman, died on July 14, 1985 at the age of eighty-five. Born in
Sherburn, Minnesota, he started his musical career as a cornetist with the local community band. Chet
enlisted in the United States Navy during World War I, and was stationed at Great Lakes Naval Station,
where he played in the band led by one of our ABA founders, John Philip Sousa.
After the war Chet worked as a professional musician, playing both cornet and alto saxophone. He gave up
the cornet to specialize in reeds, especially the also saxophone. He toured nationally as saxophone soloist
with Harold Bachman‘s Million Dollar Band. Although he set up his own private teaching studio in
Minneapolis, he continued to tour with professional dance bands.
In 1940 Chet opened his own music store in Minneapolis. His interest in instrumental music continued
through the years. Free of charge, he devoted much time to motivating and preparing students and music
directors for instrumental and teaching professions. This interest in people was the most important aspect
of his seventy years in music.
The Chester E. Groth Music Company was elected to Associate Membership in ABA in 1967. The firm
also belonged to the National Association of Music Merchants. Chet was very proud of his Gold Card
membership in the American Federation of Musicians.
Many of his friends made donations to a Memorial Fund in his honor. Marian Groth has contributed the
entire fund to the American Bandmasters Association Foundation as a living memory to Chet.
1986 ABA Annual Report
CLARE GRUNDMAN (1913 – 1996)
Clare Grundman was born on May 11, 1913, in Cleveland, Ohio and died of cancer on June 15, 1996 in
South Salem, New York. He attended Shaw High School in East Cleveland and played clarinet in the band.
In 1930 he entered Ohio State University. He graduated in 1934 with the degree of Bachelor of Science in
Education. While attending the university he played clarinet and saxophone in the orchestra of trans-
Atlantic passenger vessels during the summer months. Clare began his teaching career at University High
School in 1934 and taught instrumental music in the Lexington, Kentucky public school system the
following two years. In 1937 Clare returned to Ohio State to earn his master‘s degree. He also served as
assistant director of bands and taught orchestration and woodwind instruments. In the summer of 1941
Clare studied with Paul Hindemith at Tanglewood.
During the Second World War, from 1942 to 1945, Clare was Chief Musician in the United States Coast
Guard Band. He orchestrated and conducted the propaganda film, ―Stars and Spars.‖
Following his discharge from the service, he went to work in New York City doing orchestrations and
arrangements for radio, films, television, entertainers and Broadway musicals. A member of ASCAP, he
wrote original scores for RKO-Pathe motion pictures including the ―This Is America‖ series. Besides being
orchestrator for Marge and Gower Champion, he arranged and composed for such radio and television
programs as ―The Clock,‖ ―Treasury Agent,‖ ―Holiday Hotel,‖ ―Candid Microphone,‖ ―Mr. and Mrs.
North,‖ ―Caesar‘s Hour,‖ and the Ford and General Motors anniversary programs.
Clare had an incredible gift for writing great music that was easily accessible to young players. During his
career he wrote more than 100 compositions for junior and senior high school bands. He is particularly
known for his series of rhapsodies based on folk songs, which include American, Scottish, Norwegian,
Irish, Finnish and Japanese melodies.
Clare had a special affinity for Leonard Bernstein‘s music. His outstanding arrangements include
―Overture to Candide,‖ ―Slava,‖ ―Divertimento,‖ ―Candide Suite,‖ and ―A Bernstein Tribute.‖
He received a number of awards in recognition of his contributions to music for bands. Our ABA honored
him with the Edwin Franko Goldman Memorial Citation and the American School Band Directors
Association gave him their Kappa Kappa Psi Distinguished Service Award. He received the John Philip
Sousa Foundation‘s Diploma of the Sudler Order of Merit and was made a Fellow of the Academy of Wind
and Percussion Arts. He was also a Phi Mu Alpha Sinfonian and was elected to membership in ABA in
1985.
Clare, a devotee of crossword puzzles and other word games, was co-editor of the New York Times
Crossword Puzzle Dictionary.
At their state band clinic, the Ohio members of the American School Band Directors Association paid the
following tribute to Clare in recognition of his contributions to music education:
It would be safe to say that it is literally impossible to have been involved in a school band
program at any time in the past four decades and not have encountered the music of Clare
Grundman as a player or a listener. Millions of American school band members have grown up
playing and loving his compositions and arrangements. His name is truly a ―household‖ word
among music educators throughout the entire world and his works have always served as models
of construction, imagination, orchestration and true inspiration.
1997 ABA Annual Report
H
RALPH G. HALE (1924 – 1993)
Ralph G. Hale was born in Cleveland, Mississippi in 1924 and died after a prolonged illness on March 15,
1993 in Memphis. He received his early musical training in the Cleveland school system, having played
baritone and trombone in the band. He won several honors in national contests as baritone soloist and was
a student conductor while in high school. Ralph attended the Cincinnati Conservatory of Music, studying
with ABA member Frank Simon. Subsequently he attended the University of Arkansas at Monticello,
Delta State University, and Memphis State University. In 1973 he was awarded an Honorary Doctor of
Music degree by the Christian Brothers College.
Ralph‘s entire 37-year career was spent as band director at Christian Brothers High School in Memphis. In
addition to his musical duties, he often taught a course in philosophy. His bands won a number of national
contest awards.
Ralph served as clinician, guest conductor and adjudicator in 21 states. In the early 1950s he was one of
the founders of the Music Camp of the Ozarks on Lake Catherine in Hot Springs. He was especially well
known for his skill in teaching music reading to beginning students. He developed a series of slides for use
in teaching rhythmic skills. As a composer, Ralph wrote 23 original band pieces especially suited for
beginners. He not only developed fine musicians, but he also tried to develop their finer qualities of
character. More than one-third of his students are still active in music—teaching, performing with
orchestras, and in the record and film industries. Some have achieved fame as solo artists, notably Jesse
Winchester of rock and roll fame.
Ralph was a member of the American School Band Directors Association, the National Band Association,
Phi Beta Mu, and a Past President of the Tennessee Bandmasters Association. He was elected to ABA
membership in 1977. Two years later he received the ―Mac‖ award for Tennessee and was inducted into
the Tennessee Bandmasters Hall of Fame. The Ralph Hale Memorial Music Scholarship has been
established in his honor.
Ralph was a wonderful and gentile man—a friend who shared much with many. His career could serve as
a model for any aspiring teacher. He was a teacher first, a director second.
1994 ABA Annual Report
ALBERT AUSTIN HARDING (1880 - 1958)
―Dr. Albert Austin Harding – A Profile‖
By George C. Wilson
It is indeed a special privilege that has been given me in this opportunity to share with you some personal
memories of my association with Dr. Albert Austin Harding and to present a personal profile of him. In
speaking from the perspective of my time frame at Illinois, I also speak for a great host of others who
shared similar experiences through the years. Because I wish to present these remarks in my best possible
manner, I beg your indulgence as I do so in the shape of this prepared text.
Dr. Harding was a humble man, one of quiet, powerful dignity, always a gentleman whose demeanor
challenged everyone around him to give full measure of his finest effort. He was always neatly dressed,
commanding one‘s attention and respect.
Ray Dvorak, one of Harding‘s many assistants through the years, who began his association with Dr.
Harding as a student at the University of Illinois, spoke of Dr. Harding‘s great influence on his life when he
said:
I was fortunate to be in this great man‘s presence. He was a kindly gentleman who never spoke an
ill word about anyone and he had a great influence on my life. He did not order others, but he set
a good example and expected others to follow. He possessed an unusual and captivating sense of
humor, but I was never aware that he indulged in off-color stories or used profanity.
We all felt we were part of a large family, where we enjoyed unique privileges as ―one of the boys,‖ as he
called us in those pre-war days. But I would hasten to add that he was equally proud of the presence and
contributions of the women who later became members of the band.
During the years of my study at Illinois (1926-31) Dr. Harding was especially engaged in extensive work
with publishers of major literature for the Concert Band in this country and other countries in the world.
He constantly sought to bring the finest of the world‘s great literature to his bands for study and
performance. His work set the stage for the development and expansion of scores for the concert band, as
displayed in the symphonic band score of today.
I enjoyed the privilege of serving on the staff as Librarian during my years at Illinois. At that time the
bands moved from old University Hall, where they enjoyed quarters scattered over several floors, to the
old, rambling, wooden World War I PX buildings situated near the University Armory, where the present
fine home of the University Bands is located. So, as Band Librarian, I spent the entire summer of 1928
using a small pickup truck as I single handedly moved the entire University of Illinois Band Library from
University Hall to the ―new‖ Band Building. Of course, the library was not as large as today, but I assure
you it felt big enough as I moved it in that truck, one file drawer at a time.
Dr. Harding had a friendly disposition, but not one inviting frivolous familiarity. He was often called
―Aus‖ or ―Austin‖ by his older colleagues, but so far as I knew he was addressed as Dr. Harding, Dr. A.A.
Harding or Mr. Harding by friends and students alike. I never heard him addressed by his first name.
When he used his name as Albert A. Harding, on a rare occasion, he was quoted as saying, ―I parted my
name on the wrong side.‖
During those years was a time when I was able to share in Dr. Harding‘s introduction to the National Music
Camp at Interlochen. Dr. Joe Maddy visited Illinois to invite Dr. Harding to be the band conductor at the
National Music Camp. Neil Kjos, Sr., who was conductor of the Second Regimental Band at Illinois and a
clarinet teacher at Interlochen, suggested that Dr. Maddy make a spot for me to also go to Interlochen that
summer and install Dr. Harding‘s library operation at the Camp. So, in the summer of 1929, the second
year of the National Music Camp, I was privileged to join Dr. Harding in helping shape and operate the
band music program at Interlochen.
Even at Interlochen, in those first couple of summers, we were shipping music back and forth from Ann
Arbor to Interlochen in boxes—it took quite a while to even get things unpacked and straightened up. So
we established that operation in a hurry.
In following summers other ABA members from the Illinois Band also joined the program at the National
Music Camp, making major contributions to the leadership, music library, and other functions of the Camp.
These included Ray Dvorak, Glenn Cliffe Bainum, Clarence Sawhill, Mark Hindsley, Russell Howland and
successive Librarians of the Illinois Bands, and other loyal Illini.
An example of Dr. Harding‘s keen sense of humor occurred at the Camp one year as he made his initial
arrival at Interlochen for the season. Upon finding an esteemed colleague already present, Dr. Harding
said, ―This is like two oysters in the church supper stew, when one said to the other one, ‗What are we both
doing here?‘‖
Since Dr. Harding was born on February 20, 1880, we have just passed another anniversary date on his
calendar. Born in Georgetown, Illinois, he entered the University of Illinois to major in engineering, but
quickly became involved in the band program as a student, subsequently becoming Director of the Band,
which position he held throughout his career of 43 years at the University of Illinois. Upon his retirement
he said, ―I wore out five presidents of the University of Illinois and started on the sixth.‖
During this time he established standards and led the way in the development of band activities in our
educational institutions across the country. Thus the University of Illinois became the principal educational
center of band training and development for the entire country in those years.
Harding was a pioneer. Through the years his Illinois bands were the first to develop Band Clinics and the
first to display extensive pageantry on the football field, using elaborate formations and marching
maneuvers with special dramatic music scores. For a brief period of time Illinois offered a baccalaureate
degree designed to train band directors in the schools. Of the Band Clinics, Harding said:
The clinics were the most satisfactory of my many efforts for the band at Illinois. It was my pride
that our band could play so well compared not only with professional bands but with symphony
orchestras. Our Illinois Concert Band played so completely similar to the modern symphony
orchestra.
How proud he would have been of the performance of the Illinois Concert Band this week!
At the center of all of this he sought to establish the concert band as a serious musical medium. He spoke
of the concert band‘s role as follows: ―The band should reflect the dignity of the university and should play
a symphonic quality of music as well as a symphony orchestra.‖
For years Dr. Harding conducted the University of Illinois Symphony Orchestra. As a violin major student
at the University, I enjoyed orchestral training under his leadership, but it was in the University Concert
Band that I was deeply attracted to some of the major orchestral repertoire. Playing under his leadership
was exciting; his conducting was always inspirational, providing a musical experience of the finest order.
Dr. Harding‘s dynamic leadership made him the logical first choice of a single band director from the
educational system to become a Charter Member of The American Bandmasters Association. He
eventually served in every office of the organization and was finally elected Honorary Life President. The
College Band Directors National Association also elected him an Honorary Life President of that
organization. He cherished his participation in the ABA—speaking often of those associations.
He was a close friend of the great band leaders of his time, but he never lost touch with his students and
colleagues. These friendships were long and strong ones, some resulting in significant tributes to Dr.
Harding, such as the granting of John Philip Sousa‘s personal library to the Illinois bands and Dr. Harding.
Sousa had called the Illinois Band ―the world‘s greatest college band,‖ along with Edwin Franko Goldman,
who called it ―the finest of all concert bands.‖
Assisting Dr. Harding on his staff at Illinois as principal Assistant Directors were several distinguished
colleagues, all members of the ABA. These included Glenn Cliffe Bainum, Ray Dvorak, Clarence Sawhill,
and Mark Hindsley, who succeeded Dr. Harding as Director of Bands at Illinois. Additional Harding Band
alumni who have been on the membership list of the ABA and who played important roles in the Harding
era of the Illinois Band Story are Milbury Carey, Graham Overgard, Harold Hines, Keith Wilson, William
Cole, and Bruce Jones. [And George C. Wilson—RET]
Memories of our days in the Illinois Band under Dr. Harding continue to be vivid ones, providing us with
strength, purpose and direction in the pursuit of our craft.
As his successor Mark Hindsley has said:
No chronicle of the achievements of Harding could possibly reveal to a satisfactory degree the
impact of his personality, his leadership and his greatness upon his students, his associates, the
University, the State, and the Nation. He was truly one who could walk with kings and not lose
the common touch.
In conclusion, we submit that all of our lives are richer because Dr. Albert Austin Harding went ahead of
us, pioneering and shaping the way.
1990 ABA Annual Report
PAUL A. HARNER (1903 – 1995)
Paul Harner was born on November 10, 1903 in Adams County, Pennsylvania and died on February 21,
1995 in Homewood, Pennsylvania at the age of 91. He began taking cornet lessons when he was ten years
old and five years later started his teaching career. By the time he was 22 years old, he had more than 73
students taking cornet lessons. Although he never graduated from high school or college, he availed
himself of music courses and clinics at Gettysburg College, Western Maryland College, Mansfield State
Teachers College, Penn State University, the Virtuoso Music School at Buffalo, New York, University of
Maryland, the VanderCook School of Music and the Peabody Conservatory of Music, where he studied
cornet with Dr. Daniel Feldman.
At the age of 17 Paul was the cornet soloist and assistant director of the 32-member Patriotic Order of Sons
of America band in Hanover. He really was a self-taught band director. In 1934 at the request of the
Adams County school administration, Paul organized five high school bands in the county at New Oxford,
Littlestown, York Springs, Fairfield and Arendtsville. He commuted to teach at these schools for twenty
years. His New Oxford High School Band won 20 consecutive first place awards in Adams County, 17
first place awards in district competition, 16 first place awards in state contests and two national titles in
1935 and 1941.
Paul wrote the ―President Washington‖ march in 1932. It was performed by a 500-member massed band
under his direction to commemorate the bicentennial of the town of Hanover. The march was adopted as
one of the official marches of the national bicentennial celebration. The United States Air Force Band
included the march in a recording of patriotic music.
Paul said that the highlight of his life was his election into The American Bandmasters Association in 1954.
He served on the Board of Directors of ABA in 1970 and 1971.
In 1954 Paul taught exclusively at the Littlestown High School until his retirement in 1966.
Commenting on Paul‘s personality, one of his students remembered, ―When he spoke of music, his whole
face would light up. It was like you could see the musical notes playing in his eyes.‖
Paul left behind memories of music, honors, awards, and much more. He was a pioneer band director who
did more than leave a legacy. He was a legacy.
1996 ABA Annual Report
Note: The 1996 Annual Report noted the death of Emma Harner, wife of Paul.
JAMES CUNNINGHAM HARPER (1893 – 1986)
James Cunningham Harper, esteemed Honorary Life President of the American Bandmasters Association,
passed away on February 16, 1986, one day short of his ninety-third birthday. Elected to the American
Bandmasters Association in 1934, Captain Jim served on the Board of Directors in 1951 and 1956. He was
elected president in 1955, the first high school band director to be so honored. Twenty years later he
became ABA‘s seventh Honorary Life President.
Born in Lenoir, North Carolina, Captain Jim received a bachelor‘s degree from Davidson College and a
Master of Arts degree from the University of North Carolina in Chapel Hill. He earned the title ―Captain‖
while serving in the United States Army during World War I.
Although he was associated with the banking profession, he gave that up to form the Lenoir High School
Band in 1924, serving as director until his retirement in 1958. His band performed in the first state contest
in 1926, receiving a ―superior‖ rating, one that the Lenoir bands received for forty-two consecutive years.
Captain Jim was one of the organizers of the North Carolina Bandmasters Association and served as its
president in 1943.
At his own expense, he built an addition to the Lenoir Senior High School for the exclusive use of the band
program. Captain Jim gave great portions of his life to his students. To him, the band was the world in
microcosm. There he could teach them about excellence in thinking and living. He was committed to self-
discipline, intellectual growth and perfection in all he did. He himself was an avid reader who maintained a
record of every book he read during his lifetime.
Numerous civic, professional and personal honors marked his career, including the Davidson College
Doctorate of Humane Letters.
Captain Jim‘s friends and colleagues will remember him as a just and caring man who had a profound
influence on generations of students.
1986 ABA Annual Report
President Harper‘s Address - 1956
Gentlemen: We are very happy indeed to welcome you to our 22 nd convention. The enrollment this time is
most encouraging and I am confident that this will prove to be one of the most interesting meetings we
have had. Certainly it should be different, and as it is farther west than any convention we have had before,
it at least shortens the travel distance for many of our faithful members who have crossed the continent year
after year.
Being President of our Association is, to me, the highest honor which can come to a bandmaster and, as I
said a year ago, this is especially true because this body of men felt about it as they did. I could hope for no
greater accolade than the good opinion of the men in this room and of our fellow members who did not get
to Santa Fe, but are with us in spirit. I am humble indeed at the responsibilities, but grateful to you for your
confidence.
If I were to express my gratitude to every member of our Association who has cheerfully put a shoulder to
the wheel and gone all out for whatever task he was assigned, the list would take more time than these
words should consume. I would be derelict in my duty, however, if I failed to mention at least the faithful
work of our Vice President, Colonel George S. Howard, who has been conducting the investigation of our
nominees for membership; of our capable Secretary, Glenn Bainum, who, though traveling constantly, has
yet kept up the work of his office more efficiently than many a man could have done with a stationary
office and a flock of assistants; of Gib Sandefer who came to Santa Fe and made this convention possible;
of his efficient and faithful wife, Inez Sandefer, who organized Santa Fe, so far as the ladies are concerned;
and Bill Santelmann, who served on committees in Washington and when key men on his committees ran
into emergencies which prevented their doing the things they had planned to do in our behalf, Bill just
organized parts of committees and got the job done anyway.
Your Association is in healthy condition financially and it has made progress during the year on the tasks
assigned to it. You will hear more about this in some of the committee reports you will consider.
All of us have been saddened during the year by the loss of such valuable members of ours as: Major W.
Landers, father of the Iowa Band Law; Dr. N.W. Christiansen, Professor of Instrumental Music, Utah
Agricultural College; August Schaefer, famous cornet player and conductor; our Associate Member Ernest
Ostwald, who founded the award for composition from which we will hear the first winner during this
convention; and most of all by the passing of our founder and Honorary Life President, Dr. Edwin Franko
Goldman. More will be said in this connection at a later time in the convention, but your president does not
feel that appraisal of our past year would be accurate without its mention here.
As we look forward to an ever increasing usefulness and accomplishment of our Association and an ever
clearer understanding of its mission, let me point out that we can all make it more efficient than it has been
up to now if we will make our plans to attend its conventions, to promptly answer letters on its official
business, and to look forward toward the future of the ABA when we propose names for its membership.
1956 ABA Annual Report
―Lenoir‘s Own – James Harper and the Lenoir High School Band‖
Prepared by Frank M. Hammond, Read by Herbert Hazelman - 1977
At its New Orleans Convention in March 1975, the American Bandmasters Association gave special
recognition to one of its members by electing him Honorary Life President. James Cunningham Harper, a
member of the ABA since 1935, is the seventh to be so named for outstanding contributions to band music
in America. The accomplishments of the six other men comprising the list—John Philip Sousa, Edwin
Franko Goldman, Albert Austin Harding, Frank Simon, Karl L. King and Glenn Cliffe Bainum—
demonstrate the singularity of this honor.
How James Harper came to earn this latest recognition is a story of ability, dedication and love, spanning a
career of more than half a century. It was this writer‘s privilege to research and report Mr. Harper‘s life
and the history of the Lenoir, North Carolina High School Band from its beginning to the present. The
study of the inception and growth of Harper‘s band program in Lenoir clearly establishes him as a pioneer
in the development of bands in the United States.
According to a survey conducted in 1919 by the Music Supervisors National Conference of 359 cities
reporting, only 88 band programs existed in their public schools. In 1924, only two North Carolina cities
supported band programs: Winston-Salem and Greensboro. James Cunningham Harper, through the
cooperation of the Dysart-Kendall Post of the American Legion in Lenoir, was instrumental in the
establishment of the third and now the oldest continuous band program in the state.
James Harper‘s formal education did not indicate an inclination toward teaching. His undergraduate degree
from Davidson College in 1915 was with a major in English. Upon his graduation from Davidson, he
entered the University of North Carolina at Chapel Hill and earned a master‘s degree in economics. After
leaving Chapel Hill, Harper worked in banks in Greensboro, Winston-Salem, and Asheville, North
Carolina, and in the Guaranty Bank and Trust Company in New York. During World War I he was given a
commission in the United States Army and served in various capacities. His last assignment in the Army
was on the campus of Washington and Lee University, where he was commander of the Student Officer
Training Corps.
At the age of twelve James Harper began the study of the violin, and when an orchestra was organized in
Lenoir, he played in it until he finished high school. During his college years he played his violin in
orchestras and even learned to play the trombone a little, helping out when that instrument was needed.
Later, after he returned to Lenoir to participate in his family‘s furniture business, he taught himself to play
the flute, an avocation in which he still participates each Sunday during church services.
When the Armistice of 1918 was signed, communities all over the United States welcomed their veterans
home. In the smaller towns, the young returning soldiers found themselves with a good deal of leisure
time. The grateful Lenoir public, wishing to show their gratitude to those who had served in the war,
bought a set of thirty band instruments for the local Post of the American Legion, and an American Legion
Band was formed. This took place before James Harper returned to Lenoir, and a former Army bandsman
was hired to train the group.
Upon Harper‘s return home, he was invited to join the Legion Band. All the instruments, however, had
been issued, and there was no place for a violin in a band. Searching his father‘s attic, he found an early
Boehm system flute and an instruction book. His previous musical training helped Harper to progress
rapidly and he soon caught up with the other members of the band. With the sudden disappearance of the
bandmaster, the Legion Band was without a director. Harper says:
There was a rumor that he had taken our band treasury with him, but that could have made little
difference, as our treasury was almost empty anyway. The thing which did make a difference was
that we had a playing date a week off and no leader.
The band members turned to Harper and he agreed to conduct the band in their Fourth of July concert in
1921. He remained as conductor, and for two years the band served its purpose, performing for functions
in Lenoir and in surrounding communities. Eventually, however, the interest of the bandsmen began to
diminish as the young veterans, who at first had wished to have somewhere to go at night, now married,
became fathers, and started careers. More and more instruments became surplus and the band grew
smaller.
Those who had organized the drive for band instruments had advertised that it would provide a permanent
community band which would serve in many ways. With the imminent dissolution of the band, what
excuse could the Legion give to the public? Unused musical instruments serve no purpose.
On March 6, 1924, James Harper presented a motion to the Dysart-Kendall Post of the American Legion
Post in Lenoir, proposing that the band instruments be donated to the Lenoir High School. He offered to
serve as instructor and suggested that title of the instruments be released to the school if the band showed
sufficient progress after one year. The Legion membership passed Harper‘s motion and the Lenoir school
officials accepted the offer. The instruments were taken to the school and rehearsals began soon after. The
new school band used a regular classroom which provided no space for instrument or library storage.
Harper‘s band presented two concerts in the spring of 1924, with the admission receipts applied to the
repair of the old instruments and to the purchase of new ones. With help from local civic groups the band
traveled to near by communities giving concerts and creating interests in school instrumental music. In
1926 the Lenoir High School Band participated in the first North Carolina band contest on the campus of
the State Normal and Industrial College (now the University of North Carolina at Greensboro). Lenoir
found itself at a disadvantage competing with larger bands with better instrumentation, but its small size
was not to impede its progress for long.
Soon the Lenoir Band was not only winning in its class, but it grew to be considered the best band in the
state. To date the Lenoir High School Band has earned 40 ―superior‖ ratings in the North Carolina State
Band Contest.
The Lenoir Band‘s contest activity was not limited to North Carolina, however. Beginning in the late
1930‘s and continuing until World War II, Harper took his organization to several National Band
Competitions. In 1940 Al Wright, then a high school band director, first heard Harper‘s band in West Palm
Beach, Florida. He said, ―Naturally, the Lenoir Band was the greatest thing I‘d ever heard. I had only been
out of college a year or two and I was determined that someday I would have a band as good as Jim‘s.‖
With the growth of the Lenoir Band, music and equipment purchases made heavy demands on the small
classroom assigned to the band. To solve the problem, it was evident that an additional building was
needed, since nowhere in the existing structure was adequate space available. Harper, with the aid of an
architect, began to study the problem, and in 1927, two years later, two-thirds of the Lenoir Band Building
was finished. The third band building to be constructed as such in the United States, it remains a model of
careful planning and understanding of the special needs of bands. Ample library space, storage areas for
instruments and uniforms, dressing rooms, individual and small ensemble practice rooms, and a large
rehearsal room comprise the three floors. All rooms are connected by an intercommunications system,
allowing teachers to monitor activities and give assistance when needed. 1972 saw the completion of the
building, when the final one-third of the original plan was added to the structure. Harper had contributed
most of the money to build the structure, which today is valued at more than two million dollars.
It should be mentioned again that James Harper had no college preparation for teaching music. In fact, at
the time of the founding of the Lenoir Band, no colleges or universities in North Carolina prepared
musicians to teach band instruments. The few college bands that existed were entirely student activities
with student direction and without faculty supervision. No college credit was granted for band
membership, and no courses in wind instruments or band methods were taught. The few universities in the
United States offering such instruction were located in the Midwestern region.
Furthermore, James Harper‘s only formal musical training consisted of his several years of private violin
lessons, while his trombone, flute, and clarinet study had been on his own. He had played in several
ensembles, but had not the advantage of private instruction in the wind instruments. Realizing his lack of
preparation in certain areas, especially in the teaching of the brasses, Harper secured the assistance of a
man to teach the brass instruments on Saturdays. As the band began to graduate players with some
proficiency, Harper employed the most promising of these to help. In 1938 Leonard Meretta was hired as a
full-time brass teacher, and a few years later, George Kirsten was employed primarily to teach in the junior
high and elementary grades. Thereafter, Harper maintained two assistants and paid their salaries from his
own funds until 1953, at which time he persuaded the school board to assume this responsibility.
Regardless of the career indications of James Harper‘s background, his teaching demonstrated sound
pedagogical insight. Concerning first-year students, he said, ―The beginner needs many short lessons rather
than a few long ones, and a lesson every day is not too much in the early stages. This will prevent his
becoming confused, and it also heads off his getting bad habits of various kinds.‖ Intuitively responding to
the young instrumentalist‘s need for individual attention, he added:
We gave our students as many private lessons as their schedules would permit. Periods when we
had very few students, we could manage a private lesson every day. More crowded periods meant
fewer lessons per week. We were always there on Saturday mornings, and many students got
lessons and practiced then.
Training young people to play with adequate proficiency was not James Harper‘s only concern, however.
He needed to build an appreciative audience for his students in order to insure perpetuation of the new band
program. He utilized his undergraduate training in English to publicize the activities of the new band and
to influence students to join it. It was important to Harper that his organization be known on state and
national levels as well as in its home community. He authored more than 100 articles in state and national
publications, reporting the growth and activities of his band and sharing his teaching methods with music
educators all over the United States. In 1932 his article ―School Band Publicity‖ appeared in The High
School Teacher. This summary paragraph from this article demonstrates Harper‘s ability to substantiate his
conclusions through skillful writing:
Simple language in publicity material, plenty of white space, neat type effect and interesting
illustration all help. The fewer the words used, the more likely they are to catch the eye and stick
in the memory. Pictures should be clear and interesting and should lead the eye to the text of the
advertising and not out of the edge of the picture. Good slogans constantly hammered on.
Material boiled down to its essence. A spirit of cheerfulness and good humor. These are all keys
to success.
James Harper‘s promotional ability continued to benefit him and his band in a number of ways. In North
Carolina, Harper‘s name was soon familiar to other musicians throughout the state, and they sought his
advice when the band‘s reputation began to grow. The Lenoir High School Band‘s appearances on college
campuses throughout the state also enhanced the reputation of the organization and its leader. Harper‘s
scrapbook contains many letters from politicians, educators and administrators who had heard the Lenoir
Band at football games or in concerts. Harper was quick to respond to letters of congratulations and
thereby cultivated friendships among men of literary and musical renown. To these men, he offered his
ideas about music and bands, winning the respect of many notables in the field of music. When a particular
article about music impressed him, Harper frequently responded by writing to the author. Conversely, the
articles he authored brought him correspondence from musicians, administrators and teachers in other parts
of the United States. A noteworthy example of the kind of correspondence Harper received can be found in
a letter from John Erskine, one of the founders of the National Music Camp. In a letter dated June 27,
1929, Erskine wrote:
You greatly encourage me by your letter of June 14 th. I hoped that what I wrote expressed the
point of view of my colleagues in the field of music, and I am delighted to be confirmed in that
hope by what you wrote. We should all try, I think, to persuade the schools and colleges to give
credit for the actual practice of music rather than for lecture courses about it, and the more we can
do to encourage the amateur to develop his talents, the better chance there is for the whole art in
our land.
In 1934 Harper was nominated for membership in the America Bandmasters Association (ABA) by A.R.
McAllister. Having passed the thorough examination confirming his membership, he attended his first
ABA convention in Cincinnati in 1935. At the time of his induction into the ABA, Harper only knew about
two dozen members, but soon came to know and feel at ease with the entire membership. He explained,
―Harding, Bainum, Bachman, McAllister, and Goldman had heard our band at our State Contests and had
given us a very flattering report, and the rest were willing to take us on faith.‖
According to Harper, there were only about three high school band directors in the ABA when he became a
member; most of the members were directors of municipal, professional, or collegiate bands. Some
outstanding performers were members as well, and it was Harper‘s pleasure to associate with them.
Describing an event of that first ABA convention, Harper said:
I was sitting at a supper table one night in Cincinnati with Frank Simon, Herbert Clarke, and
Ernest Williams when I asked myself how on earth I ever got to eat supper with probably the three
greatest living cornetists in America. I will say for these men that none of them had any
pretentions to greatness, but were sincere and honest and kindly in every respect. You would have
supposed that I had grown up with them and was their equal in every respect. If that was their
attitude, it was not at all my own feeling, for I worshipped the very ground that they walked on.
To be admitted into the ABA was indeed prestigious, especially for a high school director, but Harper was
further honored by this organization when he was elected to become its president in 1955. He succeeded
Commander Charles Brendler, Conductor of the United States Navy Band, and assumed his duties at the
close of the twenty-first annual convention of the ABA in Elkhart, Indiana, in February 1955. To date,
Harper is the only high school band director to have served as president of the American Bandmasters
Association.
Since his retirement from teaching in 1958, James Harper has remained a strong influence on the high
standards he set in his thirty-four-year career. He has authored at least six articles, and has served as
contest adjudicator and clinician, both in and out of North Carolina. In addition, he has appeared as guest
conductor of several high school and college bands.
Recognition of Harper‘s accomplishments has continued since his retirement as well. In 1960 he was
presented the ―MAC‖ award, sponsored by First Chair of America and ―School Musician‖ magazine. This
award, commemorating the pioneer band work of A.R. McAllister in Joliet, Illinois, is compared to the
prestigious ―Oscar‖ and ―Emmy‖ awards of the motion picture and television industries. On February 26,
1965 at the Lenoir Band‘s Forty-First Anniversary Concert, Harper was honored by The American School
Band Directors Association (ASBDA), an organization he had helped to found. Homer Haworth,
Membership Chairman of ASBDA, presented Harper with that organization‘s highest award: The Edwin
Franko Goldman Award. The inscription on the medal reads: ―For Outstanding Contribution to the
Advancement of School Bands.‖
In the spring of 1965 Davidson College, Harper‘s alma mater, awarded him the Doctor of Humane Letters
degree. The words chosen by the institution where Harper also serves on the Board of Trustees, succeeding
his father and grandfather, perhaps represent the most succinct and accurate account of Harper‘s
contributions. The citation of the degree reads:
Along with music, he put character in the lives of the youth, and a longing for a better life in both
the privileged and the less fortunate, giving not only advice, but generous financial assistance to
young people in need, and years of long interest and concern.
That this account of so distinguished a career should also bear a note of sadness seems ironical.
Nonetheless, the era of the Lenoir High School Band will soon come to a close. Due to decreasing school
enrollment and the shifting of the population to areas outside city limits, the Lenoir City and Caldwell
County school systems will merge, effective in the fall of 1977. Good musical experience will still be
available in the newer and larger county schools from the capable teachers who conduct their bands. But,
the James C. Harper Band Building will no longer house a high school band and will therefore no longer be
the home of the oldest continuous band program in North Carolina.
The remaining question, then, is: Can the measure of James Harper or the Lenoir High School Band
suddenly become less valuable because they have fallen prey to progress? The answer is obviously ―no‖.
A contribution like James Harper‘s will always benefit those whose lives he touched, and will perpetuate
itself for generations to come. Harper‘s scrapbook, now comprised of more than 200 volumes, tells the
story of his dedication to his work and of the success shared by Harper and the Lenoir High School Band
alike. Graduates of the Lenoir Band, now numbering over five thousand, have been accepted into and
sought out for membership in outstanding college and professional instrumental groups. A number of these
graduates have distinguished themselves in the fields of performance and teaching. Such a continuum of
achievements must, at least in part, be attributed to the tradition of excellence begun in 1924 by James
Cunningham Harper.
1977 ABA Annual Report
DALE L. HARPHAM (1917 – 1993)
Lt. Colonel Dale L. Harpham was born on July 6, 1917 in Montcalm County, Michigan and died in
Martinsville, Indiana on December 4, 1993 following a long bout with cancer. He was three years old
when his family moved to Pleasant Lake, Indiana.
As a sixth grader, Dale purchased a trombone for one dollar. With the aid of mail order music lessons and
innate talent, he began his music development. His first music teacher was Worthy Tuttle, conductor of the
Pleasant Lake town band and a retired circus cornetist. While in the sixth grade, Dale attended a concert by
the U.S. Marine Band on tour, and in his own words ―promptly fell in love with the organization.‖ Then
and there he resolved to become a member of ―The President‘s Own‖ band.
By the time Dale graduated from high school in 1915, his brother Dee had joined the Marine Band as a
trombonist. On July 8, 1935 Dale auditioned for the band and was accepted by the director, Captain Taylor
Branson. Dale was proficient on both cello and trombone and therefore fulfilled the Marine Band
requirement to double on both a string and wind instrument. He was frequently featured as a soloist on the
band‘s radio and television broadcasts. He also served as a vocalist, narrator and program moderator.
After many years of concerts, tours and ceremonies, Dale became Leader of the Dance Band, as well as
conductor of the orchestra and brass choir. He was appointed assistant director of the band on May 1,
1955, a post he held for almost 17 years. After ABA member Lt. Colonel William Santelmann retired,
Dale was appointed director of the band on April 18, 1972, becoming the 23 rd musician in history to
achieve this position. His accomplishments as a military musician and conductor, and a U.S. Marine are
part of the heritage of our proud profession. His every appearance reflected an aura of skill and impeccable
musicianship.
Dale‘s musical and interpretative abilities were often showcased at White House receptions. On one
occasion at the White House, his conducting came to the attention of Leopold Stokowski, who later wrote:
You have trained a splendid orchestra and I know what it costs in effort and thought to do that.
Your performance that night was unusually vital and had a kind of electricity that is rare.
Dale cherished his election to ABA in 1963. He served on the Board of Directors in 1970 and 1971. He
was also a valued member of the ABA Research Center Committee. He retired on October 31, 1974 after
39 years of service. Subsequently he devoted his time and talents to guest conducting young musicians
with whom he wanted to share his musical gifts.
Our own ABA member, Colonel John Bourgeois, also a director of ―The President‘s Own‖, was Dale‘s
colleague for over 22 years. He made these comments on their relationship:
Dale was a wonderful friend and mentor who had a significant impact upon me at the time I joined
the band in 1958. His contributions are too numerous to recount, but it can honestly be said that
his 39 years with the band yielded many accomplishments, which are testimony to his love for this
organization. He will be sorely missed by all who knew him.
1994 ABA Annual Report
DALE CLARENCE HARRIS (1900 – 1997)
Dale Clarence Harris was born on January 20, 1900 in Persia, Iowa and died in Castro Valley, California on
February 16, 1997. His family moved to Corn, Iowa where Dale began playing the clarinet and saxophone
in the school band. Following graduation from high school, he enlisted in the Navy and was in the service
for the duration of World War I. He played in the band that was stationed on the battleship USS
Wisconsin. During the war when his ship was in New York harbor he took lessons with a number of
excellent teachers.
After the war he returned to Iowa and performed with the Clarinda, Iowa band. He traveled to Chicago to
audition for Bohumir Kryl‘s band and was accepted as saxophone soloist. He also played Eb clarinet in the
band.
In 1922 Dale became woodwind instructor at Simpson College in Indianola, Iowa while he pursued studies
toward a degree. He graduated with a Bachelor of Music degree from Simpson College and went on to
receive his master‘s degree at the University of Michigan. In 1938 Dale became supervisor of instrumental
music for band and orchestra in the public schools of Pontiac, Michigan.
Although he had many opportunities for jobs elsewhere, he preferred to remain in the Pontiac area and
stayed for 35 years, retiring in 1960. He was the supervisor of all the schools in Pontiac and had seven
band directors in the system.
During the Second World War Dale taught at Michigan State University, in addition to his own regular
schedule. He was substituting for ABA member Leonard Falcone, who was in the service. Dale also was
associated with the Interlochen bands for seven summers.
Dale was the founder of three organizations: the Southeast Michigan Band and Orchestra Association, the
Michigan School Band and Orchestra Association, and the American School Band Directors Association.
He served as president of ASBDA and eventually was made its Honorary Life President.
Dale authored a basic method for band and also the ―History of the American School Band Directors
Association from 1926 to 1955.‖ He was chairman, and later Honorary Chairman, of the John Philip Sousa
Foundation project, which established an historical record of truly outstanding high school bands from the
year 1920 to 1960. After more than four years of extensive investigation and research, his report was
published and is part of a new book, ―The History of a School Music Program in Pontiac, Michigan: The
Dale C. Harris Era.‖
A number of honors and awards were bestowed on Dale. He was elected to ABA membership in 1950. He
was given the Roll of Honor of the John Philip Sousa Foundation. In 1960 the Michigan School Band and
Orchestra Association honored him with their Citation of Excellence. In 1961 and again in 1981 the
Michigan State Senate issued a Resolution of Tribute to him and in 1981 he was inducted into the NBA
Hall of Fame for Distinguished Band Directors. In 1991 he received an honorary doctorate from his alma
mater, Simpson College.
With Dale‘s passing, the music profession lost one of instrumental education‘s true pioneers.
1997 ABA Annual Report
LEONARD HAROLD HAUG (1910 – 1992)
Leonard Harold Haug, Professor Emeritus of Music at the University of Oklahoma, was born in Eau Claire,
Wisconsin on September 18, 1910 and died in Norman, Oklahoma on October 31, 1992 after an extended
illness.
He began his musical journey in life as a trumpet player in the Eau Claire High School Band. In 1934
Leonard received the Bachelor of Music degree from the University of Wisconsin at Madison. While he
continued his graduate studies there, serving as an assistant to ABA member Ray Dvorak, he accepted an
instrumental teaching position at the Fall River, Wisconsin high school. He taught there for three years
while continuing his master‘s degree, and the Doctor of Music Education degree three years later.
In the fall of 1938 Leonard began his 39-year association with the University of Oklahoma at Norman.
Because of the shortage of band directors during the war years of 1942 through 1945, Leonard was Director
of Instrumental Music in the Norman, Oklahoma public school, in addition to his normal university
workload.
During his career at Oklahoma University, Leonard, at various times, served as Director of Bands,
Associate and Acting Director of the School of Music, and Assistant Dean of the Fine Arts during his last
six years there.
He was active as a clinician, adjudicator and guest conductor, and belonged to numerous professional and
civic organizations: the Oklahoma Music Educators National Conference, Kappa Kappa Psi, Tau Beta
Sigma and the Oklahoma Bandmasters Association. In 1970 the Oklahoma Music Educators Association
elected him to their Hall of Fame. He was a past president of the Norman Kiwanis Club.
Leonard became a member of ABA in 1955 and served on our Board of Directors in 1973 and 1974. He
was a member of the committee that worked so hard to establish the Sousa Memorial at the Kennedy
Center in Washington, DC.
The Leonard H. Haug Scholarship Fund for marching band members has been established at the University
of Oklahoma to perpetuate his example and memory.
His former students, colleagues, and friends admired him and described him as a teacher and counselor
who was kind, dependable, demanding and accurate, but always fair. Many of those who knew him
benefited from his Christian attitude and genuine concern for all things and all people—qualities embodied
in one of Leonard‘s favorite quotations:
―If you sow kindness, you will reap a crop of friends.‖
1993 ABA Annual Report
Note: The 1995 Annual Report noted the death of Irene Haug, wife of Leonard, in September 1994.
ROBERT HAWKINS (1919 - 1981)
Robert Hawkins, band director at Morehead (Kentucky) State University, died on November 27, 1981 at
the age of 62. Dr. Hawkins had served as band director in several high schools and colleges during his life.
He was educated at Indiana State University and Columbia University.
His years of service as Chairman of the Music Department and Band Director at Western State College in
Gunnison, Colorado were significant ones, because the Gunnison Music Camp became a major summer
band institution under his leadership. He held this position from 1951 to 1967.
―Hawk,‖ as he was known to his close friends, found time to score many original compositions and
arrangements for band. He left a large library in testimony of his activity in this field.
In 1967 Dr. Hawkins accepted the position of Director of Band and Orchestra, and Wind Instruments at
Morehead State University. He served also as Director of the Daniel Boone Forest Music Camp.
Of the many awards given ―Hawk,‖ he was to receive one posthumously. In recent weeks he was awarded
the Phi Beta Mu Award for 1981-82. In 1955 he was elected to The American Bandmasters Association.
He was also a member of many other organizations, including Phi Beta Mu and Kappa Kappa Psi.
1982 ABA Convention Report
ARTHUR S. HAYNES (1883 – 1969)
Arthur S. Haynes was born in Cardiff, England on January 4, 1883 and passed away at Travis Air Force
Base Hospital in Fairfield, California on July 29, 1969. He was elected to membership in The American
Bandmasters Association in 1930. In England he was a cornet student of the famed John Solomon.
At the age of 18 Arthur became a member of His Majesty‘s Irish Guards Band and performed with them for
four years. He then continued his music studies at the Royal Academy of Music. He became a member of
the Crystal Band and played alongside the great Dan Godfrey. He also was the solo cornetist of the Court
Theatre, and was the special cornet soloist of Buckingham Palace when they honored Crown Prince
Hirohito, later Emperor of Japan. In 1906 he was solo cornetist with His Majesty‘s Guards Band at the
Canadian Exposition, followed by a Canadian tour. In 1908 he signed a year‘s contract with Fraser‘s
Highland Band of London, England as a cornet soloist for a U.S. and Canadian tour. At the close of the
tour, he decided to remain in the United States, and enlisted in the 7 th United States Infantry Band. In 1911
he was appointed bandmaster of this band, which was then in the Philippines. It is interesting to note that
Haynes found Victor Grabel in this band with one more year to serve out his enlistment, but wanting out.
In 1914 Bandmaster Haynes and 7th Infantry Band were assigned to Vera Cruz, Mexico.
During World War I Haynes and the band served in five major engagements. Next they were assigned to
the U.S. Army of Occupation in Germany, followed by assignment to the United States Army Band School
in Chaumont, France. This school was organized by Walter Damrosch at the request of the U.S. War
Department. It was first directed by Andrea Caplet and Francis Casadesus from the Paris Conservatory of
Music, with Haynes being the Senior U.S. Bandmaster. Following the 1918 Armistice, Haynes was
appointed Bandmaster of U.S. General Pershing‘s General Headquarters Band in Chaumont. (Note: Many
have mistaken this GHQ Band for the U.S. Army Band, but the official U.S. Army Band was not organized
until after the Armistice.) Pershing‘s GHQ Band demobilized immediately after their return to the U.S.
Haynes was assigned to the newly created U.S. Army Band School of Music, at Governor‘s Island, New
York City, then under the supervision of Arthur Clappe, formerly of The Royal Military School (Knellar
Hall). This school was an adjunct and contemporary two-year course at the Institute of Music and Art,
associated with the Juilliard School of Music under Dr. Frank Damrosch. Haynes was the Senior
Bandmaster of the Governor‘s Island Army Band School where he served for several years under newly
appointed William C. White, who served after Damrosch left. (Note: William C. White was elected to
membership in the ABA in 1930, and he died in 1964.)
While studying at Governor‘s Island Band School, Haynes did part-time teaching at Columbia University.
He played with various bands and orchestras for needed income. In 1922 Haynes returned to his Regiment,
then located at Vancouver Barracks, in the state of Washington. In addition to his band duties, he served as
Chairman of the Bandleaders Association of the U.S. Army, and was also the leader of the Al Kader Shrine
Band and Oregon Knights Templar Bands in Portland, Oregon.
In 1945 Haynes retired from the U.S. Army. He was immediately engaged to teach band in the public
schools of Vancouver, Washington. He was appointed Visiting Professor of Music at the University of
Oregon, and taught band at the college summer sessions. Again retired, he and his wife moved to Napa,
California, where their married daughter and her family lived. When this writer [Lynn L. Sams] and Mrs.
Sams retired and came to Napa, one of the first persons to call was my longtime friend ―Cap‖ Haynes.
From that time on until his death, we visited bands, talked band, reminisced about bands, both re-living our
lives in band work. ―Cap‖ was one of the finest musicians I have ever known—the stories, jokes, incidents,
etc. never ended. I well remember his telling me the following:
While I have visited and/or served in 15 foreign countries, yet I never climbed the Matterhorn,
swam the Hellispont, went over Niagara Falls in a barrel, saw the Pyramids from a camel‘s back,
broke the Bank of Monte Carlo, won the Irish Sweepstakes, viewed the Taj Mahal by moonlight,
had an audience with the Pope, never sassed a cop, yet my claim to fame was the reputation of
being the world‘s worst saxophone player.
It was with great sadness that I served as one of the pall bearers at Lt. Arthur S. Haynes‘ funeral held in
Napa, California, July 1969.
Taken from ―Condensed Biographies of Several Pioneers of The American Bandmasters Association, Now
Departed‖ by Lynn L. Sams (1979 ABA Newsletter)
RICHARD B. ―Dick‖ HAYWARD (1874 – 1961)
Captain Richard B. ―Dick‖ Hayward, a Charter Member of The American Bandmasters Association, was
born in London, England in 1874, and died in Toronto, Canada on January 2, 1961. He was brought up in
an orphanage. He learned to play the bugle and at age 12 was a cornetist with the Regimental Band Rifle
Brigade. Two years later he enlisted in the British Army as a musician. Before the turn of the century he
had fought in the Sudan, the Boer War, the Battle of Omdaman, in the Cretan Insurrection, the Battle of
Khartoum, and was one of the British soldiers trapped in the Siege of Ladysmith. He received seven
different medals for participation at fighting fronts.
In 1899 he was recommended for study at the Royal Military School of Music, Knellar Hall, for a five-year
band study. He graduated in 1904 with high honors. While on his honeymoon, he received word that he
had been posted as Bandmaster of the Royal Irish Rifles, leaving for India in three weeks. He served in the
British Army on foreign assignments until 1914, when England entered World War I. At that time he was
ordered back to England with his Regiment and was awarded the Special Combat Commission by the King
of England. This was the only known case in British history of a Bandmaster being so honored. He was
wounded in France and was basically an invalid for one year, and was awarded the Mons Star. Next his
assignment was in Ireland, as Bandmaster and Chief Bombing Officer of England. He arrived in Ireland
just in time to become involved in the Irish Rebellion. Next he was assigned to Bere Island, Bantry Bay,
and was commissioned Captain-Adjutant Royal Irish Rifles. In 1919 medical problems with a leaky heart
caused him to resign from the British Army.
He retired in Gosport, England, and was immediately appointed as Bandmaster of the 5th Hants Regimental
Band. In 1921 he immigrated to Canada and was appointed Bandmaster of the Queen‘s Own Rifles. The
band received many honors, including the Championship Band of Canada. Next he was given the
opportunity to form a band for the Toronto, Canada Transit Commission. At the beginning of World War
II the bandmaster of Dick Hayward‘s former band, the Queen‘s Own Rifles, was fatally ill, so although
Captain Hayward was 72 years old, he again donned his military uniform and spent a happy two years with
the old band. Then he retired in Toronto and again resumed composing and arranging. When he was 74
years old, one of his compositions won a Canada-wide competition. In 1937 he was stricken with
tuberculosis, with a doubtful recovery. But nine months later he was discharged from the hospital and
listed as ―cured.‖ In June 1959 he was admitted to Sunnybrook Military Hospital and the following year
suffered a broken hip. This time he was too weary to fight back. On January 2, 1961 he was borne to his
last rest on the shoulders of Captain Atkins and five other members of his beloved Queen‘s Own Band. He
could not have asked for more.
Dick Hayward, Charter Member of ABA, Board of Directors 1931 through 1934, and President of the ABA
in 1940.
Taken from ―Condensed Biographies of Several Pioneers of the American Bandmasters Association, Now
Departed‖ by Lynn L. Sams (1979 ABA Newsletter)
HERBERT HAZELMAN (1913 – 2007)
Herbert Hazelman
October 13, 1913 - December 16, 2007
Memorial written by Don Wilcox
ABA Memorial Speaker: John R. Locke
Herbert Hazelman was born in Topton, North Carolina in 1913 and died at his home on Madison Avenue in
Starmount, keeping a vow not to die in a rest home, after what his son, Casey, described as ―one hell of
a 94-year run!‖ He was best known for his 42-year tenure as the director of the Greensboro (Grimsley),
North Carolina Senior High School Bands. From 1936 to 1978 he led what was considered one of the best
bands in the land. They won numerous awards, traveled far and wide and rarely hit a sour note. He was
elected to ABA membership in 1951, and was active in the organization for over half a century, serving as
host of the 1963 convention.
In 1963, Hazelman listed a series of "firsts" achieved by the Greensboro (Grimsley) Senior High School
Band. These included the ensemble's being the first band from North Carolina to appear at the
Mid-West National Band Clinic in Chicago, the first use of the "Twin-band" marching style in North
Carolina, the first high school band to have a balanced clarinet choir, the first to have a regularly
scheduled television broadcast series and the first to perform for the Canadian Bandmasters Association.
Hazelman not only directed music, he also wrote it, including Grimsley's school song, which starts "All
Hail to Thee," in 1948. He also composed the jingle "Sail with the Pilot," which the former Pilot
Life Insurance Co. used in commercials for years. Herb was an extremely versatile and gifted musician.
He was a conductor, composer and as a performer he played Oboe for four years with the North Carolina
Symphony; oboe and bassoon for four years with Greensboro Symphony; Horn with Winston-Salem
Symphony and later played String Bass with the Greensboro Symphony!
When Hazelman turned 90 four years ago, friends and former band members toasted him at a party. In
2005, Grimsley named the music building in his honor. Well into his old age, the school would summon
him back to conduct the band on special occasions. In 1999, he arranged a piece for the 100th anniversary
of Grimsley's founding. Even when he performed in retirement, he displayed the same no-nonsense look
he did in his prime. But he was a pussy cat then compared to the years when his bands won 13 straight
"superior" ratings in annual state competitions and occasionally went to Washington to play at the half-time
of Redskins games.
He conceded in a 2003 interview that he was tough but fair, although Casey Hazelman said his dad knew,
at times, that he was "unfair," especially when he believed a student musician wasn't living up to his
or her potential. He was so cantankerous that students hated practices. Casey Hazelman said his dad
confessed to him late in life that he hated them, too.
In a 2003 story about Hazelman, former Greensboro Mayor Jim Melvin, once a band member, said, "He
would throw the baton at you if you missed a note or talked." Melvin was among those who pushed for the
naming of the music building for Hazelman, who beamed at the mention of Melvin's name, as well as the
names of his other musicians who had done well.
Hazelman lived long enough to have a drink with the famous novelist Thomas Wolfe and met George
Bernard Shaw . At 17, as a freshmen at UNC-Chapel Hill, where he was a Phi Beta Kappa student,
Hazelman wrote "Moronic Dance'', a symphony piece that's still played by orchestras and still brought him
royalty checks.
He didn't live in the past and wasn't the type to deplore music that came after his era. He loved The
Beatles. He praised Grimsley bands that came after him and Casey Hazelman said his father believed there
were only two kinds of music: "Good and the other." Herb left behind a legacy of thousands of students and
also an extensive collection (five linear feet!) of professional materials, ranging over a 70-year period of his
activities. These are housed in the Special Collections in the Performing Arts Library, University of
Maryland and include correspondence, programs, and over 150 recordings.
HERBERT HAZELMAN (1913 - 2007)
―Herbert Hazelman Reminisces‖ - 1997
I hope you won‘t regret it. I‘ll try to tell you the truth about ABA as I know it. ‗Way back, many years
ago, I was president of the North Carolina Bandmasters Association. I got a call one day, in the fall, from
Colonel Howard Bronson in Washington, and he said that he was president of ABA. Now I knew what
ABA was, because I was in school when Earl Slocum became a member. I remember him talking about
how many of the present membership had gotten in, back when they had to take an examination. He
wanted to know who did the examinations for some of these people who obviously couldn‘t read music!
He said that the Association had no place to meet. I listened this morning to all these people inviting us for
the years to come—you know, many years ABA had no invitations whatever, except they could always go
to Elkhart. Elkhart had four or five conventions [actually, three-R.E.Thurston] and I had the convention in
Greensboro in 1963 because nobody invited them. I got a call from Paul Yoder—I had invited the ABA at
the Santa Fe convention, and we had the first floor fight in history at that convention because I made the
mistake of saying that if they came to Greensboro I‘d have the Army Band come and play—and the man
who was going to host the convention didn‘t conduct the Army Band. (Now if you‘ll go back in your
program, you‘ll know who I‘m talking about.) So we had a tie vote, and this particular colonel was
presiding, and he cast his vote for Pittsburgh. So we went to Pittsburgh. Now can you imaging going to
Pittsburgh rather than Greensboro, North Carolina?
Anyway, the convention came to Greensboro in 1963. Now up to that time, the host provided everything.
He had to provide the banquet, he had to provide all the printing, he had to provide all the local
transportation, he had to provide a room for the Secretary, for Rusty Bainum—this was a real expensive
proposition. I was elected to the Board at the conclusion of our meeting, and the first thing I did was to
suggest that we raise the fees and that no longer would we expect somebody to feed us. Now that didn‘t
mean that we wouldn‘t take handouts from Associate Members, who would give us a roll and some coffee
for breakfast, but we would provide our own meals, our own banquet. Now, if you feel that you‘re paying
too much, you can blame me!
I took my band to the Mid-West Clinic in Chicago in 1954. This is the program (it‘s a typical ABA
program up to that time: it‘s terrible!). I felt like I had to have a guest conductor for every piece—and try
that sometime with a high school band in a strange location and very little rehearsal time. We didn‘t do too
well, but we did better than most of our conductors! I‘d like to read this program—I‘m not proud of it, but
I think you ought to hear what it was like. (Our concerts used to be interminable at ABA conventions. I
can recall when we met in Columbus, Ohio, we started at 7:30 and we were still there well after midnight!)
This is the program. We started with a chorale—I don‘t know who conducted it. Then we had two pieces
loosely based on Beethoven. We had a concert called ―Pieces of Eight‖—it took two people to do this—
Jenkins and Ebb (?) they were from Eastman, I believe—and a Theme and Variations from the string
quartets. Can you imagine having a band play a string quartet? I had just met Freddy Fennell, and I think
he was somewhat responsible for these pieces, so I figured he ought to conduct them, so I invited him to do
it. I was very impressed with Freddy—I was able to get him to be one of the judges on our contest in
Greensboro the next year. Those of you who ever judged the contest in North Carolina know that for forty
years our band contest was held on the campus of, at that time, the woman‘s college—now it‘s UNCG in
Greensboro—and we almost always had ABA members as judges. But I arranged with Freddy to come
down and judge, and our other two judges were Joe Skornicka and Otto Kraushaar. Now if you haven‘t
been in the Bible Belt recently, you know that we discouraged drinking liquor (at that time) by not selling it
in bars but by making you buy a quart and take it out and drink it someplace else. It happened that our
contest that year came at the same time as the furniture market. Now Grand Rapids, Michigan for years
was known as the furniture capital of the world, but that‘s no longer true—High Point, North Carolina and
furniture places going all the way up to Lenoir is now the furniture capital all over, and when the furniture
market comes to town, there‘s not a room to be had between Asheville and the coast. So, the college had a
little apartment in, as they say, the ―aluminum house,‖ (the alumni building), and we were able to get the
three judges to stay there. But, being strictly a women‘s college, they were not allowed to bring any booze
in. So we advised them to come out to our house. Joe Skornicka showed up at the back door with a whole
bunch of gin and stuff, and said, did we have any ice cubes he could use, and that this would be the
headquarters for all the post-contest drinking. So they proceeded to bring in gobs and gobs of liquor and
they told Freddy, who was sorta naïve—well, he‘s still sorta naïve—they didn‘t want to submit all these
bills, that they‘d just give them to him and he‘d put in a bill for all that booze. Of course, they knew that
the association was not supposed to pay for booze, but our association went ahead and paid for it, but they
passed a resolution that no longer would they pay for any more booze for the judges.
I could go on and on, but I think that we need to do some other things, so I want to talk just a minute about
a few things that I believe in very deeply. You might wonder how I ever got into the ABA—and I‘ve often
wondered about it—but I finally figured out it was because our band contest in North Carolina came
generally about two weekends after the ABA convention, and Jim Harper and I were very, very close
friends 364 days a year—but on contest day we were bitter enemies. Jim had to leave his band for a week
and go to the ABA convention, so he decided I ought to be a member too, so I‘d have to leave town. And it
worked out that way.
When I got the call about having the convention, I called Cecil Brodt, who had just come to North
Carolina. Many of you folks remember Cecil, a wonderful man, a wonderful music merchant, a great
friend of bands—and he was ready to put the convention on in Charlotte. Charlotte had a terrible
auditorium—it was just awful. But he provided the banquet and everything, and we got six bands to play.
Three of the bands were directed by members of the ABA. There was the University of North Carolina
band, with Earl Slocum; the Lenoir band, with Jim Harper; and the Davidson College band, with Jim Pfohl.
And then we invited three other bands: the Charlotte Central High School band; the Duke University band,
which at that time was conducted by a wonderful man named Alan Bone; and the Greensboro High School
band. So that was my first experience with ABA—and I told Mary Frances [Herbert‘s wife] that that was
the back-slappingest organization I ever saw! They really seemed to like each other and seemed to have a
wonderful time together. The first concert—all with guest conductors—the Charlotte Central band was
going to play, and they had an announcer from the local radio station who was master of ceremonies.
Somebody had been selected to conduct the Charlotte Central band in the Introduction to the Third Act of
―Lohengrin,‖ and it turned out that the conductor and the band really couldn‘t get together, so they decided
to play a very difficult march called ―The Microphone.‖ Have you ever played it? It‘s not as good as
―Military Escort,‖ but not any harder. So this announcer said that they had to make a substitution in the
program, they were going to play ―The Microphone,‖ but, he said, ―this isn‘t as hard.‖ So they fired that
man and hired my former college roommate and cohort who was at that time living in Charlotte, so we got
things going along much better. So at the end of the convention—of course, everything about the end of
ABA was secret to everybody, except to the people who were going to get into ABA—and all three of us
who didn‘t direct in college who weren‘t ABA members were nominated. And the convention met the next
year in Michigan—Ann Arbor—and I kept waiting to get that telegram. Never came. So the word came
down that they weren‘t going to take three people from North Carolina at one time, they had to decide on
one. I like to think that they decided on me because I was the best qualified, but as a matter of fact they
decided on me because Alan Bone gave up the band at Duke University and took over the orchestra, and
Bob Smith moved back to New York State. So I got it by default. I don‘t regret it—it‘s been a blast! But
that‘s, in short, how I became a member of ABA. The man who was walking down the hall outside the
meeting room was Commander Brendler, of the Navy Band. I knew Charlie very well—we had the Navy
Band in Greensboro on many, many occasions, and Ken, who was the first drum major with the first band I
had in Greensboro, a terrific drummer, was his principal drummer. Unfortunately, he was one of the people
who were killed in that very tragic plane crash in Rio de Janeiro some years later. But Jim Harper told
Charlie, ―I want you to go back into that meeting and push to get Herb Hazelman in.‖ Charlie said, ―Oh,
yes, I know the Hazelmans; I‘ve spent some happy hours in their home.‖ I remember one time he was
there. He came in and Mary Frances was sitting down and he sniffed and said, ―Oh, you have on ‗Toujours
Moi‘.‖ Mary Frances was very worried—she said, ―Have I got too much perfume on?‖ I assured her I
didn‘t think so; she didn‘t smell too painted to me. (Now I don‘t want to see any of you guys sniffing
around after the concert!) Jim Townsend was there, and I asked him, ―What gives?‖ And he said, ―Well,
Charlie prides himself on the fact that he can recognize some 150 brands of fresh perfume and he has a
very keen nose.‖ So that made Mary Frances feel a little better, and I had already told her that when we got
into this organization she had to behave like a lady. So we went to our first convention, in Columbus, and
we went to a party after the first concert. Rusty Bainum was sitting there and she came in the door—he
grabbed her and pulled her down on his lap and she sat there the rest of the evening. So much for my
advice!
The conventions throughout the years have really been something that we look forward to every year. I‘m
sorry we had to miss the last two, but I think maybe I‘ll miss another one or two, because I‘ve never been
greeted so warmly. Of course, I think most of you are surprised to see that I‘m still alive! I came in the
same year as John Yesulaitis, and I‘m going to outlive him to see who‘ll pronounce my benediction.
Now you may think that this is all just rambling, but you‘re learning a lot about ABA. It‘s the best kind of
teaching when you don‘t realize that you‘re being taught. Our Association has been really, really
wonderful, and it was great, back when I was involved in the contests, to have all these people come in, and
then to observe your work. I know one man, no longer with us, who had a tremendous reputation as being
able to work wonders with an All-State band. So I invited this man to come down and be guest conductor
for an All-State band that I was hosting in Greensboro—and when he got on the podium he was just as
mean as he could be—and I was very surprised because he had always been very generous. In fact, he
judged my band, maybe the second year I was in Greensboro, and gave us a good rating, and he called me
aside afterwards and said, ―I think this is a very, very impressive group, and I think you‘re ABA material.‖
I said, ―I think that‘s fine; what is ABA material?‖ I later, at a meeting somewhere, met a band director
from the same state, and I asked him about this fellow, and he said, ―He‘s just that way all the time. He has
two personalities.‖ Later, I had occasion to ask a man who‘s sitting out here—I guess he is, he‘s so small
we can‘t see him usually, Freddy Fennell—to come be a guest conductor with our honor band. Freddy I‘ve
observed working many, many times, and I‘ve never heard him make a negative comment during rehearsal.
The way he works with kids is just wonderful. Of course, the fact that he played my transcription of the
Handel ―Prelude and Fugue‖ on that concert didn‘t hurt. That‘s a good way to get invited back!
I‘m involved now in teaching a music course for senior citizens. These are very eager people, and we‘re
going very deeply into subjects. We cover mythological elements of the Wagner ―Ring,‖ for instance. I
gave them a handout of some 270 motifs and asked them to memorize sixty. (Actually, we don‘t have
tests.) This is a wonderful experience, and the best thing about it is, when I talk to these people about
something that happened when I was a young man, they know what I‘m talking about. When I mention
these things to my school kids, they have no idea what it was all about.
We‘re very happy to be here. We look forward to the Gulf Coast next year. I was in the Navy during
World War II, and I was sent in the middle of the winter, for indoctrination, to Dartmouth College. As
Webster said, ―It‘s a small college but there are those who love it‖—but not in the wintertime! I was sent
up there in November—it was snowing—and I left there at the end of January and it was still snowing. It
snowed every day, and Mary Frances and I were engaged. I waited till she got to be nineteen. I was just
freezing to death. Mary Frances‘ father was a very proper gentleman. He was a country lawyer—one of the
best-read people in the world, a mind like a steel trap—born in 1865, the last year of ―The Unpleasantness.‖
So I called Mr. Bell and asked if we could get married—my back was cold. (Unfortunately, at this point
the microcassette recorder ran out of tape—readers will have to take our word for it that Herb‘s remarks
concluded shortly thereafter.)
1997 ABA Annual Report
Note: The 2001 Annual Report noted the death of Mary Frances Hazelman, wife of Herbert.
EUGENE F. HEETER (1905 – 1987)
(Note: Eugene Heeter‘s own obituary was written by him in May, 1985
and sent to John Yesulaitis at that time.)
Eugene F. Heeter was born on August 17, 1905 in West Carrollton, Ohio and died on November 19, 1987
in Paw Paw, Michigan. He was elected to The American Bandmasters Association membership in 1941
and always cherished this affiliation.
While in high school Gene‘s clarinet teacher took him to Middletown, Ohio to sit in on Frank Simon‘s
Armco Band rehearsals. He also became a proficient violinist.
Although Gene first attended Ohio University, he earned his bachelor‘s degree at Northwestern University,
where he served as student conductor under Glenn Cliffe Bainum. Following study at Chicago‘s American
Conservatory of Music, he completed his Master of Music degree at the University of Michigan. In 1928
Gene accepted a position as Instrumental Music Supervisor in the public schools at Holland, Michigan and
was the founder of the famous Holland Tulip Festival. He directed the Holland Civic Orchestra and the
American Legion Band. Gene served as the first president of the Michigan School Band and Orchestra
Association, which he helped organize. Summers were devoted to teaching at the National Music Camp in
Interlochen, Western Michigan University and the University of Michigan.
Gene was living in LaGrange, Illinois in 1958 when the editor of the local paper made a public appeal for
someone to organize the musical talents of the community into a municipal band. Gene responded and
became the director of the West Suburban Community Band of LaGrange, serving in that capacity until his
retirement in 1972. Each week the grateful publisher printed the reminder—―don‘t forget band rehearsal
tonight.‖
Among the tributes given in Gene‘s name was a donation to his church choir to buy music, music that
serves as a living memorial to the musician who made such a difference in so many lives.
Gene‘s personal assessment of life with his family, his friends and his music was –
―There‘s never been a dull moment.‖
1987 ABA Annual Report
MALCOLM L. HELM (1947 – 1994)
Malcolm L. Helm was born in Pilot Point, Texas on August 13, 1947 and passed away on March 27, 1993
in Mesquite, Texas after an extended illness. His family moved to Amarillo where he attended the public
schools. He played cello in the orchestra and trombone in the band. In 1968 Malcolm graduated from
West Texas State University with a bachelor‘s degree in music education. Several years later he earned the
Master of Arts degree from the same institution.
Malcolm began his teaching career in 1969 as band director at Spring Forest Junior High School in
Houston. Three years later he joined the Richardson Independent School District as director of the Lake
Highlands Junior High School Band. In 1976 his band was chosen as the Triple C Junior High School
Honor Band and performed at the Texas Music Educators Convention in San Antonio. Malcolm was
honored as Young Bandmaster of the Year in 1976 by the Phi Beta Mu International School Bandmasters
Fraternity and was given the Texas Music Educators Leadership and Achievement Award. He became
Director of Bands from 1977 until his retirement in 1991 because of illness. For several years prior to his
retirement he taught while enduring the pain of terminal cancer. His incredible strength of character carried
him through this devastating illness.
Malcolm‘s bands performed at the Mid-West International Band and Orchestra Clinic in 1979 and again in
1988. His band received the Sudler Flag of Honor from the John Philip Sousa Foundation in 1987, the year
he was elected to ABA. He received the Sudler Order of Merit from the Bandworld Legion of Honor,
recognizing him as one of the nation‘s premier band directors, in 1990. That same year he was elected
President of the Texas Bandmasters Association—ample proof of the high regard in which he was held by
his peers. In 1991 our ABA convention in Tempe enjoyed a performance by his Lake Highlands band.
The Malcolm Helm Fund was established by the Texas Bandmasters Association as a permanent tribute to
a distinguished music educator. His achievements have been recorded in the annals of ABA.
1994 ABA Annual Report
JOHN JOSEPH HENEY (1903 - 1978)
ABA President Donald McGinnis read the names of ABA members who have died since the last
convention. This list included John J. Heney. He was elected to ABA membership in 1940, and passed
away on September 1, 1978.
1979 ABA Annual Report
John Joseph Heney, Sr., Sousa Band percussionist, music educator, and historian, was born in 1903. His
professional band career began in 1924, when he joined the Royal Scotch Highlanders Band. He stayed
with the Highlanders until 1925, when he joined McDonald‘s Highlanders Band (The Kilties). He
remained with The Kilties until 1926, when he joined the John Philip Sousa Band. Heney performed with
the Sousa Band during its last six years, as one of three drummers and xylophone soloist. During this time,
the Sousa Band was not the only one to enjoy Heney‘s company, however. Heney also performed with the
Sells-Floto Circus Band (aka Montgomery‘s Concert Band), the Bertram W. Mills‘ Olympia Circus Band,
the Ringling Brothers, Barnum and Bailey Circus Band, the Medinah Circus and Carnival Band, the Tom
Mix Circus and Wild West Show.
The same year that Heney joined the Sousa Band, he moved to St. Augustine, Florida where he became the
Band Director at Ketterlinus High School. Also during 1926, Heney became the Bandmaster at Stetson
University, a position that lasted until 1935, when he became Bandmaster at DeLand High School in
DeLand, Florida. His employment as Bandmaster at DeLand lasted 32 years.
While Bandmaster at DeLand, Heney was also active in the National Association of Rudimental Drummers
(NARD), the American Bandmasters Association (ABA), and the Florida Bandmasters Association (FBA),
of which he was made an honorary life president in 1941.
As his band directing career flourished, Heney still had time for other pursuits, such as running Heney‘s
Superior Service Station, a local gas station, and the Heney School of Percussion, a private drum studio
from which Heney gave lessons. In 1934, Heney also wrote and published a book, ―The Correct Way to
Drum: A Treatise on the Material Used in Modern Drumming.‖ Besides that book, Heney also published
23 musical compositions and a number of journal articles in his lifetime. In addition, Heney spent time in
the United States Navy during World War II, from 1942 to 1945.
A member of the Sousa Band Fraternal Society, Heney was elected as archivist in November of 1969.
During his time as archivist, Heney attempted to collect and preserve as much of the memorabilia from
Sousa‘s life and the history of the Sousa Band and its members as was left in the personal collections of
other Sousa Band members and their families. He attempted to ensure that Sousa‘s memory and music
were remembered, by consulting on projects to record Sousa‘s music in the present day and by pushing for
Sousa‘s induction into the Hall of Fame for Great Americans. Heney died on September 1, 1978.
ABA Research Center, John Heney Collection
Note: The 1996 Annual Report noted the death of Margaret Heney, wife of John.
John J. Heney was born December 3, 1902 in San Francisco. His parents suffered severely from the 1906
San Francisco earthquake, and he was orphaned before he completed his elementary school education. He
was given a work permit by the board of education and completed the seventh and eighth grades at Horace
Mann School in San Francisco.
He entered the musicians‘ unions at the age of 15. The legal age was 16. He became well-known in the
San Francisco area as a drummer. At 19 he began working on the East Coast. First he had a job in Denver,
which folded. In the process of job hunting, he was offered a position with one of the larger circuses of the
day, the Sells-Floto Circus, with headquarters in Chicago. Heney had no money for the fare to Chicago, so
he boarded a freight train in the dead of winter.
Heney toured with the circus into New York for three years, followed by two years with the Royal Scotch
Highlanders. The following year he signed on with the famous Barnum-Bailey and Ringling Brothers
Circus band, under the direction of Merle Evans.
At age 23 Heney was accepted into the John Philip Sousa Band, perhaps the most famous musical
aggregation in the United States at the time. Heney spent six seasons with the band, the youngest drummer
they ever had.
His last tour with Sousa was in 1931. The famous band leader died the following year, which caused
cancellation of a European tour.
―Playing with the Sousa Band was very demanding,‖ said Heney. ―We played concerts every day of the
week, both afternoon and evening. There was no such thing as a day off while we were on tour.‖ He was
head drummer for the Sousa group during tours.
Heney became a teacher somewhat by circumstance. During a tour with the Royal Scotch Highlanders he
met Fritz Hatcher, principal of St. Augustine High School. He offered Heney a teaching position, which he
accepted, continuing to work as a musician as time permitted. After teaching there for about six years,
Heney came to Stetson University as a percussion instructor in 1935 and was hired to organize a band at
DeLand High School. His high school band quickly became a source of community pride.
In 1941 the DeLand High School Band was ranked at the top, along with high school bands from Modesto,
California, and Joliet, Illinois. During the Depression years while Heney was at St. Augustine and DeLand,
he took night jobs as a drummer to help support his wife and three children. From 1932 to 1938 he played
with a dance band called ―The East Dixie Aces,‖ led by Eddie Herron, at the Daytona Beach Pier. He also
joined the Daytona Beach City Band, an organization where he performed as head percussionist for over 35
years.
Bands over the years enjoyed it when Heney played with them, using the same drum he had had since 1924
when he played with Sousa.
Heney remembered the first student who reported to him as a prospective member of the band in the fall of
1935. The student was Richard Feasel, a native of DeLand and well-known among band directors. Feasel
was the first DHS band president.
Heney‘s service in DeLand schools was interrupted for three years during World War II. He was a
storekeeper in the Seabees, but was called on to organize a band at the Norfolk Navy Yard in Portsmouth,
Virginia.
When Heney began his teaching career, he had only an eighth grade education. After he came to DeLand,
he qualified for entrance into Stetson through a series of comprehensive examinations. He received a
bachelor of music degree from Stetson in 1939. Later he earned a master‘s degree in music.
He retired in 1967 after 32 years as bandmaster in DeLand public schools. Heney‘s bands received state
and national recognition many times.
Heney was one of the founders of the Florida Bandmasters Association. He and Henry Fillmore developed
32 band programs in northern Florida. He died on September 1, 1978. But he set standards of excellence
to be met by countless school children along the way.
(Note: John H. Heney was inducted posthumously into the Florida Bandmasters Association Hall of Fame
on November 22, 1992. At that time his widow, Margaret, still lived in St. Augustine.)
1993 ABA Newsletter—Originally published in the September 1992 issue of ‗The Florida Music Director‖
STANLEY D. HETTINGER (1932 – 1998)
Stanley D. Hettinger was born on March 13, 1932 in Lodi, Ohio and died on September 18, 1998 in Lee,
New Hampshire. He grew up in Leavittsburg, Ohio where he attended the public schools and played
clarinet in the band. He attended The Ohio State University and graduated in 1955 with a bachelor‘s
degree. He earned his master‘s degree at VanderCook College.
Stan joined the United States Air Force and was a fighter pilot from 1956 until 1959. After leaving the
service he spent six years in Oraville, Ohio as a band director in their school system. In 1965 Stan became
a member of the music faculty at the University of New Hampshire. He was Director of Bands for thirty-
one years and retired two years ago because of poor health. From 1968 until 1992 Stan was a pilot with the
Air National Guard at Pease Air Force Base. When he retired from the Guard, he held the rank of Major.
Stan was a member of the College Band Directors National Association and served as the Eastern Division
president in the mid-80s. Other organizations with which he was associated included the Music Educators
National Conference, the National Band Association, the New Hampshire Band Directors Association and
the World Association of Symphonic Bands and Ensembles. He was a founding member and past president
of the New England College Band Directors Association. He was also the founder and director of the
American Chamber Winds and had been the artistic director of the Strafford County, New Hampshire Wind
Symphony. Stan was the recipient of numerous local, state and national awards and was active as a
clinician, conductor and adjudicator throughout the United States.
For over twenty years Stan was a respected antique dealer and licensed auctioneer. He was elected to
membership in ABA in 1983, an honor that he considered the high point of his career. His life deeply
affected his students, colleagues, family and friends.
1999 ABA Annual Report
MARK HUBERT HINDSLEY (1905 – 1999)
Mark Hubert Hindsley, esteemed Honorary Life President of The American Bandmasters Association, was
born on October 18, 1905 in Union City, Indiana and died on October 1, 1999 in Urbana, Illinois. Mark
was born into a musically educated family. His father was a schoolteacher, his mother played the piano, his
brother played the violin and trombone and his sister was a music teacher. Mark began to play the cornet
when he was ten and played in the family orchestra, the country school orchestra and the city band when he
was twelve. He performed in the high school band and was an outstanding student, graduating at the
incredible age of fifteen! Mark enrolled in Indiana University in 1921 as a scholarship student and played
first chair cornet in the band. As a senior he organized his own concert and dance orchestras, which played
on and off campus. ―Indiana Loyalty,‖ still a popular school song, was one of the songs he composed.
Mark graduated at the age of nineteen with an A.B. degree, high honors, election to Phi Beta Kappa and as
a candidate for a Rhodes scholarship. While working on his advanced degree at Indiana University, he
directed the concert and marching bands, gaining national recognition for his innovative and intricate
formations on the football field. In 1927 he earned his Master of Arts degree in music. During the summer
of 1929 Mark studied conducting and band technique with ABA Charter Member Victor Grabel. In
September of that year he became the director of instrumental music in the pubic school system of
Cleveland Heights, Ohio and was the director of the bands and orchestras. In 1933 his band won first
division ratings in a national contest in Evanston, Illinois for playing, sight-reading and marching. They
became the only band in history to win first divisions in all three events in a single national contest. Mark
and his Cleveland Heights bands were selected by the Sousa Foundation for recognition on the Historic
Honor Roll of high school bands during the 1920-1960 period. In 1934 Mark was honored by The School
Musician magazine as one of the most outstanding music directors in the United States. In recognition of
his achievements in the Cleveland Heights program, he was inducted into the Ohio Pioneer Band Directors
Hall of Fame.
In 1934 ABA Charter Member A. Austin Harding, Director of Bands at the University of Illinois, invited
Mark to become the director of the Marching Illini and the First Regimental Bands. His football bands
became legendary and some of his traditional routines—the Block I and Marching Illini entrances—are still
in use today. In 1936 Mark was elected to ABA membership, subsequently serving on the Board of
Directors in 1952-55 and 1958. Elected president of our organization in 1957, Mark served with distinction
as president, as Honorary Life Member and finally as Honorary Life President—the highest honor ABA
can bestow. It is a legacy few will ever match or surpass.
During World War II Mark served in the Army Air Corps from 1942 to 1946, rising to the rank of
lieutenant colonel. He supervised more than 150 bands, and late in the war was assigned to the music
faculty at the American University of Biarritz, France. In 1946 Mark returned to his position at the
University of Illinois. That year he was elected president of the College Band Directors National
Association and served as chairman of the committee to define the principle of the organization. He
became the principal author of the CBDNA‘s long-standing Declaration of Principles.
In 1948 Mark succeeded Dr. Harding as Director of Bands. He was greatly involved in planning the
school‘s new band building, which was occupied in 1957. The following year he coordinated a triple event
on the Illinois campus: dedication of the new building, the 68 th Anniversary concert of the concert band,
and the annual convention of the ABA.
Mark made 59 recordings of the concert band. Recently the University Band reproduced many of these
transcriptions on a compact disc titled ―The Hindsley Legacy.‖ Mark had transcribed more than 75 major
orchestral works, wrote eight books and 45 magazine articles on band and instrumental music education.
Many of these articles on intonation, seating arrangements and rehearsal techniques were combined into
book form—one of the most notable is titled ―My Bands and I – A Love Story.‖
Mark‘s research on wind instrument intonation and brass instrument valve mechanisms led to major
changes in the manufacture of several instruments in the United States, England and France.
Mark received the highest awards of the American School Band Directors Association and the National
Band Association, a Certificate of Merit from the University of Illinois Foundation and the Sudler Medal of
Order of Merit of the John Philip Sousa Foundation. This is a very limited glimpse of Mark‘s unbelievable
numerous honors and achievements.
The University of Illinois Foundation established the Mark Hindsley Band Scholarship Fund and Indiana
University established the Mark Hindsley Endowment Fund for Symphonic Band. Earlier, Indiana
University had honored him with an honorary doctorate.
Mark appeared as guest conductor, adjudicator, clinician and teacher at scores of college campuses and
summer camps. He was completely dedicated to his profession and will be remembered for his leadership,
friendship, and the inspiration he provided for us all. Mark was certainly one of the most important figures
in the history of the American band movement. He will surely be remembered for his influence on
American musical education. Mark Hindsley has now joined his deceased ABA colleagues in our Memory
Hall of Fame.
2000 ABA Annual Report
Note: The 2001 Annual Report noted the death of Helene Hindsley, wife of Mark.
President Hindsley‘s Address - 1958
The honor you conferred on me one year ago in Pittsburgh in electing me the 20 th president of the
American Bandmasters Association is an honor unmatched in our profession. It was further enhanced by
your acceptance of my invitation to come to the University of Illinois to participate in the dedication of our
Band Building and the 68th anniversary concerts of our Concert Band. These honors quickly were
translated into opportunities, challenges, duties, and responsibilities. The significance of the events
scheduled for this week, both for the ABA and the University of Illinois, has grown in anticipation, and we
are confident that this significance will continue to grow as the various programs unfold, one after the
other. You are and will be well aware that the events are not the result of a single year of work and
planning, but that they stem from the work, the inspiration, the traditions of many years standing, and have
involved hundreds, even thousands of people.
This has been a very active year, both for our organization and for our individual members. My
correspondence with so many of you has made me more than ever appreciative of the progress of bands in
America, of the stimulating and forward-looking contributions that are accumulating to the credit of our
profession. Your responses have shown your devotion to your own day-by-day work in your respective
positions, and to the ideals of the ABA.
What may prove to be one of the more outstanding contributions to the internal affairs of the ABA during
this past year is the work of the committee appointed to consider the revision of our constitution,
particularly with regard to membership. This was a most introspective search for ways and means of
updating our operations, for words to express the aims and objectives, the provisions and regulations by
which we can build an always stronger organization.
The results are intended to incorporate the wisdom of our founders and the experiences and developments
of almost 30 years of working together. You have been encouraged to make your opinions available to this
committee in their deliberations, and I hope many of you have done this. While we recognize that it is
impossible to secure complete agreement on all provisions, we hope, and indeed trust, that the committee
has represented sensitively and accurately the will of the great majority of the membership. In my opinion,
your consideration and approval of the revised constitution without major changes will be a wise and
progressive step, and our operations under its provisions in the immediate and extended future will be
considerably enhanced.
Our Association and our individual members have achieved almost phenomenal results in the band field in
the years which have been given them to work. Yet there is no foreseeable limit to the results which still
may be achieved. Basically there are three areas to which we constantly must give attention: the people
who play in our bands, the music they play, and the instruments with which they play the music. We must
consider our players not only for what they give but also for what they receive; the means and content of
their selection, their training, and their experiences must be examined for human values. The music which
we play should be carefully screened and weighed for its innate worth, for it must become and remain the
overwhelming reason for existence of bands. The instruments which are the tools of performance
continually must undergo inspection, improvement, and development. It is in these areas that we must
never become completely satisfied, must ever seek for higher standards. Our aspirations and our successes
are in the hands of each of us as individuals, but they are made more accessible through the interchanges
and motivations which come from our association with each other and in our total group. We profit by
example, and learn from our leaders and our peers. Whenever it is evident that we can better get to the root
of our problems by official action within this Association, let us not hesitate to propose a course of action
and vigorously see it through. It should not be our desire to standardize, to live by formula, but our future
will be determined largely by our concerted efforts.
I suppose I may as well admit that it has been my ambition to become President of the American
Bandmasters Association, without actually having reason to expect or to hope for that honor. May I again
express my appreciation of the distinction which has thus come to me, and for the opportunity of serving
you in this capacity. For the most part it has been extremely rewarding, but I know you will understand
when I say that many times during the past year I have had a burning ambition to become Past President.
Now that this inevitable transition is only a few days away, I am not in too big a hurry. I want to cherish
these days for the rest of my life. You will make my memories, and your own, all the more eternal and all
the more glorified by your hearty participation in and contribution to the proceedings of this convention.
We fondly hope that you will like the new physical facilities that have been provided for the University of
Illinois Bands, that you will give the building and those who pass through it your blessings for the years to
come. We further hope that you will receive inspiration and guidance from those who will speak at the
dedication ceremonies, from the music and those who perform it in our concerts. May you again drink to
the full from the well of fellowship in our associations during these fruitful days, and when you depart, may
it be with a deep glow of pleasure, of pride, and accomplishment.
1958 ABA Annual Report
HAROLD CHENNY HINES (1918 – 1998)
Harold Chenny Hines was born on June 21, 1918 in Chicago, Illinois and died in Mesa, Arizona on April 2,
1998 as the result of a stroke. He grew up in Springfield, Illinois and attended the public schools. He
played trumpet in the high school band.
Harold earned his Bachelor of Music degree at the University of Illinois. Following graduation he began
his teaching career at a little town outside Champaign, Illinois. He taught at the high school for only one
semester before enlisting in the Army Air Corps. During the war he was the director of the 543 rd Army Air
Corps band stationed at Bakersfield, California.
After the war Harold taught at Southern Illinois University for two years and earned his master‘s degree
there. He next joined the faculty of Drake University as Director of Bands. He left Drake after one year to
accept the position of Director of Bands at Arizona State University. From 1952 until 1966 he directed the
bands, then taught trumpet and music courses until his retirement in 1982. He taught privately for a
number of years afterwards.
Harold was very active as a clinician, adjudicator and conductor throughout his career. He was a member
of the Arizona Band Directors Association, also serving as their president. He was a member and past
president of the National Trumpet Guild. He belonged to the College Band Directors National Association
and the Music Educators National Conference. He was also a Phi Mu Alpha Sinfonian. He was elected to
ABA membership in 1956. The Arizona State University School of Music Foundation established a
Memorial Scholarship in his honor.
1999 ABA Annual Report
Note: The 1993 Annual Report noted the death of Gerry Hines, wife of Harold.
ROBERT HOE (1922 – 1983)
Robert Hoe died in Poughkeepsie, New York on February 16, 1983. Born in New York City, he received
his early education in Jacksonville, Florida, graduating from Bolles High School. Bob was a 1943 graduate
of Pomona College in Claremont, California. He received an honorary doctorate of humanities from
Central Methodist College in Fayette, Missouri. In 1971 he was elected an Associate Member of ABA.
He had two great passions: golf and music. His love of golf kept him on the greens whenever his very
busy schedule permitted—in sunshine, rain or snow.
Bob had a great love for band music, especially the march. He played euphonium and frequently
performed with bands as they recorded music for his albums, presenting them as gifts to more than 500
friends throughout the world. The albums have become an invaluable source of biographical information.
In fact, he has become the primary source of information about march music for scholars throughout the
world.
Bob‘s wife, Marilyn, is also a band lover. She hopes to finish compiling the marches Bob had already
taped, this in tribute to the philanthropic man who was concerned that he would not have time enough to
fulfill all of his dreams.
In his own unique way, Bob made a fine contribution to the heritage of the band.
1983 ABA Annual Report
Note: The 2001 Annual Report noted the death of Marilyn Hoe, wife of Robert.
KEITH E. HOUSE (1926 – 2005)
Keith House, one of Missouri‘s leading music educators, passed away quietly at home on Friday, August
26, at the age of 79 after a long battle with cancer and heart disease. Knowing of his illness, more than 40
former students serenaded him outside his home on the occasion of his 79 th birthday on July 14, many
traveling from as far as Iowa, Texas, Kansas and even Pennsylvania to play for him one last time.
He began his long and distinguished teaching career in 1950, and over the years touched the lives of several
generations of high school and college musicians. Keith‘s musical career was focused in the state of
Missouri and he was best known as the director of bands at Central Methodist College in Fayette, Missouri,
which was his alma mater. He received his bachelors degree from there in 1949, following his service in
the U.S. Army during World War II and his Masters in Music Education from the University of Kansas.
During 20 years as director of instrumental music for the Lee‘s Summit public schools, Dr. House
developed that high school band into a highly respected music program and played professionally with area
orchestras, including the Kansas City Philharmonic. He moved to Fayette in 1972 as the director of bands
for Central Methodist College (now University). He was later named dean of CMU‘s Swinney
Conservatory of Music. During his 23-year tenure at Central Methodist, he brought in many nationally
known conductors and soloists and furthered the institution‘s reputation as a training ground for music
education. Under House‘s leadership, the Central Methodist Band was featured on eight recordings in the
Heritage of the March series.
He conducted the Columbia Community Band from 1989 until his health forced his retirement only last
spring. The Community Band honored him in September 2000 as ―a premiere director of bands in the
Midwest.‖ For ten years House also hosted a program on public radio station KBIA in Columbia, ―Gems
of the Concert Band,‖ which aired on Sunday afternoons. He retired from his position at CMU in 1995, but
conducted the Community Band for another ten years, until the spring of 2005.
Keith was elected to membership in the American Bandmasters Association in 1984. He was named to the
Missouri Bandmasters Association Hall of Fame in 1986 and the Missouri Music Educators Hall of Fame
in 1998. It was stated at that time that he had conducted more concerts than any band director in Missouri
state history. The national honorary music fraternity Phi Mu Alpha honored House with its Orpheus Award
for ―significant and lasting contributions to the cause of music in America.‖ In 2002 he was awarded an
honorary Doctor of Humanities degree from Central Methodist College.
Keith was active in the community as well as in his profession. He was an active member of the Linn
Memorial Methodist Church, the Fayette Rotary Club, the Round Table Club and the Windjammers
Unlimited.
A 175-piece band comprised of his former players performed at his funeral, which was an emotional
reunion for friends and former students. The organ preludes were played by a lady who began the study of
an instrument with Keith in the 5th grade. A recording of Keith playing the trumpet solo ―Maid of the Mist‖
by Herbert L. Clarke and a duet with a euphonium player, ―Silverado,‖ also by Clarke, were enjoyed by the
large gathering. A Phi Mu Alpha Alumni chorus of some 90 voices sang ―How Beautiful Upon the
Mountains‖ and the ―Professor House Memorial Band,‖ 175 strong, performed ―On a Hymn Song of Philip
Bliss‖ by David Holsinger and two favorite marches: ―Barnum and Bailey‘s Favorite‖ and ―Stars and
Stripes Forever.‖ Both received a rousing ovation mixed with many tears in memory of the high school
and college band director, and Dean of the Music Department at Central Methodist. A full military
postlude with color guard was presented outside the college church and concluded with ―taps.‖
Marianne E. Inman, President of Central Methodist University, said:
Keith House epitomized everything Central Methodist University stands for—professional
excellence, personal integrity, strong moral character, leadership and service to community. He
was for many years the heart and soul of the university‘s conservatory of music, and as such, he
influenced the lives of thousands of his students, many of whom he continued to mentor long after
they had graduated and became music educators themselves. He will be greatly missed by the
CMU family and by the community of Fayette.
Read by ABA Memorial Speaker: Russell Coleman
2006 ABA Annual Report
BRUCE HOUSEKNECHT (1916 - 1974)
Hugh McMillen, President of the American Bandmasters Association, read the names of those members
who had passed on since the last meeting. This list included Bruce Houseknecht, who passed away on June
16, 1974. He had been a member of ABA since 1953.
1975 ABA Annual Report
NILO WELLINGTON HOVEY (1906 – 1986)
Nilo Wellington Hovey was born on September 22, 1906 in Cedar Falls, Iowa, where he received his first
musical instructions. Nilo passed away in Elkhart, Indiana on March 14, 1986. Elected to the American
Bandmasters Association in 1950, he served as president in 1970 and on the Board of Directors in 1971.
Nilo‘s first teaching and conducting experience came while he attended Iowa State Teachers College, now
the University of Northern Iowa. He received a Bachelor of Music Education degree from Northwestern
University and a Master of Music Degree from Butler University where for 13 years he was band director
and chairman of the Music Education Department. While at Butler he received the Arthur Baxter Award
for superior teaching.
Nilo began his formal teaching career at the Hammond, Indiana Technical High School, where his bands
won numerous national awards. Nilo also won numerous honors and awards, which included: the Phi Beta
Mu Outstanding Bandmaster Award, the Edwin Franko Goldman Award of the American School Band
Directors Association, the Outstanding Hoosier Musician Award from the Indiana Music Education
Association, and election to the National Band Association Hall of Fame of Distinguished Band
Conductors.
For over 16 years Nilo was the education director for the Selmer Company in Elkhart, Indiana. In 1978 at a
reunion of the Hammond Technical High School Band he was given the key to the City of Hammond ―for
more than 50 years of outstanding service and dedication to youth and music.‖
Nilo‘s unique career spanned nearly six decades of international recognition as conductor and teacher,
clinician and adjudicator, composer and prolific author of instructional guides and methods. This is his
legacy.
1987 ABA Annual Report
Note: The 1979 Annual Report noted the death of Ruth Hovey, wife of Nilo, in May 1978.
President Hovey‘s Address - 1971
Members of the American Bandmasters Association and Honored Guests: It is my pleasure to welcome
you to the 37th Annual Convention of the ABA.
This time is traditionally allotted to the President to talk to you briefly on whatever topic appears to him to
be timely or pertinent to the welfare of our organization. I trust you will not anticipate numerous profound
observations on the state of our profession, for there are many here who are much better qualified to do that
than I. However, I have, during the past year, given much thought to the purpose and function of ABA in
the world of band music and performance and have asked myself the question, ―Are we fulfilling our
obligations?‖ I would like to share some of my thoughts with you.
It occurred to me that our objectives have been, and should continue to be, two fold: first, that we aim to
record and preserve the history and traditions of the band movement in America, and perhaps to extend this
research beyond our boundaries with the assistance of similar organizations elsewhere. Among the band
organizations on this continent we may be unique in this function, and so we have a responsibility to
continue such studies. We owe a debt of gratitude to Paul Yoder and others who had the foresight to
establish the ABA Research Center, and to those who are currently dedicating much time and effort to this
project. You will have progress reports from Dale Harpham and Art Brandenburg at subsequent meetings.
The Journal of Band Research is another ABA contribution to the profession which is worthy of note, for it
has the potential of spanning all periods of band activity—past history, the present, and the future. Later at
this convention, you will hear a report from Gale Sperry, currently the editor of this unique publication.
Our second objective is perhaps not as unusual, for it should be the aim of every band association the world
over to be totally and unceasingly dedicated to the improvement of our literature and the proficiency with
which we perform it. In 1971 the foregoing statement may sound platitudinous, but this is a goal that is
never stationary. At least some of what might be considered experimental today will be commonplace in
the near future. We have come a long way toward the goal of having our own literature, but as someone
has said, ―You may be on the right track, but you‘ll be run over if you just sit there.‖
Excuse me, please, for using a personal illustration. The last year in which I had a band that I could call my
own was 1957, fourteen years ago. We played what we considered the best repertoire available at the time.
I would program some of the literature today without apologies, but you may be certain that much of it
would be considered ―out of it‖ today by any conductor who is dedicated to continuing the band‘s progress
in the category of repertoire. This in fourteen years.
ABA has made a substantial contribution to original band repertoire with the valued assistance of our good
friend and benefactor, Adolph Ostwald. This award was first given in 1955, and at this convention, we will
hear the sixteenth composition to be added to the permanent repertoire of the concert band. Unless you
have served on the Award Committee, it is unlikely that you can imagine the work involved. Here is
special recognition for Manley Whitcomb and Arnald Gabriel, Co-Chairmen, the Committee members, and
the Washington Bands which taped the compositions. Our thanks go also to the composers, the publishers,
and the conductors who form a chain in which each link is vital and indispensable.
In performance standards, too, the past decade or two or three or four, have constituted a period of dramatic
progress. Look around you, gentlemen, and you will see many who have contributed substantially to that
progress by high standards with their own bands and by performing clinic and guest conducting duties.
Last December it was my privilege to speak to members of the North American Band Directors
Coordinating Committee. Here is a brief excerpt from that talk:
Today, at all levels, there are more truly fine bands that at any other time in history, and this
evaluation is based on the highest standards of musical judgment. There are more highly qualified
conductors imparting their knowledge, skill and inspiration to more participants in our bands.
But I also said, in effect, that I wished I could be totally optimistic about the 70s. It is not my intention to
be a harbinger of doom and I am not predicting anything, but it might be wise for all of us to be alert to any
deterrent to continued progress. It‘s a little like the weather bureau issuing a storm watch: it merely
informs us that conditions are right for trouble, not that we‘re certain of having it.
Here I admit that a long orientation in teaching is showing through. The immediate concern should be the
possibility of the elimination, curtailment, or at least inadequate funding of instrumental activities in the
schools. We of ABA have been accused of a professional aloofness to band problems at educational levels,
so please think about it. That little 6th grader will be a candidate for your high school band in four years or
less, or for your college band in approximately eight years. He is, of course, less likely to play in one of
our military bands or in your professional organizations. But if he has had instrumental training, he will, as
an adult, be more likely to be an interested and enthusiastic member of your audiences. And we need
audiences.
This should be of concern to our Associates, too—publisher, uniform maker, instrument manufacturer,
retailer. If there aren‘t any grade schoolers playing instruments tomorrow, what about the day after? Far
fetched? Few of us are completely independent of the ―feeder‖ system. So much for pessimism, if indeed
it is that.
Now for an optimistic prediction. A look at the program for this week will convince you that our Canadian
members have put together a great convention. They have worked very, very hard to make it one of our
best, and for all of you, I thank them in advance. As the week progresses, please express your own thoughts
to them.
The thrill of being elected to office in the ABA is second only to that of being elected to membership in the
first place. This year has been a most happy one for me, at least partially due to the wonderful response of
other officers, committee members, and their chairmen. You will hear from all of them during this
convention. I have had not only 100% cooperation from all of them, but have had letters and long-distance
phone calls offering to be of assistance. Possibly these offers were from guys who thought things might not
go so well during my term, but I don‘t think so.
To recite a complete list of individuals to whom I am indebted would clearly be impossible, but I think you
will forgive me if I select one name for special mention. On second thought, I‘ll not name him, but there‘s
a battle-scarred leatherneck close by whose advice was invaluable when the going got rough. Further than
that, I will simply express my sincere thanks to all who helped, and to the total membership for giving me
that opportunity to serve ABA. I could be given no greater honor.
1971 ABA Annual Report
GEORGE SALLADE HOWARD (1903 – 1995)
Colonel George Sallade Howard, esteemed Honorary Life President of ABA, was born on February 24,
1903 in Reamstown, Pennsylvania and died after a lingering illness on September 18, 1995 in San Antonio,
Texas. After graduating from the Reamstown Central Vocational High School in 1921, he attended the
Conway Military Band School and Ithaca Conservatory.
In the early 1930s he started his teaching career as director of the Mooseheart, Illinois High School band.
While at Mooseheart he was elected to ABA membership in 1935. Subsequently he served on the ABA
Board of Directors in 1950 and 1957. He was elected ABA President in 1956, Honorary Life Member in
1984 and Honorary Life President in 1986. Advanced studies took him to Ohio Wesleyan University, New
York University and the Chicago Conservatory of Music, earning the following degrees: A.B., A.M.,
Bachelor of Music and Doctor of Music. In 1985 he received an honorary Doctor of Music degree from
Ithaca College.
George played clarinet in the Patrick Conway Band and was Director of Bands at Ohio Wesleyan,
Mansfield (PA) State Teachers College and Penn State University. He also was associated with the Ernest
Williams School of Music and was a Visiting Distinguished Professor at Troy State University. At Penn
State he developed a youth music program under the auspices of President Roosevelt‘s National Youth
Administration.
In 1942 George accepted a commission in the Army Specialist Corps. One year later General Henry ―Hap‖
Arnold asked him to establish an Army Air Forces Band. The band was a success and took over the
concerts and broadcasts of the Glenn Miller Band following Miller‘s death in 1944.
After the war George accepted a commission in the Regular Air Force. During the 19+ years that he was
Commander and Conductor of the official United States Air Force Band and Symphony Orchestra, he
raised those organizations to international prominence. He founded the Singing Sergeants, the Airmen of
Note, the U.S. Air Force Drum and Bugle Corps, the Air Force Bagpipe Band, the WAF Band and the
Strolling Strings.
As Chief of Bands and Music for the Air Force, he established the Air Force Bandsman School and became
its first commandant. He controlled the musical destinies of thousands of bandsmen and set standards for
83 Air Force bands. This policy and ladder of progression is still in effect. He became known as the
―Father of Air Force Bands.‖
From 1950 until 1963 the Air Force Band and Symphony Orchestra made ten international tours, visiting
50 countries on five continents. In 1950 George conducted a concert at Buckingham Palace for King
George VI and Queen Elizabeth. The highlight of the following year was a concert in Berlin‘s Olympic
Stadium before an audience of 130,000 people! Honors received from heads of nations included floral
tributes in Taiwan from Mrs. Chiang Kai-shek, and from King Norodom Sihanouk of Cambodia, who made
George a Commander of Nonassaraphon, the highest decoration that could be given to a foreigner. The
only other American to receive this honor was President Nixon.
In 1954 George received a special letter recognizing his significant innovations:
I was deeply impressed by your orchestra and band. Not only by their skill and fine playing, but
with the way they combine both military discipline with the flexibility, individuality and
impulsiveness of the artist. I cannot imagine how you achieved this, but it seems to me that it is
ideal. . . I particularly like the combining of the cellos and basses with the tubas and baritones. I
think this is the only place in the world where that is done. . . I cannot imagine your kind of work
being better done than you are doing it. . . Looking forward to the pleasure of hearing you conduct
again your splendid orchestra and band.
--Signed, Leopold Stokowski
George‘s two autobiographies, ―The Big Serenade‖ and ―A Symphony in the Sky,‖ give interesting
accounts of his life, travels and achievements.
His military citations include the Legion of Merit, the Air Force Commendation Medal and the Outstanding
Unit Award.
Following retirement from the Air Force in 1963, George accepted the position of Director of the
Metropolitan Police Band in the nation‘s capital. For ten years he helped develop the police department‘s
youth relations program.
In the early 1970s George served as chairman of the John Philip Sousa Memorial Committee, which was
responsible for the establishment of the John Philip Sousa Stage in the Concert Hall of the Kennedy Center
for the Performing Arts. In 1980 he became Chairman of the Board of the John Philip Sousa Foundation.
In 1987 George‘s lifelong love of military music was exemplified when he established the George S.
Howard Citation of Musical Excellence for military concert bands. The award is administered by the John
Philip Sousa Foundation and implemented by an executive committee. Both American and foreign military
concert bands are eligible.
In 1982 the Historical Society of the Cocalico Valley in Ephrata, Pennsylvania established a permanent
exhibit of George‘s documents, photographs and other memorabilia. The collection is housed in the
Howard Room where his life story will be permanently preserved.
On June 14, 1995 the Air Education and Training Command honored George by dedicating their new band
facility at Lackland Air Force Base, naming it Howard Hall.
We in ABA have been fortunate to have had George leading, guiding and inspiring us over the years. John
Bourgeois, in his foreword to George‘s autobiography, ―A symphony in the Sky,‖ wrote:
Suffice it to say that whenever a young band musician of the future recites the litany of names of
famous bandmasters, they will include Gilmore, Sousa, Pryor, Conway, Goldman and Howard.
1996 ABA Annual Report
Note: The 1996 Annual Report noted the death of Sadako Howard, wife of George.
President Howard‘s Address - 1957
Gentlemen: It is a great pleasure to welcome you to the twenty-third annual convention of the American
Bandmasters Association. I believe this will be one of our great conventions. The preliminary work done
by our host and his various committees is most commendable. I think he has left nothing to the
imagination. The setting for the convention appears to be perfect.
You have all had a preview of the printed program and Mr. Reynolds can certainly point with pride to the
excellent job of printing. And yet, in spite of every precaution, errors will occur. I might point to two
inexplicable errors that only seemed to appear after the completed programs were delivered from the
printer. We were horrified to note that the name of Commander Brendler, together with the composition
which I had personally asked him to conduct, were left off the Saturday evening program, and the name of
the Theodore Presser Music Company, music publishers, together with its representative, Mr. Clarence A.
Foy, were left off the list of Associate Members. Fortunately, the omission concerned an individual as well
as an organization whose names have been household names for years and whose reputations are so great
that they could tolerate this mistake.
However, when I called this matter to Mr. Reynolds‘ attention, he immediately rectified the error by having
an insert printed for each program. I mention this for two reasons, one on behalf of Mr. Reynolds and one
on my own behalf. We are all human and as humans we have and will continue to make mistakes. It will
be impossible to conduct this convention without having omissions or errors arise. If, however, when these
discrepancies appear, unnoticed by us until after they have happened, may I ask that each one of you make
it your responsibility to call such discrepancies to my attention so that we can rectify them as efficiently as
Mr. Reynolds has rectified the omissions in the printed program.
This is your convention and whether it is going to be an excellent of just a mediocre one will be dependent
upon the efforts of all of us.
To be elected to the presidency of the American Bandmasters Association is the highest honor that can be
paid to any bandmaster. To carry out the ideals of our founder and of the musical giants who have
preceded me in this office is not only a challenge but a responsibility of trust. This organization, which is
great, must become greater. The contributions it has made toward the advancement of musical culture in
America must be compounded.
Each convention adds a chapter to the history of this organization, and by virtue of and because of the
chapters which have already been written, each succeeding page of our history must add new and greater
contributions toward the ideals of our organization.
It is not enough that we have a convention once a year for the purpose of socializing, discussing a few of
our problems, electing officers and new embers, and hearing a bit of music. I think it would be well if, at
the end of each convention the out-going president, before turning over the gavel to his successor, would
summarize specifically just what innovations, projects, or advancements have been made during his
administration.
Whether any advancement or contribution will be made toward furthering our ideals or bettering this
organization during this convention has yet to be seen, but with the representation such as we have here
today I cannot help but feel that many concrete advancements will be made. My concern is that will I, as
your representative, be able to draw out all the potentialities from within the organization. I shall miss the
guiding hand and advice of our founder, Dr. Edwin Franko Goldman. I shall miss the counsel of our
recently departed member Henry Fillmore. Also since our last convention, Johnny Richards has passed on.
I will be dependent upon the assistance of former presidents, all of whom I admire and respect, and upon
the initiative and support of all of you.
I have already acknowledged the preliminary work done by our host, but I would indeed be ungrateful if I
did not publicly express my appreciation to our secretary and treasurer, Glenn Cliffe Bainum, whose advice
and efforts behind the scene have made the work of our presidents for many years an easier one. It has
been a great pleasure to collaborate with Major Chet Whiting, and I was most fortunate to be able to pick
up the telephone at any time when unusual problems presented themselves and discuss them with
Commander Brendler or Colonel Santelmann. Past President Jim Harper was also most helpful in passing
along his suggestions for improvements, and while our Vice President, Mark Hindsley, was many miles
away, I knew that he was working hard on his investigations of prospective members and other vice
presidential duties.
Again, I want to say that I believe this will be one of our greatest conventions to date and I am looking
forward to the next few days of fellowship and friendship and hope that we can take another large step of
progress toward our ideals.
1957 ABA Annual Report
―Reminiscing‖
By Past President GEORGE S. HOWARD - March 27, 1987
During our conventions, a time is usually allocated for reminiscing by some of us who can do little else.
Last year I was awarded that courtesy and now, again, your president has extended to me an opportunity to
recall moments and events of the past.
With your permission, I should like to deviate from the usual custom and instead take another approach.
All my life I have fought for causes in which I believe. I have been pragmatic in an attempt to further
progress. I have attempted to further the cause of ABA in every way I knew how. Recently, one of my
proudest moments was when I nominated Gladys Wright as the first woman to be elected to ABA
membership.
During the peak of my ability I was called to New York and was presented ASCAP‘s highest award for
promoting American contemporary music and its composers. In Japan I organized the first Band
Composition Contest, and as a prize guaranteed the publication of the winning number in America. Some
of you may remember ―Dawn Breaks at a Shinto Shrine‖ by Urato Watanabe, published by the Ludwig
Music Publishing Company. On my second tour with the Air Force Band, we selected ―Dance of the
Japanese Youth‖ by Shigeo Tohno. Again it was published.
Even prior to entering the military I arranged with Morton Gould to write his ―Jericho‖ and gave it its very
first reading at Penn State. William Schuman‘s ―News Reel‖ was written for the Pennsylvania State Music
Association, after I traveled to New York to convince him that he should write a composition for band. It
took a bit of convincing. Those compositions are no longer considered unusual.
You may consider all of this to be rambling, but I assure you that there is a purpose behind it. I would love
to conduct the music of Husa and Colgras, but I no longer have that ability. ABA is a magnificent
organization and in my opinion it should be the ―Grandfather‖ organization that unites the past, the present
and the future, but not to the exclusion of any of these.
Some weeks ago I received a letter from one of our members who wrote, ―Make sure that I am never
elected president of ABA. For if I am, I promise you that I will totally change the ABA, from the
membership policies to the very focus and purpose of its mission, and I will drag the organization fighting
and screaming as it may, back into the forefront of the exciting and dynamic modern world of the wind
band.‖ I am aware that two or three of our members concur with the opinion expressed in this letter. That
is the primary reason they do not attend our conventions. I am sorry about that. They could truly add much
to ABA.
I agree with the opinion expressed that ABA should press on to the future. All of us are interested in that,
but not to the exclusion of the present and the past. To ignore our roots is like discarding the Bible and
taking off into the future from this point forward.
We have a number of ABA members who are, or at one time were considered pretty fair conductors. To
write them off as ―has beens‖ is not fair to ABA as an organization, nor fair to those who made it possible
for our younger generation to reach their status in life. I like to look into the future through the
interpretations of John Bourgeois, Dick Strange, Pete Wiley and dozens of others, but I also wish to look
back into the artistic past through the eyes of Bill Revelli.
To see the melting of the past into the future, to hear the sounds of the past as they should be heard; to hear
the sounds of tomorrow as a preview of the future—that is what I look forward to. I am a part of the past,
with my sound equipment tuned to it, but I have an insatiable desire to explore the future. When some of
our members who feel they have a mortgage on the future world of band music, but do not share it with us
as fellow ABA members, I feel cheated. I want part of the action.
Sadako keeps me young in mind and thought, but even she cannot stop the progress of aging. Life has been
kind to me. I am extremely happy and hope to remain that way while another year rolls around. I can do
without the stress of rehearsing and conducting, which I once enjoyed. I now wish to enjoy all of you.
And with that bit of philosophy behind me, I have given you the answer to: ―Why I do not wish to conduct
during this year‘s convention.‖
1987 ABA Annual Report
RUSSELL S. HOWLAND (1908 – 1995)
Russell S. Howland was born in Novinger, Missouri on July 19, 1908 and died in Fresno, California on
May 3, 1995 after suffering his third stroke. He attended the public schools of Kirksville, Missouri and
worked during the summers as a farm hand. While in high school he played the clarinet professionally for
movies and vaudeville in the local theater orchestra. Following graduation in 1926 Russell continued his
studies in New York City and played professionally in the old New York Hippodrome Orchestra. In 1927
he enrolled at the University of Illinois at Champaign-Urbana, being drawn there by their outstanding band
program. Russell joined Ray Dvorak‘s 28-member Illini Singing Band, which performed on the Orpheum
vaudeville summer circuit. The bookings were so good that the group remained out of school for a year
and toured the United States and Canada. Russell rejoined the University Concert Band as solo clarinetist.
One of the band members at that time, playing first oboe, was our ABA member Milburn Carey. Russell
was also a member of the university dance orchestra, doubling on alto sax, clarinet, flute, trumpet and
trombone. He earned both Bachelor of Music and Master of Music degrees at Illinois. For two years after
graduation Russell played with a traveling dance orchestra.
In 1935 Russell won the Elfrida Whiteman American Composition Contest with his work ―Legend of the
Pines.‖ Paul Whiteman had set up the contest as a tribute to his mother. This led to a long professional
career as composer and arranger.
Russell started teaching in 1935 in the public schools of Fort Collins, Colorado. In 1941 he began his
career at the university level when ABA member Bill Revelli hired him to teach at the University of
Michigan. An interruption came when he was drafted into the United States Army. He became a member
of Dr. Thor Johnson‘s Army band at Fort Monmouth, New Jersey. During this time he was commissioned
by the New York Philharmonic to compose his ―Tribute to Fighting Men.‖ Thor directed the first
performance. The composition was performed by six other major orchestras during the duration of the war.
At the conclusion of hostilities, Russell returned to the University of Michigan. His orchestration of
―Songs of the Classic Masters‖ was commissioned by the Ann Arbor May Festival in 1947 and was
performed by the Philadelphia Orchestra.
In 1948 Russell sustained serious injuries in an auto accident, making it necessary to move to a dry climate.
He joined the staff at California State University in Fresno, where, in addition to teaching woodwinds, he
also specialized in percussion and harp!
In 1955 Russell was commissioned to write a twelve-minute symphonic work to be performed at the
dedication of the new band building at the University of Illinois. The thematic material was based on the
initials of the conductors who served in the Illinois band program from Dr. A.A. Harding‘s time (1915)
until 1955.
Russell was a pioneer in the clarinet choir movement. His library of transcriptions for clarinet choir is
probably the largest in existence. He composed ten quartets and saxophone choir and several pieces for
harp. He also arranged 75 works for flute choir.
Russell was elected to ABA membership in 1954. He was a member of the Fresno Philharmonic Orchestra,
Music Educators National Conference, Phi Mu Alpha Sinfonia and the American Harp Society. He was
active as a clinician and adjudicator. He retired from the university in 1975. The Russell S. Howland
Music Scholarship Fund was established in his honor by the California State University, Fresno music
department.
Addendum: Many of us are fortunate to have close friends who care about us. Friends of Russell and
Maxine Howland, both of whom were in rapidly failing health, were very concerned about their welfare—
Russell had suffered two strokes and Maxine was experiencing the onset of Alzheimer‘s disease. A
devoted former student who played for many years in Russell‘s saxophone quartet, Eyi Maruko and his
wife, Keiko, took on the burdensome task of caring for the Howlands out of love and respect for them. Eyi
received the power of attorney, and in July 1992 he helped them move to a retirement home. Five months
later Russell suffered his third stroke and Maxine‘s Alzheimer‘s condition became very combative. She
had to be transferred to an Alzheimer‘s facility where she lived until her recent death. Her memory and
recognition faculties had failed completely.
Eyi and Keiko visited them regularly and took care of their physical needs and financial affairs for almost
three years. Russell‘s health deteriorated steadily until he passed away peacefully on May 3, 1995. His
request to be cremated was honored and his remains were scattered over the Sierra Nevada Mountains east
of Fresno.
We are grateful to the Marukos for their sacrifices and compassion shown to one of our own.
1996 ABA Annual Report
Note: The 1996 Annual Report noted the death of Maxine Howland, wife of Russell.
CLIFFORD O. HUNT (1917 – 2003)
Clifford O. Hunt was born in Hamilton, Ontario on July 20, 1917 and died on January 13, 2003 following a
long battle with cancer. He received his early musical training in the Salvation Army, and as a seventeen-
year-old was considered one of the Army‘s finest cornet soloists in Canada.
In 1940, with the outbreak of World War II, Cliff became the principal cornetist with the first Royal
Canadian Air Force Band. Two years later he was appointed Director of Music of the Camp Borden Air
Force Band and at age twenty-five was the youngest director of military music in Canada. In 1944 the
band was sent to the United Kingdom where they performed in England and Scotland and broadcast live
performances over the BBC to troops in Europe. On many occasions they performed for official
ceremonies presided over by King George VI and Princess Elizabeth, as well as entertaining at garden
parties hosted by the Queen Mother at Buckingham Palace.
In 1946, after the war, Cliff was appointed conductor of the Training Command Band in Toronto. For over
ten years the band toured the world, performed at the Mid-West Band Clinic and was featured at the
Canadian National Exhibition. From 1951 to 1971 Cliff was Director of Music for the Hamilton Theatre
Company and the Orpheus Society in Ottawa, conducting a total of twenty-eight Broadway shows.
In 1960 he became Supervisor of Music for the Royal Canadian Air Force, responsible for the operation of
fifty service bands. Two years later he helped organize the Ottawa Philharmonic Orchestra and was its first
conductor.
In 1964 the RCAF Central Band performed at NORAD headquarters in Colorado Springs, after which the
governor of Colorado presented Cliff with a deed to one square foot of Pike‘s Peak.
When the Canadian armed forces were unified, Cliff was selected to head up the music program. He
reorganized twenty-three bands in the three services. In 1967 he was promoted to Wing Commander, the
first musician to hold this rank in the history of the Canadian forces. At this time he was also appointed
Supervisor of Music and Commandant of the School of Music for the combined armed forces.
In 1968, at the age of 51, Cliff retired from the armed forces as a lieutenant colonel, with numerous
decorations. Immediately upon retiring he became Director of Music for the Canadian National
Exhibition—the world‘s largest annual fair. He also organized a concert band and pops orchestra for the
city of Burlington, Ontario.
Cliff was the guiding force behind the formation of the Federation of Canadian Music Festivals, which
provided a national platform for outstanding young Canadian artists. He also created the Scottish World
Festival Extravaganza, featuring the world‘s greatest concert and marching bands and drawing crowds in
excess of 100,000 during a ten year period.
Cliff retired from the CNE in 1982, but remained active musically. He toured Europe and England from
1981 to 1987 with a 100-piece All-Star band made up of Canadian and American high school musicians.
He served as conductor, adjudicator and clinician on several occasions.
Cliff and his fellow Canadians hosted our ABA convention in 1971. Cliff was elected to membership in
1956, served as our president in 1973, and was a member of the Board of Directors in 1962-63 and 1973.
He was president of the Canadian Bandmasters Association and was an Honorary Life Member of that
organization. In 1989 Cliff was awarded the John Philip Sousa Silver Star by the Sudler Foundation.
On November 2, 2002 a member of the Canadian Parliament presented Cliff with the Queen‘s Golden
Jubilee Medal, honoring him for his significant contributions to his fellow citizens, his community and to
Canada.
We too honor Clifford O. Hunt for his contributions to ABA.
2003 ABA Annual Report
President Hunt‘s Address - 1973
I‘m grateful for this opportunity of being President of ABA—it has been a great thrill. It has been
demanding and extremely rewarding and I think that‘s what life is all about. That‘s what music is all about.
If it isn‘t demanding, it isn‘t rewarding. I think only from this spot can you really understand what goes on.
You really get to know the people. You know how important they are to each other and how much
importance they put in the organization. I can honestly say that all committees are chaired and manned by
most capable men. However, in my opinion, and it‘s only my opinion, Bill, I think we‘ve reached the time
when we have to start looking out.
We attended, some of us—Paul Yoder, Harold Walter, Herb Hazelman, Pete Dombourian, Merton Utgaard
and myself, with our wives—attended the International World Congress of Bands in Luxembourg in
October. That was a magnificent affair. We went there all speaking different languages, and most of us
just one, except Paul—he could speak Japanese but it wasn‘t any good there. We had German, we had
Czechoslovakian, we had Israeli, and so on and so on. We had just one tremendous five days together and
the strange thing to me is how quickly the barriers of language disappear. The first day you kind of feel a
little bit strange; the second day, somehow you start talking; and the third day you are going like the
women were in the dining room there. It‘s just one of those infectious things that all of a sudden we all talk
the same language. The Europeans are seeking ways of making scores more universal and also trying to
retain the individual sounds and color schemes of each country. Now that is a very tall order. I have said
here that it will require the intelligence, cooperation and collaboration of the best brains in the business. I
know some of our people have made attempts to do something in this field and it is a tremendous operation
to attempt. However, I do think that if we are to receive the kind of acceptance that we are worthy of, by
representation of our best bands, as is the symphony orchestra worldwide, we have to reach some common
ground and this Congress of Bands in Luxembourg was trying to achieve some parameter in which to work.
I have asked Herb Hazelman to give us a report on this conference so I don‘t want to say much more about
it except we thought it was tremendously rewarding.
In this same channel, we have embarked on a joint convention with the Japanese Band Association for
Hawaii, 1974. Your Board of Directors met with Toshio Akiyama, is that right, Bill? I have to refer to my
experts in these fields because sometimes I get words wrong. You would have been tremendously
impressed with his enthusiasm. He came to our meeting completely prepared and had everything there as
to what they would do, how they would do it. He frightened us for a minute. He said, ―We will bring eight
bands.‖ We enjoy concerts but we also enjoy our relationships and friendships. But we, after discussion,
determined that we could utilize maybe six of his bands in mini-concerts so that they would have an
opportunity to participate and we would have the opportunity to find out what kind of bands they have in
every field and have a great time together. They intend to bring approximately 200 Band Association
members. Now that organization, as I understand it, is designed on the basis of ABA. We were supposed
to be the top people in our business. The only way we can prove this is to be the guiding light in these
international things. We‘ve done just about everything here. We have developed some of the finest service
bands the world has ever heard, some of the finest university and high school bands that you will ever hear.
There are areas that we must develop which we have let go, and one area is the community band. Now if
the United States is similar to Canada, we had better community bands forty years ago and yet we are doing
more for music through the educational departments than ever in the history of this world. Now we, I
think, should try to find out, again as the senior citizens of our business, why this hasn‘t happened, where
we have gone wrong and what we should do to correct it. Our Past President, Paul Yoder, is Vice-
President of the World Congress of Bands, representing this North American continent. He was the
unanimous choice and we were delighted to see that they had honored him in this way. Now, this isn‘t very
important unless we get behind him and make it work.
I would suggest that we consider, within the next two or three years, to host the World Congress of Bands.
We have in this country, and I‘m talking about America, now, some of the finest university set-ups that are
anywhere in the world. We could impress these people. We could give them a place that they could feel at
home and converse further on these subjects that have been so dear to them, enough that they call the
World Congress. We had a band there from Czechoslovakia. There are all different types. We had bands
from Luxembourg, all different kinds of sounds than we‘re accustomed to. They have some instruments
we don‘t use and so on and so on. Tremendously interesting. We have done great things through this
organization. This project, John Philip Sousa for the Hall of Fame. Who has worked harder than Ray
[Dvorak] on that project? And he isn‘t finished and he won‘t quit until we have John Philip Sousa in the
Hall of Fame. Goldman‘s Citation, that is a difficult job, and I think one of these days we‘re going to have
to re-think that one, because the criteria are not very clear and gives H.E. [Nutt] fits each year trying to find
suitable candidates. I think we have to re-think that one. The Ostwald Award is a colossal job and unless
you are on the inside and know what these people are up against to make the Ostwald Award a success,
apart from the prize money, the collaboration of the music, studying the scores, taping them, examining
them, culling them out—these men look at fifty to sixty scores each time—tremendous job. And look at
the job Colonel George Howard has done on the memorial stage, Kennedy Center. I know this incorporates
many other organizations than ours, but it was born here and our people have had a great deal to do with it.
These are only a few of the things we do; they are tremendously important, but we have to keep looking for
new horizons, and I think the international sphere is one place we should look, or we may be left behind.
There‘s just one other thing that I‘d like to say (that‘s a long enough speech, isn‘t it?). The Brass Band
world is one we have hardly touched. I saw Paul in London in October at the Brass Band Competition in
Albert Hall—holds 10,000 people and I suppose there were between 8,000 and 10,000 people milling
around there all day long. That is quite a movement. I think we would do well to start some dialogue with
the British Band Association. Brass bands are a tremendous movement in New Zealand, Australia, and
they are getting very strong in Europe. We don‘t understand them very well here. I gave some of you a
taste of brass bands in Toronto in the Massey Hall concert. Now, they are just one night a week boys, but
they do a creditable job. One thing we may not understand about their music: it‘s all written in the treble
clef, except for the bass trombone, so they have problems to deal with when they want to move on to the
concert band. Perhaps there‘s another area that we could find a relationship in this similarity in writing.
These are all things that should be studied. I‘d just like to leave those few thoughts with you today and
perhaps some of our brighter brains will come up with some good solutions; but please get behind our
Vice-President, who is the coordinator for the Hawaiian Convention, and dear Dick Lum and his wife.
Now we will give all the support it is possible to give from 3,000 miles, but I know that you will all get
behind him as you do in any other project that is important. And I think that this one is important. I would
ask that you support it fully. Vice-President Mahan will be coordinating efforts from this side. I have had
assurances from the General of the Marine Corps that the Marine Band will be available to us. I wrote to
him some time ago. He has put it in the hands of Dale Harpham, and anything in Dale‘s hands, you know,
is a fete accompli. The Marines will be there! So those are basically my words to you today. This year has
been tremendously rewarding to me. It‘s a great organization. Let‘s keep it that way. Thank you.
1973 ABA Annual Report
NORMAN J. HUNT (1922 – 1986)
Norman J. Hunt, noted conductor, adjudicator and clinician, died on February 8,
1986. Born in Cedar City, Utah, he spent most of his childhood in Enterprise, Utah. In
1968 he became a member of The American Bandmasters Association.
Norman, who was a talented trombonist, studied extensively. He received his bachelor‘s and master‘s
degrees from Brigham Young University and a PhD from the University of California at Berkeley. He
continued his education following service in World War II. Subsequent schooling took him to the Eastman
School of Music and the Paris Conservatory, where he was one of the first Americans to be admitted. In
1953 he became the band director of the University of California at Sacramento.
Norman authored a number of textbooks. His first, ―Beginning Brass Class Methods,‖ was written in 1960
specifically for college students. His ―Guide to Teaching Brass Instruments‖ has become accepted as the
authentic source of information on brass teaching at the college and university levels. Through these and
other publications, his knowledge will continue to be an influence for many years.
In 1960, at Walt Disney‘s invitation, Norman organized the music for the Winter Olympics at Squaw
Valley. He received a citation from the Olympic Committee for his excellent work. For many years he
served as conductor of the official California State Fair and Exposition bands and orchestras, appearing
with some of the nation‘s most famous entertainers.
After a long and distinguished career, Norman retired in 1983. He was a man with warm, human qualities,
a strong, sharp intellect and a determination for the highest quality of teaching. He was loved and admired
by friends, students and colleagues. Norman will be sorely missed, but long remembered.
1986 ABA Annual Report
I
DARIUS ALBERT IVES (ca 1877 - 1935)
The Membership Committee records, with deepest regret, the death of D. A. Ives, who had been elected to
membership in 1929. [Director of the Ives Band of Boston, Massachusetts]
1935 ABA Newsletter
J
JAMES JACOBSEN (1920 – 2006)
James Jacobsen passed away quietly during the night of Monday, November 6, 2006 in Fort Worth, Texas
at the age of 86. In his passing the students and teachers of the state of Texas lost a wonderful friend and a
man of genuine dedication to music. Jim continued working, literally up to the time of his death, in his
chosen field. He devoted his entire life to teaching and service in the arena of public school music at every
level. When he died he was the longest serving University Interscholastic League executive secretary in
the state‘s history.
He was born on May 8, 1920 in Norwood, Colorado. He received a Bachelor of Arts degree with a major
in Public School Music from the University of Northern Colorado and a Masters of Music Education
degree from Texas Christian University. He did graduate study at VanderCook College of Music in
Chicago and was honored with the Doctor of Music degree from the Southern College of Fine Arts in
Houston.
He began his long and distinguished teaching career in the fall of 1945 as the Director of Bands at
Midwestern University in Wichita Falls, Texas, inaugurating the band and choir programs in that
institution. He remained in that position for ten years before moving to Texas Christian University in June
of 1955.
Jacobsen‘s marching bands were nationally prominent for nearly 40 years. While Director of Bands at
Midwestern University, he was one of the first in the nation to introduce and develop the 8 to 5 system of
field marching. This new system demanded a total revision of existing concepts of marching fundamentals
and terminology, and his contributions to these areas have been widely acclaimed. In 1958 two
performances by his TCU band on national television introduced his famous ―moving diamond‖ drill
technique, which later also became known as the ―step-two‖ drill technique.
Dr. Jacobsen was elected to membership in the American Bandmasters Association in 1975 and also held
memberships in Phi Beta Mu, Texas Music Educators Association, Texas Bandmasters Association, the
National Band Association, and Phi Mu Alpha. He was named Bandmaster of the Year by TBA in 1988
and served for 47 years as the Executive Secretary of Region V of the UIL.
Jim retired from TCU in 1982 after 27 years at that institution but continued to be in wide demand as a
band clinician and consultant as well as serving often as a guest conductor and adjudicator for band
concerts and contests across the country. He and his wife Wynne lived in Ft. Worth, Texas in their
retirement.
2007 ABA Annual Report
Note: The 2000 Annual Report noted the death of Wyn Jacobsen, wife of James, on August 28, 1999.
LLOYD S. JENSEN (1922 – 1980)
On July 30, 1980 Lloyd Jensen died in Modesto, California. He was 58 years old at the time of his death.
Lloyd was a native of Colorado and began his teaching career in Haxtun, Colorado, where he drew
attention to the fine quality of band work possible in a small school. He was a dedicated and fully
committed teacher who always went ―the extra mile‖ for his students. In 1949 he moved to Sterling,
Colorado and there he established a superior national record for his band. Under Lloyd‘s leadership, the
Sterling High School Band traveled to Chicago, New York City, Atlantic City and Washington, D.C.,
winning top honors as it went.
Lloyd was a graduate of Colorado State College in Greeley, did graduate study at the University of
Colorado, and completed his doctoral studies in California. ABA members Wayman Walker and Hugh
McMillen were mentors of Lloyd during his study in Colorado.
Lloyd was active in the International Lions Club and the American Legion. He served many years as
Editor and Secretary-Treasurer of the Colorado Music Educators Association.
For a period of time Lloyd taught at the junior college in Modesto, California and brought stature and
musical significance to that small college band. At that time he was also a moving force in the formation
and development of the Junior College Intercollegiate Band. Later he taught briefly at Saginaw, Michigan
in the public schools until poor health required him to return to Modesto.
For his dedication as a band director-music educator, Lloyd became a recipient of the prestigious ―Mac
Award,‖ given in remembrance of A.R. McAllister, distinguished ABA pioneer.
Lloyd will be missed by many friends and fellow members of the American School Band Directors
Association, the College Band Directors National Association, and The American Bandmasters
Association.
1981 ABA Annual Report
HUBERT NEELY JOHNSTON (1911 – 2002)
Hubert Neely Johnston was born on March 30, 1911 in Philadelphia and died of cancer on October 10,
2002 at his home in Lower Gwynned, Pennsylvania. Herb‘s parents were musicians who enjoyed their
visits to Willow Grove Park, where they listened to concerts by the John Philip Sousa and Patrick Conway
bands. On one of their trips to the park Herb‘s father remarked to his mother, who was awaiting the birth
of a child, that if the baby were a boy, he would like to name him Herbert in honor of the world-renowned
cornetist Herbert L. Clarke, who was playing that day. His mother agreed, noting that the child‘s name
could also honor Victor Herbert. Herb often spoke of this picking-a-name episode as proof that he was
marked for a life in music even before his birth. He studied piano at an early age and felt that playing that
instrument was an invaluable springboard for other musical endeavors. Later he began playing the cornet
and was a member of the Northeast High School Band. In the Depression 1920s Herb and several other
musicians played jazz music on the Philadelphia dance club circuit. His musical education was garnered
mostly through his father, although he studied music and harmony at Temple University‘s School of Music.
Herb wanted to follow the musical footsteps of his father and older brother, who were members of the 103 rd
Engineers National Guard Band. His father was the band director. Herb enlisted in the National Guard at
the age of sixteen, having talked his way around the minimum age requirement of eighteen. He resigned
from the band in 1931 because of his demanding schedule at the Philco Corporation. He returned to lead
the band briefly in 1937 and 1938, after his father resigned as leader of the band. In 1941 Herb earned an
engineering degree at Drexel University while working for Philco. He was the plant engineer responsible
for designing buildings. He oversaw all the engineering needs of the company throughout the United
States. In the early 1940s he founded the Philco Concert Band, comprised of employees, playing especially
for war bond rallies. Later the band expanded to seventy members, performing in parks, hospitals and
concert halls throughout the area. When Philco was purchased by the Ford Motor Company Herb left after
thirty years of service with them. He then took on two career-enhancing jobs—as president of the
International Anodyzing Company in Chicago and as engineer for Catalytic, Inc. in Philadelphia. Although
he retired in 1981, Herb continued to be active as guest conductor and arranger.
Herb was elected to ABA membership in 1949 and served on the Board of Directors in 1952, 54, 55 and
59. He was a member of the Enrichment Committee. Elected as our president in 1958, he was made an
Honorary Life Member in 1992. Herb also served as president of the Pennsylvania Bandmasters
Association.
Throughout his varied career he composed and arranged music. One of his best-known arrangements is the
―Wedding Dance‖ by Jacques Press.
Herb will certainly be remembered as one of ABA‘s unique members.
2003 ABA Annual Report
President Johnston‘s Message – 1959
I speak to you now as the twenty-first President of the American Bandmasters Association. This high
honor was conferred up me by you just one year ago, and in the intervening months I have come to a full
realization of its true significance. The presidency of the greatest honorary organization of its kind in the
world is indeed a high honor of the kind that no individual can assimilate without being deeply moved in a
personal sense. That it has come to me seems beyond belief and I can assure you of my heartfelt
appreciation. Certainly this distinction cannot be duplicated in a lifetime.
Lat year at our twenty-fourth annual convention ABA adopted a new constitution, one which is based upon
the traditions and inspirations of the past while, as the same time, is cognizant of present day conditions in
our profession. It also, I think, provides a sound point of beginning for the future. Such a statement of
aims, purposes and attitudes is not, however, an end in itself. In order to merit the esteem in which it is
held, ABA must earn and then re-earn its position, a position which is essential and desirable in the band
world.
This is a difficult thing to do, since it requires a sustained effort, carried out with dignity over a long period.
It must, and can only, be approached from the most mature point of view, which will permit a delicate
balance to be maintained. There are many diverse interests in the band field, and within the ABA there are
composers, arrangers, educators, conductors, administrators, publishers, manufacturers and others
represented. ABA should be at the apex in band affairs regardless of pressures and shifting emphasis. It
should lead the way, by example, to the ultimate position of the concert band, a position which is still to be
achieved, but which is sure to come because of the inherent musical worth of the band.
As a result of our activities at this convention it is my hope that a course of action may be suggested, one
that will be in keeping with the character of ABA, one that will preserve its ideals, one that will excite the
pride of each member and the admiration of the entire profession.
As I approach the end of my term in office I do not look forward to retiring into inactivity. I rather expect
to devote myself to the cause of ABA, and I hope to be more active than ever in the conducting field. That
part of our constitution which refers to fellowship needs no emphasis—your presence assures success in
that direction. I have looked forward to these days together, as I know you have, and I know that they will
be happy and rewarding to all of us.
1959 ABA Convention Annual Report
―The Philco Band—A Vignette of Band History‖
By Past President Herbert N. Johnston - 1987
This little talk, and it will be little, stems from an invitation by President Ed Gangware last November, and
to which I did not respond for a long time. Here‘s why! I quote from that invitation: ―I would like to have
you address the membership about your unique past in the band field. There are many ABA members who
never knew we had industrial bands (and choruses) in our country.‖ I could think of nothing unique and so
I delayed, and delayed, and delayed. Then I remembered another letter, also from an ABA friend, which
had been received earlier. Here is what it said: ―I have been thinking about our conversation at the recent
Ernest Williams Alumni gathering. And I was particularly interested in learning from you about the Philco
Band. That is probably a unique development in this country, and I found it very interesting. I never cease
to enjoy the conversations I have with you.‖ There it was again, that word—unique! I began to see the
light. Maybe Ed was right and there was something unique, not to me, but to others. And so, nine weeks
late, I accepted the invitation.
As I said earlier, this will be a little talk, and for two reasons. First, there isn‘t much to tell. Second, I had
hoped to liven up and lengthen out this talk by including six or seven very funny stories. These stories
were to come from my prime source for wit and humor, John Yesulaitis. Johnny and I met at breakfast
yesterday and, sure enough, he told me—not six or seven—but eight very funny stories. Unfortunately,
they cannot be told in public, certainly not in this setting. And so the story remains within its natural and
normal limits, thus qualifying as a ―little‖ talk.
Let me first speak about industrial bands in general terms. Such bands are not new and they certainly are
not extinct. There are many industrial bands today, but not as many as in other times. An industrial band is
one formed by company employees, using the company name, and having company financial support.
Some function on a recreational basis only, others have higher aspirations. The marvelous British brass
band movement is a prime example. Many British brass bands, not all, are, or have been, industrial bands,
called ―works‖ bands in their homeland. Immigration in bygone days brought bandsmen to America,
where they took up employment in mines, mills and factories, shipyards, railroads, and so forth. Bands
sprang up and the idea spread, resulting in industrial bands throughout this country in the late nineteenth
and early twentieth Centuries.
Next, let me give you some personal background, as a prelude to the Philco Band sketch. As a child, at the
dawn of memory, I was able to, and did, sing and whistle the exercises from the Arban Cornet Method
before I knew the popular songs of the day. My father was an excellent cornet/trumpet player, teacher, and
band leader. He taught his pupils (as they were then called) at our home, and I heard the exercises over and
over and loved every minute of those wonderful sounds. I retained them forever.
My life in music really began before I was born. Dad told me that I was named for Herbert L. Clarke, the
famous cornet soloist, who, even today, is conceded to be the greatest cornetist who ever lived.
He was then appearing with the Sousa Band at Willow Grove Park. Mother confirmed what Dad said.
After high school, in Philadelphia I became a professional, free-lance trumpet player. I played
everything—opera, symphony, dance bands, Dixieland, swing, Jewish weddings and the ethnic circuit. If
anything required a trumpet player—you name it, I‘ve done it!
And then, romance entered the picture. Bert came into my life and I switched gears, in favor of a steady
income and a more settled existence. I took a job at Philco and soon thereafter saw a glimmer of
opportunity in the distant future. I went to school at night and, in five years, earned a degree in
engineering. On the very day that Philco became a publicly owned corporation I was appointed chief plant
engineer. This meant that I was responsible for most of the physical assets of the company, especially the
mass production facilities so vital to success. In this highly visible position I spent millions of dollars of
the company‘s money on such facilities. I had to know my way around in financial circles, and I knew and
was known in management circles from top to bottom, usually on a first name basis. This is of note only
because of its bearing on what came later with regard to the Philco Band.
My musical activities continued to the extent possible, and they were known to the folks at Philco. (Along
the way I had been a Warrant Officer Band Leader in the Pennsylvania National Guard, also a highly
visible position.)
And now let us go to the Philco Band. There was some preliminary activity on my part in the interest of
War Bond Rallies, and this stimulated further thought in certain quarters, quite unknown to me. To make a
long story short, an employee survey was initiated, and I was asked to review the results and make a report
on all aspects of the situation, including finances. In order to carry out this commitment I not only
reviewed the survey data, I called for an audition/rehearsal meeting of all of the instrumentalists who had
responded. It was awful! It was the worst sounding ensemble I‘ve ever heard, either before or since. I was
definitely not interested in continuing, and I plotted my escape accordingly. I chose the financial route!
I prepared two estimates for appropriation requests, one for start-up costs and one for first year operating
expenses. Both were extremely high. I included everything I could think of and I did not cut any corners.
My experience at Philco told me that these appropriations would never be approved. I was wrong! I
expected a negative management decision in about one week. But, the day after the requests were
submitted I boarded the elevator in our main office building fairly early in the morning. There was just one
other passenger after me. He was the President of Philco, John Ballantyne. As we started upward he
turned his head and, over his should said, ―When do you want your money?‖ I was dumb struck! ―Are you
serious?‖ I asked. He said he was and continued, ―You‘ve got it. It‘s all yours.‖ Thus was born the Philco
Band. There could be no turning back. I had to go forward and I made plans to do just that. I had to take
the worst band I‘d ever heard and make it the best I possibly could. The rest is history.
We embarked on a strenuous rehearsal program. Balanced instrumentation and established and outside
musicians were imported to bring it about. No ―walk-ins‖ were permitted at any time. Each member
received a stipend plus travel expenses for each rehearsal, paid on a monthly basis.
Progress was soon apparent. The dead wood was weeded out and we had a happy and enthusiastic unit,
thoroughly dedicated to our common goal—high level concert performance. After about one year the band
made its first public appearance, the first of many at military hospitals in Pennsylvania and New Jersey.
Then came concerts for the people as a public relations feature for Philco, and it was here that our greatest
and most satisfying success was achieved. At the appropriate time the band in its entirety became affiliated
with Local 77, A.F.M., and it thenceforth was considered to be a professional organization. Radio followed
soon after that, and the public concerts continued on an increasing scale.
The band personnel remained markedly stable. In addition to the basic group of employees (approximately
50%) there were four men from the Sousa Band, two from the Conway Band, others from the theater, and
some younger players from the best music schools. Of the few who left the band, two went directly to the
United States Marine Band, one went to the Houston Symphony, one to the Los Angeles Philharmonic, and
one is still playing today in the Philadelphia Orchestra. I was invited to membership in ABA in 1949, and
became its president in 1958.
Thus The Philco Band continued for some nineteen years until 1962, when the Ford Motor Company
purchased the Philco Corporation. I remained for about ten months, and then voluntarily resigned to seek
my fortune elsewhere. The Philco Band then ceased to exist, and only pleasant memories remain.
1987 ABA Annual Report
―The Philco Band—Philco Corporation‖
Philadelphia, Pennsylvania
A group of ten employees organized a small band to play for a series of War Bond Rallies in the
Philadelphia plants of the Philco Corporation in late 1943. Their performance aroused so much enthusiasm
that the band activity was expanded, and a full and balanced instrumentation of 62 pieces was established.
The band concertized extensively as a Philco public relations feature and, along the way, it evolved into a
professional organization. Its public popularity was most gratifying to the band and to its sponsor.
Herbert N. Johnston was the conductor and cornet soloist of The Philco Band for its entire existence of
some 19 years. He was invited to ABA membership at Charlotte, North Carolina in 1949, and in 1958 at
Urbana, Illinois he became the twenty-first president of ABA.
1987 ABA Annual Report
MERRILL LEE JONES (1920 – 1989)
Merrill Lee Jones, musician and businessman, died on September 12, 1989 at the age of 69. Born in
Ashland, Kansas, he grew up in a pioneering atmosphere in Western Kansas. Being an excellent pianist,
Merrill preferred to seek a career in music rather than pursue one in his father‘s lumberyard business.
His studies at the University of Kansas were interrupted by service in the Navy during World War II. He
resumed his studies at Kansas University until he decided to enter the music business for himself. While
operating his first music store in Ellinwood, Kansas, he became the Selmer representative and quickly
established himself as a popular and successful salesman.
In 1960 Merrill helped to establish the Wingert-Jones Music Company in Kansas City, and also served as
chairman of the board. He built his store on three basic concepts: fast personal service, quality, and
integrity. The company was elected to Associate Membership in the ABA in 1975, and Merrill served as
chairman of the ABA Associates.
Merrill was a member of the Music Publishers Association, the National Band Association and the Kansas
Bandmasters Association. In 1980 the latter group honored Merrill with their Outstanding Contribution to
Music award. A memorial fund in Merrill‘s name has been created by the Kansas University Endowment
Association.
Bob Foster described Merrill as ―straightforward, brash, outspoken, honest, demanding, energetic and
incredibly hard-working; he was at the same time warm, kind, caring and fun.‖
Merrill‘s wife Priscilla had this to say:
The sympathy of all of you in ABA has been very important to me. Merrill experienced so much
pride and joy in his association with ABA, and I have been privileged to share it. The kindness of
people in this organization has been truly special for us both.
1990 ABA Annual Report
ROBERT D. JORGENSEN
President's Speech, 2009
Bob Jorgensen‘s Speech As ABA President
75th Annual
American Bandmasters Association Convention
College Station, Texas 2009
Three years ago in Richardson, Texas, I began this journey, which would lead to the Presidency of what I
believe to be the greatest band organization in the world - The American Bandmasters Association.
As Past President Mark Kelly announced my name as Vice President, I was completely overcome with
emotion. In fact as I walked to the front of the room, – still in disbelief and thinking of what I might say to
the membership – I was abruptly stopped by Past President Ray Cramer who whispered ―Not so fast! I need
to ask if there are any other nominations and then call for the vote.‖ At least this gave me some additional
time to organize my thoughts and think about what I might say.
In the room that day were three individuals who have been great friends as well as true mentors to me
during my career. All were among the very first to congratulate me. Today, I am somewhat saddened that
all three of these individuals are not able to attend the convention this year during this special time in my
career. Each of these individuals – Honorary Life President Donald E. McGinnis, Past President Mark S.
Kelly, and Past ABA Board Member Robert E. Fleming, ―The Real‖ Bob Fleming to me, has been most
influential to my growth as a musician and as a person during my 22 years in the state of Ohio. I feel so
fortunate to have had the opportunity to experience the friendship, guidance, and teaching of these true
icons in our profession.
If you will allow me to become somewhat sentimental, as I step back and review my career in this great
profession of music making, I find that it is truly amazing how The American Bandmasters Association has
been a part of my life, even before I knew what the ABA was.
In 1958, my father and first teacher/band director, Robert E. Jorgensen, moved our family to Urbana,
Illinois, where he accepted the position of Assistant Director of Bands at Urbana High School. He was
later to become Supervisor of Music and Director of Bands, a position that he held until his retirement in
1977. For some reason, I still remember the front-page headlines in the local newspaper during that year of
1958 announcing the death of ABA Charter Member and Director of Bands Emeritus at the University of
Illinois, Albert Austin Harding. Even though I was unaware of it at the time, this was my first exposure to
the ABA.
Later, during that first year in our new home - the summer of 1959 - as a junior high school student
attending the University of Illinois Summer Youth Music Program, I was privileged to play under the baton
of Honorary Life President Mark H. Hindsley, Director of Bands at the University of Illinois. Some years
later, I was honored to sit in Dr. Hindsley‘s U of I Concert Band and be a part of this wonderful musical
organization for five years. I remember the excitement of playing in this outstanding ensemble and of
performing the premier of many of Dr. Hindsley‘s wonderful transcriptions! I also spent five years as a
member of the Marching Illini under the direction of ABA member, Everett Kisinger.
After graduating from Illinois, my association with the U of I continued to prosper through my friendships
with Honorary Life Member Harry Begian, Past President James Keene, and my great friend, ABA
member Gary Smith. All three of these individuals have served as guest conductors with my bands on a
number of occasions and I was honored to have both Jim and Gary guest conduct The University of Akron
Symphonic Band during our performance at the 2003 ABA convention in Maryland.
After graduating from the University of Illinois, I was fortunate to become a member of The United States
Army Field Band and spend three wonderful years – 1969 to 1972 - under the superb leadership of ABA
members Hal Gibson and Sam Fricano. Traveling to all 50 states as well as tours of Central and South
America, Puerto Rico, and The Virgin Islands were some of the many highlights of this exciting period in
my life. Hal, do you remember when the Field Band performed for the first elected governor of The Virgin
Islands? We marched in Governor Melvin Evan‘s inaugural parade and none other than Colonel Harland
Sanders of Kentucky Fried Chicken fame served as the parade marshal.
Later, we premiered a work by the composer laureate – whose name escapes me - of the Virgin Islands
called ―The Last Bamboola.‖ I‘m quite sure that this was the first and only performance of this
composition! On a more serious note, a lifelong friendship was formed with Hal and Sam and later with
Jack Grogan and Finley Hamilton. In fact, one of my most cherished compliments during my career was
when Hal Gibson contacted me to ask if I might be interested in applying for the Director of Bands position
at Columbus State University upon his retirement from that institution.
After my three years in the Field Band, I became the graduate assistant in bands at Michigan State
University, a place that I believe has been the most influential in helping to shape my career. What a
fantastic two years working with and being mentored by ABA member Leonard Falcone and my best
friend, teacher, and mentor, ABA Past President Kenneth Bloomquist. Ken, there is no way that I can
adequately thank you for all that you have done for both Anne and me over these past many years. You
have been and continue to be a guiding light in my career and I thank you from the bottom of my heart!
Other ABA members whom I would like to mention that have been strong influences in my life are:
During my eleven years at Midwestern State University – Wichita Falls, Texas, J. W. King, Jr. from
Canyon, Texas. J. W. taught at our summer band camp at Midwestern State University during all eleven
years of my tenure at this institution. What a wonderful, inspirational teacher. I spent many a late evening
talking to J. W. about bands and band music while imbibing on an occasional beer.
John Zdechlik and Frank Bencriscutto who performed with my Midwestern State University Band during
our performance at the TMEA convention in 1981. I believe that I paid them each the meager sum of
$100.00 and along with trumpeter Clark Terry; we performed Frank‘s ―Symphonic Jazz Suite.‖ Thus
began a great friendship with John, who was later to become one of my sponsors for membership into the
ABA along with Ken Bloomquist and Ray Cramer!
Ken Van Winkle, who was my colleague and wonderful friend for three years at Midwestern State. Ken,
thank you for your support and musicianship during those three years. Congratulations on your outstanding
work at New Mexico State University.
During my 22 years at The University of Akron – Akron, Ohio, I have already mentioned Donald
McGinnis, Mark Kelly, and Robert E. Fleming.
Mike Golemo - my great friend and colleague for twelve years at The University of Akron. Thanks Mike
for your friendship, wisdom, musicianship and support. You are the best! I continue to marvel at the work
that you are doing at Iowa State University. I am proud to have had the opportunity to work with you.
To my colleagues in the state of Ohio – Steve Gage, Barry Kopetz, Bruce Moss, Jim Swearingen, Paul
Droste. George Edge, Richard Blatti, Russ Mikkelson, and Greg Snyder. What a wonderful rapport we
have with each other! It is a pleasure to teach in a state with such outstanding colleagues.
I would be remiss if I did not mention my father and mother, Bob and Betty Jorgensen. As I mentioned
earlier, my father was my band director for most of my early years and taught me the love of bands and
band music. He was not a member of the ABA, but was in my most humble opinion, ABA quality! He
passed away last April and regrettably, is not able to enjoy this moment with me. However, I know that he
was very proud of this signature accomplishment in my career. My mother, who turned 91 in February, is
still going strong and remains very much involved in my career.
I want to thank my wife, Anne for her undying love and support during our almost 35 years of marriage.
She has been my rock and my greatest supporter. I owe much of my success to her. Also, to our daughter,
Laura, who could not be with us this week. She has made us very proud with her many accomplishments
in her work in the University of Oregon Athletic Department.
My sincere gratitude to Bill Moody. He is the glue that holds The ABA together. Thanks Bill for your
trust, support and guidance during this past year.
To Joe Hermann, Paula Crider and our new Vice President Scott Taylor, I wish you great success and look
forward to your leadership in our organization.
And to you – the members of The American Bandmasters Association - thank you for your trust and
support during my year as President. Serving in this capacity has been one of the great joys and honors of
my career. Best wishes to each of you and thank you for allowing me to share these memories with you.
One final comment – During a conversation with Ken Bloomquist, I distinctly remember discussing the
different titles that we call our bands today. He remarked, ―There is actually no difference between a
Symphonic Band, Concert Band, Wind Symphony, Wind Ensemble, or Wind Orchestra. It doesn‘t really
matter what you call your group. You either have a one bus band or a two bus band when you go on tour.‖
JAMES R. JORGENSON (1926 – 2003)
James Richard Jorgenson was born on January 15, 1926 in Stoughton, Wisconsin and died on December
28, 2003 in Redlands, California from complications of a stroke. Trombone was the instrument of his
choice and following graduation from high school he began his career as the featured soloist with various
name bands, including Kenny Baker and Henry Busse. In 1945 after touring the country with these notable
groups, he enrolled in the University of Wisconsin, earning his bachelor‘s degree in music education with
senior honors. During that time he was an arranger for the stage production ―Big as Life‖—a musical
celebrating the state‘s centennial.
From 1949 to 1951 he taught music in the Fennimore, Wisconsin school system. In 1952 he received the
master‘s degree in music education at North Texas State University where he was a graduate assistant and
played in their famous One O‘clock Band. He returned to North Texas University in 1964 and pursued
doctoral study. He received the Dean‘s Award for Outstanding Scholarship in that year‘s doctoral class.
For 32 years beginning in 1947 he was choral director for many church choirs, which included directorship
of the Men‘s Halls Chorus at the University of Wisconsin where he met his wife Lorraine, who was
director of the University‘s Women‘s Halls Choir.
In 1957 Jim became Director of Bands at the University of Redlands, California, a position he filled until
1989. While at Redlands he founded and directed the summer music clinics for over twenty years, and for
ten years coordinated jazz clinics featuring such notable artists as Stan Kenton and Don Ellis. From 1957
to 1982 besides his normal activities he found time to perform with the Redlands Bowl Orchestra, Redlands
Symphony Orchestra, the San Bernardino Symphony, the Palm Springs and Riverside Symphonies and the
Civic Light Opera Orchestra.
After serving as president of the Western Division of the College Band Directors Association, Jim became
vice president of the national association in 1965 and two years later served as national president. As a
national leader he brought recognition to his small college.
From 1977 to 1982 Jim was music director and conductor of the Redland‘s Symphony Orchestra working
with such artists as Benny Goodman and Doc Severinsen. He brought many outstanding musicians to his
summer programs. Included were Karel Husa, Pulitzer Prize winning composer Vaclav Nelhybel, ABA
Honorary member Sir Vivian Dunn, Aaron Copeland and John Williams, who gave Jim special permission
to be the first conductor to program the suite from ―Star Wars‖ (with the Redlands Symphony). From 1976
to 1977 he conducted the Victorville Symphony Orchestra, and from 1989 to 1990 was interim Director of
Bands at the University of Utah.
Jim served as guest conductor, lecturer, adjudicator and clinician at thirty-eight colleges and universities,
including nine years as a summer faculty member. He served in at least one of those capacities in thirty-
one states, plus Canada, England, France, Holland, Belgium, Switzerland, Austria, Luxemburg, Norway,
Italy, Mexico, Australia and New Zealand. Concert venues included eight appearances at Carnegie Hall,
New York‘s Town Hall, the Kennedy Center, Victoria Hall in Geneva, St. Peter‘s Cathedral and Notre
Dame Cathedral. He conducted All State bands in seven states. For fourteen summers he conducted
United States bands and orchestras for America‘s Youth in Concert, which included eight European concert
tours. He also served as guest conductor with the Orquestra Sinform del Estado de Mexico.
Jim‘s last venture before retiring was twelve years of teaching at Gordon College in Wenham,
Massachusetts, as director of the orchestra and concert choir.
He was elected to ABA membership in 1969 and was a member of Phi Kappa Psi band honorary society.
The James R. Jorgenson Scholarship Fund at the University of Redlands School of Music has been
established to honor his memory. James Keays, acting director of the University School of Music, has this
to say about Jim:
He changed the face of music in Redlands considerably. He gave us a kind of national face in the
area of band music and was really known all over the country for his work with bands. He
conducted not only the bands but also the orchestra and set the stage for the strong connection
between the university and the symphony.
The achievements and influence of Jim‘s fruitful career will always be significant.
2004 ABA Annual Report
W J JULIAN
President‘s Address - 1990
It is traditional for the president to make an address at this time. There have been exceptions. At the 1984
Tempe convention, Martin Boundy announced that due to limited time, he would not give the address—
there seemingly was little protest.
At the Oregon convention two years ago, Johnny Long stated that he had been known to dislike ―long‖
speeches, and that he would let the accomplishments of our organization speak for us rather than frivolous
words. Being a man of his word, Johnny‘s four-minute speech was finished in two minutes—but Johnny is
a fast reader.
The annual report from last year‘s meeting in sunny Florida mentioned that ―at the traditional moment for
the President‘s address, President Allen thrilled everyone when he announced that the usual speech would
be replaced by a slide show.‖ The report did not clarify whether we were thrilled by the slide show or
thrilled that Gene was not going to give an address.
This short history of the Presidents‘ addresses has given me much freedom.
I have already made one mistake. Occasionally the ladies are excused before the president‘s speech. That
should have been done today, since I will be judged by my wife, Faye, who is a Professor of Speech.
This past year has been a busy and rewarding one for me, preparing for the convention. There has been
great cooperation from the committees and their chairmen, and we look forward to their reports.
The highlight of our convention is the concerts, and we have some of the outstanding groups in the country
to provide them.
We are most fortunate to have such organized hosts as Jim Keene and his colleagues.
I appreciate the help of Dick Thurston, and I am especially grateful to Jack Mahan, from whom I have
sought advice for three years. If I make mistakes at this convention, it is because I did not listen to Jack‘s
suggestions.
At the board meeting in Chicago last December, I was asked to appoint a committee to consider
alternatives for the ABA Foundation. The chairman of that committee is John Long.
The Board also recommended another committee of veteran members to develop a handbook for the
orientation of new members. Those committee members are Mark Hindsley, Don McGinnis, with
chairman Harry Begian.
When that handbook is completed, it might be wise for all of us to read it, especially sponsors of
candidates, to emphasize that being a good member of ABA is more than wearing the pin and printing
ABA on one‘s letterhead, program, and published articles—and that is basically the one point I want to
make.
A pin or initials doesn‘t mean anything—being an active member of ABA does!
A member of any organization, be it Rotary, CBDNA, NBA, or ABA means very little if one is not active
and doesn‘t participate. Our privilege of membership entitles us to service.
Dr. Revelli pointed out several years ago: ―In no other organization—be it fraternal, civic, professional or
social—will we find a body of men and women with such loyalty, love and faith as in our ABA.‖
As with you, ABA has given me the opportunity to be associated with and be influenced by many of our
greats:
Glenn Cliffe Bainum
Col. Harold Bachman
Leonard Falcone
Col. Sam Loboda
Ray Dvorak
Fred Ebbs
Merle Evans
Jim Neilson
Col. Santelmann—and there are many more. What a group!
We are often called the most elite, the most prestigious of all band organizations—the organization that any
band director aspires to be a member.
What makes ABA so special? It‘s the members. Let me mention six (five who are present) who make
ABA what it is. These six have a total membership of 317 years!
Dr. Earl Slocum—was elected to membership 49 years ago
Dr. Paul Yoder—50 years ago
Dr. Milburn Carey—51 years ago
Dr. Mark Hindsley—54 years ago
Col. George Howard—55 years ago
Dr. William Revelli—58 years ago
More remarkable than the total number of years are the countless hours of ACTIVE SERVICE to the band
profession from these individuals. Not one of them is what you would consider a passive person. Rather,
each is active and has contributed to not only our organization but to music in general.
These gentlemen are part of the history of ABA. They were in on the ground floor. They cherish the
traditions, but they don‘t live in the past. They believe in the present and the future of our organization. If
we follow their example, we should have no fear that ABA will thrive for years to come.
1990 ABA Convention Annual Report
K
ARTHUR D. KATTERJOHN (1929 – 1980)
Arthur Katterjohn, Director of Band at Wheaton College, died January 8, 1980. Born on December 8,
1929, he was fifty years old.
Arthur was a new member of ABA, elected to our membership at the convention in Montgomery, Alabama
in 1979. Throughout an extended terminal illness, he continued to make plans to attend this meeting at
Tempe, his first convention. Arthur was also a member of the Illinois Music Educators Association, the
National Band Association, and was a national division officer of the College Band Directors National
Association.
Art Katterjohn was graduated ―cum laude‖ from the University of Michigan in 1951 and received a Master
of Music degree in 1952. During those years he was a member of the Michigan Band under the leadership
of Dr. William D. Revelli. Later he completed advanced graduate study at Northern Illinois University in
1974.
After directing the Saline, Michigan High School Band for thirteen years and the Joliet, Illinois West High
School Band for four years, he was appointed Assistant Professor and Director of the Wheaton College
Band in 1968.
For the past fifteen years Arthur served on the band conducting staff at the National Music Camp at
Interlochen. Since 1970 Art has been conductor of the Palatine, Illinois Adult Concert Band, one of the
oldest adult community bands in Illinois.
He was engaged widely throughout Illinois, Indiana, Wisconsin and Michigan as guest conductor,
adjudicator and trumpet soloist.
Art was an active Christian, constantly serving this commitment. He wrote two theological books and as
one of the founders, he served the Fellowship of Christian Musicians faithfully as Executive Secretary from
1970 to 1980.
With the passing of Arthur Katterjohn, the ABA and the band profession have lost a fine musician, leader
and spiritual brother, who was taken from us at the peak of an influential and productive career.
George Wilson (narrator of this memorial) said, ―Art would want me to share with you from the prayer of
St. Francis of Assisi, Art‘s personal prayer for each day:‖
Lord, make me an instrument of Thy peace;
Where there is hatred, let me sow love;
Where there is injury, pardon;
Where there is doubt, faith;
Where there is despair, hope;
Where there is darkness, light;
Where there is sadness, joy.
O Divine Master, grant that I may not so much seek
To be consoled as to console,
To be understood as to understand,
To be loved as to love,
For it is in giving that we receive,
It is in pardoning that we are pardoned,
And it is in dying that we are born to eternal life.
1980 ABA Annual Report
MARK KELLY
President‘s Address – 1991
The following remarks may be considered to be a review or synopsis of ABA history, beginning in 1928,
and its implications on us today. In other words, where did we come from, what have we done, and where
are we today. Or in a lighter vein—things you may have wanted to know about ABA but were afraid to
ask.
On August 3, 1928, Captain William J. Stannard, Leader of the U.S. Army Band, Washington, DC, wrote
to Albert Austin Harding, Director of Bands at the University of Illinois:
During the High School Band Contest recently held at Columbus, Ohio, where Mr. Edwin Franko
Goldman, Mr. Victor Grabel and myself officiated as judges, Mr. Goldman explained his plans of
creating an American Band Masters Association for the purpose of furthering the interests of
outstanding American Band Masters, and of interesting composers, arrangers and music publishers
in Wind Band music.
We concurred in the fact that the Wind Band today is capable of rendering most creditably, works
of a symphonic type, we also agreed that many prolific composers who have restricted their
compositions to orchestral scores could well afford to write for the Concert Wind Band.
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. Of course, we appreciate that first of all it would be necessary to
familiarize many of the composers with the possibilities of the Wind Band.
Mr. Goldman suggested that in the event a majority of the outstanding Band Masters reacted
favorably to the plan, that we arrange for a meeting in one of the large cities for the purpose of
organizing the machinery necessary to the proper functioning of the Association. Commander
Sousa has been interviewed in connection with the proposed idea, and was most enthusiastic.
In 1986 Dr. Revelli wrote: ―The backing of Sousa was not only important, it was mandatory. It was of
sufficient importance that the association could not have been formed without his backing.‖
[The following is excerpted from 1986 Knoxville ABA Convention Report—Interview of Lynn Sams by
Jim Berdahl.]
An outline for the Constitution and By-Laws was set up by Dr. Goldman, Victor Grabel and Captain
Stannard. The proposed objectives of the planned association were:
a) Mutual helpfulness
b) Better band instrumentation
c) Adoption of a universal instrumentation
d) Induce composers to write for bands
e) Establish higher standards of performance (artistic performance standards particularly)
f) Cooperate with the military in obtaining proper commission status for bandmasters of the
regular Army.
Lynn Sams stated that on July 5, 1929, following months of inquiries and preparations, among those invited
to meet with Dr. Goldman in the Pennsylvania Hotel in New York City were:
Dr. Edwin Franko Goldman—Goldman Band, New York City
Charles Benter—U.S. Navy Band
Victor Grabel—Chicago Concert Band
Dr. A.A. Harding—University of Illinois Band
Dr. Charles O‘Neill—Royal 22nd Regiment Band, Quebec
Arthur Pryor—Pryor‘s Band, New York
Frank Simon—ARMCO Band, Cincinnati, OH
R. B. Hayward—Toronto Concert Band, Ontario
J.J. Gagnier—Canadian Guard Band, Montreal, Quebec
It was at this meeting that 1) the Charter was received and these men named Charter members; 2) the
bandmasters officially conferred upon Sousa the office of Honorary Life President; and 3) the ABA was
organized.
[The following three paragraphs are verbatim quotes from Jim Berdahl‘s interview of Lynn Sams.]
(L.S.) It was pretty well understood at this first meeting that ABA would be a professional organization.
Not that they had any objections to the educational groups coming in, as far as was ever heard, but Dr.
Harding was the only one at this first meeting representing an educational institution, and he took a very
active part, which they all appreciated. It is thought they invited Dr. Harding for his close contacts with
Sousa.
The first high school band director voted into the ABA was A.R. McAllister of the famous Joliet, Illinois
Band and that was in 1931.
(J.B.) With three of this small group from Canada, the founding people obviously thought very highly of
having the ABA ―international‖ in scope with Canadians and Americans in it from the beginning.
(L.S.) In fact, it was thought by many that O‘Neill was the best educated man in band music. He was an
exceptionally fine cornetist and was highly respected. It was O‘Neill who wrote the famous entrance exam
for ABA, and if you couldn‘t pass it, you couldn‘t be in ABA. It is believed Paul Yoder was the last one to
take the exam. There were some exceptions. Karl King said, ―If I had had to take that exam, I would never
have become a member.‖
…And so it was that at 10:40 a.m. on Thursday, March 13, 1930, in the Middletown, Ohio Civic
Auditorium, Edwin Franko Goldman (the founder and the first President of the ABA) called the First
Annual Convention of the ABA to order and addressed the band leaders. I quote Mr. Goldman:
It is my great privilege and pleasure to welcome you here as members of the ABA at our first
convention, and I feel grateful to you who are here for having laid aside your other important
duties in order to be present for this important session, and that you may be of service to this
newly-formed organization.
The ABA was formally organized in July 1929. The first meeting was purely one for the purpose
of establishing our organization. Today we are organized and ready to function, and it is in our
power to set new and better standards for bands and band music. The foremost bandmasters of the
United States and Canada are already members of our association, and our doors are now open to
all bandmasters of North and South America, whose musical ability meets our requirements, and
whose business ethics are beyond reproach.
Within a short time we hope to have every capable bandmaster in the Americas as members of our
body. We want our new society to be the outstanding organization of its kind in the world. By
uniting our efforts for better bands, better band music and a Universal Instrumentation, we are
positively going to raise the standards, and, once they are raised, they will be maintained through
the efforts of our organization….
The first annual Convention consisted of concerts, social time and the reading of many papers on such
subjects as:
1) The orchestra and band as they originally existed
2) Comparison of English, French, German, Italian and American Instrumentation of concert
bands.
3) Revising published band arrangements
4) How to secure Financial Support for Municipal Bands
5) The Growth of University and College Bands by Dr. Harding
One of the significant traditions begun at the first convention in Middletown was the practice of having
each composition on the concert conducted by a different member of ABA. The practice most probably
began as a courtesy to the members present. It might be assumed that either Goldman, always conscious of
the bickering and jealousy possible with so many of the top bandmasters gathered together, or Frank Simon
(the host bandmaster wanting to extend courtesy and friendship from himself and his band to the
bandmasters who were his guests) suggested the practice. It should also be noted that in the early years
members most often conducted numbers that they had composed themselves or numbers that they had
transcribed.
As we review the schedule for the 1991 Convention and others of the recent time, the concerts, social time
and banquet remain, but the papers are neglected. Are we comfortable with the present format…and is
there a logical reason for the change in direction of our Convention?
Do we devote enough time to serious discussion on topics brought to our attention by the Philosophy and
Purpose Committee? The Enrichment Committee?
In 1978 President McGinnis said that another challenging area of expansion is stated clearly in Resolution
#5 of our Constitution, which reads:
The Planning Committee for each annual convention give consideration to enriching the
convention programs and furthering the objectives of the Association by such means as keynote
speakers and guest conductors from other than the band field, forums and symposiums on timely
and relevant topics with participation by the above guests and ABA members; presentations of
papers, clinics and demonstrations on new approaches and developments; and to other types of
features which may be professionally beneficial to the Association and its members.
Two years later, in 1980, the Philosophy and Purpose Committee (Arnald Gabriel, Chair) stated:
There are those, both ABA and non-ABA members who believe that there should be greater
emphasis on musical-expanding and educational-oriented activities at our conventions. They feel
that we should invite outstanding clinicians, composers, and conductors who would assist in
expanding repertoire, injecting new technics, etc.
The other school espouses that we are members of ABA because we have demonstrated that we
are the elite of the profession and who are the outstanding clinicians, composers and conductors.
This school does not imply that we have no more to learn, but by having achieved the status of
ABA membership, have chosen to meet at least once a year to enjoy each other‘s friendship, to
exchange ideas at a personal level, and to present public concerts of outstanding groups
performing outstanding works by our membership.
Yet, in reading year after year the suggestions submitted by the Philosophy and Purpose Committee and the
Convention Enrichment Committee especially (and having been both a member and chair of several
committees) I find consensus elusive, and many words written to remind us that since ABA members are
very active the other fifty-one weeks of the year as clinicians, teachers, participating members of other
professional organizations, and conductors—this is their ―personal retreat‖ and the accommodation to a
week of ―family fraternity‖ which should not be altered. ―A fraternity of kindred spirits‖ Dick Strange
called it.
We come together formally once each year to renew our friendships and ―recharge our batteries‖ so to
speak by coming into intellectual and emotional contact with each other.
In his President‘s speech of 1980, Butler Eitel said:
If you come to an ABA convention looking for education, it‘s here! There‘s an endless amount to
be gained through picking the brains of these ABA stalwarts. They have had experiences most of
us have never dreamed of. They combine great talent, incredible varieties of experiences, and
mature wisdom. These people possess the possibilities of enriching your life beyond
comprehension. And I include in this our astute Association Members, many of whose business
expertise and experiences parallel the best of our conducting careers. Gaining knowledge of the
business side of this profession can make us all more effective.
We should all agree that our sights must be on the future, but these men, these giants of ABA, sharing with
us, permit us to stand on their shoulders and see more clearly into that future. As one noted historian said
when viewing the future: ―All we have to go on are the patterns of the past. Everything else is guess
work.‖
In other words—a definite feeling exists that this is our week to re-affirm our beliefs in and appreciation for
the tradition, objectives and the ideals which ABA stands for. Unashamedly, as your President, I most
eagerly look forward to being with our ABA family for this one week—and assure you I (like many of you
in this room) spend the other fifty-one weeks upholding those ideals and objectives for which ABA stands,
to the best of my ability as my position as Director of Bands and Professor of Music Education at BGSU
permits…on or off campus…and as a participating card carrying member of various organizations. I am
confident many of you share this view!
In 1951, Harold Bachman wrote:
The strength of the ABA lays not so much in the projects our organization, as any organization,
carries out, but in the accomplishments of our members in their various spheres of activity.
Dr. Revelli spoke these words as reported in the 1986 Book of Proceedings:
I believe the philosophy of the officers and leadership of ABA is that many of the things ABA
used to do are now being done through CBDNA, NBA, ASBDA, and their organizations.
Therefore, there is no need for us to duplicate those projects and activities. I believe they feel that
the CBDNA can take care of the college band, the ASBDA the high school band, and so forth.
These organizations can speak for their own areas with a much stronger voice than the ABA.
Because of this, the ABA has changed over the years. The annual convention and the primary
reasons for existence are not the same as when the association was founded, and I say this without
any suggestion of anything other than great admiration and respect for the association, its
members, or the family spirit of the ABA because it‘s just wonderful. There is no other
organization like it.
Be that as it may, we remain grateful and most certainly acknowledge those times in our conventions when
we have benefited immensely from the insight and knowledge non-ABA member speakers have offered,
and from the forums of discussion which have been initiated by previous officers.
What have we accomplished? A very great deal for which we rightfully boast…
1) Sousa‘s enshrinement in the Hall of Fame of Great Americans through the leadership of Ray
Dvorak.
2) Establishment of the ―Journal of Band Research‖ through the leadership of Paul Yoder.
3) ASBDA founded by ABA member Dale Harris.
4) NBA by Al Wright and John Paynter.
5) NBA Hall of Fame for Distinguished Conductors by Bill Revelli and Al Wright.
6) CBDNA by Bill Revelli—now celebrating its 50th year.
7) ABA Research Center established by Paul Yoder.
8) Phi Beta Mu, International Bandmasters Fraternity by Col. Earl D. Irons.
9) ABA/Ostwald Band Composition Contest by Associate Members Ernest and Adolph
Ostwald.
10) North American Band Directors Coordinating Council by Forrest McAllister.
11) John Philip Sousa Foundation by Col. George Howard.
12) Encouragement and recognition of new music and composers both in and out of the ABA
beginning with the commission of Edwin Franko Goldman.
13) Encouragement of the development of the Japanese Band Directors Association through the
efforts of Paul Yoder and Associate Member Walter Volkwein; and the nurturing of Japanese
Band Directors Association throughout ABA/JBA joint meetings.
14) Founding of the Women Band Directors National Association by Gladys Stone Wright.
A most impressive list, and I am confident that there are many others.
We are very proud of the ongoing activities such as the Edwin Franko Goldman Memorial Citation, which
developed between 1959 and 1962 under the guidance of ABA members H.E. Nutt, Herbert Johnston,
Harold Bachman and Otto Kraushaar. The citation has been awarded to thirty-two outstanding individuals
outside of ABA as recognition of their significant contributions to efforts in the development of bands
and/or band music in America.
Originating in 1956, the ABA/Ostwald Band Composition Contest has been a successful continuation of
Goldman‘s hope to see literature of an artistic nature commissioned and written for the concert band.
Admitting that not every Ostwald winner may still be considered a viable part of the standard wind band
repertoire, ABA does continue to merit professional respect, and is not ―imitated‖ by other ―composition
competitions‖ (again with many ABA members as part of the review/selection committee). Mr. Goldman,
ABA and Ostwald started it all!
As ABA members we must continue to encourage composers to write for band—whether students, faculty
or professional composers—in order to exert important influence upon the continuing development of our
wind literature.
The ABA Research Center, inaugurated on June 13, 1963, was established through the efforts of Paul
Yoder during his term as President of ABA. The Research Center was created to gather and exchange
information about band history and music for the stimulation of further research and the inspiration of
continued development of bands in our society. The Center is considered essential to producing the
documentation of our band tradition and history.
The ABA Journal of Band Research (with names familiar to us all—Ostling, Yoder, Long, Mueller, Jon
Piersol) which has contributed scholarly articles of significance since its inception in 1964 and available to
all the libraries of the world.
And the ABA Foundation, Inc. as of March 7, 1985. What a magnificent tribute to those ABA members
whose vision has become realized and today the funding for the ABA/Ostwald Award is assured. We were
pleased to learn at the 1990 convention in Champaign that President J Julian had appointed a committee of
Past Presidents Long, Howard, Revelli and Wright to identify alternative areas for which the Foundation
monies could be spent…and I encourage the Foundation Board of Directors to continue listening and be
responsive as our members suggest important alternative projects which should be considered for funding.
This must be ongoing!
Records indicate that approximately 240 ABA members and Associates have contributed at least once to
the Foundation—and about 100 members have yet to contribute. It seems we need to find additional
projects—not just the ABA/Ostwald Award—if we are to significantly broaden our base of giving. We in
the ABA have come such a long way, and I know you join me in saluting those members whose vision
prompted the formation of the Foundation and especially Past Presidents Strange and Begian who shared
the brunt of early solicitation requests. The names of the persons who served on the first Board of
Directors are:
Dr. Harry Begian
Mr. Jack Mahan
Dr. John Long
Dr. Al Wright
Mr. Martin Boundy
Mr. Neil Kjos, Jr.
Dr. Robert Rosevear
We salute each of you!
Expressions of concern have long been both verbalized and written regarding our criteria for nominating,
screening, and subsequently electing a person to membership.
Some say we are much too parochial in our views—ignoring or refusing to nominate band directors
because they ―seem not to fit the image of what an ABA member should be...they just don‘t measure
up….‖ Others hold to the contrary—we are too lax in our screening. One thing is certain—our
membership roster needs to maintain the vitality, enthusiasm and commitment which was evident in our
charter members and maintained so well by those who followed.
In his President‘s speech of 1977, John Paynter said:
As inevitable as life itself, our membership is growing older. More and more a higher percentage
of ABA members is represented by people who have retired from their active conducting careers.
It is therefore absolutely essential that we continue to accept into the ABA a number of the very
gifted, qualified, well prepared musicians who are conducting fine bands today. We must make
sure that our process for seeking and electing those we identify as exceptionally qualified is a
workable process that will guarantee the future of our beloved ABA. We need the valued
assistance of the present ABA members who not only have the time to go and see these candidates
and hear their bands (yes, on tape too), but also have the wisdom to evaluate and propose for
membership the best of our band conductors, so that we can accept new members in the image of
those who have made ABA what it is.
From a charter membership which included conductors of military, professional and one university band,
our membership now ALSO includes many conductors of university, high school and community bands.
Fine composers have always been a part of our membership, and we now list fifteen.
Truly, our roster is a ―cross-section‖ of our profession and possessed with common goals—to build better
bands, perform literature of artistic merit, and work cooperatively to insure that music as an art form
remains secure in our society and in our educational system.
Since its founding by Edwin Franko Goldman in 1929, the entire spectrum of bands in America has been
best represented by members of ABA.
Twenty-five of the men who have held the office of CBDNA President are members of ABA. The
innovators of our profession are found on our membership roster—ABA members/conductors respond to
the call to perform the newest and most challenging literature (and hopefully with reasonable quality).
ABA members have been elected to positions of leadership in WASBE. ABA members have been and
continue to be at the forefront of bands in the military—community—and educational scene.
At the recent national convention of the CBDNA—presided over so ably by then President Dick Strange—
the ―theme‖ so to speak was ―How Can We Help to Have Music in Our Schools?‖ Presenting papers on
that subject were 15 past CBDNA presidents—all current members of ABA.
I have invited newly-elected CBDNA President Ray Cramer to review the CBDNA meeting in Kansas City
as it pertained to ―Music in Our Schools‖…and I urge every ABA member, active or retired, Associate or
wife, to obtain (or borrow) a copy of the Fall/Winter Issue #8 of the CBDNA Journal—a truly excellent,
timely and thought-provoking compilation of ABA member opinions and attitudes. Compliments are in
order to Dick Strange—to you primarily and the CBDNA Board for placing this issue in such sharp focus!
Throughout the various association affiliated with bands, our ABA members shoulder great responsibility
in seeing to it that Art Education and Bands survive in the 90‘s—a reminder of Harold Bachman‘s telling
us the strength of ABA is often manifested in what we do in other organizations.
Things have changed in ABA and the world of bands since 1930, when at that time A.A. Harding was the
only school music conductor in ABA. The professional band music scene has changed drastically, as well.
Today we in ABA need to be vigilant for maintaining the arts and music education in our curriculum as the
charter members of ABA were in their concern to establish an organization strong enough and zealous
enough to ―build better bands‖…. Music must never become simply an activity or skill—it must also be
perceived and taught as an art.
As ABA members we must see that our own programs demonstrate the highest musical and professional
ideals, and make certain (insofar as possible) that our students carry these same ideals into their own
teaching and communities. You are reminded of our Principles of Philosophy statement adopted three
years ago.
In 1930 in Middletown, Ohio, President Edwin Franko Goldman‘s message contained these words:
Our organization will wield a great influence over all those who are concerned with music, both
from the artistic as well as the commercial sides, and even upon those who merely listen….
Let us go away from this meeting resolved to advance the interests of bands and band music—and
to take advantage of the many fine suggestions which will be offered during the course of these
meetings. We have seen many new faces here and made many new friends. Let us cement this
new friendship and cling close together in the future—for ‗in union there is strength.‘ Let us hope
that each future meeting will give us added impetus, and see our ideals blossoming.
I do not believe that anything has changed much today. In 1930 the musical ability was determined by
examination, the business ethics by the judgment of the membership—today it is all determined by our
judgment.
All of us who are members of ABA, honorary, regular or associate, active in positions of leadership or not,
working hard in our craft or retired and at ease, wise or not so wise, whatever our lot in life may be, it will
take our combined efforts, working harmoniously in whatever ABA or other professional related activity
we are called upon…if we in the 90‘s are to continue the significant work started by Goldman in 1930,
while adjusting our efforts to acknowledge those issues most critical to our profession today.
We must continue to be personal role models of integrity and commitment—we must identify the
innovators in our membership who have the ability to perceive, define and offer solutions to the concerns
our profession expressed today, regarding society‘s interpretation of the place music has in our life—
remaining constantly aware of and adhering to the ethics of our profession—not only by the way we treat
the art of music, but also by the way we live, teach and perform.
Let each ABA convention serve as a reminder (and source of inspiration) for each of us to reaffirm our
faith in and vitality for the ABA and strengthen our continuing respect for each other as well as our
profession.
A kindly old philosopher once said, ―When all is said and done, more will be said than done.‖ This may
not satisfy or provide the answers we need for the current times. Hopefully it will not be said of ABA that
more will be said than done.
1991 ABA Annual Report
WILLIAM LEONARD KELLY (1920 – 1998)
William Leonard Kelly was born in Kearney, Nebraska on September 13, 1920 and passed away in
Lawrence, Kansas on November 3, 1998. Bill‘s father, an Italian immigrant, came to the United States
early in this century. He was an excellent clarinetist but couldn‘t find employment in his chosen field. At
this time the railroads were expanding operations from coast to coast and were hiring laborers to lay the rail
beds. When he applied for the job, the Irishman doing the hiring asked Bill‘s father, ―What is your name?‖
He answered, ―Guillamo Calligaro.‖ He wasn‘t hired. Noting that those being hired had Irish names like
O‘Sullivan, O‘Malley, O‘Toole, Bill‘s father was prepared for the question at the next hiring session. This
time he said his name was Kelly and that is how Bill‘s father became a Kelly. As a worker on the railroad
crew, he reached Nebraska, settled there, and that is how the Kellys got to Nebraska. Eventually the elder
Kelly did find work as a musician. He played clarinet in the Chautauqua circuit and the Hastings
Symphony Orchestra. He accepted a challenging job at the School for Delinquent Boys in Kearney,
Nebraska. It was there that Guillamo Calligaro, Jr.—alias Bill Kelly—was born.
Young Bill was only six years old when he started playing the clarinet, obviously inheriting some of his
father‘s musical talent. The Kelly family moved to McCook, Nebraska, where Bill‘s father started a
community band and a school music program. In 1938 when the McCook band competed in the National
Contest in Colorado Springs, young Bill was their solo clarinetist. The band achieved a superior rating and
Bill won a national first place for his clarinet solo.
Bill earned his bachelor‘s and master‘s degrees in music education at the University of Nebraska. His
career plans were interrupted because of World War II. He served as an Army bandleader overseas. After
the war, Bill became the high school band director at McCook, replacing his father who wanted to ease his
own workload by taking over the junior high school band. Bill, his wife Barbara, a vocal teacher, and Pop
Kelly, as he was affectionately called, had developed a notable band program. They created a musical
dynasty that has become the legendary Nebraska school band. Their bands won numerous superior ratings
in national and regional competition. The Symphonic Band was honored by being selected to perform at
the Music Educators National Association convention in Cleveland, Ohio. The John Philip Sousa
Foundation sponsored a project to establish an historical list of particularly outstanding concert bands from
1920 to 1960. The list of 42 bands selected from throughout the United States included the McCook High
School Band, notable especially because it was the only band chosen from the region that encompassed
Kansas, Missouri and Nebraska. Pop Kelly and Bill were responsible for this great achievement.
For a short while Bill taught at Western State College in Gunnison, Colorado before entering the doctoral
program at the University of Kansas in 1960. During this time he taught private music lessons, briefly led
the Kansas University Pep Band, and was an instructor of wind and percussion instruments. Although Bill
had hoped to be a college band director, he became the University Registrar, a position he held until his
retirement. In addition to his administrative duties, he found time to be involved with the music education
program, the University Music Camp and the Kansas University Band.
During the sixties Bill played clarinet in the Lawrence City Band and became its director in 1970 when
ABA member Ken Bloomquist left to become Director of Bands at Michigan State University. Under
Bill‘s leadership, the band continued the fine work started by Ken and became one of the premier
community bands of America. It achieved national recognition, performing at meetings of the Kansas
Bandmasters Association, the National Band Association and our ABA Kansas convention. Bill was
elected to ABA membership in 1984.
Bill was a charter member of the American School Band Directors Association and belonged to the
Association of Concert Bands. Both Bill and his father were inducted into the Nebraska Music Educators
Hall of Fame for Outstanding Service to Young People of Nebraska, designating ―Personal Musicianship of
the highest order and Exemplary Teaching Accomplishments.‖
In 1991 Bill conducted his last concert at the William L. Kelly Gazebo, named in his honor by the City of
Lawrence. He turned over his baton to ABA member Bob Foster to carry on the band‘s great tradition.
Bill usually concluded his performances with our National March, ―The Stars and Stripes Forever.‖ This
devotion to the music of one of our ABA pioneer was honored in1989, when he and the band were awarded
the Sudler Scroll—given by the John Philip Sousa Foundation in recognition of the highest performance
standard for community bands.
Bill was an intensely vibrant perfectionist. He always demanded the best of his musicians. He wanted
everything to be perfect. Commenting on this aspect of Bill‘s character, the McCook Senior High School
Alumni Newsletter carried this comment by Don Glaze, one of his former students: ―Seldom in one‘s life
do you come in contact with someone who will push you to your absolute limit in the attainment of
perfection.‖
1999 ABA Annual Report
DALE E. KENNEDY (1937 – 1987)
Dale Kennedy was born in Chickasha, Oklahoma on June 6, 1937 and died in Columbia, Missouri on
December 11, 1987. Like most of our members, Dale was introduced to music in the schools of his
hometown.
Following his graduation from the University of Oklahoma he taught in the public schools of Albuquerque,
New Mexico for nine years, during which time he earned his master‘s degree at the University of New
Mexico.
Subsequently, Dale was the band director at Wichita State University, Oklahoma City University and
Richland College before becoming the Director of Bands at the University of Missouri in Columbia. While
in Dallas, he also directed the Richardson, Texas Community Band.
Besides serving as clinician, adjudicator and guest conductor, Dale supervised a summer honors band
program for high school students, and often served as church choir director.
Dale was active in a large number of music associations and fraternities, including the National Band
Association, College Band Directors National Association, Music Educators National Conference, Missouri
Music Educators, Phi Mu Alpha, Kappa Kappa Psi and Phi Beta Mu. He was elected to ABA membership
in 1987.
Last October Dale made his last concert appearance. He walked on stage with the aid of a cane to his
specially built podium chair and conducted the Missouri Symphonic Band. He refused to give up his
musical duties until he absolutely had to. He continued teaching until his death. Recognizing Dale‘s
achievements, the University of Missouri Fine Arts Department has set up a scholarship fund to honor his
memory.
According to his wife Linda, his friends and associates, Dale had a wonderful personality, constantly wore
a big smile, was very outgoing and was full of fun and humor. He was a man who made others feel
important because of his warmth.
Dale‘s daughter, Kathleen, put his ten months of suffering with bone cancer in perspective saying:
What he lived for was his music. He wanted to keep making music. In a way, that helped
alleviate the pain.
Truly, Dale was a man of courage, a highly respected musician, a great credit to his profession and to ABA.
1988 ABA Annual Report
JAMES L. KERR (1914 – 1970)
James L. ―Jim‖ Kerr was born in Pittsburg, Kansas. He studied with, and was later a member of the late
ABA Member J. J. ―Johnnie‖ Richards‘ Municipal Band. It was Jim Kerr who was responsible for the
national recognition for the Wichita State University School of Music. He originated the annual School of
Music Band Day and the Summer Marching Band Clinic at WSU and served with the department for 23
years. He retired from that post in June 1969 in order to conserve his strength, but retained his position as
Chairman of the Winds and Percussion Department. Howard Ellis, assistant dean and professor of the
music school, said of him:
He was beloved by those of us who knew him well as a friend and colleague and by music
teachers in schools over the state. He probably produced more public school music teachers from
his students than any other conductor.
Jim‘s talents were not confined to the university. He played a leading role in the musical activities of the
city, including playing oboe and English horn in the Wichita Symphony Orchestra for 12 years. On a
national scale he was very much in demand. He had served as a clinician, conductor and adjudicator with
bands from the Canadian border to the Gulf of Mexico, including the Tri-State Festival at Phillips
University in Enid, Oklahoma. He also participated in the music camps at Western State College at
Gunnison, Colorado, at Washington State University, at Yankton, South Dakota College, and the
International Music Camp on the Canadian border. He served for almost four years in the United States
Navy during World War II, and was commissioned in August of 1944. He attended the U.S. Navy School
in Washington, D.C. for 52 weeks and was in charge of the ship‘s band on the USS Washington. He was
organizer of a chapter of Kappa Kappa Psi at WSU, and was a past district governor of that organization.
He was also the organizer and first president of Phi Beta Mu and was responsible for it being in Kansas.
Jim was elected to membership in The American Bandmasters Association in 1950 and served for two
years as a member of the College Band Directors National Association Tonal Research Committee.
James Kerr‘s survivors include his widow Peggy, two daughters, Mrs. James Billups of Manhattan, Kansas
and Patricia at home, and his mother, Mrs. Isabel Kerr. A memorial has been established with the James
Kerr Bandsman Scholarship Fund, in care of the WSU Board of Trustees.
1971 ABA Newsletter
MARLIN DEAN KILLION (1926 – 1997)
Marlin Dean Killion was born on July 21, 1926 in Fairfield, Nebraska and died on October 28, 1997 in
Lubbock, Texas. Dean‘s parents were schoolteachers who arranged for him to take drum lessons when he
was four years old. He also took piano lessons until he was in the sixth grade. In the seventh grade he
began to play the trumpet. From the eighth grade until he graduated from Fairfield High School he played
first chair in the band. In his sophomore year he won a superior rating at the Regional National Contest in
Omaha playing ―Sounds from the Hudson.‖ He was judged by ABA member Gerald Prescott of the
University of Minnesota. In addition to his musical activities, Dean played football, basketball, and was a
member of the high school track team.
In 1944 at the age of 18 Dean enlisted in the Navy. After his honorable discharge in 1946, he entered the
University of Nebraska. During the following five years Dean was soloist with the University Band and
touring choir. He was president of Sigma Chi fraternity, a member of Pi Kappa Lambda, an officer in
Sinfonia, and president of Gamma Lambda band fraternity. During his junior and senior years at the
university, Dean taught music, band and choir once a week in the Sterling, Nebraska High School. In 1950
Dean graduated cum laude with a Bachelor of Music Education degree. The following year while finishing
a Master of Arts degree, he was graduate assistant to ABA member Donald Lentz. Dean also served as an
officer in the Nebraska Music Educators Association and supervised the state band clinics.
Dean‘s first full-time teaching began in the Sidney, Nebraska school system. He taught in four grade
schools, one junior and one senior high school. His bands were never rated less than superior at contests.
In 1954 his band received a superior rating at the Enid Tri-State Festival. From 1955 to 1957 Dean was
trumpet instructor and assistant band director at the University of Nebraska and had begun to work on his
doctorate at the University of Iowa. During the following two years he taught trumpet and directed the
band at Fresno State College in California.
In 1959 Dean became the band director at Texas Tech University in Lubbock, Texas, replacing ABA
member D.O. Wiley. During the twenty-one years that Dean taught there, the band program grew and
flourished, having grown from one to four concert bands and three stage bands. His marching band
halftime shows impressed the nation. There are those who contend that he put Texas Tech on the map long
before the football team had any impact. The concert band toured annually throughout the state and
performed for the Texas Music Educators Association several times. We were privileged to hear them
perform at our ABA convention in Arlington, Texas in 1972. ABA members Francis McBeth and the late
Claude Smith chose the Tech band to record a number of their own compositions.
Dean‘s Tech Band Camp also flourished, attracting more than fifteen hundred students each year. As an
adjudicator, he evaluated performance in Enid, Six Flags, Canada and Mexico. He directed All-State bands
in Arkansas, Iowa, Montana and Nebraska and gave clinics for the Oklahoma, Missouri and Nebraska
Bandmasters meetings. Other band clinics took him to Tennessee, Ohio, Indiana, New Mexico, Kentucky
and to Northwestern University. For a number of years he ran clinics for the Texas Bandmasters
Association in San Antonio.
Dean was elected to membership in ABA in 1970. The following year he was President of the Texas
Bandmasters Association. He received the Lubbock Citizen Award in 1963, was named Outstanding
Community Salesman in 1967 and in 1974 was given the West Texas Museum‘s Action Award for
contributions to the enrichment and culture of the Great High Plains. His alma mater, the University of
Nebraska, honored him with a ―Masters‖ award for distinguished achievements as an alumnus.
Dean retired from teaching in 1985 after severe bouts of ill health: surgery for a brain tumor in 1978, and
open heart surgery in 1984 and 1989 prevented him from continuing his teaching career. However, he did
continue to direct the summer concerts of the Westwinds Brass Band of Lubbock, which he organized in
1960. Phil Anthony, former Coronado High School director, now leads the Westwinds Band. He
remarked:
We saw Dean‘s body deteriorating, but his mind was sharp. I don‘t think any of us could have
survived as long as he did. He was tough, and through it all, music, and band music in particular,
was his whole life.
1998 ABA Annual Report
JOHN W. KING, Jr. (1921 – 1997)
John W. King, Jr. was born on April 17, 1921 in Roscoe, Texas and died on May 27, 1997 in Lubbock,
Texas following heart surgery. He received his early education in the Roscoe public schools and went to
high school in neighboring Loraine, where he played trumpet in the band. After graduation he entered
Texas Tech University, but had to put his studies on hold after a year because of World War II. While
waiting to be drafted, he was the band director in the Westbrook school system from 1941 until 1942. He
enlisted in the Army Air Corps and was a member of the band stationed at Sherman Field, Texas. After the
war John returned to Texas Tech University where he earned the Bachelor of Music and Master of Music
degrees. He also switched instruments, giving up the trumpet for the French horn. He attended Columbia
University and the University of Colorado for doctoral study. Other studies took him to the University of
Texas at Austin and West Texas State University.
―J.W.,‖ as John became known to his friends and associates, resumed his teaching career at Big Springs
High School as band director from 1947 until 1953. All of J.W.‘s teaching positions were located in the
state of Texas. For the next seventeen years he taught at Hale Center High School before assuming the
band director‘s duties at Canyon High School in 1970. Nine years later J.W. returned to Plainview High
School, serving as assistant band director until his retirement in 1983. He stayed as busy as ever in
retirement, continuing to assist in the local band program right through the 1997 school year.
Besides being a private horn instructor, he was the Artistic Director for the Plainview Symphony Orchestra
and played horn in the symphony, the Plainview Brass Choir and the Brass Quintet. He was a member of
the horn section of orchestras in Amarillo and Roswell, New Mexico and served at choir director at two
Plainview churches.
In 1977 J.W. was named Bandmaster of the Year by the Texas Bandmasters Association. He served as
president of that organization and was elected to two terms as president of the Texas Music Educators
Association.
J.W. was a regional Executive Secretary for the University Interscholastic League and twice was the band
division chair for the Texas Music Educators. Additionally, he was the president of Phi Beta Mu music
fraternity. While working in Hale Center, he earned that community‘s highest honor as Citizen of the Year
and was honored by the establishment of the J.W. King Award at Hale Center High School. J.W.‘s Hale
Center bands won a great number of awards, among which were a first place showing at the Cotton Bowl
parade and the Outstanding Concert Band Award at the Tri-State Music Festival in Enid, Oklahoma.
During the summer, J.W. taught at regional band camps at Midwestern University, Texas Tech University,
West Texas A&M University, McMurry University and Wayland Baptist College where he also taught as
an adjunct instructor.
J.W. was elected to ABA membership in 1979. We had the privilege of having a quiet, courteous and
gracious human being—a true gentleman, an outstanding teacher, an administrator of extraordinary ability
and a man who always had a kind word for and about everyone.
In this honor a French Horn Scholarship Fund was established at Texas Tech University—a greatly
deserved honor and a fine tribute to the man who gave so much of himself to teach, promote and perform
the great gift of music.
1998 ABA Annual Report
KARL L. KING (1891 - 1971)
During the morning of March 31st, I received a telephone call from Ray DeVilbiss telling me that he had
just heard an announcement over the radio that our esteemed and beloved Honorary Life President Karl L.
King had died that morning. I immediately called President Dunlop to ask if he could attend the funeral
and when he said that he would be on the West Coast that weekend, he asked me to represent our
Association. In the afternoon I received a call from Mrs. King confirming the sad news. I explained that I
would attend the funeral for ABA.
I reached Fort Dodge the evening of April 2nd and immediately called the King home. Karl King, Jr. came
to my room and took me to the funeral parlor to pay my last call on the man we all loved. He lay amidst a
tremendous bower of flowers of all kinds, including some that I had sent in the name of ABA from home.
I‘m sure that any of you who could have been in my place there would have agreed that Karl, dressed in his
band uniform, looked as fine as I have ever seen him.
The next morning I paid a courtesy call on Mrs. King at their home at 1119 4 th Avenue, North, and offered
her the sympathy and what condolence one can give for the entire membership of our Association.
At 1:30 p.m. I took my place with the other honorary casket bearers, including Ardeen Foss, in the First
Congregational Church, which was filled to capacity, and listened to the funeral service. Afterwards, we
escorted the remains to the North Lawn Cemetery where he was laid to final rest with a brief and
impressive service by the Masonic Order and by his minister, the Reverend Ben F. Hearn, Jr.
It was a very sad duty for me, as I had known Karl for over thirty years and had come under his affectionate
spell like all of Ft. Dodge. All flags in the city were at half staff in his honor.
For those who are interested, our floral tribute consisted of a basket of numerous large lavender pom-pom
chrysanthemums, many smaller white chrysanthemums in between, and deep red roses here and there.
Across the entire basket was a lavender ribbon bearing the legend ―American Bandmasters Association.‖
We have all lost a fine gentleman and friend.
Signed, Colonel Bill (Col. William F. Santelmann)
1971 ABA Newsletter
Note: The 1989 Annual Report noted the death of Ruth King, wife of Karl, on July 4, 1988.
JOHN LEROY KINYON (1918 – 2002)
John Leroy Kinyon was born on May 23, 1918 in Elmira, New York and died in Lake City, Florida on
February 26, 2002 of Alzheimer‘s disease. He grew up in Rochester, New York where both of his parents
were professional musicians. John began playing the trumpet when he was eleven and performed in his
high school band.
He received his Bachelor of Music degree from the Eastman School of Music and his Master‘s degree from
Ithaca College. In 1984 he was awarded an honorary Doctor of Arts degree by Limestone College in
Gaffney, South Carolina.
In 1940 he began his teaching career in high schools in Oceana and Philippi, West Virginia. Two years
later he was drafted into the Army and served with several Army Air Corps bands as performer and
arranger. After the war John taught at the high school in Gorham, New York for seven years and at the
Lima, New York high school for several more years. John left teaching to become band editor and
educational director for the Warner Bros. Publishing Co. Subsequently he wrote for a number of
publishing firms, including Bourne and Alfred Publishing. The latter released John‘s conducting textbook,
―The Teacher on the Podium.‖
His next career change took place when he joined ABA members Fred Fennell, Alfred Reed and Clifton
Williams on the music faculty of the University of Miami as a specialist in junior high and middle school
music. He held this position for fifteen years.
Due to John‘s enormous output as composer and arranger, he had to assume a few pseudonyms such as
Dale Lander, John Mens, and James McBeth. A band director could do a whole program of his music, and
few would know that all of the numbers were written by the same person.
John received many honors and awards, including the ASCAP award for Prestigious Composition, Ithaca
College‘s first Lifetime Achievement Award and the ASBDA‘s Edwin Franko Goldman Award for
outstanding contributions to the advancement of school bands. He served as faculty advisor to Phi Mu
Alpha and was elected to membership in ABA in 1988. Throughout his forty-year career, John became
internationally famous as one of the foremost composers and arrangers of music for young bands. He
traveled extensively as guest conductor and clinician. His methods, compositions and arrangements will
continue to provide excellent teaching materials for many generations of students.
2003 ABA Annual Report
EVERETT DEAN KISINGER (1912 – 1990)
Everett Dean Kisinger died in Colorado Springs, Colorado on January 12, 1990 at the age of 77. Born in
Battle Creek, Michigan, he lived there until his mid-teens, when his family moved to Muskegon. As a high
school student he attended the National Music Camp at Interlochen and played first cornet under John
Philip Sousa. He received his bachelor‘s and master‘s degrees from the University of Michigan where he
was greatly influenced by ABA member William D. Revelli.
In 1937 Everett began his teaching career as Director of Instrumental Music at high schools in Granville
and Grand Haven, Michigan. Then in 1944 he became head of the Holland, Michigan Public Schools
Instrumental Music Department, and served as chairman of music events for the famed Holland Tulip
Festival.
In 1948 Everett joined the faculty of the University of Illinois, where he was director of the marching band
and Professor of Music for 28 years.
Besides serving as clinician, guest conductor and adjudicator, Everett conducted the Milwaukee American
Legion Band in their concerts for 32 years. Following his retirement from the University of Illinois, he was
appointed Professor of Music at Alverno College, serving in that capacity for seven years.
Everett became a member of ABA in 1957, and for a number of years served as chairman of the North
American Band Directors Coordinating Council.
Everett eagerly anticipated this convention and the opportunity to conduct once again at the University of
Illinois. He will be remembered for his friendly disposition, his penetrating sense of humor and his
devotion to music and his family.
1990 ABA Annual Report
NEIL A. KJOS, Sr. (1904 - 1972)
Both ABA Regular and Associate Members are saddened by the death on November 9, 1972 of Neil Kjos,
Sr. Neil‘s jovial countenance, puckish personality and devoted interest in ABA have been a part of the
convention scene for as far back as I can recall. And I doubt the ABA Band will ever sport another E-fer
player again. Neil contributed his usual constructive and direct thinking to the meetings of the Associates
and his many contacts with regular members.
1973 ABA Newsletter
Note: The 1997 Annual Report noted the death of Helen Kjos, wife of Neil, Sr.
JACK T. KLINE (1921 – 1986)
Lt. Col. Jack T. Kline died of cancer on January 18, 1986 at the Bethesda Naval Hospital. Although a
native of Appleton, Wisconsin, he spent most of his youth in Louisville, Kentucky. He earned his Bachelor
of Music Education degree from the University of Louisville, where later he was named the university‘s
first distinguished alumnus. Jack was elected to membership in ABA in 1975.
Before joining the Marine Band as a clarinetist in 1947, he had served in combat with the Seventy-Ninth
Infantry Division in World War II. After the war he performed with the Louisville Philharmonic Orchestra
for several years. Jack received his commission and was named Assistant Director of the Marine Band in
1968. Six years later he was appointed director of ―The President‘s Own‖ Band and was the twenty-first
musician to hold that post. During his career as instrumentalist, arranger and conductor with the Marine
Band, he performed before every president from Truman through Carter and ―had tremendous respect for
all of them.‖
The Marine Band has long been a bastion of honorable tradition but it also has reflected changes in society.
Although Jack had reservations concerning the acceptance of women in the band, he eventually became a
champion of the movement. By the time of his retirement in 1979, four women had attained positions as
principal players.
Jack was a director of the Military Order of the Carabao and the Gridiron Club. His military decorations
included the Legion of Merit and the Navy Commendation Medal.
Many of his friends called him ―Daddy Jack.‖ His kindness, compassion and personal integrity were
admired by all who knew him. Perhaps the spirit of this fine gentleman was best expressed by Jack himself
in his retirement speech:
There have been great leaders of the band, colorful leaders and famous leaders…I would like to be
remembered as a bandsman who loved the band.
1986 ABA Annual Report
OTTO J. KRAUSHAAR (1895 – 1979)
Otto Kraushaar, one of the nation‘s leading bandmasters, died December 4, 1979, at the age of eighty-three.
He was born in Sturgis, Michigan, December 10, 1895.
Otto was elected to membership in The American Bandmasters Association in 1933, four years following
the founding of ABA. He was a professional bassoonist. During World War I he was a member of the
Navy Band aboard the USS Pennsylvania, the flagship of the Atlantic Fleet. After playing a season with
both the Canadian Kilties and the Chicago Concert Bands, he joined the John Philip Sousa Band. He was
with this organization for four years, playing in every state in the Union and all the provinces of Canada.
Otto‘s teaching career consisted of seven years in the LaGrange County, Indiana Public Schools; seven
years in the Wapun, Wisconsin Public Schools; thirteen years with the Lake Wales, Florida Public Schools;
six years at the Miami Senior High School; and eight years as Band Consultant at the University of Miami,
assisting the late Fred McCall.
During the course of Otto‘s long and successful career, many honors were bestowed upon him. To mention
only a few: he was elected to the presidency of The American Bandmasters Association in1961; he also
served as President of both the Florida Bandmasters Association and the Florida Music Educators
Association; in 1933 he was selected as ―One of the ten outstanding music directors in the United States‖
by the School Musician; in 1958 he received the First Chair Award for his achievement in the field of
School Music; and in 1961 he was the recipient of the MAC Award. Otto was a member of the Sousa Band
Fraternal Society and an honorary member of several national music fraternities.
Otto Kraushaar‘s passing is a great loss to the band world. He was not only an outstanding musician, he
was a gentleman in every sense of the word—quiet, kind, fair, and always friendly. He will long be
remembered by all who knew him.
1980 ABA Annual Report
Note: The 1996 Annual Report noted the death of Fern Kraushaar, wife of Otto.
President‘s Address - 1962
Each year at the opening session of the Annual Convention of the American Bandmasters Association your
president delivers his annual message. This being the opening session of the twenty-eighth Annual
Convention it is an honor and privilege for me to present this message and report.
First of all, may I say this—to have been selected for membership in the American Bandmasters
Association—and I am confident that this is the feeling of every member—is without question the greatest
honor that can come to any band director. I am sure that we all know and have experienced that feeling
when we were notified of election to membership.
To have served as a member of the Board of Directors is another distinct honor. Going further—when
one‘s name comes before the membership and he is elected to the office of Vice-President it is a rather
startling experience—one that leaves one practically speechless. There is the old saying that the definition
of a vice-president is a person who is too dumb to be president, but has too much interest in the
organization to be ignored. There probably is a lot of truth in this as was so beautifully expressed by some
of my very close ABA colleagues at the time.
However, to have been elected as your President, and to have served in this capacity the past year has been
a distinct honor, the highest honor that could come to one in our field. I want to thank you for having
confidence in me to represent you.
It has been my privilege during this past year to represent you on numerous occasions personally and, of
course, through a lot of correspondence. As those of you know who have preceded me in this office, a lot
of time is required to handle the numerous details involved. Not one minute of this time has been
begrudged. Whenever I appeared in person as your representative there was always that feeling from those
present of the great respect and admiration for the ABA.
During the year I have asked some of you to head certain committees, which has entailed a lot of work on
your part. I have asked a good number of you to serve on committees. I have written many of you asking
for suggestions, recommendations, and clarification of certain details. I have received prompt replies and
not one single request was denied. What more could one expect.
As you will hear from one of our reports later, we have created a new project of recognition for outstanding
service in our field. The work on this has been in progress since the week following our convention a year
ago at Long Beach. This has entailed a vast amount of work by the chairman of this committee and its
members.
Each year it seems that we hear of some new band organization being organized. This is somewhat like a
large high school having 40 different clubs with, of course, limited membership, then creating other clubs
for an opportunity for any student to belong. Personally, I see nothing wrong in this—it certainly affords
an opportunity for everyone to have that feeling of ―belonging.‖ I see nothing to be alarmed over in the
formation of the numerous organizations. Each has its requisites, its objectives, etc. Many good things will
be accomplished as have already been achieved by some of these groups. The American Bandmasters
Association is based on a completely different approach. It is the only organization of its kind in the band
field. We certainly want more bands and better bands, from grade schools, high schools, colleges, etc.
Thus we must sincerely welcome—and I am sure that we do—the formation of these various band
organizations, each one of which, I am sure, will progress and help to create more and better bands and
better means of music education in our schools.
As I review the past year and the various projects and activities that we have had—and whatever success
has resulted or will result—if I were to sum it all up I would probably do so in the same way as the head of
a college of medicine when he called the students together upon completion of the four year course. He
spoke to the graduates as follows: ―Now that you have finished your course, I want to tell you one more
thing. Half of all that you have been taught here is wrong. But the trouble is, I don‘t know which half.‖
No doubt that half of the things we have done, or have tried to do during the past year have been all wrong.
However, without trying to incorporate some new thoughts into our structure, we not only will stand still
but will become stagnant. Only in this way can we be assured of the continuity of our Association and
maintaining its high prestige in the eyes of others in our field.
To the outgoing officers and regular members who are not taking office at this Convention, I am,
fortunately, able to give a little more concrete and definite advice in the light of my experience during this
past year. To them I speak with the assurance of the efficiency expert who was making a study of federal
bureaus in Washington, DC. In one particular department of government operation there were a large
number of people, many of whom had come there without sufficient preparation.
The efficiency expert was making his rounds and questioned one clerk as follows: ―What do you do here?‖
The clerk, fed up with red tape, buck passing, forms, office politics, and above all, efficiency experts,
answered, ―I don‘t do a thing.‖
The efficiency expert nodded, made a note, then asked the second clerk, ―And you, what‘s your job here?‖
The second clerk, a fellow sufferer, said, ―I don‘t do a thing either.‖ The efficiency expert‘s ears perked
up. ―Hmmm,‖ he said, ―duplication.‖
Maybe we have had a little duplication. We haven‘t had much, I am happy to say. On the other hand,
those who have helped so much by devoting their time as committee members, or officers in other
capacities, who have demonstrated a willingness to sacrifice their time and efforts, I want to thank them
very much. This enthusiastic spirit of cooperation among our members is the best tribute that we can give
to our new officers.
When I took office as your president a year ago there came to my mind a short prayer which was once
uttered by a Negro. I have seen the prayer often printed in different places, and I felt it was most
appropriate for me. The prayer is: ―O Lord, help me to understand that you ain‘t gwine to let nuthin‘ come
my way that you and me together can‘t handle.‖
I uttered a somewhat similar prayer when I was elected, and now I wish to acknowledge the kindness and
consideration of the Almighty who let nothing come my way that He and I together, with the help of
Bainum, couldn‘t handle.
As this report nears an end I feel very much like the lawyer who was conducting a lengthy cross-
examination of a witness. He stopped in the middle of his long and not very exciting discourse to protest to
the judge. ―Your honor,‖ he said, ―one of the jurors is asleep.‖ The judge glanced up wearily. ―You put
him to sleep,‖ he said—―suppose you wake him up.‖
This has been my message to my fellow members as I leave office at the end of this convention. To the
new, incoming officers I would like to offer a word of advice. In a certain army camp there is a hand-
lettered sign tacked to the officer‘s bulletin board. It reads as follows: ―Hats altered to fit any promotion.‖
To the new officers who will be elected, I would like to say, ―Don‘t have your hats altered to fit your new
office.‖ You will soon find that the duties you inherit and the obligations will soon cause your heads to
shrink to normal size.
The best preparation you can make would be to keep a good supply of headache pills or powders.
In all sincerity, I want to wish the new officers the best of luck and success, and I want to extend my thanks
to all of you for your kindness, your consideration to me, and your helpful assistance and cooperation.
1962 ABA Annual Report
FRANKLIN C. KREIDER (1895 – 1981)
Franklin C. Kreider, long a faithful member of The American Bandmasters Association, passed away on
September 5, 1981. He was 86 years old. In 1955 he was elected a member of The American Bandmasters
Association. In 1957 and 1958 he served on the ABA Board of Directors.
Frank was a charter member of the American School Band Directors Association. In his home state he
served as president of the Illinois Music Educators Association.
Frank, a nationally known band director, clinician, judge and professional musician, was a real pioneer of
the school band movement. After playing professionally for several years, he organized the Collinsville,
Illinois High School Band in 1930 and was its only director until he retired in 1962. During those 32 years
the Collinsville band consistently won first place ratings in contests and was a leader among high school
bands in the country.
We salute the memory of Franklin C. Kreider as pioneer band director, teacher, friend and leader and
trainer of thousands of young musicians.
1982 ABA Report
LEO KUCINSKI (1904 – 1998)
Leo Kucinski was born in Warsaw, Poland on June 28, 1904 and died in Sioux City, Iowa on February 6,
1998 after a brief illness. At the age of six, he began to study violin at the Warsaw Conservatory of Music.
When Leo was fourteen, his family emigrated to Ohio. He continued his musical studies at Oberlin
College, the Cleveland Institute of Music and Juilliard.
In 1923 he became the head of the violin and orchestra department at Morningside College in Sioux City,
Iowa. He organized an orchestra made up of students, faculty and local school music teachers, rehearsing
in a converted World War I barracks at the college. Known first as the Morningside College Symphony
Orchestra, then as the Sioux City Community Orchestra, it was incorporated as the Sioux City Symphony
in 1946. Leo conducted the orchestra until his retirement in 1977. To this day the orchestra attracts
musicians from throughout Iowa, South Dakota and Nebraska—an area known as Siouxland. Guest artists
who have appeared with the symphony include Van Cliburn, William Warfield, Benny Goodman, Chet
Atkins, Doc Severinsen, Sigurd Rasher, Isaac Stern, Marian Anderson and Victor Borge.
In 1929 Leo was named conductor of the Monahan Post Band of the American Legion, replacing the
former director, ABA member James Melichar. The Post Band later became the Sioux City Municipal
Band and was directed by Leo until his retirement in 1979. During his tenure, the band found a permanent
summer home in a band shell erected in 1935 in the natural amphitheater of Grandview Park. At Leo‘s
retirement, the band shell, which is listed among the top architectural creations in the country, was named
the Kucinski Band Shell in his honor. ABA member Karl King admired it so much that he patterned his
Dodge City Band Shell after it.
For fifteen years the band struggled along successfully but uncertainly, depending for financial support on
various promotions, such as athletic events and tag days. This support was so pronounced that the band
confidently submitted to the voters a proposal to levy a tax in order to maintain the organization. The
proposal carried by a wide margin. Iowa became the first state to have a band tax law. Now besides
supporting the summer band and orchestra concerts, the tax provides funds for a series of youth concerts in
the Junior and Senior High Schools during the year. An annual all-city music festival follows the musical
progress of Sioux City children all the way from kindergarten up to membership in the band and symphony
orchestra.
A number of years after Leo‘s appointment, the Sioux City Journal carried the following article:
In casting about for a new leader, the Monahan Post Band went to Sioux City‘s own Morningside
College and handed the baton to a fiddler, of all people. Sounds like a strange business, but it
turned out to be an excellent idea. Skeptics warned that it wouldn‘t work—a long-haired
symphony conductor leading a band. But it did work and how. Kucinski had championship bands
at many conventions throughout the country.
1998 ABA Annual Report
SAMUEL KURTZ (1909 – 1986)
Lt. Col. Samuel Kurtz died in San Antonio, Texas on December 12, 1986 at the age of 77. A native of
Reading, Pennsylvania, he received his undergraduate degree from the University of Pennsylvania where
he also served on the faculty. He was very proud of his election to membership in the American
Bandmasters Association in 1962.
Sam‘s varied career encompassed academic, military, professional and civic activities. His 21 year military
career began as an Assistant Conductor of the United States Air Force Band in Washington, DC where he
organized the now famous Singing Sergeants. Subsequently he directed Air Force Bands all over the
world. While stationed in Japan, he was the Supervisor of Bands in the Far East. During his Air Force
service, he originated and directed several unusual musical groups, including the Skylarks, national singing
groups composed of officers‘ wives. While stationed in Texas, Sam was actively associated with the Texas
Bandmasters Association, which bestowed on him an Honorary Life Membership.
Following retirement from the Air Force in 1964, Sam joined the Southern Music Company where he
headed the band, orchestra and music education departments.
In 1983 when he retired again, his energies were devoted to church and civic activities. However, most of
his time was spent as a backyard gardener. He even joined the Men‘s Garden Club of San Antonio,
eventually serving as president and member of the Board of Directors.
Sam will be remembered for his achievements, sincerity, sense of humor and gentleness.
1987 ABA Annual Report
Note: A 2006 Newsletter noted the death of Alleyne Kurtz, wife of Samuel, on June 14, 2006.
L
EUGENE LABARRE
Eugene LaBarre became a member of ABA in 1930. He was the conductor of The Dodge Brothers Band,
which was sponsored by the Dodge Brothers Motor Car Co. of Detroit, Michigan. The band was founded
in 1919.
1987 ABA Annual Report
CAESAR LAMONACA (1886 – 1980)
Caesar LaMonaca, the maestro who became a legend to generations of Miami music lovers, died August
21, 1980 at the age of ninety-four. Dating back to 1930, he had conducted thousands of concerts at
Miami‘s Bayfront Park and had accumulated countless awards for his musical achievements and
community services. His vast experience as conductor covered nearly every facet, including grand opera,
symphony orchestras and concert bands. He rarely used a score when conducting, for he had a phenomenal
memory. He was elected to membership in The American Bandmasters Association in 1954.
LaMonaca was born in 1886 in San Sevelo, Italy, a hill town west of Naples. He began the study of music
at age six. By nine, he was a cornet player with Banda Bianca, which toured Italy and other European
countries. In 1901, at the age of fourteen, he came to the United States. His brother Joseph, who was then
playing in the Philadelphia Symphony Orchestra, got him his first job playing French horn in Giuseppe
Creatore‘s Band. Four years later he moved to California where, at the age of eighteen, he was named
director of the Royal Italian Band. During World War I he conducted the 87 th Infantry Band at Camp
Kearney, near San Diego. After the war he conducted various bands and orchestras in and around Miami,
Florida.
In 1930 LaMonaca began his free Bayfront Park concerts and was immediately accepted by his audiences.
His concerts were designed to please everybody—and they usually did. He always started with a march,
then something romantic and lyrical, followed by a familiar melody. The fourth number was always a solo,
followed by lighter numbers and numerous encores.
LaMonaca was a musical tradition in Florida. He contributed immeasurably to the entertainment and
pleasure of Miami‘s residents and tourists alike. In 1977, after he broke his hip in a fall from the podium,
he was forced to put down his captivating baton—thus ending his long career as the city‘s most-loved
music-maker.
1981 ABA Annual Report
ROBERT L. LANDERS (1919 – 2004)
Robert L. Landers was born in Durant, Oklahoma July 31, 1919 and died July 2, 2004. Robert graduated
from high school in 1937. He attended Southeastern State College in Durant, the University of Maryland,
and the Eastman School of Music.
Early in 1939 he joined the San Carlo Opera Company as Assistant Chorus Master and clarinetist. By the
end of the year he was appointed Assistant Director. The following year the Oklahoma National Guard
unit in which he was a corporal was called to active duty. In 1947 he became a Warrant Officer-
Bandleader. His excellent work earned him the leadership of the 529 th Army Air Corps Band in Atlantic
City. While there he worked closely with Glenn Miller and his dance orchestra.
In 1949 he was asked to come to Washington D.C. to create an official Air Force Chorus, the now Singing
Sergeants, and was Associate Conductor of the United States Air Force Band and Symphony Orchestra.
Robert was also the head of the Instrumental Music Department of the University of Maryland and Minister
of Music at Eldbrooke Methodist Church in Washington, D.C.
In 1966 he retired in Tampa, Florida, where within two years he founded the Tampa Oratorio Society. In
1969 he moved to Orlando as manager for the Florida Symphony Orchestra. He brought luminaries from
throughout the music world to Orlando and produced operas, bringing world-renowned artists such as
Beverly Sills, Jessye Norman, and William DuPre to the stage.
He spent ten years as CEO of Roland Production, providing entertainment services to Sea World of
Orlando and producing the music behind most of the shows at the park.
He was predeceased by his wife of 43 years, Eunice, and is survived by his wife of 19 years, Mary.
2005 ABA Annual Report
Note: The 1986 Annual Report noted the death of Eunice Landers, wife of Robert, on December 25, 1985.
PHILIP J. LANG (1911 - 1986)
Philip J. Lang, composer and arranger, died of cancer in Branford, Connecticut on February 22, 1986. He
was seventy-four years old. Phil became a member of the American Bandmasters Association in 1955.
Born in New York City, he received his musical education at the Ithaca Conservatory of Music, Columbia
University and the Juilliard Institute of Music. In 1983 he was the recipient of an Honorary Doctorate from
Ithaca.
During World War II Phil was associated with the United States Maritime Services Band, preparing many
of their shows for War Bond drives. In recognition of those efforts, the Maritime Services honored Phil by
making him an Honorary Commander.
Although Phil was best known for his orchestrations, he was also well known as a music educator, having
taught graduate courses in arranging and composition at the University of Michigan in Ann Arbor and the
University of Colorado at Boulder. He was the author of the widely used college textbook, ―Scoring for the
Band.‖
Phil wrote numerous scores for the Boston Pops Orchestra, Radio City Music Hall, the films, television and
ballet. He was also the principal arranger for the Metropolitan Opera House.
Some of Phil‘s most exciting arrangements were heard on Broadway. He orchestrated fifty-seven musicals,
including Forty-Second Street, My Fair Lady, Camelot, Annie Get Your Gun, Hello Dolly, I Do – I Do,
Around the World in Eighty Days, Annie and Carnival.
During the final days of his illness, a visiting priest friend reminded Phil of the many kindnesses he had
done for so many people, especially those in show business. Phil said, ―It really didn‘t matter that much.‖
But when his friend said, ―Your arrangements made music famous and people famous,‖ Phil said, ―I‘ll buy
that.‖
1986 ABA Annual Report
ROBERT LEACH (1894 – 1983)
Robert Leach died in Houston, Texas on December 1, 1983 at the age of 89. He was a native of Ackley,
Iowa and came from a family of outstanding musicians. His father was a violinist and his brother played
the French horn. Bob was a true pioneer in the field of school band music. He organized, taught and
directed what many believe to be one of the first organized school bands in the country, although some high
school bands date back to the late 1800s. This was done while he was still a high school student and a self-
taught cornetist. Later Bob directed the high school band in St. Ansgar, Iowa and bands in several small
communities throughout the state. He also performed in his brother Gordon‘s dance orchestra.
Because of his varied experience, he joined the Lyons Band Instrument Company at a time when that
company was actively organizing and outfitting school bands throughout the United States.
Bob became an Associate member of ABA in 1972, representing the Leroy Music Company of Pasadena,
Texas. After his retirement he served as the director of the Arabia Shrine Band in Houston.
We salute Bob Leach, a pioneer of the school band movement.
1983 ABA Annual Report
JOSEPH F. LECHNYR (1896 – 1959)
Dr. Joseph F. Lechnyr, 63, of Burlington, Vermont died unexpectedly Saturday afternoon, March 21, of a
heart attack.
Dr. Lechnyr, one of the newer members in ABA, had not had the opportunity to attend very many of our
conventions and become well acquainted with the membership. He was born in Bohemia, Austria,
February 17, 1896, his father being an Army bandmaster and his mother a pianist and soprano. He came to
this country with his parents when he was about four years old and at that time the family moved to
Cleveland. Serving in World War I, he was honorably discharged from the United States Army after
having been bandmaster of the 76th Field Artillery Band. He was appointed director of the University of
Vermont and ROTC bands, and the Burlington Military Band, about 1921, continuing in those capacities
until his death.
He was educated at the University of Vermont and the University of Montreal and received his doctorate in
music, cum laude, his thesis being ―The Aesthetic and Moral Value of Music in School, Community and
Church.‖ Among the musical organizations he developed were the Burlington Symphony Orchestra, which
he conducted for some 13 years; St. Joseph‘s Orphanage Band; the band at the Week‘s School (then the
Vermont Industrial School; the Middlebury College Band, which he directed for 13 years; the University
and Middlebury College Glee Clubs; the Cathedral High School Band, Orchestra and Glee Clubs; was
Director of Music at St. Michael‘s College and co-conductor of the Vermont Symphony Orchestra. He had
been choir director at the Cathedral of the Immaculate Conception since 1921. In 1924 he was named
diocese supervisor of church and school music by Bishop Rice, a post he kept by appointment from three
other bishops. He appeared on national television networks with the Cathedral Choir, and he brought the
―Burlington‘s Own Drum Corps‖ to national and state recognition.
Dr. Lechnyr directed the Community 4-H Band, taught instrumental music to many young people, was
guest conductor of many bands, including the Irish Guards at London and the Grenadier Guards of
Montreal. He gave generously of his time to the development and support of the Vermont Music Festival,
although at one time he had been invalided by tuberculosis, a disease that claimed the life of one daughter.
Mrs. Lechnyr, a native of Ireland, died in November 1957 after a long illness, during which time Dr.
Lechnyr personally took an active part in her care.
Dr. Lechnyr‘s body was brought to the Cathedral of the Immaculate Conception for a special school mass.
Rice Memorial High School and Cathedral Schools were closed for the funeral. All former and present
members of the Burlington Military Band attended the services with many other friends, and paid tribute to
the man who had done so much for so many.
1960 ABA Newsletter
JACK KENNETH LEE (1921 – 2005)
Jack Lee, the longtime director of the University of Arizona marching band and composer of the school‘s
fight song, ―Bear Down, Arizona,‖ died of Alzheimer‘s disease in suburban Phoenix on Friday, December
23, 2005. Jack was a much beloved figure in the band world and an unforgettable personality. He was
born in Akron, Ohio on February 11, 1921 and was educated in the Akron pubic schools. According to
neighbors, as a child he would put together bands with his friends in the neighborhood who had
instruments. He was destined to be a band director from the time he was in grade school.
He received both his bachelors and masters degrees from The Ohio State University, but between these two
degrees he enlisted in the 107th Cavalry band. He served in World War II as a staff sergeant in the Army
intelligence in the South Pacific Theater with the 42nd Infantry. When he returned to his studies, he served
as a graduate assistant at O.S.U. in 1946.
From The Ohio State University, he was hired by their archrival to the north, and from 1947 to 1951 he
served as the Assistant Marching Band Director at the University of Michigan under Dr. William D.
Revelli. During this period, the University of Michigan band was featured in the October 1950 edition of
Life magazine in an article focusing on Jack‘s innovative marching band techniques.
Two years later, in 1952, Lee was inspired to write ―Bear Down, Arizona‖ while flying home from his job
interview for the marching band director position at the University of Arizona. His son Jack says, ―By the
time the plane landed, he had the whole song done. He wrote it on the back of a barf bag because he did
not have a piece of paper.‖ This was the first march he wrote, but he eventually composed over 80 works
for marching band, orchestra, choir, and concert band, many of them during his retirement.
His son, who performed in the University of Arizona marching band under his father‘s direction, also said,
―He was a perfectionist. He just had a way of instilling quality. He made you work hard and want to be a
perfectionist.‖
Jack gave up his position as director of his beloved marching band in 1980 after 28 years as its director, but
remained at the University of Arizona until 1988. Jack served as the Grand President of Kappa Kappa Psi
1963 – 1965, and was awarded an Honorary Doctorate from Southern University in Texas. He was elected
to membership in the American Bandmasters Association in 1962, sponsored by Frank Simon.
Jack is survived by his wife and friend Dorothy Lee, and two of their children: James Lee and John Ekert
Lee (their daughter Judith Kathleen White preceded him in death); and two grandchildren, Lee Carson
White and James R. Lee. And also by his beloved Cocker Spaniel of 17 years, Henry.
ABA Memorial Speaker: Dr. Richard Strange
2006 ABA Annual Report
ERIK LEIDZEN (1894 – 1962)
Difficult to believe, and bringing great sadness, were the words written in the December 20, 1962 telegram
I received from Brigadier Richard E. Holz, Bandmaster of the New York Staff Band of the Salvation Army.
―Erik Leidzen passed away today after cerebral thrombosis sustained Monday…service…Salvation Army
Temple Sunday 23rd 3 o‘clock.
Signed, Brigadier Holz.
Erik was born in Stockholm, Sweden four months after his father, Salvation Army Staff Captain passed
away. Erik‘s gift of music was recognized early when at the age of 9 he conducted Denmark‘s Staff Band
and at 10 traveled as Conductor with the Founder of the Band in Denmark. He came to New York City in
1915 with an educational background which included study at the Royal Conservatory of Music in
Stockholm. He taught piano for a living, all the time working on arranging and composing. His
musicianship and his willingness to help others soon came to the attention of Col. Wm. McIntyre who, in
1929, requested Erik to go to Boston as Bandmaster of the New England Provincial Staff Band. After three
years of exemplary work in Boston, during which time he had continued his writing and arranging, he
returned to New York where, under Brigadier Ebbs, he formed an instrumental ensemble for the
Metropolitan Division and later founded the Temple Chorus. It was through the acquaintance and
association of the late Edwin Franko Goldman that Erik became interested in band music, and in 1933 he
became an arranger for The Goldman Band, continuing until his death. He frequently appeared as guest
conductor of The Goldman Band. The late Dr. Goldman described Erik as ―the world‘s finest arranger for
band music.‖
Funeral services were held at The Salvation Army Centennial Memorial Temple in New York City. I quote
from a January 8 letter from Brigadier Holz, to whom I had written immediately after receiving his wire:
Thank you for your letter. There was a tremendous number of musicians here at Erik‘s funeral—
Richard Goldman, Jimmy Burke, Dr. Anders Emile, representatives of the publishing world, most
of the top men in the field. More than one thousand present at the service. The New York Staff
Band provided the music. The service was largely a tribute of music, with Commissioner Holland
French, top man of the Salvation Army, giving the one verbal tribute, which was expressed with a
tremendously moving experience. Preceding the service, as the large congregation was coming in,
the Staff Band played Erik‘s arrangements of great J.S. Bach‘s themes, such as ―Come, Sweet
Death‖ and also much of his original music.
Very few people have any idea of all the music that Erik gave The Salvation Army outright.
When he was not working for some publisher you can imagine him filling in his time writing
music for us. We have nearly thirty unpublished compositions for small brass groups awaiting
publication here in our music department which were written by Erik. In addition, we have
printed in The Salvation Army music publications some three to four hundred of his compositions.
Some of these are the finest masterpieces ever written for the band. Also, there are some choral
works of great beauty. He wrote everything for us—from trio arrangements for children‘s voices
on up to extended scores for both vocal and brass combinations. I think that for generations to
come they will be discovering Erik Leidzen and his wonderful music. Our radio station WNYC
played a full hour of his music written for symphony orchestra and it was tremendously
impressive. Most of the music they played was from a recent concert given by Col. Howard and
the Air Force Symphony Orchestra. They played his ―Suite for Strings‖ and his ―Irish
Symphony.‖ It was a beautiful tribute and there has been much comment—people asking why
this music hasn‘t been played by a major symphony.
Erik was to have been here with me and the band when we present a demonstration of the brass
band at the Music Educators Conference in Atlantic City early in March. In fact, he was going to
narrate a little descriptive thing on band and was going to make an arrangement which would
show off the brass ensemble and its possibilities. We will have to do our best without him. We
will present, at the time, some of the music that Erik wrote for our 1960 tour of Great Britain.
Erik was one of the finest men I have ever known—kind, sincere, talented, tolerant, humble, and
appreciative. His smile, and that bit of quiet humor—which qualities were recalled to my mind as I re-read
some of Erik‘s letters to me—and typical of those letters is the last one, from which I quote excerpts:
I feel I ought to drop you a line. Actually for two reasons. The first is that tonight we of the ABA
do that long delayed presentation to honor Dr. Goldman and the Guggenheims. It was to have
been last Wednesday, but the weather did not allow it. We all—i.e. about ten of us—rehearsed the
group in the morning and then had a party in Dick Goldman‘s apartment. It was great fun getting
together an extra time. And that brings me to the second reason for this letter. George [Howard]
had invited me back to Washington for one of those all-Leidzen orchestral concerts. This time it
will be part of ―The Water Gate Series.‖ We do my ―Irish Symphony,‖ dedicated to the memory
of my mother, nee Kelly—how Irish can you be??? I don‘t know if we of the ABA go in for
mentioning such ―extra-curricular activities‖ as orchestra work, but since George and I are both
involved, and since you once ―spanked me‖ in your gentle way for not letting you know what I am
up to, I thought I would let you now. Best to you and yours from Maria, and yours sincerely, Erik.
On Friday evening, February 8, the New York Staff Band and Male Chorus will present a Memorial
Festival of Music in remembrance of Erik, including some of Erik‘s most recent works for brass band—
some of which will be premiere performances. Friends are cordially invited.
Now being established is an Erik Leidzen Memorial Scholarship Fund to provide scholarships to The
Salvation Army Star Lake Music Camp in New Jersey, where Erik served for over a decade as chief
instructor. Contributions will be accepted for the fund in memory of this great musician.
Paul Yoder thoughtfully sent me the following message evidently written from the Mid-West Band Clinic
in Chicago:
Erik‘s death was a great shock to all of us at the Midwest. A brief Memorial was held for him
before the playing of his arrangement of ―The Great Gate of Kiev,‖ which was done by ABA Bob
Dean‘s band from Spencer [Iowa]. Jim Neilson gave a very moving prayer in memory of Erik.
And another Great Man has gone—Erik Leidzen will be missed, but never forgotten.
1963 ABA Newsletter
GILBERT G. LETTOW (1943 – 2007)
Gilbert G. Lettow
June 4, 1943 - November 22, 2007
Memorial written by Don Wilcox
ABA Memorial Speaker – Dr. Myron D. Welch
Gilbert G. Lettow, the longtime Mason City High School band director, and most recently program
administrator for The Music Man Square, was born June 4th, 1943 and died from cancer on Thanksgiving
Day at the age of 64. Lettow graduated from Drake University and taught public school music in Iowa
beginning in 1967. He joined the Instrumental Music Staff at Mason City High School in 1972 and served
as its director from 1980 to 2002. He led the Mason City Municipal Band for 21 years. After leaving
Mason City, he served as director of bands at West Ridge Middle School in Austin, Texas, before returning
to Mason City in 2005.
Gil was elected to the American Bandmasters Association in 1991. He was Past President of the Iowa
Bandmasters Association. While under his direction, the Mason City Band (Iowa) performed at the Mid-
West International Band Clinic (1987), and also received the prestigious Sudler "Flag of Honor" Award,
which is administered by the John Philip Sousa Foundation (1988). The Mason City Band performed at the
56th Annual American Bandmasters Convention in 1990. Mr. Lettow received the "Citation of Excellence"
Award, presented by the National Band Association in 1987 and was awarded the Bandworld Legion of
Honor, "Ten of the Best", administered by the John Philip Sousa Foundation in 1989. Gil Lettow was
named Outstanding Music Educator by the National Federation of State High School Associations in 2004.
At the time of his death, his son Todd said, ―Even yesterday, he was still wanting to remind me of things, to
keep life in perspective, he was always looking for that teachable moment, whether it was with the
grandkids, The Music Man Square or the high school kids in Mason City.‖ Todd said his dad‘s legacy is a
love of kids and music. Bruce Jolivette, who teaches band at Garner-Hayfield, was one of
Lettow‘s middle school students when Lettow was teaching band in Jewell. Lettow also was Jolivette‘s
Sunday school teacher. ―Gil was a great mentor and friend,‖ Jolivette said. ―He was a very kind and caring
person.‖ Jolivette said Lettow had a big influence on his choosing his career as a music teacher.
Mason City musician Scott Bell, whose sons, Jason, Eric and David played under Lettow, said Lettow was
a ―wonderful teacher and a fantastic role model for the kids. The impact he‘s had on people over
the years is just absolutely amazing,‖ Bell said. ―He was truly an inspiration. I can‘t think of anybody who
approached what they were trying to do, with so much fervor. He always gave 110 percent. He really
affected people‘s lives in positive ways.‖
RALPH LEVY (1920 – 2007)
Ralph Levy
December 27, 1920 – July 3, 2007
Memorial written by Don Wilcox
Ralph Levy was born in Walsenburg, Colo., on Dec. 27, 1920, to Ralph Levy Sr. and Ellen Mae Hansen
Levy. After graduating from Huerfano County High School in 1938, Ralph hit the road with saxophone
in hand, a few bucks in his new zoot suit pockets, and a long list of swing standards ready for nightclubs.
In 1942, Uncle Sam called him up and he was soon on his way with the U.S. Army 556th Bomb Squadron
as entertainment director performing for troops in England, France, Belgium, Holland and Germany during
World War II.
After an honorable discharge, Ralph headed stateside as a professional jazzer. He had four great years of
gigs, and soloed with some of the finest "Big Bands," most notably, Gene Krupa, Herb Miller and Jimmy
Dorsey. While attending the University of Northern Colorado in Greeley, Ralph earned his BA and MA in
music and fell for a blonde bombshell singing with one of the college's stage bands. Ralph and Anna Jane
Stine were married in Sterling, Colo., on June 5, 1947, the day following Ann's graduation as a music
major. Their married lives took shape in Ralph's hometown of Walsenburg as he began his teaching career
as the high school band director and she as the vocal music teacher. Following in their parents' footsteps,
their three children, Suellen Levy of Walsenburg, Cherilyn Robeda of Denver and Brent Levy of Denver,
pursued entertainment, teaching and care-giving careers.
A move to Pueblo in the early sixties melded Ralph's musical experiences, civic activities, professional and
fraternal affiliations, and two lifetime worth's of guest lectureships and clinics, guest conducting and
adjudicating, consulting and mentoring, and college and studio teaching. Whether conducting bands in
Colorado or adjudicating at Six Flags over Georgia and Texas; judging instrumentalists at state sponsored
solo and ensemble competitions or at CU or CSU marching band festivals; teaching graduate courses or
starting an elementary age child on a woodwind instrument, Ralph Levy was highly respected for his
dedication to his art, his determination to bring out the best in one's musical expression and his dedication
to his department at Pueblo Junior College, Southern Colorado State College and the University of
Southern Colorado. With integrity and tenacity he built the music department from
a small two-year program to one of the largest and most highly respected music education degree programs
in the southwest, graduating hundreds who went on to rewarding teaching and performing careers.
Highlights of his teaching years at SCSC and USC were the formation of the Pueblo Wind Symphonette,
Concert Band tours, and extremely popular Symphonic Jazz Band performances. He valued each and every
member on the music staff and knew how to build a department from within. His strength was recruiting;
be it new staff for a growing department, students to fill in the ranks, or scholarships to bring them to
Pueblo to study. After retirement in 1981, he was awarded the title of Emeritus Professor of Music at USC
and continued to enjoy teaching at
the university, relishing the many concerts in Hoag Hall which he helped design and worked to secure
funding for its completion. Leadership was Ralph Levy's forte. In addition to his membership in the
American Bandmasters Association he offered his time, talents and expertise to: Music Educators National
Conference, Sinfonia, Kappa Kappa Psi, MENC Conferences, the American Legion, Veterans of Foreign
Wars, Elks, Royal Arch Masons, and Past Master of Southern Colorado Consistory, and Huerfano Lodge
No. 27. He played in the Pueblo Symphony Orchestra, the Pueblo Municipal Band, was Band Chairman
for the Colorado State Fair, and Music Chairman for the
founding of KTSC Public Television.
His efforts in all these activities did not go unnoticed. He was awarded "Men of Note in Music" from Conn
Band Instrument Co., "Who's Who in the West", International "Who's Who in Music" and was a published
writer in "Trendsetters in Music Education." In 1986 he was inducted into the Colorado Music Educators
Hall of Fame. In 1987 he earned a Doctor of Music from the Conservatorio de Musica, Universidad
Politecnica, Valencia, Spain. And in 1994 he was the recipient of the "Columbine Award" for outstanding
dedication and service to music and
education in the state of Colorado.
In his and Ann's sixty years of married life his motto was always "Love Music. Practice Diligently." At the
end of 86 years of such a busy life Ralph Levy took his greatest joy and satisfaction from his children,
grandchildren, nieces and nephew's happiness and accomplishments.
FERDINAND R. LHOTAK (1879 – 1947)
It was only last June that those of us in attendance at the Elkhart convention heard Major Lhotak tell of his
doctor having ordered him to a less strenuous routine, but I do not believe that any of us thought that very
soon we would receive the sad news of Ferd‘s untimely death. Death occurred on the night of July 31,
1947.
As a boy, Major Lhotak studied music under his father, Joseph, a bandmaster in Czechoslovakia. Later, in
the U.S. he studied with VanderCook and other prominent teachers. Ferd was a Spanish-American War
veteran. He conducted his own band on Red Path Chautauqua. He was president of the American
Musicians Association for a number of years. He conducted the Fairbanks-Morse Band in Beloit,
Wisconsin from 1917 to 1932, and then became director of the Valley Forge Military Academy Band of
Wayne, Pennsylvania, a position he held at the time of his death. Ferd was President of the Pennsylvania
Bandmasters Association, and was considered to be one of the top-ranking bandmasters in the country.
Funeral services were held in St. Cyril‘s Methodist Church in Chicago, and burial was in St. Adalbert‘s
Cemetery in Chicago. Surviving are his widow Therese, five daughters and two sons.
It was my good fortune to have known Ferd personally over a long period of time, during which time I
found him to be a man of great integrity, ability and with devotion to his work. I am sure that we will all
regret the loss of this true friend.
1948 ABA Newsletter
HOWARD LEROY LIDSTROM, Sr. (1910 - 1992)
Howard Leroy Lidstrom, Sr. was born in Kensington, Minnesota on February 22, 1910 and died on May
23, 1992 in Ames, Iowa, following a heart attack. His family moved to Glenwood, Minnesota where he
started playing trumpet in the secondary school. In high school he played both in the band and on the
football team.
Howard earned a bachelor‘s degree in music from Luther College in 1933, where he also played both in the
band and on the football team. Eventually he earned two master‘s degrees—one in Music Education from
the University of Idaho and another in Psychology from the University of Minnesota.
His teaching career began in the public schools of Williston, North Dakota. In 1938 he became band
director at the high school in Red Wing, Minnesota, a position he held for ten years. Howard next became
the band director at the Rochester, Minnesota High School, eventually taking over the band at the John
Marshall High School in the same city. From 1969 to 1974 he directed music programs in the Rochester
elementary schools. For twelve more years after he retired he was director of the Chatfield Brass Band. In
1976 he was honored by his alma mater, Luther College, when he received the Carlo A. Sperati Award for
meritorious achievement in music. In 1982 he became the 18 th person to receive the Edwin Franko
Goldman Award given by the American School Band Directors Association, recognizing his contributions
to music education.
Howard was a past president of the American School Band Directors Association and a life member of Phi
Mu Alpha. He was elected to membership in ABA in 1985.
Howard was a man of many talents. He was an outdoors kind of man who liked to do his own carpenter
work. In fact, he remodeled his own cabin in upper Minnesota, where he liked to fish. Howard was an
avid, fanatical trout fisherman, often accompanied on his fishing trips by ABA Associate Member Harry
Wenger. Howard even had both of his arthritic knees replaced by titanium knees just so he would be
ambulatory enough to walk and wade the trout streams.
Howard had a good sense of humor, was a patient father and teacher, a model gentleman who was devoted
to his family, his college, his profession, and his church.
1993 ABA Annual Report
EDWARD S. LISK
President‘s Address – ―The ABA Mansion and its Influence upon My Life‖ - 2001
The 67th Annual American Bandmasters Association Convention marks our entrance into the 3 rd
millennium…the 21st century. As we approach our 72nd birthday on July 5, 2001, ABA‘s legacy, as you
will agree, is one that is monumental. ABA has influenced and shaped the lives and careers of band
directors throughout the world. Today, you continue to fulfill the objectives and expectations established
under the leadership of our founder, Edwin Franko Goldman. As members of this distinguished
association, you are the active participants in ―establishing for the concert band higher standards of artistic
excellence, and continuing to do all that is possible to raise the standards of bands and band music.‖
Our association certifies and confirms such performance standards through our annual convention concert
performances. Our founders set forth the criteria and expectations for membership to assure the longevity
of this great association. We confirm those expectations as our new members are invited to ABA
membership. Moreover, throughout your travels and conducting responsibilities, you serve as mentors and
leaders for countless band directors as you represent the highest musical standards in our profession.
Now, as I reflect upon my past forty years, I never realized the influence and effect that ABA was having
upon my life and career. During my early years, I viewed ABA as a magnificent, glorious Mansion
representing the finest in the world of bands. This elegant mansion was the home of our most distinguished
bandmasters. I so often stood in front of your beautifully manicured garden, listening, reading, and
observing you, the ―leaders‖ of my profession as you represented the truth and integrity of musical
performance…a standard which I dreamed to attain.
It was March 9th, 1989, when James Keene called and informed me of my induction into the American
Bandmasters Association. I was speechless and in shock while Jim congratulated me. As I returned to my
band rehearsal, it flashed through my mind…I will have the privilege of entering this magnificent ABA
Mansion. What will it be like?
Now, with this most humbling journey through the ―halls of ABA,‖ you allowed me to enter the rooms of
ABA leadership. You shared your friendship, encouragement, guidance, and support as Dorie and I
became a part of the ABA family. We will forever cherish your company. What a glorious way to
experience life—being a member in your presence is an extremely humbling experience.
As president, I now take this privilege and opportunity to share my heartfelt appreciation and thanks to
YOU, as YOU served as my mentors and modeled performance standards that forever shaped and guided
my musical life.
Early in the 1960s, as I was pursuing graduate studies at the Ithaca School of Music, a most notable
American Bandmaster entered and influenced my musical life as a teacher, band director, and professional
musician. While attending his clinic sessions, I observed, listened, and feverishly took notes as this person
taught and shared with me the art of teaching and conducting. The impression and influence of this
personality lasted throughout my entire career.
Now, as I stand before this distinguished assembly of bandmasters and composers, I extend my gratitude to
Dr. Donald McGinnis, as he was this most notable teacher I met in the early 60s. He aligned my musical
expectations and inspired me to only acknowledge the finest in this beautiful world of bands and band
music.
From this point on, ABA played a prominent role in the development of my band programs. ABA
members Walter Beeler and Leonard Smith entered and expanded my musical awareness and rehearsal
techniques. And in 1972, it was ABA Past President James Dunlop who served as my first guest conductor
of my high school band.
This was only the beginning of my musical journey. As I continued to study, practice and read, another
important step was taken in 1975, as I experienced my first Midwest International Clinic. I had my first
meeting with the commander and director of the world famous United States Air Force Band, Col. Arnald
Gabriel. Filled with fear, how could I ever measure up to this notable conductor‘s expectation? He was
gentle and forgiving, and my students received a musical experience that they cherish to this day.
At that Midwest concert, Col. Gabriel shared the podium with Dr. Donald Hunsberger. When Dr.
Hunsberger agreed to conduct my band, the words promise and dedication took on new meaning. Dr.
Hunsberger braved a lake effect white-out blizzard driving 85 miles from Rochester to Oswego, New York
to rehearse the Oswego High School Wind Ensemble for this international clinic.
However, this was not all that happened at the Midwest Clinic! My band had the privilege and honor of
serving as the demonstration band for Dr. W. Francis McBeth, as he presented a session to a standing room
only audience. A new friendship was made as Dr. McBeth then came to Oswego to share his music with
our community.
To ease my Midwest Clinic anxiety and nervousness, John Paynter sat with me behind the stage and
chatted about my musical plans and program. I will never forget the specific directions outlined to me by
Ray Dvorak of what he expected from directors when conducting a concert at the Midwest Clinic. To be in
the company of such distinguished leadership early in my career surely changed my vision for what the
world of bands was about.
Shortly after in 1976, I attended the first NBA Convention in Ames, Iowa. Two notable individuals entered
my life and the world of bands…Dr. William Revelli and Dr. Al G. Wright. I observed their rehearsals and
attended their sessions, and at every opportunity I had, I would record and analyze their words and
sessions. I tried to meet their expectations. Little did I know what the future would hold for me. What an
influence ABA was having on my life.
American Bandmasters continued to evolve in my journey; especially an individual that I held in the
highest esteem; a director who established new performance standards for high school bands. Yes, I
purchased a recording of the superb Cass Tech High School Band, under the direction of Dr. Harry Begian.
I listened and listened to this remarkable band…what an effect upon one‘s musical career. From that time
in my career, and to this day, his name hovered over my head and now I have the privilege of being in his
company.
While Dr. Begian was at the University of Illinois, I became aware of Mark Hindsley‘s transcriptions.
What a happy day in my life when I discovered I could purchase those transcriptions, and of course, ―The
Gospel According to Mark‖ was a favorite reading. My frequent telephone calls to order literature
provided me the privilege of speaking with Mark Hindsley, a legend of our profession…an ABA Honorary
Life President!
The pace of my band-directing career increased considerably. The presence of these notable individuals
directed my vision, and desire to achieve more in my chosen career.
Through my work with NBA, I had the grand tour in leadership styles with Dr. Al G. Wright, Dr. Johnny
Long, John Paynter, L. Howard ―Zeke‖ Nicar, Robert E. Foster, James Copenhaver, William Moody, Ken
Bloomquist, Col. Bourgeois, W J Julian, Joseph T. Smith, James Croft, Frank Wickes, Tom Fraschillo, and
Paula Crider.
A special thank you to Dr. Johnny Long, for he always shared his kind words of guidance and support with
me. His leadership and contributions are at the pinnacle of our profession.
During my 21 year tenure (1970 to 1991) at Oswego High School, our Hall of Fame of Guest Conductors,
all ABA members, included: Frank Battisti, James Croft, James Dunlop, Frederick Fennell, Col. Arnald
Gabriel, Edward Gobrecht, Donald Hunsberger, Karel Husa, James Keene, Tim Lautzenheiser, Anthony
Maiello, W. Francis McBeth, Alan McMurray, Vaclav Nelhybel, Roger Nixon, John Paynter, Alfred Reed,
Joseph T. Smith, Timothy Topolewski, Fisher Tull, Frank B. Wickes, Donald Wilcox and ABA Ostwald
Award winning composers Anthony Iannaccone and Robert Jager.
It was in 1989 at our state summer convention when my students had the privilege of assisting the most
notable Dr. Frederick Fennell in a special all day rehearsal techniques session. Yes a full day with Dr.
Fennell, and then he served as our guest conductor at our evening concert. This special experience was a
dream that came true.
It was in 1990 when Dorie and I had our first ABA experience attending the convention at the University of
Illinois. As a new member, ABA President Mark Kelly came into our musical life, as I served as guest
conductor of his Bowling Green State University Symphonic Band. From this point on in my career, Mark
became a very special friend who continues to share his friendship, experiences, and wisdom.
In another room in this grand ABA mansion, we find the distinguished ABA leadership that represents the
Midwest Clinic. What a joy it is to have the privilege and honor of working with President Ray Cramer,
Harry Begian, Mark Kelly, Victor Zajec, John Whitwell, Glen Holtz and Mark Kjos.
I entered one of the many committee rooms of this ABA Mansion in 1991 as President Col. Bourgeois
appointed me as chair of the School Band Committee. Our responsibilities were to report on conditions of
school bands during the difficult years of the ‘90s. Dr. William Gora and I teamed up as we attempted to
ease the conditions that so many school bands were facing. I extend my appreciation to all those who
served on this committee throughout the past several years. I do believe the ABA School Band Committee
made a difference in our profession.
This was not the end of what I would hear from Col. Bourgeois. For it was on a Friday evening in
November of 1991, and I remember the time…it was 11:30 PM. Col. Bourgeois called and informed me
that I would conduct the first ABA commissioned composition for a school band at the next convention.
The Colonel informed me that composition was a grade 3 selection and would require very little effort on
my part. My orders from the commander read as follows: ―You shall report to Pete Wiley at the Midwest
Clinic to receive the score. You will meet with composer Dr. Timothy Mahr to receive specific directions
about what is expected.‖
Well, the story does not end…I met with Tim Mahr and saw the score for the first time…if this was a grade
3 composition…I missed something in my studies. The title was ―Endurance.‖ This truly extended my
endurance as I prepared to rehearse the composition with the U.S. Interservice Band. I meekly sat at the
rehearsal and waited to be called to the podium. I sat trembling as the conductors proceeded to rehearse.
They were Robert E. Foster, Col. Gabriel, Col. Shelburne, Col. Bonner, Commander Lewis Buckley,
Anthony Maiello, Col. Grogan, Col. Gibson, Col. Allen, Col. Bourgeois and Clare Grundman. This was a
massive room in your ABA Mansion.
Of course, an added dimension to one‘s life as a band director comes from experiencing the world of Dr. W
J Julian and Ken Bloomquist and their adjudication teams. Their annual ―meetings‖ are quite active and
demanding.
It was in 1994 when Col. Bourgeois became President of NBA and I was a Past President. As I was
leaving home to attend the Midwest Clinic, Dorie wanted to hear me say the word ―no‖ before I departed.
She asked me again, and stated, ―I want to know whether that word exists in your vocabulary…just say the
word ―no.‖ Well, it was difficult, but I gave it a shot. Her response was, ―Now say it as if you mean it.‖
No luck, we laughed. Would you believe that it was in our NBA meeting and Col. John asked me to do one
favor for him. Of course, I‘m hearing Dorie‘s voice. My response to John, ―I should not say yes, but for
you, John, OK.‖ The next day Col. John stated, ―Can you do just one more favor for me, Ed?‖ I
responded, ―I could not until I cleared it first with Dorie.‖ The next day, John asked, ―Well, what did Dorie
say?‖ She said, ―John who?‖
(I ended up doing those two favors for John.)
As Col. Bourgeois announced my nomination as Vice-President three years ago, I could neither imagine
nor believe what was happening. It was inconceivable. I lost my composure, stunned, speechless and in a
state of shock. I vaguely recall President Bryce Taylor directing me to his room to be debriefed. We
arrived at his room and with a smile on his face, he pointed at two large foot lockers and said they were
now my responsibility. ―In those two huge foot lockers you will find your work for the next year.‖ Oh,
and incidentally, Bryce said, ―Make certain that all the completed paper work, portfolios, recording, and
programs are shipped to our next convention site in Florida. In addition, at the end of that convention you
will turn the two large footlockers over to our next Vice-President.‖ What a joy it was to look at Don
Wilcox and say, ―Don, come with me!‖ Don smiled.
Before I bid farewell, a very special room I occupied during these past three years in our ABA Mansion
was the ―Presidential Guidance Room.‖ My deepest appreciation is extended to Bryce Taylor, Stanley
Michalski, Kenneth Bloomquist, Myron Welch, Frank Wickes, Col. Bourgeois, Mark Kelly, Don Wilcox,
and Richard Thurston. Your patience and teaching gave me this opportunity to take this final test!
This final test allowed me the privilege and honor of entering the elegant dining room of our past
presidents. They were all in attendance Tuesday evening.
As our rich ABA legacy continues into the 21st century, this day marks a very special occasion. We stand
to celebrate the leadership and tireless work of four individuals, Dr. Al G. Wright and Gladys, and Victor
Zajec and Marilea. They assured the world that ―bands‖ would always play a prominent role in our society.
Today, they present to you their newest gift: a beautiful leather bound book documenting the history of
ABA.
In closing, I entered and viewed your magnificent and glorious ABA Mansion. You have shared your
musical life with me. I will forever cherish my ABA family with utmost respect and appreciation. May
God bless you with many years of health and happiness.
Thank you!
Edward S. Lisk, President
2001 ABA Convention Annual Report
LOWELL P. LITTLE (1915 – 1989)
Lowell P. Little died in Fort Lauderdale on February 15, 1989 at the age of 74. He was elected to
membership in the American Bandmasters Association in 1954.
Although born in Clarkson, Nebraska, Lowell grew up in Fort Collins, Colorado where he began his
musical studies. He received his Bachelor of Music degree from the University of Illinois, where for four
years he was a member of the ―Pride of the Illini Bands‖ under Dr. A. A. Harding. Lowell earned his
master‘s degree at Northern Colorado State University, with additional studies at the St. Louis Institute of
Music. In 1973 the London Institute for Technological Research conferred on him an honorary doctor‘s
degree.
Lowell‘s extensive career encompassed more than 50 years. He taught instrumental music in the public
schools of Harrison, Arkansas; Delta, Colorado; Corpus Christi, Texas; and the Western Military Academy.
From 1947 to 1956 he was Director of Bands at the University of Denver, where the student body elected
him Outstanding Professor for 1951. A similar honor was bestowed on him while he served as Director of
Bands at Texas Women‘s University. For the last twenty years he taught at the Broward Community
College.
Professionally, he performed with the symphony orchestras of St. Louis, Denver and Fort Lauderdale. As
composer and arranger, he had eight published compositions for concert band, five books on brass
instrument playing, and much solo literature. He wrote numerous articles for national music journals.
Lowell and his wife, Dorothy, would have celebrated their Golden Wedding Anniversary this year. She
thanks all of ABA for caring.
1990 ABA Annual Report
SAMUEL LOBODA (1916 - 1977)
President‘s Address - 1968
It is with considerable pride and much enthusiasm that I welcome you to this 34 th annual convention of our
American Bandmasters Association; the splendid attendance here at Long Beach is most gratifying.
It seems to me that three factors are responsible for the successful continuity of any worthwhile endeavor,
be it the work of an individual, a group of individuals brought together through a common interest, or even
a nation of individuals that hopes to grow and prosper. However, the group or nation remains totally
dependent upon the aims, the ambition, the vision and the ingenuity of the individual members who are
blessed with just the right balance of these qualities. There follows necessarily a simple and sincere
willingness of the specific individual to be a servant as well as the leader of those who have entrusted him
with the responsibility.
The three factors I wish to mention are brought to you in a reversed chronology—
The first – ―An eye to the future‖. Since the future represents the direction in which we are going, it would
seem to be our prime factor for consideration. Yet, if you will permit an over-simplification of the case in
point, this self-same future is predetermined, to an amazing degree, by our efforts in the present.
The second factor – ―The Action Front‖. Here is where we find the great developments out of which must
grow the future. If the technology is sufficient for the implementation of recognized scientific truths, there
is much development of things scientific. But the progress of man will have to be measured on an entirely
different scale, born again and again from the honesty and sincerity of his aims, ambitions, visions and
ingenuity, all within his willingness to serve his fellow man.
The third factor is the past— ―Tradition, History, Experience‖. In this day when great emphasis is placed
on the ―now thing‖, ―the happening‖, the ―go-go‖, it is much too easy to be swept along with the great
current of confused energy and effort that may or may not bring us to a useful and substantial future.
I am always gratified to see that the membership of this great organization has never lost sight of Tradition,
History and Experience as it moves forward from year to year. We have been brought forward through
thirty-nine years on the stream of these fine elements that represent the past; our leaders never lost sight of
their present time nor their future (which is our present). Above all, they served in a way that has insured
for us the present which we now enjoy.
For each period in history (the present), the contemporary and the avant-garde are required to stand the test
of time (the future). We do right when we honor those who have provided us with a tradition and an
honorable past. Mr. John Heney reminded me that it was on THIS day, thirty-six years ago, that Mr. John
Philip Sousa died.
Last year, as I accepted the great honor and responsibility as President of the American Bandmasters
Association, I recalled the list of fine men who have truly served us. At the end of this week, I humbly
hope that I will have earned the right to have my name added to the grand list of past-presidents. I‘ll ask
you to forgive my errors even as I thank you for charging me with this great year of honor and trust.
Whatever the outcome, I can only sincerely assure you that ―I tried!‖
1968 ABA Annual Report
Personal Remarks at the 1976 Convention
I asked for a little time here this morning for several reasons. First of all, I came not to praise John
[Yesulaitis], but to thank him! Are you aware that he has made a great career—from French hornist in the
United States Army Band to this position up here? That shows you what happens when you get a good
start. In relation to those good starts—that‘s where I got all of my education.
And, I wanted to explain that about a month following the ABA Convention last year, a great medical term
called ―central veinous occulation‖ took away my eyesight and it has been an interesting experiment—quite
an experience. Neither Aggie nor I have any difficulty with that, as you will see, and we wanted to make
sure you have no difficulty with it.
If you just make sure that when you come up, you say your name—especially the men—and I can carry on
a reasonable conversation. I find that I am no more mentally handicapped now than I was before. So, I
want to pass a couple of things on to you.
We have no regrets…no sorrows…no great sadness with any of this. But if I were to list sadnesses, I must
admit that since we got here, it was a little sad not to see the lovely faces of our ladies. At the same time,
as you know, every cloud has a silver lining—I don‘t have to look at these ugly American Bandmasters,
either! Beyond that, I have not had to look at myself.
My main reason for coming up here was to state that as a result of this, I had made a spiritual commitment
not to make any definite decisions until after the United States Army Band‘s 54 th Birthday, which took
place in January. And in the goodness and compassion of the United States Army, nobody pressed me to
find out just what my intent was. And following it, I did inform my Commanding Officer, following that
concert which I took positive action in myself, as well as all of the great concerts we have done since New
Orleans. I went in and told him I would be presenting my papers of retirement.
The retirement will take place the end of April and on April 23, there will be a Retirement Review at Ft.
Myer, Virginia at 1600 hours at Summerall Field, followed by a reception given by the Lobodas at Patton
Hall. Every member here in this room is invited to attend. Following the ABA Convention, Lt. Col.
Eugene Allen will assume command of the United States Army Band. Aggie and I will be on some leave
that we want to do in a period of time. And those of you (particularly in the military) will know that I will
have some time having people ―poke at me,‖ etc. to see that I am in shape and the ―old horse‖ is still good
enough to walk out the door—on my retirement.
We both feel great and we praise the Lord for getting us out here for this convention without any difficulty.
I find it difficult leading Aggie to the room—she is unable to find it. As a matter of fact, I had to show
Ardeen [Foss] where it was. So, you might want to investigate some of these things. Also, we got out of
town on time…we had a snow storm in Washington after we left.
So, we just wanted to ask that we enjoy your fellowship here as we always have and, as we say, we truly
look forward with great enthusiasm and anticipation to what the good Lord has in mind. We know it all
belongs to Him and we are applying His Word and stand on the authority of His Word.
With that, I say God bless you all and I will be talking at you.
1976 ABA Annual Report
Note: The 2000 Annual Report noted the death of Aggie Loboda, wife of Samuel, on January 1, 2000.
JOHN R. LOCKE
President‘s Address - 2006
Three years ago in Baltimore, Maryland I was nominated for and elected to the position of ABA Vice-
President. It was a glorious moment in the sun for me and I am sincerely grateful to the Past-Presidents of
ABA for this honor.
This room is filled with leaders. Leaders of the collegiate band world, the military band world, the elite
teachers and supervisors of public and private secondary school bands, leaders of the university schools and
departments of music, leaders of the music industry including retail sales, manufacturing, software,
recording, uniforms, and music publishing.
There is no organization quite like the ABA in our profession or in any other profession. Being president
of the ABA is a supreme honor, but it is not an easy task. This room is filled with chiefs, there are no
Indians. Collectively, the members of ABA are highly opinionated, often very stubborn, assured of their
beliefs beyond all doubt, impulsive, recalcitrant, testy, always in charge and completely impatient. I, of
course, fit in perfectly!
I, for one, love the fact that ABA remembers and honors and celebrates the past. In doing so, I truly
believe that we clarify and chart the future. Few people appreciate their own past as much as I. I had
wonderful, loving parents and a mother I still call on the phone every single day. I had the best music
teachers imaginable, including my older brother Jim, a trombonist and band director. I attended South
Charleston High School in West Virginia with A.E. ―Pete‖ Raspillaire, Band Director, who started me on
trombone in the fourth grade. By the way, the same person who started me on trombone also started Larry
Combs, long-time principal clarinet in the Chicago Symphony. This man could teach! Mr. Raspillaire
taught at South Charleston High for 32 years and never earned less than straight Superior ratings at the
annual contest. It was my great fortune to have Don Wilcox arrive at West Virginia University in my
sophomore year, guiding me through bachelors and masters degrees, then hiring me as his first faculty
Assistant Band Director at the ripe old age of 22. Literally, Don Wilcox taught me everything I know. It is
a debt that can never be repaid. He handed me the baton at WVU and afforded me priceless opportunities.
After teaching for four years at Southeast Missouri State University as Director of Bands, I moved on to
doctoral work at the University of Illinois where Harry Begian taught me everything I did not know. And
he also handed me the baton and said, ―Here, conduct my band.‖ Great opportunities provided by great
teachers.
In my own teaching career, the greatest pleasures that I have come from creating opportunities for music
students to grow and prosper, from summer music camp, to our band festivals, conducting conferences,
conducting classes, graduate students and in my own band. If I fail to remember my own past and the
opportunities that were provided for me, then my teaching would be woefully lacking.
I love inspirational quotations. I usually include one at the bottom of my weekly posted rehearsal schedule
and often in the thank-you letters I write. I simply love a good quote. I turn now to George Bernard Shaw
for a wonderful quotation that perfectly expressed my sentiment about remembering the past to chart the
future. Here‘s the quote:
Life is no brief candle to me. It is a sort of splendid torch which I have got a hold of for the
moment and I want to make it burn as brightly as possible before handing it on to future
generations.
I would be remiss if I didn‘t thank a number of people in this room beyond Don Wilcox and Harry Begian.
I must thank Past-Presidents Jerry Junkin and Ray Cramer for their expertise and guidance in this job. I
owe thanks to Ed Lisk as well for his help during my ―trial-by-fire‖ Vice-President and Membership Chair
year. When you come into this job as Vice-President, there is a distinct feeling that ―I don‘t know what I‘m
doing.‖ The same is true of year number two when you serve as President-Elect and it culminates in the
year you serve as President. This year, in fact, ―I still don‘t know what I‘m doing, but now it‘s at a much
higher level!‖
I owe considerable thanks to Bill Moody, our Secretary-Treasurer for his immense talent, dedication and
attention to detail. Bill Moody is one stubborn guy! He has more opinions on more topics than the entire
United States Congress and he‘s about as entrenched. It was great fun verbally arm wrestling with him for
the last year! I will miss that…but not very much.
I owe a huge debt of gratitude to Scott Taylor and Betsy and to the Richardson Independent School District
Boosters Club. Three years ago we had no host for this convention, only a vague rumor about Dallas as a
site. So I say today, ―Thank God for Scott Taylor.‖
I also want to thank my wife and best friend Susanne for help, for joyfully doing her part with ABA and for
putting up with me for the last 36 years, since high school in fact. She sat right in front of me, playing bass
clarinet in our high school band during my senior year. She was a lowly sophomore at the time. We
played together that year in the West Virginia All-State Band. I think Stan Michalski conducted. That
would make Stan about 106 years old now.
To Tom Fraschillo and Jeff Bianchi, I wish both of you the very best in this job and I pledge my support.
I‘ll say to them exactly what I say to my graduate students as they are ready to walk out on stage to conduct
a performance, ―Fellows, this better be good.‖
My time as your ABA President has been rewarding indeed, a treasure, really. Don Wilcox said it best
about three years ago when he said to me, ―Enjoy the ride, John. You‘ll get to be a ‗big shot‘ for a couple
of years.‖
Well, he was exactly right. You know, by golly, I have been a ―big shot‖ for a couple of years now and I
thank you all for that very, very much.
2006 ABA Annual Report
JOHN LONG
President‘s Address - 1988
It has been a great honor for me to serve as your president this year. This has been an eventful year and
one that I will always remember. I will be forever grateful to all of you for the wonderful opportunity you
have provided me as your president.
To quote a distinguished Past-President, Herbert N. Johnston, ―There is only one ABA. There is no other
band organization like it anywhere in the world. It is truly an honorary organization in the real sense.‖ It is
a great honor for a person to be a member of our organization and the greatest honor that can be bestowed
on an American Bandmaster is to be president of this wonderful group.
I have always been known to dislike long speeches and I had rather the accomplishments of our
organization speak for us, rather than frivolous words. I am pleased, however, to announce that this is the
first year in our history that our American Bandmasters Foundation has paid for our prestigious Ostwald
Band Competition Contest. It was completely financed with the interest from the principal. This money is
generating other money forever. This is an accomplishment you have made and one we can all share
together. I am also pleased to announce that, after many years through the efforts of the music industry, the
American Bandmasters Association and band directors throughout the United States, ―The Stars and Stripes
Forever‖ is now the official march of the United States. This is something we can all take pride in.
Our committees have outstanding reports in each of the areas and I believe we will leave this convention
with a statement of principles on the band movement in America that will be of great benefit to the people
who are building our school bands.
No president has ever had more cooperation than this one. No one will ever realize the many hours done
by our illustrious secretary, Jack Mahan and his wife, Florence. To me, this man is the most dedicated
person in this job of any person I have ever seen. All of the past-presidents who have had his guidance and
help are indeed fortunate.
I believe our future is as great as our illustrious past. The accomplishments of our organization are known
throughout the free world and we will continue to be the greatest band organization ever created. We have
made strides to make sure that the future of our organization will continue to brighten the way for the band
world.
I especially want to thank Max and Nel McKee for the outstanding job they have done on this convention.
I am sure it is going to be one of the best we have ever had.
Let‘s enjoy our fellowship at this convention and share these wonderful moments because they will be
great memories tomorrow.
Again, thank all of you for everything.
1988 ABA Annual Report
ROBERT E. ―Bob‖ LOWRY (1921 – 2005)
One of ABA‘s most loyal and dedicated members, Robert E. ―Bob‖ Lowry of Sioux City, Iowa passed
away on Saturday, August 27, 2005 at his home at the age of 83. Bob began playing the clarinet at the age
of nine and as a senior in high school received Superior ratings in a national music contest on three
different woodwind instruments. Bob was a 1942 graduate of Morningside College and a 1948 Master of
Music graduate of the University of South Dakota. He was a past president of the Iowa Bandmasters
Association, a 50-year member of the Shrine and a long time member of the First Unitarian Church in
Sioux City, Iowa. He was active in CBDNA, held a lifetime membership in Phi Mu Alpha Sinfonia
fraternity and was an honorary member of Kappa Kappa Psi honorary band fraternity. For 13 years he
served as the Director of Instrumental Music at Morningside College. His legacy at Morningside
influenced hundreds of students and included a wide range of activities, including Band Day performances
that brought over 4,000 students to perform on his campus.
Mr. Lowry was a professional clarinetist who made more than a thousand appearances covering every state
in the union as a soloist, clinician, guest conductor and adjudicator. His combination of a practical teaching
approach to the woodwind instruments and his own virtuosity as a soloist inspired students musically for
over half a century. Many composers have written and dedicated clarinet compositions to him, several of
which he recorded on three albums of solo literature. A part of his wide range of performing experience
was five seasons as the solo clarinetist for Dr. Karl King with the Fort Dodge Municipal Band. He
performed nationwide with college, university and high school bands. His publications and recordings
included solos, marching band shows, books, recordings and several clarinet method books, including the
Belwin clarinet method.
He invented and patented a key mechanism for the clarinet that increased technical agility in extreme
register changes, and was an innovator in the use of band uniform ―overlays,‖ which allowed a uniform to
serve two widely different purposes visually—marching and concert.
As a performer, he was widely known and respected. Past ABA President Dick Strange said:
Bob was a great clarinetist and a fine friend of mine. I met him when he invited me to be his stand
partner at the Mid-West when the Directors Band was still rehearsing and performing. I found out
quickly that he could read anything perfectly at any tempo. Also, I always admired his mastery of
many different musical styles. He lived for quite a few years in Mesa, but we saw each other more
at the Mid-West and at ABA than in his hometown because he was playing ―all the time‖ with an
excellent local dance band. His attendance record at ABA conventions was broken only by his
passing.
Bob‘s perfect attendance record of ABA conventions is one that will be equaled by very few others. He
was elected to membership in 1956 and attended every convention from then until his passing half a
century later. In recent years at ABA conventions, he was always accompanied by Louretta Brooks. They
had known each other since grade school. She accompanied his solos in high school and taught piano all
her life. Late in their lives, after her husband died and Bob had been divorced, they reconnected in a
special long-term partnership.
At the time of his death he was still performing regularly as the lead saxophone and clarinet with the
Sammy Jensen Ballroom Orchestra. He was past principal clarinetist with both the Sioux City Symphony
and the Sioux City Municipal Band. Bob will be greatly missed by his many friends and former students.
ABA Memorial speaker: Dr. Donald E. McGinnis
2006 ABA Annual Report
WILLIAM F. LUDWIG, Sr. (1879 - 1973)
Jack Mahan, President of the American Bandmasters Association, read the names of those members who
had passed on since the last meeting. This list included Associate Member William F. Ludwig, Sr., who
passed away in 1973. He had been a member of ABA since 1941.
1974 ABA Annual Report
Associate Member William F. Ludwig was a familiar part of the ABA scene in his younger days and his
interest in and commitment to the band music world made him an intimate friend of many of our members.
His innovative talents in the area of drum improvements and the promotion of adequate published material
on percussion were only a part of his contribution to the band scene.
1974 ABA Newsletter
HOWARD LYONS (1899 – 1979)
During this past year Howard Lyons, former longtime Associate Member, was also taken in death. He had
been elected to membership in ABA in 1960.
1980 ABA Annual Report
Howard Lyons was born in Babcock, Wisconsin in 1899 and attended high school in Wisconsin Rapids.
After graduation and a stint in World War I with the 33rd Division, he joined his cousin William ―Bill‖
Lyons in working at the Tom Brown Music Company in Chicago. Howard‘s job included playing ―after-
beat‖ tenor in the Tom Brown Saxophone Quartet. But since he didn‘t read music, he had to count the
measures in order to end with the rest of the group.
Howard and Bill Lyons joined with professional saxophonist Clarence ―C.L.‖ McCreery, and with financial
backing from Wayne King, formed the Lyons Band Instrument Company. Located just around the corner
from the State-Lake Theater, which was known for its procession of performers and big name bands, it was
in an ideal position to serve the many professional musicians playing in Chicago.
In the early 1930s Howard Lyons recognized the growth potential for school bands. He loaded his car with
metal clarinets and cornets and started to tour the public schools of Wisconsin. On Howard‘s first trip, a
carelessly tossed cigarette flew back into the car and completely burned out its interior and contents,
including the instruments. Despite this setback, a decision to continue resulted in the start of the Lyons
Rental Program, which became the standard for all to follow.
When World War II broke out, metal for instruments was in short supply. In a clever move, Lyons put
their sales records to good use. Mailings were sent to all previous instrument purchasers asking them to
resell the instruments back to Lyons. The response to this, coupled with the ability of their outstanding
repair shop to completely refurbish the instruments, kept Lyons in business during the war.
As business grew, Lyons found the need to move to larger quarters. Their new location on Lake Street
included room that their friend, Neil Kjos, rented to begin his publishing business. They also combined
efforts to get ―The Lyons Band News‖ underway. This newspaper-style publication was sent to every high
school in the country and immediately became the voice of the school music industry, as well as providing
contact with directors in every state. The coverage that the Mid-West Band Clinic received in this
newsletter was probably the single most material basis for the immediate national recognition and success
of the clinic.
Howard Lyons was the leader and animator of the company, and his cousin Bill, as president, had the
business acumen to keep everything under control. This combination had a far-reaching and lasting effect
on the history of music education in this country. Their contributions to the Mid-West Band Clinic are just
one such example.
Howard‘s life-long commitment to the Mid-West Clinic included being a member of the Board of Directors
and/or President of the Board from 1947 through 1978. He had become an Associate Member of ABA in
1960.
Taken from ―The First 50 Years—Mid-West International Band and Orchestra Clinic‖ by Victor W. Zajec.
Original biography written by Donald Lyons, son of Howard Lyons.
Note: The 1976 Annual Report noted the death of Bea Lyons, wife of Howard.
M
RICHARD V. MADDEN (1912 – 1987)
Richard Madden was born in Rochester, Minnesota. He died in Illinois on June 6, 1987 after a lingering
illness at the age of 75.
Dick played oboe in his high school band and went on to continue his studies at Northwestern University.
Following graduation he taught at a number of schools and colleges, including Evanston High School,
Syracuse and Ohio State Universities.
During World War II Dick attended Officers Candidate School and was commissioned to serve as an Army
Procurement Officer.
He became an Associate Member of ABA in 1955, representing the Chicago Musical Instrument Company.
Eventually he served as President of the company. Dick was elected Chairman of the ABA Associate
Members Committee and upon retirement became an Individual Associate Member. He regularly attended
our meetings and was a staunch supporter of ABA during his thirty-two years of membership.
Dick‘s varied career spanned nearly five decades of service to the nation and the music community. In
1966 he began seventeen years of service to VanderCook College as a board member and later as President
of the Board of Trustees. His efforts and guidance led to the establishment of an endowment fund and
library at the institution. In 1979 Dick received the Northwestern University Merit Award in recognition of
his professionalism.
For eighteen years he was a member of the Board of Directors of the Mid-West Clinic, serving as its
president from 1979 to 1982.
Dick edited the ABA Newsletter for many years. We remember with affection his gentle needling and will
miss his camaraderie and wry humor.
1988 ABA Annual Report
Note: The 1992 Annual Report noted the death of Peg Madden, wife of Richard, in December 1991.
ROBERT L. MADDOX (1907 – 1996)
Robert L. Maddox was born in Bollinger, Texas in 1907 and died in Odessa, Texas on July 9, 1996 at the
age of 89. He was educated in the Bollinger public schools, which had no music programs at the time. In
1921 Bob bought a mail order cornet and launched his own self-taught career.
He graduated from Baylor University in 1928 with a bachelor‘s degree. His first teaching adventure took
him to the high school in Ranger, Texas where he taught English, Spanish and typing. He was the music
teacher, but conducted band practice after school hours because band was not included in the school
curriculum. In 1935 Bob became the band director at the high school in Cisco, Texas. Band was included
in the daily schedule; however, in addition to his music classes, Bob had to teach typing and business
administration. A young member of Bob‘s band at Cisco was John Heney. When Bob moved to the
Mexia, Texas High School as band director, John‘s family moved to Mexia so that he could continue his
studies with Bob. We know that John was associated with North Texas State University for 40 years.
From 1945 until 1972 Bob was the band director at the Odessa High School. His bands were outstanding
and earned many laurels in regional and national competition. Bob organized the Odessa Little Symphony.
It later merged with the Midland orchestra and is well known now as the Midland Odessa Symphony
Orchestra.
Bob was a member of the Texas Bandmasters Association and was honored as their Man of the Year in
1957. He was president of the Texas Music Educators Association in 1946 and was a member of the Phi
Beta Mu, Alpha Chapter.
Bob was elected to membership in ABA in 1957, an honor that he cherished very much. In 1990 the
Odessa Public Schools dedicated an instrumental music building, naming it in his honor to keep his
memory alive where he had done so much.
1997 ABA Annual Report
JOSEPH E. MADDY (1892 – 1966)
Joe Maddy was the name by which he was known to many thousands, rather than by his formal title ―Dr.
Maddy‖—even though he had earned the ―Dr.‖ title many, many times. Just ―Joe Maddy,‖ which, when
hearing him pronounce it might be thought of as one word—until the appendage, ―of Interlochen,‖ was
added.
Little did we who visited with Joe at the Evanston convention realize that we would soon be reading
newspaper headlines bringing the sad news, ―Died in Traverse City, Michigan on April 18, 1966 of a Heart
Attack.‖
Perhaps in 1896 it would have made little or no difference to people in Wellington, Kansas had they known
that ―one of those Maddy boys‖ had a violin. Actually, he had the violin before he was five years of age.
But history could lead us to believe that Joe Maddy took greater interest in hitting targets with his rifle than
in hitting the correct notes on his violin. But he did practice. In fact, he practiced diligently, but with his
rifle, shotgun, swimming and fishing. Seemingly he did not care for school.
Thanks to a mother who was gifted in music and the other arts, Joe soon began to realize that there was
some fun in music—playing duets with his brother Harry.
It was in 1900 that the Wellington Boys Band was formed. Perhaps the thought of playing in a band with
other boys, perhaps the prospects of out of town trips with the band, or perhaps because Joe could purchase
a piccolo for two dollars and fifty cents caused him to give of his talents on the piccolo. How long he
lasted on piccolo, I do not know, but at age 12 he was doing a creditable job playing clarinet in the
Wellington Town Band. Possibly the adult members of the Town Band put somewhat of a damper on his
ambition to become a clarinetist, or it might have been because the band director was at heart an orchestra
man. But next we hear of Joe on viola. And it was the viola in which he evidenced his greatest interest.
Study at Wichita College of Music interfered somewhat with his public school work, so he dropped out of
public school in the ninth grade. Wishing to join a family orchestra that needed a clarinetist prompted his
return to the clarinet. A family music camp that he attended might have been the original seed that later
germinated into his Interlochen Music Camp idea. But the family orchestra in which he was playing had
developed to such a degree of excellence that they were in great demand, and on a paid basis.
Then came Joe‘s move to Minneapolis, with high hopes of joining the symphony there. And they needed
viola players. So Joe became the youngest member of that orchestra, playing ―last chair‖ viola, and
augmenting his modest stipend by playing outside engagements. The money that he received for playing
was immediately invested in private instruction on practically all of the instruments on which he had not
already had some experience. The need for greater income prompted him to accept an offer to conduct, and
also play violin, in a theater in his home town of Wellington. This also gave him the opportunity to gain
conducting experience.
Next he started the Wellington Conservatory of Music, and continued to conduct the theater orchestra.
Then came his position as director of the Wichita Falls, Texas College of Music, and it was here that he
organized and taught an orchestra in the high school, and organized and directed a band in a nearby town.
Not satisfied with his knowledge of music, his next move was to Chicago for study with top teachers. Here
he also taught privately and played saxophone in several of Chicago‘s jazz bands of those days.
Then came Richmond, Indiana; Rochester, New York; Ann Arbor, Michigan. In Ann Arbor in 1924 he
was a Professor in Music, a position he held until 1962, when he was named Professor Emeritus. And it
was during his years at the University of Michigan that an idea that had been smoldering in his mind caught
fire. INTERLOCHEN!
Now known to all is the story of his accomplishments—his contributions to the school instrumental music
program, his struggles and sacrifices in his determination to create a National Music Camp, his
disappointments, yet his continued drive toward his goal. Then the first rays of light and encouragement,
and finally INTERLOCHEN.
TO JOE MADDY WE ALL OWE MUCH.
1968 ABA Newsletter
JACK H. MAHAN (1911 – 1995)
Jack Harold Mahan, Honorary Life Member of the American Bandmasters Association, was born in Fort
Worth, Texas on August 10, 1911 and died in that city on January 18, 1995 after a lingering illness.
Elected to membership in ABA in 1952, Jack served three terms on the Board of Directors, in 1955, 1971
and 1974. He was elected president in 1973 and was our secretary-treasurer for thirteen years, from 1975
to 1988. He became an Honorary Life Member in 1988.
Jack received his education at Central High School in Fort Worth and played sousaphone in the band. He
attended North Texas State Agricultural College, where for several years he was an assistant to ABA
member Col. Earl D. Irons, legendary band director at the school. Jack also was a staff musician with the
WFAA radio station studio band. In 1940 Jack earned a Bachelor of Science degree in music from Texas
Wesleyan University. However, his teaching career had begun in the early 1930s in the Dallas elementary
schools and in several East Texas elementary and junior high schools.
During World War II Jack was chief clerk of ground training for the Air Transport Command, was
stationed in Texas at Love Field and directed the 361st Army Air Force Band there. After the war he served
in the Philippines and Japan and was in charge of troop entertainment.
Back in civilian life, Jack pursued graduate courses at the Chicago Conservatory. In 1949 he received a
Master of Education degree from Southern Methodist University. When he returned to teaching, he
became band director at Texarkana High School, where he produced outstanding bands. For several years
Jack was the national representative for a major music publisher, but returned to the academic field in 1956
when he succeeded Col. Irons as Director of Bands at the Arlington State College. The school later became
the University of Texas at Arlington. Jack was Director of Bands and Chairman of Music until he retired in
1975. At that time the university honored him with their Distinguished Alumnus Award.
Jack was associated with a number of organizations and fraternities. He was a president and Honorary Life
Member of the Texas Music Educators Association; as one of the association‘s early secretaries, he was the
first editor of the Texas Music Educator magazine. He was one of the first members initiated into Phi Beta
Mu. He served as their Alpha chapter president three times and chapter secretary for twenty-six years, and
was elected Honorary Life Member and Honorary Life Executive Secretary of this international
bandmasters fraternity. Jack originated, organized and produced Marchiesta, a massed playing, marching
and singing exhibition started at the East Texas Jamboree. Later the event was produced for the Texas
Music Educators Association at the Texas State Fair in Dallas. Jack also founded the Texas Choral
Directors Association and was director of the Hella Temple Shrine Band for one year. He served as
chairman of the North American Band Directors Coordinating Committee and was a Charter Delegate. He
was also a former chairman of the Board of Directors of the ABA Foundation. He received the Phi Beta
Mu National Award ―Plaque of Appreciation‖ and the Alpha Chapter ―Gold Pitcher of Appreciation.‖ He
was an Honorary Life Member of Kappa Kappa Psi, Tau Beta Sigma and Phi Mu Alpha Sinfonia.
Our present Secretary-Treasurer, Dick Thurston, can attest to the contributions Jack made to ABA:
As Secretary-Treasurer he exercised wise and dedicated leadership with a firm and gentle guiding
hand. In addition to the myriad duties incumbent upon the office, he wrote or rewrote such vitally
important documents as the ABA Officers Guide, the Convention Planning Guide, the Guide for
Directors of Participating Bands, and the ABA Membership History (―Lest We Forget‖). With
Florence as his stalwart teammate, Jack steered our beloved organization through some of the
most significant years in its history. His accomplishments will never be forgotten; and his passing
leaves a void that will remain for many years.
1995 ABA Annual Report
President Mahan‘s Address - 1974
The future heritage of the American Bandmasters Association began in July 1929. I quote from the 1931
program of the second convention, which was held in Boston.
The idea originated with Edwin Franko Goldman, who had given the matter considerable thought.
While on a visit to Columbus, Ohio, Mr. Goldman explained his plans to Victor J. Grabel of
Chicago, and William J. Stannard of Washington, both of whom he had met there. These two
prominent bandmasters expressed great interest in the idea. A week or so later, Mr. Goldman had
a chat with John Philip Sousa, who was also much impressed with the possibilities.
Encouraged by the favorable reactions of these gentlemen, Mr. Goldman invited most of the
prominent bandmasters of the United States and Canada to a luncheon and meeting at the Hotel
Pennsylvania in New York on July 5th, 1929 as his guests. It was at this meeting that the
American Bandmasters Association was definitely organized, with the objects of mutual
helpfulness and the promotion of better music through the instrumentality of the band. To this
end, the Association shall strive to secure the adoption of a universal band instrumentation so that
band publications of all countries will be interchangeable; to induce prominent composers of all
countries to write for the band; to establish for the concert band a higher standard of artistic
excellence than has generally been maintained; and to do all possible to raise the standard of bands
and band music.
Among those who attended were: Arthur Pryor, Captain Charles O‘Neill, A. Austin Harding, Captain R.B.
Hayward, Frank Simon, Lieutenant J.J. Gagnier, Lieutenant Charles Benter, Victor J. Grabel, and Edwin
Franko Goldman.
These wise and far-sighted gentlemen set goals that we are realizing today—some 45 years later. Although
it is difficult to estimate the influence of the American Bandmasters Association, certainly its by-products
have helped establish organizations such as Phi Beta Mu, College Band Directors National Association,
American School Band Directors Association, National Band Association, and the North American Band
Directors Coordinating Council.
Our direct contributions include the developing of standardized instrumentation; the promoting of band
composition; the establishing of the Research Center and the Journal of Band Research; developing the
John Philip Sousa Memorial in the Kennedy Center for the Performing Arts; and the approving of the
enshrining of Mr. Sousa in the Hall of Fame for Great Americans.
Other related advancements include the John Philip Sousa Memorial, Inc., application and acceptance as a
participating member of CISPM (Confederation Internationale Des Societies Populaires de Musique) in
Europe, of which Paul Yoder is Vice President and representative for the North American continent.
And now we are participating in the first inter-continental meeting of band director organizations—a joint
meeting of the American Bandmasters Association and the Japanese Band Directors Association, to which
delegates from the United States, Canada, Japan, England, Holland, The Philippines, Korea, and Italy have
been invited. I suspect that our founder and the Charter Members did not envision such widespread
influence in World Peace through band music.
My election as President of the American Bandmasters Association caused me to draw upon the established
leadership of our former presidents. As I thought about ABA, year after year, I tried to analyze our
position today in order to relate our future with our past.
When we went to the convention in Washington, Florence and I spent a pleasant evening with our
dedicated and efficient Secretary, Bill Santelmann and Margaret. It was then that Bill told me of his dream
of developing a perpetuating roster of our membership through the years, and he showed me the work he
had done. I was so impressed that I persuaded him to let me take his work of love and publish a
preliminary printing which I hope can eventually give us an authenticated ABA roster for our future
heritage.
Later, when I saw the masterfully presented documentary of the United States Army Band, it occurred to
me that no one other than Sam Loboda and his team of experts could properly produce the pictorial history
of the American Bandmasters Association. I approached Sam with the idea of such a production, and I
asked Herb Johnston to do the research for the project. Each accepted the challenge and we will have the
premier performance tomorrow. These are the credits for the ABA story:
Narrator Lt. Col. William F. Santelmann
Producer Col. Samuel R. Loboda
Writer Russell S. Gloyd
Production Coord. Allen Olson
Photography Leo B. Hurst
Audio Jerry Nedilsky
Translations Yoshio Inomata
Special Thanks Herb Johnston
Lynn Sams
Forrest McAllister
George Cavender
Gladys Brodt
The ABA Research Center
In 1972 in Arlington, Texas, President Dunlop emphasized the importance of membership attendance at
annual meetings. He made his point so clear that the 1973 Washington meeting had the largest attendance
to date.
In Washington, President Hunt emphasized the importance of international relations, and he admonished
our Association to extend its leadership among world band development programs.
The first venture of ABA in its international role tells us that the changing times and the involvement of
world music relations will tend to alter the future heritage of ABA.
There was a time when the Association was small and the meetings were centralized enough that the
proportion of attendance was high. There was a family closeness which was felt deeply by all of its
members and wives. During the 1955 meeting in Elkhart, Indiana, a bell-hop was heard to say, ―This is
the out-kissingest group of people we have ever had in our hotel.‖ The year Jess Lasky attended the
convention in the hope of producing ―The Big Brass Band,‖ in the last moments of that final session, Ray
Dvorak asked that we join hands and sing ―Auld Lang Syne.‖ Since it might be the last time many of us
would meet, we all joined in. This closeness in our heritage has been lost by the size of our Association
and by the demands of these modern days upon our time.
I have been told that in 1952, when my teacher, Colonel Earl D. Irons, got up to deliver his Presidential
Address, he simply said, ―My address is Box 262, Arlington, Texas,‖ and sat down. Today, on the
international level, I, as President, will be required to do more. Today I am delivering this address, and
tomorrow I will deliver a welcoming address to our Japanese colleagues. Indeed, times have changed, and
we must consider the involvement of the future when we consider the future heritage of the American
Bandmasters Association.
If we plan to become more internationally involved, we must recognize that attendance can be expected
only from those who can participate. We will need to consider a different financial structure for our
Association. We will need more officer involvement. A one-year term of office will not allow for the
necessary long-term planning and implementation. There will be a need for an International Relations
Committee or Board. There will be a need for the establishment of ―positive‖ executive authority rather
than ―assumed‖ executive authority as the occasion may dictate. These needs and many more must be
considered if the American Bandmasters Association is to assume the leadership of bandmaster
organizations on the international level.
When we consider the future heritage of ABA, we should recall the wisdom of an old southern philosopher
who said, ―You can‘t come back from where you have never been, and you can‘t give away what you have
never had.‖
As the world grows smaller, we must grow influentially larger if we are to maintain the future of the
heritage which has been given us. We must make haste slowly and, as we take our time, we must hurry
every chance we get.
1974 ABA Annual Report
―The Past-President‘s Pin‖
By Past President Jack Mahan
It seems appropriate at this time to note the beginning of the tradition of the ABA Past President‘s Pin and
its full meaning which culminated at the 1992 ABA Convention in Washington, DC. This is the story and
remarks made to me by William F. Santelmann during and following this tenure as Secretary-Treasurer of
The American Bandmasters Association.
Prior to 1967, it was the custom for each outgoing President to receive a gift as he left office. The gift was
usually a handsome piece of luggage or, if the gift had been overlooked in pre-convention planning, a
check for $75.00 was hastily written and rather unceremoniously presented to the outgoing president. The
latter was the case when Fred McCall became Past President in 1966.
Some time after that convention, Bill Santelmann (then Secretary-Treasurer) asked Fred McCall‘s wife,
Betty, what they had purchased with the $75.00 check. She replied that she did not remember—that
possibly they had bought groceries with it.
This prompted Bill Santelmann to have the ABA pin redesigned, approved and purchased for each of the
Past Presidents who were living at that time and to be presented to the outgoing president at each future
convention. Thus, Bill Santelmann, a Secretary-Treasurer, was the first person to wear the official ABA
Past President‘s pin.
After I became Secretary-Treasurer in 1975, Bill Santelmann related this story to me several times. During
his last few years he often said that although his PP Pin was a gift from ABA, he considered it to be a
binding trust and should always be treated as such. He did not want it to be cast aside or worn as a charm
or other misuse. Therefore, he requested that his pin be returned to ABA after his death.
In fact, Bill was so proud of his ABA Past President‘s Pin that he had a stick pin with keeper soldered to it
after a few other ABA pins had been lost. This made his pin not only secure, but distinctive and unique.
After John Bourgeois became successful as the Commander and Conductor of the U.S. Marine Band, Bill
was very proud of John‘s accomplishments and superb work with Bill‘s beloved Band. He often said in his
rich, resonant voice, ―That‘s my boy,‖ referring to John Bourgeois after a particularly fine performance. In
fact, Bill eventually gave John Bourgeois his own personal Marine Ring, which John still wears with pride.
On the day of Bill‘s death during the Phoenix Convention, Margaret, Bill, Florence and I had lunch
together, at which time Bill restated his request regarding his ABA pin. He passed away back stage during
intermission at the final concert on Saturday, March 30, 1984 after conducting his beloved Marine Band in
his father‘s arrangement of ―Ride of the Valkyries‖ from ―Die Walkure‖ and ―Semper Fidelis March.‖
That night, after Bill‘s death, with Margaret‘s approval, I took Bill‘s PP Pin from his lapel and later placed
it with a note of instructions in the ABA bank box.
This information was passed on to Dick Thurston when he became Secretary-Treasurer
of The American Bandmasters Association, and he saw to it that the bequest was fulfilled when John
Bourgeois received William F. Santelmann‘s Past Presidents Pin as his own in Washington, D.C., March 7,
1992.
Thus Bill and Margaret Santelmann‘s love for ABA and the Marine Band is documented.
1992 ABA Annual Report
MARTIN S. MAILMAN (1932 – 2000)
Martin S. Mailman was born in New York City on June 30, 1932 and died in Denton, Texas on April 18,
2000. Although he was educated in the pubic schools, he was not involved in any musical activities.
However, he did take private trumpet lessons with a well-known musician—Frankie Newton. As a
teenager he attended composition classes at the Juilliard School of Music and was encouraged to develop
his obvious potential. Martin spent several years in the Merchant Marine and was at one time an apprentice
chef. The restaurant owner relocated to Florida and invited Martin to cook for him there. But Martin had
reached a point in life where he had to choose between cooking and music. Although he chose music, he
retained his love for the kitchen and had been a gourmet cook the rest of his life.
When he began his studies at the Eastman School of Music, his classmate and roommate was ABA member
Donald Hunsberger. Martin studied composition with Wayne Barlow, Louis Mennini, Bernard Rogers and
Howard Hanson, and earned his BMus, MMus and PhD degrees at Eastman. He was a Ford Foundation
composer in Jacksonville, Florida and, at the invitation of ABA member Herb Carter, became the first
composer-in-residence at East Carolina University in Greenville, North Carolina.
In 1966 Martin joined the College of Music faculty at North Texas State University (now the University of
North Texas) in Denton, Texas. For 34 years he was the coordinator of composition, composer-in-
residence and [later] Regents Professor of Music. In 1982 he won the Queen Marie-Jose Prize for
composition in Geneva, Switzerland for his ―Concerto for Violin and Orchestra.‖ In 1983 he won the
ABA/Ostwald competition for his composition ―Exaltation‖ and in 1989 won the award again for his music
called ―For Precious Friends Hid in Death‘s Dateless Night.‖ Other achievements include a National Band
Association composition prize and the Edward Benjamin Award. His more than one hundred compositions
include chamber music, band, choral and orchestral music, film scores, television music, an opera, and a
Requiem for chorus, orchestra and soloists. He served as clinician, teacher, guest conductor and composer
at more than 90 universities in the United States and Europe.
During his career, he was a leader in promoting musicianship through MENC and made numerous
presentations at conventions and universities. Rather than featuring his own music, he focused on music in
general and the impact it had on both students and professionals. Regarded as one of America‘s premier
composers, his influence is immeasurable.
Martin was a member of ASCAP, MENC, Phi Mu Alpha Sinfonia, Pi Kappa Lambda and Sigma Alpha
Iota. He was elected to ABA membership in 1991.
Martin‘s son, Dr. Matthew Mailman, is the Director of Bands and Associate Professor of Conducting at
Oklahoma City University. Prior to that he was a teaching fellow at the University of North Texas,
although he never attended any of his father‘s classes. Matthew knew better than anyone how gifted his
father was and that he composed constantly to set an example as a teacher. Martin felt that students were
very important to his own growth as an artist. Many of his students are now successful composers. Martin
and Matthew had a remarkable relationship—a unique understanding and trust in each other as musicians
and men.
In tribute to his father, Matthew said:
I continue to teach my students of the great artistic and educational value and the highest intent of
my father‘s work and to promote his music as often as possible. My father, through his works, his
teaching and his example, has left us a rich and enduring legacy, one of which I am proud to be a
part. Martin Mailman‘s music was about energy and boldness and taking risks; now, sadly, his
work is all that is left, but what a wonderful thing he left behind, and how much to celebrate, the
evidence of an eternal life that was lived up-tempo, in a high, brassy arc.
2001 ABA Annual Report
VERNON MALONE (1890 - 1951)
(Editor‘s note) I have been unsuccessful in obtaining information concerning our good friend Vernon
Malone, and although I wrote to Mrs. Malone, her serious illness prevented a reply until late in December.
Her illness and grief undoubtedly caused her to forget to give details other than those given in her letter,
parts of which I quote:
Your letter was so very much appreciated. A sympathetic understanding put into words has been a
help each day thru the months following. I have been very ill and I beg you to understand this
lapse of inattention to things. Vernon passed away the morning of March 22, 1951. I had just
been taken into the operating room at Abbott Hospital in Minneapolis…he was in the waiting
room. He became suddenly ill and died. Two days later they informed me of his death.
Your asking for information was appreciated. He was such a fine person—prideful but always
humble. I found this verse written for someone; it seemed true of Vernon, too.
Here was a friend whose heart was good;
He walked with men and understood,
His was a voice that spoke to cheer,
And fell like music on the ear.
His was a smile men loved to see;
His was a hand that asked no fee
For friendliness or kindness done.
And now that he has journeyed on,
His is a fame that never ends,
He leaves behind uncounted friends.
1952 ABA Newsletter
FRANK MANCINI (1886 – 1964)
A letter of several weeks ago from Frank told of the illness of Mrs. Mancini and of the necessity of his
retiring from practically all music and other activities in order to be at home with her. There was no
mention of his not feeling well. It was therefore a considerable shock to learn that he had collapsed and
died of an apparent heart attack on November 15, 1964 after walking his dog. Mrs. Mancini, hearing a
noise on the back porch, found his body. Mrs. Mancini died in a local hospital on December 6, 1964
following a fall in her home, which caused a broken hip. She was a native of the state of Washington, was
a member of the Eastern Star, and was a devoted wife who helped Frank all during his many years in
music. They had no children.
Frank Mancini was a native of Serramonacesca, Italy, born there in 1886. He broke generations of family
tradition when he gave up plans to be a physician in favor of music. His first study of music was intended
only as a part of a well-rounded education for the life of a doctor, but his musical studies included the study
of the clarinet, theory, composition and instrumentation. Rapid progress between the years 1898 and 1904
ended all thought in his mind of a medical career. After two years as a solo clarinetist in the
Serramonacesca Municipal Band, 16-year-old Frank went to Chieti, Italy to become solo clarinetist and
assistant bandmaster. Next came more years of study and performing in Rome and in Berlin, followed by
tours in Germany and Belgium as solo clarinetist and director of the Royal Italian DeVita Band.
Frank came to the United States in 1908. From 1908 to 1915 he was at various times a member of the
bands of John Philip Sousa, the Thaviu Band of Chicago, the Boston Band and several other well known
bands of those times. In 1915 he came to San Francisco where he played at the famous Palace Hotel and
with the old Tivoli Theatre Orchestra, as well as with other orchestral groups. It was this same year, 1915,
that the Mancinis purchased a farm on River Road near Modesto, California. They moved there in 1921 to
operate the farm on which they lived until death. After taking up permanent residence in Modesto, Frank
became an instructor in music at Modesto High School and subsequently held a similar position with
Modesto Junior College. Later he was appointed director of instrumental music for the Modesto City
Schools, a position he held until his retirement in 1951. Frank helped to form the Modesto Symphony 35
years ago and was its conductor until 1962 when the illness of Mrs. Mancini made it advisable for him to
retire. Under his direction the Modesto High School Band won repeated state and national honors in
contest. His excellent high school band never placed less than 3 rd in national contests, even in those early
days of intense national competition. And it was Frank Mancini and his Modesto High School Band that
practically all other competing bands and their directors never failed to hear. The Stanislaus County Boys
Band—which Frank founded and which was made up of his former high school players—won the
permanent state championship of California. His contributions to the cultural life of Modesto and the
surrounding areas were recognized by numerous awards and honors—local, regional and national. Mancini
Bowl in Modesto‘s Graceada Park was named for the community‘s most beloved musician. And that the
appreciation of the Mancinis which Modesto had evidenced so many times was uppermost in the minds of
Frank and Ione Mancini—and that their interest, love and belief in music was sincere, was evidenced by
their identical wills, the terms and conditions of which left their 23-acre home on River Road to the city of
Modesto, with the stipulation that the site be developed for park and recreational purposes within five
years. Because of the variety in the site‘s topography, from the river up over the bluff, many uses of the
land could be developed. The frontage along the river is almost 1000 feet, making this a very valuable
piece of river property. The will requires that the park be named ―The Ione and Frank Mancini Memorial
Park,‖ and that a suitable plaque be erected. In addition to the bequest of their home for 43 years, the
Mancinis established a scholarship program and a loan fund for students of instrumental music. The
scholarships amount to $600 each year. Three $200 awards will be made to one student each from
Modesto, Downey and Davis High Schools. They will be awarded to graduates studying instrumental
music, who must attend a California college, and must plan to be public school teachers. The selection
committee will be made up of the estate trustee, which is the Bank of America; the director of music for the
Modesto City Schools; and a local businessman who is interested in music. The loan fund will make up
grants up to $500 per year from money left over after the scholarships. The loans will be interest-free, with
repayment to start no earlier than the third year after completion of study. The will states that the intent of
the Mancinis was to help music students as much as possible. Therefore, it is stipulated that if the estate
income is greater than anticipated, more scholarships and loans shall be made at the discretion of the
trustee. Income will be derived from cash, stocks and bonds left by the Mancinis. Their attorney believes
that amount may be between $80,000 and $100,000. Frank‘s brother and sister were also remembered in
the will, which was drawn up three years ago. The graciousness and charm of the Mancinis and their love
for music were some of my fondest remembrances of Frank and Ione, which remembrances date back to
the time the late Edwin Franko Goldman and myself were so wonderfully entertained in the Mancini home,
many years ago. Frank Mancini was truly one of the great bandsmen of the world, and his name, like that
of many other great who have gone on before him, will long be remembered and revered.
1965 ABA Newsletter
Note: The 1965 Newsletter also noted the death Ione Mancini, wife of Frank, on December 6, 1964.
KEITH MANN (1939 – 2001)
Keith Mann was born in Alix, Alberta, Canada on October 6, 1939 and lost his life in Red Deer, Alberta on
May 11, 2001 when a vehicle struck his motorcycle. He grew up on his family farm and showed an interest
in music at a very early age. When he was eight years old his mother arranged for him to get a piano and
lessons. It was the beginning of a musical path that extended throughout his life. His early education took
place in Alix and Mirror in a one-room school. After graduating from the University of Alberta in 1969,
Keith began his career in the rural communities of Spruce View, Elnora and Innisfail. Keith started the
Elnora band using self-repaired instruments that he scrounged and eventually had most of the entire school
playing in the band. His Innisfail program involved 380 band students, grades 5 to 12, who won a great
number of awards in competition. He quickly established himself as a highly regarded and respected
educator. In 1978 Keith gave up his high school teaching to become the founding chairman of the Red
Deer College of Music. He remained there as conductor, instructor and mentor until his passing. In 1991
he was hired to rejuvenate the Red Deer Community Band. Keith was also the founding director of the Red
Deer Symphonic Winds.
Throughout his 40-year career, he was very active in the growth and development of many groups and held
numerous distinguished positions. One of his favorite organizations was the Red Royals Marching Show
Band, which he directed for ten years. The Red Deer Royals is comprised of youngsters who have been in
marching competition for many years, having performed in Canada, the United States, Australia and
Europe. Early last year Keith told them that the routine he prepared for them had the potential of being a
―gold show.‖ After Keith tragically passed away, the band had a great desire to honor their hero and
mentor. They entered competition in the Netherlands and Germany, where they earned a gold medal in the
performances. In the final competition in Potsdam, Germany the Red Royals won the first prize. The
international event involved 39 bands; they were the only band from Canada to win the gold. It was their
way of honoring their fallen band director. The number of awards his bands have won over the years is
staggering.
No one who met him could fail to be impressed by Keith‘s passion for music, his kindness and
consideration and his boundless energy to help young people. He and his wife Marilyn co-founded a group
called Canadian Youth on Tour. The musically talented youngsters from across Canada performed in
Europe for 13 summers.
Keith served as president of the Canadian Band Association, was editor and publisher of the Canadian
Band Journal for 25 years, founded the Alberta Community Band Workshop and was Concert Band
Chairman and member of the Board of Directors for Music Fest Canada, the nation‘s largest national music
festival. From 1986 to 1991 he was publisher and editor of Phi Beta Mu information in Band Digest
International. Keith also served as chairman of the North American Band Directors Coordinating Council
and was a board member of the Canadian Music Centre, International Music Festivals and the John Philip
Sousa Foundation.
Keith was elected to Honorary Membership in ABA in 1998. From 1990 to 1996 he directed the Calgary
Stampede Showband. He served on the Olympic Games organizing committee and was given the Alberta
Achievement Award for outstanding contributions to the 1998 Olympics. From 1998 to 2000 he was
president of the National Association of Music Business Affiliated Institutes. At the time of his death
Keith was serving as Phi Beta Mu International President. He was the recipient of numerous awards. In
1974 he received the Alberta Band Association Elkhorn Award, and the Canadian Band Directors
Association named him their Director of the Year. In 1983 he was named one of the ten outstanding band
directors in the United States and Canada by the School Musician magazine. One year later he was
awarded the Sudler Order of Merit. In 1986 the Canadian Band Association National Award was given to
him for his contributions to band music at educational, community and professional levels. In 1989 he took
a sabbatical leave to complete his master‘s degree at Washington State University. In 1997 Keith received
the ABA Edwin Franko Goldman Citation. He also was given the National Band Association Citation of
Excellence and the Canada Medal for services to the nation. Keith‘s wife Marilyn accepted three
international posthumous awards at the Mid-West Clinic in December: one was the World Association of
Marching Show Bands Award and the other two were given by Phi Beta Mu.
The community of Red Deer plans to erect a bronze statue of Keith to be placed in a downtown park. A
trust fund has been established for a scholarship in his name at Red Deer College.
Here are a few closing remarks from Marilyn‘s eulogy to Keith at his memorial service:
Now some things you may not know about Keith—he was a romantic. When he was away I
would often come home to find post-it notes stuck all over the house and on my pillow that said,
―I love you—don‘t forget!‖ In fact, two weeks ago he was adjudicating in a festival at Whistler.
After reading my collection of post-its, I got ready for bed. As I flipped up the toilet lid, a post-it
on the underside of the lid said, ―Remember, I love you!‖
I‘ve had it mentioned to me that Keith was a workaholic—but I disagree. Keith instead was a man
of passion. His passion was his music, teaching and encouraging people to be much more than
they ever thought they could be.
I used to call Keith ―mein Schatz.‖ It means ―my treasure.‖ He was a treasure to us all.
2002 ABA Annual Report
SIMONE MANTIA (1873 – 1951)
Simone Mantia was born February 6, 1873 in Siaccia, Sicily. He began his musical studies at the age of
nine and played his first euphonium at the age of twelve. He came to America at the age of seventeen and
settled in New York, where he earned his livelihood playing in small orchestras, finally joining the Grand
Opera House in Brooklyn. He played with the Liberatti and Innes Bands, and joined the Sousa Band in
1895, remaining with it until 1904. At that time he joined Arthur Pryor‘s Band as assistant conductor and
euphonium soloist. He conducted his own band at Asbury Park for about five years.
Simone Mantia was a member of the Victor Herbert Orchestra and the New York Philharmonic Orchestra.
In 1908 he joined the Metropolitan Opera Orchestra, with which group he remained for thirty-seven years,
including twelve years as its manager. In later years he devoted much of his time to teaching and
occasionally appeared as a guest soloist with various bands. He was with the Band of America since its
organization, and during the summer months he played with the Asbury Park Municipal Band.
Entering the hospital in Flushing, New York on May 9, 1951, he underwent two serious operations. On
June 21 he left the hospital to go to his brother‘s home in Flushing, where he passed away on June 25. He
was buried in the Glenwood Cemetery, Long Branch, New York on June 28, 1951. He is survived by his
wife, Elgie Bowen, to whom he was married on November 30, 1902, a brother Charles and three sisters.
1952 ABA Newsletter
MAURICE CLARK McADOW (1904 – 2001)
Maurice Clark McAdow was born on November 17, 1904 in Greenville, Illinois and died on August 20,
2001 in Denton, Texas. He was educated in the public schools of Anthony, Kansas where he received his
first musical experience playing in the municipal band. He credited his interest in music to his father,
William, who was a professional trumpet player, a graduate of the Dana Music Institute in Ohio. Maurice
played trumpet in high school but quit school at the age of 16 to join a tent show, the Peggy Norman
Players. He traveled with them for several months before returning to Kansas to complete his high school
education. After graduation in 1922, he attended the Polytechnic Institute, now East Montana State
University, in Billings, Montana, where his father was teaching. After a year at that school he spent six
years playing professionally ―on the road‖ before returning to live with his mother in Greenville, Illinois.
In 1931 Maurice began his career as a band director, although he did not have a music degree at the time.
He said he had a dream to go to Mulberry Grove, a small town near Greenville, to start a band. The school
had no music program, so the parents supported the program with band dues. His 14-piece band went to
the district contest the first year and received a first division rating. That‘s when he realized he could be a
band director. During this period at Mulberry Grove, he played trumpet with a number of community
bands while at the same time pursuing a degree in music. He attended summer and Saturday classes.
Eventually in 1939 he received the Bachelor of Music Education degree from Illinois Wesleyan University.
While at Mulberry Grove, Maurice also started the New Douglas Sorento Band, of which his wife Evelyn,
was also a member. He then organized a third band at Pocahontas, Illinois. In the spring of 1935 all three
bands performed at the state contest at the University of Illinois in Champaign-Urbana. Maurice was
inspired by the music department of the University of Illinois. He marveled at the achievements of ABA
Honorary Life Presidents Austin Harding and Mark Hindsley and ABA member Clarence Sawhill. He was
also impressed by the caliber of musicianship of the high school bands from Joliet and Collinsville, Illinois
and Hobart, Indiana.
In 1936 the Greenville school system hired him as high school band director. In the eight years that he
taught there, his bands places first in 18 of 20 regional, state and national contests. His next move was to
teach at York Township High School in Elmhurst, Illinois. This band was later named to ―The Historic
Roll of Honor of High School Concert Bands‖ by the John Philip Sousa Foundation.
Maurice played professionally in Cincinnati, Cleveland and Detroit. He studied with well-known teachers
and musicians, spending eight years of intensive study of the woodwinds, brass and percussion with
symphony artists. It was during this period that he played flute with the St. Louis Symphony Orchestra.
Maurice studied conducting in 1943 and 1944 with the Russian conductor Nicolai Malko. While at
Greenville High School Maurice also directed the municipal band, of which his wife Evelyn and her
brother were members. In 1945, after teaching junior and senior high for fourteen years, he accepted the
band director‘s position at North Texas Teachers College—a position offered to him without an interview
because of his outstanding reputation. Maurice is credited with establishing the band‘s national reputation
for excellence and for expanding the music program from fewer than thirty students to one of the largest
music schools in the country. He received his Master of Music degree from the American Conservatory of
Music in 1953. He was always in great demand throughout the nation as adjudicator, clinician and guest
conductor.
During his thirty years at North Texas State University, he led the band in 28 tours throughout 13 states,
performed at the Texas Music Educators Association conventions eight times, and at the conventions of
CBDNA and MENC. He was named Texas Bandmaster of the Year in 1973 and was an Honorary Lifetime
Member of Phi Mu Alpha and Kappa Kappa Psi. He was elected to ABA membership in 1974. In 1990 he
was named an Honorary Alumnus by the university. A year later he became a member of the Phi Beta Mu
Texas Bandmasters Hall of Fame and was a charter inductee into the Texas Region 5 Bandmasters Hall of
Fame. In 2000 the International Percy Grainger Society presented him with the Grainger Medallion.
When Maurice retired from the university in 1975, he accepted a position with the Brook Mays Music
Company. For about 17 years he was their clinician and personal consultant for band students and directors
throughout the state.
Incidentally, Maurice married Evelyn, one of his former band members. For 59 years she continued to be
actively involved in his career, both as a player and number one supporter.
Maurice wasn‘t soft on his students. He was stickler for discipline and wasn‘t beyond demanding that all
aspects of marching and concert band reflect that. He applied those same expectations to himself. Those
who knew and admired him report that he did pushups daily to be prepared when conducting duty called.
He said, ―There‘s nothing worse than some old codger who gets up to guest conduct and looks like this…‖
– demonstrating a rather hunch-backed round of conducting. Those who knew him well say that Maurice
was of the old school. He was a rare sort who won‘t pass this way again.
2002 ABA Annual Report
W. FRANCIS McBETH
―Remarks by W. Francis McBeth‖ - March 7, 1991
This reminds me of last week, where I was to make a speech, and somebody told the audience what my
subject was, and that‘s not the subject he told me to talk on. Mark [Kelly] just did the same thing! We‘re
not going to talk on conducting. Mark called me some months ago and asked me—I think the impetus was
from an article of mine in ―The Instrumentalist‖—to speak about how we decide ―quality‖ in music and
judge quality, because this is one of our least talked about subjects. Our most talked about subject is
whether we like pieces or not. We don‘t like this piece, we like this piece, and why do we or why don‘t
we—the judgments that are made in quality in music. It‘s a very fascinating subject, more so, I think, to
me than any other subject, because I do it every day when I teach my students. Composition teachers,
that‘s all they do, is decide on the quality of what‘s being written. How do we make these decisions on
quality of music?
As students we‘re told the pieces that are quality in that teacher‘s mind. I‘ve found this not to always hold
up. It has held up in most instances but not always. Some works that I was told that were great pieces I
found later are not great pieces. How do we decide what makes quality in composition?
First, we‘re told what the future will be. I‘ve found that people who predict the future are always wrong.
They are just always wrong—it never misses. I‘ll never forget when they were playing Webern for us in
class, as an undergraduate, and saying, ―This is the future of music.‖ And I thought in my heart, ―Holy
smoke, I can‘t stand this. This is the future? This is awful! I don‘t want to be a part of this future!‖ It was
very frustrating. Well, I‘m just so thrilled to have lived long enough to see twelve-tone music go away.
That‘s one of the nicest things in my life, to see it go away. Twelve-tone, serial, dodecaphonic, whatever
you want to call it, whatever name you use—its longevity was as long as the Classical period, and what do
we have to show for it? Isn‘t that interesting? It was the same length as the Classical period. I don‘t want
to get into serial music. I don‘t have time, but that was an attempt to lower music to the level of science.
That‘s how it came about. They wanted to lower music to the level of science and it doesn‘t work that way.
I‘ll start mentioning names—I shouldn‘t do that because we have people from that university. A very
famous composer, who later in life got into serialism, was lecturing to a class that I was in. In fact, he
played his hour-length, twelve-tone string quartet (which never cheated); it was exactly correct, twelve-tone
wise. He said, after we had heard it, ―I did not know that this piece was twelve-tone until I finished it.‖ It
was recorded by RCA Victor—a one-hour string quartet. They all wanted to justify what they had done.
Which is not true—that‘s ridiculous. The odds for him not to know that until he had finished the work are
the same odds that the King James version of the Bible occurred from an explosion in a print shop!
Somebody asked Persichetti, ―What do you think about serial music?‖ And he said:
The greatest thing that‘s come down the pike for the teachers. I am just thrilled. I take four
students each in my composition class at Juilliard, and out of the four, I always have one student
who doesn‘t have any talent. This gives that student something to do.
To get back to specific quality in music, I‘ve never had a teacher tell me about quality in music except
composition teachers; they‘re the only ones that I‘ve ever heard talk about it, discuss it. My whole life,
from childhood, I wanted to study with Bernard Rogers, because every teacher I‘d ever had had studied
with Bernard Rogers; and I didn‘t really know then why I wanted to, but Bernard Rogers is the greatest
composition teacher America ever produced, and that is not just my opinion. When I was finally accepted
to study at Eastman, and with Rogers, I was scared to death—a young kid from West Texas—I started
getting heart palpitations about Pittsburgh, when I was going up there. And the very first class—he took
four in a class (I do too)—there was a woman, and I had never seen a woman in a comp class in those days.
It‘s very common now, but in those days I had never seen a lady in a comp class. So Bernard Rogers said,
―We still start with the young lady. Play us what you‘ve brought, that you‘ve written over the summer, and
we‘ll see what you‘ve got.‖ And she said, ―Well, I‘ve written a Scottish Lullaby, an Armenian Lullaby, a
Jewish Lullaby,‖ etc. She named about eight of these lullabies. Rogers had a lisp—it‘s hard to do Rogers
without lisping a little bit; it was a Mafia lisp, it wasn‘t a feminine lisp. He had just a ring of hair which he
scratched when he talked. When she gave him a list of her works, with these lullabies, he said, ―What did
you do all summer? Did you stay in bed all summer, writing these lullabies? Pick the one you like.‖ She
picked the Armenian and played it. After she finished it, there was the first real heavy critique of quality I
ever ran into. He said: ―Well, first, it‘s too long. Secondly, if you want to write Armenian music,
Hovhaness is two doors down; check with Hovhaness. And thirdly, that‘s a boring piece.‖ I was sinking
lower in my chair from sheer panic.
The next man up played a piece and it was kind of Brahms with wrong notes. Bernhard Rogers said:
Fantastic! I‘m so tickled that you wrote this down on paper, because, had you not written this
down, there would have been no way to get this trash out of your brain. It would have just rolled
around up there for years, but if you get it on paper, you get it in a form that you can throw it away
and get on to higher and nobler things.
That‘s an exact quote.
I guess Rogers and Hanson had most influence on my process of evaluating music. Rogers would never
talk about ―good‖ or ―bad‖ music (and the students were always trying to get him to)—he would always
say ―honest‖ or ―dishonest.‖ He never said ―good or ―bad.‖ And he classified all music that was not
creative as a rewrite of other people, and he called that ―dishonest.‖ Music that was creative he called
―honest‖ music. Some music can be too creative and some music can not be eclectic enough, but that was
the guideline. I didn‘t understand that when I was a student. I cannot stand the Grand Ole Opry types with
their rhinestone hats and their music; but I love Stone County, Arkansas, where they have tattered overalls,
and they‘ve built their own instruments and written their own music. It‘s wonderful! ―Honest‖ or
―dishonest‖—it is really the guidemark.
After 35 years of doing it every day in class—deciding what is quality and what isn‘t quality—I think there
are two yardsticks that have to be used. First of all, I have never known a great piece of music, in my
opinion—a great masterpiece, in the opinion of others—that did not have direction. Direction is the most
overlooked aspect of deciding quality in music. Music must start somewhere and go somewhere—it can‘t
just start and be until it ends. When music starts and ends, and all the harmonies were OK, and there was
no problem, but it just started ―here‖ and ended ―here,‖ I always feel like I am in a swimming pool with a
life jacket—I‘m just bobbing. I‘m going nowhere. I‘m OK—there‘s no way I‘m going to drown—but I‘m
just bobbing. When I find music that has direction, I‘m going somewhere—I‘m on waves, I‘m moving.
And I know when I‘m going to get there, too.
You know, Beethoven‘s the master. Nobody was better in direction than Beethoven. When you get into
any Beethoven symphony (except the Second, first movement), by page fourteen, if I may borrow a term
from the jazz people, he starts ―cooking.‖ And you say, ―Here we go.‖ And the journey is splendid.
With Schubert‘s orchestral music I have the opposite reaction. With Schubert I get to page thirteen and I
think, ―Who was that masked man? This theme came by and it was brand new. Where did that come
from?‖ I get confused. Direction. It must go somewhere. It has to have direction.
Coupled with direction, the other aspect is creativity—and I‘ve quit using the word ―creativity.‖ I‘d rather
use imagination—because that‘s really what it is. Without imagination we have nothing. Imagination plus
direction is the way we judge literature.
Now, do we make lists of what are good? I warn the audience—I don‘t warn people very often—I‘d be
careful of making lists, because we as band directors publish lists every year, in magazines, of quality
music. I‘d be afraid of this, because all who have made lists in the past were always wrong. We have to be
awfully sure of ourselves. The literature will not be decided by us. The 20 th Century‘s over. It‘s
interesting that I don‘t often defend 20th century music any more. It‘s already over with, it‘s gone. We‘re
going to have to start defending 21st century music. But we will not decide what remains; I guarantee you,
we will not.
Imagination tends to come more in harmony than in any other aspect. The primitive people of the world
have always had rhythms. The majority of the people of the world have always had melody. But only the
chosen have been given harmony; and that‘s the smallest group on our planet. In the history of music,
Beethoven never wrote a rhythm that Bach didn‘t use. Rhythm didn‘t move. Melody? You take the play
of pairs in the Bartok ―Concerto for Orchestra‖—Scarlatti could have written that tune. Melody hasn‘t
changed. But the history of music has been the evolution of harmonic syntax, and it just always moved and
moved. There is where we find our imagination—people who are doing something that no one else really
ever did.
I‘m going to do something that I warned against and that is make a judgment as to what music will remain.
You know, I‘ve finally figured it out. I think what will remain is music that through beauty, reflection,
spiritual elevation, and just sheer excitement—music that will remain is that music that touches men‘s
heart.
Thank you for this opportunity to talk with you.
1991 ABA Annual Report
President‘s Address – 1994
I was born on March 9, 1933, and on March 9, 1991 I was elected Vice-President of the American
Bandmasters Association. I was not only stunned but concerned. Not concerned about the task, but
concerned of more load. I teach a full-time college load, I composer full-time, and I conduct full-time. For
the last decade I have been stretched to my limit, and the reason I was concerned was because I knew any
additional work could be the breaking point.
I asked J Julian if I had to accept it. He said, ―No, you don‘t have to if you plan to get out of the business
and move to Mexico.‖ After the first 24 hours of shock I began to think more rationally and decided I had
immensely enjoyed the friendship of the association and thoroughly enjoyed all of the meetings and
activities like none other I had experienced. I then realized that I had taken so much and should give some
back. Just to eat the cake and never wash the pots and pans is a great delight, but a bit selfish.
My professional life has been enriched by the American Bandmasters Association and I thoroughly enjoyed
what I first thought would be a chore as an officer of the organization.
I want to welcome all our new members into this organization of excellence. You will find the benefits
abundant as you enjoy the company of others who, like yourselves, seek excellence. We hope that each of
you brings a new compass in your head, a new north, and will share your ideas for new directions.
For our members of long standing, I challenge you to search for new ideas and procedures that will serve
our association in seeking out the most deserving bandmasters for consideration for membership.
The 20th century is almost over. We have only five more conventions to be held in the 20 th century. In a
time of change that is faster than our ability to cope with it, I challenge our association to hold fast to our
traditions and standards, but to search for new and innovative directions for effective leadership. It is up to
us to take The American Bandmasters Association into the 21st century at the premiere leadership level that
it has held in the 20th century.
There is an old story from Dana‘s ―Two Years Before the Mast‖ that Mark Twain liked to tell:
Many years ago there was a self-important little skipper who sailed a little sloop in the Nantucket
area. He was engaged in the apple, tin ware and kitchen trade, and liked to hail every ship that
came in sight. He did it to just air his importance and to hear himself talk.
One day a majestic Indiaman came plowing by with coarse on coarse of canvas towering into the
skies, her decks and yards swarming with sailors. Her hull burdened to the flemsull line with a
rich fragrance of spices filling the air with mysterious odors of the Orient. It was a noble
spectacle.
Of course, the little captain popped in to the shrouds and squeaked out a hail, ―Ship ahoy, what
ship is that? And whence are you bound?‖ And the answer came back in a deep and thunderous
bass through the speaking trumpet, ―The Begum of Bengal, 142 days out of Canton, homeward
bound, loaded with teakwood, silk and spices. What ship is that?‖ Well, it just crushed that poor
little creature‘s vanity flat and he squeaked back most humbly, ―Only the Mary Ann, 14 hours out
from Boston, bound for Kitter Point with nothing in particular.‖ What an eloquent reply in his
humbleness.
In the year 2020 when our ship is hailed, we must still be able to reply, ―It is the ABA, 90 years out,
excellence bound and loaded with the leadership of wind music in America.‖
1994 ABA Annual Report
DONALD E. McGINNIS
President‘s Address - 1978
[Note: In May 1977 President Elect Donald McGinnis became Interim President of ABA upon the death of
President Ardeen Foss.]
As I stand before you to deliver this message, I am reminded of the story—undoubtedly true, yet
nonetheless amusing—of the speech writer for President Lyndon B. Johnson who had been told that
beyond that day he would no longer be retained; but in the completion of his duties he should write a
speech for the President to deliver the following day to a group of Texans who were to meet with Mr.
Johnson at the White House. Fully aware of the fact that the President rarely edited, nor even read such
speeches in advance, the writer decided to have his measure of revenge and personal satisfaction. At the
appointed time, Mr. Johnson addressed the assemblage and read:
My fellow Americans, I know that you are here because of your concern about the war in Viet
Nam; before I have finished this address I will tell you how I intend to end that war. I know, too,
that you are very much concerned about the turmoil and crises on our college campuses; I will tell
you how I intend to quell those disturbances and bring about solutions.
On and on he read, page after page, with promises of solutions to other problems such as inflation, law and
order, and racial intolerance, in each case promising to define solutions. As the President turned to the last
page of the document, the dismissed speech writer had the final word in this terse, succinct statement:
―GOOD LUCK, MR. PRESIDENT. YOU ARE ON YOUR OWN!‖
Although I have no speech writers on whom I might lean for assistance, I have read and re-read the
speeches of former ABA presidents, and I have accepted the responsibility which has been thrust upon me
one year too soon. If I lack eloquence, and if my words do not ring out with ardor, you must understand
that, like you, I approach this convention with many and mixed emotions. Nonetheless, I welcome you to
the 44th Annual Convention of The American Bandmasters Association, and I ask you to join me in eager
anticipation of the exciting events in which we shall participate these next several days.
Although I never tire of reading the storied history of ABA, of its distinguished membership, and of the
leadership it has provided for nearly fifty years, my experience as an officer has taught me to be an
increasingly better listener, and has challenged me to think more about our future and directions we should
consider.
Before I was elected to the vice-presidency, I had the privilege of serving as a member of the Board of
Directors, and the Committee on Constitution and By-Laws. In each experience—and in collaborating with
my colleague, Jack Evans, as the 1970 convention host—I learned more about ABA, and feel that now I am
in a more favorable position to urge our membership to open new avenues of communication and not to
hesitate to offer constructive criticism which can enable ABA to expand, grow, and continue to be the
leading band association in the world.
When I speak of expansion, I refer to John Paynter‘s 1977 President‘s Message in which he stated his
―deep and continuing concern‖ about the growth in our membership. I join him in this concern, and insist
that it is the responsibility of every member to bring new blood into our membership.
Another challenging area of expansion is stated clearly in Resolution #5 (page 64) of our Constitution,
which reads:
―…give consideration to enriching the convention programs and furthering the objectives of the
Association by such means as keynote speakers and guest conductors from other than the band
field; forums and symposiums on timely and relevant topics with participation by the above guests
and ABA members; presentations of papers, clinics and demonstrations on new approaches and
developments; and to other types of features which may be professionally beneficial to the
Association and its members.
As a member of the Constitution Committee which wrote that resolution, I know that their intent was not
simply the cosmetic appearance of words which would appease our most vocal critics, but the honest,
sincere recommendations of men who love ABA, not only as it is and has been, but who look at its future
with optimism and open-minded criticism. The next President-Elect can assist the President in the
realization of at least one of these ―new dreams‖, and in so doing could very well add new dimensions to
the 1979 Convention.
As I re-read Hugh McMillen‘s address to those in attendance at the New Orleans Convention, I was
reminded that many great composers of the 20 th century have written works for band: Hindemith,
Schoenberg, Piston, Milhaud, Creston, Gould, Persichetti, Hanson—to name but a few—and ABA has led
the way in commissions. The ABA Journal, the Research Center, the Ostwald Awards have become our
continuing contributions; they have given bands and band music a place of stature in the world of music.
In spite of my optimism for ABA, I am forced to the conclusion that we must face the inevitable fact that it
will take something else to enable us to expand and find new dimensions to stimulate us. That something
else is money! Commissions, creative research, enshrinements, even the hosting of conventions will
become increasingly difficult to finance; the future will find us in desperate need of funds to sustain our
various programs. I am planning to devote considerable time during my presidency to try to find solutions
before the real ―crunch‖ comes, and thus you may expect me to come to you for advice and assistance—
and probably for a commitment in your will that makes ABA a recipient of a portion of your estate—large
or small!
Like the speechwriter to whom I referred initially, I may be forced to look in the mirror and say, ―Good
luck, Mr. President, you are on your own.‖ But even if I fail to implement one single new idea during my
term of office, I intend to be able to look back with the knowledge that I kept the ship afloat during some
turbulent times.
1978 ABA Annual Report
President‘s Address - 1979
As we gather for the 45th Annual Convention of the American Bandmasters Association, the excitement is
heightened by the fact that we shall celebrate the 50th anniversary of our founding, with special recognition
given to our founder, Dr. Edwin Franko Goldman. Our meetings, discussion, and concerts will be
enhanced in their representations of our heritage by visual as well as auditory art, and when this convention
is concluded we shall all know more about ABA and its first fifty years.
Television makes us ever aware of our ―roots,‖ and in searching for a way to describe how I feel about my
heritage from the great men who founded ABA and those who have continued its impact upon the world of
music, I chanced upon a copy of ―The Pyramid of Success‖ of the eminently successful UCLA basketball
coach, John R. Wooden. The words at the base of the pyramid literally ―jumped off the page‖ in their
description of our charter members: INDUSTRIOUSNESS, FRIENDSHIP, LOYALTY,
COOPERATION, and ENTHUSIASM. Of our founders I knew only one—Frank Simon, who was a great
inspiration to me in my early years in ABA. Of course, Mr. Sousa and Mr. Goldman remain idols for all of
us, and Karl King and Henry Fillmore were to me the best known of the ten members of the class of 1929.
There is no question that band history was built from the lives and accomplishments of all of our first
members, and Dr. Harding‘s greatness as conductor and teacher at the University of Illinois had a powerful
impact upon the lives and careers of many of ABA‘s eventual leaders.
In the 1930s the membership of ABA literally exploded with the addition of one hundred and six members,
thirteen who were to be elected president, and Mr. Bainum and Dr. Harper were to join their distinguished
predecessors Sousa, Goldman, Harding, Simon, and King as Honorary Life Presidents. Although the
number of new members declined to a total of thirty-seven in the 1940s (undoubtedly due to the influence
of World War II), the great leadership continued as this decade spawned no less than nine presidents,
including Secretary-Treasurer and inspiring leader Colonel William F. Santelmann, and founder and
Managing Editor of The Journal of Band Research, Paul Yoder. This period might well be termed one of
the sides of the pyramid of success, representing SINCERITY, INITIATIVE, INTEGRITY,
RELIABILITY, and PATIENCE.
The decade of the ‘50s saw our membership grow by 105, eleven of whom would be elected president. The
1960s showed seventy-eight new members, and the first nine years of the ‘70s brought 55 members into
ABA. It can be expected that these members, adjusting to the challenges of a changing world epitomize the
remaining qualities of the pyramid: AMBITION, ADAPTABILITY, SKILL, RESOURCEFULNESS,
CONFIDENCE, and FAITH in accepting and emulating the final stone of the pyramid, GREATNESS,
shown so clearly by their predecessors.
If I have seemed a bit cursory and brief in my reference to my own generation of ABA and those of the
‘60s and ‘70s it is because I know that the preservation and continuation of the greatness of this unique
association is essentially dependent upon those who tread the precarious and challenging steps of the next
50 years. Assuming that both the membership and leadership have the confidence in bands and band music
that has been demonstrated by those of the first 50 years, I have confidence that it will be so—but it will
not be easy. Instead of debating semantic issues such as symphony band, concert band, wind ensemble,
wind orchestra, and symphonic winds, we need to exert our energies as musicians, composers, scholars,
and teachers to the betterment of the literature and its performance. In the January 1978 issue of The
School Musician, Robert Reynolds, a member of ABA and coordinator of CBDNA Commissions, stated:
The CBDNA feels the responsibility of stimulating the artistic growth of our profession in many
ways, and all are especially pleased that this has resulted in many of the world‘s most respected
composers being actively engaged in producing the life blood of any musical organization—
artistic music.
In the same article Mr. Reynolds pointed proudly to a list of compositions by world renowned composers
Ernst Krenek, Aaron Copeland, Ingolf Dahl, Howard Hanson, and Henk Badings, all written at the request
of CBDNA. There is little question that ABA led the way in the early years and can point to its enormous
impact upon the composition of most of the great marches written during the past fifty years, plus its
considerable influence upon the band compositions written by great composers such as Respighi,
Hindemith, Vaughan, Williams, Persichetti, Hanson, Holst, Grainger and Gould. I encourage our next
president and other officers to establish a committee to stimulate ABA commissions, while we maintain
and nourish great interest in the Ostwald Award, which has encouraged and developed the careers of so
many composers of previously unknown stature. Commissions are very costly, both in time and money,
but we must not allow these obstacles to hinder progress in the future. Let us resume our position of
leadership in this artistic cause. In reflecting upon the superb fund-raising efforts on behalf of the election
to and installation of Mr. Sousa in The Hall of Fame for Great Americans, and the notable response to the
financial needs of the ABA Research Center, one must assume that such fund raising for commissions is
feasible. Rest assured I have not abandoned my earlier vow to encourage ABA members to designate ABA
the recipient of a portion of their estates. Surely you agree that we could!
I am encouraged by the leadership ABA has taken and continues to take in research and international
leadership. We all owe an enormous debt of gratitude to Paul Yoder for his early and continuing efforts on
behalf of the ―Journal of Band Research.‖ Numerous members are engaged in the international impact of
ABA. We need to encourage the input of scholarly efforts, and the distribution of the Journal to every
library in the world. The special research and the thousands of original compositions, musical editings, and
transcriptions of music by ABA members is of enormous pride to all of us and should act as an inspiration
and catalyst for even greater accomplishment in the decades to come. I am pleased with the responsible
and responsive attitude shown by all members in our attempts to find the very talented and accomplished
conductors and invite them to membership. The average age of our membership indicates that recognizable
accomplishment as well as talent is requisite to invitation, and the former is often as scarce a commodity as
the latter! Nonetheless, we are responding to the challenge and in my humble opinion we are establishing
solid pyramids for success in the future.
I shall not close this address without challenging our officers and their assigned committees to seek ways
(there must be many) to publicize The American Bandmasters Association and its philosophical and
musical inclinations. There is no question that our membership contains the greatest assemblage of talent,
musicianship, scholarship, skill and leadership anywhere in the world, but all of this can be lost if young
teachers, performers, and conductors are not made aware of ABA. I am persuaded that other organizations
are far more conscientious than we in exerting this kind of influence, and I am not content in this. We are
on the threshold of a new era, with new and different challenges which we must meet if we are to continue
our position of leadership. This can be explained by one of my favorite stories: A party of visitors to the
Tower of Pisa noted that a clock was being installed in the Tower by a group of scholars. When queried as
to the reason for this unexpected event, the scholars replied, ―What is the point in having the inclination if
we do not have the time?‖
For the next 50 years to be as productive as 1929 to 1979, we must have the inclination and we must find
the time!
1979 ABA Annual Report
―Nomination of Donald E. McGinnis for Honorary Life Member‖
by Mark S. Kelly
Donald E. McGinnis was born in Barberton, Ohio—he began the study of piano and clarinet in the fifth
grade. He graduated from the Wadsworth, Ohio high school after serving with leadership the orchestra,
band, glee club and jazz ensemble as a clarinetist.
McGinnis attended Oberlin College, studied with George Waln and graduated with two degrees—Bachelor
of Music Education and Bachelor of Music in Performance—all the while holding the principal clarinet
chairs in both the band and orchestra and a member and featured soloist with the premier woodwind
quintet.
In 1941 he was appointed woodwind instructor and Assistant Director of Bands at The Ohio State
University and served concurrently as principal clarinetist in the Columbus Symphony Orchestra.
McGinnis enlisted in the Navy in June of that year and his initial assignment was as principal clarinetist
and co-soloist with principal cornetist Adolph Herseth in the Navy‘s Pilot Training Pre-Flight Band, which
many viewed as a professional ensemble, on the campus of the University of Iowa.
While in Iowa City he continued the study of clarinet, this time with his long-time friend and mentor Himie
Voxman, and completed his Master of Arts degree in theory-composition. Himie writes:
I felt honored when Don signed up to take clarinet lessons from me. He was already a very
accomplished performer, having studied with George Waln at Oberlin. He was also an excellent
flutist. As opportunities arose he turned his talents toward conducting. The very high standards
he set for himself carried over to his work as a band director. His ensembles at Ohio State
University were recognized as being among the very best in our country. I am happy to add my
own tribute to an outstanding musician and a dear friend for more than half a century.
From 1946 until his retirement in 1979, McGinnis pursued not only a distinguished career in teaching but a
vigorous and thriving career in clarinet and flute performance as well as conducting.
Don McGinnis is recognized as one of America‘s premier flute and clarinet performers and teachers. His
solo and chamber music recordings are internationally distributed. As orchestra flutist he has performed
under Stravinsky, Craft, Copland, Hanson and Monteux.
In 1952 he was appointed Director of The Ohio State University Concert Band, following the legendary
Manley Whitcomb. Under his baton The Ohio State University Concert Band achieved international
recognition and produced more than twenty internationally distributed recordings.
In 1977 a Resolution from the Ohio House of Representatives recognized his outstanding contributions in
teaching, performance and leadership in the state of Ohio. He carries the title of Professor Emeritus of
Ohio State University where, among other cherished awards for campus leadership, he was linked into
Sphinx, the highest honor bestowed upon students and faculty for scholarship and leadership.
Twice McGinnis was granted the Distinguished Teaching Award in the School of Music. He retired in
1979 from a thirty-eight-year teaching career at OSU.
During his illustrious career, Don McGinnis has conducted in Philharmonic Hall, Lincoln Center Plaza,
Carnegie Hall, St. Paul‘s Cathedral in London, Fumon Hall in Tokyo and major MENC and CBDNA sites.
As President-Elect in 1977 he completed the term of the deceased Ardeen J. Foss and his own term as
President in 1978-79.
During his early years in ABA (he was elected in 1957), such great men as Colonel Santelmann, Ray
Dvorak, Mark Hindsley and others of our great leaders instilled in Don great love and admiration for this
wonderful organization, and also the responsibilities we take in participating in every way possible.
Don tells of his great honor of serving on numerous committees with Mr. Hindsley and found him to be a
man of great intelligence and imagination. He often marveled at Hindsley‘s organizational skills and his
involvement in ABA.
―Each of us,‖ Don writes, ―was elected to membership because of significant accomplishments up to that
time. A great stumbling block to an objective evaluation for Honorary Life Member is how little we know
of our members‘ careers in later years. The only time we learn of our peers‘ accomplishments is when the
memorials are read at the first meeting of each convention. We lack knowledge of our members‘
comprehensive careers, of their accomplishments after their presidency or in retirement.‖
I first met Don in the fall of 1952 as graduate students at the University of Iowa. Our acquaintance
flourished in conversation regarding Himie Voxman, our esteemed teacher, the winter snow, passing music
history, sports and especially OSU football and the Cleveland Browns.
I soon came to the realization that this man was indeed scholarly, a rather reserved gentleman who really
could and did laugh (though I am told he seldom matched humor with rehearsal) and a professional
committed to his career and to those he taught—in the studio or the rehearsal hall.
Himie often mentioned to us undergraduates three of his students—Tom Ayres, Bob Titus and Don
McGinnis—as being outstanding clarinet players. I was happy to say I finally met one of those ―legends‖
from Himie‘s studio. In gratitude we acknowledge Don‘s consummate musicianship, his pedagogy
expertise and his unselfish commitments to bands. It is not difficult to find unanimous and profound
respect in all dimensions of conversations and in all age groups when the name McGinnis is mentioned—
be it music, teaching, the ABA or OSU sports.
Don McGinnis as an ABA Past-President and his most recent contribution to ABA serving as Chair of the
Constitution Revision committee continues to establish himself as a person of wisdom and integrity—
carrying the mantle of ABA principles with singular dignity and conscience.
I am delighted for this opportunity and privilege to place in nomination the name of Dr. Donald E.
McGinnis for Honorary Life Member of The American Bandmasters Association.
1997 ABA Annual Report
Comments on Dr. McGinnis
by Philip C. ―Carl‖ Chevellard, Lt. Col., USAF - 2004
Thank you, President Cramer,
Alaska‘s Athabaskan natives refer to ―breaking trail‖ through the snow as a vital duty because it makes the
path smooth for those who follow. In Window Rock, Arizona, the heart of the Navajo Nation, the United
States Air Force Academy Band performed three years ago. At that concert, Second Lt. Lawrence Yazzi, a
Navajo and a newly-minted graduate of the Academy, spoke to ―his people‖ and thanked his father, his
grandfather, and the many generations of brave warriors before him who made the footsteps in which he
now walked. ―I could not do what I am doing without their help,‖ he said. ―Whatever I am or will become
is because of what they made me.‖ America refers to Chicago as its ―City of Big Shoulders.‖ We speak of
the importance of ―standing on the big shoulders‖ of our parents, teachers, and mentors as a precious
opportunity for those blessed with such influences.
I was similarly blessed by Dr. Donald E. McGinnis.
I am enormously appreciative, Ray, to have been given this opportunity to offer a few comments about Dr.
McGinnis, and by extension, about his life-long companion, Ruth. I make these remarks fully realizing that
there are many in this room who know Dr. McGinnis far better than I—as a colleague, leader, teacher, and
friend. Still, I offer my comments about this man who has so importantly changed my life from the
perspective of just one.
McGinnis Career Summary
A good place to start is to quickly summarize Dr. McGinnis‘s career. Obviously, he‘s a legendary
clarinetist, flutist, conductor, and teacher. Through live concerts and recordings, millions have been moved
by his performances. And legions of performers, conductors, and students whose career interests later
expanded beyond music, have tremendously benefited from his influence since he arrived at The Ohio State
University in 1941.
There he began, teaching winds and serving as the Assistant Director of the Marching Band. And when the
war called, he answered. Thankfully, when his duty was done, he returned, unscathed, to Ohio State.
There, he began again, becoming the Conductor of the Concert Band and the Director of Bands, a position
he held from 1952 to 1979. He became Principal Flutist and the Assistant Conductor of the Columbus
Symphony, as well.
Although Past ABA President McGinnis has received innumerable honors, decorations, and awards, I‘m
happy to say that, thanks to the efforts of ABA member Dr. Paul Droste, in about two weeks, on March
20th, at a concert hosted by Paul‘s internationally-famous Brass Band of Columbus and featuring the
Salvation Army Chicago Staff Band, Dr. McGinnis will receive an honor that, in his own words, is the
―most meaningful of all‖: the Salvation Army‘s God and Country Award.
An incomparable teacher on two instruments, Dr. McGinnis has produced world-class students on both,
among them, clarinetists Howard Klug and Richard Stoltzman. Recently Mr. Stoltzman appeared with the
Columbus Symphony and made a point of visiting and quite publicly paying tribute to the tremendous
influence Dr. McGinnis has had on his career. After comparing notes with another, unnamed professional
musician of the McGinnis ―school,‖ Stoltzman remarked, ―My colleague and I have, collectively,
performed under 250 professional conductors. Of that 250, we rate Donald McGinnis in the top five!‖
So, with your indulgence, I‘d like to add my perspective—as one of his students—by quickly remarking on
three values beyond music education, cultural enrichment, and inspiration, that Dr. Donald McGinnis has
given me. Again, I make these personal remarks knowing that they quite inadequately represent the
tremendous influence he‘s had on me, and on so many others who‘ve had the privilege of knowing him.
Value One: ―On Grace…‖ (―G‖)
In February 1972, with a draft lottery number of ―73,‖ I enlisted in the United States Army. To my
knowledge no Chevellard has been drafted for any war. I wasn‘t about to break that good record. I was in
my senior year at Ohio State, I was a member of the Concert Band, and we were headed for Carnegie Hall.
It would be my last tour and my last concert under Dr. McGinnis‘ baton, as immediately afterward, I had
orders to report to Fort Dix, New Jersey, and thereafter, quite possibly, to Viet Nam.
The tour was smashing. Huge audiences, a great band, and Dr. McGinnis in top form, as always. I shared
the principal euphonium book with Sandy Emig, surely one of the finest student musicians then at Ohio
State. Somewhere, late in the first half of the concert, Grainger‘s Children’s March was programmed.
Because Sandy had to leave her post to play the piano part, the wonderful euphonium solo fell to me. I was
obviously glad for that honor.
After the concert the night before, I managed to dent the second valve slide of the brand new Yamaha
euphonium that Ziggy Coyle had imported for me—among the first in America, or at least Columbus! As
you will recall, the Children’s March begins in ―F.‖ The euphonium solo introduces the second theme
early in the piece, and that theme prominently features an ―A,‖ the tonic third in that key. Unfortunately,
that second-valve slide dent sadly flattened the ―A‖ I badly needed for the solo. I simply HAD to find a fix
for this problem for Carnegie Hall. When Sandy generously offered to allow me to use HER Yamaha at
the dress rehearsal, I happily discovered that ―A‖ was in tune! I was set!
I had several reasons to be excited about this concert. It was at Carnegie Hall, it was (sadly) my last with
the OSU Concert Band, and my last with Dr. McGinnis. Furthermore and at Dr. McGinnis‘ invitation, I
was to accompany him at intermission to the Green Room to meet a very old friend of my family: Mr.
Norm Nadel, formerly the music critic for the Columbus, Ohio Citizen-Journal and by then the music critic
for New York City‘s Scripts-Howard newspaper.
The program went brilliantly. Then it was time for the Grainer and my last chance to shine at OSU!
Confidently, I began to play the solo, but ―nothing‖ came out except an ugly, flat, muffled sound. I played
louder, lipped up the pitch, projected the bell, but…nothing. Sixteen bars later, after the tutti theme that
followed, my downwind stand mate—Chris Doane (now Music Department Chair at University of
Louisville)—discovered why: Sandy was a diminutive lady, and to prop up the instrument, she used a
pillow which, unbeknownst to me, she stored in the bell when the horn was at rest. I was mortified.
McGinnis glared at me in disbelief, and, as I had played the solo adequately every night, NO ONE in the
band picked up the solo cue. Nothing but accompaniment was heard. The second theme introduction had
to wait for the ensuing tutti.
As we made our way to the Green Room, however, Dr. McGinnis, seeing I was unglued, comforted me.
―Listen, Carl,‖ he said, ―forget it—it‘s past. Here‘s some good advice that I hope will comfort you. We all
make mistakes. So, take it from me, it you‘re going to screw up in your career—do it early!‖
Great advice that I‘ve passed on, many times! And what a great reaction to a moment that marred an
otherwise stunning concert. I‘ve never forgotten that kindness under fire. We laughed—and still laugh—
about it, but Doc‘s reaction in the elevator on the way to the Green Room revealed another McGinnis value
I‘ve tried to emulate: love unconditionally.
Value Two: ―On Affection—And Love…‖ (―A‖)
Dr. McGinnis and Ruth have been married for over 50 years. For the thirty-some years I‘ve known the
McGinnises, I‘ve viewed them as a model of what marriage should be. They‘re a dedicated, loving,
dissimilar, complementary, successful team.
In the spring of 1971, I knew I wanted to marry Barb. I wanted to marry her, that is, after we graduated—
she from Bowling Green and I from Ohio State. According to my upbringing, I would not propose to her
until I had met with her father and asked for her hand. At the time, her father, Mr. John Burgoon, was a
prominent Ohio banker: the Secretary and Senior Vice President of BankOhio, then Ohio‘s largest holding
company. To set up a meeting, I called Mr. Burgoon‘s secretary who advised me that the meeting would
have to be in an afternoon, in the company‘s Executive Suite and corporate conference room. Imposing.
Then it occurred to me: oops! What about Concert Band? Concert Band rehearsals were fifty minutes
long, starting at 3 PM every day. To meet with Mr. Burgoon would mean I‘d have to ask Dr. McGinnis to
miss rehearsal, and NO ONE missed a McGinnis rehearsal without GOOD REASON.
Clearly, I was faced with two dilemmas: asking Mr. Burgoon for Barb‘s hand in marriage (which I could
not at all assume would result in an affirmative reply), or asking Dr. McGinnis if I could miss a rehearsal.
No kidding. I was far more concerned about the latter.
Cautiously entering Dr. McGinnis‘ office, somehow the words of my request got out. I, too, hated to miss
rehearsal, and I certainly didn‘t want to disappoint ―the Doc.‖ But those deep, blue, Scotch eyes warmed
when I told him why I was there. ―Of course, Carl. But are you sure this is what you want to do? Then by
all means…and our best wishes go with you and Barb.‖
Now, decades later, after more than 31 years of marriage, Don and Ruth remain, to our great fortune, vitally
interested in our family. They still send—on a regular basis—their best wishes. And yes, I‘m glad to say,
that Mr. Burgoon DID agree to give me Barb‘s hand!
Value Three: ―On Humility…And Decorum‖ (―B‖)
To my delight, I managed to graduate from Ohio State in December 1972, only six months after my class.
After Basic Training and Advanced Individual Training (including a little extra, specialized training as a
―mole‖ who, if activated, would have been ordered to descend into Viet Cong tunnels to de-booby trap
them), I was NOT activated, I was not sent to Viet Nam, and was, instead, allowed to stay in the Army as a
Reserve and Guard member and returned to Columbus. This allowed me to take a teaching job, pursue
graduate degrees, and later, a career in higher education.
My first job was as Director of Instrumental Music, teaching grades 4 through 12 at a very, very small
school district in Millersport, Ohio, just outside Columbus. Mine was a very small band with poor
instrumentation, a tiny budget, and, as is too often the case, no private instructors or staff besides myself.
We worked hard, and earnestly prepared for our contest performance. It was my first as a conductor, and to
my surprise, sitting in the audience was Dr. McGinnis.
As it turned out, we received a ―Two‖ and were happy with it. I was understandably nervous, and a bit
more so because ―the Doc‖ was there. Afterwards, he found me. He couldn‘t have been more gracious.
He complimented the band on its outstanding effort, on the program, on some of the individual players, and
on our musicality. He also generously complimented my conducting.
In response, I protested, telling him all that went wrong—pitch, notes, ensemble. Those blue Scotch eyes
were still warm, but firm, this time. ―Carl, do you know to whom you are speaking? Of course I know
these things…but I chose not to mention them. When someone pays you a compliment, just say ‗Thank
you!‘‖
Humility. Propriety. Politeness. Here were more great life lessons from Donald McGinnis, taught, as
usual, by example.
Summary
Dr. Donald E. McGinnis is a Veteran. He is rightfully proud of HIS service to our country, and he
demonstrated this pride, this understanding of the values of service and selflessness, in the concert dress he
wore for over four decades. It was a simple, double-breasted black coat, modeled on a Navy Captain‘s
uniform. An unspoken reminder, seen by thousands, that serving one‘s country is something to be proud
of.
As you know, Dr. McGinnis also speaks the King‘s English. In fact, he speaks—and writes—eloquently.
The lesson? ―An effective communicator gets things done.‖ Noted again, Doc.
He‘s also a gentleman: soft-spoken, considerate of others, proactive in friendship, protective of his friends,
and forgiving of his enemies. In rehearsal and out, he‘s tough, but fair, personifying courtesy,
thoughtfulness, and absolute integrity. Values I‘ve tried to emulate as a conductor, teacher, officer, and
gentleman.
A gifted musician, an inspiring conductor, a giving mentor, a trusted friend, an example of excellence,
humility, selflessness, refinement, and yes…LOVE of the very best kind…love demonstrated not by words,
but by a life which is well lived and freely shared, moment by moment. Thank you, Ruth, and thank you,
Dr. Donald E. McGinnis, my musical father.
I love you, Doc.
2004 ABA Annual Report
―Nomination of Donald E. McGinnis for Honorary Life President‖
by Richard Strange
Born in Barberton, Ohio, in 1917, our subject graduated from Wadsworth High School. He received TWO
undergraduate degrees from Oberlin Conservatory of Music, and an MA and PhD from the University of
Iowa. He retired from Ohio State University in 1979, after 38 years of teaching flute and clarinet, during
which time he served as chairman of the performance division for many years and acting director of the
School of Music for one year. He helped found the Faculty Woodwind Quintet, and, most important of all,
conducted the OSU concert band for 27 years.
Our subject has been a guest conductor, soloist, and clinician in 45 states and many countries. Beginning in
1941, he was principal clarinetist with the Columbus Symphony Orchestra, then principal flutist for 10
years, and assistant conductor from 1974 to 1982. He was a visiting professor at Capital and Indiana
Universities after his retirement. To help you in your quest for his name, our subject is a past president of
the American Bandmasters Association.
I first met this gentleman when, as a one-year replacement band director at West Virginia University, I had
the good fortune to attend a clarinet clinic in Huntington, West Virginia. I found out almost immediately
that the clinician was a master player and teacher. I learned an immense amount from him that day and in
many subsequent encounters. Through the years we developed a close friendship, which led me to realize
that our subject represents the pinnacle of musicianship and personal integrity.
Now to the reason for the foregoing facts:
I am delighted to announce to you that the Past Presidents and Board of Directors have given Dr. Donald
McGinnis the title HONORARY LIFE PRESIDENT. My only regret is that he is not here to receive our
HIGHEST HONOR in person. Please write him a letter of congratulation as soon as possible. He will
cherish each and every one that he receives.
2007 ABA Convention
HUGH E. McMILLEN (1913 – 1992)
Hugh E. McMillen, a Past President of the American Bandmasters Association, was born on February 10,
1913 in Athens, Michigan and died in Tempe, Arizona on November 7, 1992.
Hugh‘s love for music began early with his instrument of choice, the trombone. After graduating from
Athens High School, he started the school‘s first band program. He studied at the Battle Creek
Conservatory in Michigan and the Bush Conservatory in Chicago before entering Northwestern University,
where he received his Bachelor of Music degree in 1935. During this period he came under the influence
of ABA member Glenn Cliffe ―Rusty‖ Bainum. In 1941 Hugh received a master‘s degree in music from
the University of Colorado at Boulder.
In 1935 at the age of 22 Hugh became Director of Instrumental Music of the Boulder Valley Public
Schools. A year later he was hired by the University of Colorado to serve as Director of Bands and teacher
of low brass. Thus began a memorable career of 42 years at the university. In addition to his university
commitments, Hugh continued to teach at Boulder High School until 1941. He also directed the Boulder
Civic Band from 1935 until 1945. After he retired from the university in 1978, he helped found the
Boulder Concert Band, an adult band of 70 musicians, serving as its conductor for eight years.
During his tenure at the University he composed their alma mater, and every time it is played, there‘s a
memory of Hugh. He developed one of the finest band programs in the country and became a leader in our
profession, being elected to the presidencies of: the Colorado Music Educators Association, the Southwest
Division of the Music Educators National Conference, the College Band Directors National Association,
and the ABA, serving as President in 1974. He was also a member of the Board of Directors in 1968, 1969
and 1975. Hugh was past editor of the ABA news column of the School Musician magazine and has served
on the editorial board of the MENC Journal.
Hugh was a member of Phi Mu Alpha, Pi Kappa Lambda, and past national president of Kappa Kappa Psi,
which honored him in 1989 with their Distinguished Service to Music Award. Other music and academic
honors included: the 1976 Bandmaster of the Year from the Colorado Bandmasters Association, the
Colorado Music Educators Association Outstanding Service Award, the Colorado University Medal in
1983 and Colorado University President‘s Citation for Emeritus Professors, the ASBDA Edwin Franko
Goldman Award, and the University of Colorado College of Music Distinguished Professor Emeritus
Award. Hugh was the first recipient given awards in all three categories of alumni achievement: fraternity,
service and concert band. The university established the Hugh E. McMillen Band Scholarship Fund to
honor him.
Hugh received every major award given by the band profession for distinguished service.
To those of us who knew him since his election to ABA in 1949, Hugh was a man with a great dedication
to ABA. He was a man with a passion for his music, his teaching, and his friends. His wife, Evelyn,
remembered him this way:
He was truly one of a kind—his enthusiasm for the music was infectious and unflagging—he ate,
drank and slept music. I guess you could really call him Mr.
Music.
1993 ABA Annual Report
Note: The 1989 Annual Report noted the death of Betty McMillen, wife of Hugh, on August 27, 1988.
President McMillen‘s Address - 1975
On behalf of the officers and board members, I should like to extend our warmest welcome to you all at
this, the 41st Annual American Bandmasters Association convention. And I would like to recognize the
tremendous amount of planning and hard work which Pete and Joyce Dombourian and their local
committee have done in hosting this convention.
During the course of the year, I was asked several times by letter (or in person) the very pertinent question,
―What is the American Bandmasters Association?‖ After answering in several different ways, I have
concluded that the following statement, with an understandable lack of modesty, is the truth, although it
should probably not be released as a public statement:
The American Bandmasters Association is the most unique, and by virtue of its distinguished
membership, the most influential organization of its kind in the world. Active membership is,
indeed, an honor of the highest order. Election to active membership is a recognition of the
nominee‘s highly superior qualities and reputation as a musician, as a leader in our field, and as an
individual of high ethical standards.
As Past President Jack Mahan did in his Honolulu speech, I quote from the 1931 program of the Boston
convention concerning our origins and heritage:
The idea originated with Edwin Franko Goldman, who had given the matter considerable thought.
While on a visit to Columbus, Ohio, Mr. Goldman explained his plans to Victor J. Grabel of
Chicago, and William J. Stannard of Washington, both of whom he met there. These two
prominent bandmasters expressed great interest in the idea. A week or so later, Mr. Goldman had
a chat with John Philip Sousa, who was much impressed with the possibilities.
Encouraged by the favorable reactions of these gentlemen, Mr. Goldman invited most of the
prominent bandmasters of the United States and Canada to a luncheon and meeting at the Hotel
Pennsylvania in New York on July 5, 1929, as his guests. It was at this meeting that the American
Bandmasters Association was definitely organized, with the objects of ‗mutual helpfulness and the
promotion of better music through the instrumentality of the band. To this end, the Association
shall strive to secure the adoption of a universal band instrumentation so that band publications of
all countries will be interchangeable; to induce prominent composers of all countries to write for
band; to establish for the concert band a higher standard of artistic excellence than has been
maintained; and to do all possible to raise the standards of bands and band music.‘
Among those who attended were Arthur Pryor, Captain Charles O‘Neill, A. Austin Harding,
Captain R.B. Hayward, Frank Simon, Lieutenant J.J. Gagnier, Lieutenant Charles Benter, Victor J.
Grabel, and Edwin Franko Goldman.
I would like to discuss briefly our objectives which seem to be as valid today as they were 46 years ago
when they were first stated.
TO STRIVE TO SECURE THE ADOPTION OF A UNIVERSAL (CONCERT) BAND
INSTRUMENTATION. This is still a highly desirable objective which we must continue to work toward,
both nationally and internationally, as we have for the past forty-six years. In terms of the development of
the symphony orchestra, the concert band is a very young medium. We can only hope that with our
superior modes of communication, and with increasing dialogue among band conductors at home and
abroad, we can standardize our instrumentation in fewer years than the centuries required to standardize the
instrumentation of the symphony orchestra.
Obviously, it will be difficult to resolve our own differences in this country in a short period of time
because of the variety of problems peculiar to each of the several different types of bands: professional,
military, municipal, small college, large university, small high school, large high school, and so on. All
have budgetary problems which impose limitations of one sort or another; many have multi-functions to
perform, some of which require augmented brass and percussion sections which have to be contracted to
obtain good concert band balance; some concert bands perform for the most part in out-of-doors settings,
some with band shells, others without.
All of these factors conspire against the setting up of a universally agreed upon numerical instrumentation.
Still it seems that an ―ideal‖ basic instrumentation for the ―indoor‖ concert band both here and abroad is a
realistic goal, with the understanding that this instrumentation might have to be augmented from time to
time to meet the demands of the score.
If we fail to exert continuing influence in this area, we may, by default, find composers in this country as
well as abroad writing consistently for such diverse instrumentations that only a relatively few bands could
perform these works.
TO INDUCE PROMINENT COMPOSERS OF ALL COUNTRIES TO WRITE FOR BAND. This
objective continues to be one of the vital concerns of all of us both as members of ABA and as individual
conductors. Dr. Goldman, our first ABA president, made this objective one of his prime concerns and
worked diligently to encourage composers to write for band. His annual commissions resulted in the
following compositions:
1949 – ―A Solemn Music‖ by Virgil Thomson
1950 – ―Tunbridge Fair‖ by Walter Piston
1951 – ―Canzona for Band‖ by Peter Menin
1952 – ―Madamoiselle‖ (a ballet for band) by Robert Russell Bennett
1953 – ―Pageant‖ by Vincent Persichetti
1954 – ―Chorale and Alleluia‖ by Howard Hanson
1956 – ―Celebration Overture‖ by Paul Creston
1957 – ―Santa Fe Saga‖ by Morton Gould
Upon the death of Edwin Franko Goldman, Richard Franko Goldman continued the commissions as a
memorial to his father.
Many other significant original works were written throughout the 1940s and 1950s, such as the ―Theme
and Variations for Wind Band‖ by Arnold Schoenberg (1943), ―Suite Francaise‖ by Darius Milhaud
(1945), and the ―Symphony in B Flat for Band‖ by Paul Hindemith (1951). It was during this period that
composers of stature began to recognize the band as a medium of artistic expression.
In more recent years, individual bands and such organizations as Kappa Kappa Psi and Tau Beta Sigma, Pi
Kappa Omicron, the ASBDA, and the CBDNA began to commission works. This influence can be traced
through Mr. Goldman to the American Bandmasters Association where the idea was born.
In 1956 the ABA-Ostwald Band Composition Contest was instituted with the award made possible through
the generosity of the Ostwald Uniform Company. This was the first continuing competition of its kind.
The first winner was ―Fanfare and Allegro‖ by Clifton Williams. (Mr. Williams was a winner twice.)
Other winners have been: James Sclater, Roger Nixon, Robert Jager, Karl Kroeger, Fisher Tull, Richard
Willis, Robert E. Jager (twice a winner), Lawrence Weiner, John Barnes Chance, Frederick Beyer,
Frederick H. Ashe, Fritz Velke, Joseph W. Jenkins, Florian Muller, Maurice Weed, and J. Mark Quinn.
The 1975 winning composition will be performed at this convention by the United States Army Band at our
final concert on Saturday evening. This composition contest, as well as others which have since been
instituted, have performed a similar function—that of ―discovering‖ new compositional talent.
As ABA members we should actively encourage composers in their area to write for band—whether
students, faculty, or professional composers. Reading and/or performances of such compositions at the
local level accomplish at least two functions—the opportunity for the composer to experiment with
twentieth century idioms, and the education of players, conductor, and audience in the use of new
compositional techniques appropriate for band performance. This is a ―grass roots‖ activity through which
ABA members can continue to exert important influences upon the continuing development of our
literature. Urge submission of compositions to the Ostwald Committee.
In order to maintain a balance between the old and the new, our gifted transcribers should be encouraged to
continue producing new transcriptions of older works.
These areas of activity would seem to be at least partially fulfilled by the objectives of MUTUAL
HELPFULNESS AND THE PROMOTION OF BETTER MUSIC THROUGH THE
INSTRUMENTALITY OF THE BAND, and TO DO ALL POSSIBLE TO RAISE THE STANDARDS
OF BANDS AND BAND MUSIC, along with the direct influence exerted by our members in the areas of
conducting, guest conducting, teaching, participation in workshops and on panels, contest adjudication,
teaching in college (with continual upgrading of music curricula) and the many other significant
professional activities in which our various members engage.
Past President Hunt at the Washington meeting made this statement: ―We have to keep looking for new
horizons and I think the international sphere is one place we should look.‖ The joint meeting in Honolulu
last year with the Japanese Band Directors Association was a beautiful realization of this idea. What a
warm and rewarding experience it was for those of us who were privileged to attend!
Last spring I appointed a new ABA International Relations Committee. Chaired by Paul Yoder, who, as
many of you know, is Vice-President and representative for the North American continent of the
―Confederation Internationale Des Socitie Populaires de Music‖ (CISPM). Members of this committee are
Messrs. Berdahl, Hunt, Utgaard, Volkwein, Ruppel, Dombourian, Kurtz, Lum, Pope and Hoe. Continuance
and expansion of this committee are both strongly recommended.
The international aspect of this convention was to have been enhanced by the appearance on tonight‘s
concert of the outstanding amateur band from Luxembourg, the Harmonie Municipale, Esch-sur-Alzette.
At the last moment, for financial reasons, the appearance was cancelled. This band will, however, be
touring in this country during the last half of 1975 under the auspices of the Luxembourg State Department.
I would be remiss did I not recognize publicly the dedicated work of George Howard and the John Philip
Sousa Memorial, Inc. in realizing the $100,000 goal for the Sousa Stage in the Kennedy Center in
Washington, DC, as well as for the international association which we now have with CISPM.
Because Ray Dvorak was unable to attend the Honolulu meeting, I would like at this time to recognize him
for his leadership in the successful campaign to elect John Philip Sousa to the Hall of Fame for Great
Americans. We will hear more from Ray concerning the progress of plans for the enshrinement ceremony.
Another new committee for this year, and one which I also recommend be continued, is the ―Committee on
the Constitution and By-Laws.‖ Many of our members have felt that a careful and objective examination
of these documents should be made with recommendations for appropriate change. Mark Hindsley is
chairman, with Payne, Hunt, Foss and McGinnis as committee members.
Last May I asked Board Chairman Jack Mahan to undertake the responsibility for revitalizing the structure
and financing of ―The Journal of Band Research,‖ which is, incidentally, the only learned research journal
in the band field. A new permanent editor, Dr. Warren George of The Pennsylvania State University, was
appointed to succeed the late Gale Sperry. Dr. George is attending the convention, and we hope that you
will become acquainted with him and help him in any possible way in the location of material for
publication in the ―Journal.‖ Our thanks to Acton Osting, now our associate editor and circulation
manager, who edited the 1974 spring issue.
Lynn Sams has accepted our invitation to write a new and carefully researched ―History of the ABA.‖ We
could think of no living member or associate member whose knowledge and records are as complete as his,
nor which extend as far back into the early period of our history as his. I recommend strongly that we
undertake (or sponsor) the publication of this document upon its completion.
Along this same line, Col. Sam Loboda will give a second presentation of the documentary film entitled
―The History of the ABA,‖ which he and his committee produced last year and presented for the first time
at the Honolulu meeting. Sam and his colleagues update the presentation annually. Don‘t miss seeing this
treat on Friday.
In addition to looking for new horizons at home and while continuing to work on established as well as new
projects, we should assume an increasingly greater obligation in the international field. We should
encourage, among other things, the appearance of foreign bands at our conventions as we had planned for
New Orleans. And certainly we would hope that some of our bands could reciprocate by traveling to
similar meetings abroad. Perhaps we are at the point where we should host a meeting of the World
Congress of Bands.
Certainly we are all involved personally in the celebration of the Bi-Centennial through concerts and the
presentation of music—new and old—appropriate to this significant event; and we can expect that the 1976
convention in Tucson will provide a fitting climax to our observation of this important national event.
I would like to again emphasize the necessity of personal involvement in ABA activities and regular
attendance at our conventions. And above all, that we support the objectives of the ABA in our everyday
pursuits.
Not until one has had the very great honor of serving as president of this association does he really
understand and appreciate the work of our various committees. The membership of these committees reads
like a ―Who‘s Who‖! To witness, as I have this year, the dedication of these men and their sustained
interest in, and love for, the ABA is a gratifying and humbling experience.
Betty joins me in thanking all of you for the honor accorded us in my election to the presidency.
I cannot tell you how fortunate I feel to have had the counsel, guidance, and support of two great people:
Board Chairman Jack Mahan, and Secretary-Treasurer Col. William Santelmann.
It is our great loss that Colonel Bill, an active member since 1941, President in 1953, and Secretary-
Treasurer since 1965, has requested that he not be proposed as a candidate for re-election. As much as we
will miss him in this position, we can only respect his wish, extend our deepest gratitude to him for his
outstanding contributions, and wish him Godspeed.
Bill, we hope now that you can winter in the warmth of Florida during those cold months in chilly
Washington where you have cheerfully worked so hard for us the past ten years. Our blessings and love go
with you and Margaret, and may you have many years of happiness ahead. But don‘t forget us—your
friends and colleagues! We won‘t forget you!
In closing, we would like particularly to welcome our lovely wives—our ―band aids.‖ Your love, your
support and your attendance at these conventions make the ABA the warm friendship-rich organization that
it is.
1975 ABA Annual Report
S. E. ―Eddie‖ MEAR (1894 - 1974)
Hugh McMillen, President of the American Bandmasters Association, read the names of those members
who had passed on since the last meeting. This list included S. E. Mear, who passed away on August 21,
1974. He had been a member of ABA since 1932.
1975 ABA Annual Report
Another old-timer, elected to membership in 1932, was Lt. Col. (retired) Eddie Mear, who has been
prevented from attending our conventions for a number of years because of illness, which took its final toll
this year. Col. Mear operated out of the Pentagon when I first met him in World War II, and most of the
band and personnel assignment for bands were made from his office.
ABA 1975 Newsletter
JAMES A. MELICHAR (1896 – 1994)
James A. Melichar passed away in Cedar Falls, Iowa on January 22, 1994 at the age of 97. Born on August
26, 1896 in Stare, Nechanice, Czechoslovakia, he received his early musical training in Bohemia. He came
to the United States when he was 18 years old. In 1917 he was preparing to take out his citizenship papers,
but did not have to because he enlisted in the Army and automatically was granted citizen status.
In 1919, following his discharge as a clarinetist in an Army band, he joined the Kryl Concert Band.
Besides organizing his own band, he played in several silent movie pit orchestras in South Bend, Indiana
and Sioux City, Iowa.
From 1924 until 1929 Jim was the director of the Monahan Post Band of the American Legion in Sioux
City. His band earned numerous honors, including first prize at the World Legion Band Contest in Paris in
1927 and four first-place ratings in Chicagoland Music Festivals.
In 1929 Jim became the director of the Cedar Falls Municipal Band, a position he held for forty-seven
years. Jim was also the instrumental music instructor in the Cedar Falls Public School System from 1929
until 1950 and at Dioke High School from 1950 until 1964.
Jim‘s patriotism surfaced again when on December 8, 1941 he was first in line at the local draft board, once
again volunteering his services. He was rejected because of his age. He was forty-six years old! Although
more than eighty members of his municipal band were called to active duty, Jim managed to keep his band
performing for the duration of the war. This was quite an accomplishment, since most similar
organizations had to cease or curtail operations at that time.
In 1933 Jim served as president of the Iowa Bandmasters Association. He was elected
to membership in ABA in 1949 and served on the Board of Directors in 1966 and 1967.
In 1977 Jim revisited his native Czechoslovakia, where he was guest conductor of the Kmoch Koln Concert
Band.
The Cedar Falls Chamber of Commerce named Jim their Representative Citizen of the Year for 1981. Ten
years later he received the Peter Melendy Cornerstone Award for outstanding contributions to the city of
Cedar Falls. Jim will be remembered for his sincere and quite presence. The Cedar Falls Band Shell serves
as a memorial reminder of his musical achievements.
1995 ABA Annual Report
LEONARD V. MERETTA (1915 – 2007)
Leonard V. Meretta
September 5, 1915 - July 23, 2007
Memorial written by Don Wilcox
ABA Memorial Speaker: Carl Bjerregaard
Leonard V. Meretta, professor emeritus of music and founder of the Western Michigan University bands
program, was born September 5, 1915 in Marion Heights, Pennsylvania, and died July 23, 2007 in
Kalamazoo at the age of 91. He received a diploma at the famed Ernest Williams School of Music in
1937. He briefly interrupted those studies in 1935-36 to tour as a trumpet player in The Major Bowes‘
Original Amateur Hour, the number one NBC radio show in the country at that time. He earned a
bachelor‘s degree in 1938 and a master‘s in 1941, both in Music Education from the University of
Michigan. From 1938 through 1942 he was assistant band director at Lenoir High School in Lenoir, NC.
After receiving his masters degree, Meretta was in invited by Dr. William D. Revelli to return to the
University of Michigan as his assistant, a newly created position that Meretta held for four years
until he left in 1945 to become the first Director of Bands at Western Michigan University (then called
Western Michigan College of Education), a position he held for 27 years.
Meretta became a legend in the Kalamazoo community. He was the head of the Brass, Wind and
Percussion faculty for many years and professor of trumpet, conducting, band methods, band arranging,
and other courses until his semi-retirement in 1981. He continued as Professor Emeritus and a private tutor
until his ―final‖ retirement in 1988, after 43 years.
Meretta‘s influence was instrumental in building an outstanding music department faculty, developing the
ensembles to a high level of excellence, bringing in guest artists of national caliber and putting
Western‘s name on the musical map both in the state of Michigan and across the country. He was often
asked to serve as a guest conductor of bands nationwide – including nationally recognized university bands,
All-State bands, the famous Goldman Band of New York City, the Detroit Concert Band and the United
States Army Band. Meretta‘s published compositions included several works for brass soloists and
ensembles in addition to those for band.
He was a long time member of ABA and is remembered for innovations such as organizing the first
Michigan Band Day in 1946 and his founding of the Delta Iota Chapter of Phi Mu Alpha music fraternity
in 1948. He also founded the high school Summer Music Camps at Western in 1952 that is still
flourishing. He was the conductor of the Kalamazoo Male Chorus from 1951-1963. He was a lifetime
member of the Michigan State Band and Orchestra Association and the International Trumpet Guild. He
was recently honored by the Delta Iota Chapter of Phi Mu Alpha with the Orpheus Award, the fraternity‘s
highest honor. He was a dedicated and contributing member of the First United Methodist Church
of Kalamazoo for 61 years.
Leonard will be fondly remembered as a kind, smiling, unassuming man who was a superior teacher, able
administrator, a published composer and arranger, an experienced conductor and a gifted performer on
cornet and trumpet as well as piano and organ. His love of music was shared with literally thousands of
students over the years who will carry on his musical legacy. He was grounded in his faith, work ethic,
personal values and love of family.
As a small example, a few days after I first heard of the passing of Leonard Meretta there was a small
gathering of friends and neighbors at my house in Northport, Michigan following a concert by Ken
Bloomquist‘s Northport Community Band. When I mentioned Meretta‘s passing, there happened to be
about a dozen people in the room and nine of them immediately had warm stories about him to share.
There were two former students of his, a lady who used to live next door, and the rest knew him one way or
another. What a truly impressive legacy!
ALBERTUS L. ―Bert‖ MEYERS (1891 – 1979)
Dr. Albertus Meyers, renowned conductor of the famous Allentown Pennsylvania Band for over fifty years,
died May 15, 1979 at the age of eighty-eight.
Dr. Meyers was elected to membership in The American Bandmasters Association in 1930, one year
following the founding of ABA. He played professionally for many years with the Sousa, Liberati, Pryor
and Conway Bands, and also the orchestras of Victor Herbert and Donald Vorhees.
Music was always the center of Bert‘s life. At the age of eight he began the study of cornet with his father,
John B. Meyers, who was instructor in band and orchestra instruments and director of the Allentown
Marine and Juvenile Bands. In 1906 at the age of sixteen Bert became the youngest member of the
Allentown Band, and in 1926 he became director of the band.
During the course of Dr. Meyers‘ long and successful career as a composer of marches, music instructor,
performer and conductor, many honors were bestowed upon him. In 1974 he was the recipient of the
―Golden Deeds Award‖ of the Allentown Exchange Club. That same year he was given the honor
traditionally reserved for statesmen, as Pennsylvania Governor Milton J. Shapp renamed Allentown‘s
impressive Eighth Street span the Albertus L. Meyers Bridge.
One year later, in 1975, LeHigh County residents demonstrated their high esteem and affection for the
maestro, as he celebrated his eighty-fifth birthday and fiftieth anniversary as director of the Allentown
Band, by attending, with some 6000-strong, a commemorative concert at the city‘s West Park.
In February of this year Dr. Meyers was to receive a special citation from the Pennsylvania Senate and
House in recognition of his distinguished career. However, due to declining health, he was unable to attend
the event and a proxy accepted the citation in his behalf.
Dr. Meyers, who was cornet soloist with the Sousa Band, was a great admirer of Mr. Sousa. Therefore, he
became a diligent worker as a member of the committee to place John Philip Sousa in the Hall of Fame for
Great Americans.
It has been said of the passing of Albertus Meyers, ―He was our last link with the great concert band era.‖
1980 ABA Annual Report
STANELY F. MICHALSKI, Jr.
President‘s Address – 1999
The future of the American Bandmasters Association is similar to the story of the late Supreme Court
Justice Oliver Wendell Holmes, who once found himself on a train, but couldn‘t locate his ticket. While
the conductor watched, with a smile on his face, the eighty-eight-year-old Justice Holmes searched
frantically through all of his pockets without success. Of course, the conductor recognized the
distinguished justice and said, ―Mr. Holmes, don‘t worry, you don‘t need your ticket. You will probably
find it when you get off the train and I‘m sure the Pennsylvania Railroad will trust you to mail it back
later.‖ The justice looked up at the conductor with some irritation and said, ―My dear man, that is not the
problem at all. The problem is not where my ticket is. The problem is, where am I going?‖
In our lives as band directors, we have a propensity to plan future activities based upon the importance of a
beginning, and the meaningfulness of an end. Our concert programs mandate this, our halftime shows
dictate it—our master‘s and doctoral theses require the same. The notable author Robert Frost, in a poem
remarked, ―Ends and beginnings—there are no such things. There are only middles.‖ In our engaging and
consuming schedules, we routinely plan activities emphasizing the importance of a beginning and an end.
However, it is a known fact that the significant aspect of any endeavor surfaces somewhere in the middle of
an undertaking. I vividly remember the beginning of my ABA association when I was introduced, in 1973,
in Hawaii—by my mentor and past president of ABA—Dr. James Dunlop. The end of my term as
President of the American Bandmasters Association has arrived, and on Saturday I will turn the gavel over
to my distinguished colleague, Mr. Bryce Taylor, who will begin his tenure a President of our Association.
There were several other significant beginnings—Al Wright‘s nomination placing me on the Board of
Directors, John Bourgeois‘ nominating me for the office of vice president, Dick Strange‘s nomination for
President-elect and the never to be forgotten nomination by J Julian during which my term as president
began with the rendition of ―Lady of Spain‖ on an undersized, borrowed, dysfunctional accordion.
It is with feelings of fulfillment, accomplishment, gratitude and enthusiasm that I stand before you today.
Only sixty other fortunate individuals have graced the presidency of ABA and only they know the
significance and substance of the position and the effort required to meet the expectations of the
membership. I am extremely grateful for the support that each of you provided when called upon.
Committee chairpersons, past presidents, officers and members responded to every request with
purposefulness and resolve. I shall always cherish your many acts of kindness and assistance.
A few weeks after the Biloxi Convention, the question that kept rolling around in my mind was: What
have I done to merit such recognition to be elected President of ABA? My wife was quick to remind me of
the many musical activities in which I have been involved over the years. And surely Joan comes into her
share of commendations for supporting me throughout our 41 years of marriage. But I wondered how do I
want people to remember me when I am called to the ―final concert‖ or how Col. Howard termed it—―The
Symphony in the Sky.‖ This bought to mind an incident in the life of Alfred F. Nobel. As many know,
Nobel was a chemist who made his fortune as the inventor of dynamite. He licensed his invention to the
government, became a wealthy man and retired to a life of leisure. One day his brother died and one
newspaper made an error and printed Alfred‘s obituary instead of his brother‘s. Nobel had the rare
experience of reading his own obituary while yet alive, seeing for himself how people would remember
him. The obituary began as follows: ―Dr. Alfred Nobel, who became rich by finding a way to kill people
faster than ever before, died yesterday at the age of ….‖ and on and on the obituary went. Taken aback by
this description of himself, he vowed to be remembered differently and decided to use his fortune to
establish the Nobel prizes for people who have assisted humanity in a number of ways. Today, very few
people associate his name with dynamite. Rather, hundreds of millions of people world-wide associate it
with the prestigious Nobel prizes—for peace, medical advances, scientific accomplishments, literature, etc.
In like manner, members of ABA have set a standard by which they will be remembered—their concerts,
their compositions, their publications, their performances, their students, their legacies in every shape and
fashion. Every ABA member can proudly count, with humility and undisguised pride, the hundreds of
lives they have influenced through their teaching, conducting and mentoring of students for whom they
were held responsible. The fact the many members have sponsored their students for membership
consideration in the American Bandmasters Association is truly a significant tribute in itself.
Speaking of obituaries…we have sort of a living corollary to Dr. Nobel within our membership. Most
members have not thought of their obituaries or the inscription they may wish to have placed on their
tombstones. However, we have one member who is a most distinguished performer, conductor, arranger,
administrator, lecturer, teacher and past president of ABA. It has been told that he wishes only one word
on his tombstone. It will say—STRANGE. Then when observers pass by, they will look at the inscription
and say, ―Isn‘t that STRANGE?‖
It has been a privilege to witness the unselfish efforts expended by the membership to sustain the image of
the American Bandmasters Association. Much of it goes by unnoticed but there is evidence of active
communication, ardent cooperation and meaningful activities that support the mission of ABA. For
example, we now have updated versions of the ―Orientation Handbook,‖ the ―Lest We Forget‖ pamphlet
and a soon to be completed ―Friendship Directory.‖ Each one of these revisory tasks took countless hours
of communication, meetings, procurement of funding, printing and now the distribution—all done in a
quiet, efficient manner by members working in partnership to improve the overall image and function of
the American Bandmasters Association.
We must continually ask ourselves if our professional contributions, energies expended, and time and
money spent meet the needs of ABA. Are we better off musically, fraternally and professionally because
of our association? If so, let us proceed with enthusiasm and continue to prosper. If not, let us examine our
course of action, our intentions and our purpose so we can remain at the forefront as an organization of
leadership, commitment and vision. It is a known fact that every organization counts among its
membership well meaning individuals who question the function and purpose of the organization. For
instance, how much time can one render to an organization when considering personal responsibilities,
family life, and professional goals? This is a constant struggle for all. Like all other musical activities, one
can only realize accomplishments after considering the amount of contributions made to effect a functional
and meaningful organization.
In most situations, the biggest problem in any organization is getting people to care about being involved. I
recall the case of a young mother with a very unruly son—so unruly that she found him just about
impossible to control. On the advice of her friends she took him to a psychologist, who said, ―Yes, madam
you do have a problem with that child. But at the moment I am far more concerned with you. You are
terribly upset and I want you to take these tranquilizers. Bring the boy back next week. When the mother
appeared the following week, the psychologist said, ―Now, tell me, has the boy improved any this past
week?‖—to which the mother replied, ―Who cares?‖
Our distinguished past presidents have set standards that serve as models for band directors to realize their
full capacity as dynamic leaders, conductors and contributors to the promotion of bands and band
performance. Unlike Justice Holmes, dedicated ABA members know where they are going and like the
mother of the unruly child, can‘t be concerned with the usual detractors and occasional negativism that
permeates any organization.
Of course, each president realizes that his term ends but the accomplishments are only the beginning. Each
is engaged in an ongoing concern for making ABA more relevant to current and future members.
Although we will meet new challenges, we will remain steadfast in our commitment to our cherished
tradition and maintain the commitment to excellence in all Association activities. As we end one century
and begin another, ABA must sustain its tradition and launch its influence of ideals and commitment to
respectfully meet the challenges of the future.
So, as my term ends and Bryce‘s begins, my sincere thanks to all for fond memories and good times shared,
the goals met, your friendship and your involvement in the affairs of ABA. I will end my term with
humble but proud feelings of accomplishment knowing that we will begin another with anticipation of
greater things to come. As always, ABA will continue to be the vanguard of all band organizations because
of the leadership, dedication and contributions exerted by those who cherish their musical heritage and
honored membership.
The subtle influence ABA showers on all activities of the band world, regardless of whoever is at the helm
of this august body of bandsmen and bandswomen, solidified what Frost eloquently stated years and years
ago: ―Ends and beginnings—there are no such things. There are only middles.‖
Thank you.
1999 ABA Annual Report
VONDIS MILLER (1935 – 2003)
Vondis Miller was born in 1935 in Portland, Oregon and died in Tucson, Arizona on September 16, 2003.
His father managed a national forest and his mother was a school music teacher. His mother‘s influence
was evident when Vondis became interested in music during his high school days in Portland.
After earning his Bachelor of Music degree at the University of Oregon in 1957, he spent the next two
years as a commissioned officer with the United States Army in Fort Knox, Kentucky. Returning to the
University of Oregon he completed his Masters and his Doctor of Musical Arts Degree. Besides teaching
in the Oregon public school system, he also taught several sessions at the University of Oregon. In 1970
and 1972 he took musical groups on European tours.
In 1975 Vondis accepted a position at the University of Lethbridge in Alberta, Canada, where he laid the
foundation of an excellent band and music education program. He initiated several successful province-
wide band programs for young people.
Vondis then joined the faculty at the University of Calgary, where he was Head of Music Education and
Director of Bands. He founded the University of Calgary‘s award-winning international Conducting
Diploma Program. During this time he also served as President of the Alberta Band Association and was a
member of the Board of Directors of the World Association of Symphonic Bands and Ensembles
(WASBE).
In 1989 Vondis returned to the University of Lethbridge as Dean of the School of Fine Arts. This same
year he served as the President of WASBE. As Dean, he was responsible for taking care of one of
Canada‘s major art collections and managed to increase the school in size and financial stability. During
his tenure a President of WASBE, he kept the organization focused on performance of quality music
literature and on building vital communication networks between members. Vondis traveled throughout
North America, Europe, Asia and Australia as guest conductor, conducting coach, clinician and
adjudicator. He served on the Board of Directors of the Western International Band Conference for over
twenty years. The Jaycees named him one of the ten most outstanding young men of America. He was
elected to ABA membership in 1990.
Vondis retired to Tucson, Arizona where he developed an extensive music program at the Hohokam
Middle School. He enjoyed working with a unique blend of Pascua Yaqui Tribe students and children from
Latino immigrant families. On the day before he died, Vondis was happily and busily helping and
challenging this students. What a fitting end to a life of dedication to others!
2004 ABA Annual Report
CHARLES MINELLI (1914 – 2001)
Charles Minelli was born of immigrant Italian parents on September 4, 1914 in Virginia, Minnesota and
died in Lakeland, Florida on March 15, 2001 of complications following a stroke. Charlie inherited some
of his musical talent from his mother, an accomplished violinist with perfect pitch. Music became part of
his life when at the age of eight his sister presented him with a trumpet. Charlie was educated in the public
schools of his hometown and played in the Roosevelt High School Band. While in high school, he
organized his own dance band. He organized another dance band when he entered the University of
Minnesota. The engagements of his group, called Minelli‘s Music Masters, helped him finance his way
through school. The band toured extensively in the Midwest and performed several summers for tourists in
Yellowstone National Park.
In 1940 he graduated from the university with a Bachelor of Science in Music Education degree. His first
job took him to the Tower, Minnesota high school as band director, where he taught for seven years.
Eventually Charlie returned to his alma mater to earn his master‘s degree. While there, he was a graduate
assistant and assistant conductor under ABA member Gerald Prescott. (It might be of interest to know that
at this time Dr. Prescott is 99 years old and is living in Tampa, Florida. He is the oldest living member of
ABA.)
In 1948 Charlie became an assistant professor of music and director of the Kansas State Teachers College
band in Pittsburgh, Kansas. In 1951 Charlie became director of concert and marching bands, professor of
music and conductor of the Fine Arts Theatre Orchestra at Ohio University, a position he held for 25 years.
Charlie became a member of ABA in 1953 and served on the Board of Directors in 1972. He was active as
a clinician, adjudicator and guest conductor in the United States, Canada and Europe. In 1973 he was
appointed to the faculty of the International School of Music in Montreaux, Switzerland. For ten years he
taught at the summer music camp in Gunnison, Colorado. He spent several summers studying at the
Cincinnati Conservatory of Music and went to New York City to be tutored in conducting by Fausto Cleva,
leading conductor of Italian opera at the Metropolitan Opera House.
Charlie joined ASCAP in 1968 and had a number of published compositions. He was a member of Kappa
Kappa Psi, the Florida Bandmasters Association, the Ohio Bandmasters Association and CBDNA. He
served as CBDNA national secretary and treasurer from 1952 to 1964. That organization honored him for
his outstanding service, giving him their ―Citation with Distinction‖ award, in addition to making him an
honorary life member of CBDNA. In 1977 he was elected National President of Phi Beta Mu and also
served as Province Governor of Phi Mu Alpha Sinfonia.
A highlight of Charlie‘s career occurred at Ohio University when Bob Hope was on tour performing there.
Charlie and his orchestra provided the background music. Bob recognized their support and invited Charlie
to take a bow for the group. Charlie took a bow—and another bow and another bow, to which Bob quickly
responded, ―That‘s enough, Charlie, that‘s enough!‖
During our ABA-Japanese convention in Hawaii, the hotel management where we were meeting assumed,
incorrectly, that Charlie was related to Liza Minelli—an assumption that got Charlie the plush penthouse.
He had a large number of visitors!
Following his retirement, Charlie moved to Lakeland, Florida. Soon he became an adjunct professor at
Florida Southern College where he taught arranging and was the permanent conductor of the band. He also
was the founder of the Lakeland Community Band, serving as its conductor until 1990. The city of
Lakeland presented him with the ―Key to the City‖ in honor of his contributions to the community. A year
ago Charlie moved into an assisted living community and they wanted him to start a band. Charlie said,
―Not at 85!‖
During his final days in the hospital, Charlie‘s usual happy disposition was ever obvious. He showed his
gratitude daily by inviting the nurses to ―take a bow.‖ We will miss his pleasant, fun-loving disposition
and wish he could hear us say, ―Charlie, take a bow.‖
2002 ABA Annual Report
Note: The 1985 Annual Report noted the death of Pat Minelli, wife of Charles, on June 16, 1984.
BENTON MINOR (1927 – 2003)
Benton Minor was born on November 4, 1927 in Lindsey, California and died on February 25, 2003 in
Orange, California.
Benton grew up in the San Diego area. He attended the Escondido High School where he played tuba in
the band. After graduating in 1946, he enlisted in the U.S. Navy and was assigned as a weatherman in
Pearl Harbor, Hawaii. Two years later he enrolled at Fullerton Junior College as a music major. In 1949
Benton transferred to the University of California at Los Angeles where he played tuba in ABA member
Clarence Sawhill‘s band. He completed his music degree in 1952 and earned his teaching credentials a
year later. He began his teaching career as band director at Grossmont High School in San Diego. Next he
transferred to the newly opened El Cajon High School in the same school district, where he quickly
produced one of the finest band programs in California. In 1963 he assumed the band director position at
Pasadena High School for one year. He returned to the Grossmont school district to become band director
at El Capitan High School, a position he held for three years. During Benton‘s fourteen years as a high
school band director, his bands received the highest score at the Long Beach All-Western Band Review on
several occasions. Remarkably, he won this event with three different bands—El Cajon, Pasadena and El
Capitan. His bands performed at numerous conventions and for the Los Angeles Rams halftime shows.
In 1967 Benton accepted a position as Director of Bands at California State University, Fullerton. During
his tenure, the CSUF wind ensemble expanded to a program of three concert bands. Their wind ensembles
were among the very best in the United States and received international acclaim performing in Europe and
Japan. Many former members of the wind ensembles are playing professionally in recording studios and
symphony orchestras. Benton also mentored a large number of successful public school music teachers.
Hundreds of students at the elementary, secondary and university levels benefited from his teaching, clinics
and adjudicating.
Benton served on the Board of Directors of the Southern California School Band and Orchestra Association
and was a two-term president. He was conductor of their High School Honors Band and for forty years
adjudicated them. He received the SCSBOA Honorary Life Award in 1984. Benton also conducted
numerous All-State bands in California and Hawaii. Benton was elected to ABA membership in 1986.
2003 ABA Annual Report
DONALD MINX (1922 – 1982)
Donald Minx, Chairman of the Department of Music and Director of Bands at Arkansas State University,
died last March while attending our convention in Indianapolis. He was 59 years old. A native of
Plymouth, Indiana, he received both his bachelor‘s and master‘s degrees from the Indiana State University.
In 1971 he was elected a member of the American Bandmasters Association.
Before becoming band director at Arkansas State University, he taught in the North Judson, Indiana school
system. Don was the Dean of the Dixie Music Camp, the second oldest music camp in the nation,
succeeding our late ABA member, R.B. ―Scrubby‖ Watson.
Don had great pride in his hometown, Jonesboro. Besides being elected alderman, he served on the city
council, numerous commissions and committees and was the Vice Mayor. To recognize his outstanding
civic contributions, Don was honored posthumously on Law Day 1982. The Crayhead Bar Association
gave him the Liberty Bell Award.
Two years ago the Arkansas Bandmasters Association chose Don as their Bandmaster of the Year. On
February 26, 1982, at Pine Bluff he was inducted into that organization‘s Hall of Fame.
An annual memorial scholarship has been established at the university by grateful friends, associates and
students.
1983 ABA Annual Report
WILLIAM C. MOFFIT (1926 – 2008)
The band world lost a unique character and powerful personality when William C. ―Bill‖ Moffit passed
away on March 5, 2008 at his home in Jacksonville, Florida where he resided with his wife Jeannette. He
was 82 years old and left behind a wealth of memories among his former students and colleagues.
A native of New Philadephia, Ohio, Dr. Moffit got hooked on music when the circus came to his town.
After listening to the calliope and other circus music all day, he returned home and told his mother he was
really interested in music. The following Monday he went to the 7th grade band director, told him he
wanted to be in the band and started playing the trombone.
After he graduated from high school, Dr. Moffit joined the Coast Guard and played in the Coast Guard
Band in Florida. He became the first teenager to perform in the Coast Guard Jazz Band. After World War
II, Dr. Moffit attended Baldwin Wallace on the GI Bill and was inducted into the Beta Phi Chapter of Phi
Mu Alpha Sinfonia in 1947. Upon graduation he became Director of Bands at Tippecanoe High School in
Tipp City, Ohio, 1950-1954; and Mt. Morris, Michigan, 1954-1960. He earned his Masters Degree from the
University of Michigan during this period.
Dr. Moffit was the Assistant Marching Band Director at Michigan State, 1960-1969, and Marching Band
Director at University of Houston, 1969-1981. In 1978, Dr. Moffit received the Freedoms Foundation of
Valley Forge's George Washington Medal for Patriotic Musical Activities. His arrangement of the Star
Spangled Banner sold 30,000 copies, twice the number of bands there are in the United States.
Dr. Moffit served as the third director of the Purdue ―All-American‖ Marching Band, from 1981 to 1988
and was awarded the title of Professor Emeritus of Band after his retirement. He was named Indiana‘s
Music Arranger Laureate in 1988 by the Indiana General Assembly.
In honor of Dr. Moffit, the University of Houston Marching Band performed a mini-concert at the
University during the time of his funeral in Florida. This was videotaped and sent to his widow with the
condolences of the University of Houston Band Program. He was a powerful influence in the marching
band world during the 60‘s, 70‘s and 80‘s. Dr. Moffit was a prolific arranger of marching band music
with his Sound Power series included some 450 titles. On the visual side of the marching band activity,
Moffit organized and developed his ―Patterns in Motion‖ featuring band members in constantly changing
kaleidoscopic patterns on the field. Based on a four-person squad system, ―Patterns in Motions‖ became
familiar to band audiences across the country and was extremely popular for a period of several years.
Dr. Moffit conducted the Lafayette Citizens Band, Jacksonville Community Band, and Tuba Christmas in
Jacksonville, and the FFA National Organization Band. A long time member of ABA, Dr. Moffit's wit and
humor entertained countless band members across the country. His enthusiasm for music and passion to
teach others kept him energetic and active well into his upper years. Innovative and driven, he left his
personal stamp on many bands. His accomplishments were varied, and his contributions to the world of
music recognized on many levels. A Music Laureate, he also received a Presidential Commendation for his
Armed Forces and Patriotic arrangements, as well as an Olympic Gold Medal for his music arrangements
and conducting of the Fanfare Trumpets at the 1984 Summer Olympic Games in Los Angeles.
He is survived by his wife Jeanette and his son Rick Moffit, band director at McQueen HS in Reno,
Nevada.
2008 Annual Report
DONALD IRVING MOORE (1910 – 1998)
Donald Irving Moore was born in Farnhamville, Iowa on April 11, 1910 and died in Waco, Texas on April
30, 1998. Although he had Alzheimer‘s disease, pneumonia was the cause of his death. During his
elementary school days, students lined up and marched into the building to the tune of marches played on a
Victrola. Thus began Don‘s great love of marches. Don‘s mother nearly went crazy with his everlasting
―drumming‖ with sticks on anything flat in the house. She asked the high school band director to find a
place for him in the band—which he did—and Don became a French horn player in the North Des Moines
Iowa High School Band. Don attended Drake University for a year before being recruited to play French
horn in the Carleton College Band in Northfield, Minnesota. Don received his Bachelor of Arts degree
from Carleton College in 1932 and his Master of Arts degree from Colorado State College of Education at
Greeley in 1940.
Don directed high school bands in Charles City and Britt, Iowa and Dallas, Texas, after which he was
named Director of Bands at Colorado State College in 1941. While serving as a Navy lieutenant in World
War II from 1942 to 1945, he was stationed in the Aleutian Islands and directed bands on Adak and Attu
Islands. Following his discharge from the Navy, Don completed all of the work on his Doctor of Education
degree at the University of Michigan. His next venture took him to New York City where he was Director
of Bands at the Juilliard School of Music and Columbia University.
In 1948 Don became Director of Bands at Baylor University, a position he filled for twenty-one years. He
became nationally recognized as a composer, conductor, clinician and adjudicator. Subsequently, he
directed and judged bands in twenty-three states and Mexico. Over thirty of his compositions have been
published. Most of his marches have been performed all over the world. He was commissioned to
compose music for church and religious programs—a number of these works were choral anthems. Don
was a strong advocate for use of instruments in church worship and was the recipient of the first Director of
the Year award given by the Christian Instrumental Directors Association. In 1968 he took a band to Bern,
Switzerland to perform daily during the Baptist Youth World Conference.
Don was a member of the College Band Directors National Association and twice served as president of the
Southwest Division. He also was a member of the Texas Bandmasters Association, Phi Mu Alpha, Phi
Delta Kappa and Kappa Kappa Psi. He was Grand President of Kappa Kappa Psi from 1955 to 1957. In
1969 he was given that organization‘s highest honor, the Distinguished Service to Music award. In 1993
Don was inducted into the Texas Bandmasters Hall of Fame. He became a member of the ABA in 1966.
Don‘s music writing pen has been stilled for some time, but his music lives on. It might be of interest to
recall the evolution of one of his earliest works. Don was the band director at the J.L. Long Junior High
School in Dallas when he was courting his wife, Norma. On a special afternoon he sat at the piano and
sang the words to a number he had written for her: ―Can a Man Fall in Love With a Smile? Yes He Can
For I‘m in Love With You.‖ Later Don changed the tempo and added some more notes and his most
popular ―Marcho Poco‖ evolved. Don loved to write marches. Most of us are familiar with them: Marcho
Scherzo, Marcho Stereo, March Forth, March Up and Down, March Winds, The Ides of March, March with
Modification, March Chalumeau, March of Christianity and Marching Upward. These marches and his
other compositions and arrangements have become Don‘s most enduring legacy.
1999 ABA Annual Report
EVERETT ALLYN MOSES (1893 – 1965)
Everett Allyn Moses was born in Tangent, Oregon. He was educated at Oregon State College in 1916,
received a B.M. from Oregon University Conservatory in 1920, a M.M. from Capital College of Music in
1930, and was the recipient of an Honorary Mus. D. from Capital College in 1936. He studied theory,
composition and arranging with Clarence Eddy, Adolph Rosenbecker, Herbert Wrightson and Grant
Connell (1916-1920). He was married to Aleece Fischer of Corvallis, Oregon on January 25, 1915. She
passed away in 1948 at Daytona Beach, Florida. They had one son, Robert William Moses, born in 1922.
He was married to Naomi Park of Sanatarium, California on December 24, 1955.
Seldom does anyone reach the top in more than one line of activity, but not well known to many ABA
members is the fact that some 52 years ago Everett Allyn Moses was one of the greatest athletes of his day,
and that many records were established by this diminutive star.
As a high school athlete in Corvallis, Oregon, Everett met and defeated the best interscholastic hurdlers and
sprinters in America, tied and broke many of the national interscholastic records, and won more points than
any other athlete on the Pacific Coast.
From the scrapbooks which Mrs. Moses loaned to me recently, and from many conversations with Everett,
who had been at the Sanitarium in Angwin, California (only a short distance from Napa) all during the time
since Mrs. Sams and I retired here, I learned that Everett considered his music had a great deal to do with
his athletic activity. News clippings of those years state that it was his musical ability which made possible
his athletic glory. His fellow students called him ―Mozart.‖ He taught music in high school during his
spare time, and played and conducted a theatre orchestra at night, which was his only means of support
while attending high school and college.
Records show that ―Mozart‖ still holds the armory record at Oregon State for the 50-yard sprint (five and
two-fifth seconds), 50-yard high hurdles (at six and one-fifth seconds), and 50-yard low hurdles (six
seconds flat). What is more remarkable is that these records were established when he was a senior at high
school, and they were often against college competition. News clippings in the scrapbooks show that
athletic journals and sportswriters of those days marveled at his performance and paid glowing tribute to
his ability. Coach Hayward, famous mentor at the University of Oregon, stated that Moses was the greatest
athlete of his size living. Silver, gold and bronze medals left to the family by Everett all bespeak the proof
and facts of his marvelous athletic performance.
Adam Moses, Everett‘s 4th-great-grandfather, immigrated to America in 1746 from Amsterdam, Holland.
The family first located in Pennsylvania. Everett‘s grandfather eventually located in the Willamette Valley
of Oregon. Four of his sons were musicians and bandleaders. The second son, Amasa Moses (Everett‘s
father) became a prominent government bandmaster in connection with his being superintendent of
different Indian schools. He started Everett on cornet at a very early age. At age 8 Everett became a
member of a well organized band, and at age 12 was wielding the baton as conductor of his first band, in a
boarding school at Owyhee, Nevada, succeeding his father who had been called elsewhere on government
business. Age 16 found Everett in high school at Corvallis. In 1909 he was employed by the school board
to instruct school bands and orchestras, and he was also leading the orchestra at the Majestic Theatre, and
appearing as a cornet soloist with the State College Band on its various tours. His music paid his way
through high school and college.
Professional playing, teaching, composing and continued study and municipal band directing for the next
several years finally found him in the schools at Grand Forks, North Dakota. It was here that Everett had
as one of his band students a young fellow by the name of Yoder—ABA member Paul Yoder. From the
Grand Forks Schools, Everett toured the concert season with Sousa, Pryor, Conway, etc., directing
municipal bands during the winter seasons. It was in 1921 that he left Canton, Illinois to open his first
season in West Palm Beach, Florida. ABA member Harold Bachman has written an excellent story of
Everett‘s bands in Florida. (Note from Newsletter Editor Lynn Sams: Time and space does not permit my
repeating it now, but which will be in the article I am writing on Moses for the ABA Research Center.)
Florida in the winter seasons and Atlantic City, Willow Grove and Newport Beach, Connecticut in the
summer seasons occupied Everett‘s days until professional bands were no longer self-supporting, after
which he conducted municipal bands at St. Petersburg, Daytona, etc. By this time he was confined in
hospitals for treatment of arthritis, and then was sent to Sanatarium, near Angwyn, California, who were
specialists in this ailment. I visited him many, many times in the now three years Mrs. Sams and I have
been in Napa, and each time he truly enjoyed discussing the great professional bands of the past. Everett
Allyn Moses was another one of those who did much for bands.
1966 ABA Newsletter
J. FREDERICK MULLER (1908 – 1894)
J. Frederick Muller was born in Philadelphia on November 13, 1908. He died in Bay Village, Ohio on
April 18, 1984.
He received both his bachelor‘s and master‘s degrees from New York University. Fred taught methods
courses at Temple and New York University, and orchestral conducting at the Juilliard School of Music.
For fourteen years he was the Director of Instrumental Music for the Summit, New Jersey school system.
He founded the Summit Symphony Orchestra, which is still in existence.
Subsequently he was the Director of the Instrumental Music Department for the Elkhart, Indiana city
schools and was Assistant Director of the Elkhart Symphony. He 1952, the year he was elected to
Associate Membership in the American Bandmasters Association, he founded the Educational Division of
the string firm of Scherl and Roth and was appointed president of the company in 1969.
Fred was an honorary member of the Board of Directors of the Mid-West Band and Orchestra Clinic, also
serving as chairman and organizer of the Directors‘ Reading Orchestra. He made significant contributions
in the field of string instruction materials and distinguished himself as an arranger for motion pictures and
the Broadway stage.
In 1981 he became an individual Associate Member of ABA.
Those of us who knew Fred will readily agree with Margaret, his wife of fifty years, when she remarked,
―He was a kind person who always had time for people.‖
1985 ABA Annual Report
GENERAL CARL MUNDY, Jr., Commandant, U.S. Marine Corps
―Remarks Before the American Bandmasters Association‖ – March 6, 1992
[Note: General Mundy is not a member of ABA.]
You have no idea what a tremendous experience it is for one who never learned to double-tongue through
the trio of ―Thunder and Blazes‖ to be standing up here in front of several hundred of the Nation‘s finest
Bandmasters! But be assured that a former ―first chair‖ trombonist and a ―second chair‖ clarinetist are
delighted to have the opportunity to be with you here this evening.
I‘d also like you to know how awed I am to sit up here at the head table while Col. John Bourgeois‘s
―President‘s Own‖ just marched you into dinner. I remember well the many days I stood on a wind-swept
parade street or football field and as I flipped the music in my lyre over to the next march, the names
Fennell and Slocum were always right up there in the right hand corner of the music sheet!
I‘m not sure whether we have any openings for drummers and fife players in the Marine Band at present, or
not, but I can assure you that if we do, either of the ―President‘s Own‖ would be magnificent additions to
our ranks!
I grew up in the Big Band Era. Tommy Dorsey and Glenn Miller were my music heroes, and I guess that‘s
why I eventually chose to play a trombone when I began my band experience in 1948. I used to listen to
Tommy Dorsey and the strains of ―Marie,‖ or to Glenn Miller and his trombone section grinding out ―The
Song of the Volga Boatmen‖ in awe. I never mastered ―Marie,‖ but I sure tried.
My first Bandmaster—actually, my first drill instructor of Marine Corps vintage—was a fellow named
Charlie Isley. Charlie was a trombonist who had played in the Parris Island, South Carolina Marine Band
during his period of active duty, and he imbued in the Waynesville Township High School Marching Band
the discipline that he had brought with him from the Corps. We had a great deal of fun training and
competing in the band in those days, and I suppose there are many things I could cite that I learned. But
beyond learning how to play an instrument, or to appreciate music, the lessons that I took away from my
experience as a bandsman were discipline, teamwork, and, believe it or not, tactics. I learned that in order
for an organization to function effectively, there must be collective teamwork, and individual discipline.
One isn‘t achieved without the other. That‘s a lesson I‘ve carried forth with me into my experience now as
a professional soldier.
Those same lessons are learned on the various sports fields on which we play as we grow up, but no one
should ever cut short the fact that there is no less a degree of discipline and teamwork required in a top
performing band than there is in a good football team or a Marine rifle platoon. As I said, the final thing I
learned, believe it or not, was to appreciate tactics—the art of my profession as a Marine. Because as you
went to various band performances, the intricate movement of individuals, or sections, or groupings of
various sorts in order to put on a well-coordinated band show, turned out to be the basics of what I learned
when I became a Marine—the coordinated movement of units to achieve an objective.
But enough about my own personal background. When I came in the Marine Corps, I really began to
appreciate bands because of their historic value to military organizations throughout the world over the
entire history of the world. Looking at the origin of today‘s military bands, modern marching and concert
bands are direct descendants from those original military bands. Trumpets, drum, cymbals were used in
ancient armies for battle field communications. The linkage between music and emotion was discovered
early, and it was used to enhance morale, to instill patriotic feelings, to speed marching troops at a faster
pace, to intimidate opponents, or to keep a formation headed in the right direction.
It‘s for that reason that the color of the military band uniform was always different from that of the fighting
units—so they could be easily identified on the battlefield as a clear signal to the advancing infantry or
cavalrymen. One might infer that the band generally knew where it was going, while the infantry, in the
smoke and confusion of battle, easily got lost, but whatever the case, the band was used as a maneuver
element to guide maneuvering armies. As early as 1000 B.C. in ―The Iliad‖ we read from Homer that
―Noble and manly music invigorates the spirit, strengthens the wavering man, and incites him to great and
worthy deeds.‖ Six hundred years later, in 418 B.C., the great Greek historian Thucydides records that ―the
Lacadaemonians moved slowly and to the music of many flute players, who were stationed in their rear
ranks and played, not as an act of religion, but in order that the army might march evenly and in true
measure, and that the line might not break, as often happens in great armies when they go into battle.‖
So you can see that throughout history, bands have served the extremely useful purpose of ―spiriting up the
people,‖ and that‘s as true today as it has ever been. That‘s why bands march in parades. That‘s why
bands play at sporting events—not so much for entertainment of the crowd—but to ―spirit up‖ the crowd,
stirring team spirit, fighting spirit, patriotism, pride, and all organization worth while.
Now I must tell you that bands and bandsmen have not always been appreciated by everyone who wore a
military uniform. One of the great Confederate generals, D.H. Hill, in an endorsement disapproving of an
infantryman‘s request for transfer to duty as a bandsman, wrote: ―Shooters, not tooters, are required in this
service!‖ While this endorsement has some humor to us today, I should also note that bandsmen—the
―tooters‖ noted by General Hill—have served actively in combat roles throughout the history of our Marine
Corps. As recently as last year in operation Desert Storm, bandsmen laid down their instruments when the
shooting began, picked up stretchers to be litter bearers, and provided rear area security with rifles in their
hands instead of trombones or clarinets. They are no less Marines or soldiers than anyone of the rest of us
who carry not an instrument, but a weapon.
With regard to my own Corps, it‘s interesting to note that the Marine Band was created in 1798 by then
Commandant Major William Burroughs. The Commandant created the band by assessing every officer in
the Corps $10.00. That doesn‘t sound like much today, but keep in mind that in those days, lieutenants
made only $25.00 a month!
Another of my predecessor-Commandants, Colonel William McCawley, in 1878, remarked, ―The band
gives me more trouble than all the rest of the Corps put together!‖ However, the size of the Marine Corps
in 1878 leads me to believe that probably the band was one of the major elements of the Corps in those
days!
But unlike my distinguished predecessors, the bands have brought me no trouble; they bring me only pride
and pleasure. It has been said that a world without music would be no world at all. I can assure you that in
the national city of Washington, in which we enjoy much of the pomp and circumstance associated with
being at the seat of government and in ―America‘s hometown,‖ one of the things that ―spirits us up‖ and
keeps the feeling of pride that pervades our society going, are the military bands here in Washington. They
are, as you have observed during your conference here, uniformly superb—regardless of which service
uniform they wear. We are extremely proud of all of them. But even more so, we are tremendously
grateful to you, because it is you, through your teaching and encouragement, who provide the splendid
young musicians who make up the bands that play in the White House, that render the honors to visiting
heads of states, who perform the solemn ceremonies in Arlington National Cemetery and other moving
events. These young people who do so much to ―spirit up‖ each of us in positions of national leadership are
the direct result of your efforts, your teaching, and your achievements. I hope that you feel good about that.
As a final note, little did I ever suspect that I would have my own band. As you know, the Marine Band is
known as the ―President‘s Own.‖ Some years ago, the Marine Drum and Bugle Corps was entitled the
―Commandant‘s Own,‖ but they really belong to the Nation. When I arrived here last July, I received a
note from the band director enquiring what type of music I liked. I responded that I liked all kinds of
music, but that I favor country music. As a result, on one of the early occasions after I arrived, a new group
from the ―President‘s Own‖ fell out to do the musical entertainment for the evening. This group had
entitled themselves ―Free Country.‖ I‘ve been so delighted with them that I‘ve entitled them ―The
Commandant‘s Only‖! They are a group of five very talented musicians who turn their conservatory-level
talents into the great ―fiddling and picking‖ that make for some of the finest country music I‘ve ever heard.
I‘ve had the pleasure here tonight to meet Dr. John Paynter. Dr. Paynter produced from West Virginia a
young man named Pete Wilson—now a Staff Sergeant of Marines—who is an accomplished violin player.
However, on special occasions, Pete turns that violin into what we of country origin know as a ―fiddle‖.
And when he gets going on ―Orange Blossom Special,‖ you‘d swear you were in Nashville, Tennessee,
instead of the Commandant‘s House in Washington!
Along side of him is a young lady who Mark Kelly, seated here to my right, sent off to the Marine Band as
one of his products with a French horn under her arm. Indeed, I watched from the royal box in the Royal
Albert Hall in London two weeks ago as Staff Sergeant Amy Horn and others played their French horns as
part of the Mountbatten Concert Series. However, I believe it‘s safe to tell Mr. Kelly that on Saturday
nights at the Commandant‘s House Amy Horn lays aside her French horn and is one of the best guitar and
female vocal singers I‘ve ever heard! I call her ―Mary Chapin Carpenter Horn‖ because when she holds
forth with one of that talented national-level singer‘s pieces, you couldn‘t tell the difference!
In summary, I hope I leave you with a clear message that what you give our Country in the fine musicians
you build, is a national asset, and is something which we who are the recipients of your products are most
grateful to for. It‘s been our pleasure to be with you here tonight.
1992 ABA Annual Report
RALPH MURRAY (1892 - 1973)
Jack Mahan, President of the American Bandmasters Association, read the names of those members who
had passed on since the last meeting. This list included Ralph Murray, who passed away in 1973. He had
been a member of ABA since 1949.
1974 ABA Annual Report
WILLARD ISAAC MUSSER (1913 - 2003)
Willard Isaac Musser was born in Mohnton, Pennsylvania to Amish parents; a birth certificate was never
issued, so the date of his birth is unclear. He died in Clayton, New York on June 24, 2003. Although his
given name was Willard, he was known professionally among his friends and associates as Bill. He was
educated in the Mohnton school system where he began playing the trumpet. In 1934 he enrolled in Ithaca
College where he earned a Bachelor of Science degree and his Master‘s degree in 1940. Additional
graduate study was at Albright College and Temple University. Bill was member of the Ringold Band in
Pennsylvania and had the distinction of playing in that band for John Philip Sousa at the March King‘s last
performance.
During his eventful career, Bill was a professional trumpet player in Atlantic City and performed in
symphony orchestras for six seasons under Hans Kindle and for two under Saul Caston. Much of his
technical knowledge came from studying with members of the Philadelphia Orchestra while much of his
arranging knowledge he attributed to his good friend, ABA member Phil Lang.
From 1942 to 1945 Bill taught instrumental music in the Reading, Pennsylvania school system. Next he
taught at the West Winfield, New York High School for a year before serving as band director at Pleasant
High School in Schenectady, New York. Leaving the position in 1953, he became Director of Bands and
Instrumental Methods at Hartwick College in Oneonta, New York. Three years later Bill was appointed
professor of music at Potsdam State University Crane School of Music where he founded the wind
ensemble, which attained national prominence for its excellence. In 1971 the Board of Trustees of the State
University of New York conferred on him the status of Professor Emeritus.
During his career, Bill had been a guest conductor at concerts throughout Belgium, Switzerland, France,
Italy, Germany, Austria, Canada, United States and England. He was invited to make a recording and
present a concert over Radio Budapest with the Hungarian Wind Orchestra.
Bill served three times as Vice President of the New York School Music Association before assuming its
presidency. He also served on the Association‘s Executive Committee. Bill was active in the MENC,
CBDNA, and NBA. He was a member of Kappa Gamma Psi, a national fraternity and served as a member
of the New York Regents Scholarship Committee on Music. Bill was elected to ABA membership in 1969
and was recipient of the Louis Sudler Award of Merit from the John Philip Sousa Foundation.
Some of Bill‘s compositions include ―Principles for Trumpet,‖ ―Moods in Brass,‖ a cornet trio with band
accompaniment, and two marches for band called ―The New Era‖ and ―Mid Century.‖ His four-volume
method called General Music was especially written for junior high school bands. His latest effort,
―International Method for Band,‖ has been enthusiastically received by music teachers. Bill left a stack of
unfinished manuscripts that may eventually be published, a brass solo with piano accompaniment and two
brass duet albums that are in the process of publication.
Recently his wife Gloria played the trumpet with a show choir in the Thousand Islands area and dedicated
her performance to Bill. She called him her ―most treasured possession,‖ adding this reflection:
Bill was such a remarkable gentleman whose warm touch brought such reassurance and
confidence and whose comforting smile seemed to melt my heart. May he live forever in the
hearts and memories of those who so cherished his friendship, wisdom and advice.
2004 ABA Annual Report
N
JAMES NEILSON (1902 – 1985)
James Neilson, vice president of the Educational Department of the LeBlanc Corporation, died on April 21,
1985 at the age of eighty-two. He was elected to membership in the American Bandmasters Association in
1955.
Born in Motherwell, Scotland, Jim came to Chicago with his family when he was eight years old. He
began his musical studies as a cornetist with the Salvation Army Band. He continued his studies at the
Chicago Musical College and the Juilliard Institute of Music. In 1932 he went to Oklahoma City University
where he was band director and professor of music for twenty-eight years.
In 1962 Jim became director of the Educational Department at the LeBlanc Corporation, responsible for
writing, editing and supervising the preparation of all educational and recruiting aids. He was one of the
first individuals in the county to work exclusively in an educational department of a large music
corporation.
Jim never retired but continued to be an active conductor, educator and lecturer while contributing articles
to professional journals and magazines.
His numerous awards and honors include the immediate past presidency of the National Band Association
and an Honorary Life Membership in the College Band Directors National Association. In 1981 he was
inducted into the National Band Association‘s Hall of Fame of Distinguished Band Directors.
Larry Simons of the Kenosha School District music department expressed the sentiments of musicians
throughout the industry when he said:
It‘s going to be hard, if not impossible, to find someone with Jim‘s knowledge and perspective.
It‘s a void I don‘t think will ever be filled.
1986 ABA Annual Report
VACLAV NELHYBEL (1919 – 1996)
Internationally renowned composer and conductor, Vaclav Nelhybel was born in Polanka, Czechoslovakia
on September 24, 1919 and died in Pennsylvania on March 22, 1996. Vaclav received his early education
in Prague. He majored in musicology at Prague University and the University of Fribourg in Switzerland.
At the age of eighteen he was Rafael Kubelik‘s assistant conductor with the Czech Philharmonic. From
1950 until 1957, when he emigrated to the United States, Vaclav was music director of Radio Free Europe
in Munich.
In 1950 he published his first composition, String Quartet No. 1. His more than 400 published
compositions include operas, works for band, orchestra, chorus and small ensembles. In 1980 he was
commissioned to compose a major work commemorating the 35 th Anniversary of the United Nations. In
1984 he composed music for chorus and symphony orchestra as part of Australia‘s bicentennial celebration.
Vaclav appeared as guest conductor in all 50 states and throughout much of the world. In Europe he
conducted the Salzburg Mozarteum Orchestra, the Orchestre de la Suisse Romande, the Munich
Philharmonic and the Bavarian Symphony Orchestra.
When Vaclav came to this country he was already an established composer. He was so impressed by a
performance of teenage musicians at an MENC conference that he began to compose for school and
collegiate ensembles. His compositions had a strong appeal to young musicians as well as conductors and
audiences.
Among Vaclav‘s awards and honor are four honorary doctoral degrees from American universities,
including one from the University of Scranton in 1985. He was elected to membership in ABA in 1986.
At the time of his death, Vaclav was composer-in-residence at the University of Scranton. One of the most
widely performed composers of the 20th century, Vaclav Nelhybel will be remembered for his influence on
American musical education.
1997 ABA Annual Report
LUCIAN HOWARD ‗Zeke‖ NICAR, Jr. (1933 – 1997)
Lucian Howard Nicar, Jr. was born on June 15, 1933 in Bristol, Virginia and died of lung cancer in
Nashville, Tennessee on March 13, 1997. Most of his acquaintances called him ―Zeke,‖ a family nickname
he inherited from his father and older brother. His home was in Bristol, Tennessee although he was born in
adjoining Bristol, Virginia because the hospital was one block over the state border. He attended the public
schools of Bristol, Tennessee and was a member of the high school band, starting out as a trumpeter before
switching to the French horn.
Zeke received his Bachelor of Science degree from Western Kentucky University and his Master of Music
degree from Michigan State University. He also was the recipient of an Experienced Teacher Fellowship
from Peabody College in Nashville.
His music education career began in 1952 as a vocal, instrumental and elementary teacher in Scottsville,
Kentucky. In 1955 his career was interrupted when the joined the Army as a member of the Third Armored
Division Band, serving as assistant conductor until his honorable discharge in 1957. From 1958 until 1969
Zeke was director of bands and choral groups at the Bristol, Tennessee High School. During this time he
also served as supervisor of the instrumental music program in the Bristol school system and as supervisor
of the Bristol Junior and Senior High School programs.
Prior to joining the faculty of Vanderbilt University in 1970 as Director of Bands, he was the instrumental
instructor of the Halifax County schools in South Boston, Virginia. At Vanderbilt Zeke served as Director
of Bands from 1979 until 1986. For a period of ten years, beginning in 1985, he was Assistant Dean and
Director of Admissions for the Blair School of Music at Vanderbilt.
His professional activities include service as past president of the Tennessee Bandmasters Association;
president of the College Band Directors National Association; Executive Secretary/Treasurer of the
Tennessee Music Educators Association; past president of the East Tennessee Band and Orchestra
Association; and director of the Tennessee All-State East Band, Tennessee All-State Middle Band and the
Kentucky All-State Band. Zeke served as the Executive Secretary/Treasurer of the National Band
Association from 1986 until his death in March 1997.
Like so many of our ABA members, Zeke was in demand as a clinician, conductor and adjudicator. He
was elected to membership in ABA in 1982. A Phi Mu Alpha Sinfonian, he was also an honorary life
member of the International Trombone Association. In 1996 he was the recipient of the National Band
Association Academy of Wind and Percussion Arts award. Zeke was an esteemed figure in music
education, civic-minded and a true Southern gentleman who received outstanding achievement awards for
distinguished service in his profession, in Kiwanis International and in the United States Jaycees.
Throughout his career he was always dedicated to the needs and aspirations of musicians of all ages. In his
name, the Blair School of Music has established a memorial.
A final thought comes from one of Zeke‘s longtime friends, J Julian: ―Zeke will be missed by all ABA
members, but especially by all the Bad Boys in the back row.‖
1998 ABA Annual Report
HUBERT ESTEL ―H. E.‖ NUTT (1897 – 1981)
H. E. Nutt, truly a great pedagogue of band leadership, left a profound legacy with us. He passed away
August 21, 1981 at the age of 84. Dr. Nutt was elected to The American Bandmasters Association in 1958
and served on the Board of Directors in 1968 and 1969. For a number of years he served as Chairman of
the Edwin Franko Goldman Citation Committee.
Dr. Nutt was a member of the faculty and administration of the VanderCook College of Music for 58 years,
having joined that staff in 1922. He worked with H. A. VanderCook personally in the early days of the
school, and later served as its chief executive officer. At the time of his death he held the title of Honorary
Life President of VanderCook College of Music.
Although H. E. was a band director – teacher – executive, we remember him especially for the manner in
which he dealt chiefly with the basics of our art, doing away with all possible non-essentials. He was
constantly challenging, looking for new ideas, always innovative.
H. E. was one of the three founders of the Mid-West National Band and Orchestra Clinic. Through their
efforts, the Mid-West Clinic has become the most dynamic single such force in the field today.
1982 ABA Annual Report
Note: The 1990 Annual Report noted the death of Thelma Nutt, wife of H.E., on August 29, 1989.
O
ROBERT F. O‘BRIEN (1921 – 2003)
Robert F. O‘Brien was born on June 24, 1921 in Breese, Illinois and died on July 1, 2003 in South Bend,
Indiana. His wife Catherine preceded him in death on June 11, 2002. Bob was educated in the Breese
School System and played trombone in the high school band.
He served his country during World War II with the U.S. Navy for four years. Following his discharge, he
enrolled in Southern Illinois University where in 1947 he earned his Bachelor of Music Degree. Two years
later he was awarded the Master‘s Degree in Orchestration and Conducting from the University of Iowa.
He pursued doctoral studies in education at the University of Colorado in Boulder.
Bob was a member of a number of organizations including CBDNA. He was the founding President and
Honorary Lifetime President of the National Catholic Bandmasters Association, founded in 1953. Elected
to ABA membership in 1974, he also was an active member of ASCAP and was the author of numerous
books and articles. He made numerous appearances as conductor, adjudicator and clinician.
Bob was appointed Director of the University of Notre Dame Concert and Marching Bands in 1952 and
served in that capacity until his retirement in 1986. The University conferred on him the status of Director
Emeritus.
In recognition of his many achievements and services, the State of Illinois named April 2 nd Robert F.
O‘Brien Day; in his memory, the University has established the Robert F. O‘Brien Endowment Fund to
benefit students of the band.
2004 ABA Annual Report
CHARLES O‘NEILL (1882 – 1964)
One of the leading figures in the musical world, Dr. Charles O‘Neill, was born in Glasgow, Scotland on
August 31, 1882. He was a graduate of the Royal Academy of Music, London, in organ, composition and
as a bandmaster. He held a Bachelor of Music and a PhD in Music from McGill University in Montreal.
For 27 years he was the director of the band of the Royal 22nd Regiment. He was also the first regular
conductor of the Quebec Philharmonic Orchestra, as well as the director of the Little Symphony of the
Canadian Broadcasting Corporation. He was also director of the All-Canadian Permanent Force Band,
which journeyed to London for the coronation of King George VI, the only band from outside the British
Isles given the place of honor leading the coronation procession. The band presented three concerts at
Buckingham Palace.
During his career Dr. O‘Neill distinguished himself as a composer as well as a band leader. He wrote many
works and had a large list of publications to his credit—overtures for concert bands, quartets for brass
instruments, solos for horn, piano, cornet, trumpet, trombone, baritone and bass, along with many choral
compositions. One of Dr. O‘Neill‘s best loved pieces is ―Souvenir de Quebec,‖ a potpourri of French-
Canadian folk songs composed while he was director of the Van Doos‘ Band. He wrote the official march
of the Royal Northwest Mounted Police and the ―Le Royal 22 nd Regt. March‖ for that famous regiment. In
1937 Dr. O‘Neill retired from the Canadian Army and joined the faculty of the University of Wisconsin as
acting director of the music department. Later he joined the Crane faculty of music in Potsdam, New York.
In 1948 he became a member of the faculty of the Royal Conservatory of Music in Toronto. He retired in
1954 and subsequently returned to Quebec City.
Dr. O‘Neill was the Honorary President of the Canadian Bandmasters Association. He was a Past
President of the American Bandmasters Association and was chairman of the examining board. He also
served as adjudicator in national band contests in the United States and for many years was the adjudicator
for the band contests at the Canadian National Exposition.
―Charlie‖ O‘Neill, as he was known to his many friends, was a Charter Member of ABA. He was one of
the most respected musicians and band leaders in the organization. Those members who came into ABA
during the years of written examinations for admission can well attest to the thoroughness with which the
questions were prepared, a thoroughness which covered practically every phase of one‘s qualifications for
director.
1965 ABA Newsletter
Fred Moogk, ABA Associate Member from Waterloo, Ontario, and one of Charlie O‘Neill‘s closest
friends, writes:
He was the most demanding of himself as well as of his pupils, and I think that any student who
would take the time and interest in an effort to meet his demands accomplished much more than is
accomplished when the teacher ―lays down‖ what is supposed to be known, and then leaves it
entirely to the student to carry on. He never ceased to amaze me with his uncanny memory for
dates, names, and above all, music. The ability to hear the performance and instantly know
whether a composition was performed correctly made him, in my opinion, the finest adjudicator
on this continent in this lifetime. The late Edwin Franko Goldman and Dr. A.A. Harding many
times attested to Charlie O‘Neill‘s achievement and methods in adjudication field.
For almost the last five years Charlie O‘Neill was practically bedfast. Letters which were written to him
were read to him by his daughter, in whose home he resided. In the last three years he would only be aware
of a part of what was read. Again quoting Fred Moogk:
I called on him every time I was in the neighborhood of the city of Quebec and despite his
deafness and his almost complete loss of sight, I always enjoyed spending an hour or two with
him, although the last two visits were rather heartbreaking.
And to Dr. Charles O‘Neill the American Bandmasters Association proudly pays tribute.
1965 ABA Newsletter
ADOLPH OSTWALD (1902 – 1993)
Adolph Ostwald, Honorary Associate Member, was born in Germany in 1902 and died while visiting in
Germany on May 19, 1993. His life encompasses the story of an immigrant, a craft, a business and the
American dream.
Adolph arrived in New York City in April 1926 with an engineering degree and visions of a bright future.
His engineering skills brought him a short-lived job producing air filters in Bradford, Pennsylvania.
Adolph returned to New York City in 1927 to join his brother Ernest who owned a tailor shop specializing
in custom designed garments. Clients were mainly doormen in hotels and apartment houses, chauffeurs,
domestics and theater ushers. Ernest, like his father, was a trained tailor. He chose to bring his talents to
this country rather than take over the family business in Germany.
Their business expanded into a modestly sized company. After the stock market crash in 1929, the
Ostwalds struggled until 1933, when they went into bankruptcy. Statistically, only 2% of the firms that
failed during the Depression and started up in business again, did so successfully. Although the Ostwalds
lost their credit rating, they were successful in reestablishing their business.
The three following years were very trying for their business and the Ostwalds personally. Adolph‘s wife,
Eleanor, became a volunteer employee with no salary. Although lacking formal secretarial training, she
became phone operator, order clerk, bookkeeper and payroll accountant and could write out product
descriptions with great accuracy. All the Ostwalds worked long daily hours and endured great hardships.
In 1936 the Ostwalds teamed up with the Conn Instrument Company to create a market for an emerging
nation-wide band movement. Conn provided the instruments and the Ostwalds the uniforms in this
cooperative venture.
The design and manufacture of band uniforms became the main thrust of the company. During World War
II the Ostwalds almost closed their business because materials were unavailable. They did manage to
survive and were able to capitalize on their excellent reputation, having an edge over their competitors who
produced war goods exclusively.
In 1952 their very existence was threatened when the mill that supplied their fabrics was closed because of
a strike. A personal friendship with Mr. J.C. Penney helped solve their dilemma. Penney‘s stockpiled
clothing material and fabrics and supplied the Ostwalds with them until new sources became available.
The Penney Company also taught them how to do a mail order business and build better customer
relationships.
As more schools consolidated, bands became more numerous and larger. Ostwalds‘ business grew beyond
all expectations. Of necessity, the company moved into a large factory building on Staten Island.
In 1951 the Ostwald Uniform Company became an Associate Member of ABA. In 1956 the Ostwalds and
the ABA became partners in an historically significant event with the establishment of the ABA/Ostwald
Band Composition Award. The first such award, and still the most prestigious, it has given the music
world some of the most important compositions ever written for concert band. Unfortunately, Ernest died
before the first award was presented at our ABA convention in Santa Fe. Adolph funded the award for 25
years. The award has been perpetuated by the establishment of the ABA Foundation. Adolph helped to get
the Foundation started by personally funding the 1996 award.
Adolph was very inventive and a good executive and organizer. Using his technical knowledge, he
developed time and labor saving devices. He conceived the idea of combining a concert uniform with a
marching band uniform by adding a separate overlay. He introduced plastic as a stronger and more durable
replacement of fabrics.
He designed a sturdier shako hat, which became an enormous asset to the business. The company filled a
contract to furnish shakos with plastic crowns for the entire Corps of Cadets at the U.S. Military Academy
at West Point. His unique uniform designs revolutionized the band uniform industry.
In 1961 Adolph received the Kappa Kappa Psi Award for distinguished service to music. In 1972 he
became an Honorary Associate Member of ABA. In 1973 the United Fund honored him for his service as
chairman of their contribution drive for all of Staten Island. Adolph retired in 1973 after selling his
company to the MacMillan Company, a publishing house specializing in textbooks.
One of the most gratifying moments in his life occurred at our ABA Oklahoma City convention. The five-
day meeting was dedicated to the Ostwalds with this quote:
The 53rd Annual Convention of the American Bandmasters Association is dedicated to Ernest and
Adolph Ostwald for the establishment and generous perpetuation of the ABA/Ostwald Band
Composition Contest and Award.
Adolph felt he had reached his ultimate goal: helping others so that they can help themselves.
Undoubtedly, the Ostwalds have played a significant role in ABA‘s magnificent heritage.
1994 ABA Annual Report
Note: The 1994 Annual Report noted the death of Eleanor Ostwald, wife of Adolph, in October 1993.
P
CHARLES J. PAYNE (1916 – 1999)
Charles J. Payne was born in Indianapolis, Indiana in 1916 and died on June 2, 1999 in Redwood City,
California of heart failure. Although his instrument of choice was the euphonium, he was also an
accomplished trombonist. He attended the College of Music of Cincinnati, now known as the University of
Cincinnati, and graduated in 1937 with a Bachelor of Music degree. For several years he played trombone
with the Indiana and Cincinnati symphony orchestras. In addition to his classical music background,
Charlie was a jazz enthusiast, performing in that field with the Claude Thornhill Dance Orchestra during
the 1930-1940 Big Band Era.
During World War II he joined the Navy as a flight instructor. Eventually he was assigned as a pilot to the
Naval Supply Ferrying Command, which delivered materials and aircraft to the European Theater of
Operations. On his last ferrying mission his plane crashed in Nova Scotia and he was the sole survivor of
the four-man crew. Severely burned, he spent eighteen months rehabilitating in the hospital, after which he
was discharged with the rank of lieutenant.
Charlie‘s next musical venture took him to Long Beach, California. In 1949 he joined the Long Beach
Municipal Band as a euphonium player. In 1953 he became assistant director and three years later was
appointed director. He was associated with that band for twenty-four years. During his tenure the band
increased its activities, giving more than six hundred performances a year. He instituted a series of
enrichment concerts in the local public schools.
Charlie was elected to membership in ABA in 1958, served on the Board of Directors in 1960, 1961 and
1970, and became our president in 1969. He and the Long Beach Band hosted our annual conventions in
1961 and 1968. Next year our convention will be in Las Vegas. For many years while Charlie was in Long
Beach he urged our membership to either meet or have some side trips to Las Vegas, a place he facetiously
called ―Lost Wages.‖
Charlie retired from the band in 1973 and moved to Brookings, Oregon, where he lived until a few years
ago. Although he couldn‘t attend many of our meetings after he retired, we were able to enjoy his company
during our 1988 convention in Ashland, Oregon.
Charlie had been looking forward to retiring because it would be the first time in his long career that he
wouldn‘t have to work on weekends and holidays. When he finally retired, he said, ―I‘m going to do some
of the things I wanted to for years but never had the time to.‖ For over 25 years he did enjoy doing the
things he wanted to do.
2000 ABA Annual Report
President Payne‘s Address - 1970
Distinguished Guests, Honored Members, Visitors, Friends and Colleagues. I bid you welcome to this 36 th
annual convention of the ABA and particularly those of you who have traveled great distances or overcome
unusually adverse conditions of health, etc., to join with us at this hour.
During the next four days you will hear committee reports which will apprise you of our activities and the
results of our labors. I take this opportunity to express my sincerest appreciation and heartfelt thanks to the
members of the several committees who have contributed so much to my year as President, who have so
completely accomplished the tasks assigned to them and who have given so unselfishly of their time and
talents. I take particular note of the committee chairmen who have functioned so efficiently in coordinating
all of these efforts.
In making committee appointments some changes over past years were effected in order that the burden
might be lifted from some who had already contributed more than their fair share and that more of our
membership might have the opportunity of serving ABA. Our Association is admittedly comprised of the
outstanding talents and abilities in our chosen profession, and it is my firm belief that we must take full
advantage of this very valuable reservoir so readily available to us.
Our Host Committee under the able direction of Don McGinnis and Jack Evans have done a magnificent
job in providing for your entertainment, comfort and welfare as well as the more formal business
requirements of the convention to the point that, although several thousand miles removed from this
location, I have enjoyed a feeling of complete security and confidence that the most minute detail would be
fully resolved prior to the opening gavel.
You will hear important and instructive reports from Gale Sperry and Acton Ostling concerning our ABA
Journal of Band Research; from Dale Harpham and Arthur Brandenburg on the ABA Research Center;
Everett Kisinger as ABA representative at the North American Band Director‘s Coordinating Committee;
James Dunlop on the Ostwald Composition Award; Col. George Howard, the Sousa Memorial; and Ray
Dvorak spearheading our efforts to place the name of John Philip Sousa in the Hall of Fame; H.E. Nutt with
a report on the Edwin Franko Goldman Award Citation. No less important will be the instructions given
and your undivided attendance and participation in our traditional ‗fun session,‘ the one and only ‗ABA
Band‘ under the rather questionable but truly appreciated administration of ―Scrubby‖ Watson, Paul Yoder
and Jack Lee.
One or two new innovations will be introduced during the current sessions. These include the premiere of a
keynote address by one of our most distinguished members, the result of an idea express by Dick Bowles
after the Elkhart Convention and one which we trust will become feature of the Annual ABA Convention.
During these meetings you will also be privileged to hear an address by one who has contributed much time
and effort toward gathering detailed and documented material and information on the man we acclaim as
our first Honorary Life President, John Philip Sousa. You will also hear a report relative to the ABA Page
in the School Musician. This page, appearing in each issue for the past several months, has been a
Herculean task, and we take this opportunity to publicly acknowledge that without the editorial abilities and
dedication of Hugh McMillen it would never have been realized.
One of our most important functions and one that deserves no less than your most serious consideration and
concentration is the task of inviting to membership or deferring action on those of our associates who have
been proposed for membership in ABA. As an honorary and strictly invitational association for the
membership of our chosen profession, we have a definite duty to honor and recognize our colleagues of
proven outstanding ability. No less is our duty to maintain the exalted standards of membership for which
ABA has been so long noted. Friendship or selfish gain have no place in these deliberations and I charge
each of you to carefully follow the dictates of your own conscience as Vice-President Nilo Hovey presents
the recommendations of the Membership Committee.
During the past year several of our members, through correspondence and personal conversation, have
expressed thoughts and ideas worthy of presentation for the general membership‘s consideration. One is
the matter of ABA‘s membership in the National Music Council, first proposed in 1967. Another is a
request from ABA member Robert W. Dean that we support an ASBDA action by adopting a Statement of
Position concerning the importance of performance media in the curricular structure of the American
system of public education. A third, and one discussed tentatively at Elkhart last year, is the matter of
selecting our convention sites and dates two or three years in advance. A fourth, and one that also concerns
convention dates and sites, was suggested by ABA member Ed Kruth. He reminds us that too often some
of our membership must choose one or another of the conventions of the several professional organizations
of which they are members since they do not have available the required time and travel expense for both, a
fact of which I‘m certain most of us are well aware. In order to alleviate this problem, it has been
suggested that ABA might, once every two years at least, select dates and a location that would coincide
with the opening or closing of the CBDNA Convention, as it would be much less difficult for many of our
membership if they could spend a few days more for both conventions at the same location, rather than
obtain sufficient travel time and expense money for two separate sessions.
Still another matter to be presented for your consideration is that of supplying Journal of Band Research
subscriptions for all ABA members out of ABA funds or dues.
I mention these but briefly at this time so that you might have an opportunity for advance consideration
before they are formally brought upon the floor of this convention.
In conclusion, I thank you for the trust, confidence and honor you have bestowed in electing me to the
Presidency of ABA and would sincerely pray that after the final gavel of this convention has sounded, I
will have served you well. Thank you.
1970 ABA Annual Report
JOHN P. PAYNTER (1928 – 1996)
John Philip Paynter was born in Mineral Point, Wisconsin, May 29, 1928 and died of a stroke on February
4, 1996 in Glenview, Illinois at the age of 67. Elected to membership in ABA in 1956, John served on the
Board of Directors in 1962, 63, 65, 77, 78 and 79, and was elected President in 1976.
John received his early training in music in his hometown. At the age of six he started playing the piano
and eventually took up the organ and clarinet. In 1946 he enrolled in Northwestern University‘s School of
Music and earned his bachelor‘s and master‘s degrees in theory and composition. While working toward
his master‘s degree in 1950 and 1951, he served as Acting Director of Bands. At the age of 23 he was
appointed to the full-time faculty and became the director of the marching band, assistant director of bands
and instructor of theory. Two years later he succeeded ABA member Glenn Cliffe Bainum as Director of
Bands, becoming only the second director in the history of the university.
John taught conducting and band arranging and supervised ensembles that ranged from the symphonic band
to jazz and contemporary music groups. He also conducted many of Northwestern‘s musical productions,
including the famed ―Waa-Mu Show.‖ He started the wind ensemble so that he would have a group
capable of playing serious new music. One of John‘s great passions was the community band movement.
In 1956 he founded the Northshore Concert Band. The group, with more than 115 adult amateurs, is still
going strong. Ranging in age from their 30s to 80s, the musicians rehearse weekly and perform six to eight
concerts a year. In a 1975 interview, John had this to say about community bands:
I really believe if we‘re going to keep music alive in America, we‘ve got to perform it after we‘re
through with college. We have to keep playing and singing.
In 1949 John was the Northwestern Marching Band‘s student manager when their football team played in
the Rose Bowl. The band was stranded in a Cheyenne, Wyoming blizzard for three days while returning to
Evanston via train. He returned to Pasadena for the January 1, 1996 football game and conducted the Alma
Mater in the historic Rose Bowl before a crowd of more than 100,000.
John received many awards, including honors from the Illinois Music Educators, the John Philip Sousa
Foundation, the National Band Association, the School Musician, the Instrumentalist, the National
Association of Music Clubs, Tri-M Modern Music Masters, Phi Beta My, Kappa Kappa Psi, Pi Kappa
Lambda and Phi Eta Sigma.
In 1987 John was chosen as one of the inaugural recipients of the Northwestern University Alumni
Association Excellence in Teaching Award; and in 1992 DePaul University awarded him an honorary
Doctor of Humane Letters degree.
John was respected everywhere, as evidenced by his leadership and membership in numerous
organizations. He was President of the Mid-West International Band and Orchestra Clinic, Past President
of ABA, Past President of the World Association of Symphonic Bands and Wind Ensembles, Past Division
President of the College Band Directors National Association, and member of the Music Educators
National Conference and Phi Mu Alpha Sinfonia.
John was an avid arranger and composer with some 400 works to his credit. As guest conductor, lecturer,
and adjudicator, he visited 47 states, Canada, Mexico, Israel, Europe, Japan and South Africa.
C. William Fischer, Senior Vice President for Student Affairs had this to say about John‘s career:
John Paynter‘s life really expresses what is best about a place like Northwestern. He lived the
values of excellence, understanding, compassion and commitment. Most of us do not get the
opportunity to dedicate our professional lives to infusing these values into an institution. John
recognized that opportunity and fulfilled it.
ADDENDUM: the following poem was submitted by an ABA colleague:
To Marietta
Kind, sensitive, musicianship inbred,
A leader, an intellect in all that he said,
Firm and decisive, yet pleasant in manner,
Tongue in cheek humor a part of his banner.
His bands superb – meticulous was he.
Nuance, rubato, each phrase—each key,
His creed shining thru every performance on stage,
There is more to music than the printed page.
Our shock and disbelief on hearing the sad news,
And you, Marietta, have much more to lose,
Admired and respected are you both in every way,
May these thoughts give you courage to face each future day.
Ray DeVilbiss
February 7, 1996
1996 ABA Annual Report
President Paynter‘s Address - 1977
I wish to say a special good morning to the ladies in the room this morning. The American Bandmasters
Association is the wonderful group it is because of your importance to us and your presence at our
conventions. You are very special people to each of us individually, but you must know that you are also
special to us collectively. It is as much pleasure each year to anticipate the convention for the joy of seeing
you ladies gracing our meetings as it is to be with our brothers in ABA.
I have been a member of ABA, at least in spirit, for the last thirty years. Thirty years ago just about now, it
was my job as a freshman member of the band staff at Northwestern University to help, along with a
number of others, to compile the Secretary-Treasurer‘s annual report, as he [Glenn Cliffe Bainum] prepared
to pack his bags and head off to the convention of the American Bandmasters Association. I read with a
great deal of interest the names on the roster of the American Bandmasters Association, and, of course,
with one or two exceptions, all of those names were people I had yet to meet. And for all of the years that I
helped Mr. Bainum in that operation, I watched the ABA roster grow, and little by little I began to meet
most of the people who are in this room this morning. It was an exciting privilege through which I began
to learn the history and traditions of the American Bandmasters Association from one of the most dedicated
ABA members ever, Glenn Cliffe Bainum. I learned, too, of some of its stories, some of its meaning, and
especially, some of its personality.
Ten years later, in 1957, I was elected to membership in ABA, a thrill I will never forget. I don‘t think I
ever shook more than in Pittsburgh, attending my first convention and conducting the United States Air
Force Band in Samuel Barber‘s ―Commando March.‖ I made the fatal mistake of turning to Col. Howard
as I left the stage after rehearsing his band and asking, ―Colonel, how is it you don‘t use saxophones?‖
Now, I know a lot of people have asked this question of the Colonel, and I suppose his answer has often
been the same, but it shocked me to my sox when he turned to me and said, ―Because I used to play one!‖
Another ten years rolled by, and in 1967 Marietta and I missed one of only three conventions that we have
had to miss in the time of our association with you folks. We were on sabbatical in Europe at that time, but
we had enjoyed the privilege the year before of hosting the convention in Evanston. It was while we were
abroad that word came of my promotion to full professor and I knew I had safely survived the laws of
tenure.
And now, here, ten years later, I have the nearly indescribable thrill of serving you as your President.
The history and traditions of American bands are all in this room! If by some magic we were able to
extract from the American musical scene the influence that each of you has had on band music in America,
it would be a void that could hardly be filled. It would not be the end of bands, because just as surely as
each one of you had a role in making bands important in America, others would rise to the cause, and the
band movement would begin all over again. But it would take a period of time and it would create a
vacuum for that time that could hardly or easily be filled.
Bands are in a tremendously good state of affairs. It would be unnecessary for me to explain how and
where. They are not without problems, but certainly they are terribly important. Just as Dick Iseumert said
a moment ago that he thought we needed more bands at the community level, and surely this is true, we
can‘t forget where we have come, and all of the people in this ABA have brought us there!
It is not terribly important that we recite our good works to each other, although we are very good at doing
that. We know what we have done and we know where we have been. It is important that we record that
action, that we preserve it, and that we maintain its traditions.
It is also important that we tell those few critics that the American Bandmasters Association may have, who
repeatedly like to ask us what we are doing, that we would like to tell them what we have done, where we
have been, and who we are. And that in accomplishing what we have, we have led the way and planned the
future for virtually everyone else in the band business.
Our friends in the other band associations who sponsor composition contests can be reminded that ABA
and Ostwald started it all. Our friends who work for standardized instrumentation for bands can be told
that Edwin Franko Goldman was stressing this forty years ago. Our friends who are setting up research
projects, and very valid ones at that, in all areas of band activity, should be reminded that these projects
have been going on throughout the entire history of the American Bandmasters Association, and that we
welcome their help.
But with all of this pride, there are some serious concerns that come to me as your President this year.
There is a very deep and continuing concern about our membership, which has been reinforced and
expressed to me by many of you in ABA. Our Association is not growing in numbers, nor does it
necessarily need to. But as inevitable as life itself, our membership is growing older. More and more, a
higher percentage of ABA members is represented by people who have retired from their active conducting
careers. It is vitally important that we continue to feed into the American Bandmasters Association a
number of the very gifted, qualified, well prepared musicians who are conducting fine bands in America.
We must make sure that our process for searching out and electing these people whom we identify as
exceptionally qualified is a workable process that will guarantee the future of the American Bandmasters
Association.
It is unreasonable to think, as you will learn later in our proceedings at this convention, that less than a
dozen personalities from all across America are worthy of nomination to membership in the American
Bandmasters Association, and that less than those you could count on one hand could be elected to
membership in any given year. We must come to realize, as a body, that just as there were fewer bands in
1930 when Frank Simon was doing his marvelous work in Middletown, Ohio, there are now more bands
and more qualified people, we need to search out the best and invite them to membership in the most
prestigious band organization, the American Bandmasters Association.
One of the steps we hope to take to improve the membership situation is to appoint members within the
ABA to areas of regional responsibility, geographical areas of responsibility to help identify the men who
are doing outstanding work in every area of our country, and to propose them, or see that they get proposed
as members in ABA. Surely one of the most important things that our veteran ABA members can do for us
is to help us document the character, the talent and the ability of these prospects. We need your help. We
need the assistance of the people who not only may have the time to go and see these candidates and hear
their bands, but also have the wisdom to evaluate and propose for membership the best of our American
band conductors, so that we can have new people in the image of those who have made ABA what it is.
We need, more than ever before, to sustain our Journal of Band Research. I know this is a project that has
vacillated—it has had its ups and downs, and it currently in a ―down‖ position. I, myself, have gone from
pro to con, to pro to con, to pro, as I have tried to ascertain how we can fund the Journal and keep it alive.
It was you ABA members who ultimately convinced me that we are the organization that must see to it that
important matters of research in the band world are the concern of the American Bandmasters Association,
and that the record of that research be made available in journal form to all of the libraries in the world.
At this convention, right now, one of the things that I hope to do is to make a two-year commitment to put
the Journal as its feet, and to see that it continues as the most important publication of its kind for music
and bands. After two years of concentrated effort to improve the quality and quantity of the copy, to
increase the numbers of subscribers, and to make the Journal financially sound, we should make another
review. Hopefully, by that time the Journal will be fully solvent and strong enough to sustain itself.
You are going to have a magnificent report here at our Sarasota meeting from the ABA Research Center at
the University of Maryland. We are delighted that Pearl Tubiash and Fred Heutte are with us. We will
have a slide presentation and some forecast of the future of the Research Center, as well as a report from
Arthur Brandenburg, acting with Dale Harpham, on the matter of the center.
This does not come as new material to anyone sitting in this room, except one or two of our new members.
I wish it could, because I would like to light a fire under you to remind you that what becomes a tradition
does not necessarily become less important. What was born out of a need, both the Journal and the
Research Center, continues to be essential to producing the documentation of our band tradition and
history. The fact that we are doing it, and that we have done it, does not make it of less concern, but
perhaps makes it more important than ever!
It is crucial, it seems to me, that records be kept of what has gone on in band music in America. It is vital
that we get together here in Sarasota, last year in Tucson, and next year in Evanston, to talk about what we
have done. But, it is far more important that those same accomplishments be recorded for all of time. The
documentation of what has gone on in bands is almost the sole responsibility of the American Bandmasters
Association.
We have the CBDNA, ASBDA, NBA, MENC, and you go on and name your favorite, each with their
important pet projects; but none of them so completely concerned with, and ultimately a major part of, the
development of bands as the American Bandmasters Association.
Our works are in this room! They are not projects that are dreamed up, however good they may be, but
they are in this room—our works are amongst you! ABA is people. People who have dedicated their
careers, their talents, and their lives to making band music. And the recording of what each one of you has
done in your field is the most important single concern of the American Bandmasters Association.
I have asked, as a part of the recommendations during my term of office, that the incoming President-Elect
have as one of his major projects for the coming year, the contacting and re-stimulating of those members
who are not coming to our conventions, to get them to Evanston. Before we are through here in Sarasota,
you will hear about a new resolution that will make it very easy for a member of the ABA to become an
―inactive‖ member. All we are doing is labeling what we already have. We are not creating something that
does not exist now. We are simply identifying and listing those
ABA members who cannot organize their priorities to include this meeting on an annual basis. It will not
be punitive, it will not be unpleasant, but it will be honest. The man, or the man with his woman, who fails
to get to an ABA convention, will, in ultimate terms, cheat himself. The time to sit and visit with any one
of you, has been more enlightening, more enriching, and more educating than anything I have ever
experienced in my life, and the people we have taken in as members who have not been able to understand
this, need to be reminded and given the ―word.‖ That will be the job, in the coming year, of the President-
Elect, to get on the phone, or sit at his typewriter, and say, ―Hey, Charlie, we haven‘t seen you for seven
years; do you still use the ABA on your letterhead, and if so, why?‖ Let‘s see if we can‘t get these young
people, and they are largely the younger members, to come and contribute to the ABA, and in turn have the
ABA contribute to them as it has to every one of you who sit in this room.
When Marietta and I were raising our two, Bruce and Megan, we would frequently take a trip by car. All
of you have gone through this experience. You would no sooner turn out of the driveway and one of them
would ask, ―Are we there yet?‖ And you‘d go down the road about a mile and a half, and the other one
would ask, ―Is this it?‖ And this went on, sometimes for 400 miles and several days. ―Are we there? Are
we almost there, Daddy? Mommy, are we there now?‖ And then, as you would finally turn in at your
destination, you would look back in triumph and say, ―We‘re there!‖ And they would both be sound
asleep!
I hope that will not be my role as President. For a whole year I‘ve been saying, ―Am I there, am I there
yet? Am I there, yet, Marietta?‖ And she would keep assuring me that I was on my way. I hope that as I
turn the corner here in Sarasota that I won‘t look back at myself and find that I‘ve gone sound asleep in the
back seat!
I can‘t tell you the enormous thrill it is to greet all of you on behalf of your Board of Directors and Officers
and to wish for you that your stay at this convention will be a most rewarding and pleasant experience. I
hope that we will have the time to have all the fun that we want to have, and to do all the things that make
ABA not just the most prestigious group in the world (because we know that when we came into the room),
but the most wonderful association of human beings it has been my delight to know. Thank you for
electing me your President, and thank you for being here this morning.
1977 ABA Annual Report
ERNEST PECHIN (ca 1892 - 1946)
It is with great sadness that I write of the death of Ernest Pechin, which occurred in Orlando, Florida,
September 23, 1946. ―Ernie,‖ as he was affectionately known by his many friends, had been ill for some
time, although it was never his nature to complain; therefore, very few of even his closest friends knew of
his illness. Ernie resigned from directorship of the WGN Orchestra in Chicago and moved to Orlando,
Florida where he opened a music store and studio. During the war, Ernie took over the Orlando High
School Band, and it is said by Florida ABA members that Ernie had one of the finest bands they had ever
heard in contest. Born of French parentage in Seymour, Iowa, Ernie made his debut in music on violin at
the age of eight years old. His family was musically inclined, and it was his older brother who gave him
the start on violin. At the age of nine the Pechin family moved to Phillips, Nebraska where Ernie, the
youngster, was given a cornet by his big brother.
His affections soon switched from violin to cornet, largely owing to the call of the town band, which was
conducted by Ernie‘s brother. From that time on he devoted ever spare minute to the cornet, giving up the
violin entirely. With very little help from good cornet teachers (there being none available in or near that
town) Ernie rose to greatness through constant study and practice under the most trying circumstances. It is
said that his secret lay in the ambition and desire to be able to play like the greater soloists, plus the
aggressiveness and thoroughly persistent effort necessary to overcome the obstacles which lay in his way.
Constant and unceasing study of phonograph records made by the great soloists, and effort to copy and
interpret the phrasing and intonation of these great artists, gave him the taste for properly rendering any
musical composition. Although he didn‘t possess a phonograph on which to play these artists‘ records,
Ernie walked eight miles each day to the house of the nearest neighbor who owned a phonograph, and there
played and studied the records.
In 1909 when Bohumir Kryl was playing in Grand Island, Nebraska the hotel proprietor informed Kryl that
there was a young man in the lobby who wished to meet him and play for him. This being a common
request and Kryl, being tired, he tried to dodge it by sending word that he was too tired to listen. Ernie sent
back word that he had waited a full year for this opportunity, and had walked into town for the sole purpose
of playing for Kryl, and that he still wanted to do so. Kryl finally consented and upon hearing Ernie play
one of Kryl‘s own recorded solos, Ernie was immediately brought to Chicago with the Kryl Band. At the
close of the Kryl season Ernie accepted a job with an orchestra in Cedar Rapids, Iowa where he met the late
John Philip Sousa and Herbert Clarke on tour. This meeting led to Ernie being offered a contract with the
Sousa Band as assistant to Herbert Clarke. The next connection was with the Municipal Band of
Rochester, New York as solo cornet. From there he went to the famous Innes Band as soloist and assistant
conductor, where he remained for five seasons. Following that were four seasons with Patrick Conway, a
forty-week season as first trumpeter with the Stanley Symphony Orchestra, under Pasternak. Later Ernie
was called to Canada to succeed Herbert L. Clarke as soloist and conductor of the famous Anglo-Canadian
Concert Band of Huntsville, Ontario. Other engagements included those of assistant director of Cornell
University Band, Ithaca, New York, director of the Mitchell, South Dakota Municipal Band, cornetist with
the famous Chicago Theater Orchestra, and solo cornet and conductor of the WGN Concert Orchestra from
1933 to 1938.
It is unfortunate that more of Ernest Pechin‘s solos were not recorded, but I am fortunate enough to have a
recording of ―Phenomenal‖ by Frederick Neil Innes, and played by Ernie. It is truly a great piece of work.
Ernest Pechin was another one of our true and loyal bandsmen who has done much for the improvement of
bands, and we shall miss this great musician and true friend.
1947 ABA Newsletter, edited by Lynn Sams
THERON D. PERKINS (ca 1875 - 1935)
The Membership Committee records, with deepest regret, the death of Theron Perkins, who had been
elected to membership in 1929. [Rotary Club Boys Band, Boston, Massachusetts]
1935 ABA Newsletter
VINCENT PERSICHETTI (1915 – 1987)
Vincent Persichetti was born in Philadelphia on June 6, 1915 and died of cancer on August 14, 1987. He
began his career as a professional musician when he was only eleven years old. He became a church
organist at fifteen. One year later he was appointed choirmaster and organist at the Arch Street
Presbyterian Church in Philadelphia.
Vincent received his bachelor‘s degree from Combs College of Music, where in 1935 he was appointed
head of the theory department. His master‘s and doctor‘s degrees were earned at the Philadelphia
Conservatory of Music, where he studied piano with Olga Samaroff and composition with Paul Nordoff.
From 1941 to 1947 he headed the Theory and Composition Departments at the conservatory.
In 1947 Vincent joined the faculty of the Juilliard School of Music, eventually becoming chairman of the
Composition Department. He was also the director of music publications for the Elkan-Vogel Music
Company.
Numerous honors were bestowed on him, among which were the 1964 Edwin Franko Goldman Memorial
Citation and his election as an Honorary Member of ABA in 1979.
Vincent was a highly respected pianist, teacher, composer, lecturer and writer. He authored several books
and articles about contemporary music and its structures.
His works encompassed 200 commissioned compositions and 166 opus numbers, including two operas,
nine symphonies (one composed exclusively for band), numerous cantatas and songs. Vincent pioneered
many original works for band, which continue to have a notable influence not only on American music, but
on music throughout the world.
1988 ABA Annual Report
Note: The 1988 Annual Report noted the death of Dorothea Persichetti, wife of Vincent, on November 26,
1987.
JAMES CHRISTIAN PFOHL (1912 – 1997)
James Christian Pfohl was born in Winston-Salem, North Carolina on September 12, 1912 and died in
Jacksonville, Florida on March 28, 1997 after a prolonged period of disability following a stroke. Both of
his parents were successful musicians. His mother was an accomplished pianist-organist and his father
chose the ministry in the Moravian Church instead of pursuing an operatic career after winning a coveted
opera audition. Jim‘s parents and their six musical children formed an orchestra, traveling to many
interesting places to perform. The Pfohl family orchestra was named National Family Orchestra of the
Year in 1929 at the Boston convention of the National Federation of Music Clubs. As a boy, Jim played
trumpet and participated with his family in the musical activities of the Moravian Church. In 1929, while a
student at Reynolds High School in Charlotte, North Carolina, he was chosen as one of the local musicians
to play under John Philip Sousa when Sousa‘s band played a concert there.
Jim attended the University of North Carolina at Chapel Hill and the University of Michigan, earning from
the latter institution a Bachelor of Arts degree in organ and a Master of Arts degree in musicology. He
graduated with honors and was awarded the university‘s Stanley Medal for outstanding achievements. Jim
played solo trumpet in the Michigan band and earned part of his tuition teaching string bass and serving as
organist for the church where Lloyd C. Douglas was pastor. He founded the University Salon Orchestra,
which later became the Michigan Little Symphony. He also served as assistant conductor of the Michigan
Choral Union.
In 1932 at the age of 19 Jim was asked to start a music department at Davidson College in North Carolina
where music, drama and the visual arts were only extra-curricular activities. Under his direction, Davison
became the first American men‘s college to give credit for applied music courses. He taught at Davidson
for 19 years, serving as band director and department head. Jim was 23 years old in 1936 when he became
a member of the American Bandmasters Association, becoming the youngest member to be inducted into
our organization.
His playing string bass in the first North Carolina All-State Orchestra earned him a full scholarship to
attend America‘s first music camp at Interlochen, Michigan, then in its second year. Thus began his dream
to start a music camp in the South. In 1935 that dream became a reality when 26 boys signed up for the
Davidson Music School Camp. In 1939 the music camp moved briefly to Queen‘s College in Charlotte,
because the war in Europe had begun and the U.S. Army had taken over Davidson‘s facilities. After Jim
established in Brevard, North Carolina, it was called the Transylvania Music Camp. Eventually it became
the Brevard Music Center. Jim administered the camp for 29 years and to this day it continues to educate
young musicians and to attract large audiences with faculty and performers drawn from the world‘s finest.
Jim‘s friend Olin Downes, music critic of the New York Times, came to Brevard each year to hear the
student concerts. Strauss‘ ―Till Eulenspiegel‖ had been programmed. Downes questioned the orchestra‘s
ability to play it, contending it was too difficult. Jim told him that the students can play it, if you don‘t tell
them that it‘s difficult. Olin made a ten-dollar bet that it couldn‘t be played. Jim won the bet and with
great glee kept the ten-dollar bill for years.
The Honorable Terry Sanford, former governor of North Carolina, admired Jim‘s work and acknowledged
his contributions to the state: ―He meant so much to North Carolina and he was the primary inspiration in
getting the North Carolina School of the Arts started.‖
From 1949 to 1959 Jim was the conductor and music director of the Charlotte Symphony Orchestra. In
1952 he also assumed the same duties with the Jacksonville, Florida, Symphony, remaining there until
1961. During his first season with the Jacksonville orchestra, Jim invited Charles Kuralt, then a student at
the University of North Carolina at Chapel Hill, to read the ―Lincoln Portrait‖ with the orchestra. It was the
beginning of a lifelong friendship. Charles credited Jim with helping him to shape his broadcasting career.
In 1961 Jim devoted all of his time to the Brevard Music Center. Three years later, in order to assure
potential growth of the center, it was turned over to a governing board with college credits offered through
Converse College. This North Carolina school has assumed the direction of the Brevard Music Center,
which continues and prospers as Jim Pfohl‘s finest monument.
Jim was the recipient of many honors. In 1954 he was awarded an honorary Doctor of Music degree by the
Cincinnati Conservatory of Music. The following year he received the National Federation of Music
Club‘s Presidential Citation. In 1961 he was given the Delta Omicron Citation of Honor ―for his
outstanding contribution to the youth of America in the field of music.‖ The American Symphony
Orchestra League honored him for ―furthering contemporary music through performance.‖ He was the
recipient of the Brevard Music Center‘s first Distinguished Service Award for his invaluable contribution
to the arts and to the institution. In 1997 Davidson College honored him in a Memorial
Resolution. The Brevard Music Center dedicated its 61st season to his memory. Two of his youth
orchestras, Brevard and York, performed at the White House.
The last moves Jim made took him to the ―new town‖ of Reston, Virginia and to York, Pennsylvania. He
organized the Reston Chorale, Reston Little Symphony, the Northern Virginia Music Center, and directed
high school choruses in Annandale, Virginia. Concurrently he directed the York (Pennsylvania) Symphony
Orchestra and organized the York Music Center, eventually moving to York when he added the
commitment of director of choruses and orchestra at York College. Because of failing health, Jim retired to
Jacksonville, Florida in 1983.
Jim was ahead of his time in many ways. He was a pioneer and visionary with profound faith in youth and
music.
1998 ABA Annual Report
JAMES D. PLOYHAR (1926 – 2007)
James D. Ployhar
September 22, 1926-January 2, 2007
Memorial written by Don Wilcox
ABA Memorial Speaker - Don Wilcox
James D. Ployhar was an American composer, music educator, and film producer. He attended Valley
State University in Valley City, North Dakota, and originated the Fargo Big Band All-Stars, a musical
group that frequently performed in and around Fargo, North Dakota, including regular engagements at
Silent Movie Night, held at the historic Fargo Theatre.
Mr. Ployhar was considered to be one of the most prolific writers in the field of music education and left an
impressive body of work as a composer and arranger of music for school bands. Mr. Ployhar, who taught
nineteen years in the public schools, was enthusiastically welcomed throughout the United States and
Canada as clinician and conductor. He was the author of the ―CONTEMPORARY BAND COURSE‖,
published by Belwin-Mills Publishing Corporation of New York. He was responsible for many great
American songs, including the instrumental piece, "Cool Blues for Trumpets" "March of the Irish Guard"
and "Crazy Clock". He was also the composer of ―THE FLICKERTAIL‖, official march of the state of
North Dakota.
Mr. Ployhar was a recipient of the citation of excellence by the executive committee of the National Band
Association. He was a past-president of the VCSC Alumni Association (1975-76) and a member of
the V-500 Foundation. On May 20, 1977 Mr. Ployhar was presented the Distinguished Alumnus Award at
Valley City State University. During the early 1960‘s he spent a year‘s sabbatical in Southern California
composing full time, and lived for that period of time in Anaheim, California where I happened to be the
high school band director at the time. We met when he came down to comment on a performance by my
band following a football game. We became friends and during that year he brought each composition he
finished and my band read through and recorded them for him to study and evaluate. It was an excellent
learning experience for me and for my students to be so directly and personally involved with a composer‘s
creative process. In 1994 Ployhar realized a long-time dream when he returned to Southern California as
one of the co-producers of the Disney film ―Iron Will‖.
My friend Jim Ployhar left behind a legacy of hundreds of students, a large body of creative work and
many friends when he died Tuesday, January 2, 2007 in Fargo, North Dakota.
MAX POTTAG (1876 - 1970)
Max P. Pottag died November 22, 1970 in an Indianapolis hospital. Although he was not a member of The
American Bandmasters Association, he was a dear friend to all members, and contributed much to bands,
particularly the French horns. It was at the 1969 American Bandmasters Association convention in Elkhart,
Indiana when Max Pottag and another great friend of bands, Jerry Cimera, were presented with the ABA
Edwin Franko Goldman Awards.
Max Pottag came to the United States from Germany in 1901 to play with the Philadelphia Symphony
Orchestra. Next he played with the Pittsburgh Symphony Orchestra for some three years under Victor
Herbert, then two years in the Cincinnati Symphony, and forty years with the Chicago Symphony
Orchestra. During his years in Chicago he taught at Northwestern University for eighteen years. Max
Pottag was known as ―Mr. French Horn,‖ and rightfully so, for it was he who not only helped in designing
French horns, but also in forming French horn clubs, choirs, and ensembles. He was made the first
Honorary Member of the Los Angeles Horn Club for his work with 23 of Hollywood‘s top professionals in
1951, an ensemble which is still talked of today by the great horn players. During the many years when
Max helped with the designing and testing of Conn French horns, Max and Mrs. Pottag would come down
to Elkhart earlier enough for a game of golf after he had finished his testing and/or designing duties at the
Conn factory. Mrs. Pottag was not a golfer, nor am I [Lynn Sams], but Max and Ferne [Mrs. Lynn Sams]
would play just another nine holes while Mrs. Pottage and I hungrily waited in the clubhouse for ―the
golfers.‖ Max was an excellent golfer, as was Ferne in those days, and he became very quiet when he
might be ―down a couple of holes,‖ which wasn‘t helped by Mrs. Pottag‘s needling him about being
defeated by a woman.
During the last Elkhart ABA convention Max and I had some great visits. And some ABA members may
recall the last night of the convention. After the final concert a group of us were in the Elkhart Hotel lobby
talking to Max. I was urging him to stay over the weekend, but he insisted that he just couldn‘t do so,
because ―he attended a tea dance in Indianapolis every Sunday.‖ When asked what dances they did at these
Tea Dances, Max whirled Mary Revelli to the middle of the hotel lobby floor where he did one of the most
graceful Viennese Waltzes I have ever watched—with no music—past midnight—on a hotel lobby floor—
and he is past 92 years old! My last note from Max was written on New Year‘s of 1969 and I have it
before me as I read:
Never to forget the Lynn Sams. Wonderful memories. Retired, I am still a busy man, hoping to
attend the Mid-West Clinic and a Horn Clinic in Tallahassee in June. Kindest regards—Max.
Truly he was a great man and a great friend to many.
1971 ABA Newsletter, Compiled by Lynn L. Sams
GERALD PRESCOTT (1902 – 2005)
Gerald R. Prescott, Director of Bands and Professor of Music Education at the University of Minnesota
from 1932 to 1967, died in Tampa, Florida on November 20, 2005 at the age of 103. He was born on July
19, 1902 and grew up in Plymouth, Iowa, a small town in the northern part of the state where his parents
ran the general store. He was taking keyboard lessons from a neighbor on a pump organ when a new
family moved onto a farm near town. They had four musicians in the family and wanted to start up a town
band. So Gerald became a cornet player. He received his first degree from Upper Iowa University in 1920,
where he majored in math and science, with the goal of becoming an engineer, although he also took a few
courses in theology because his mother wanted him to become a minister. He also received a band
director‘s certificate and served as the assistant band director at Upper Iowa.
His first teaching position was at Ida Grove, where he taught science all day and developed a band program
outside of school hours. When he moved to Mason City in 1927, the only band was an extracurricular boys
group called the Mohawk Band. From this core group, Prescott developed the band from 39 members to
120. He also expanded the band‘s library. He took lessons on every instrument he could from area
musicians and continued to study during the summers in Chicago with H.A. VanderCook, Frederick Neil
Innes and Victor Grabel. He also completed a master‘s degree at the University of Iowa. He led the newly
organized band in state and national competitions all four of his years at Mason City. In 1928 the band
placed second in the state contest. In 1929, 1930 and 1931 Mason City placed first. In the 1930 national
contest the band placed sixth out of 16, and in the 1931 contest they placed third out of 23 bands in the
competition.
In 1932 he left Iowa to become the first full-time Director of Bands at the University of Minnesota. He
held this post until 1957 when he retired as director; however, he continued to teach music education
courses for the university for another ten years. During his tenure as band director he developed the
concert and marching bands to a very high level of performance. He initiated regular live radio broadcasts
on the university radio station. Additionally, the band performed regularly at Northrup Auditorium and
toured extensively throughout the Midwest. Part of the marching band‘s reputation for precision field
formations may have come from his science and engineering background, but music was clearly his calling.
During World War II he took a leave from the University of Minnesota and joined the Army, where he rose
to the rank of major and prepared many military bandsmen for service in the Army band. He oversaw
musical programs for the troops and trained with another well-known musician, bandleader Glenn Miller.
He returned to Minnesota following the war and his students filled numerous music positions in the state
and recommended many of their students to attend the University of Minnesota and perform in the band.
Prescott was the author of a series of nine training booklets, ―The Prescott Technic System,‖ published in
1931, and a classic book in everyone‘s music education library, ―Getting Results with School Bands,‖
published in 1938. The Prescott Technic System was highly thought of and was hung on the wall of band
rooms across the country in the 30‘s and 40‘s with students checking off the exercises as they passed them.
Gerald Prescott was elected to membership in the ABA in 1936 and his 70-year membership in the
organization is a record that will probably never be broken. He served on the Board of Directors in 1941
and 1949. He was the second president of the College Band Directors National Association in 1946-47. In
1952 Prescott served as the grand marshal and guest conductor at the North Iowa Band Festival. He
received an honorary doctorate from Upper Iowa University in 1972. In 1987 he was honored by the
Minnesota Music Educators Association for ―significant career contributions to music education in
Minnesota.‖ He completed all the course work for a PhD at the University of Colorado but never
completed the thesis. When he reached mandatory retirement at the university, he moved south and taught
music education for 5 more years at the University of South Florida in Tampa. After he finally left
teaching, he sold real estate. He also sold health and nutritional products until he was 95.
Former student John Zdechlik recalls:
I met Prescott in 1957 when I started school at the U. of M. I never had the pleasure of playing
under his direction, but I took several music education classes from him in the years that followed.
A number of these classes were instrumental technique classes, which he did a masterful job of
teaching. I never really appreciated the things I learned from him until I got out to my first
teaching job where I had to teach beginners. The lessons I learned from him were invaluable to
me. In these classes he insisted that we do things in a very regimented manner and graded us daily
on every detail regarding embouchure, hand position, setup, etc. If you did not follow directions
precisely, you got an F or a D for the day. He also demanded that we be on time for class and
went so far as to lock the classroom door at the top of the hour. For some students these were hard
realities to accept.
Another memorable class was ―Band Organization.‖ The textbook was his own, and many of you
may have used ―Getting Results with School Bands.‖ It was an excellent handbook for the novice
band director to have, and covered things such as: Instrument Inventory Forms, How to set up
Your Music Library, Plotting Marching Band Shows, Tour Organization, Press Releases, and on
and on. Again I used most of his ideas when I began teaching.
When I was a senior I got to know Gerry more personally, because he hired me to write some
piano accompaniments for a number of his solo books for beginning students. It was a good
learning experience for me, and we became good friends from that point on. He was always very
gracious towards me and also paid me very well for the work I did for him.
In later years after he moved to Florida he used to call me quite often just to talk about the current
situation with high school and college bands. I also think that he was pleased to see that I had
many publications out during those years. He was always very complimentary to me about my
music, and I sincerely appreciated his interest. He certainly lived a long life and always seemed so
positive about things. I was also happy to hear from his wife June that he died peacefully. His
contributions to music education will never be forgotten.
Another musician directly influenced by Gerald Prescott was Harry Carter who remembered him as
follows:
I remembered him as my judge at National Music Contest in 1939 and then when I started
teaching at Ida Grove after World War II, I found quite a number of band arrangements that he
had pasted in strips, simplifying parts to be more playable by the kids. I used them and thought I
had a treasure. Wish to heck I had them now. I checked back with the Ida Grove paper and found
out that he came there right out of college at Upper Iowa University in Fayette in 1924. He taught
physics, general science and band and orchestra. He had state winning bands in 1925 and 1926
and a state winning orchestra in 1926. I am sure that you are familiar with his course of study for
the individual instruments where he provided a weekly chart that designated certain pages or
exercises in the tried and true methods of those days such as Arban, Klose, etc. Each kid had his
own chart measuring his progress, and this information was transferred to a master chart, which
determined when they were deserving of a special award or rank. I am pleased to know he is
being recognized; he certainly made an impression on me. As a great man, he took the time to talk
to me after my contest event was over. I think it probably steered me into becoming a band
director.‖
Adolph Sylvester ―Bud‖ Herseth has played principal trumpet in the Chicago Symphony Orchestra ever
since he became a member in 1948 and until he retired in 2001 (53 years!). He recalled Prescott as one of
the first teachers when Herseth went to the first high school state band camp that Gerald Prescott held at the
University of Minnesota. Prescott had heard Bud play at a regional contest and invited him to play solo
cornet in the summer band.
Read by ABA Memorial Speaker Gilbert G. Lettow
2006 ABA Annual Report
―The Key to the Future is Found in the Past‖
Comments by Gerald R. Prescott
Dear Fellow ABA Members:
Many thanks for inviting me to comment on the development of the concert band program during the
Twentieth Century.
The most effective manner in which I believe this can be accomplished is narrating my walk through a
musical life. It is in humbleness that I do so.
Great music is composition with a special message to you, the listener; a message that will make you a
better human being, more altruistic, more determined to discipline yourself for your hopes and dreams,
make you more tolerant toward others, and a better parent, son or daughter. The message from this great
music comes to you with a surge of emotion that perhaps gives you goose bumps or a warm shiver. You
want your loved ones to have the same experience, and you seek other compositions with such inspiring
emotional qualities.
During the last few centuries there have been several dozen composers who have written such great music.
Most, if not all, of these composers also wrote dozens, and in some cases hundreds, of compositions. But,
since these compositions never touched the human heart they never lived on through repeated
performances. The role of emotion in music makes it possible for a composer‘s spiritual message to be
heard the world over. Only the music which is character-building has endured over time.
The prime factor determining the future of great music is what happens in the elementary and secondary
school music programs. When students become competent enough to play great music, it will touch their
hearts. Then good music will continue to live on because of that experience. Throughout their lives, they
will support great music through their participation as a player or a listener.
What has been the evolution of American instrumental music, you ask?
During the Colonial Period military drum and bugle corps were organized to support military units, which
kept internal order. The military units naturally developed into concert organizations which entertained
local communities. They performed music of a concert nature rather than just marches. Throughout this
period, compositions were being written for all types of instruments and combinations of instruments, some
of which became acceptable concert music. Thus, these early military bands were a force in carrying the
concert band concept to the present time.
After the Civil War there followed several professional bands which criss-crossed the nation and played
outside of the metropolitan areas. The most well-known of the conductors, of course, was John Philip
Sousa. During this era, there were many civic bands organized from coast to coast. As time would have it,
the numbers of these bands thinned out. Enterprising leaders then developed youth bands to provide
replacement members. In my little home town of Plymouth, Iowa, a youth band was organized to fill the
ranks of the retiring band elders.
Around 1920 Edwin Franko Goldman was invited to guest conduct the University of Illinois concert band
which had been developed by Austin Harding. Goldman was amazed to find a college band capable of
playing at such a professional level. Later, he heard Archie McAllister‘s Joliet High School Band and was
even more amazed. Both Joliet and the University of Illinois campus were not far from Chicago; thus,
from the start the wind and percussion players could have artist-teachers from the famous Chicago
Symphony. For a number of years both Harding and McAllister had maintained bands that were capable of
playing the same band literature which Goldman had found were repeatedly programmed by Sousa and the
other professional bands of his era.
Joe Maddy of the University of Michigan knew that school and college bands here and there were playing
this great music. About this time he and others assembled bands, orchestras and choruses to perform at
numerous state and national administrators‘ meetings. The time was ripe because superintendents of
schools, high school and elementary principals, and most of the classroom teachers felt the need to add fine
arts, especially music, to their basic program. In the Midwest, leading administrators who had experienced
the effectiveness of competitive sports proceeded to set up a district and state competition framework for
school bands and orchestras. They called on Goldman, McAllister, Harding and others in the profession to
designate the required compositions to be prepared for adjudication. Later, these same leaders were asked
to serve as adjudicators. Thus, the school band movement got off to a high level of expectation. The mid-
20s found hundreds of schools sponsoring high school bands and orchestras, using the youth band
momentum and personnel.
ONE MAJOR PROBLEM! No college anticipated the sudden demand for school band directors, thus
offered no training!
In an attempt to meet the challenge, Upper Iowa University (my alma mater) set up a crash course for
summer instruction in developing bands. In that summer of 1924, the year of our college graduation,
several of us took the course. It was taught from 9:00 to 4:00 every day for 6 weeks. Now, theoretically,
we were prepared to teach band. Incidentally, you‘ll be interested to know why we chose this path.
Salaries for classroom teachers were $900-$1200 per year, while classroom teachers who would also teach
band outside of school hours earned $1800 per year. It wasn‘t long before it became evident that I needed
more training to become a band director of worth.
The Conn Band Instrument Company set up a band school headed by Frederick Neil Innes, a professional
band director. A very important instruction for building bands was emphasized by him: start rehearsals
with full band playing unisonal scales and arpeggios.
The Chicago College of Music engaged Victor Grabel to administer their new band directors‘ school. He
had two strong emphases: bands need sectional rehearsals and every student should have a graded course
of study on his or her instrument.
The VanderCook School of Music set up a complete four-year course of study for a Bachelor of Science
degree with a summer five-week seminar for band directors. Guess, my friends, where my first three
summer vacations were spent! All three institutions hired artist-teachers from the Chicago Symphony
Orchestra, from whom we took private lessons as needed. The result was to be intimately acquainted with
each instrument.
Now, may I single out the most valuable essential we learned. It was from VanderCook. Expression in
music is the ultimate in performance. Only when the technical is conquered can there be given attention by
the performer to convey the emotion of the music. When that is accomplished, the performance is
complete. After private instruction from H. A. VanderCook on how to express the emotion of music, I can
tell you that the door of true music appreciation opened.
A publication titled ―Expression in Music‖ by H. A. VanderCook is still available.
In 1925, the year of initiating the band contest in Iowa, there was an invitation to all bands to attend the
state contest sponsored by the manufacturers of band instruments and music publishers. The very next
year, in 1926, the University of Iowa took over the sponsoring of the state contest movement which
continued through the ‘20s.
In 1929 the Iowa State Contest had four requirements for competition:
1. A short selection chosen by the director.
2. Rienzi Overture (Wagner) was required for competing bands.
3. There was also a required selection taken from the following list of 10 selections:
a. Die Fledermaus (Strauss)
b. Hungarian Rhapsody (Liszt)
c. The Force of Destiny (Verdi)
d. Espana Rhapsody (Chabrier)
e. Oberon Overture (von Weber)
f. Polka & Fugue (Weinberger)
g. William Tell (Rossini)
h. Finlandia (Sibelius)
i. Ruy Blas (Mendelssohn)
j. Egmont Overture (Beethoven)
4. Sight reading a new composition before release by its publisher.
Please note that the quality of the music that was chosen…so enriching that you still recognize them today.
Unfortunately, during the first years of the Iowa band competition the Ranking System was used (―Winner
Take All‖). This type of ranking continued through the ‘20s. It was harmful to the progress of the band
movement. There came a growing hostility among the band directors for the unfairness of this method of
evaluating bands. Several bands may have been top notch but the differences were too minute as to
disregard the prowess of those not assigned to first place. Even the judges complained of the difficulty in
trying to rank the bands. They felt it unfair to give only one band first place.
In the early ‘30s the Iowa contests were converted to the Rating System of judging, which should have
been used in the first place. The Rating System allowed each band to compete against a standard of
performance rather than against each other. However, a mistake was made in not continuing the
requirement for specific contest selections. Each band was allowed to play ANY selection of the director‘s
choice: thus, the challenge to play the more difficult selections was lost.
While this growth of the school band movement was continuing, I was invited to consider a position in
Mason City, Iowa, because of winning the state contest. I tell you this because of enumerating who was in
on the interview. The group included the superintendent of schools, the high school principal, the director
of the city band, and the secretary of the Chamber of Commerce, all of whom seemed to have a vested
interest in having a prize-winning band at the high school. My teaching was to be limited to band and
orchestra and I was promised the help for individual instruction and sectional rehearsals by the Cecil
Theatre orchestra members who were playing the silent movies. Between the time I agreed to take the
Mason City job and the time I was to report, the silent movies were replaced by sound pictures that
summer, and the Cecil Theatre musicians moved away. The high school principal informed me that I was
going to have to teach the individual instruments and hold the sectional rehearsals. He would allow
students to take time out of classes twice a week.
My whole life has been dedicated to the improvement of American school bands. After eight especially
satisfying years developing school bands, I moved on to the University of Minnesota where, in addition to
being director of the university band program, my main task was to work for the School of Music and the
College of Education developing an effective school instrument course for future band and orchestra
directors. After 35 years at the University of Minnesota, I moved on to the University of South Florida to
implement the same course of study.
During my entire instrumental teaching career, any accomplishments achieved in developing bands in high
school and teaching potential high school band directors at the college level, I found that my ―FIVE-POINT
COURSE OF STUDY‖ brought whatever success I experienced. I would like to share this five-point
course of study with you now:
First, The essential daily full rehearsal.
Second, Each member of the band should receive a graded course of instructions on his
or her instrument.
Third, There should be weekly sectional rehearsals to work out the weak spots of a
program selection.
Fourth, Each player needs to develop a solo or two each year for his or her instrument,
with piano accompaniment, which he or she can play throughout the
community.
Fifth, Every member should belong to a small ensemble group which plays at
community appearances.
In conclusion, I wish all of you the best of success in all your endeavors. The future of music in America is
in your hands.
May I ask that you carry this in your thoughts:
THE KEY TO THE FUTURE IS FOUND IN THE PAST.
2000 ABA Convention Annual Report
EMIL W. PUFFENBERGER (1909 – 1990)
Emil Puffenberger passed away in Canal Fulton, Ohio on August 8, 1990, eleven days short of his 81 st
birthday. He was proud of his affiliation with the American Bandmasters Association, having been elected
to membership in 1965.
Although Emil was born in Virginia, where he received his early education, he attended high school in
Cleveland, Ohio and Frankfort, Indiana because his father was a minister. He earned the Bachelor of
Science degree from McAlester College and did postgraduate work at Capitol University in Columbus.
In 1935 Emil became director of the Canal Fulton High School Band, later known as the Northwest High
School Band. His teaching was interrupted during World War II when he served with the Army Air Force
Training Command. Contrary to the experience of many educators, Emil taught in the same school for 37
years, an accomplishment that probably makes him a legend. Another unique factor of his career was the
fact that his bands won 33 consecutive superior ratings in Ohio state band competitions.
Emil was a pioneer in the establishment of the band clinic concept, having founded the Canal Fulton Band
Clinic, which still continues as the Ohio American School Band Directors Association State Band Clinic.
He was a charter member and past president of the American School Band Directors Association, which
honored him with its Edwin Franko Goldman Award for outstanding contributions to the school band
movement.
Among his other plaques and honors, two were most valued: the MAC award, which honors the most
outstanding director in the nation who maintained the high musical standards set by A.R. McAllister; and
being honored as the first recipient of the Hall of Fame Award, presented by the University of Akron Band
Directors Conference.
Emil Puffenberger was truly one of the pioneer music educators in Ohio, whose profound influence in the
lives of thousands of young people is his living legacy.
1991 ABA Annual Report
R
GREG O. RANDALL (1917 – 2008)
M
RICHARD V. MADDEN (1912 – 1987)
Richard Madden was born in Rochester, Minnesota. He died in Illinois on June 6, 1987 after a lingering
illness at the age of 75.
Dick played oboe in his high school band and went on to continue his studies at Northwestern University.
Following graduation he taught at a number of schools and colleges, including Evanston High School,
Syracuse and Ohio State Universities.
During World War II Dick attended Officers Candidate School and was commissioned to serve as an Army
Procurement Officer.
He became an Associate Member of ABA in 1955, representing the Chicago Musical Instrument Company.
Eventually he served as President of the company. Dick was elected Chairman of the ABA Associate
Members Committee and upon retirement became an Individual Associate Member. He regularly attended
our meetings and was a staunch supporter of ABA during his thirty-two years of membership.
Dick‘s varied career spanned nearly five decades of service to the nation and the music community. In
1966 he began seventeen years of service to VanderCook College as a board member and later as President
of the Board of Trustees. His efforts and guidance led to the establishment of an endowment fund and
library at the institution. In 1979 Dick received the Northwestern University Merit Award in recognition of
his professionalism.
For eighteen years he was a member of the Board of Directors of the Mid-West Clinic, serving as its
president from 1979 to 1982.
Dick edited the ABA Newsletter for many years. We remember with affection his gentle needling and will
miss his camaraderie and wry humor.
1988 ABA Annual Report
Note: The 1992 Annual Report noted the death of Peg Madden, wife of Richard, in December 1991.
ROBERT L. MADDOX (1907 – 1996)
Robert L. Maddox was born in Bollinger, Texas in 1907 and died in Odessa, Texas on July 9, 1996 at the
age of 89. He was educated in the Bollinger public schools, which had no music programs at the time. In
1921 Bob bought a mail order cornet and launched his own self-taught career.
He graduated from Baylor University in 1928 with a bachelor‘s degree. His first teaching adventure took
him to the high school in Ranger, Texas where he taught English, Spanish and typing. He was the music
teacher, but conducted band practice after school hours because band was not included in the school
curriculum. In 1935 Bob became the band director at the high school in Cisco, Texas. Band was included
in the daily schedule; however, in addition to his music classes, Bob had to teach typing and business
administration. A young member of Bob‘s band at Cisco was John Heney. When Bob moved to the
Mexia, Texas High School as band director, John‘s family moved to Mexia so that he could continue his
studies with Bob. We know that John was associated with North Texas State University for 40 years.
From 1945 until 1972 Bob was the band director at the Odessa High School. His bands were outstanding
and earned many laurels in regional and national competition. Bob organized the Odessa Little Symphony.
It later merged with the Midland orchestra and is well known now as the Midland Odessa Symphony
Orchestra.
Bob was a member of the Texas Bandmasters Association and was honored as their Man of the Year in
1957. He was president of the Texas Music Educators Association in 1946 and was a member of the Phi
Beta Mu, Alpha Chapter.
Bob was elected to membership in ABA in 1957, an honor that he cherished very much. In 1990 the
Odessa Public Schools dedicated an instrumental music building, naming it in his honor to keep his
memory alive where he had done so much.
1997 ABA Annual Report
JOSEPH E. MADDY (1892 – 1966)
Joe Maddy was the name by which he was known to many thousands, rather than by his formal title ―Dr.
Maddy‖—even though he had earned the ―Dr.‖ title many, many times. Just ―Joe Maddy,‖ which, when
hearing him pronounce it might be thought of as one word—until the appendage, ―of Interlochen,‖ was
added.
Little did we who visited with Joe at the Evanston convention realize that we would soon be reading
newspaper headlines bringing the sad news, ―Died in Traverse City, Michigan on April 18, 1966 of a Heart
Attack.‖
Perhaps in 1896 it would have made little or no difference to people in Wellington, Kansas had they known
that ―one of those Maddy boys‖ had a violin. Actually, he had the violin before he was five years of age.
But history could lead us to believe that Joe Maddy took greater interest in hitting targets with his rifle than
in hitting the correct notes on his violin. But he did practice. In fact, he practiced diligently, but with his
rifle, shotgun, swimming and fishing. Seemingly he did not care for school.
Thanks to a mother who was gifted in music and the other arts, Joe soon began to realize that there was
some fun in music—playing duets with his brother Harry.
It was in 1900 that the Wellington Boys Band was formed. Perhaps the thought of playing in a band with
other boys, perhaps the prospects of out of town trips with the band, or perhaps because Joe could purchase
a piccolo for two dollars and fifty cents caused him to give of his talents on the piccolo. How long he
lasted on piccolo, I do not know, but at age 12 he was doing a creditable job playing clarinet in the
Wellington Town Band. Possibly the adult members of the Town Band put somewhat of a damper on his
ambition to become a clarinetist, or it might have been because the band director was at heart an orchestra
man. But next we hear of Joe on viola. And it was the viola in which he evidenced his greatest interest.
Study at Wichita College of Music interfered somewhat with his public school work, so he dropped out of
public school in the ninth grade. Wishing to join a family orchestra that needed a clarinetist prompted his
return to the clarinet. A family music camp that he attended might have been the original seed that later
germinated into his Interlochen Music Camp idea. But the family orchestra in which he was playing had
developed to such a degree of excellence that they were in great demand, and on a paid basis.
Then came Joe‘s move to Minneapolis, with high hopes of joining the symphony there. And they needed
viola players. So Joe became the youngest member of that orchestra, playing ―last chair‖ viola, and
augmenting his modest stipend by playing outside engagements. The money that he received for playing
was immediately invested in private instruction on practically all of the instruments on which he had not
already had some experience. The need for greater income prompted him to accept an offer to conduct, and
also play violin, in a theater in his home town of Wellington. This also gave him the opportunity to gain
conducting experience.
Next he started the Wellington Conservatory of Music, and continued to conduct the theater orchestra.
Then came his position as director of the Wichita Falls, Texas College of Music, and it was here that he
organized and taught an orchestra in the high school, and organized and directed a band in a nearby town.
Not satisfied with his knowledge of music, his next move was to Chicago for study with top teachers. Here
he also taught privately and played saxophone in several of Chicago‘s jazz bands of those days.
Then came Richmond, Indiana; Rochester, New York; Ann Arbor, Michigan. In Ann Arbor in 1924 he
was a Professor in Music, a position he held until 1962, when he was named Professor Emeritus. And it
was during his years at the University of Michigan that an idea that had been smoldering in his mind caught
fire. INTERLOCHEN!
Now known to all is the story of his accomplishments—his contributions to the school instrumental music
program, his struggles and sacrifices in his determination to create a National Music Camp, his
disappointments, yet his continued drive toward his goal. Then the first rays of light and encouragement,
and finally INTERLOCHEN.
TO JOE MADDY WE ALL OWE MUCH.
1968 ABA Newsletter
JACK H. MAHAN (1911 – 1995)
Jack Harold Mahan, Honorary Life Member of the American Bandmasters Association, was born in Fort
Worth, Texas on August 10, 1911 and died in that city on January 18, 1995 after a lingering illness.
Elected to membership in ABA in 1952, Jack served three terms on the Board of Directors, in 1955, 1971
and 1974. He was elected president in 1973 and was our secretary-treasurer for thirteen years, from 1975
to 1988. He became an Honorary Life Member in 1988.
Jack received his education at Central High School in Fort Worth and played sousaphone in the band. He
attended North Texas State Agricultural College, where for several years he was an assistant to ABA
member Col. Earl D. Irons, legendary band director at the school. Jack also was a staff musician with the
WFAA radio station studio band. In 1940 Jack earned a Bachelor of Science degree in music from Texas
Wesleyan University. However, his teaching career had begun in the early 1930s in the Dallas elementary
schools and in several East Texas elementary and junior high schools.
During World War II Jack was chief clerk of ground training for the Air Transport Command, was
stationed in Texas at Love Field and directed the 361st Army Air Force Band there. After the war he served
in the Philippines and Japan and was in charge of troop entertainment.
Back in civilian life, Jack pursued graduate courses at the Chicago Conservatory. In 1949 he received a
Master of Education degree from Southern Methodist University. When he returned to teaching, he
became band director at Texarkana High School, where he produced outstanding bands. For several years
Jack was the national representative for a major music publisher, but returned to the academic field in 1956
when he succeeded Col. Irons as Director of Bands at the Arlington State College. The school later became
the University of Texas at Arlington. Jack was Director of Bands and Chairman of Music until he retired in
1975. At that time the university honored him with their Distinguished Alumnus Award.
Jack was associated with a number of organizations and fraternities. He was a president and Honorary Life
Member of the Texas Music Educators Association; as one of the association‘s early secretaries, he was the
first editor of the Texas Music Educator magazine. He was one of the first members initiated into Phi Beta
Mu. He served as their Alpha chapter president three times and chapter secretary for twenty-six years, and
was elected Honorary Life Member and Honorary Life Executive Secretary of this international
bandmasters fraternity. Jack originated, organized and produced Marchiesta, a massed playing, marching
and singing exhibition started at the East Texas Jamboree. Later the event was produced for the Texas
Music Educators Association at the Texas State Fair in Dallas. Jack also founded the Texas Choral
Directors Association and was director of the Hella Temple Shrine Band for one year. He served as
chairman of the North American Band Directors Coordinating Committee and was a Charter Delegate. He
was also a former chairman of the Board of Directors of the ABA Foundation. He received the Phi Beta
Mu National Award ―Plaque of Appreciation‖ and the Alpha Chapter ―Gold Pitcher of Appreciation.‖ He
was an Honorary Life Member of Kappa Kappa Psi, Tau Beta Sigma and Phi Mu Alpha Sinfonia.
Our present Secretary-Treasurer, Dick Thurston, can attest to the contributions Jack made to ABA:
As Secretary-Treasurer he exercised wise and dedicated leadership with a firm and gentle guiding
hand. In addition to the myriad duties incumbent upon the office, he wrote or rewrote such vitally
important documents as the ABA Officers Guide, the Convention Planning Guide, the Guide for
Directors of Participating Bands, and the ABA Membership History (―Lest We Forget‖). With
Florence as his stalwart teammate, Jack steered our beloved organization through some of the
most significant years in its history. His accomplishments will never be forgotten; and his passing
leaves a void that will remain for many years.
1995 ABA Annual Report
President Mahan‘s Address - 1974
The future heritage of the American Bandmasters Association began in July 1929. I quote from the 1931
program of the second convention, which was held in Boston.
The idea originated with Edwin Franko Goldman, who had given the matter considerable thought.
While on a visit to Columbus, Ohio, Mr. Goldman explained his plans to Victor J. Grabel of
Chicago, and William J. Stannard of Washington, both of whom he had met there. These two
prominent bandmasters expressed great interest in the idea. A week or so later, Mr. Goldman had
a chat with John Philip Sousa, who was also much impressed with the possibilities.
Encouraged by the favorable reactions of these gentlemen, Mr. Goldman invited most of the
prominent bandmasters of the United States and Canada to a luncheon and meeting at the Hotel
Pennsylvania in New York on July 5th, 1929 as his guests. It was at this meeting that the
American Bandmasters Association was definitely organized, with the objects of mutual
helpfulness and the promotion of better music through the instrumentality of the band. To this
end, the Association shall strive to secure the adoption of a universal band instrumentation so that
band publications of all countries will be interchangeable; to induce prominent composers of all
countries to write for the band; to establish for the concert band a higher standard of artistic
excellence than has generally been maintained; and to do all possible to raise the standard of bands
and band music.
Among those who attended were: Arthur Pryor, Captain Charles O‘Neill, A. Austin Harding, Captain R.B.
Hayward, Frank Simon, Lieutenant J.J. Gagnier, Lieutenant Charles Benter, Victor J. Grabel, and Edwin
Franko Goldman.
These wise and far-sighted gentlemen set goals that we are realizing today—some 45 years later. Although
it is difficult to estimate the influence of the American Bandmasters Association, certainly its by-products
have helped establish organizations such as Phi Beta Mu, College Band Directors National Association,
American School Band Directors Association, National Band Association, and the North American Band
Directors Coordinating Council.
Our direct contributions include the developing of standardized instrumentation; the promoting of band
composition; the establishing of the Research Center and the Journal of Band Research; developing the
John Philip Sousa Memorial in the Kennedy Center for the Performing Arts; and the approving of the
enshrining of Mr. Sousa in the Hall of Fame for Great Americans.
Other related advancements include the John Philip Sousa Memorial, Inc., application and acceptance as a
participating member of CISPM (Confederation Internationale Des Societies Populaires de Musique) in
Europe, of which Paul Yoder is Vice President and representative for the North American continent.
And now we are participating in the first inter-continental meeting of band director organizations—a joint
meeting of the American Bandmasters Association and the Japanese Band Directors Association, to which
delegates from the United States, Canada, Japan, England, Holland, The Philippines, Korea, and Italy have
been invited. I suspect that our founder and the Charter Members did not envision such widespread
influence in World Peace through band music.
My election as President of the American Bandmasters Association caused me to draw upon the established
leadership of our former presidents. As I thought about ABA, year after year, I tried to analyze our
position today in order to relate our future with our past.
When we went to the convention in Washington, Florence and I spent a pleasant evening with our
dedicated and efficient Secretary, Bill Santelmann and Margaret. It was then that Bill told me of his dream
of developing a perpetuating roster of our membership through the years, and he showed me the work he
had done. I was so impressed that I persuaded him to let me take his work of love and publish a
preliminary printing which I hope can eventually give us an authenticated ABA roster for our future
heritage.
Later, when I saw the masterfully presented documentary of the United States Army Band, it occurred to
me that no one other than Sam Loboda and his team of experts could properly produce the pictorial history
of the American Bandmasters Association. I approached Sam with the idea of such a production, and I
asked Herb Johnston to do the research for the project. Each accepted the challenge and we will have the
premier performance tomorrow. These are the credits for the ABA story:
Narrator Lt. Col. William F. Santelmann
Producer Col. Samuel R. Loboda
Writer Russell S. Gloyd
Production Coord. Allen Olson
Photography Leo B. Hurst
Audio Jerry Nedilsky
Translations Yoshio Inomata
Special Thanks Herb Johnston
Lynn Sams
Forrest McAllister
George Cavender
Gladys Brodt
The ABA Research Center
In 1972 in Arlington, Texas, President Dunlop emphasized the importance of membership attendance at
annual meetings. He made his point so clear that the 1973 Washington meeting had the largest attendance
to date.
In Washington, President Hunt emphasized the importance of international relations, and he admonished
our Association to extend its leadership among world band development programs.
The first venture of ABA in its international role tells us that the changing times and the involvement of
world music relations will tend to alter the future heritage of ABA.
There was a time when the Association was small and the meetings were centralized enough that the
proportion of attendance was high. There was a family closeness which was felt deeply by all of its
members and wives. During the 1955 meeting in Elkhart, Indiana, a bell-hop was heard to say, ―This is
the out-kissingest group of people we have ever had in our hotel.‖ The year Jess Lasky attended the
convention in the hope of producing ―The Big Brass Band,‖ in the last moments of that final session, Ray
Dvorak asked that we join hands and sing ―Auld Lang Syne.‖ Since it might be the last time many of us
would meet, we all joined in. This closeness in our heritage has been lost by the size of our Association
and by the demands of these modern days upon our time.
I have been told that in 1952, when my teacher, Colonel Earl D. Irons, got up to deliver his Presidential
Address, he simply said, ―My address is Box 262, Arlington, Texas,‖ and sat down. Today, on the
international level, I, as President, will be required to do more. Today I am delivering this address, and
tomorrow I will deliver a welcoming address to our Japanese colleagues. Indeed, times have changed, and
we must consider the involvement of the future when we consider the future heritage of the American
Bandmasters Association.
If we plan to become more internationally involved, we must recognize that attendance can be expected
only from those who can participate. We will need to consider a different financial structure for our
Association. We will need more officer involvement. A one-year term of office will not allow for the
necessary long-term planning and implementation. There will be a need for an International Relations
Committee or Board. There will be a need for the establishment of ―positive‖ executive authority rather
than ―assumed‖ executive authority as the occasion may dictate. These needs and many more must be
considered if the American Bandmasters Association is to assume the leadership of bandmaster
organizations on the international level.
When we consider the future heritage of ABA, we should recall the wisdom of an old southern philosopher
who said, ―You can‘t come back from where you have never been, and you can‘t give away what you have
never had.‖
As the world grows smaller, we must grow influentially larger if we are to maintain the future of the
heritage which has been given us. We must make haste slowly and, as we take our time, we must hurry
every chance we get.
1974 ABA Annual Report
―The Past-President‘s Pin‖
By Past President Jack Mahan
It seems appropriate at this time to note the beginning of the tradition of the ABA Past President‘s Pin and
its full meaning which culminated at the 1992 ABA Convention in Washington, DC. This is the story and
remarks made to me by William F. Santelmann during and following this tenure as Secretary-Treasurer of
The American Bandmasters Association.
Prior to 1967, it was the custom for each outgoing President to receive a gift as he left office. The gift was
usually a handsome piece of luggage or, if the gift had been overlooked in pre-convention planning, a
check for $75.00 was hastily written and rather unceremoniously presented to the outgoing president. The
latter was the case when Fred McCall became Past President in 1966.
Some time after that convention, Bill Santelmann (then Secretary-Treasurer) asked Fred McCall‘s wife,
Betty, what they had purchased with the $75.00 check. She replied that she did not remember—that
possibly they had bought groceries with it.
This prompted Bill Santelmann to have the ABA pin redesigned, approved and purchased for each of the
Past Presidents who were living at that time and to be presented to the outgoing president at each future
convention. Thus, Bill Santelmann, a Secretary-Treasurer, was the first person to wear the official ABA
Past President‘s pin.
After I became Secretary-Treasurer in 1975, Bill Santelmann related this story to me several times. During
his last few years he often said that although his PP Pin was a gift from ABA, he considered it to be a
binding trust and should always be treated as such. He did not want it to be cast aside or worn as a charm
or other misuse. Therefore, he requested that his pin be returned to ABA after his death.
In fact, Bill was so proud of his ABA Past President‘s Pin that he had a stick pin with keeper soldered to it
after a few other ABA pins had been lost. This made his pin not only secure, but distinctive and unique.
After John Bourgeois became successful as the Commander and Conductor of the U.S. Marine Band, Bill
was very proud of John‘s accomplishments and superb work with Bill‘s beloved Band. He often said in his
rich, resonant voice, ―That‘s my boy,‖ referring to John Bourgeois after a particularly fine performance. In
fact, Bill eventually gave John Bourgeois his own personal Marine Ring, which John still wears with pride.
On the day of Bill‘s death during the Phoenix Convention, Margaret, Bill, Florence and I had lunch
together, at which time Bill restated his request regarding his ABA pin. He passed away back stage during
intermission at the final concert on Saturday, March 30, 1984 after conducting his beloved Marine Band in
his father‘s arrangement of ―Ride of the Valkyries‖ from ―Die Walkure‖ and ―Semper Fidelis March.‖
That night, after Bill‘s death, with Margaret‘s approval, I took Bill‘s PP Pin from his lapel and later placed
it with a note of instructions in the ABA bank box.
This information was passed on to Dick Thurston when he became Secretary-Treasurer
of The American Bandmasters Association, and he saw to it that the bequest was fulfilled when John
Bourgeois received William F. Santelmann‘s Past Presidents Pin as his own in Washington, D.C., March 7,
1992.
Thus Bill and Margaret Santelmann‘s love for ABA and the Marine Band is documented.
1992 ABA Annual Report
MARTIN S. MAILMAN (1932 – 2000)
Martin S. Mailman was born in New York City on June 30, 1932 and died in Denton, Texas on April 18,
2000. Although he was educated in the pubic schools, he was not involved in any musical activities.
However, he did take private trumpet lessons with a well-known musician—Frankie Newton. As a
teenager he attended composition classes at the Juilliard School of Music and was encouraged to develop
his obvious potential. Martin spent several years in the Merchant Marine and was at one time an apprentice
chef. The restaurant owner relocated to Florida and invited Martin to cook for him there. But Martin had
reached a point in life where he had to choose between cooking and music. Although he chose music, he
retained his love for the kitchen and had been a gourmet cook the rest of his life.
When he began his studies at the Eastman School of Music, his classmate and roommate was ABA member
Donald Hunsberger. Martin studied composition with Wayne Barlow, Louis Mennini, Bernard Rogers and
Howard Hanson, and earned his BMus, MMus and PhD degrees at Eastman. He was a Ford Foundation
composer in Jacksonville, Florida and, at the invitation of ABA member Herb Carter, became the first
composer-in-residence at East Carolina University in Greenville, North Carolina.
In 1966 Martin joined the College of Music faculty at North Texas State University (now the University of
North Texas) in Denton, Texas. For 34 years he was the coordinator of composition, composer-in-
residence and [later] Regents Professor of Music. In 1982 he won the Queen Marie-Jose Prize for
composition in Geneva, Switzerland for his ―Concerto for Violin and Orchestra.‖ In 1983 he won the
ABA/Ostwald competition for his composition ―Exaltation‖ and in 1989 won the award again for his music
called ―For Precious Friends Hid in Death‘s Dateless Night.‖ Other achievements include a National Band
Association composition prize and the Edward Benjamin Award. His more than one hundred compositions
include chamber music, band, choral and orchestral music, film scores, television music, an opera, and a
Requiem for chorus, orchestra and soloists. He served as clinician, teacher, guest conductor and composer
at more than 90 universities in the United States and Europe.
During his career, he was a leader in promoting musicianship through MENC and made numerous
presentations at conventions and universities. Rather than featuring his own music, he focused on music in
general and the impact it had on both students and professionals. Regarded as one of America‘s premier
composers, his influence is immeasurable.
Martin was a member of ASCAP, MENC, Phi Mu Alpha Sinfonia, Pi Kappa Lambda and Sigma Alpha
Iota. He was elected to ABA membership in 1991.
Martin‘s son, Dr. Matthew Mailman, is the Director of Bands and Associate Professor of Conducting at
Oklahoma City University. Prior to that he was a teaching fellow at the University of North Texas,
although he never attended any of his father‘s classes. Matthew knew better than anyone how gifted his
father was and that he composed constantly to set an example as a teacher. Martin felt that students were
very important to his own growth as an artist. Many of his students are now successful composers. Martin
and Matthew had a remarkable relationship—a unique understanding and trust in each other as musicians
and men.
In tribute to his father, Matthew said:
I continue to teach my students of the great artistic and educational value and the highest intent of
my father‘s work and to promote his music as often as possible. My father, through his works, his
teaching and his example, has left us a rich and enduring legacy, one of which I am proud to be a
part. Martin Mailman‘s music was about energy and boldness and taking risks; now, sadly, his
work is all that is left, but what a wonderful thing he left behind, and how much to celebrate, the
evidence of an eternal life that was lived up-tempo, in a high, brassy arc.
2001 ABA Annual Report
VERNON MALONE (1890 - 1951)
(Editor‘s note) I have been unsuccessful in obtaining information concerning our good friend Vernon
Malone, and although I wrote to Mrs. Malone, her serious illness prevented a reply until late in December.
Her illness and grief undoubtedly caused her to forget to give details other than those given in her letter,
parts of which I quote:
Your letter was so very much appreciated. A sympathetic understanding put into words has been a
help each day thru the months following. I have been very ill and I beg you to understand this
lapse of inattention to things. Vernon passed away the morning of March 22, 1951. I had just
been taken into the operating room at Abbott Hospital in Minneapolis…he was in the waiting
room. He became suddenly ill and died. Two days later they informed me of his death.
Your asking for information was appreciated. He was such a fine person—prideful but always
humble. I found this verse written for someone; it seemed true of Vernon, too.
Here was a friend whose heart was good;
He walked with men and understood,
His was a voice that spoke to cheer,
And fell like music on the ear.
His was a smile men loved to see;
His was a hand that asked no fee
For friendliness or kindness done.
And now that he has journeyed on,
His is a fame that never ends,
He leaves behind uncounted friends.
1952 ABA Newsletter
FRANK MANCINI (1886 – 1964)
A letter of several weeks ago from Frank told of the illness of Mrs. Mancini and of the necessity of his
retiring from practically all music and other activities in order to be at home with her. There was no
mention of his not feeling well. It was therefore a considerable shock to learn that he had collapsed and
died of an apparent heart attack on November 15, 1964 after walking his dog. Mrs. Mancini, hearing a
noise on the back porch, found his body. Mrs. Mancini died in a local hospital on December 6, 1964
following a fall in her home, which caused a broken hip. She was a native of the state of Washington, was
a member of the Eastern Star, and was a devoted wife who helped Frank all during his many years in
music. They had no children.
Frank Mancini was a native of Serramonacesca, Italy, born there in 1886. He broke generations of family
tradition when he gave up plans to be a physician in favor of music. His first study of music was intended
only as a part of a well-rounded education for the life of a doctor, but his musical studies included the study
of the clarinet, theory, composition and instrumentation. Rapid progress between the years 1898 and 1904
ended all thought in his mind of a medical career. After two years as a solo clarinetist in the
Serramonacesca Municipal Band, 16-year-old Frank went to Chieti, Italy to become solo clarinetist and
assistant bandmaster. Next came more years of study and performing in Rome and in Berlin, followed by
tours in Germany and Belgium as solo clarinetist and director of the Royal Italian DeVita Band.
Frank came to the United States in 1908. From 1908 to 1915 he was at various times a member of the
bands of John Philip Sousa, the Thaviu Band of Chicago, the Boston Band and several other well known
bands of those times. In 1915 he came to San Francisco where he played at the famous Palace Hotel and
with the old Tivoli Theatre Orchestra, as well as with other orchestral groups. It was this same year, 1915,
that the Mancinis purchased a farm on River Road near Modesto, California. They moved there in 1921 to
operate the farm on which they lived until death. After taking up permanent residence in Modesto, Frank
became an instructor in music at Modesto High School and subsequently held a similar position with
Modesto Junior College. Later he was appointed director of instrumental music for the Modesto City
Schools, a position he held until his retirement in 1951. Frank helped to form the Modesto Symphony 35
years ago and was its conductor until 1962 when the illness of Mrs. Mancini made it advisable for him to
retire. Under his direction the Modesto High School Band won repeated state and national honors in
contest. His excellent high school band never placed less than 3 rd in national contests, even in those early
days of intense national competition. And it was Frank Mancini and his Modesto High School Band that
practically all other competing bands and their directors never failed to hear. The Stanislaus County Boys
Band—which Frank founded and which was made up of his former high school players—won the
permanent state championship of California. His contributions to the cultural life of Modesto and the
surrounding areas were recognized by numerous awards and honors—local, regional and national. Mancini
Bowl in Modesto‘s Graceada Park was named for the community‘s most beloved musician. And that the
appreciation of the Mancinis which Modesto had evidenced so many times was uppermost in the minds of
Frank and Ione Mancini—and that their interest, love and belief in music was sincere, was evidenced by
their identical wills, the terms and conditions of which left their 23-acre home on River Road to the city of
Modesto, with the stipulation that the site be developed for park and recreational purposes within five
years. Because of the variety in the site‘s topography, from the river up over the bluff, many uses of the
land could be developed. The frontage along the river is almost 1000 feet, making this a very valuable
piece of river property. The will requires that the park be named ―The Ione and Frank Mancini Memorial
Park,‖ and that a suitable plaque be erected. In addition to the bequest of their home for 43 years, the
Mancinis established a scholarship program and a loan fund for students of instrumental music. The
scholarships amount to $600 each year. Three $200 awards will be made to one student each from
Modesto, Downey and Davis High Schools. They will be awarded to graduates studying instrumental
music, who must attend a California college, and must plan to be public school teachers. The selection
committee will be made up of the estate trustee, which is the Bank of America; the director of music for the
Modesto City Schools; and a local businessman who is interested in music. The loan fund will make up
grants up to $500 per year from money left over after the scholarships. The loans will be interest-free, with
repayment to start no earlier than the third year after completion of study. The will states that the intent of
the Mancinis was to help music students as much as possible. Therefore, it is stipulated that if the estate
income is greater than anticipated, more scholarships and loans shall be made at the discretion of the
trustee. Income will be derived from cash, stocks and bonds left by the Mancinis. Their attorney believes
that amount may be between $80,000 and $100,000. Frank‘s brother and sister were also remembered in
the will, which was drawn up three years ago. The graciousness and charm of the Mancinis and their love
for music were some of my fondest remembrances of Frank and Ione, which remembrances date back to
the time the late Edwin Franko Goldman and myself were so wonderfully entertained in the Mancini home,
many years ago. Frank Mancini was truly one of the great bandsmen of the world, and his name, like that
of many other great who have gone on before him, will long be remembered and revered.
1965 ABA Newsletter
Note: The 1965 Newsletter also noted the death Ione Mancini, wife of Frank, on December 6, 1964.
KEITH MANN (1939 – 2001)
Keith Mann was born in Alix, Alberta, Canada on October 6, 1939 and lost his life in Red Deer, Alberta on
May 11, 2001 when a vehicle struck his motorcycle. He grew up on his family farm and showed an interest
in music at a very early age. When he was eight years old his mother arranged for him to get a piano and
lessons. It was the beginning of a musical path that extended throughout his life. His early education took
place in Alix and Mirror in a one-room school. After graduating from the University of Alberta in 1969,
Keith began his career in the rural communities of Spruce View, Elnora and Innisfail. Keith started the
Elnora band using self-repaired instruments that he scrounged and eventually had most of the entire school
playing in the band. His Innisfail program involved 380 band students, grades 5 to 12, who won a great
number of awards in competition. He quickly established himself as a highly regarded and respected
educator. In 1978 Keith gave up his high school teaching to become the founding chairman of the Red
Deer College of Music. He remained there as conductor, instructor and mentor until his passing. In 1991
he was hired to rejuvenate the Red Deer Community Band. Keith was also the founding director of the Red
Deer Symphonic Winds.
Throughout his 40-year career, he was very active in the growth and development of many groups and held
numerous distinguished positions. One of his favorite organizations was the Red Royals Marching Show
Band, which he directed for ten years. The Red Deer Royals is comprised of youngsters who have been in
marching competition for many years, having performed in Canada, the United States, Australia and
Europe. Early last year Keith told them that the routine he prepared for them had the potential of being a
―gold show.‖ After Keith tragically passed away, the band had a great desire to honor their hero and
mentor. They entered competition in the Netherlands and Germany, where they earned a gold medal in the
performances. In the final competition in Potsdam, Germany the Red Royals won the first prize. The
international event involved 39 bands; they were the only band from Canada to win the gold. It was their
way of honoring their fallen band director. The number of awards his bands have won over the years is
staggering.
No one who met him could fail to be impressed by Keith‘s passion for music, his kindness and
consideration and his boundless energy to help young people. He and his wife Marilyn co-founded a group
called Canadian Youth on Tour. The musically talented youngsters from across Canada performed in
Europe for 13 summers.
Keith served as president of the Canadian Band Association, was editor and publisher of the Canadian
Band Journal for 25 years, founded the Alberta Community Band Workshop and was Concert Band
Chairman and member of the Board of Directors for Music Fest Canada, the nation‘s largest national music
festival. From 1986 to 1991 he was publisher and editor of Phi Beta Mu information in Band Digest
International. Keith also served as chairman of the North American Band Directors Coordinating Council
and was a board member of the Canadian Music Centre, International Music Festivals and the John Philip
Sousa Foundation.
Keith was elected to Honorary Membership in ABA in 1998. From 1990 to 1996 he directed the Calgary
Stampede Showband. He served on the Olympic Games organizing committee and was given the Alberta
Achievement Award for outstanding contributions to the 1998 Olympics. From 1998 to 2000 he was
president of the National Association of Music Business Affiliated Institutes. At the time of his death
Keith was serving as Phi Beta Mu International President. He was the recipient of numerous awards. In
1974 he received the Alberta Band Association Elkhorn Award, and the Canadian Band Directors
Association named him their Director of the Year. In 1983 he was named one of the ten outstanding band
directors in the United States and Canada by the School Musician magazine. One year later he was
awarded the Sudler Order of Merit. In 1986 the Canadian Band Association National Award was given to
him for his contributions to band music at educational, community and professional levels. In 1989 he took
a sabbatical leave to complete his master‘s degree at Washington State University. In 1997 Keith received
the ABA Edwin Franko Goldman Citation. He also was given the National Band Association Citation of
Excellence and the Canada Medal for services to the nation. Keith‘s wife Marilyn accepted three
international posthumous awards at the Mid-West Clinic in December: one was the World Association of
Marching Show Bands Award and the other two were given by Phi Beta Mu.
The community of Red Deer plans to erect a bronze statue of Keith to be placed in a downtown park. A
trust fund has been established for a scholarship in his name at Red Deer College.
Here are a few closing remarks from Marilyn‘s eulogy to Keith at his memorial service:
Now some things you may not know about Keith—he was a romantic. When he was away I
would often come home to find post-it notes stuck all over the house and on my pillow that said,
―I love you—don‘t forget!‖ In fact, two weeks ago he was adjudicating in a festival at Whistler.
After reading my collection of post-its, I got ready for bed. As I flipped up the toilet lid, a post-it
on the underside of the lid said, ―Remember, I love you!‖
I‘ve had it mentioned to me that Keith was a workaholic—but I disagree. Keith instead was a man
of passion. His passion was his music, teaching and encouraging people to be much more than
they ever thought they could be.
I used to call Keith ―mein Schatz.‖ It means ―my treasure.‖ He was a treasure to us all.
2002 ABA Annual Report
SIMONE MANTIA (1873 – 1951)
Simone Mantia was born February 6, 1873 in Siaccia, Sicily. He began his musical studies at the age of
nine and played his first euphonium at the age of twelve. He came to America at the age of seventeen and
settled in New York, where he earned his livelihood playing in small orchestras, finally joining the Grand
Opera House in Brooklyn. He played with the Liberatti and Innes Bands, and joined the Sousa Band in
1895, remaining with it until 1904. At that time he joined Arthur Pryor‘s Band as assistant conductor and
euphonium soloist. He conducted his own band at Asbury Park for about five years.
Simone Mantia was a member of the Victor Herbert Orchestra and the New York Philharmonic Orchestra.
In 1908 he joined the Metropolitan Opera Orchestra, with which group he remained for thirty-seven years,
including twelve years as its manager. In later years he devoted much of his time to teaching and
occasionally appeared as a guest soloist with various bands. He was with the Band of America since its
organization, and during the summer months he played with the Asbury Park Municipal Band.
Entering the hospital in Flushing, New York on May 9, 1951, he underwent two serious operations. On
June 21 he left the hospital to go to his brother‘s home in Flushing, where he passed away on June 25. He
was buried in the Glenwood Cemetery, Long Branch, New York on June 28, 1951. He is survived by his
wife, Elgie Bowen, to whom he was married on November 30, 1902, a brother Charles and three sisters.
1952 ABA Newsletter
MAURICE CLARK McADOW (1904 – 2001)
Maurice Clark McAdow was born on November 17, 1904 in Greenville, Illinois and died on August 20,
2001 in Denton, Texas. He was educated in the public schools of Anthony, Kansas where he received his
first musical experience playing in the municipal band. He credited his interest in music to his father,
William, who was a professional trumpet player, a graduate of the Dana Music Institute in Ohio. Maurice
played trumpet in high school but quit school at the age of 16 to join a tent show, the Peggy Norman
Players. He traveled with them for several months before returning to Kansas to complete his high school
education. After graduation in 1922, he attended the Polytechnic Institute, now East Montana State
University, in Billings, Montana, where his father was teaching. After a year at that school he spent six
years playing professionally ―on the road‖ before returning to live with his mother in Greenville, Illinois.
In 1931 Maurice began his career as a band director, although he did not have a music degree at the time.
He said he had a dream to go to Mulberry Grove, a small town near Greenville, to start a band. The school
had no music program, so the parents supported the program with band dues. His 14-piece band went to
the district contest the first year and received a first division rating. That‘s when he realized he could be a
band director. During this period at Mulberry Grove, he played trumpet with a number of community
bands while at the same time pursuing a degree in music. He attended summer and Saturday classes.
Eventually in 1939 he received the Bachelor of Music Education degree from Illinois Wesleyan University.
While at Mulberry Grove, Maurice also started the New Douglas Sorento Band, of which his wife Evelyn,
was also a member. He then organized a third band at Pocahontas, Illinois. In the spring of 1935 all three
bands performed at the state contest at the University of Illinois in Champaign-Urbana. Maurice was
inspired by the music department of the University of Illinois. He marveled at the achievements of ABA
Honorary Life Presidents Austin Harding and Mark Hindsley and ABA member Clarence Sawhill. He was
also impressed by the caliber of musicianship of the high school bands from Joliet and Collinsville, Illinois
and Hobart, Indiana.
In 1936 the Greenville school system hired him as high school band director. In the eight years that he
taught there, his bands places first in 18 of 20 regional, state and national contests. His next move was to
teach at York Township High School in Elmhurst, Illinois. This band was later named to ―The Historic
Roll of Honor of High School Concert Bands‖ by the John Philip Sousa Foundation.
Maurice played professionally in Cincinnati, Cleveland and Detroit. He studied with well-known teachers
and musicians, spending eight years of intensive study of the woodwinds, brass and percussion with
symphony artists. It was during this period that he played flute with the St. Louis Symphony Orchestra.
Maurice studied conducting in 1943 and 1944 with the Russian conductor Nicolai Malko. While at
Greenville High School Maurice also directed the municipal band, of which his wife Evelyn and her
brother were members. In 1945, after teaching junior and senior high for fourteen years, he accepted the
band director‘s position at North Texas Teachers College—a position offered to him without an interview
because of his outstanding reputation. Maurice is credited with establishing the band‘s national reputation
for excellence and for expanding the music program from fewer than thirty students to one of the largest
music schools in the country. He received his Master of Music degree from the American Conservatory of
Music in 1953. He was always in great demand throughout the nation as adjudicator, clinician and guest
conductor.
During his thirty years at North Texas State University, he led the band in 28 tours throughout 13 states,
performed at the Texas Music Educators Association conventions eight times, and at the conventions of
CBDNA and MENC. He was named Texas Bandmaster of the Year in 1973 and was an Honorary Lifetime
Member of Phi Mu Alpha and Kappa Kappa Psi. He was elected to ABA membership in 1974. In 1990 he
was named an Honorary Alumnus by the university. A year later he became a member of the Phi Beta Mu
Texas Bandmasters Hall of Fame and was a charter inductee into the Texas Region 5 Bandmasters Hall of
Fame. In 2000 the International Percy Grainger Society presented him with the Grainger Medallion.
When Maurice retired from the university in 1975, he accepted a position with the Brook Mays Music
Company. For about 17 years he was their clinician and personal consultant for band students and directors
throughout the state.
Incidentally, Maurice married Evelyn, one of his former band members. For 59 years she continued to be
actively involved in his career, both as a player and number one supporter.
Maurice wasn‘t soft on his students. He was stickler for discipline and wasn‘t beyond demanding that all
aspects of marching and concert band reflect that. He applied those same expectations to himself. Those
who knew and admired him report that he did pushups daily to be prepared when conducting duty called.
He said, ―There‘s nothing worse than some old codger who gets up to guest conduct and looks like this…‖
– demonstrating a rather hunch-backed round of conducting. Those who knew him well say that Maurice
was of the old school. He was a rare sort who won‘t pass this way again.
2002 ABA Annual Report
W. FRANCIS McBETH
―Remarks by W. Francis McBeth‖ - March 7, 1991
This reminds me of last week, where I was to make a speech, and somebody told the audience what my
subject was, and that‘s not the subject he told me to talk on. Mark [Kelly] just did the same thing! We‘re
not going to talk on conducting. Mark called me some months ago and asked me—I think the impetus was
from an article of mine in ―The Instrumentalist‖—to speak about how we decide ―quality‖ in music and
judge quality, because this is one of our least talked about subjects. Our most talked about subject is
whether we like pieces or not. We don‘t like this piece, we like this piece, and why do we or why don‘t
we—the judgments that are made in quality in music. It‘s a very fascinating subject, more so, I think, to
me than any other subject, because I do it every day when I teach my students. Composition teachers,
that‘s all they do, is decide on the quality of what‘s being written. How do we make these decisions on
quality of music?
As students we‘re told the pieces that are quality in that teacher‘s mind. I‘ve found this not to always hold
up. It has held up in most instances but not always. Some works that I was told that were great pieces I
found later are not great pieces. How do we decide what makes quality in composition?
First, we‘re told what the future will be. I‘ve found that people who predict the future are always wrong.
They are just always wrong—it never misses. I‘ll never forget when they were playing Webern for us in
class, as an undergraduate, and saying, ―This is the future of music.‖ And I thought in my heart, ―Holy
smoke, I can‘t stand this. This is the future? This is awful! I don‘t want to be a part of this future!‖ It was
very frustrating. Well, I‘m just so thrilled to have lived long enough to see twelve-tone music go away.
That‘s one of the nicest things in my life, to see it go away. Twelve-tone, serial, dodecaphonic, whatever
you want to call it, whatever name you use—its longevity was as long as the Classical period, and what do
we have to show for it? Isn‘t that interesting? It was the same length as the Classical period. I don‘t want
to get into serial music. I don‘t have time, but that was an attempt to lower music to the level of science.
That‘s how it came about. They wanted to lower music to the level of science and it doesn‘t work that way.
I‘ll start mentioning names—I shouldn‘t do that because we have people from that university. A very
famous composer, who later in life got into serialism, was lecturing to a class that I was in. In fact, he
played his hour-length, twelve-tone string quartet (which never cheated); it was exactly correct, twelve-tone
wise. He said, after we had heard it, ―I did not know that this piece was twelve-tone until I finished it.‖ It
was recorded by RCA Victor—a one-hour string quartet. They all wanted to justify what they had done.
Which is not true—that‘s ridiculous. The odds for him not to know that until he had finished the work are
the same odds that the King James version of the Bible occurred from an explosion in a print shop!
Somebody asked Persichetti, ―What do you think about serial music?‖ And he said:
The greatest thing that‘s come down the pike for the teachers. I am just thrilled. I take four
students each in my composition class at Juilliard, and out of the four, I always have one student
who doesn‘t have any talent. This gives that student something to do.
To get back to specific quality in music, I‘ve never had a teacher tell me about quality in music except
composition teachers; they‘re the only ones that I‘ve ever heard talk about it, discuss it. My whole life,
from childhood, I wanted to study with Bernard Rogers, because every teacher I‘d ever had had studied
with Bernard Rogers; and I didn‘t really know then why I wanted to, but Bernard Rogers is the greatest
composition teacher America ever produced, and that is not just my opinion. When I was finally accepted
to study at Eastman, and with Rogers, I was scared to death—a young kid from West Texas—I started
getting heart palpitations about Pittsburgh, when I was going up there. And the very first class—he took
four in a class (I do too)—there was a woman, and I had never seen a woman in a comp class in those days.
It‘s very common now, but in those days I had never seen a lady in a comp class. So Bernard Rogers said,
―We still start with the young lady. Play us what you‘ve brought, that you‘ve written over the summer, and
we‘ll see what you‘ve got.‖ And she said, ―Well, I‘ve written a Scottish Lullaby, an Armenian Lullaby, a
Jewish Lullaby,‖ etc. She named about eight of these lullabies. Rogers had a lisp—it‘s hard to do Rogers
without lisping a little bit; it was a Mafia lisp, it wasn‘t a feminine lisp. He had just a ring of hair which he
scratched when he talked. When she gave him a list of her works, with these lullabies, he said, ―What did
you do all summer? Did you stay in bed all summer, writing these lullabies? Pick the one you like.‖ She
picked the Armenian and played it. After she finished it, there was the first real heavy critique of quality I
ever ran into. He said: ―Well, first, it‘s too long. Secondly, if you want to write Armenian music,
Hovhaness is two doors down; check with Hovhaness. And thirdly, that‘s a boring piece.‖ I was sinking
lower in my chair from sheer panic.
The next man up played a piece and it was kind of Brahms with wrong notes. Bernhard Rogers said:
Fantastic! I‘m so tickled that you wrote this down on paper, because, had you not written this
down, there would have been no way to get this trash out of your brain. It would have just rolled
around up there for years, but if you get it on paper, you get it in a form that you can throw it away
and get on to higher and nobler things.
That‘s an exact quote.
I guess Rogers and Hanson had most influence on my process of evaluating music. Rogers would never
talk about ―good‖ or ―bad‖ music (and the students were always trying to get him to)—he would always
say ―honest‖ or ―dishonest.‖ He never said ―good or ―bad.‖ And he classified all music that was not
creative as a rewrite of other people, and he called that ―dishonest.‖ Music that was creative he called
―honest‖ music. Some music can be too creative and some music can not be eclectic enough, but that was
the guideline. I didn‘t understand that when I was a student. I cannot stand the Grand Ole Opry types with
their rhinestone hats and their music; but I love Stone County, Arkansas, where they have tattered overalls,
and they‘ve built their own instruments and written their own music. It‘s wonderful! ―Honest‖ or
―dishonest‖—it is really the guidemark.
After 35 years of doing it every day in class—deciding what is quality and what isn‘t quality—I think there
are two yardsticks that have to be used. First of all, I have never known a great piece of music, in my
opinion—a great masterpiece, in the opinion of others—that did not have direction. Direction is the most
overlooked aspect of deciding quality in music. Music must start somewhere and go somewhere—it can‘t
just start and be until it ends. When music starts and ends, and all the harmonies were OK, and there was
no problem, but it just started ―here‖ and ended ―here,‖ I always feel like I am in a swimming pool with a
life jacket—I‘m just bobbing. I‘m going nowhere. I‘m OK—there‘s no way I‘m going to drown—but I‘m
just bobbing. When I find music that has direction, I‘m going somewhere—I‘m on waves, I‘m moving.
And I know when I‘m going to get there, too.
You know, Beethoven‘s the master. Nobody was better in direction than Beethoven. When you get into
any Beethoven symphony (except the Second, first movement), by page fourteen, if I may borrow a term
from the jazz people, he starts ―cooking.‖ And you say, ―Here we go.‖ And the journey is splendid.
With Schubert‘s orchestral music I have the opposite reaction. With Schubert I get to page thirteen and I
think, ―Who was that masked man? This theme came by and it was brand new. Where did that come
from?‖ I get confused. Direction. It must go somewhere. It has to have direction.
Coupled with direction, the other aspect is creativity—and I‘ve quit using the word ―creativity.‖ I‘d rather
use imagination—because that‘s really what it is. Without imagination we have nothing. Imagination plus
direction is the way we judge literature.
Now, do we make lists of what are good? I warn the audience—I don‘t warn people very often—I‘d be
careful of making lists, because we as band directors publish lists every year, in magazines, of quality
music. I‘d be afraid of this, because all who have made lists in the past were always wrong. We have to be
awfully sure of ourselves. The literature will not be decided by us. The 20 th Century‘s over. It‘s
interesting that I don‘t often defend 20th century music any more. It‘s already over with, it‘s gone. We‘re
going to have to start defending 21st century music. But we will not decide what remains; I guarantee you,
we will not.
Imagination tends to come more in harmony than in any other aspect. The primitive people of the world
have always had rhythms. The majority of the people of the world have always had melody. But only the
chosen have been given harmony; and that‘s the smallest group on our planet. In the history of music,
Beethoven never wrote a rhythm that Bach didn‘t use. Rhythm didn‘t move. Melody? You take the play
of pairs in the Bartok ―Concerto for Orchestra‖—Scarlatti could have written that tune. Melody hasn‘t
changed. But the history of music has been the evolution of harmonic syntax, and it just always moved and
moved. There is where we find our imagination—people who are doing something that no one else really
ever did.
I‘m going to do something that I warned against and that is make a judgment as to what music will remain.
You know, I‘ve finally figured it out. I think what will remain is music that through beauty, reflection,
spiritual elevation, and just sheer excitement—music that will remain is that music that touches men‘s
heart.
Thank you for this opportunity to talk with you.
1991 ABA Annual Report
President‘s Address – 1994
I was born on March 9, 1933, and on March 9, 1991 I was elected Vice-President of the American
Bandmasters Association. I was not only stunned but concerned. Not concerned about the task, but
concerned of more load. I teach a full-time college load, I composer full-time, and I conduct full-time. For
the last decade I have been stretched to my limit, and the reason I was concerned was because I knew any
additional work could be the breaking point.
I asked J Julian if I had to accept it. He said, ―No, you don‘t have to if you plan to get out of the business
and move to Mexico.‖ After the first 24 hours of shock I began to think more rationally and decided I had
immensely enjoyed the friendship of the association and thoroughly enjoyed all of the meetings and
activities like none other I had experienced. I then realized that I had taken so much and should give some
back. Just to eat the cake and never wash the pots and pans is a great delight, but a bit selfish.
My professional life has been enriched by the American Bandmasters Association and I thoroughly enjoyed
what I first thought would be a chore as an officer of the organization.
I want to welcome all our new members into this organization of excellence. You will find the benefits
abundant as you enjoy the company of others who, like yourselves, seek excellence. We hope that each of
you brings a new compass in your head, a new north, and will share your ideas for new directions.
For our members of long standing, I challenge you to search for new ideas and procedures that will serve
our association in seeking out the most deserving bandmasters for consideration for membership.
The 20th century is almost over. We have only five more conventions to be held in the 20th century. In a
time of change that is faster than our ability to cope with it, I challenge our association to hold fast to our
traditions and standards, but to search for new and innovative directions for effective leadership. It is up to
us to take The American Bandmasters Association into the 21st century at the premiere leadership level that
it has held in the 20th century.
There is an old story from Dana‘s ―Two Years Before the Mast‖ that Mark Twain liked to tell:
Many years ago there was a self-important little skipper who sailed a little sloop in the Nantucket
area. He was engaged in the apple, tin ware and kitchen trade, and liked to hail every ship that
came in sight. He did it to just air his importance and to hear himself talk.
One day a majestic Indiaman came plowing by with coarse on coarse of canvas towering into the
skies, her decks and yards swarming with sailors. Her hull burdened to the flemsull line with a
rich fragrance of spices filling the air with mysterious odors of the Orient. It was a noble
spectacle.
Of course, the little captain popped in to the shrouds and squeaked out a hail, ―Ship ahoy, what
ship is that? And whence are you bound?‖ And the answer came back in a deep and thunderous
bass through the speaking trumpet, ―The Begum of Bengal, 142 days out of Canton, homeward
bound, loaded with teakwood, silk and spices. What ship is that?‖ Well, it just crushed that poor
little creature‘s vanity flat and he squeaked back most humbly, ―Only the Mary Ann, 14 hours out
from Boston, bound for Kitter Point with nothing in particular.‖ What an eloquent reply in his
humbleness.
In the year 2020 when our ship is hailed, we must still be able to reply, ―It is the ABA, 90 years out,
excellence bound and loaded with the leadership of wind music in America.‖
1994 ABA Annual Report
DONALD E. McGINNIS
President‘s Address - 1978
[Note: In May 1977 President Elect Donald McGinnis became Interim President of ABA upon the death of
President Ardeen Foss.]
As I stand before you to deliver this message, I am reminded of the story—undoubtedly true, yet
nonetheless amusing—of the speech writer for President Lyndon B. Johnson who had been told that
beyond that day he would no longer be retained; but in the completion of his duties he should write a
speech for the President to deliver the following day to a group of Texans who were to meet with Mr.
Johnson at the White House. Fully aware of the fact that the President rarely edited, nor even read such
speeches in advance, the writer decided to have his measure of revenge and personal satisfaction. At the
appointed time, Mr. Johnson addressed the assemblage and read:
My fellow Americans, I know that you are here because of your concern about the war in Viet
Nam; before I have finished this address I will tell you how I intend to end that war. I know, too,
that you are very much concerned about the turmoil and crises on our college campuses; I will tell
you how I intend to quell those disturbances and bring about solutions.
On and on he read, page after page, with promises of solutions to other problems such as inflation, law and
order, and racial intolerance, in each case promising to define solutions. As the President turned to the last
page of the document, the dismissed speech writer had the final word in this terse, succinct statement:
―GOOD LUCK, MR. PRESIDENT. YOU ARE ON YOUR OWN!‖
Although I have no speech writers on whom I might lean for assistance, I have read and re-read the
speeches of former ABA presidents, and I have accepted the responsibility which has been thrust upon me
one year too soon. If I lack eloquence, and if my words do not ring out with ardor, you must understand
that, like you, I approach this convention with many and mixed emotions. Nonetheless, I welcome you to
the 44th Annual Convention of The American Bandmasters Association, and I ask you to join me in eager
anticipation of the exciting events in which we shall participate these next several days.
Although I never tire of reading the storied history of ABA, of its distinguished membership, and of the
leadership it has provided for nearly fifty years, my experience as an officer has taught me to be an
increasingly better listener, and has challenged me to think more about our future and directions we should
consider.
Before I was elected to the vice-presidency, I had the privilege of serving as a member of the Board of
Directors, and the Committee on Constitution and By-Laws. In each experience—and in collaborating with
my colleague, Jack Evans, as the 1970 convention host—I learned more about ABA, and feel that now I am
in a more favorable position to urge our membership to open new avenues of communication and not to
hesitate to offer constructive criticism which can enable ABA to expand, grow, and continue to be the
leading band association in the world.
When I speak of expansion, I refer to John Paynter‘s 1977 President‘s Message in which he stated his
―deep and continuing concern‖ about the growth in our membership. I join him in this concern, and insist
that it is the responsibility of every member to bring new blood into our membership.
Another challenging area of expansion is stated clearly in Resolution #5 (page 64) of our Constitution,
which reads:
―…give consideration to enriching the convention programs and furthering the objectives of the
Association by such means as keynote speakers and guest conductors from other than the band
field; forums and symposiums on timely and relevant topics with participation by the above guests
and ABA members; presentations of papers, clinics and demonstrations on new approaches and
developments; and to other types of features which may be professionally beneficial to the
Association and its members.
As a member of the Constitution Committee which wrote that resolution, I know that their intent was not
simply the cosmetic appearance of words which would appease our most vocal critics, but the honest,
sincere recommendations of men who love ABA, not only as it is and has been, but who look at its future
with optimism and open-minded criticism. The next President-Elect can assist the President in the
realization of at least one of these ―new dreams‖, and in so doing could very well add new dimensions to
the 1979 Convention.
As I re-read Hugh McMillen‘s address to those in attendance at the New Orleans Convention, I was
reminded that many great composers of the 20 th century have written works for band: Hindemith,
Schoenberg, Piston, Milhaud, Creston, Gould, Persichetti, Hanson—to name but a few—and ABA has led
the way in commissions. The ABA Journal, the Research Center, the Ostwald Awards have become our
continuing contributions; they have given bands and band music a place of stature in the world of music.
In spite of my optimism for ABA, I am forced to the conclusion that we must face the inevitable fact that it
will take something else to enable us to expand and find new dimensions to stimulate us. That something
else is money! Commissions, creative research, enshrinements, even the hosting of conventions will
become increasingly difficult to finance; the future will find us in desperate need of funds to sustain our
various programs. I am planning to devote considerable time during my presidency to try to find solutions
before the real ―crunch‖ comes, and thus you may expect me to come to you for advice and assistance—
and probably for a commitment in your will that makes ABA a recipient of a portion of your estate—large
or small!
Like the speechwriter to whom I referred initially, I may be forced to look in the mirror and say, ―Good
luck, Mr. President, you are on your own.‖ But even if I fail to implement one single new idea during my
term of office, I intend to be able to look back with the knowledge that I kept the ship afloat during some
turbulent times.
1978 ABA Annual Report
President‘s Address - 1979
As we gather for the 45th Annual Convention of the American Bandmasters Association, the excitement is
heightened by the fact that we shall celebrate the 50th anniversary of our founding, with special recognition
given to our founder, Dr. Edwin Franko Goldman. Our meetings, discussion, and concerts will be
enhanced in their representations of our heritage by visual as well as auditory art, and when this convention
is concluded we shall all know more about ABA and its first fifty years.
Television makes us ever aware of our ―roots,‖ and in searching for a way to describe how I feel about my
heritage from the great men who founded ABA and those who have continued its impact upon the world of
music, I chanced upon a copy of ―The Pyramid of Success‖ of the eminently successful UCLA basketball
coach, John R. Wooden. The words at the base of the pyramid literally ―jumped off the page‖ in their
description of our charter members: INDUSTRIOUSNESS, FRIENDSHIP, LOYALTY,
COOPERATION, and ENTHUSIASM. Of our founders I knew only one—Frank Simon, who was a great
inspiration to me in my early years in ABA. Of course, Mr. Sousa and Mr. Goldman remain idols for all of
us, and Karl King and Henry Fillmore were to me the best known of the ten members of the class of 1929.
There is no question that band history was built from the lives and accomplishments of all of our first
members, and Dr. Harding‘s greatness as conductor and teacher at the University of Illinois had a powerful
impact upon the lives and careers of many of ABA‘s eventual leaders.
In the 1930s the membership of ABA literally exploded with the addition of one hundred and six members,
thirteen who were to be elected president, and Mr. Bainum and Dr. Harper were to join their distinguished
predecessors Sousa, Goldman, Harding, Simon, and King as Honorary Life Presidents. Although the
number of new members declined to a total of thirty-seven in the 1940s (undoubtedly due to the influence
of World War II), the great leadership continued as this decade spawned no less than nine presidents,
including Secretary-Treasurer and inspiring leader Colonel William F. Santelmann, and founder and
Managing Editor of The Journal of Band Research, Paul Yoder. This period might well be termed one of
the sides of the pyramid of success, representing SINCERITY, INITIATIVE, INTEGRITY,
RELIABILITY, and PATIENCE.
The decade of the ‘50s saw our membership grow by 105, eleven of whom would be elected president. The
1960s showed seventy-eight new members, and the first nine years of the ‘70s brought 55 members into
ABA. It can be expected that these members, adjusting to the challenges of a changing world epitomize the
remaining qualities of the pyramid: AMBITION, ADAPTABILITY, SKILL, RESOURCEFULNESS,
CONFIDENCE, and FAITH in accepting and emulating the final stone of the pyramid, GREATNESS,
shown so clearly by their predecessors.
If I have seemed a bit cursory and brief in my reference to my own generation of ABA and those of the
‘60s and ‘70s it is because I know that the preservation and continuation of the greatness of this unique
association is essentially dependent upon those who tread the precarious and challenging steps of the next
50 years. Assuming that both the membership and leadership have the confidence in bands and band music
that has been demonstrated by those of the first 50 years, I have confidence that it will be so—but it will
not be easy. Instead of debating semantic issues such as symphony band, concert band, wind ensemble,
wind orchestra, and symphonic winds, we need to exert our energies as musicians, composers, scholars,
and teachers to the betterment of the literature and its performance. In the January 1978 issue of The
School Musician, Robert Reynolds, a member of ABA and coordinator of CBDNA Commissions, stated:
The CBDNA feels the responsibility of stimulating the artistic growth of our profession in many
ways, and all are especially pleased that this has resulted in many of the world‘s most respected
composers being actively engaged in producing the life blood of any musical organization—
artistic music.
In the same article Mr. Reynolds pointed proudly to a list of compositions by world renowned composers
Ernst Krenek, Aaron Copeland, Ingolf Dahl, Howard Hanson, and Henk Badings, all written at the request
of CBDNA. There is little question that ABA led the way in the early years and can point to its enormous
impact upon the composition of most of the great marches written during the past fifty years, plus its
considerable influence upon the band compositions written by great composers such as Respighi,
Hindemith, Vaughan, Williams, Persichetti, Hanson, Holst, Grainger and Gould. I encourage our next
president and other officers to establish a committee to stimulate ABA commissions, while we maintain
and nourish great interest in the Ostwald Award, which has encouraged and developed the careers of so
many composers of previously unknown stature. Commissions are very costly, both in time and money,
but we must not allow these obstacles to hinder progress in the future. Let us resume our position of
leadership in this artistic cause. In reflecting upon the superb fund-raising efforts on behalf of the election
to and installation of Mr. Sousa in The Hall of Fame for Great Americans, and the notable response to the
financial needs of the ABA Research Center, one must assume that such fund raising for commissions is
feasible. Rest assured I have not abandoned my earlier vow to encourage ABA members to designate ABA
the recipient of a portion of their estates. Surely you agree that we could!
I am encouraged by the leadership ABA has taken and continues to take in research and international
leadership. We all owe an enormous debt of gratitude to Paul Yoder for his early and continuing efforts on
behalf of the ―Journal of Band Research.‖ Numerous members are engaged in the international impact of
ABA. We need to encourage the input of scholarly efforts, and the distribution of the Journal to every
library in the world. The special research and the thousands of original compositions, musical editings, and
transcriptions of music by ABA members is of enormous pride to all of us and should act as an inspiration
and catalyst for even greater accomplishment in the decades to come. I am pleased with the responsible
and responsive attitude shown by all members in our attempts to find the very talented and accomplished
conductors and invite them to membership. The average age of our membership indicates that recognizable
accomplishment as well as talent is requisite to invitation, and the former is often as scarce a commodity as
the latter! Nonetheless, we are responding to the challenge and in my humble opinion we are establishing
solid pyramids for success in the future.
I shall not close this address without challenging our officers and their assigned committees to seek ways
(there must be many) to publicize The American Bandmasters Association and its philosophical and
musical inclinations. There is no question that our membership contains the greatest assemblage of talent,
musicianship, scholarship, skill and leadership anywhere in the world, but all of this can be lost if young
teachers, performers, and conductors are not made aware of ABA. I am persuaded that other organizations
are far more conscientious than we in exerting this kind of influence, and I am not content in this. We are
on the threshold of a new era, with new and different challenges which we must meet if we are to continue
our position of leadership. This can be explained by one of my favorite stories: A party of visitors to the
Tower of Pisa noted that a clock was being installed in the Tower by a group of scholars. When queried as
to the reason for this unexpected event, the scholars replied, ―What is the point in having the inclination if
we do not have the time?‖
For the next 50 years to be as productive as 1929 to 1979, we must have the inclination and we must find
the time!
1979 ABA Annual Report
―Nomination of Donald E. McGinnis for Honorary Life Member‖
by Mark S. Kelly
Donald E. McGinnis was born in Barberton, Ohio—he began the study of piano and clarinet in the fifth
grade. He graduated from the Wadsworth, Ohio high school after serving with leadership the orchestra,
band, glee club and jazz ensemble as a clarinetist.
McGinnis attended Oberlin College, studied with George Waln and graduated with two degrees—Bachelor
of Music Education and Bachelor of Music in Performance—all the while holding the principal clarinet
chairs in both the band and orchestra and a member and featured soloist with the premier woodwind
quintet.
In 1941 he was appointed woodwind instructor and Assistant Director of Bands at The Ohio State
University and served concurrently as principal clarinetist in the Columbus Symphony Orchestra.
McGinnis enlisted in the Navy in June of that year and his initial assignment was as principal clarinetist
and co-soloist with principal cornetist Adolph Herseth in the Navy‘s Pilot Training Pre-Flight Band, which
many viewed as a professional ensemble, on the campus of the University of Iowa.
While in Iowa City he continued the study of clarinet, this time with his long-time friend and mentor Himie
Voxman, and completed his Master of Arts degree in theory-composition. Himie writes:
I felt honored when Don signed up to take clarinet lessons from me. He was already a very
accomplished performer, having studied with George Waln at Oberlin. He was also an excellent
flutist. As opportunities arose he turned his talents toward conducting. The very high standards
he set for himself carried over to his work as a band director. His ensembles at Ohio State
University were recognized as being among the very best in our country. I am happy to add my
own tribute to an outstanding musician and a dear friend for more than half a century.
From 1946 until his retirement in 1979, McGinnis pursued not only a distinguished career in teaching but a
vigorous and thriving career in clarinet and flute performance as well as conducting.
Don McGinnis is recognized as one of America‘s premier flute and clarinet performers and teachers. His
solo and chamber music recordings are internationally distributed. As orchestra flutist he has performed
under Stravinsky, Craft, Copland, Hanson and Monteux.
In 1952 he was appointed Director of The Ohio State University Concert Band, following the legendary
Manley Whitcomb. Under his baton The Ohio State University Concert Band achieved international
recognition and produced more than twenty internationally distributed recordings.
In 1977 a Resolution from the Ohio House of Representatives recognized his outstanding contributions in
teaching, performance and leadership in the state of Ohio. He carries the title of Professor Emeritus of
Ohio State University where, among other cherished awards for campus leadership, he was linked into
Sphinx, the highest honor bestowed upon students and faculty for scholarship and leadership.
Twice McGinnis was granted the Distinguished Teaching Award in the School of Music. He retired in
1979 from a thirty-eight-year teaching career at OSU.
During his illustrious career, Don McGinnis has conducted in Philharmonic Hall, Lincoln Center Plaza,
Carnegie Hall, St. Paul‘s Cathedral in London, Fumon Hall in Tokyo and major MENC and CBDNA sites.
As President-Elect in 1977 he completed the term of the deceased Ardeen J. Foss and his own term as
President in 1978-79.
During his early years in ABA (he was elected in 1957), such great men as Colonel Santelmann, Ray
Dvorak, Mark Hindsley and others of our great leaders instilled in Don great love and admiration for this
wonderful organization, and also the responsibilities we take in participating in every way possible.
Don tells of his great honor of serving on numerous committees with Mr. Hindsley and found him to be a
man of great intelligence and imagination. He often marveled at Hindsley‘s organizational skills and his
involvement in ABA.
―Each of us,‖ Don writes, ―was elected to membership because of significant accomplishments up to that
time. A great stumbling block to an objective evaluation for Honorary Life Member is how little we know
of our members‘ careers in later years. The only time we learn of our peers‘ accomplishments is when the
memorials are read at the first meeting of each convention. We lack knowledge of our members‘
comprehensive careers, of their accomplishments after their presidency or in retirement.‖
I first met Don in the fall of 1952 as graduate students at the University of Iowa. Our acquaintance
flourished in conversation regarding Himie Voxman, our esteemed teacher, the winter snow, passing music
history, sports and especially OSU football and the Cleveland Browns.
I soon came to the realization that this man was indeed scholarly, a rather reserved gentleman who really
could and did laugh (though I am told he seldom matched humor with rehearsal) and a professional
committed to his career and to those he taught—in the studio or the rehearsal hall.
Himie often mentioned to us undergraduates three of his students—Tom Ayres, Bob Titus and Don
McGinnis—as being outstanding clarinet players. I was happy to say I finally met one of those ―legends‖
from Himie‘s studio. In gratitude we acknowledge Don‘s consummate musicianship, his pedagogy
expertise and his unselfish commitments to bands. It is not difficult to find unanimous and profound
respect in all dimensions of conversations and in all age groups when the name McGinnis is mentioned—
be it music, teaching, the ABA or OSU sports.
Don McGinnis as an ABA Past-President and his most recent contribution to ABA serving as Chair of the
Constitution Revision committee continues to establish himself as a person of wisdom and integrity—
carrying the mantle of ABA principles with singular dignity and conscience.
I am delighted for this opportunity and privilege to place in nomination the name of Dr. Donald E.
McGinnis for Honorary Life Member of The American Bandmasters Association.
1997 ABA Annual Report
Comments on Dr. McGinnis
by Philip C. ―Carl‖ Chevellard, Lt. Col., USAF - 2004
Thank you, President Cramer,
Alaska‘s Athabaskan natives refer to ―breaking trail‖ through the snow as a vital duty because it makes the
path smooth for those who follow. In Window Rock, Arizona, the heart of the Navajo Nation, the United
States Air Force Academy Band performed three years ago. At that concert, Second Lt. Lawrence Yazzi, a
Navajo and a newly-minted graduate of the Academy, spoke to ―his people‖ and thanked his father, his
grandfather, and the many generations of brave warriors before him who made the footsteps in which he
now walked. ―I could not do what I am doing without their help,‖ he said. ―Whatever I am or will become
is because of what they made me.‖ America refers to Chicago as its ―City of Big Shoulders.‖ We speak of
the importance of ―standing on the big shoulders‖ of our parents, teachers, and mentors as a precious
opportunity for those blessed with such influences.
I was similarly blessed by Dr. Donald E. McGinnis.
I am enormously appreciative, Ray, to have been given this opportunity to offer a few comments about Dr.
McGinnis, and by extension, about his life-long companion, Ruth. I make these remarks fully realizing that
there are many in this room who know Dr. McGinnis far better than I—as a colleague, leader, teacher, and
friend. Still, I offer my comments about this man who has so importantly changed my life from the
perspective of just one.
McGinnis Career Summary
A good place to start is to quickly summarize Dr. McGinnis‘s career. Obviously, he‘s a legendary
clarinetist, flutist, conductor, and teacher. Through live concerts and recordings, millions have been moved
by his performances. And legions of performers, conductors, and students whose career interests later
expanded beyond music, have tremendously benefited from his influence since he arrived at The Ohio State
University in 1941.
There he began, teaching winds and serving as the Assistant Director of the Marching Band. And when the
war called, he answered. Thankfully, when his duty was done, he returned, unscathed, to Ohio State.
There, he began again, becoming the Conductor of the Concert Band and the Director of Bands, a position
he held from 1952 to 1979. He became Principal Flutist and the Assistant Conductor of the Columbus
Symphony, as well.
Although Past ABA President McGinnis has received innumerable honors, decorations, and awards, I‘m
happy to say that, thanks to the efforts of ABA member Dr. Paul Droste, in about two weeks, on March
20th, at a concert hosted by Paul‘s internationally-famous Brass Band of Columbus and featuring the
Salvation Army Chicago Staff Band, Dr. McGinnis will receive an honor that, in his own words, is the
―most meaningful of all‖: the Salvation Army‘s God and Country Award.
An incomparable teacher on two instruments, Dr. McGinnis has produced world-class students on both,
among them, clarinetists Howard Klug and Richard Stoltzman. Recently Mr. Stoltzman appeared with the
Columbus Symphony and made a point of visiting and quite publicly paying tribute to the tremendous
influence Dr. McGinnis has had on his career. After comparing notes with another, unnamed professional
musician of the McGinnis ―school,‖ Stoltzman remarked, ―My colleague and I have, collectively,
performed under 250 professional conductors. Of that 250, we rate Donald McGinnis in the top five!‖
So, with your indulgence, I‘d like to add my perspective—as one of his students—by quickly remarking on
three values beyond music education, cultural enrichment, and inspiration, that Dr. Donald McGinnis has
given me. Again, I make these personal remarks knowing that they quite inadequately represent the
tremendous influence he‘s had on me, and on so many others who‘ve had the privilege of knowing him.
Value One: ―On Grace…‖ (―G‖)
In February 1972, with a draft lottery number of ―73,‖ I enlisted in the United States Army. To my
knowledge no Chevellard has been drafted for any war. I wasn‘t about to break that good record. I was in
my senior year at Ohio State, I was a member of the Concert Band, and we were headed for Carnegie Hall.
It would be my last tour and my last concert under Dr. McGinnis‘ baton, as immediately afterward, I had
orders to report to Fort Dix, New Jersey, and thereafter, quite possibly, to Viet Nam.
The tour was smashing. Huge audiences, a great band, and Dr. McGinnis in top form, as always. I shared
the principal euphonium book with Sandy Emig, surely one of the finest student musicians then at Ohio
State. Somewhere, late in the first half of the concert, Grainger‘s Children’s March was programmed.
Because Sandy had to leave her post to play the piano part, the wonderful euphonium solo fell to me. I was
obviously glad for that honor.
After the concert the night before, I managed to dent the second valve slide of the brand new Yamaha
euphonium that Ziggy Coyle had imported for me—among the first in America, or at least Columbus! As
you will recall, the Children’s March begins in ―F.‖ The euphonium solo introduces the second theme
early in the piece, and that theme prominently features an ―A,‖ the tonic third in that key. Unfortunately,
that second-valve slide dent sadly flattened the ―A‖ I badly needed for the solo. I simply HAD to find a fix
for this problem for Carnegie Hall. When Sandy generously offered to allow me to use HER Yamaha at
the dress rehearsal, I happily discovered that ―A‖ was in tune! I was set!
I had several reasons to be excited about this concert. It was at Carnegie Hall, it was (sadly) my last with
the OSU Concert Band, and my last with Dr. McGinnis. Furthermore and at Dr. McGinnis‘ invitation, I
was to accompany him at intermission to the Green Room to meet a very old friend of my family: Mr.
Norm Nadel, formerly the music critic for the Columbus, Ohio Citizen-Journal and by then the music critic
for New York City‘s Scripts-Howard newspaper.
The program went brilliantly. Then it was time for the Grainer and my last chance to shine at OSU!
Confidently, I began to play the solo, but ―nothing‖ came out except an ugly, flat, muffled sound. I played
louder, lipped up the pitch, projected the bell, but…nothing. Sixteen bars later, after the tutti theme that
followed, my downwind stand mate—Chris Doane (now Music Department Chair at University of
Louisville)—discovered why: Sandy was a diminutive lady, and to prop up the instrument, she used a
pillow which, unbeknownst to me, she stored in the bell when the horn was at rest. I was mortified.
McGinnis glared at me in disbelief, and, as I had played the solo adequately every night, NO ONE in the
band picked up the solo cue. Nothing but accompaniment was heard. The second theme introduction had
to wait for the ensuing tutti.
As we made our way to the Green Room, however, Dr. McGinnis, seeing I was unglued, comforted me.
―Listen, Carl,‖ he said, ―forget it—it‘s past. Here‘s some good advice that I hope will comfort you. We all
make mistakes. So, take it from me, it you‘re going to screw up in your career—do it early!‖
Great advice that I‘ve passed on, many times! And what a great reaction to a moment that marred an
otherwise stunning concert. I‘ve never forgotten that kindness under fire. We laughed—and still laugh—
about it, but Doc‘s reaction in the elevator on the way to the Green Room revealed another McGinnis value
I‘ve tried to emulate: love unconditionally.
Value Two: ―On Affection—And Love…‖ (―A‖)
Dr. McGinnis and Ruth have been married for over 50 years. For the thirty-some years I‘ve known the
McGinnises, I‘ve viewed them as a model of what marriage should be. They‘re a dedicated, loving,
dissimilar, complementary, successful team.
In the spring of 1971, I knew I wanted to marry Barb. I wanted to marry her, that is, after we graduated—
she from Bowling Green and I from Ohio State. According to my upbringing, I would not propose to her
until I had met with her father and asked for her hand. At the time, her father, Mr. John Burgoon, was a
prominent Ohio banker: the Secretary and Senior Vice President of BankOhio, then Ohio‘s largest holding
company. To set up a meeting, I called Mr. Burgoon‘s secretary who advised me that the meeting would
have to be in an afternoon, in the company‘s Executive Suite and corporate conference room. Imposing.
Then it occurred to me: oops! What about Concert Band? Concert Band rehearsals were fifty minutes
long, starting at 3 PM every day. To meet with Mr. Burgoon would mean I‘d have to ask Dr. McGinnis to
miss rehearsal, and NO ONE missed a McGinnis rehearsal without GOOD REASON.
Clearly, I was faced with two dilemmas: asking Mr. Burgoon for Barb‘s hand in marriage (which I could
not at all assume would result in an affirmative reply), or asking Dr. McGinnis if I could miss a rehearsal.
No kidding. I was far more concerned about the latter.
Cautiously entering Dr. McGinnis‘ office, somehow the words of my request got out. I, too, hated to miss
rehearsal, and I certainly didn‘t want to disappoint ―the Doc.‖ But those deep, blue, Scotch eyes warmed
when I told him why I was there. ―Of course, Carl. But are you sure this is what you want to do? Then by
all means…and our best wishes go with you and Barb.‖
Now, decades later, after more than 31 years of marriage, Don and Ruth remain, to our great fortune, vitally
interested in our family. They still send—on a regular basis—their best wishes. And yes, I‘m glad to say,
that Mr. Burgoon DID agree to give me Barb‘s hand!
Value Three: ―On Humility…And Decorum‖ (―B‖)
To my delight, I managed to graduate from Ohio State in December 1972, only six months after my class.
After Basic Training and Advanced Individual Training (including a little extra, specialized training as a
―mole‖ who, if activated, would have been ordered to descend into Viet Cong tunnels to de-booby trap
them), I was NOT activated, I was not sent to Viet Nam, and was, instead, allowed to stay in the Army as a
Reserve and Guard member and returned to Columbus. This allowed me to take a teaching job, pursue
graduate degrees, and later, a career in higher education.
My first job was as Director of Instrumental Music, teaching grades 4 through 12 at a very, very small
school district in Millersport, Ohio, just outside Columbus. Mine was a very small band with poor
instrumentation, a tiny budget, and, as is too often the case, no private instructors or staff besides myself.
We worked hard, and earnestly prepared for our contest performance. It was my first as a conductor, and to
my surprise, sitting in the audience was Dr. McGinnis.
As it turned out, we received a ―Two‖ and were happy with it. I was understandably nervous, and a bit
more so because ―the Doc‖ was there. Afterwards, he found me. He couldn‘t have been more gracious.
He complimented the band on its outstanding effort, on the program, on some of the individual players, and
on our musicality. He also generously complimented my conducting.
In response, I protested, telling him all that went wrong—pitch, notes, ensemble. Those blue Scotch eyes
were still warm, but firm, this time. ―Carl, do you know to whom you are speaking? Of course I know
these things…but I chose not to mention them. When someone pays you a compliment, just say ‗Thank
you!‘‖
Humility. Propriety. Politeness. Here were more great life lessons from Donald McGinnis, taught, as
usual, by example.
Summary
Dr. Donald E. McGinnis is a Veteran. He is rightfully proud of HIS service to our country, and he
demonstrated this pride, this understanding of the values of service and selflessness, in the concert dress he
wore for over four decades. It was a simple, double-breasted black coat, modeled on a Navy Captain‘s
uniform. An unspoken reminder, seen by thousands, that serving one‘s country is something to be proud
of.
As you know, Dr. McGinnis also speaks the King‘s English. In fact, he speaks—and writes—eloquently.
The lesson? ―An effective communicator gets things done.‖ Noted again, Doc.
He‘s also a gentleman: soft-spoken, considerate of others, proactive in friendship, protective of his friends,
and forgiving of his enemies. In rehearsal and out, he‘s tough, but fair, personifying courtesy,
thoughtfulness, and absolute integrity. Values I‘ve tried to emulate as a conductor, teacher, officer, and
gentleman.
A gifted musician, an inspiring conductor, a giving mentor, a trusted friend, an example of excellence,
humility, selflessness, refinement, and yes…LOVE of the very best kind…love demonstrated not by words,
but by a life which is well lived and freely shared, moment by moment. Thank you, Ruth, and thank you,
Dr. Donald E. McGinnis, my musical father.
I love you, Doc.
2004 ABA Annual Report
―Nomination of Donald E. McGinnis for Honorary Life President‖
by Richard Strange
Born in Barberton, Ohio, in 1917, our subject graduated from Wadsworth High School. He received TWO
undergraduate degrees from Oberlin Conservatory of Music, and an MA and PhD from the University of
Iowa. He retired from Ohio State University in 1979, after 38 years of teaching flute and clarinet, during
which time he served as chairman of the performance division for many years and acting director of the
School of Music for one year. He helped found the Faculty Woodwind Quintet, and, most important of all,
conducted the OSU concert band for 27 years.
Our subject has been a guest conductor, soloist, and clinician in 45 states and many countries. Beginning in
1941, he was principal clarinetist with the Columbus Symphony Orchestra, then principal flutist for 10
years, and assistant conductor from 1974 to 1982. He was a visiting professor at Capital and Indiana
Universities after his retirement. To help you in your quest for his name, our subject is a past president of
the American Bandmasters Association.
I first met this gentleman when, as a one-year replacement band director at West Virginia University, I had
the good fortune to attend a clarinet clinic in Huntington, West Virginia. I found out almost immediately
that the clinician was a master player and teacher. I learned an immense amount from him that day and in
many subsequent encounters. Through the years we developed a close friendship, which led me to realize
that our subject represents the pinnacle of musicianship and personal integrity.
Now to the reason for the foregoing facts:
I am delighted to announce to you that the Past Presidents and Board of Directors have given Dr. Donald
McGinnis the title HONORARY LIFE PRESIDENT. My only regret is that he is not here to receive our
HIGHEST HONOR in person. Please write him a letter of congratulation as soon as possible. He will
cherish each and every one that he receives.
2007 ABA Convention
HUGH E. McMILLEN (1913 – 1992)
Hugh E. McMillen, a Past President of the American Bandmasters Association, was born on February 10,
1913 in Athens, Michigan and died in Tempe, Arizona on November 7, 1992.
Hugh‘s love for music began early with his instrument of choice, the trombone. After graduating from
Athens High School, he started the school‘s first band program. He studied at the Battle Creek
Conservatory in Michigan and the Bush Conservatory in Chicago before entering Northwestern University,
where he received his Bachelor of Music degree in 1935. During this period he came under the influence
of ABA member Glenn Cliffe ―Rusty‖ Bainum. In 1941 Hugh received a master‘s degree in music from
the University of Colorado at Boulder.
In 1935 at the age of 22 Hugh became Director of Instrumental Music of the Boulder Valley Public
Schools. A year later he was hired by the University of Colorado to serve as Director of Bands and teacher
of low brass. Thus began a memorable career of 42 years at the university. In addition to his university
commitments, Hugh continued to teach at Boulder High School until 1941. He also directed the Boulder
Civic Band from 1935 until 1945. After he retired from the university in 1978, he helped found the
Boulder Concert Band, an adult band of 70 musicians, serving as its conductor for eight years.
During his tenure at the University he composed their alma mater, and every time it is played, there‘s a
memory of Hugh. He developed one of the finest band programs in the country and became a leader in our
profession, being elected to the presidencies of: the Colorado Music Educators Association, the Southwest
Division of the Music Educators National Conference, the College Band Directors National Association,
and the ABA, serving as President in 1974. He was also a member of the Board of Directors in 1968, 1969
and 1975. Hugh was past editor of the ABA news column of the School Musician magazine and has served
on the editorial board of the MENC Journal.
Hugh was a member of Phi Mu Alpha, Pi Kappa Lambda, and past national president of Kappa Kappa Psi,
which honored him in 1989 with their Distinguished Service to Music Award. Other music and academic
honors included: the 1976 Bandmaster of the Year from the Colorado Bandmasters Association, the
Colorado Music Educators Association Outstanding Service Award, the Colorado University Medal in
1983 and Colorado University President‘s Citation for Emeritus Professors, the ASBDA Edwin Franko
Goldman Award, and the University of Colorado College of Music Distinguished Professor Emeritus
Award. Hugh was the first recipient given awards in all three categories of alumni achievement: fraternity,
service and concert band. The university established the Hugh E. McMillen Band Scholarship Fund to
honor him.
Hugh received every major award given by the band profession for distinguished service.
To those of us who knew him since his election to ABA in 1949, Hugh was a man with a great dedication
to ABA. He was a man with a passion for his music, his teaching, and his friends. His wife, Evelyn,
remembered him this way:
He was truly one of a kind—his enthusiasm for the music was infectious and unflagging—he ate,
drank and slept music. I guess you could really call him Mr.
Music.
1993 ABA Annual Report
Note: The 1989 Annual Report noted the death of Betty McMillen, wife of Hugh, on August 27, 1988.
President McMillen‘s Address - 1975
On behalf of the officers and board members, I should like to extend our warmest welcome to you all at
this, the 41st Annual American Bandmasters Association convention. And I would like to recognize the
tremendous amount of planning and hard work which Pete and Joyce Dombourian and their local
committee have done in hosting this convention.
During the course of the year, I was asked several times by letter (or in person) the very pertinent question,
―What is the American Bandmasters Association?‖ After answering in several different ways, I have
concluded that the following statement, with an understandable lack of modesty, is the truth, although it
should probably not be released as a public statement:
The American Bandmasters Association is the most unique, and by virtue of its distinguished
membership, the most influential organization of its kind in the world. Active membership is,
indeed, an honor of the highest order. Election to active membership is a recognition of the
nominee‘s highly superior qualities and reputation as a musician, as a leader in our field, and as an
individual of high ethical standards.
As Past President Jack Mahan did in his Honolulu speech, I quote from the 1931 program of the Boston
convention concerning our origins and heritage:
The idea originated with Edwin Franko Goldman, who had given the matter considerable thought.
While on a visit to Columbus, Ohio, Mr. Goldman explained his plans to Victor J. Grabel of
Chicago, and William J. Stannard of Washington, both of whom he met there. These two
prominent bandmasters expressed great interest in the idea. A week or so later, Mr. Goldman had
a chat with John Philip Sousa, who was much impressed with the possibilities.
Encouraged by the favorable reactions of these gentlemen, Mr. Goldman invited most of the
prominent bandmasters of the United States and Canada to a luncheon and meeting at the Hotel
Pennsylvania in New York on July 5, 1929, as his guests. It was at this meeting that the American
Bandmasters Association was definitely organized, with the objects of ‗mutual helpfulness and the
promotion of better music through the instrumentality of the band. To this end, the Association
shall strive to secure the adoption of a universal band instrumentation so that band publications of
all countries will be interchangeable; to induce prominent composers of all countries to write for
band; to establish for the concert band a higher standard of artistic excellence than has been
maintained; and to do all possible to raise the standards of bands and band music.‘
Among those who attended were Arthur Pryor, Captain Charles O‘Neill, A. Austin Harding,
Captain R.B. Hayward, Frank Simon, Lieutenant J.J. Gagnier, Lieutenant Charles Benter, Victor J.
Grabel, and Edwin Franko Goldman.
I would like to discuss briefly our objectives which seem to be as valid today as they were 46 years ago
when they were first stated.
TO STRIVE TO SECURE THE ADOPTION OF A UNIVERSAL (CONCERT) BAND
INSTRUMENTATION. This is still a highly desirable objective which we must continue to work toward,
both nationally and internationally, as we have for the past forty-six years. In terms of the development of
the symphony orchestra, the concert band is a very young medium. We can only hope that with our
superior modes of communication, and with increasing dialogue among band conductors at home and
abroad, we can standardize our instrumentation in fewer years than the centuries required to standardize the
instrumentation of the symphony orchestra.
Obviously, it will be difficult to resolve our own differences in this country in a short period of time
because of the variety of problems peculiar to each of the several different types of bands: professional,
military, municipal, small college, large university, small high school, large high school, and so on. All
have budgetary problems which impose limitations of one sort or another; many have multi-functions to
perform, some of which require augmented brass and percussion sections which have to be contracted to
obtain good concert band balance; some concert bands perform for the most part in out-of-doors settings,
some with band shells, others without.
All of these factors conspire against the setting up of a universally agreed upon numerical instrumentation.
Still it seems that an ―ideal‖ basic instrumentation for the ―indoor‖ concert band both here and abroad is a
realistic goal, with the understanding that this instrumentation might have to be augmented from time to
time to meet the demands of the score.
If we fail to exert continuing influence in this area, we may, by default, find composers in this country as
well as abroad writing consistently for such diverse instrumentations that only a relatively few bands could
perform these works.
TO INDUCE PROMINENT COMPOSERS OF ALL COUNTRIES TO WRITE FOR BAND. This
objective continues to be one of the vital concerns of all of us both as members of ABA and as individual
conductors. Dr. Goldman, our first ABA president, made this objective one of his prime concerns and
worked diligently to encourage composers to write for band. His annual commissions resulted in the
following compositions:
1949 – ―A Solemn Music‖ by Virgil Thomson
1950 – ―Tunbridge Fair‖ by Walter Piston
1951 – ―Canzona for Band‖ by Peter Menin
1952 – ―Madamoiselle‖ (a ballet for band) by Robert Russell Bennett
1953 – ―Pageant‖ by Vincent Persichetti
1954 – ―Chorale and Alleluia‖ by Howard Hanson
1956 – ―Celebration Overture‖ by Paul Creston
1957 – ―Santa Fe Saga‖ by Morton Gould
Upon the death of Edwin Franko Goldman, Richard Franko Goldman continued the commissions as a
memorial to his father.
Many other significant original works were written throughout the 1940s and 1950s, such as the ―Theme
and Variations for Wind Band‖ by Arnold Schoenberg (1943), ―Suite Francaise‖ by Darius Milhaud
(1945), and the ―Symphony in B Flat for Band‖ by Paul Hindemith (1951). It was during this period that
composers of stature began to recognize the band as a medium of artistic expression.
In more recent years, individual bands and such organizations as Kappa Kappa Psi and Tau Beta Sigma, Pi
Kappa Omicron, the ASBDA, and the CBDNA began to commission works. This influence can be traced
through Mr. Goldman to the American Bandmasters Association where the idea was born.
In 1956 the ABA-Ostwald Band Composition Contest was instituted with the award made possible through
the generosity of the Ostwald Uniform Company. This was the first continuing competition of its kind.
The first winner was ―Fanfare and Allegro‖ by Clifton Williams. (Mr. Williams was a winner twice.)
Other winners have been: James Sclater, Roger Nixon, Robert Jager, Karl Kroeger, Fisher Tull, Richard
Willis, Robert E. Jager (twice a winner), Lawrence Weiner, John Barnes Chance, Frederick Beyer,
Frederick H. Ashe, Fritz Velke, Joseph W. Jenkins, Florian Muller, Maurice Weed, and J. Mark Quinn.
The 1975 winning composition will be performed at this convention by the United States Army Band at our
final concert on Saturday evening. This composition contest, as well as others which have since been
instituted, have performed a similar function—that of ―discovering‖ new compositional talent.
As ABA members we should actively encourage composers in their area to write for band—whether
students, faculty, or professional composers. Reading and/or performances of such compositions at the
local level accomplish at least two functions—the opportunity for the composer to experiment with
twentieth century idioms, and the education of players, conductor, and audience in the use of new
compositional techniques appropriate for band performance. This is a ―grass roots‖ activity through which
ABA members can continue to exert important influences upon the continuing development of our
literature. Urge submission of compositions to the Ostwald Committee.
In order to maintain a balance between the old and the new, our gifted transcribers should be encouraged to
continue producing new transcriptions of older works.
These areas of activity would seem to be at least partially fulfilled by the objectives of MUTUAL
HELPFULNESS AND THE PROMOTION OF BETTER MUSIC THROUGH THE
INSTRUMENTALITY OF THE BAND, and TO DO ALL POSSIBLE TO RAISE THE STANDARDS
OF BANDS AND BAND MUSIC, along with the direct influence exerted by our members in the areas of
conducting, guest conducting, teaching, participation in workshops and on panels, contest adjudication,
teaching in college (with continual upgrading of music curricula) and the many other significant
professional activities in which our various members engage.
Past President Hunt at the Washington meeting made this statement: ―We have to keep looking for new
horizons and I think the international sphere is one place we should look.‖ The joint meeting in Honolulu
last year with the Japanese Band Directors Association was a beautiful realization of this idea. What a
warm and rewarding experience it was for those of us who were privileged to attend!
Last spring I appointed a new ABA International Relations Committee. Chaired by Paul Yoder, who, as
many of you know, is Vice-President and representative for the North American continent of the
―Confederation Internationale Des Socitie Populaires de Music‖ (CISPM). Members of this committee are
Messrs. Berdahl, Hunt, Utgaard, Volkwein, Ruppel, Dombourian, Kurtz, Lum, Pope and Hoe. Continuance
and expansion of this committee are both strongly recommended.
The international aspect of this convention was to have been enhanced by the appearance on tonight‘s
concert of the outstanding amateur band from Luxembourg, the Harmonie Municipale, Esch-sur-Alzette.
At the last moment, for financial reasons, the appearance was cancelled. This band will, however, be
touring in this country during the last half of 1975 under the auspices of the Luxembourg State Department.
I would be remiss did I not recognize publicly the dedicated work of George Howard and the John Philip
Sousa Memorial, Inc. in realizing the $100,000 goal for the Sousa Stage in the Kennedy Center in
Washington, DC, as well as for the international association which we now have with CISPM.
Because Ray Dvorak was unable to attend the Honolulu meeting, I would like at this time to recognize him
for his leadership in the successful campaign to elect John Philip Sousa to the Hall of Fame for Great
Americans. We will hear more from Ray concerning the progress of plans for the enshrinement ceremony.
Another new committee for this year, and one which I also recommend be continued, is the ―Committee on
the Constitution and By-Laws.‖ Many of our members have felt that a careful and objective examination
of these documents should be made with recommendations for appropriate change. Mark Hindsley is
chairman, with Payne, Hunt, Foss and McGinnis as committee members.
Last May I asked Board Chairman Jack Mahan to undertake the responsibility for revitalizing the structure
and financing of ―The Journal of Band Research,‖ which is, incidentally, the only learned research journal
in the band field. A new permanent editor, Dr. Warren George of The Pennsylvania State University, was
appointed to succeed the late Gale Sperry. Dr. George is attending the convention, and we hope that you
will become acquainted with him and help him in any possible way in the location of material for
publication in the ―Journal.‖ Our thanks to Acton Osting, now our associate editor and circulation
manager, who edited the 1974 spring issue.
Lynn Sams has accepted our invitation to write a new and carefully researched ―History of the ABA.‖ We
could think of no living member or associate member whose knowledge and records are as complete as his,
nor which extend as far back into the early period of our history as his. I recommend strongly that we
undertake (or sponsor) the publication of this document upon its completion.
Along this same line, Col. Sam Loboda will give a second presentation of the documentary film entitled
―The History of the ABA,‖ which he and his committee produced last year and presented for the first time
at the Honolulu meeting. Sam and his colleagues update the presentation annually. Don‘t miss seeing this
treat on Friday.
In addition to looking for new horizons at home and while continuing to work on established as well as new
projects, we should assume an increasingly greater obligation in the international field. We should
encourage, among other things, the appearance of foreign bands at our conventions as we had planned for
New Orleans. And certainly we would hope that some of our bands could reciprocate by traveling to
similar meetings abroad. Perhaps we are at the point where we should host a meeting of the World
Congress of Bands.
Certainly we are all involved personally in the celebration of the Bi-Centennial through concerts and the
presentation of music—new and old—appropriate to this significant event; and we can expect that the 1976
convention in Tucson will provide a fitting climax to our observation of this important national event.
I would like to again emphasize the necessity of personal involvement in ABA activities and regular
attendance at our conventions. And above all, that we support the objectives of the ABA in our everyday
pursuits.
Not until one has had the very great honor of serving as president of this association does he really
understand and appreciate the work of our various committees. The membership of these committees reads
like a ―Who‘s Who‖! To witness, as I have this year, the dedication of these men and their sustained
interest in, and love for, the ABA is a gratifying and humbling experience.
Betty joins me in thanking all of you for the honor accorded us in my election to the presidency.
I cannot tell you how fortunate I feel to have had the counsel, guidance, and support of two great people:
Board Chairman Jack Mahan, and Secretary-Treasurer Col. William Santelmann.
It is our great loss that Colonel Bill, an active member since 1941, President in 1953, and Secretary-
Treasurer since 1965, has requested that he not be proposed as a candidate for re-election. As much as we
will miss him in this position, we can only respect his wish, extend our deepest gratitude to him for his
outstanding contributions, and wish him Godspeed.
Bill, we hope now that you can winter in the warmth of Florida during those cold months in chilly
Washington where you have cheerfully worked so hard for us the past ten years. Our blessings and love go
with you and Margaret, and may you have many years of happiness ahead. But don‘t forget us—your
friends and colleagues! We won‘t forget you!
In closing, we would like particularly to welcome our lovely wives—our ―band aids.‖ Your love, your
support and your attendance at these conventions make the ABA the warm friendship-rich organization that
it is.
1975 ABA Annual Report
S. E. ―Eddie‖ MEAR (1894 - 1974)
Hugh McMillen, President of the American Bandmasters Association, read the names of those members
who had passed on since the last meeting. This list included S. E. Mear, who passed away on August 21,
1974. He had been a member of ABA since 1932.
1975 ABA Annual Report
Another old-timer, elected to membership in 1932, was Lt. Col. (retired) Eddie Mear, who has been
prevented from attending our conventions for a number of years because of illness, which took its final toll
this year. Col. Mear operated out of the Pentagon when I first met him in World War II, and most of the
band and personnel assignment for bands were made from his office.
ABA 1975 Newsletter
JAMES A. MELICHAR (1896 – 1994)
James A. Melichar passed away in Cedar Falls, Iowa on January 22, 1994 at the age of 97. Born on August
26, 1896 in Stare, Nechanice, Czechoslovakia, he received his early musical training in Bohemia. He came
to the United States when he was 18 years old. In 1917 he was preparing to take out his citizenship papers,
but did not have to because he enlisted in the Army and automatically was granted citizen status.
In 1919, following his discharge as a clarinetist in an Army band, he joined the Kryl Concert Band.
Besides organizing his own band, he played in several silent movie pit orchestras in South Bend, Indiana
and Sioux City, Iowa.
From 1924 until 1929 Jim was the director of the Monahan Post Band of the American Legion in Sioux
City. His band earned numerous honors, including first prize at the World Legion Band Contest in Paris in
1927 and four first-place ratings in Chicagoland Music Festivals.
In 1929 Jim became the director of the Cedar Falls Municipal Band, a position he held for forty-seven
years. Jim was also the instrumental music instructor in the Cedar Falls Public School System from 1929
until 1950 and at Dioke High School from 1950 until 1964.
Jim‘s patriotism surfaced again when on December 8, 1941 he was first in line at the local draft board, once
again volunteering his services. He was rejected because of his age. He was forty-six years old! Although
more than eighty members of his municipal band were called to active duty, Jim managed to keep his band
performing for the duration of the war. This was quite an accomplishment, since most similar
organizations had to cease or curtail operations at that time.
In 1933 Jim served as president of the Iowa Bandmasters Association. He was elected
to membership in ABA in 1949 and served on the Board of Directors in 1966 and 1967.
In 1977 Jim revisited his native Czechoslovakia, where he was guest conductor of the Kmoch Koln Concert
Band.
The Cedar Falls Chamber of Commerce named Jim their Representative Citizen of the Year for 1981. Ten
years later he received the Peter Melendy Cornerstone Award for outstanding contributions to the city of
Cedar Falls. Jim will be remembered for his sincere and quite presence. The Cedar Falls Band Shell serves
as a memorial reminder of his musical achievements.
1995 ABA Annual Report
LEONARD V. MERETTA (1915 – 2007)
Leonard V. Meretta
September 5, 1915 - July 23, 2007
Memorial written by Don Wilcox
ABA Memorial Speaker: Carl Bjerregaard
Leonard V. Meretta, professor emeritus of music and founder of the Western Michigan University bands
program, was born September 5, 1915 in Marion Heights, Pennsylvania, and died July 23, 2007 in
Kalamazoo at the age of 91. He received a diploma at the famed Ernest Williams School of Music in
1937. He briefly interrupted those studies in 1935-36 to tour as a trumpet player in The Major Bowes‘
Original Amateur Hour, the number one NBC radio show in the country at that time. He earned a
bachelor‘s degree in 1938 and a master‘s in 1941, both in Music Education from the University of
Michigan. From 1938 through 1942 he was assistant band director at Lenoir High School in Lenoir, NC.
After receiving his masters degree, Meretta was in invited by Dr. William D. Revelli to return to the
University of Michigan as his assistant, a newly created position that Meretta held for four years
until he left in 1945 to become the first Director of Bands at Western Michigan University (then called
Western Michigan College of Education), a position he held for 27 years.
Meretta became a legend in the Kalamazoo community. He was the head of the Brass, Wind and
Percussion faculty for many years and professor of trumpet, conducting, band methods, band arranging,
and other courses until his semi-retirement in 1981. He continued as Professor Emeritus and a private tutor
until his ―final‖ retirement in 1988, after 43 years.
Meretta‘s influence was instrumental in building an outstanding music department faculty, developing the
ensembles to a high level of excellence, bringing in guest artists of national caliber and putting
Western‘s name on the musical map both in the state of Michigan and across the country. He was often
asked to serve as a guest conductor of bands nationwide – including nationally recognized university bands,
All-State bands, the famous Goldman Band of New York City, the Detroit Concert Band and the United
States Army Band. Meretta‘s published compositions included several works for brass soloists and
ensembles in addition to those for band.
He was a long time member of ABA and is remembered for innovations such as organizing the first
Michigan Band Day in 1946 and his founding of the Delta Iota Chapter of Phi Mu Alpha music fraternity
in 1948. He also founded the high school Summer Music Camps at Western in 1952 that is still
flourishing. He was the conductor of the Kalamazoo Male Chorus from 1951-1963. He was a lifetime
member of the Michigan State Band and Orchestra Association and the International Trumpet Guild. He
was recently honored by the Delta Iota Chapter of Phi Mu Alpha with the Orpheus Award, the fraternity‘s
highest honor. He was a dedicated and contributing member of the First United Methodist Church
of Kalamazoo for 61 years.
Leonard will be fondly remembered as a kind, smiling, unassuming man who was a superior teacher, able
administrator, a published composer and arranger, an experienced conductor and a gifted performer on
cornet and trumpet as well as piano and organ. His love of music was shared with literally thousands of
students over the years who will carry on his musical legacy. He was grounded in his faith, work ethic,
personal values and love of family.
As a small example, a few days after I first heard of the passing of Leonard Meretta there was a small
gathering of friends and neighbors at my house in Northport, Michigan following a concert by Ken
Bloomquist‘s Northport Community Band. When I mentioned Meretta‘s passing, there happened to be
about a dozen people in the room and nine of them immediately had warm stories about him to share.
There were two former students of his, a lady who used to live next door, and the rest knew him one way or
another. What a truly impressive legacy!
ALBERTUS L. ―Bert‖ MEYERS (1891 – 1979)
Dr. Albertus Meyers, renowned conductor of the famous Allentown Pennsylvania Band for over fifty years,
died May 15, 1979 at the age of eighty-eight.
Dr. Meyers was elected to membership in The American Bandmasters Association in 1930, one year
following the founding of ABA. He played professionally for many years with the Sousa, Liberati, Pryor
and Conway Bands, and also the orchestras of Victor Herbert and Donald Vorhees.
Music was always the center of Bert‘s life. At the age of eight he began the study of cornet with his father,
John B. Meyers, who was instructor in band and orchestra instruments and director of the Allentown
Marine and Juvenile Bands. In 1906 at the age of sixteen Bert became the youngest member of the
Allentown Band, and in 1926 he became director of the band.
During the course of Dr. Meyers‘ long and successful career as a composer of marches, music instructor,
performer and conductor, many honors were bestowed upon him. In 1974 he was the recipient of the
―Golden Deeds Award‖ of the Allentown Exchange Club. That same year he was given the honor
traditionally reserved for statesmen, as Pennsylvania Governor Milton J. Shapp renamed Allentown‘s
impressive Eighth Street span the Albertus L. Meyers Bridge.
One year later, in 1975, LeHigh County residents demonstrated their high esteem and affection for the
maestro, as he celebrated his eighty-fifth birthday and fiftieth anniversary as director of the Allentown
Band, by attending, with some 6000-strong, a commemorative concert at the city‘s West Park.
In February of this year Dr. Meyers was to receive a special citation from the Pennsylvania Senate and
House in recognition of his distinguished career. However, due to declining health, he was unable to attend
the event and a proxy accepted the citation in his behalf.
Dr. Meyers, who was cornet soloist with the Sousa Band, was a great admirer of Mr. Sousa. Therefore, he
became a diligent worker as a member of the committee to place John Philip Sousa in the Hall of Fame for
Great Americans.
It has been said of the passing of Albertus Meyers, ―He was our last link with the great concert band era.‖
1980 ABA Annual Report
STANELY F. MICHALSKI, Jr.
President‘s Address – 1999
The future of the American Bandmasters Association is similar to the story of the late Supreme Court
Justice Oliver Wendell Holmes, who once found himself on a train, but couldn‘t locate his ticket. While
the conductor watched, with a smile on his face, the eighty-eight-year-old Justice Holmes searched
frantically through all of his pockets without success. Of course, the conductor recognized the
distinguished justice and said, ―Mr. Holmes, don‘t worry, you don‘t need your ticket. You will probably
find it when you get off the train and I‘m sure the Pennsylvania Railroad will trust you to mail it back
later.‖ The justice looked up at the conductor with some irritation and said, ―My dear man, that is not the
problem at all. The problem is not where my ticket is. The problem is, where am I going?‖
In our lives as band directors, we have a propensity to plan future activities based upon the importance of a
beginning, and the meaningfulness of an end. Our concert programs mandate this, our halftime shows
dictate it—our master‘s and doctoral theses require the same. The notable author Robert Frost, in a poem
remarked, ―Ends and beginnings—there are no such things. There are only middles.‖ In our engaging and
consuming schedules, we routinely plan activities emphasizing the importance of a beginning and an end.
However, it is a known fact that the significant aspect of any endeavor surfaces somewhere in the middle of
an undertaking. I vividly remember the beginning of my ABA association when I was introduced, in 1973,
in Hawaii—by my mentor and past president of ABA—Dr. James Dunlop. The end of my term as
President of the American Bandmasters Association has arrived, and on Saturday I will turn the gavel over
to my distinguished colleague, Mr. Bryce Taylor, who will begin his tenure a President of our Association.
There were several other significant beginnings—Al Wright‘s nomination placing me on the Board of
Directors, John Bourgeois‘ nominating me for the office of vice president, Dick Strange‘s nomination for
President-elect and the never to be forgotten nomination by J Julian during which my term as president
began with the rendition of ―Lady of Spain‖ on an undersized, borrowed, dysfunctional accordion.
It is with feelings of fulfillment, accomplishment, gratitude and enthusiasm that I stand before you today.
Only sixty other fortunate individuals have graced the presidency of ABA and only they know the
significance and substance of the position and the effort required to meet the expectations of the
membership. I am extremely grateful for the support that each of you provided when called upon.
Committee chairpersons, past presidents, officers and members responded to every request with
purposefulness and resolve. I shall always cherish your many acts of kindness and assistance.
A few weeks after the Biloxi Convention, the question that kept rolling around in my mind was: What
have I done to merit such recognition to be elected President of ABA? My wife was quick to remind me of
the many musical activities in which I have been involved over the years. And surely Joan comes into her
share of commendations for supporting me throughout our 41 years of marriage. But I wondered how do I
want people to remember me when I am called to the ―final concert‖ or how Col. Howard termed it—―The
Symphony in the Sky.‖ This bought to mind an incident in the life of Alfred F. Nobel. As many know,
Nobel was a chemist who made his fortune as the inventor of dynamite. He licensed his invention to the
government, became a wealthy man and retired to a life of leisure. One day his brother died and one
newspaper made an error and printed Alfred‘s obituary instead of his brother‘s. Nobel had the rare
experience of reading his own obituary while yet alive, seeing for himself how people would remember
him. The obituary began as follows: ―Dr. Alfred Nobel, who became rich by finding a way to kill people
faster than ever before, died yesterday at the age of ….‖ and on and on the obituary went. Taken aback by
this description of himself, he vowed to be remembered differently and decided to use his fortune to
establish the Nobel prizes for people who have assisted humanity in a number of ways. Today, very few
people associate his name with dynamite. Rather, hundreds of millions of people world-wide associate it
with the prestigious Nobel prizes—for peace, medical advances, scientific accomplishments, literature, etc.
In like manner, members of ABA have set a standard by which they will be remembered—their concerts,
their compositions, their publications, their performances, their students, their legacies in every shape and
fashion. Every ABA member can proudly count, with humility and undisguised pride, the hundreds of
lives they have influenced through their teaching, conducting and mentoring of students for whom they
were held responsible. The fact the many members have sponsored their students for membership
consideration in the American Bandmasters Association is truly a significant tribute in itself.
Speaking of obituaries…we have sort of a living corollary to Dr. Nobel within our membership. Most
members have not thought of their obituaries or the inscription they may wish to have placed on their
tombstones. However, we have one member who is a most distinguished performer, conductor, arranger,
administrator, lecturer, teacher and past president of ABA. It has been told that he wishes only one word
on his tombstone. It will say—STRANGE. Then when observers pass by, they will look at the inscription
and say, ―Isn‘t that STRANGE?‖
It has been a privilege to witness the unselfish efforts expended by the membership to sustain the image of
the American Bandmasters Association. Much of it goes by unnoticed but there is evidence of active
communication, ardent cooperation and meaningful activities that support the mission of ABA. For
example, we now have updated versions of the ―Orientation Handbook,‖ the ―Lest We Forget‖ pamphlet
and a soon to be completed ―Friendship Directory.‖ Each one of these revisory tasks took countless hours
of communication, meetings, procurement of funding, printing and now the distribution—all done in a
quiet, efficient manner by members working in partnership to improve the overall image and function of
the American Bandmasters Association.
We must continually ask ourselves if our professional contributions, energies expended, and time and
money spent meet the needs of ABA. Are we better off musically, fraternally and professionally because
of our association? If so, let us proceed with enthusiasm and continue to prosper. If not, let us examine our
course of action, our intentions and our purpose so we can remain at the forefront as an organization of
leadership, commitment and vision. It is a known fact that every organization counts among its
membership well meaning individuals who question the function and purpose of the organization. For
instance, how much time can one render to an organization when considering personal responsibilities,
family life, and professional goals? This is a constant struggle for all. Like all other musical activities, one
can only realize accomplishments after considering the amount of contributions made to effect a functional
and meaningful organization.
In most situations, the biggest problem in any organization is getting people to care about being involved. I
recall the case of a young mother with a very unruly son—so unruly that she found him just about
impossible to control. On the advice of her friends she took him to a psychologist, who said, ―Yes, madam
you do have a problem with that child. But at the moment I am far more concerned with you. You are
terribly upset and I want you to take these tranquilizers. Bring the boy back next week. When the mother
appeared the following week, the psychologist said, ―Now, tell me, has the boy improved any this past
week?‖—to which the mother replied, ―Who cares?‖
Our distinguished past presidents have set standards that serve as models for band directors to realize their
full capacity as dynamic leaders, conductors and contributors to the promotion of bands and band
performance. Unlike Justice Holmes, dedicated ABA members know where they are going and like the
mother of the unruly child, can‘t be concerned with the usual detractors and occasional negativism that
permeates any organization.
Of course, each president realizes that his term ends but the accomplishments are only the beginning. Each
is engaged in an ongoing concern for making ABA more relevant to current and future members.
Although we will meet new challenges, we will remain steadfast in our commitment to our cherished
tradition and maintain the commitment to excellence in all Association activities. As we end one century
and begin another, ABA must sustain its tradition and launch its influence of ideals and commitment to
respectfully meet the challenges of the future.
So, as my term ends and Bryce‘s begins, my sincere thanks to all for fond memories and good times shared,
the goals met, your friendship and your involvement in the affairs of ABA. I will end my term with
humble but proud feelings of accomplishment knowing that we will begin another with anticipation of
greater things to come. As always, ABA will continue to be the vanguard of all band organizations because
of the leadership, dedication and contributions exerted by those who cherish their musical heritage and
honored membership.
The subtle influence ABA showers on all activities of the band world, regardless of whoever is at the helm
of this august body of bandsmen and bandswomen, solidified what Frost eloquently stated years and years
ago: ―Ends and beginnings—there are no such things. There are only middles.‖
Thank you.
1999 ABA Annual Report
VONDIS MILLER (1935 – 2003)
Vondis Miller was born in 1935 in Portland, Oregon and died in Tucson, Arizona on September 16, 2003.
His father managed a national forest and his mother was a school music teacher. His mother‘s influence
was evident when Vondis became interested in music during his high school days in Portland.
After earning his Bachelor of Music degree at the University of Oregon in 1957, he spent the next two
years as a commissioned officer with the United States Army in Fort Knox, Kentucky. Returning to the
University of Oregon he completed his Masters and his Doctor of Musical Arts Degree. Besides teaching
in the Oregon public school system, he also taught several sessions at the University of Oregon. In 1970
and 1972 he took musical groups on European tours.
In 1975 Vondis accepted a position at the University of Lethbridge in Alberta, Canada, where he laid the
foundation of an excellent band and music education program. He initiated several successful province-
wide band programs for young people.
Vondis then joined the faculty at the University of Calgary, where he was Head of Music Education and
Director of Bands. He founded the University of Calgary‘s award-winning international Conducting
Diploma Program. During this time he also served as President of the Alberta Band Association and was a
member of the Board of Directors of the World Association of Symphonic Bands and Ensembles
(WASBE).
In 1989 Vondis returned to the University of Lethbridge as Dean of the School of Fine Arts. This same
year he served as the President of WASBE. As Dean, he was responsible for taking care of one of
Canada‘s major art collections and managed to increase the school in size and financial stability. During
his tenure a President of WASBE, he kept the organization focused on performance of quality music
literature and on building vital communication networks between members. Vondis traveled throughout
North America, Europe, Asia and Australia as guest conductor, conducting coach, clinician and
adjudicator. He served on the Board of Directors of the Western International Band Conference for over
twenty years. The Jaycees named him one of the ten most outstanding young men of America. He was
elected to ABA membership in 1990.
Vondis retired to Tucson, Arizona where he developed an extensive music program at the Hohokam
Middle School. He enjoyed working with a unique blend of Pascua Yaqui Tribe students and children from
Latino immigrant families. On the day before he died, Vondis was happily and busily helping and
challenging this students. What a fitting end to a life of dedication to others!
2004 ABA Annual Report
CHARLES MINELLI (1914 – 2001)
Charles Minelli was born of immigrant Italian parents on September 4, 1914 in Virginia, Minnesota and
died in Lakeland, Florida on March 15, 2001 of complications following a stroke. Charlie inherited some
of his musical talent from his mother, an accomplished violinist with perfect pitch. Music became part of
his life when at the age of eight his sister presented him with a trumpet. Charlie was educated in the public
schools of his hometown and played in the Roosevelt High School Band. While in high school, he
organized his own dance band. He organized another dance band when he entered the University of
Minnesota. The engagements of his group, called Minelli‘s Music Masters, helped him finance his way
through school. The band toured extensively in the Midwest and performed several summers for tourists in
Yellowstone National Park.
In 1940 he graduated from the university with a Bachelor of Science in Music Education degree. His first
job took him to the Tower, Minnesota high school as band director, where he taught for seven years.
Eventually Charlie returned to his alma mater to earn his master‘s degree. While there, he was a graduate
assistant and assistant conductor under ABA member Gerald Prescott. (It might be of interest to know that
at this time Dr. Prescott is 99 years old and is living in Tampa, Florida. He is the oldest living member of
ABA.)
In 1948 Charlie became an assistant professor of music and director of the Kansas State Teachers College
band in Pittsburgh, Kansas. In 1951 Charlie became director of concert and marching bands, professor of
music and conductor of the Fine Arts Theatre Orchestra at Ohio University, a position he held for 25 years.
Charlie became a member of ABA in 1953 and served on the Board of Directors in 1972. He was active as
a clinician, adjudicator and guest conductor in the United States, Canada and Europe. In 1973 he was
appointed to the faculty of the International School of Music in Montreaux, Switzerland. For ten years he
taught at the summer music camp in Gunnison, Colorado. He spent several summers studying at the
Cincinnati Conservatory of Music and went to New York City to be tutored in conducting by Fausto Cleva,
leading conductor of Italian opera at the Metropolitan Opera House.
Charlie joined ASCAP in 1968 and had a number of published compositions. He was a member of Kappa
Kappa Psi, the Florida Bandmasters Association, the Ohio Bandmasters Association and CBDNA. He
served as CBDNA national secretary and treasurer from 1952 to 1964. That organization honored him for
his outstanding service, giving him their ―Citation with Distinction‖ award, in addition to making him an
honorary life member of CBDNA. In 1977 he was elected National President of Phi Beta Mu and also
served as Province Governor of Phi Mu Alpha Sinfonia.
A highlight of Charlie‘s career occurred at Ohio University when Bob Hope was on tour performing there.
Charlie and his orchestra provided the background music. Bob recognized their support and invited Charlie
to take a bow for the group. Charlie took a bow—and another bow and another bow, to which Bob quickly
responded, ―That‘s enough, Charlie, that‘s enough!‖
During our ABA-Japanese convention in Hawaii, the hotel management where we were meeting assumed,
incorrectly, that Charlie was related to Liza Minelli—an assumption that got Charlie the plush penthouse.
He had a large number of visitors!
Following his retirement, Charlie moved to Lakeland, Florida. Soon he became an adjunct professor at
Florida Southern College where he taught arranging and was the permanent conductor of the band. He also
was the founder of the Lakeland Community Band, serving as its conductor until 1990. The city of
Lakeland presented him with the ―Key to the City‖ in honor of his contributions to the community. A year
ago Charlie moved into an assisted living community and they wanted him to start a band. Charlie said,
―Not at 85!‖
During his final days in the hospital, Charlie‘s usual happy disposition was ever obvious. He showed his
gratitude daily by inviting the nurses to ―take a bow.‖ We will miss his pleasant, fun-loving disposition
and wish he could hear us say, ―Charlie, take a bow.‖
2002 ABA Annual Report
Note: The 1985 Annual Report noted the death of Pat Minelli, wife of Charles, on June 16, 1984.
BENTON MINOR (1927 – 2003)
Benton Minor was born on November 4, 1927 in Lindsey, California and died on February 25, 2003 in
Orange, California.
Benton grew up in the San Diego area. He attended the Escondido High School where he played tuba in
the band. After graduating in 1946, he enlisted in the U.S. Navy and was assigned as a weatherman in
Pearl Harbor, Hawaii. Two years later he enrolled at Fullerton Junior College as a music major. In 1949
Benton transferred to the University of California at Los Angeles where he played tuba in ABA member
Clarence Sawhill‘s band. He completed his music degree in 1952 and earned his teaching credentials a
year later. He began his teaching career as band director at Grossmont High School in San Diego. Next he
transferred to the newly opened El Cajon High School in the same school district, where he quickly
produced one of the finest band programs in California. In 1963 he assumed the band director position at
Pasadena High School for one year. He returned to the Grossmont school district to become band director
at El Capitan High School, a position he held for three years. During Benton‘s fourteen years as a high
school band director, his bands received the highest score at the Long Beach All-Western Band Review on
several occasions. Remarkably, he won this event with three different bands—El Cajon, Pasadena and El
Capitan. His bands performed at numerous conventions and for the Los Angeles Rams halftime shows.
In 1967 Benton accepted a position as Director of Bands at California State University, Fullerton. During
his tenure, the CSUF wind ensemble expanded to a program of three concert bands. Their wind ensembles
were among the very best in the United States and received international acclaim performing in Europe and
Japan. Many former members of the wind ensembles are playing professionally in recording studios and
symphony orchestras. Benton also mentored a large number of successful public school music teachers.
Hundreds of students at the elementary, secondary and university levels benefited from his teaching, clinics
and adjudicating.
Benton served on the Board of Directors of the Southern California School Band and Orchestra Association
and was a two-term president. He was conductor of their High School Honors Band and for forty years
adjudicated them. He received the SCSBOA Honorary Life Award in 1984. Benton also conducted
numerous All-State bands in California and Hawaii. Benton was elected to ABA membership in 1986.
2003 ABA Annual Report
DONALD MINX (1922 – 1982)
Donald Minx, Chairman of the Department of Music and Director of Bands at Arkansas State University,
died last March while attending our convention in Indianapolis. He was 59 years old. A native of
Plymouth, Indiana, he received both his bachelor‘s and master‘s degrees from the Indiana State University.
In 1971 he was elected a member of the American Bandmasters Association.
Before becoming band director at Arkansas State University, he taught in the North Judson, Indiana school
system. Don was the Dean of the Dixie Music Camp, the second oldest music camp in the nation,
succeeding our late ABA member, R.B. ―Scrubby‖ Watson.
Don had great pride in his hometown, Jonesboro. Besides being elected alderman, he served on the city
council, numerous commissions and committees and was the Vice Mayor. To recognize his outstanding
civic contributions, Don was honored posthumously on Law Day 1982. The Crayhead Bar Association
gave him the Liberty Bell Award.
Two years ago the Arkansas Bandmasters Association chose Don as their Bandmaster of the Year. On
February 26, 1982, at Pine Bluff he was inducted into that organization‘s Hall of Fame.
An annual memorial scholarship has been established at the university by grateful friends, associates and
students.
1983 ABA Annual Report
WILLIAM C. MOFFIT (1926 – 2008)
The band world lost a unique character and powerful personality when William C. ―Bill‖ Moffit passed
away on March 5, 2008 at his home in Jacksonville, Florida where he resided with his wife Jeannette. He
was 82 years old and left behind a wealth of memories among his former students and colleagues.
A native of New Philadephia, Ohio, Dr. Moffit got hooked on music when the circus came to his town.
After listening to the calliope and other circus music all day, he returned home and told his mother he was
really interested in music. The following Monday he went to the 7th grade band director, told him he
wanted to be in the band and started playing the trombone.
After he graduated from high school, Dr. Moffit joined the Coast Guard and played in the Coast Guard
Band in Florida. He became the first teenager to perform in the Coast Guard Jazz Band. After World War
II, Dr. Moffit attended Baldwin Wallace on the GI Bill and was inducted into the Beta Phi Chapter of Phi
Mu Alpha Sinfonia in 1947. Upon graduation he became Director of Bands at Tippecanoe High School in
Tipp City, Ohio, 1950-1954; and Mt. Morris, Michigan, 1954-1960. He earned his Masters Degree from the
University of Michigan during this period.
Dr. Moffit was the Assistant Marching Band Director at Michigan State, 1960-1969, and Marching Band
Director at University of Houston, 1969-1981. In 1978, Dr. Moffit received the Freedoms Foundation of
Valley Forge's George Washington Medal for Patriotic Musical Activities. His arrangement of the Star
Spangled Banner sold 30,000 copies, twice the number of bands there are in the United States.
Dr. Moffit served as the third director of the Purdue ―All-American‖ Marching Band, from 1981 to 1988
and was awarded the title of Professor Emeritus of Band after his retirement. He was named Indiana‘s
Music Arranger Laureate in 1988 by the Indiana General Assembly.
In honor of Dr. Moffit, the University of Houston Marching Band performed a mini-concert at the
University during the time of his funeral in Florida. This was videotaped and sent to his widow with the
condolences of the University of Houston Band Program. He was a powerful influence in the marching
band world during the 60‘s, 70‘s and 80‘s. Dr. Moffit was a prolific arranger of marching band music
with his Sound Power series included some 450 titles. On the visual side of the marching band activity,
Moffit organized and developed his ―Patterns in Motion‖ featuring band members in constantly changing
kaleidoscopic patterns on the field. Based on a four-person squad system, ―Patterns in Motions‖ became
familiar to band audiences across the country and was extremely popular for a period of several years.
Dr. Moffit conducted the Lafayette Citizens Band, Jacksonville Community Band, and Tuba Christmas in
Jacksonville, and the FFA National Organization Band. A long time member of ABA, Dr. Moffit's wit and
humor entertained countless band members across the country. His enthusiasm for music and passion to
teach others kept him energetic and active well into his upper years. Innovative and driven, he left his
personal stamp on many bands. His accomplishments were varied, and his contributions to the world of
music recognized on many levels. A Music Laureate, he also received a Presidential Commendation for his
Armed Forces and Patriotic arrangements, as well as an Olympic Gold Medal for his music arrangements
and conducting of the Fanfare Trumpets at the 1984 Summer Olympic Games in Los Angeles.
He is survived by his wife Jeanette and his son Rick Moffit, band director at McQueen HS in Reno,
Nevada.
2008 Annual Report
DONALD IRVING MOORE (1910 – 1998)
Donald Irving Moore was born in Farnhamville, Iowa on April 11, 1910 and died in Waco, Texas on April
30, 1998. Although he had Alzheimer‘s disease, pneumonia was the cause of his death. During his
elementary school days, students lined up and marched into the building to the tune of marches played on a
Victrola. Thus began Don‘s great love of marches. Don‘s mother nearly went crazy with his everlasting
―drumming‖ with sticks on anything flat in the house. She asked the high school band director to find a
place for him in the band—which he did—and Don became a French horn player in the North Des Moines
Iowa High School Band. Don attended Drake University for a year before being recruited to play French
horn in the Carleton College Band in Northfield, Minnesota. Don received his Bachelor of Arts degree
from Carleton College in 1932 and his Master of Arts degree from Colorado State College of Education at
Greeley in 1940.
Don directed high school bands in Charles City and Britt, Iowa and Dallas, Texas, after which he was
named Director of Bands at Colorado State College in 1941. While serving as a Navy lieutenant in World
War II from 1942 to 1945, he was stationed in the Aleutian Islands and directed bands on Adak and Attu
Islands. Following his discharge from the Navy, Don completed all of the work on his Doctor of Education
degree at the University of Michigan. His next venture took him to New York City where he was Director
of Bands at the Juilliard School of Music and Columbia University.
In 1948 Don became Director of Bands at Baylor University, a position he filled for twenty-one years. He
became nationally recognized as a composer, conductor, clinician and adjudicator. Subsequently, he
directed and judged bands in twenty-three states and Mexico. Over thirty of his compositions have been
published. Most of his marches have been performed all over the world. He was commissioned to
compose music for church and religious programs—a number of these works were choral anthems. Don
was a strong advocate for use of instruments in church worship and was the recipient of the first Director of
the Year award given by the Christian Instrumental Directors Association. In 1968 he took a band to Bern,
Switzerland to perform daily during the Baptist Youth World Conference.
Don was a member of the College Band Directors National Association and twice served as president of the
Southwest Division. He also was a member of the Texas Bandmasters Association, Phi Mu Alpha, Phi
Delta Kappa and Kappa Kappa Psi. He was Grand President of Kappa Kappa Psi from 1955 to 1957. In
1969 he was given that organization‘s highest honor, the Distinguished Service to Music award. In 1993
Don was inducted into the Texas Bandmasters Hall of Fame. He became a member of the ABA in 1966.
Don‘s music writing pen has been stilled for some time, but his music lives on. It might be of interest to
recall the evolution of one of his earliest works. Don was the band director at the J.L. Long Junior High
School in Dallas when he was courting his wife, Norma. On a special afternoon he sat at the piano and
sang the words to a number he had written for her: ―Can a Man Fall in Love With a Smile? Yes He Can
For I‘m in Love With You.‖ Later Don changed the tempo and added some more notes and his most
popular ―Marcho Poco‖ evolved. Don loved to write marches. Most of us are familiar with them: Marcho
Scherzo, Marcho Stereo, March Forth, March Up and Down, March Winds, The Ides of March, March with
Modification, March Chalumeau, March of Christianity and Marching Upward. These marches and his
other compositions and arrangements have become Don‘s most enduring legacy.
1999 ABA Annual Report
EVERETT ALLYN MOSES (1893 – 1965)
Everett Allyn Moses was born in Tangent, Oregon. He was educated at Oregon State College in 1916,
received a B.M. from Oregon University Conservatory in 1920, a M.M. from Capital College of Music in
1930, and was the recipient of an Honorary Mus. D. from Capital College in 1936. He studied theory,
composition and arranging with Clarence Eddy, Adolph Rosenbecker, Herbert Wrightson and Grant
Connell (1916-1920). He was married to Aleece Fischer of Corvallis, Oregon on January 25, 1915. She
passed away in 1948 at Daytona Beach, Florida. They had one son, Robert William Moses, born in 1922.
He was married to Naomi Park of Sanatarium, California on December 24, 1955.
Seldom does anyone reach the top in more than one line of activity, but not well known to many ABA
members is the fact that some 52 years ago Everett Allyn Moses was one of the greatest athletes of his day,
and that many records were established by this diminutive star.
As a high school athlete in Corvallis, Oregon, Everett met and defeated the best interscholastic hurdlers and
sprinters in America, tied and broke many of the national interscholastic records, and won more points than
any other athlete on the Pacific Coast.
From the scrapbooks which Mrs. Moses loaned to me recently, and from many conversations with Everett,
who had been at the Sanitarium in Angwin, California (only a short distance from Napa) all during the time
since Mrs. Sams and I retired here, I learned that Everett considered his music had a great deal to do with
his athletic activity. News clippings of those years state that it was his musical ability which made possible
his athletic glory. His fellow students called him ―Mozart.‖ He taught music in high school during his
spare time, and played and conducted a theatre orchestra at night, which was his only means of support
while attending high school and college.
Records show that ―Mozart‖ still holds the armory record at Oregon State for the 50-yard sprint (five and
two-fifth seconds), 50-yard high hurdles (at six and one-fifth seconds), and 50-yard low hurdles (six
seconds flat). What is more remarkable is that these records were established when he was a senior at high
school, and they were often against college competition. News clippings in the scrapbooks show that
athletic journals and sportswriters of those days marveled at his performance and paid glowing tribute to
his ability. Coach Hayward, famous mentor at the University of Oregon, stated that Moses was the greatest
athlete of his size living. Silver, gold and bronze medals left to the family by Everett all bespeak the proof
and facts of his marvelous athletic performance.
Adam Moses, Everett‘s 4th-great-grandfather, immigrated to America in 1746 from Amsterdam, Holland.
The family first located in Pennsylvania. Everett‘s grandfather eventually located in the Willamette Valley
of Oregon. Four of his sons were musicians and bandleaders. The second son, Amasa Moses (Everett‘s
father) became a prominent government bandmaster in connection with his being superintendent of
different Indian schools. He started Everett on cornet at a very early age. At age 8 Everett became a
member of a well organized band, and at age 12 was wielding the baton as conductor of his first band, in a
boarding school at Owyhee, Nevada, succeeding his father who had been called elsewhere on government
business. Age 16 found Everett in high school at Corvallis. In 1909 he was employed by the school board
to instruct school bands and orchestras, and he was also leading the orchestra at the Majestic Theatre, and
appearing as a cornet soloist with the State College Band on its various tours. His music paid his way
through high school and college.
Professional playing, teaching, composing and continued study and municipal band directing for the next
several years finally found him in the schools at Grand Forks, North Dakota. It was here that Everett had
as one of his band students a young fellow by the name of Yoder—ABA member Paul Yoder. From the
Grand Forks Schools, Everett toured the concert season with Sousa, Pryor, Conway, etc., directing
municipal bands during the winter seasons. It was in 1921 that he left Canton, Illinois to open his first
season in West Palm Beach, Florida. ABA member Harold Bachman has written an excellent story of
Everett‘s bands in Florida. (Note from Newsletter Editor Lynn Sams: Time and space does not permit my
repeating it now, but which will be in the article I am writing on Moses for the ABA Research Center.)
Florida in the winter seasons and Atlantic City, Willow Grove and Newport Beach, Connecticut in the
summer seasons occupied Everett‘s days until professional bands were no longer self-supporting, after
which he conducted municipal bands at St. Petersburg, Daytona, etc. By this time he was confined in
hospitals for treatment of arthritis, and then was sent to Sanatarium, near Angwyn, California, who were
specialists in this ailment. I visited him many, many times in the now three years Mrs. Sams and I have
been in Napa, and each time he truly enjoyed discussing the great professional bands of the past. Everett
Allyn Moses was another one of those who did much for bands.
1966 ABA Newsletter
J. FREDERICK MULLER (1908 – 1894)
J. Frederick Muller was born in Philadelphia on November 13, 1908. He died in Bay Village, Ohio on
April 18, 1984.
He received both his bachelor‘s and master‘s degrees from New York University. Fred taught methods
courses at Temple and New York University, and orchestral conducting at the Juilliard School of Music.
For fourteen years he was the Director of Instrumental Music for the Summit, New Jersey school system.
He founded the Summit Symphony Orchestra, which is still in existence.
Subsequently he was the Director of the Instrumental Music Department for the Elkhart, Indiana city
schools and was Assistant Director of the Elkhart Symphony. He 1952, the year he was elected to
Associate Membership in the American Bandmasters Association, he founded the Educational Division of
the string firm of Scherl and Roth and was appointed president of the company in 1969.
Fred was an honorary member of the Board of Directors of the Mid-West Band and Orchestra Clinic, also
serving as chairman and organizer of the Directors‘ Reading Orchestra. He made significant contributions
in the field of string instruction materials and distinguished himself as an arranger for motion pictures and
the Broadway stage.
In 1981 he became an individual Associate Member of ABA.
Those of us who knew Fred will readily agree with Margaret, his wife of fifty years, when she remarked,
―He was a kind person who always had time for people.‖
1985 ABA Annual Report
GENERAL CARL MUNDY, Jr., Commandant, U.S. Marine Corps
―Remarks Before the American Bandmasters Association‖ – March 6, 1992
[Note: General Mundy is not a member of ABA.]
You have no idea what a tremendous experience it is for one who never learned to double-tongue through
the trio of ―Thunder and Blazes‖ to be standing up here in front of several hundred of the Nation‘s finest
Bandmasters! But be assured that a former ―first chair‖ trombonist and a ―second chair‖ clarinetist are
delighted to have the opportunity to be with you here this evening.
I‘d also like you to know how awed I am to sit up here at the head table while Col. John Bourgeois‘s
―President‘s Own‖ just marched you into dinner. I remember well the many days I stood on a wind-swept
parade street or football field and as I flipped the music in my lyre over to the next march, the names
Fennell and Slocum were always right up there in the right hand corner of the music sheet!
I‘m not sure whether we have any openings for drummers and fife players in the Marine Band at present, or
not, but I can assure you that if we do, either of the ―President‘s Own‖ would be magnificent additions to
our ranks!
I grew up in the Big Band Era. Tommy Dorsey and Glenn Miller were my music heroes, and I guess that‘s
why I eventually chose to play a trombone when I began my band experience in 1948. I used to listen to
Tommy Dorsey and the strains of ―Marie,‖ or to Glenn Miller and his trombone section grinding out ―The
Song of the Volga Boatmen‖ in awe. I never mastered ―Marie,‖ but I sure tried.
My first Bandmaster—actually, my first drill instructor of Marine Corps vintage—was a fellow named
Charlie Isley. Charlie was a trombonist who had played in the Parris Island, South Carolina Marine Band
during his period of active duty, and he imbued in the Waynesville Township High School Marching Band
the discipline that he had brought with him from the Corps. We had a great deal of fun training and
competing in the band in those days, and I suppose there are many things I could cite that I learned. But
beyond learning how to play an instrument, or to appreciate music, the lessons that I took away from my
experience as a bandsman were discipline, teamwork, and, believe it or not, tactics. I learned that in order
for an organization to function effectively, there must be collective teamwork, and individual discipline.
One isn‘t achieved without the other. That‘s a lesson I‘ve carried forth with me into my experience now as
a professional soldier.
Those same lessons are learned on the various sports fields on which we play as we grow up, but no one
should ever cut short the fact that there is no less a degree of discipline and teamwork required in a top
performing band than there is in a good football team or a Marine rifle platoon. As I said, the final thing I
learned, believe it or not, was to appreciate tactics—the art of my profession as a Marine. Because as you
went to various band performances, the intricate movement of individuals, or sections, or groupings of
various sorts in order to put on a well-coordinated band show, turned out to be the basics of what I learned
when I became a Marine—the coordinated movement of units to achieve an objective.
But enough about my own personal background. When I came in the Marine Corps, I really began to
appreciate bands because of their historic value to military organizations throughout the world over the
entire history of the world. Looking at the origin of today‘s military bands, modern marching and concert
bands are direct descendants from those original military bands. Trumpets, drum, cymbals were used in
ancient armies for battle field communications. The linkage between music and emotion was discovered
early, and it was used to enhance morale, to instill patriotic feelings, to speed marching troops at a faster
pace, to intimidate opponents, or to keep a formation headed in the right direction.
It‘s for that reason that the color of the military band uniform was always different from that of the fighting
units—so they could be easily identified on the battlefield as a clear signal to the advancing infantry or
cavalrymen. One might infer that the band generally knew where it was going, while the infantry, in the
smoke and confusion of battle, easily got lost, but whatever the case, the band was used as a maneuver
element to guide maneuvering armies. As early as 1000 B.C. in ―The Iliad‖ we read from Homer that
―Noble and manly music invigorates the spirit, strengthens the wavering man, and incites him to great and
worthy deeds.‖ Six hundred years later, in 418 B.C., the great Greek historian Thucydides records that ―the
Lacadaemonians moved slowly and to the music of many flute players, who were stationed in their rear
ranks and played, not as an act of religion, but in order that the army might march evenly and in true
measure, and that the line might not break, as often happens in great armies when they go into battle.‖
So you can see that throughout history, bands have served the extremely useful purpose of ―spiriting up the
people,‖ and that‘s as true today as it has ever been. That‘s why bands march in parades. That‘s why
bands play at sporting events—not so much for entertainment of the crowd—but to ―spirit up‖ the crowd,
stirring team spirit, fighting spirit, patriotism, pride, and all organization worth while.
Now I must tell you that bands and bandsmen have not always been appreciated by everyone who wore a
military uniform. One of the great Confederate generals, D.H. Hill, in an endorsement disapproving of an
infantryman‘s request for transfer to duty as a bandsman, wrote: ―Shooters, not tooters, are required in this
service!‖ While this endorsement has some humor to us today, I should also note that bandsmen—the
―tooters‖ noted by General Hill—have served actively in combat roles throughout the history of our Marine
Corps. As recently as last year in operation Desert Storm, bandsmen laid down their instruments when the
shooting began, picked up stretchers to be litter bearers, and provided rear area security with rifles in their
hands instead of trombones or clarinets. They are no less Marines or soldiers than anyone of the rest of us
who carry not an instrument, but a weapon.
With regard to my own Corps, it‘s interesting to note that the Marine Band was created in 1798 by then
Commandant Major William Burroughs. The Commandant created the band by assessing every officer in
the Corps $10.00. That doesn‘t sound like much today, but keep in mind that in those days, lieutenants
made only $25.00 a month!
Another of my predecessor-Commandants, Colonel William McCawley, in 1878, remarked, ―The band
gives me more trouble than all the rest of the Corps put together!‖ However, the size of the Marine Corps
in 1878 leads me to believe that probably the band was one of the major elements of the Corps in those
days!
But unlike my distinguished predecessors, the bands have brought me no trouble; they bring me only pride
and pleasure. It has been said that a world without music would be no world at all. I can assure you that in
the national city of Washington, in which we enjoy much of the pomp and circumstance associated with
being at the seat of government and in ―America‘s hometown,‖ one of the things that ―spirits us up‖ and
keeps the feeling of pride that pervades our society going, are the military bands here in Washington. They
are, as you have observed during your conference here, uniformly superb—regardless of which service
uniform they wear. We are extremely proud of all of them. But even more so, we are tremendously
grateful to you, because it is you, through your teaching and encouragement, who provide the splendid
young musicians who make up the bands that play in the White House, that render the honors to visiting
heads of states, who perform the solemn ceremonies in Arlington National Cemetery and other moving
events. These young people who do so much to ―spirit up‖ each of us in positions of national leadership are
the direct result of your efforts, your teaching, and your achievements. I hope that you feel good about that.
As a final note, little did I ever suspect that I would have my own band. As you know, the Marine Band is
known as the ―President‘s Own.‖ Some years ago, the Marine Drum and Bugle Corps was entitled the
―Commandant‘s Own,‖ but they really belong to the Nation. When I arrived here last July, I received a
note from the band director enquiring what type of music I liked. I responded that I liked all kinds of
music, but that I favor country music. As a result, on one of the early occasions after I arrived, a new group
from the ―President‘s Own‖ fell out to do the musical entertainment for the evening. This group had
entitled themselves ―Free Country.‖ I‘ve been so delighted with them that I‘ve entitled them ―The
Commandant‘s Only‖! They are a group of five very talented musicians who turn their conservatory-level
talents into the great ―fiddling and picking‖ that make for some of the finest country music I‘ve ever heard.
I‘ve had the pleasure here tonight to meet Dr. John Paynter. Dr. Paynter produced from West Virginia a
young man named Pete Wilson—now a Staff Sergeant of Marines—who is an accomplished violin player.
However, on special occasions, Pete turns that violin into what we of country origin know as a ―fiddle‖.
And when he gets going on ―Orange Blossom Special,‖ you‘d swear you were in Nashville, Tennessee,
instead of the Commandant‘s House in Washington!
Along side of him is a young lady who Mark Kelly, seated here to my right, sent off to the Marine Band as
one of his products with a French horn under her arm. Indeed, I watched from the royal box in the Royal
Albert Hall in London two weeks ago as Staff Sergeant Amy Horn and others played their French horns as
part of the Mountbatten Concert Series. However, I believe it‘s safe to tell Mr. Kelly that on Saturday
nights at the Commandant‘s House Amy Horn lays aside her French horn and is one of the best guitar and
female vocal singers I‘ve ever heard! I call her ―Mary Chapin Carpenter Horn‖ because when she holds
forth with one of that talented national-level singer‘s pieces, you couldn‘t tell the difference!
In summary, I hope I leave you with a clear message that what you give our Country in the fine musicians
you build, is a national asset, and is something which we who are the recipients of your products are most
grateful to for. It‘s been our pleasure to be with you here tonight.
1992 ABA Annual Report
RALPH MURRAY (1892 - 1973)
Jack Mahan, President of the American Bandmasters Association, read the names of those members who
had passed on since the last meeting. This list included Ralph Murray, who passed away in 1973. He had
been a member of ABA since 1949.
1974 ABA Annual Report
WILLARD ISAAC MUSSER (1913 - 2003)
Willard Isaac Musser was born in Mohnton, Pennsylvania to Amish parents; a birth certificate was never
issued, so the date of his birth is unclear. He died in Clayton, New York on June 24, 2003. Although his
given name was Willard, he was known professionally among his friends and associates as Bill. He was
educated in the Mohnton school system where he began playing the trumpet. In 1934 he enrolled in Ithaca
College where he earned a Bachelor of Science degree and his Master‘s degree in 1940. Additional
graduate study was at Albright College and Temple University. Bill was member of the Ringold Band in
Pennsylvania and had the distinction of playing in that band for John Philip Sousa at the March King‘s last
performance.
During his eventful career, Bill was a professional trumpet player in Atlantic City and performed in
symphony orchestras for six seasons under Hans Kindle and for two under Saul Caston. Much of his
technical knowledge came from studying with members of the Philadelphia Orchestra while much of his
arranging knowledge he attributed to his good friend, ABA member Phil Lang.
From 1942 to 1945 Bill taught instrumental music in the Reading, Pennsylvania school system. Next he
taught at the West Winfield, New York High School for a year before serving as band director at Pleasant
High School in Schenectady, New York. Leaving the position in 1953, he became Director of Bands and
Instrumental Methods at Hartwick College in Oneonta, New York. Three years later Bill was appointed
professor of music at Potsdam State University Crane School of Music where he founded the wind
ensemble, which attained national prominence for its excellence. In 1971 the Board of Trustees of the State
University of New York conferred on him the status of Professor Emeritus.
During his career, Bill had been a guest conductor at concerts throughout Belgium, Switzerland, France,
Italy, Germany, Austria, Canada, United States and England. He was invited to make a recording and
present a concert over Radio Budapest with the Hungarian Wind Orchestra.
Bill served three times as Vice President of the New York School Music Association before assuming its
presidency. He also served on the Association‘s Executive Committee. Bill was active in the MENC,
CBDNA, and NBA. He was a member of Kappa Gamma Psi, a national fraternity and served as a member
of the New York Regents Scholarship Committee on Music. Bill was elected to ABA membership in 1969
and was recipient of the Louis Sudler Award of Merit from the John Philip Sousa Foundation.
Some of Bill‘s compositions include ―Principles for Trumpet,‖ ―Moods in Brass,‖ a cornet trio with band
accompaniment, and two marches for band called ―The New Era‖ and ―Mid Century.‖ His four-volume
method called General Music was especially written for junior high school bands. His latest effort,
―International Method for Band,‖ has been enthusiastically received by music teachers. Bill left a stack of
unfinished manuscripts that may eventually be published, a brass solo with piano accompaniment and two
brass duet albums that are in the process of publication.
Recently his wife Gloria played the trumpet with a show choir in the Thousand Islands area and dedicated
her performance to Bill. She called him her ―most treasured possession,‖ adding this reflection:
Bill was such a remarkable gentleman whose warm touch brought such reassurance and
confidence and whose comforting smile seemed to melt my heart. May he live forever in the
hearts and memories of those who so cherished his friendship, wisdom and advice.
2004 ABA Annual Report
N
JAMES NEILSON (1902 – 1985)
James Neilson, vice president of the Educational Department of the LeBlanc Corporation, died on April 21,
1985 at the age of eighty-two. He was elected to membership in the American Bandmasters Association in
1955.
Born in Motherwell, Scotland, Jim came to Chicago with his family when he was eight years old. He
began his musical studies as a cornetist with the Salvation Army Band. He continued his studies at the
Chicago Musical College and the Juilliard Institute of Music. In 1932 he went to Oklahoma City University
where he was band director and professor of music for twenty-eight years.
In 1962 Jim became director of the Educational Department at the LeBlanc Corporation, responsible for
writing, editing and supervising the preparation of all educational and recruiting aids. He was one of the
first individuals in the county to work exclusively in an educational department of a large music
corporation.
Jim never retired but continued to be an active conductor, educator and lecturer while contributing articles
to professional journals and magazines.
His numerous awards and honors include the immediate past presidency of the National Band Association
and an Honorary Life Membership in the College Band Directors National Association. In 1981 he was
inducted into the National Band Association‘s Hall of Fame of Distinguished Band Directors.
Larry Simons of the Kenosha School District music department expressed the sentiments of musicians
throughout the industry when he said:
It‘s going to be hard, if not impossible, to find someone with Jim‘s knowledge and perspective.
It‘s a void I don‘t think will ever be filled.
1986 ABA Annual Report
VACLAV NELHYBEL (1919 – 1996)
Internationally renowned composer and conductor, Vaclav Nelhybel was born in Polanka, Czechoslovakia
on September 24, 1919 and died in Pennsylvania on March 22, 1996. Vaclav received his early education
in Prague. He majored in musicology at Prague University and the University of Fribourg in Switzerland.
At the age of eighteen he was Rafael Kubelik‘s assistant conductor with the Czech Philharmonic. From
1950 until 1957, when he emigrated to the United States, Vaclav was music director of Radio Free Europe
in Munich.
In 1950 he published his first composition, String Quartet No. 1. His more than 400 published
compositions include operas, works for band, orchestra, chorus and small ensembles. In 1980 he was
commissioned to compose a major work commemorating the 35 th Anniversary of the United Nations. In
1984 he composed music for chorus and symphony orchestra as part of Australia‘s bicentennial celebration.
Vaclav appeared as guest conductor in all 50 states and throughout much of the world. In Europe he
conducted the Salzburg Mozarteum Orchestra, the Orchestre de la Suisse Romande, the Munich
Philharmonic and the Bavarian Symphony Orchestra.
When Vaclav came to this country he was already an established composer. He was so impressed by a
performance of teenage musicians at an MENC conference that he began to compose for school and
collegiate ensembles. His compositions had a strong appeal to young musicians as well as conductors and
audiences.
Among Vaclav‘s awards and honor are four honorary doctoral degrees from American universities,
including one from the University of Scranton in 1985. He was elected to membership in ABA in 1986.
At the time of his death, Vaclav was composer-in-residence at the University of Scranton. One of the most
widely performed composers of the 20th century, Vaclav Nelhybel will be remembered for his influence on
American musical education.
1997 ABA Annual Report
LUCIAN HOWARD ‗Zeke‖ NICAR, Jr. (1933 – 1997)
Lucian Howard Nicar, Jr. was born on June 15, 1933 in Bristol, Virginia and died of lung cancer in
Nashville, Tennessee on March 13, 1997. Most of his acquaintances called him ―Zeke,‖ a family nickname
he inherited from his father and older brother. His home was in Bristol, Tennessee although he was born in
adjoining Bristol, Virginia because the hospital was one block over the state border. He attended the public
schools of Bristol, Tennessee and was a member of the high school band, starting out as a trumpeter before
switching to the French horn.
Zeke received his Bachelor of Science degree from Western Kentucky University and his Master of Music
degree from Michigan State University. He also was the recipient of an Experienced Teacher Fellowship
from Peabody College in Nashville.
His music education career began in 1952 as a vocal, instrumental and elementary teacher in Scottsville,
Kentucky. In 1955 his career was interrupted when the joined the Army as a member of the Third Armored
Division Band, serving as assistant conductor until his honorable discharge in 1957. From 1958 until 1969
Zeke was director of bands and choral groups at the Bristol, Tennessee High School. During this time he
also served as supervisor of the instrumental music program in the Bristol school system and as supervisor
of the Bristol Junior and Senior High School programs.
Prior to joining the faculty of Vanderbilt University in 1970 as Director of Bands, he was the instrumental
instructor of the Halifax County schools in South Boston, Virginia. At Vanderbilt Zeke served as Director
of Bands from 1979 until 1986. For a period of ten years, beginning in 1985, he was Assistant Dean and
Director of Admissions for the Blair School of Music at Vanderbilt.
His professional activities include service as past president of the Tennessee Bandmasters Association;
president of the College Band Directors National Association; Executive Secretary/Treasurer of the
Tennessee Music Educators Association; past president of the East Tennessee Band and Orchestra
Association; and director of the Tennessee All-State East Band, Tennessee All-State Middle Band and the
Kentucky All-State Band. Zeke served as the Executive Secretary/Treasurer of the National Band
Association from 1986 until his death in March 1997.
Like so many of our ABA members, Zeke was in demand as a clinician, conductor and adjudicator. He
was elected to membership in ABA in 1982. A Phi Mu Alpha Sinfonian, he was also an honorary life
member of the International Trombone Association. In 1996 he was the recipient of the National Band
Association Academy of Wind and Percussion Arts award. Zeke was an esteemed figure in music
education, civic-minded and a true Southern gentleman who received outstanding achievement awards for
distinguished service in his profession, in Kiwanis International and in the United States Jaycees.
Throughout his career he was always dedicated to the needs and aspirations of musicians of all ages. In his
name, the Blair School of Music has established a memorial.
A final thought comes from one of Zeke‘s longtime friends, J Julian: ―Zeke will be missed by all ABA
members, but especially by all the Bad Boys in the back row.‖
1998 ABA Annual Report
HUBERT ESTEL ―H. E.‖ NUTT (1897 – 1981)
H. E. Nutt, truly a great pedagogue of band leadership, left a profound legacy with us. He passed away
August 21, 1981 at the age of 84. Dr. Nutt was elected to The American Bandmasters Association in 1958
and served on the Board of Directors in 1968 and 1969. For a number of years he served as Chairman of
the Edwin Franko Goldman Citation Committee.
Dr. Nutt was a member of the faculty and administration of the VanderCook College of Music for 58 years,
having joined that staff in 1922. He worked with H. A. VanderCook personally in the early days of the
school, and later served as its chief executive officer. At the time of his death he held the title of Honorary
Life President of VanderCook College of Music.
Although H. E. was a band director – teacher – executive, we remember him especially for the manner in
which he dealt chiefly with the basics of our art, doing away with all possible non-essentials. He was
constantly challenging, looking for new ideas, always innovative.
H. E. was one of the three founders of the Mid-West National Band and Orchestra Clinic. Through their
efforts, the Mid-West Clinic has become the most dynamic single such force in the field today.
1982 ABA Annual Report
Note: The 1990 Annual Report noted the death of Thelma Nutt, wife of H.E., on August 29, 1989.
O
ROBERT F. O‘BRIEN (1921 – 2003)
Robert F. O‘Brien was born on June 24, 1921 in Breese, Illinois and died on July 1, 2003 in South Bend,
Indiana. His wife Catherine preceded him in death on June 11, 2002. Bob was educated in the Breese
School System and played trombone in the high school band.
He served his country during World War II with the U.S. Navy for four years. Following his discharge, he
enrolled in Southern Illinois University where in 1947 he earned his Bachelor of Music Degree. Two years
later he was awarded the Master‘s Degree in Orchestration and Conducting from the University of Iowa.
He pursued doctoral studies in education at the University of Colorado in Boulder.
Bob was a member of a number of organizations including CBDNA. He was the founding President and
Honorary Lifetime President of the National Catholic Bandmasters Association, founded in 1953. Elected
to ABA membership in 1974, he also was an active member of ASCAP and was the author of numerous
books and articles. He made numerous appearances as conductor, adjudicator and clinician.
Bob was appointed Director of the University of Notre Dame Concert and Marching Bands in 1952 and
served in that capacity until his retirement in 1986. The University conferred on him the status of Director
Emeritus.
In recognition of his many achievements and services, the State of Illinois named April 2nd Robert F.
O‘Brien Day; in his memory, the University has established the Robert F. O‘Brien Endowment Fund to
benefit students of the band.
2004 ABA Annual Report
CHARLES O‘NEILL (1882 – 1964)
One of the leading figures in the musical world, Dr. Charles O‘Neill, was born in Glasgow, Scotland on
August 31, 1882. He was a graduate of the Royal Academy of Music, London, in organ, composition and
as a bandmaster. He held a Bachelor of Music and a PhD in Music from McGill University in Montreal.
For 27 years he was the director of the band of the Royal 22 nd Regiment. He was also the first regular
conductor of the Quebec Philharmonic Orchestra, as well as the director of the Little Symphony of the
Canadian Broadcasting Corporation. He was also director of the All-Canadian Permanent Force Band,
which journeyed to London for the coronation of King George VI, the only band from outside the British
Isles given the place of honor leading the coronation procession. The band presented three concerts at
Buckingham Palace.
During his career Dr. O‘Neill distinguished himself as a composer as well as a band leader. He wrote many
works and had a large list of publications to his credit—overtures for concert bands, quartets for brass
instruments, solos for horn, piano, cornet, trumpet, trombone, baritone and bass, along with many choral
compositions. One of Dr. O‘Neill‘s best loved pieces is ―Souvenir de Quebec,‖ a potpourri of French-
Canadian folk songs composed while he was director of the Van Doos‘ Band. He wrote the official march
of the Royal Northwest Mounted Police and the ―Le Royal 22 nd Regt. March‖ for that famous regiment. In
1937 Dr. O‘Neill retired from the Canadian Army and joined the faculty of the University of Wisconsin as
acting director of the music department. Later he joined the Crane faculty of music in Potsdam, New York.
In 1948 he became a member of the faculty of the Royal Conservatory of Music in Toronto. He retired in
1954 and subsequently returned to Quebec City.
Dr. O‘Neill was the Honorary President of the Canadian Bandmasters Association. He was a Past
President of the American Bandmasters Association and was chairman of the examining board. He also
served as adjudicator in national band contests in the United States and for many years was the adjudicator
for the band contests at the Canadian National Exposition.
―Charlie‖ O‘Neill, as he was known to his many friends, was a Charter Member of ABA. He was one of
the most respected musicians and band leaders in the organization. Those members who came into ABA
during the years of written examinations for admission can well attest to the thoroughness with which the
questions were prepared, a thoroughness which covered practically every phase of one‘s qualifications for
director.
1965 ABA Newsletter
Fred Moogk, ABA Associate Member from Waterloo, Ontario, and one of Charlie O‘Neill‘s closest
friends, writes:
He was the most demanding of himself as well as of his pupils, and I think that any student who
would take the time and interest in an effort to meet his demands accomplished much more than is
accomplished when the teacher ―lays down‖ what is supposed to be known, and then leaves it
entirely to the student to carry on. He never ceased to amaze me with his uncanny memory for
dates, names, and above all, music. The ability to hear the performance and instantly know
whether a composition was performed correctly made him, in my opinion, the finest adjudicator
on this continent in this lifetime. The late Edwin Franko Goldman and Dr. A.A. Harding many
times attested to Charlie O‘Neill‘s achievement and methods in adjudication field.
For almost the last five years Charlie O‘Neill was practically bedfast. Letters which were written to him
were read to him by his daughter, in whose home he resided. In the last three years he would only be aware
of a part of what was read. Again quoting Fred Moogk:
I called on him every time I was in the neighborhood of the city of Quebec and despite his
deafness and his almost complete loss of sight, I always enjoyed spending an hour or two with
him, although the last two visits were rather heartbreaking.
And to Dr. Charles O‘Neill the American Bandmasters Association proudly pays tribute.
1965 ABA Newsletter
ADOLPH OSTWALD (1902 – 1993)
Adolph Ostwald, Honorary Associate Member, was born in Germany in 1902 and died while visiting in
Germany on May 19, 1993. His life encompasses the story of an immigrant, a craft, a business and the
American dream.
Adolph arrived in New York City in April 1926 with an engineering degree and visions of a bright future.
His engineering skills brought him a short-lived job producing air filters in Bradford, Pennsylvania.
Adolph returned to New York City in 1927 to join his brother Ernest who owned a tailor shop specializing
in custom designed garments. Clients were mainly doormen in hotels and apartment houses, chauffeurs,
domestics and theater ushers. Ernest, like his father, was a trained tailor. He chose to bring his talents to
this country rather than take over the family business in Germany.
Their business expanded into a modestly sized company. After the stock market crash in 1929, the
Ostwalds struggled until 1933, when they went into bankruptcy. Statistically, only 2% of the firms that
failed during the Depression and started up in business again, did so successfully. Although the Ostwalds
lost their credit rating, they were successful in reestablishing their business.
The three following years were very trying for their business and the Ostwalds personally. Adolph‘s wife,
Eleanor, became a volunteer employee with no salary. Although lacking formal secretarial training, she
became phone operator, order clerk, bookkeeper and payroll accountant and could write out product
descriptions with great accuracy. All the Ostwalds worked long daily hours and endured great hardships.
In 1936 the Ostwalds teamed up with the Conn Instrument Company to create a market for an emerging
nation-wide band movement. Conn provided the instruments and the Ostwalds the uniforms in this
cooperative venture.
The design and manufacture of band uniforms became the main thrust of the company. During World War
II the Ostwalds almost closed their business because materials were unavailable. They did manage to
survive and were able to capitalize on their excellent reputation, having an edge over their competitors who
produced war goods exclusively.
In 1952 their very existence was threatened when the mill that supplied their fabrics was closed because of
a strike. A personal friendship with Mr. J.C. Penney helped solve their dilemma. Penney‘s stockpiled
clothing material and fabrics and supplied the Ostwalds with them until new sources became available.
The Penney Company also taught them how to do a mail order business and build better customer
relationships.
As more schools consolidated, bands became more numerous and larger. Ostwalds‘ business grew beyond
all expectations. Of necessity, the company moved into a large factory building on Staten Island.
In 1951 the Ostwald Uniform Company became an Associate Member of ABA. In 1956 the Ostwalds and
the ABA became partners in an historically significant event with the establishment of the ABA/Ostwald
Band Composition Award. The first such award, and still the most prestigious, it has given the music
world some of the most important compositions ever written for concert band. Unfortunately, Ernest died
before the first award was presented at our ABA convention in Santa Fe. Adolph funded the award for 25
years. The award has been perpetuated by the establishment of the ABA Foundation. Adolph helped to get
the Foundation started by personally funding the 1996 award.
Adolph was very inventive and a good executive and organizer. Using his technical knowledge, he
developed time and labor saving devices. He conceived the idea of combining a concert uniform with a
marching band uniform by adding a separate overlay. He introduced plastic as a stronger and more durable
replacement of fabrics.
He designed a sturdier shako hat, which became an enormous asset to the business. The company filled a
contract to furnish shakos with plastic crowns for the entire Corps of Cadets at the U.S. Military Academy
at West Point. His unique uniform designs revolutionized the band uniform industry.
In 1961 Adolph received the Kappa Kappa Psi Award for distinguished service to music. In 1972 he
became an Honorary Associate Member of ABA. In 1973 the United Fund honored him for his service as
chairman of their contribution drive for all of Staten Island. Adolph retired in 1973 after selling his
company to the MacMillan Company, a publishing house specializing in textbooks.
One of the most gratifying moments in his life occurred at our ABA Oklahoma City convention. The five-
day meeting was dedicated to the Ostwalds with this quote:
The 53rd Annual Convention of the American Bandmasters Association is dedicated to Ernest and
Adolph Ostwald for the establishment and generous perpetuation of the ABA/Ostwald Band
Composition Contest and Award.
Adolph felt he had reached his ultimate goal: helping others so that they can help themselves.
Undoubtedly, the Ostwalds have played a significant role in ABA‘s magnificent heritage.
1994 ABA Annual Report
Note: The 1994 Annual Report noted the death of Eleanor Ostwald, wife of Adolph, in October 1993.
P
CHARLES J. PAYNE (1916 – 1999)
Charles J. Payne was born in Indianapolis, Indiana in 1916 and died on June 2, 1999 in Redwood City,
California of heart failure. Although his instrument of choice was the euphonium, he was also an
accomplished trombonist. He attended the College of Music of Cincinnati, now known as the University of
Cincinnati, and graduated in 1937 with a Bachelor of Music degree. For several years he played trombone
with the Indiana and Cincinnati symphony orchestras. In addition to his classical music background,
Charlie was a jazz enthusiast, performing in that field with the Claude Thornhill Dance Orchestra during
the 1930-1940 Big Band Era.
During World War II he joined the Navy as a flight instructor. Eventually he was assigned as a pilot to the
Naval Supply Ferrying Command, which delivered materials and aircraft to the European Theater of
Operations. On his last ferrying mission his plane crashed in Nova Scotia and he was the sole survivor of
the four-man crew. Severely burned, he spent eighteen months rehabilitating in the hospital, after which he
was discharged with the rank of lieutenant.
Charlie‘s next musical venture took him to Long Beach, California. In 1949 he joined the Long Beach
Municipal Band as a euphonium player. In 1953 he became assistant director and three years later was
appointed director. He was associated with that band for twenty-four years. During his tenure the band
increased its activities, giving more than six hundred performances a year. He instituted a series of
enrichment concerts in the local public schools.
Charlie was elected to membership in ABA in 1958, served on the Board of Directors in 1960, 1961 and
1970, and became our president in 1969. He and the Long Beach Band hosted our annual conventions in
1961 and 1968. Next year our convention will be in Las Vegas. For many years while Charlie was in Long
Beach he urged our membership to either meet or have some side trips to Las Vegas, a place he facetiously
called ―Lost Wages.‖
Charlie retired from the band in 1973 and moved to Brookings, Oregon, where he lived until a few years
ago. Although he couldn‘t attend many of our meetings after he retired, we were able to enjoy his company
during our 1988 convention in Ashland, Oregon.
Charlie had been looking forward to retiring because it would be the first time in his long career that he
wouldn‘t have to work on weekends and holidays. When he finally retired, he said, ―I‘m going to do some
of the things I wanted to for years but never had the time to.‖ For over 25 years he did enjoy doing the
things he wanted to do.
2000 ABA Annual Report
President Payne‘s Address - 1970
Distinguished Guests, Honored Members, Visitors, Friends and Colleagues. I bid you welcome to this 36 th
annual convention of the ABA and particularly those of you who have traveled great distances or overcome
unusually adverse conditions of health, etc., to join with us at this hour.
During the next four days you will hear committee reports which will apprise you of our activities and the
results of our labors. I take this opportunity to express my sincerest appreciation and heartfelt thanks to the
members of the several committees who have contributed so much to my year as President, who have so
completely accomplished the tasks assigned to them and who have given so unselfishly of their time and
talents. I take particular note of the committee chairmen who have functioned so efficiently in coordinating
all of these efforts.
In making committee appointments some changes over past years were effected in order that the burden
might be lifted from some who had already contributed more than their fair share and that more of our
membership might have the opportunity of serving ABA. Our Association is admittedly comprised of the
outstanding talents and abilities in our chosen profession, and it is my firm belief that we must take full
advantage of this very valuable reservoir so readily available to us.
Our Host Committee under the able direction of Don McGinnis and Jack Evans have done a magnificent
job in providing for your entertainment, comfort and welfare as well as the more formal business
requirements of the convention to the point that, although several thousand miles removed from this
location, I have enjoyed a feeling of complete security and confidence that the most minute detail would be
fully resolved prior to the opening gavel.
You will hear important and instructive reports from Gale Sperry and Acton Ostling concerning our ABA
Journal of Band Research; from Dale Harpham and Arthur Brandenburg on the ABA Research Center;
Everett Kisinger as ABA representative at the North American Band Director‘s Coordinating Committee;
James Dunlop on the Ostwald Composition Award; Col. George Howard, the Sousa Memorial; and Ray
Dvorak spearheading our efforts to place the name of John Philip Sousa in the Hall of Fame; H.E. Nutt with
a report on the Edwin Franko Goldman Award Citation. No less important will be the instructions given
and your undivided attendance and participation in our traditional ‗fun session,‘ the one and only ‗ABA
Band‘ under the rather questionable but truly appreciated administration of ―Scrubby‖ Watson, Paul Yoder
and Jack Lee.
One or two new innovations will be introduced during the current sessions. These include the premiere of a
keynote address by one of our most distinguished members, the result of an idea express by Dick Bowles
after the Elkhart Convention and one which we trust will become feature of the Annual ABA Convention.
During these meetings you will also be privileged to hear an address by one who has contributed much time
and effort toward gathering detailed and documented material and information on the man we acclaim as
our first Honorary Life President, John Philip Sousa. You will also hear a report relative to the ABA Page
in the School Musician. This page, appearing in each issue for the past several months, has been a
Herculean task, and we take this opportunity to publicly acknowledge that without the editorial abilities and
dedication of Hugh McMillen it would never have been realized.
One of our most important functions and one that deserves no less than your most serious consideration and
concentration is the task of inviting to membership or deferring action on those of our associates who have
been proposed for membership in ABA. As an honorary and strictly invitational association for the
membership of our chosen profession, we have a definite duty to honor and recognize our colleagues of
proven outstanding ability. No less is our duty to maintain the exalted standards of membership for which
ABA has been so long noted. Friendship or selfish gain have no place in these deliberations and I charge
each of you to carefully follow the dictates of your own conscience as Vice-President Nilo Hovey presents
the recommendations of the Membership Committee.
During the past year several of our members, through correspondence and personal conversation, have
expressed thoughts and ideas worthy of presentation for the general membership‘s consideration. One is
the matter of ABA‘s membership in the National Music Council, first proposed in 1967. Another is a
request from ABA member Robert W. Dean that we support an ASBDA action by adopting a Statement of
Position concerning the importance of performance media in the curricular structure of the American
system of public education. A third, and one discussed tentatively at Elkhart last year, is the matter of
selecting our convention sites and dates two or three years in advance. A fourth, and one that also concerns
convention dates and sites, was suggested by ABA member Ed Kruth. He reminds us that too often some
of our membership must choose one or another of the conventions of the several professional organizations
of which they are members since they do not have available the required time and travel expense for both, a
fact of which I‘m certain most of us are well aware. In order to alleviate this problem, it has been
suggested that ABA might, once every two years at least, select dates and a location that would coincide
with the opening or closing of the CBDNA Convention, as it would be much less difficult for many of our
membership if they could spend a few days more for both conventions at the same location, rather than
obtain sufficient travel time and expense money for two separate sessions.
Still another matter to be presented for your consideration is that of supplying Journal of Band Research
subscriptions for all ABA members out of ABA funds or dues.
I mention these but briefly at this time so that you might have an opportunity for advance consideration
before they are formally brought upon the floor of this convention.
In conclusion, I thank you for the trust, confidence and honor you have bestowed in electing me to the
Presidency of ABA and would sincerely pray that after the final gavel of this convention has sounded, I
will have served you well. Thank you.
1970 ABA Annual Report
JOHN P. PAYNTER (1928 – 1996)
John Philip Paynter was born in Mineral Point, Wisconsin, May 29, 1928 and died of a stroke on February
4, 1996 in Glenview, Illinois at the age of 67. Elected to membership in ABA in 1956, John served on the
Board of Directors in 1962, 63, 65, 77, 78 and 79, and was elected President in 1976.
John received his early training in music in his hometown. At the age of six he started playing the piano
and eventually took up the organ and clarinet. In 1946 he enrolled in Northwestern University‘s School of
Music and earned his bachelor‘s and master‘s degrees in theory and composition. While working toward
his master‘s degree in 1950 and 1951, he served as Acting Director of Bands. At the age of 23 he was
appointed to the full-time faculty and became the director of the marching band, assistant director of bands
and instructor of theory. Two years later he succeeded ABA member Glenn Cliffe Bainum as Director of
Bands, becoming only the second director in the history of the university.
John taught conducting and band arranging and supervised ensembles that ranged from the symphonic band
to jazz and contemporary music groups. He also conducted many of Northwestern‘s musical productions,
including the famed ―Waa-Mu Show.‖ He started the wind ensemble so that he would have a group
capable of playing serious new music. One of John‘s great passions was the community band movement.
In 1956 he founded the Northshore Concert Band. The group, with more than 115 adult amateurs, is still
going strong. Ranging in age from their 30s to 80s, the musicians rehearse weekly and perform six to eight
concerts a year. In a 1975 interview, John had this to say about community bands:
I really believe if we‘re going to keep music alive in America, we‘ve got to perform it after we‘re
through with college. We have to keep playing and singing.
In 1949 John was the Northwestern Marching Band‘s student manager when their football team played in
the Rose Bowl. The band was stranded in a Cheyenne, Wyoming blizzard for three days while returning to
Evanston via train. He returned to Pasadena for the January 1, 1996 football game and conducted the Alma
Mater in the historic Rose Bowl before a crowd of more than 100,000.
John received many awards, including honors from the Illinois Music Educators, the John Philip Sousa
Foundation, the National Band Association, the School Musician, the Instrumentalist, the National
Association of Music Clubs, Tri-M Modern Music Masters, Phi Beta My, Kappa Kappa Psi, Pi Kappa
Lambda and Phi Eta Sigma.
In 1987 John was chosen as one of the inaugural recipients of the Northwestern University Alumni
Association Excellence in Teaching Award; and in 1992 DePaul University awarded him an honorary
Doctor of Humane Letters degree.
John was respected everywhere, as evidenced by his leadership and membership in numerous
organizations. He was President of the Mid-West International Band and Orchestra Clinic, Past President
of ABA, Past President of the World Association of Symphonic Bands and Wind Ensembles, Past Division
President of the College Band Directors National Association, and member of the Music Educators
National Conference and Phi Mu Alpha Sinfonia.
John was an avid arranger and composer with some 400 works to his credit. As guest conductor, lecturer,
and adjudicator, he visited 47 states, Canada, Mexico, Israel, Europe, Japan and South Africa.
C. William Fischer, Senior Vice President for Student Affairs had this to say about John‘s career:
John Paynter‘s life really expresses what is best about a place like Northwestern. He lived the
values of excellence, understanding, compassion and commitment. Most of us do not get the
opportunity to dedicate our professional lives to infusing these values into an institution. John
recognized that opportunity and fulfilled it.
ADDENDUM: the following poem was submitted by an ABA colleague:
To Marietta
Kind, sensitive, musicianship inbred,
A leader, an intellect in all that he said,
Firm and decisive, yet pleasant in manner,
Tongue in cheek humor a part of his banner.
His bands superb – meticulous was he.
Nuance, rubato, each phrase—each key,
His creed shining thru every performance on stage,
There is more to music than the printed page.
Our shock and disbelief on hearing the sad news,
And you, Marietta, have much more to lose,
Admired and respected are you both in every way,
May these thoughts give you courage to face each future day.
Ray DeVilbiss
February 7, 1996
1996 ABA Annual Report
President Paynter‘s Address - 1977
I wish to say a special good morning to the ladies in the room this morning. The American Bandmasters
Association is the wonderful group it is because of your importance to us and your presence at our
conventions. You are very special people to each of us individually, but you must know that you are also
special to us collectively. It is as much pleasure each year to anticipate the convention for the joy of seeing
you ladies gracing our meetings as it is to be with our brothers in ABA.
I have been a member of ABA, at least in spirit, for the last thirty years. Thirty years ago just about now, it
was my job as a freshman member of the band staff at Northwestern University to help, along with a
number of others, to compile the Secretary-Treasurer‘s annual report, as he [Glenn Cliffe Bainum] prepared
to pack his bags and head off to the convention of the American Bandmasters Association. I read with a
great deal of interest the names on the roster of the American Bandmasters Association, and, of course,
with one or two exceptions, all of those names were people I had yet to meet. And for all of the years that I
helped Mr. Bainum in that operation, I watched the ABA roster grow, and little by little I began to meet
most of the people who are in this room this morning. It was an exciting privilege through which I began
to learn the history and traditions of the American Bandmasters Association from one of the most dedicated
ABA members ever, Glenn Cliffe Bainum. I learned, too, of some of its stories, some of its meaning, and
especially, some of its personality.
Ten years later, in 1957, I was elected to membership in ABA, a thrill I will never forget. I don‘t think I
ever shook more than in Pittsburgh, attending my first convention and conducting the United States Air
Force Band in Samuel Barber‘s ―Commando March.‖ I made the fatal mistake of turning to Col. Howard
as I left the stage after rehearsing his band and asking, ―Colonel, how is it you don‘t use saxophones?‖
Now, I know a lot of people have asked this question of the Colonel, and I suppose his answer has often
been the same, but it shocked me to my sox when he turned to me and said, ―Because I used to play one!‖
Another ten years rolled by, and in 1967 Marietta and I missed one of only three conventions that we have
had to miss in the time of our association with you folks. We were on sabbatical in Europe at that time, but
we had enjoyed the privilege the year before of hosting the convention in Evanston. It was while we were
abroad that word came of my promotion to full professor and I knew I had safely survived the laws of
tenure.
And now, here, ten years later, I have the nearly indescribable thrill of serving you as your President.
The history and traditions of American bands are all in this room! If by some magic we were able to
extract from the American musical scene the influence that each of you has had on band music in America,
it would be a void that could hardly be filled. It would not be the end of bands, because just as surely as
each one of you had a role in making bands important in America, others would rise to the cause, and the
band movement would begin all over again. But it would take a period of time and it would create a
vacuum for that time that could hardly or easily be filled.
Bands are in a tremendously good state of affairs. It would be unnecessary for me to explain how and
where. They are not without problems, but certainly they are terribly important. Just as Dick Iseumert said
a moment ago that he thought we needed more bands at the community level, and surely this is true, we
can‘t forget where we have come, and all of the people in this ABA have brought us there!
It is not terribly important that we recite our good works to each other, although we are very good at doing
that. We know what we have done and we know where we have been. It is important that we record that
action, that we preserve it, and that we maintain its traditions.
It is also important that we tell those few critics that the American Bandmasters Association may have, who
repeatedly like to ask us what we are doing, that we would like to tell them what we have done, where we
have been, and who we are. And that in accomplishing what we have, we have led the way and planned the
future for virtually everyone else in the band business.
Our friends in the other band associations who sponsor composition contests can be reminded that ABA
and Ostwald started it all. Our friends who work for standardized instrumentation for bands can be told
that Edwin Franko Goldman was stressing this forty years ago. Our friends who are setting up research
projects, and very valid ones at that, in all areas of band activity, should be reminded that these projects
have been going on throughout the entire history of the American Bandmasters Association, and that we
welcome their help.
But with all of this pride, there are some serious concerns that come to me as your President this year.
There is a very deep and continuing concern about our membership, which has been reinforced and
expressed to me by many of you in ABA. Our Association is not growing in numbers, nor does it
necessarily need to. But as inevitable as life itself, our membership is growing older. More and more, a
higher percentage of ABA members is represented by people who have retired from their active conducting
careers. It is vitally important that we continue to feed into the American Bandmasters Association a
number of the very gifted, qualified, well prepared musicians who are conducting fine bands in America.
We must make sure that our process for searching out and electing these people whom we identify as
exceptionally qualified is a workable process that will guarantee the future of the American Bandmasters
Association.
It is unreasonable to think, as you will learn later in our proceedings at this convention, that less than a
dozen personalities from all across America are worthy of nomination to membership in the American
Bandmasters Association, and that less than those you could count on one hand could be elected to
membership in any given year. We must come to realize, as a body, that just as there were fewer bands in
1930 when Frank Simon was doing his marvelous work in Middletown, Ohio, there are now more bands
and more qualified people, we need to search out the best and invite them to membership in the most
prestigious band organization, the American Bandmasters Association.
One of the steps we hope to take to improve the membership situation is to appoint members within the
ABA to areas of regional responsibility, geographical areas of responsibility to help identify the men who
are doing outstanding work in every area of our country, and to propose them, or see that they get proposed
as members in ABA. Surely one of the most important things that our veteran ABA members can do for us
is to help us document the character, the talent and the ability of these prospects. We need your help. We
need the assistance of the people who not only may have the time to go and see these candidates and hear
their bands, but also have the wisdom to evaluate and propose for membership the best of our American
band conductors, so that we can have new people in the image of those who have made ABA what it is.
We need, more than ever before, to sustain our Journal of Band Research. I know this is a project that has
vacillated—it has had its ups and downs, and it currently in a ―down‖ position. I, myself, have gone from
pro to con, to pro to con, to pro, as I have tried to ascertain how we can fund the Journal and keep it alive.
It was you ABA members who ultimately convinced me that we are the organization that must see to it that
important matters of research in the band world are the concern of the American Bandmasters Association,
and that the record of that research be made available in journal form to all of the libraries in the world.
At this convention, right now, one of the things that I hope to do is to make a two-year commitment to put
the Journal as its feet, and to see that it continues as the most important publication of its kind for music
and bands. After two years of concentrated effort to improve the quality and quantity of the copy, to
increase the numbers of subscribers, and to make the Journal financially sound, we should make another
review. Hopefully, by that time the Journal will be fully solvent and strong enough to sustain itself.
You are going to have a magnificent report here at our Sarasota meeting from the ABA Research Center at
the University of Maryland. We are delighted that Pearl Tubiash and Fred Heutte are with us. We will
have a slide presentation and some forecast of the future of the Research Center, as well as a report from
Arthur Brandenburg, acting with Dale Harpham, on the matter of the center.
This does not come as new material to anyone sitting in this room, except one or two of our new members.
I wish it could, because I would like to light a fire under you to remind you that what becomes a tradition
does not necessarily become less important. What was born out of a need, both the Journal and the
Research Center, continues to be essential to producing the documentation of our band tradition and
history. The fact that we are doing it, and that we have done it, does not make it of less concern, but
perhaps makes it more important than ever!
It is crucial, it seems to me, that records be kept of what has gone on in band music in America. It is vital
that we get together here in Sarasota, last year in Tucson, and next year in Evanston, to talk about what we
have done. But, it is far more important that those same accomplishments be recorded for all of time. The
documentation of what has gone on in bands is almost the sole responsibility of the American Bandmasters
Association.
We have the CBDNA, ASBDA, NBA, MENC, and you go on and name your favorite, each with their
important pet projects; but none of them so completely concerned with, and ultimately a major part of, the
development of bands as the American Bandmasters Association.
Our works are in this room! They are not projects that are dreamed up, however good they may be, but
they are in this room—our works are amongst you! ABA is people. People who have dedicated their
careers, their talents, and their lives to making band music. And the recording of what each one of you has
done in your field is the most important single concern of the American Bandmasters Association.
I have asked, as a part of the recommendations during my term of office, that the incoming President-Elect
have as one of his major projects for the coming year, the contacting and re-stimulating of those members
who are not coming to our conventions, to get them to Evanston. Before we are through here in Sarasota,
you will hear about a new resolution that will make it very easy for a member of the ABA to become an
―inactive‖ member. All we are doing is labeling what we already have. We are not creating something that
does not exist now. We are simply identifying and listing those
ABA members who cannot organize their priorities to include this meeting on an annual basis. It will not
be punitive, it will not be unpleasant, but it will be honest. The man, or the man with his woman, who fails
to get to an ABA convention, will, in ultimate terms, cheat himself. The time to sit and visit with any one
of you, has been more enlightening, more enriching, and more educating than anything I have ever
experienced in my life, and the people we have taken in as members who have not been able to understand
this, need to be reminded and given the ―word.‖ That will be the job, in the coming year, of the President-
Elect, to get on the phone, or sit at his typewriter, and say, ―Hey, Charlie, we haven‘t seen you for seven
years; do you still use the ABA on your letterhead, and if so, why?‖ Let‘s see if we can‘t get these young
people, and they are largely the younger members, to come and contribute to the ABA, and in turn have the
ABA contribute to them as it has to every one of you who sit in this room.
When Marietta and I were raising our two, Bruce and Megan, we would frequently take a trip by car. All
of you have gone through this experience. You would no sooner turn out of the driveway and one of them
would ask, ―Are we there yet?‖ And you‘d go down the road about a mile and a half, and the other one
would ask, ―Is this it?‖ And this went on, sometimes for 400 miles and several days. ―Are we there? Are
we almost there, Daddy? Mommy, are we there now?‖ And then, as you would finally turn in at your
destination, you would look back in triumph and say, ―We‘re there!‖ And they would both be sound
asleep!
I hope that will not be my role as President. For a whole year I‘ve been saying, ―Am I there, am I there
yet? Am I there, yet, Marietta?‖ And she would keep assuring me that I was on my way. I hope that as I
turn the corner here in Sarasota that I won‘t look back at myself and find that I‘ve gone sound asleep in the
back seat!
I can‘t tell you the enormous thrill it is to greet all of you on behalf of your Board of Directors and Officers
and to wish for you that your stay at this convention will be a most rewarding and pleasant experience. I
hope that we will have the time to have all the fun that we want to have, and to do all the things that make
ABA not just the most prestigious group in the world (because we know that when we came into the room),
but the most wonderful association of human beings it has been my delight to know. Thank you for
electing me your President, and thank you for being here this morning.
1977 ABA Annual Report
ERNEST PECHIN (ca 1892 - 1946)
It is with great sadness that I write of the death of Ernest Pechin, which occurred in Orlando, Florida,
September 23, 1946. ―Ernie,‖ as he was affectionately known by his many friends, had been ill for some
time, although it was never his nature to complain; therefore, very few of even his closest friends knew of
his illness. Ernie resigned from directorship of the WGN Orchestra in Chicago and moved to Orlando,
Florida where he opened a music store and studio. During the war, Ernie took over the Orlando High
School Band, and it is said by Florida ABA members that Ernie had one of the finest bands they had ever
heard in contest. Born of French parentage in Seymour, Iowa, Ernie made his debut in music on violin at
the age of eight years old. His family was musically inclined, and it was his older brother who gave him
the start on violin. At the age of nine the Pechin family moved to Phillips, Nebraska where Ernie, the
youngster, was given a cornet by his big brother.
His affections soon switched from violin to cornet, largely owing to the call of the town band, which was
conducted by Ernie‘s brother. From that time on he devoted ever spare minute to the cornet, giving up the
violin entirely. With very little help from good cornet teachers (there being none available in or near that
town) Ernie rose to greatness through constant study and practice under the most trying circumstances. It is
said that his secret lay in the ambition and desire to be able to play like the greater soloists, plus the
aggressiveness and thoroughly persistent effort necessary to overcome the obstacles which lay in his way.
Constant and unceasing study of phonograph records made by the great soloists, and effort to copy and
interpret the phrasing and intonation of these great artists, gave him the taste for properly rendering any
musical composition. Although he didn‘t possess a phonograph on which to play these artists‘ records,
Ernie walked eight miles each day to the house of the nearest neighbor who owned a phonograph, and there
played and studied the records.
In 1909 when Bohumir Kryl was playing in Grand Island, Nebraska the hotel proprietor informed Kryl that
there was a young man in the lobby who wished to meet him and play for him. This being a common
request and Kryl, being tired, he tried to dodge it by sending word that he was too tired to listen. Ernie sent
back word that he had waited a full year for this opportunity, and had walked into town for the sole purpose
of playing for Kryl, and that he still wanted to do so. Kryl finally consented and upon hearing Ernie play
one of Kryl‘s own recorded solos, Ernie was immediately brought to Chicago with the Kryl Band. At the
close of the Kryl season Ernie accepted a job with an orchestra in Cedar Rapids, Iowa where he met the late
John Philip Sousa and Herbert Clarke on tour. This meeting led to Ernie being offered a contract with the
Sousa Band as assistant to Herbert Clarke. The next connection was with the Municipal Band of
Rochester, New York as solo cornet. From there he went to the famous Innes Band as soloist and assistant
conductor, where he remained for five seasons. Following that were four seasons with Patrick Conway, a
forty-week season as first trumpeter with the Stanley Symphony Orchestra, under Pasternak. Later Ernie
was called to Canada to succeed Herbert L. Clarke as soloist and conductor of the famous Anglo-Canadian
Concert Band of Huntsville, Ontario. Other engagements included those of assistant director of Cornell
University Band, Ithaca, New York, director of the Mitchell, South Dakota Municipal Band, cornetist with
the famous Chicago Theater Orchestra, and solo cornet and conductor of the WGN Concert Orchestra from
1933 to 1938.
It is unfortunate that more of Ernest Pechin‘s solos were not recorded, but I am fortunate enough to have a
recording of ―Phenomenal‖ by Frederick Neil Innes, and played by Ernie. It is truly a great piece of work.
Ernest Pechin was another one of our true and loyal bandsmen who has done much for the improvement of
bands, and we shall miss this great musician and true friend.
1947 ABA Newsletter, edited by Lynn Sams
THERON D. PERKINS (ca 1875 - 1935)
The Membership Committee records, with deepest regret, the death of Theron Perkins, who had been
elected to membership in 1929. [Rotary Club Boys Band, Boston, Massachusetts]
1935 ABA Newsletter
VINCENT PERSICHETTI (1915 – 1987)
Vincent Persichetti was born in Philadelphia on June 6, 1915 and died of cancer on August 14, 1987. He
began his career as a professional musician when he was only eleven years old. He became a church
organist at fifteen. One year later he was appointed choirmaster and organist at the Arch Street
Presbyterian Church in Philadelphia.
Vincent received his bachelor‘s degree from Combs College of Music, where in 1935 he was appointed
head of the theory department. His master‘s and doctor‘s degrees were earned at the Philadelphia
Conservatory of Music, where he studied piano with Olga Samaroff and composition with Paul Nordoff.
From 1941 to 1947 he headed the Theory and Composition Departments at the conservatory.
In 1947 Vincent joined the faculty of the Juilliard School of Music, eventually becoming chairman of the
Composition Department. He was also the director of music publications for the Elkan-Vogel Music
Company.
Numerous honors were bestowed on him, among which were the 1964 Edwin Franko Goldman Memorial
Citation and his election as an Honorary Member of ABA in 1979.
Vincent was a highly respected pianist, teacher, composer, lecturer and writer. He authored several books
and articles about contemporary music and its structures.
His works encompassed 200 commissioned compositions and 166 opus numbers, including two operas,
nine symphonies (one composed exclusively for band), numerous cantatas and songs. Vincent pioneered
many original works for band, which continue to have a notable influence not only on American music, but
on music throughout the world.
1988 ABA Annual Report
Note: The 1988 Annual Report noted the death of Dorothea Persichetti, wife of Vincent, on November 26,
1987.
JAMES CHRISTIAN PFOHL (1912 – 1997)
James Christian Pfohl was born in Winston-Salem, North Carolina on September 12, 1912 and died in
Jacksonville, Florida on March 28, 1997 after a prolonged period of disability following a stroke. Both of
his parents were successful musicians. His mother was an accomplished pianist-organist and his father
chose the ministry in the Moravian Church instead of pursuing an operatic career after winning a coveted
opera audition. Jim‘s parents and their six musical children formed an orchestra, traveling to many
interesting places to perform. The Pfohl family orchestra was named National Family Orchestra of the
Year in 1929 at the Boston convention of the National Federation of Music Clubs. As a boy, Jim played
trumpet and participated with his family in the musical activities of the Moravian Church. In 1929, while a
student at Reynolds High School in Charlotte, North Carolina, he was chosen as one of the local musicians
to play under John Philip Sousa when Sousa‘s band played a concert there.
Jim attended the University of North Carolina at Chapel Hill and the University of Michigan, earning from
the latter institution a Bachelor of Arts degree in organ and a Master of Arts degree in musicology. He
graduated with honors and was awarded the university‘s Stanley Medal for outstanding achievements. Jim
played solo trumpet in the Michigan band and earned part of his tuition teaching string bass and serving as
organist for the church where Lloyd C. Douglas was pastor. He founded the University Salon Orchestra,
which later became the Michigan Little Symphony. He also served as assistant conductor of the Michigan
Choral Union.
In 1932 at the age of 19 Jim was asked to start a music department at Davidson College in North Carolina
where music, drama and the visual arts were only extra-curricular activities. Under his direction, Davison
became the first American men‘s college to give credit for applied music courses. He taught at Davidson
for 19 years, serving as band director and department head. Jim was 23 years old in 1936 when he became
a member of the American Bandmasters Association, becoming the youngest member to be inducted into
our organization.
His playing string bass in the first North Carolina All-State Orchestra earned him a full scholarship to
attend America‘s first music camp at Interlochen, Michigan, then in its second year. Thus began his dream
to start a music camp in the South. In 1935 that dream became a reality when 26 boys signed up for the
Davidson Music School Camp. In 1939 the music camp moved briefly to Queen‘s College in Charlotte,
because the war in Europe had begun and the U.S. Army had taken over Davidson‘s facilities. After Jim
established in Brevard, North Carolina, it was called the Transylvania Music Camp. Eventually it became
the Brevard Music Center. Jim administered the camp for 29 years and to this day it continues to educate
young musicians and to attract large audiences with faculty and performers drawn from the world‘s finest.
Jim‘s friend Olin Downes, music critic of the New York Times, came to Brevard each year to hear the
student concerts. Strauss‘ ―Till Eulenspiegel‖ had been programmed. Downes questioned the orchestra‘s
ability to play it, contending it was too difficult. Jim told him that the students can play it, if you don‘t tell
them that it‘s difficult. Olin made a ten-dollar bet that it couldn‘t be played. Jim won the bet and with
great glee kept the ten-dollar bill for years.
The Honorable Terry Sanford, former governor of North Carolina, admired Jim‘s work and acknowledged
his contributions to the state: ―He meant so much to North Carolina and he was the primary inspiration in
getting the North Carolina School of the Arts started.‖
From 1949 to 1959 Jim was the conductor and music director of the Charlotte Symphony Orchestra. In
1952 he also assumed the same duties with the Jacksonville, Florida, Symphony, remaining there until
1961. During his first season with the Jacksonville orchestra, Jim invited Charles Kuralt, then a student at
the University of North Carolina at Chapel Hill, to read the ―Lincoln Portrait‖ with the orchestra. It was the
beginning of a lifelong friendship. Charles credited Jim with helping him to shape his broadcasting career.
In 1961 Jim devoted all of his time to the Brevard Music Center. Three years later, in order to assure
potential growth of the center, it was turned over to a governing board with college credits offered through
Converse College. This North Carolina school has assumed the direction of the Brevard Music Center,
which continues and prospers as Jim Pfohl‘s finest monument.
Jim was the recipient of many honors. In 1954 he was awarded an honorary Doctor of Music degree by the
Cincinnati Conservatory of Music. The following year he received the National Federation of Music
Club‘s Presidential Citation. In 1961 he was given the Delta Omicron Citation of Honor ―for his
outstanding contribution to the youth of America in the field of music.‖ The American Symphony
Orchestra League honored him for ―furthering contemporary music through performance.‖ He was the
recipient of the Brevard Music Center‘s first Distinguished Service Award for his invaluable contribution
to the arts and to the institution. In 1997 Davidson College honored him in a Memorial
Resolution. The Brevard Music Center dedicated its 61 st season to his memory. Two of his youth
orchestras, Brevard and York, performed at the White House.
The last moves Jim made took him to the ―new town‖ of Reston, Virginia and to York, Pennsylvania. He
organized the Reston Chorale, Reston Little Symphony, the Northern Virginia Music Center, and directed
high school choruses in Annandale, Virginia. Concurrently he directed the York (Pennsylvania) Symphony
Orchestra and organized the York Music Center, eventually moving to York when he added the
commitment of director of choruses and orchestra at York College. Because of failing health, Jim retired to
Jacksonville, Florida in 1983.
Jim was ahead of his time in many ways. He was a pioneer and visionary with profound faith in youth and
music.
1998 ABA Annual Report
JAMES D. PLOYHAR (1926 – 2007)
James D. Ployhar
September 22, 1926-January 2, 2007
Memorial written by Don Wilcox
ABA Memorial Speaker - Don Wilcox
James D. Ployhar was an American composer, music educator, and film producer. He attended Valley
State University in Valley City, North Dakota, and originated the Fargo Big Band All-Stars, a musical
group that frequently performed in and around Fargo, North Dakota, including regular engagements at
Silent Movie Night, held at the historic Fargo Theatre.
Mr. Ployhar was considered to be one of the most prolific writers in the field of music education and left an
impressive body of work as a composer and arranger of music for school bands. Mr. Ployhar, who taught
nineteen years in the public schools, was enthusiastically welcomed throughout the United States and
Canada as clinician and conductor. He was the author of the ―CONTEMPORARY BAND COURSE‖,
published by Belwin-Mills Publishing Corporation of New York. He was responsible for many great
American songs, including the instrumental piece, "Cool Blues for Trumpets" "March of the Irish Guard"
and "Crazy Clock". He was also the composer of ―THE FLICKERTAIL‖, official march of the state of
North Dakota.
Mr. Ployhar was a recipient of the citation of excellence by the executive committee of the National Band
Association. He was a past-president of the VCSC Alumni Association (1975-76) and a member of
the V-500 Foundation. On May 20, 1977 Mr. Ployhar was presented the Distinguished Alumnus Award at
Valley City State University. During the early 1960‘s he spent a year‘s sabbatical in Southern California
composing full time, and lived for that period of time in Anaheim, California where I happened to be the
high school band director at the time. We met when he came down to comment on a performance by my
band following a football game. We became friends and during that year he brought each composition he
finished and my band read through and recorded them for him to study and evaluate. It was an excellent
learning experience for me and for my students to be so directly and personally involved with a composer‘s
creative process. In 1994 Ployhar realized a long-time dream when he returned to Southern California as
one of the co-producers of the Disney film ―Iron Will‖.
My friend Jim Ployhar left behind a legacy of hundreds of students, a large body of creative work and
many friends when he died Tuesday, January 2, 2007 in Fargo, North Dakota.
MAX POTTAG (1876 - 1970)
Max P. Pottag died November 22, 1970 in an Indianapolis hospital. Although he was not a member of The
American Bandmasters Association, he was a dear friend to all members, and contributed much to bands,
particularly the French horns. It was at the 1969 American Bandmasters Association convention in Elkhart,
Indiana when Max Pottag and another great friend of bands, Jerry Cimera, were presented with the ABA
Edwin Franko Goldman Awards.
Max Pottag came to the United States from Germany in 1901 to play with the Philadelphia Symphony
Orchestra. Next he played with the Pittsburgh Symphony Orchestra for some three years under Victor
Herbert, then two years in the Cincinnati Symphony, and forty years with the Chicago Symphony
Orchestra. During his years in Chicago he taught at Northwestern University for eighteen years. Max
Pottag was known as ―Mr. French Horn,‖ and rightfully so, for it was he who not only helped in designing
French horns, but also in forming French horn clubs, choirs, and ensembles. He was made the first
Honorary Member of the Los Angeles Horn Club for his work with 23 of Hollywood‘s top professionals in
1951, an ensemble which is still talked of today by the great horn players. During the many years when
Max helped with the designing and testing of Conn French horns, Max and Mrs. Pottag would come down
to Elkhart earlier enough for a game of golf after he had finished his testing and/or designing duties at the
Conn factory. Mrs. Pottag was not a golfer, nor am I [Lynn Sams], but Max and Ferne [Mrs. Lynn Sams]
would play just another nine holes while Mrs. Pottage and I hungrily waited in the clubhouse for ―the
golfers.‖ Max was an excellent golfer, as was Ferne in those days, and he became very quiet when he
might be ―down a couple of holes,‖ which wasn‘t helped by Mrs. Pottag‘s needling him about being
defeated by a woman.
During the last Elkhart ABA convention Max and I had some great visits. And some ABA members may
recall the last night of the convention. After the final concert a group of us were in the Elkhart Hotel lobby
talking to Max. I was urging him to stay over the weekend, but he insisted that he just couldn‘t do so,
because ―he attended a tea dance in Indianapolis every Sunday.‖ When asked what dances they did at these
Tea Dances, Max whirled Mary Revelli to the middle of the hotel lobby floor where he did one of the most
graceful Viennese Waltzes I have ever watched—with no music—past midnight—on a hotel lobby floor—
and he is past 92 years old! My last note from Max was written on New Year‘s of 1969 and I have it
before me as I read:
Never to forget the Lynn Sams. Wonderful memories. Retired, I am still a busy man, hoping to
attend the Mid-West Clinic and a Horn Clinic in Tallahassee in June. Kindest regards—Max.
Truly he was a great man and a great friend to many.
1971 ABA Newsletter, Compiled by Lynn L. Sams
GERALD PRESCOTT (1902 – 2005)
Gerald R. Prescott, Director of Bands and Professor of Music Education at the University of Minnesota
from 1932 to 1967, died in Tampa, Florida on November 20, 2005 at the age of 103. He was born on July
19, 1902 and grew up in Plymouth, Iowa, a small town in the northern part of the state where his parents
ran the general store. He was taking keyboard lessons from a neighbor on a pump organ when a new
family moved onto a farm near town. They had four musicians in the family and wanted to start up a town
band. So Gerald became a cornet player. He received his first degree from Upper Iowa University in 1920,
where he majored in math and science, with the goal of becoming an engineer, although he also took a few
courses in theology because his mother wanted him to become a minister. He also received a band
director‘s certificate and served as the assistant band director at Upper Iowa.
His first teaching position was at Ida Grove, where he taught science all day and developed a band program
outside of school hours. When he moved to Mason City in 1927, the only band was an extracurricular boys
group called the Mohawk Band. From this core group, Prescott developed the band from 39 members to
120. He also expanded the band‘s library. He took lessons on every instrument he could from area
musicians and continued to study during the summers in Chicago with H.A. VanderCook, Frederick Neil
Innes and Victor Grabel. He also completed a master‘s degree at the University of Iowa. He led the newly
organized band in state and national competitions all four of his years at Mason City. In 1928 the band
placed second in the state contest. In 1929, 1930 and 1931 Mason City placed first. In the 1930 national
contest the band placed sixth out of 16, and in the 1931 contest they placed third out of 23 bands in the
competition.
In 1932 he left Iowa to become the first full-time Director of Bands at the University of Minnesota. He
held this post until 1957 when he retired as director; however, he continued to teach music education
courses for the university for another ten years. During his tenure as band director he developed the
concert and marching bands to a very high level of performance. He initiated regular live radio broadcasts
on the university radio station. Additionally, the band performed regularly at Northrup Auditorium and
toured extensively throughout the Midwest. Part of the marching band‘s reputation for precision field
formations may have come from his science and engineering background, but music was clearly his calling.
During World War II he took a leave from the University of Minnesota and joined the Army, where he rose
to the rank of major and prepared many military bandsmen for service in the Army band. He oversaw
musical programs for the troops and trained with another well-known musician, bandleader Glenn Miller.
He returned to Minnesota following the war and his students filled numerous music positions in the state
and recommended many of their students to attend the University of Minnesota and perform in the band.
Prescott was the author of a series of nine training booklets, ―The Prescott Technic System,‖ published in
1931, and a classic book in everyone‘s music education library, ―Getting Results with School Bands,‖
published in 1938. The Prescott Technic System was highly thought of and was hung on the wall of band
rooms across the country in the 30‘s and 40‘s with students checking off the exercises as they passed them.
Gerald Prescott was elected to membership in the ABA in 1936 and his 70-year membership in the
organization is a record that will probably never be broken. He served on the Board of Directors in 1941
and 1949. He was the second president of the College Band Directors National Association in 1946-47. In
1952 Prescott served as the grand marshal and guest conductor at the North Iowa Band Festival. He
received an honorary doctorate from Upper Iowa University in 1972. In 1987 he was honored by the
Minnesota Music Educators Association for ―significant career contributions to music education in
Minnesota.‖ He completed all the course work for a PhD at the University of Colorado but never
completed the thesis. When he reached mandatory retirement at the university, he moved south and taught
music education for 5 more years at the University of South Florida in Tampa. After he finally left
teaching, he sold real estate. He also sold health and nutritional products until he was 95.
Former student John Zdechlik recalls:
I met Prescott in 1957 when I started school at the U. of M. I never had the pleasure of playing
under his direction, but I took several music education classes from him in the years that followed.
A number of these classes were instrumental technique classes, which he did a masterful job of
teaching. I never really appreciated the things I learned from him until I got out to my first
teaching job where I had to teach beginners. The lessons I learned from him were invaluable to
me. In these classes he insisted that we do things in a very regimented manner and graded us daily
on every detail regarding embouchure, hand position, setup, etc. If you did not follow directions
precisely, you got an F or a D for the day. He also demanded that we be on time for class and
went so far as to lock the classroom door at the top of the hour. For some students these were hard
realities to accept.
Another memorable class was ―Band Organization.‖ The textbook was his own, and many of you
may have used ―Getting Results with School Bands.‖ It was an excellent handbook for the novice
band director to have, and covered things such as: Instrument Inventory Forms, How to set up
Your Music Library, Plotting Marching Band Shows, Tour Organization, Press Releases, and on
and on. Again I used most of his ideas when I began teaching.
When I was a senior I got to know Gerry more personally, because he hired me to write some
piano accompaniments for a number of his solo books for beginning students. It was a good
learning experience for me, and we became good friends from that point on. He was always very
gracious towards me and also paid me very well for the work I did for him.
In later years after he moved to Florida he used to call me quite often just to talk about the current
situation with high school and college bands. I also think that he was pleased to see that I had
many publications out during those years. He was always very complimentary to me about my
music, and I sincerely appreciated his interest. He certainly lived a long life and always seemed so
positive about things. I was also happy to hear from his wife June that he died peacefully. His
contributions to music education will never be forgotten.
Another musician directly influenced by Gerald Prescott was Harry Carter who remembered him as
follows:
I remembered him as my judge at National Music Contest in 1939 and then when I started
teaching at Ida Grove after World War II, I found quite a number of band arrangements that he
had pasted in strips, simplifying parts to be more playable by the kids. I used them and thought I
had a treasure. Wish to heck I had them now. I checked back with the Ida Grove paper and found
out that he came there right out of college at Upper Iowa University in Fayette in 1924. He taught
physics, general science and band and orchestra. He had state winning bands in 1925 and 1926
and a state winning orchestra in 1926. I am sure that you are familiar with his course of study for
the individual instruments where he provided a weekly chart that designated certain pages or
exercises in the tried and true methods of those days such as Arban, Klose, etc. Each kid had his
own chart measuring his progress, and this information was transferred to a master chart, which
determined when they were deserving of a special award or rank. I am pleased to know he is
being recognized; he certainly made an impression on me. As a great man, he took the time to talk
to me after my contest event was over. I think it probably steered me into becoming a band
director.‖
Adolph Sylvester ―Bud‖ Herseth has played principal trumpet in the Chicago Symphony Orchestra ever
since he became a member in 1948 and until he retired in 2001 (53 years!). He recalled Prescott as one of
the first teachers when Herseth went to the first high school state band camp that Gerald Prescott held at the
University of Minnesota. Prescott had heard Bud play at a regional contest and invited him to play solo
cornet in the summer band.
Read by ABA Memorial Speaker Gilbert G. Lettow
2006 ABA Annual Report
―The Key to the Future is Found in the Past‖
Comments by Gerald R. Prescott
Dear Fellow ABA Members:
Many thanks for inviting me to comment on the development of the concert band program during the
Twentieth Century.
The most effective manner in which I believe this can be accomplished is narrating my walk through a
musical life. It is in humbleness that I do so.
Great music is composition with a special message to you, the listener; a message that will make you a
better human being, more altruistic, more determined to discipline yourself for your hopes and dreams,
make you more tolerant toward others, and a better parent, son or daughter. The message from this great
music comes to you with a surge of emotion that perhaps gives you goose bumps or a warm shiver. You
want your loved ones to have the same experience, and you seek other compositions with such inspiring
emotional qualities.
During the last few centuries there have been several dozen composers who have written such great music.
Most, if not all, of these composers also wrote dozens, and in some cases hundreds, of compositions. But,
since these compositions never touched the human heart they never lived on through repeated
performances. The role of emotion in music makes it possible for a composer‘s spiritual message to be
heard the world over. Only the music which is character-building has endured over time.
The prime factor determining the future of great music is what happens in the elementary and secondary
school music programs. When students become competent enough to play great music, it will touch their
hearts. Then good music will continue to live on because of that experience. Throughout their lives, they
will support great music through their participation as a player or a listener.
What has been the evolution of American instrumental music, you ask?
During the Colonial Period military drum and bugle corps were organized to support military units, which
kept internal order. The military units naturally developed into concert organizations which entertained
local communities. They performed music of a concert nature rather than just marches. Throughout this
period, compositions were being written for all types of instruments and combinations of instruments, some
of which became acceptable concert music. Thus, these early military bands were a force in carrying the
concert band concept to the present time.
After the Civil War there followed several professional bands which criss-crossed the nation and played
outside of the metropolitan areas. The most well-known of the conductors, of course, was John Philip
Sousa. During this era, there were many civic bands organized from coast to coast. As time would have it,
the numbers of these bands thinned out. Enterprising leaders then developed youth bands to provide
replacement members. In my little home town of Plymouth, Iowa, a youth band was organized to fill the
ranks of the retiring band elders.
Around 1920 Edwin Franko Goldman was invited to guest conduct the University of Illinois concert band
which had been developed by Austin Harding. Goldman was amazed to find a college band capable of
playing at such a professional level. Later, he heard Archie McAllister‘s Joliet High School Band and was
even more amazed. Both Joliet and the University of Illinois campus were not far from Chicago; thus,
from the start the wind and percussion players could have artist-teachers from the famous Chicago
Symphony. For a number of years both Harding and McAllister had maintained bands that were capable of
playing the same band literature which Goldman had found were repeatedly programmed by Sousa and the
other professional bands of his era.
Joe Maddy of the University of Michigan knew that school and college bands here and there were playing
this great music. About this time he and others assembled bands, orchestras and choruses to perform at
numerous state and national administrators‘ meetings. The time was ripe because superintendents of
schools, high school and elementary principals, and most of the classroom teachers felt the need to add fine
arts, especially music, to their basic program. In the Midwest, leading administrators who had experienced
the effectiveness of competitive sports proceeded to set up a district and state competition framework for
school bands and orchestras. They called on Goldman, McAllister, Harding and others in the profession to
designate the required compositions to be prepared for adjudication. Later, these same leaders were asked
to serve as adjudicators. Thus, the school band movement got off to a high level of expectation. The mid-
20s found hundreds of schools sponsoring high school bands and orchestras, using the youth band
momentum and personnel.
ONE MAJOR PROBLEM! No college anticipated the sudden demand for school band directors, thus
offered no training!
In an attempt to meet the challenge, Upper Iowa University (my alma mater) set up a crash course for
summer instruction in developing bands. In that summer of 1924, the year of our college graduation,
several of us took the course. It was taught from 9:00 to 4:00 every day for 6 weeks. Now, theoretically,
we were prepared to teach band. Incidentally, you‘ll be interested to know why we chose this path.
Salaries for classroom teachers were $900-$1200 per year, while classroom teachers who would also teach
band outside of school hours earned $1800 per year. It wasn‘t long before it became evident that I needed
more training to become a band director of worth.
The Conn Band Instrument Company set up a band school headed by Frederick Neil Innes, a professional
band director. A very important instruction for building bands was emphasized by him: start rehearsals
with full band playing unisonal scales and arpeggios.
The Chicago College of Music engaged Victor Grabel to administer their new band directors‘ school. He
had two strong emphases: bands need sectional rehearsals and every student should have a graded course
of study on his or her instrument.
The VanderCook School of Music set up a complete four-year course of study for a Bachelor of Science
degree with a summer five-week seminar for band directors. Guess, my friends, where my first three
summer vacations were spent! All three institutions hired artist-teachers from the Chicago Symphony
Orchestra, from whom we took private lessons as needed. The result was to be intimately acquainted with
each instrument.
Now, may I single out the most valuable essential we learned. It was from VanderCook. Expression in
music is the ultimate in performance. Only when the technical is conquered can there be given attention by
the performer to convey the emotion of the music. When that is accomplished, the performance is
complete. After private instruction from H. A. VanderCook on how to express the emotion of music, I can
tell you that the door of true music appreciation opened.
A publication titled ―Expression in Music‖ by H. A. VanderCook is still available.
In 1925, the year of initiating the band contest in Iowa, there was an invitation to all bands to attend the
state contest sponsored by the manufacturers of band instruments and music publishers. The very next
year, in 1926, the University of Iowa took over the sponsoring of the state contest movement which
continued through the ‘20s.
In 1929 the Iowa State Contest had four requirements for competition:
5. A short selection chosen by the director.
6. Rienzi Overture (Wagner) was required for competing bands.
7. There was also a required selection taken from the following list of 10 selections:
a. Die Fledermaus (Strauss)
b. Hungarian Rhapsody (Liszt)
c. The Force of Destiny (Verdi)
d. Espana Rhapsody (Chabrier)
e. Oberon Overture (von Weber)
f. Polka & Fugue (Weinberger)
g. William Tell (Rossini)
h. Finlandia (Sibelius)
i. Ruy Blas (Mendelssohn)
j. Egmont Overture (Beethoven)
8. Sight reading a new composition before release by its publisher.
Please note that the quality of the music that was chosen…so enriching that you still recognize them today.
Unfortunately, during the first years of the Iowa band competition the Ranking System was used (―Winner
Take All‖). This type of ranking continued through the ‘20s. It was harmful to the progress of the band
movement. There came a growing hostility among the band directors for the unfairness of this method of
evaluating bands. Several bands may have been top notch but the differences were too minute as to
disregard the prowess of those not assigned to first place. Even the judges complained of the difficulty in
trying to rank the bands. They felt it unfair to give only one band first place.
In the early ‘30s the Iowa contests were converted to the Rating System of judging, which should have
been used in the first place. The Rating System allowed each band to compete against a standard of
performance rather than against each other. However, a mistake was made in not continuing the
requirement for specific contest selections. Each band was allowed to play ANY selection of the director‘s
choice: thus, the challenge to play the more difficult selections was lost.
While this growth of the school band movement was continuing, I was invited to consider a position in
Mason City, Iowa, because of winning the state contest. I tell you this because of enumerating who was in
on the interview. The group included the superintendent of schools, the high school principal, the director
of the city band, and the secretary of the Chamber of Commerce, all of whom seemed to have a vested
interest in having a prize-winning band at the high school. My teaching was to be limited to band and
orchestra and I was promised the help for individual instruction and sectional rehearsals by the Cecil
Theatre orchestra members who were playing the silent movies. Between the time I agreed to take the
Mason City job and the time I was to report, the silent movies were replaced by sound pictures that
summer, and the Cecil Theatre musicians moved away. The high school principal informed me that I was
going to have to teach the individual instruments and hold the sectional rehearsals. He would allow
students to take time out of classes twice a week.
My whole life has been dedicated to the improvement of American school bands. After eight especially
satisfying years developing school bands, I moved on to the University of Minnesota where, in addition to
being director of the university band program, my main task was to work for the School of Music and the
College of Education developing an effective school instrument course for future band and orchestra
directors. After 35 years at the University of Minnesota, I moved on to the University of South Florida to
implement the same course of study.
During my entire instrumental teaching career, any accomplishments achieved in developing bands in high
school and teaching potential high school band directors at the college level, I found that my ―FIVE-POINT
COURSE OF STUDY‖ brought whatever success I experienced. I would like to share this five-point
course of study with you now:
First, The essential daily full rehearsal.
Second, Each member of the band should receive a graded course of instructions on his
or her instrument.
Third, There should be weekly sectional rehearsals to work out the weak spots of a
program selection.
Fourth, Each player needs to develop a solo or two each year for his or her instrument,
with piano accompaniment, which he or she can play throughout the
community.
Fifth, Every member should belong to a small ensemble group which plays at
community appearances.
In conclusion, I wish all of you the best of success in all your endeavors. The future of music in America is
in your hands.
May I ask that you carry this in your thoughts:
THE KEY TO THE FUTURE IS FOUND IN THE PAST.
2000 ABA Convention Annual Report
EMIL W. PUFFENBERGER (1909 – 1990)
Emil Puffenberger passed away in Canal Fulton, Ohio on August 8, 1990, eleven days short of his 81 st
birthday. He was proud of his affiliation with the American Bandmasters Association, having been elected
to membership in 1965.
Although Emil was born in Virginia, where he received his early education, he attended high school in
Cleveland, Ohio and Frankfort, Indiana because his father was a minister. He earned the Bachelor of
Science degree from McAlester College and did postgraduate work at Capitol University in Columbus.
In 1935 Emil became director of the Canal Fulton High School Band, later known as the Northwest High
School Band. His teaching was interrupted during World War II when he served with the Army Air Force
Training Command. Contrary to the experience of many educators, Emil taught in the same school for 37
years, an accomplishment that probably makes him a legend. Another unique factor of his career was the
fact that his bands won 33 consecutive superior ratings in Ohio state band competitions.
Emil was a pioneer in the establishment of the band clinic concept, having founded the Canal Fulton Band
Clinic, which still continues as the Ohio American School Band Directors Association State Band Clinic.
He was a charter member and past president of the American School Band Directors Association, which
honored him with its Edwin Franko Goldman Award for outstanding contributions to the school band
movement.
Among his other plaques and honors, two were most valued: the MAC award, which honors the most
outstanding director in the nation who maintained the high musical standards set by A.R. McAllister; and
being honored as the first recipient of the Hall of Fame Award, presented by the University of Akron Band
Directors Conference.
Emil Puffenberger was truly one of the pioneer music educators in Ohio, whose profound influence in the
lives of thousands of young people is his living legacy.
1991 ABA Annual Report
R
GREGG OSBORNE RANDALL (1917 – 2008)
Gregg Osborne Randall passed away at the age of 91 after spending most of his life in the state of New
Mexico. He was the only son of Jasper Wayne Randall and Ona Kathleen Kelly, born on November 3,
1917 in Abbott, New Mexico, but grew up and graduated from high school in Dawson, NM. He received
his BM in music education from Bethany College in Lindsborg, Kansas and later earned a Masters in
Music Education from Northwestern University in Chicago. He did graduate study at Chicago Musical
College, Vandercook School of Music, Chicago, the University of Iowa and the University of Southern
California.
Gregg began teaching band and chorus at Kismet, Kansas from 1939 -1943. He returned to Dawson in
1943 but was drafted into the WWII Army, serving in the Philippines and Japan until his discharge in 1946.
He returned to teach band at Dawson High School until 1948. He moved his family to Truth or
Consequences where he directed the Hot Springs High band from 1948 to 1954, during which time the
band doubled in size. In 1954 he moved to Las Cruces and conducted the Las Cruces High School band
until his retirement in 1977. (He had begun teaching private lessons in 1939 and continued to teach
woodwind instruments privately until 2004 - 65 years!)
The LCHS band program grew from 75 to over 200 students and won many awards at marching and
concert competitions from California to Texas, achieving renown as one of the finest high school band
programs in the
Southwest.
Gregg was recognized for his contribution to public school music by being elected the president of the New
Mexico Music Educator's Association. He was elected to membership in the prestigious American
Bandmasters Association in 1964. He was also a member of the American School of Band Directors
Association and the Phi Beta Mu Bandmasters Fraternity. He was honored as the first New Mexico Music
Educator's Association's Music-Educator of the year in 1983 and selected to be the conductor of the New
Mexico All-State Concert Band in 1984.
Gregg served his community as president of the Las Cruces Rotary Club from 1960 - 1961 and as a Master
of the Jornada Lodge of Ancient Free and Accepted Masons. He and Fern were members of St. Paul's
Methodist Church since 1954. He loved the mountains of northern New Mexico and southern Arizona,
where he enjoyed fishing, hiking and searching for arrowheads to add to his extensive collection.
Gregg is survived by his wife of 68 years, Anna Fern Messick Randall, and his only grandchild, Evangeline
Rose Randall currently a student at New Mexico State University in Las Cruces.
For many years former members of the Las Cruces High school Band talked about honoring Gregg Randall
and getting the ―band‖ together one more time to celebrate his contributions to their lives. On July 4th,
1998, former members of the Las Cruces High School Band 1955-77 gathered to engage in activities
honoring Mr. Randall. The activities began at the Las Cruces High School parking lot in front of the
building. There, past band members assembled the ―All American Symphonic Band‖ to play a few pieces
of music together ―one more time‖. Following the afternoon events, there was a dinner/reception at the
Farm and Ranch Heritage Museum with a catered dinner and various presentations honoring Mr. Randall
and his wife. What an appropriate testimony to the life‘s work of this outstanding gentleman.
Annual Report 2008
EARL R. RAY (1908 – 1995)
Earl R. Ray was born in Lyra, Texas, near the town of Mingus, on April 16, 1908 and died in Lubbock,
Texas of a heart attack on March 24, 1995, several weeks short of his 87 th birthday.
While a student at Mingus High School, Earl borrowed his uncle‘s violin and took lessons to prove to his
family that he was serious about music. The violin not only opened a new world for him, it also got him
out of a lot of chores, such as milking, churning and chopping wood. When Earl joined the Mingus
Municipal Band he switched from violin to the baritone, which the director loaned him. In 1925 after
graduating from Mingus High School he enrolled in John Tarleton State College where for two years he
continued playing in the band. After his family moved to Breckenridge, Texas Earl was befriended by the
high school band director, Pop Frazier. To prepare Earl for the band director‘s job at Monahans, Texas,
Pop gave Earl a two-week crash course on reed instruments and conducting. He began teaching there on
January 1, 1928. Without any formal schooling to prepare him, Earl had to rely on fingering charts and
was given advice by ABA members D.O. Wiley and Earl Irons. They coached him in conducting, band
literature and motivational techniques. In lieu of a salary, Earl charged each student $5.00 a month. In five
months Earl had a 17-piece band that performed well enough to enter the West Texas Chamber of
Commerce contest in Fort Worth and won second place in their class. This was quite a significant
achievement.
In the fall of 1928 Earl was hired by Wink High School to organize a band for them. Now with a regular
paycheck, he taught at Wink but also commuted to the Monahans school for one year. In the seven years
he taught at Wink his bands entered numerous division contests and consistently received high ratings. In
1931 he took his band to its first national contest in Tulsa, Oklahoma. There he met John Philip Sousa,
who conducted the massed bands. Earl treasured this experience. Sousa died the following year.
In 1935 Earl became director of the Abilene, Kansas high school band. His musicians continued their
winning ways for six years in national regional contests, appearing in Omaha, Lawrence and Topeka,
Kansas, Kansas City, Missouri, and Colorado Springs. He considered it an honor to have been judged by
such famous ABA members as A.A. Harding, Edwin Franko Goldman, Frank Simon, Earl D. Irons, D.O.
and Russell Wiley, Bill Revelli, Mark Hindsley and George Wilson.
To improve his teaching methods, Earl continued his education during the summer months. Besides
attending numerous clinics, he studied with Joseph De Luca, euphonium soloist with the Sousa Band. Earl
attended the University of North Texas, Hardin-Simmons University, Kansas University, Texas Tech
University, where he earned his bachelor‘s degree, and the University of Northern Colorado, where he
earned the master‘s degree. Several weeks each summer were spent at Camp Walters in Mineral
Wells, Texas where Earl played with the National Guard Mounted Band.
Beginning in 1942 Earl taught for four years at the North Dallas High School, after which he served as
Coordinator of Music in the Highland Park school system for a year.
In 1947 Earl joined the Adair Music Co. where he managed the band department for eight years. He
acquired the company and operated it as the Earl Ray Music Company. The firm was elected to Associate
Membership in ABA in 1964. Earl sold the company in 1985 and retired. He became an Individual
Associate Member and had been one of our most loyal, friendly and popular members.
Earl was a member of the Texas Band Teachers Association, Texas Music Educators Association, Texas
Bandmasters Association, a lifetime member of Kappa Kappa Psi, Tau Beta Sigma, Phi Beta Mu, and a
member of the National Association of School Music Dealers. In 1978 he was given the Outstanding
Contributor‘s Award by Phi Beta Mu. The Kappa Kappa Psi and Tau Beta Sigma chapters at Texas Tech
University established an Earl Ray Service Plaque given to the most deserving band member each year. A
memorial scholarship is being endowed in his name.
Earl had three highly successful careers—as band director, as music store owner, and probably most
importantly, as an advocate of bands and counselor of young band directors. Earl Ray loved bands and
through that love affectionately touched thousands of lives.
1996 ABA Annual Report
Note: The 2004 Annual Report noted the death of Laverne Ray, wife of Earl.
ALFRED REED (1921 – 2005)
Alfred Reed passed away following a short illness on Saturday afternoon, September 17, 2005 age the age
of 84. The world-known band composer was born on Manhattan Island in New York City on January 5,
1921 to Carl and Elizabeth Friedman. His gift to the world was a body of music that will continue to thrill,
charm and delight audiences in virtually every country of the world, as it has done for the past fifty years.
Alfred was the son of Austrian parents who had emigrated from Vienna to the United States before World
War I. His parents loved good music and made it a part of their daily lives. As a result Alfred grew up in a
home where he became familiar with much of the standard orchestral and opera repertoire while still a
young boy. He began trumpet lessons at the age of ten and was already playing in small hotel combos in
Catskill Mountain resorts as a teenager. His interests shifted from performing to arranging and
composition, and he worked with John Sacco in theory and harmony and continued later as a scholarship
student of Paul Yartin. In 1938 he began working as a staff composer and arranger and assistant conductor
for the Radio Workshop in New York.
During World War II he enlisted and served as a trumpet player with the 529 th Army Air Corps Band, for
which he composed and arranged nearly 100 compositions, developing a deep interest in the concert band
and its music. Following World War II, he studied composition with Vittorio Giannini at the Juilliard
School of Music. In 1948 he became staff composer and arranger for the National Broadcasting Company
and later served as staff composer and arranger for the American Broadcasting Company.
In 1953 Mr. Reed became conductor of the Baylor Symphony Orchestra at Baylor University in Waco,
Texas, at the same time completing his academic work, which had been interrupted by his leaving Juilliard
for NBC some five years earlier. His masters thesis was the ―Rhapsody for Viola and Orchestra,‖ which
later was to win the Luria Prize. It received its first performance in 1959, and was subsequently published
in 1966. During his two years at Baylor, he became interested in the problems of educational music at all
levels, especially in the development of repertoire materials for school bands, orchestras and choruses.
This led, in 1955, to his accepting the post of executive editor for Hansen Publications in New York.
After eleven years in the publishing business, he joined the Theory-Composition and Music Education
faculties at the University of Miami School of Music. During his tenure at the University from 1966 to
1993, he succeeded Frederick Fennell as conductor of the Wind Ensemble from 1980 to 1987, served as
executive editor of the University of Miami Music Publications, and developed the first music
merchandising degree program, which he administered as chairman of the department of music media and
director of the music industry program until his retirement in 1993. A couple of his more famous quotes
from his teaching of these business courses are: ―You can‘t give away what you are trying to sell and
expect to stay in business,‖ and ―I am the most published composer next to J.S. Bach.‖
Following his retirement, he composed extensively and maintained a busy guest-conducting schedule, with
performances in North America, Latin America, Europe, Asia and Australia. With over 250 published
works for concert band, wind ensemble, orchestra, chorus and various smaller chamber music groups,
many of which have been on the required performance lists in this country for the past 20 years, Dr. Reed is
one of the nation‘s most prolific and frequently performed composers. Among his many honors and
awards was an honorary doctor of music degree from the International Conservatory of Music in Lima,
Peru and the Academy of Wind and Percussion Arts Award in 1979. He was elected to membership in the
American Bandmasters Association in 1974.
His work as a guest conductor and clinician has taken him to 49 states, Europe, Canada, Mexico, Japan,
Australia and South America, and for many years, at least eight of his works have been on the required list
of music for all concert bands in Japan, where he was extremely active as a guest conductor. He became
the most frequently performed foreign composer in that country.
He was remembered fondly by Max and Nel McKee as a great friend who shared nine summers with them
teaching at the Saskatchewan Summer School of the Arts and as a frequent conductor at their WIBC honor
bands. They recalled playing cribbage, sharing learning about photography, and having Alfred become
almost a part of their family. They have produced a wonderful 14-minute video tribute and memorial.
At the time of his death, he had composition commissions that would have taken him to the age of 115.
―He still had writing projects that he wanted to do,‖ according to his wife Margie. David McCormick has
written:
His gift to the world is a body of music that will continue to thrill, charm and delight audiences in
virtually every country of the world, as it has done for the last fifty years.
Read by ABA Memorial Speaker Gary Green
2006 ABA Annual Report
The January 2008 Bulletin noted the death of Marjorie Reed, wife of Alfred.
FRANK L. REED, Jr. (1899 – 1984)
Frank L. Reed died in Elkhart, Indiana on February 26, 1984 at the age of 85. Born in Sioux City, he grew
up in Bedford, Indiana. Although he majored in business at Indiana University, music was an important
part of his collegiate life. He played flute in the University bands and for five summers during his school
years he toured the United States with Al Sweet‘s White Hussars on the Chatauqua circuit and played with
Bohumir Kryl‘s Concert Band.
From 1937 through 1957 Frank was General Sales Manager for the C.G. Conn Company. During World
War II he handled defense contracts for the company and called himself a ―fly-by-night‖ salesman, simply
because he didn‘t want to travel during business hours.
Before acquiring the GHW Percussion Company from George Way, a long-time friend and associate, Fred
managed it without salary for his ailing friend for two years. While working for the Buescher Band
Instrument Company, he also served as Executive Vice President of the National Association of Piano
Manufacturers.
Frank was elected an Associate Member of ABA in 1976 while serving as President of the American Music
Conference.
An active businessman until he died, the music business was his life. Most of his friends were associated
with the music profession.
1985 ABA Annual Report
WILIAM D. REVELLI (1902 – 1994)
Dr. William D. Revelli, son of Italian immigrants, was born in Dry Gulch, Colorado in 1902. His family
later moved to Panama, Illinois. Bill passed away in Ann Arbor, Michigan on July 16, 1994. He was
elected to membership in ABA in 1932, served on the Board of Directors in 1949 and 1953 and was our
president in 1952. He became an Honorary Life Member in 1984.
Bill studied music theory and violin at the Chicago Musical College, receiving a bachelor‘s degree in 1922.
Subsequently, he earned bachelors and masters degrees from the VanderCook School of Music. From 1929
until 1935 he was music supervisor for the Hobart, Indiana school system, developing an instrumental
program that produced six consecutive national championship bands.
In 1935 Bill became Director of Bands and chairman of the wind instrument department at the University
of Michigan, positions he held until his retirement in 1971. Starting with one band and himself as the only
department member, he built a program consisting of seven bands, with more than 500 members, and a
faculty of fifteen.
In 1961 he took his band on a sixteen-week international tour, performing eighty-eight concerts in eight
countries. His bands also presented annual concerts in our country, appearing in thirty states. In 1971 his
final tour took him and his band to Europe, with appearances in England, Germany, France and Italy, and
concluding with a concert in New York‘s Carnegie Hall.
Even in retirement Bill was in demand as a clinician, advisor and adjudicator, accepting over one hundred
engagements a year. His achievements continue to inspire the lives and careers of all of us.
Numerous honors were bestowed on Bill. He received eight honorary doctoral degrees in music, music
education, law, public service and humanities. In 1961 the University of Michigan presented him with its
Faculty Award for Distinguished Achievement. The band building was named Revelli Hall in his honor.
Bill was truly a mover and a shaker, exceptionally active in his profession. He founded the College Band
Directors National Association and was their Honorary Life President. He was Honorary Life Grand
President of Kappa Kappa Psi and the first recipient of their Distinguished Achievement Award. He was
Past President of the National Band Association and the first conductor elected to the Academy of Wind
and Percussion Arts. In 1965 he received the Interlochen Academy of Arts Medal of Honor. In 1969 the
American School Band Directors Association honored him with the Edwin Franko Goldman Award. In
1981 Bill was among the first living inductees to the National Band Association Hall of Fame of
Distinguished Band Conductors. In 1989 he received the Order of Merit from the Louis Sudler Foundation
and the John Philip Sousa Foundation. In 1992 Bill was inducted into the MENC Music Educators Hall of
Fame. His most recent honor came when the Phi Mu Alpha Sinfonia named him their 1994 Man of Music.
Bill was the musical director and conductor of the International Music Festival in Vienna, Austria and was
guest conductor, lecturer and clinician for the Israeli Band Federation. During his career, he conducted
concerts in thirty-eight countries. Few people in the band world have traveled farther in the interest of
developing bands and band music.
When interviewed for the Music Educators Journal, Bill offered these reflections on his own colorful
career:
I would prefer to be remembered as a conductor, teacher and music educator whose interest in
every student extended far beyond the daily rehearsal in classrooms—a teacher, conductor and
educator of people rather than students of music. My philosophy is that we do not teach music;
rather, we teach people through music.
1995 ABA Annual Report
Note: The 1994 Annual Report noted the death of Mary Revelli, wife of William D., in October 1993.
―Tributes to ABA Members‖ - March 27, 1984
By William D. Revelli
My Dear Men and Women of ABA:
Please permit me to say how deeply honored I am to have been asked by our esteemed President, Martin
Boundy, to say a few words to you on this, our 50 th anniversary, and to express to you on this occasion
what ABA has meant to Mary and myself.
Firstly, I shall be forever grateful and will never forget that eventful day when, while rehearsing the Hobart
High School Band, a telegram was delivered to me stating I had been elected to membership in ABA.
Needless to say, the remainder of that rehearsal found all the tempi considerably more rapid and ―con
spirito‖ than the composer‘s intent and score indicated.
Since that thrilling day, and for approximately 50 years thereafter, ABA has become a vital, meaningful
part of the lives of the Revelli household—memories Mary and I cherish beyond words. Firstly, we revere
your friendship and love; secondly, the opportunity to be associated with the finest ensemble of people of
the Band World—the opportunity to know and be a colleague of the world‘s greatest—the giants of our
profession. When a young neophyte, to have had the honor and thrill of shaking the hand of the greatest,
J.P. Sousa, the most beloved conductor who ever mounted a podium.
Dr. Edwin Franko Goldman—whose countless kindnesses to me shall forever be a source of inspiration.
Frank Simon—a true bandsman, friend and whose devotion to Mr. Sousa remains an example of all of us to
follow.
Herbert L. Clark—what a gentleman, artist and friend.
Dr. Harding—the Dean of all College Band Directors, a remarkable talent.
Jim Harper—Lenoir, North Carolina.
Karl King—a true genius with a ―Will Rogers‖ wit and humor.
Henry Fillmore—what a human being—what a personality. Uncle Henry was unique—enthusiastic—
never seemed to tire. He needed only to enter upon the stage for, even before his first downbeat, he already
captivated his audience. Never, I said Never should one follow Henry on a program—you would lose the
war. Here was a true ―Pied Piper.‖
Harold Bachman, G.C. Bainum, Arthur Pryor, Capt. O‘Neil, Ray Dvorak, Sam Loboda, Walter Smith and
many other of our departed friends serve as reminders of the quality of our ABA, as well as our
responsibilities in our quest for the maintenance of the goals, objectives and contributions these great men
have made to our ABA.
Today, ABA remains the most elite of all band organizations. Certainly, in no other organization—be it
fraternal, civic, professional or social—will we find a body of men and women with such loyalty, love and
faith as in our beloved ABA.
Perhaps it is because of the influences left and cherished by our departed members and by the younger
generation of ABA members in whom we have entrusted its future that we have. Yes, life and its values
remain previous and even more so as time moves on—yet one part of it remains static and unchanged, even
after half a century. Mary and I love ABA—because YOU ARE ABA.
1984 Annual Convention Report
―More Remarks‖ - March 6, 1991
By William D. Revelli
Good morning!
You know, it‘s difficult to stand up here as I look to this audience. You represent, of course, the greatest
voice in the world of music, the band; and secondly, you are really the special few. I would like to say a
few words to you about the moments I have enjoyed with some of our most illustrious and great
conductors, members of ABA, who have all left us and are departed.
How many of you in this room knew personally John Philip Sousa? I see only three or four. Well, let me
say a few words about this great man. My first opportunity to be in his presence was in 1932, in Tulsa,
Oklahoma. Dr. Edwin Franko Goldman called my room in another hotel and asked if I would be available
to come down, that he would like to meet me. This was at the National Band Contest in Tulsa, Oklahoma.
Mr. Sousa had adjudicated my band twice previously: 1929, in Denver, Colorado; 1930, in Flint,
Michigan. And now we‘re in Tulsa. I was, of course, tremendously excited and impressed to meet Dr.
Goldman, who also had adjudicated my band on those occasions. So I found the hotel—and I shall never
forget opening the door. Dr. Goldman met me at the door and there stood—can you imagine, this little
neophyte conductor from a little Hoosier town, Hobart, Indiana—coming into the presence of these
gentlemen who had served at that contest? Mr. Sousa, Edwin Franko Goldman, Arthur Pryor, Frank
Simon, A.A. Harding, Captain O‘Neill. I wanted to ―Abba, Abba,‖ you know—there was no way I
could—I was so excited to meet them. I had never met any of them previously. And I had a great
opportunity at that session to talk with Mr. Sousa at quite some length. Of course, I saw him after that a
couple of times. We all know that he was the greatest of the great.
Dr. Goldman: After this introduction, and after visiting with Mr. Sousa and all of them, Dr. Goldman
invited me to come to New York and conduct his band, which I did; and I‘ll never forget—without
rehearsal—―The Universal Judgment.‖ And that‘s not peanuts! But all I had to do was follow them, of
course. Dr. Goldman became my mentor, my friend—until he died. He was particularly important to me
in the study of repertoire for the band and, particularly, program building. In 1956, when Mary, our
daughter Rosemary and I—I was on sabbatical—went to see and had dinner with him—he was living at
One University Place at the time. And I‘ll never forget—we left in January and I was coming back in June,
the latter part of June. And I said, ―I‘ll see you and the band on the Mall, in June.‖ And that great man put
his arm around my shoulder and said, ―I don‘t think so.‖ I never knew what he meant. He was dying, and
knew it. So I never saw him again. In fact, when we arrived in Rome, he was dead. So I pay tribute to him
and Mr. Sousa.
Herbert Clarke, the prince of all cornet soloists. In Fort Dodge, Iowa, at the convention of ABA, he asked
me if I could see him in the afternoon for a visit. It was two o‘clock. We visited ‗til six, and we looked at
our watches and said, ―My God, it‘s the banquet!‖ Six o‘clock and here we are—we weren‘t changed or
anything. And that great man, while he was changing his trousers, kept right on talking about his
experiences and telling me about the value of the cornet against the trumpet in the concert band.
Frank Simon, the man who never grew up, who remained a boy all his life. He became world famous, but
never lost his drive and energy and the warmth that we all loved. He carried a little book of stories, mostly
Jewish stories—he was Jewish, of course. And he would take that book out and recite those stories, and he
would laugh more heartily than we did who had never heard them before. What a man—what a friend!
A.A. (Dr.) Harding, my university, as well as high school, advisor, mentor, and friend—the ―Father of the
College Concert Band‖—who loved to take a ride at night in the moonlight. He‘s say, ―Around the block,‖
and go miles. (Mark [Hindsley] knows all about that.) A man whom I can never thank enough. In one of
the national clinics which he founded, he came to me afterwards and asked if I was in a hurry to get back to
Hobart, and I wasn‘t, of course. We went out to dinner, went back to the hall, and spent three hours on the
―Phaeton‖ symphonic poem, which I was preparing at that time. He loved Chinese food. He wasn‘t a
drinking man, but he liked a bottle of beer with his meal, and it had to be Miller‘s High Life. He would
have a little book with all the restaurants, the great restaurants where he would go, and it would say:
―Great food, no beer.‖ He was this kind of a man. What shall I say, except ―Thanks, Dr. Harding.‖ He
and Jim Harper and I would get into the town and we each had an assignment: to find the best Chinese
restaurant in town. And that‘s where we would go and spend the evening and talk about nothing, of course,
except bands and band music. What a great man!
Karl L. King, the giant from Paynesville, Ohio, who said to me, ―I only had two lessons in my life—
harmony lessons. I wish I could have had that third lesson, but the guy left town.‖ What a man! I recall
that his band performed annually at the Iowa State Fair in Des Moines—and he, of course, was from Fort
Dodge, with his Fort Dodge Municipal Band, which we all know about. And he told me this story:
They built a bridge across the river and named it the Karl King Bridge, in Fort Dodge. On this
occasion, when I was doing my last concert with the band before my retirement, the governor was
there, and they presented me with a new Buick Riviera. And then they presented Ruth and me
with the most beautiful set of luggage. And Karl, in his own inimitable way, got up to the mike
and said, ‗Ladies and gentlemen, we thank you so much, Ruth and I, for these wonderful gifts.
First you build a bridge—then you buy a car—then you give me some luggage. How much more
obvious could you be that you want me to leave town?‘
Typical Karl King humor. What a man! We had him as a guest conductor one summer, and I‘ll never
forget this: we had one of these bass drummers that played the bass drum in Karl King‘s marches like that
(pp). Karl would ask several times for more bass drum and he had had it. So he walked over and took the
bass drum beater and hit that drum and knocked it about four feet across the floor and said, ―I want a forte I
can hear!‖ That‘s another thing about Karl King. I liked him—a wonderful guy, a great talent. God made
him a genius in his writings. I could speak for two hours on Karl King and the things that he did.
Henry Fillmore, another man that we all revere—I call him the ―Pied Piper‖ of ABA. Al Hayes, Will
Huff, Gus Dean, Harold Bennett, Henrietta Fillmore! Did you know he wrote piano solos under the name
―Henrietta Fillmore‖? What a man! He loved the old-fashioned band and its place in American civic and
educational life. Never follow him in a concert! Dr. Goldman made that mistake once, in Columbus, Ohio,
and Dr. Goldman said, ―Never again!‖ He didn‘t even have to make a downbeat. All he had to do was
come, and the audience was already entranced. And did you ever see him conduct ―Shoutin‘ Liza,‖
―Lassus Trombone‖? What a kind.
Harold Bachman really was one of the pioneers in founding the wind ensemble, because in his concerts in
the parks in Florida he only had 28 pieces, because they could not afford the 29 th player. That‘s a wind
ensemble. And what a great man he was! Did you know he came to Hobart? I met him in Gary, ten miles
away, brought him in to Hobart, and he taught cornet for me for four years, to the high school and the grade
school kids—two at a time, one dollar an hour. I shall never be able to thank that man. We both loved
baseball, and when we could, we got out into the park to see the Cubs play. I could go into that story a long
time—enough to say that he had a great influence.
Glenn Cliffe Bainum: he judged my Hobart band at district, state and national levels. Rusty was truly
ABA‘s ―Good Humor Man.‖ What a tremendous influence upon my life—as a teacher by observation and
association. What a maestro and friend—and I might say, one of a kind.
Sam Loboda and Ray Dvorak—two men of unparalleled courage. Two men of faith—strength. I must
tell you an incident. A Past President‘s dinner—I forgot the site—and I‘m sitting between these two. Sam
was almost blind; he had his cane, and he couldn‘t see anything. And we all know about Ray‘s loss of his
arm. I‘m sitting between them and they had steak for dinner, and neither of them could cut their steak.
Sam couldn‘t see it and Ray couldn‘t cut it. So I did it for both of them, and we had a wonderful visit. At
the end of the dinner we got up to go, and Sam wanted to go first and I got Ray to go behind him and I was
behind, sort of guiding traffic. And these wonderful men, Sam and Ray, looked at each other, and Ray
said, ―This is ridiculous—the blind leading the cripple!‖ Is that courage? Isn‘t that something? What can
you say about those kinds of people?
Paul Yoder: We‘ve said a lot about Paul Yoder. What you don‘t know is that Paul Yoder made about 40
arrangements for my marching band when I went to Michigan. He made both the scores and the parts.
Twenty-five dollars per arrangement. We were playing Chicago—the University of Chicago had a football
team in those days—and if you know your football, you know at one time, when they were under Stagg and
Yost, that was the big game: Michigan and Chicago. We were playing—this was my early days at
Michigan—and Paul had made an arrangement for me, a halftime show. And I had invited him to the
game, to be our guest. But what I didn‘t know: you had to have a pass, a ticket, to get in there, and I didn‘t
have one for Paul. So I said, ―Well, I‘ll get him in there.‖ I always had an extra overcoat and a hat, and so
on. You know, Paul was a rather large man, and the overcoat happened to be for a man smaller than
myself. The sleeves came up to here, the coat came up to here, and the hat sat up there—Paul had about an
8 ½ size head and this was about a 6 ¼ --sat up there like that. I gave him a pair of cymbals. And he‘s
coming down through the tunnel and the fellow looked at him and said, ―You‘re in the Michigan band?‖ I
said, ―He sure is.‖ He said, ―Who are you?‖ I said, ―I‘m the conductor.‖ He said, ―Man, you sure do need
some uniforms!‖ What a man!
Lynn Sams: Although not a conductor, we all know that Meredith Willson got his inspiration. Lynn was
not a good cornet player. By the way, someone mentioned this morning the wonderful collection of
photographs—I believe they are now in Maryland, aren‘t they? Well, you know, Lynn had them first, then
gave them to me—they were in the Revelli Hall. I suggested that they go there, because I didn‘t think that
Revelli Hall was quite the place they should be for preservation and eternity. So that‘s the least I can do for
Lynn. He was one wonderful man. When he was with Conn, and I had first come to Hobart, I went to see
him. This was the Depression. We didn‘t have any instruments and very little money. I could never tell
you what he did for me. And when we had finished our business, he said, ―Are you interested in football?‖
I said, ―I love it.‖ He said, ―Well, Knute Rockne‘s a friend of mine and I can get into any of his sessions—
I have a pass. Would you like to come?‖ And I went. It was the early part of the season, when Knute was
working with his Notre Dame team. I have never had a greater rehearsal in my life. Learning—learning
how to rehearse. I watched that man, I studied him—it was about a three-hour session. In those three
hours he worked on two plays I‘ve never seen such diagnosis, observation, and application. Moving a foot
over, a foot back, six inches to the right. ―Your left foot‘s too far back. Your right foot‘s too far forward.‖
Those two plays, by the time that was over, were working very well. Lynn said, ―That‘s only this
afternoon. That‘ll go on and on.‖ They played Southern Cal that year at Soldier Field and Lynn and I went
to the game. We saw those two plays. They beat Southern Cal by one touchdown. I got a lesson, and my
friend Mark talked about you.
Carleton Stewart: I could go on with so many of the others who‘ve left us. Carleton Stewart, who was
one of my dear friends, and a colleague. We exchanged records—we didn‘t have tapes in those days. We
exchanged records, we talked to each other on the phone, and talked all night about literature and bands and
interpretation and intonation, and everything else. He was also a wonderful, wonderful man.
Well, they all are. I don‘t want to bore you, but the old, trite, familiar saying, ―One never misses the water
until the well runs dry‖ certainly was never more appropriate than in my memories of my association with
these great departed ABAers who, I‘m sure, are still meeting in Heaven, and probably looking down at this
very moment—and they are asking and wondering if we are still maintaining the steadfast traditions, the
ideals, the goals, the standards that they had in mind when they first met.
A.R. McAllister: A man that I must not leave out—and I know I‘ve left out many—was A.R. McAllister.
It happened that Mary, my wife, lived in Joliet, and I met Mac when I was playing at the Rialto Theatre. I
got acquainted with Mac very closely, became his first vice-president of the old National Band Association;
and I was supposed to succeed him, because he was going to retire and I was supposed to be slated to be the
next president. And then, of course, I went to Michigan and that stopped that. But let me tell you about a
little incident. Mary was pregnant, and I asked Dr. Talbot, her doctor, if it would be all right for me to go
with Mac out to Interlochen, where we were holding our National Band Association meeting. He said,
―Nothing‘s going to happen for at least a couple of weeks.‖ So I went. I shall never forget this. Mac
called the meeting to order, and he had no sooner hit the gavel than a messenger came in with a telegram
that said, ―Expect things to happen within five hours.‖ I handed that to Mac; he hit the gavel, gave it to the
secretary-treasurer and said, ―Bill‘s going to be a father. We‘re on our way back to Joliet.‖ We went
through a blinding rainstorm for several hours, and if you knew Mac—he and Joe Maddy were the fastest
drivers I‘ve ever been with. He made it, and I got to the hospital fifteen minutes before Rosemary was
born. Well, of course I didn‘t do any good, except—I was there!
Well, I‘ve taken too much of your time. But I just want you to know that those departed people—souls—
have meant whatever success I‘ve had. I owe a debt of gratitude that I never can repay. And some of you
sitting here—with me, here today—are to be counted among those same people. I don‘t want to get into
names, but I‘ve learned so much from you, by observing and by talking and being with you.
I don‘t know what the year 2050 will do for ABA or what you‘ll do for that time. I will say one thing: for
God‘s sake, don‘t change the one thing that we have that‘s dear to all of us, and that‘s this: the unique
friendship, the family that we have. I have yet to hear an ABA member ever criticize another, when he‘s
on that podium at these various concerts. The respect that we have for each other….
Some day, in the not too distant future, I expect to join them. I have a goal in mind. If they have not
started a symphonic band, I‘m going to start one. I shall be waiting for you to audition for it—and believe
me, it‘ll be like that. It‘s been a pleasure to talk with you—I love you—and I want to just conclude my
remarks by saying there‘s one ABAer that I love more than you. She‘s been my pal, and more than that.
The greatest lady on earth: my dear wife, Mary. She loves you as much as I do. She can‘t be here with me
right now, but I just want you to know that her heart is here, and her spirit. Thank you very much.
1991 ABA Annual Report
GEORGE EARLE REYNOLDS (1921 – 1992)
George Earle Reynolds was born on February 2, 1921 in Joplin, Missouri and died of cancer on April 27,
1992 in St. Louis, Missouri. Although he was born in Joplin, George spent most of his childhood in Dodge
City, Kansas. He attended public school and played trumpet in the band. After graduating from Dodge
City High School he attended Southwestern College in Winfield, Kansas. He graduated with a Bachelor of
Science in Music degree in 1942 and immediately enlisted in the U.S. Coast Guard. He was assigned to
duty with the official Coast Guard Band.
After the war George earned the Master of Music degree from the University of Illinois. While studying in
Cincinnati he performed professionally in local dance and also with the ARMCO Band under the leadership
of ABA member Frank Simon.
George‘s first academic position was at the University of New Hampshire. While serving there as band
director he was elected to membership in ABA in 1949. He served on the ABA Board of Directors in
1957. During his days at New Hampshire George hosted the first national John Philip Sousa clinic.
Subsequently, George joined the music department of the Carnegie Institute of Technology in Pittsburgh.
He was the director of their famous Kiltie Band, which performed at our Pittsburgh ABA Convention.
Later he was associated with a number of schools—the Interlochen Arts Academy, Bowling Green
University, University of Wisconsin at Kenosha, and Cerritos College in Norwalk, California. During his
varied career he was director, performer, adjudicator, clinician and arranger, and belonged to many national
music organizations.
For the past fifteen years George lived in St. Louis, where he had the opportunity to perform with a number
of dance bands. Playing in jazz bands had been an integral part of his long musical career. In 1984 he was
employed by the St. Charles School District as Director of Instrumental Music. At his retirement concert in
June 1991, he was taken by surprise when the band substituted his march ―The Assembly‖ instead of the
programmed number.
Although he had to give up playing the trumpet, he continued performing with dance bands as a pianist.
George was an excellent pianist. During the past few years he played at home daily to relax, while
recovering from heart bypass surgery, pneumonia and living with terminal cancer. Music was George‘s
great source of strength.
1993 ABA Annual Report
J. JOHN ―J.J.‖ RICHARDS (1878 – 1956)
The Kable Concert Band
Kable Brothers Printing Company—Mount Morris, Illinois
The Band of The Kable Brothers Printing Company was founded by the two Kable brothers in 1896 at
Mount Morris, Illinois. It grew into one of America‘s most favorably known industrial bands. Two of its
conductors became presidents of ABA.
Howard C. Bronson, conductor from 1929 to 1941, became music advisor to the War Department in June
of 1941, as a captain. He served with great distinction until 1947, retiring as a colonel. Colonel Bronson
was chosen to be the eleventh president of ABA in 1948 at Sioux Falls, South Dakota. J.J. Richards
conducted the band from 1941 to 1945 and from 1950 to 1955. He became an ABA member in 1936 and
was elected the twelfth president of ABA at Charlotte, North Carolina, in 1949.
1987 ABA Annual Report
EVERETT ―Bud‖ ROBERTS (1914 – 2006)
Everett Lee ―Bud‖ Roberts was a founding father of the high school band movement in the state of Florida
and spent his entire teaching career in that state. He was a member of ABA for nearly half a century,
having been elected to membership in 1959. He was a charter member and former president of the Florida
Bandmasters Association, and prior to his death was the last surviving charter member of that association.
He was born in Meridian, Mississippi but grew up in Florida and was a graduate of Osceola High School in
Kissimmee, Florida. He attended Rollins College on a tennis scholarship and graduated with a Bachelor of
Music degree. He later earned a Master of Arts in School Administration from Stetson University.
He began an honored career as a music educator as Director of Music in Avon Park schools. He moved
from there to become the band director at Winter Park High School and Instructor of Wind and Brass
Instruments at Rollins College. His work there was interrupted by World War II.
During World War II he served in the U.S. Army Signal Corps, starting as a recruit and rising to the rank of
Captain. He served 42 months in the Army, of which 22 months were in the Pacific Theatre, in New
Guinea, Leyte, Okinawa and Japan. He was one of the first group of soldiers to enter Japan when the war
ended and was instrumental in establishing the first communications headquarters for the Army in Japan,
for which he received the Bronze Star Medal.
After the war, he returned to Avon Park and Rollins College until 1948, when he became the band director
at St. Petersburg High School, where he served for 32 years—20 years as the Director of Bands and an
additional 12 years as the Assistant Principal. After his retirement in 1980 he remained active as an
adjudicator of bands for the Florida Bandmasters Association until 1995.
He was a member and former president of the American School Band Directors Association, a founding
member and former Chairman of the North American Band Directors Coordinating Committee, a member
of the Florida Music Educators Association, a member of the Music Educators National Conference, a
member of Pi Kappa Lambda, and the honorary bandmasters fraternity Phi Beta Mu. In 1957 the School
Musician magazine named him as an Outstanding Music Director in the United States. In 1961 he was
awarded the ―Mac‖ Award for Outstanding Achievement in the Field of Music.
He was selected as Co-Director of the first U.S.A. High School Band on its concert tour of Europe in 1962.
In 1980 he was recognized by the American School Band Directors Association for outstanding service and
contributions to the school band movement. He was honored by the Florida Bandmasters Association for
Meritorious Support and Service to School Bands, and was honored by the school administrators for his 45
years of service to education. In 1984 he received the Phi Beta Mu Award for Outstanding Contributions to
Bands. In 1991 he received the Edwin Franko Goldman Award for Outstanding Contributions to School
Bands from the American School Band Directors Association. In 1992 he received the Phi Beta Mu Award
for Outstanding Band Director.
―Bud‖ Roberts died on January 16, 2006 at the age of 91. He is survived by his beloved wife of 68 years
Anna Foster Roberts; her brothers Raleigh, Marion, Fred, Henry, David and their children; and by
thousands of former band members and students whom he loved as his adopted children. He will be missed
and long remembered.
2007 ABA Annual Report
ARTHUR W. ROHR (1916 – 1988)
Arthur Rohr, founder and director of the Sarasota, Florida Concert Band died on July 15, 1988 after an
extended illness. He was 71 years old. Arthur was born in Masontown, West Virginia, where he received
his early music education playing trombone in the high school band. He earned his music degree at the
Shenandoah Conservatory of Music.
Arthur began his teaching career in Kannapolis, North Carolina. For twelve years he served both as the
high school band director and as supervisor of music for the school system.
After serving in the Army during World War II, Arthur became a traveling salesman for the Carg and
Dunner Music Company of Chicago. During his travels he developed an interest in Southern Florida and
decided to put down roots in Sarasota. He became manager of the Arthur Smith Music Company, where he
received the Merchant of the Year award in 1961.
Arthur founded the Sarasota Concert Band and was its conductor for 36 years. He was elected to American
Bandmasters Association membership in 1966. We in ABA were privileged to hear his band in 1977 when
Arthur hosted our annual convention. In 1976 the School Musician magazine named him one of the
nation‘s ten most outstanding band directors. Arthur was especially proud of his membership in ―Show
Folks of Sarasota,‖ an organization that honored circus musicians, performers and actors.
Like all dedicated directors, Arthur was a great promoter of music. He believed that music played an
important part in all of our lives. His dedication will continue to influence the future of those he taught and
directed.
1989 ABA Annual Report
RALPH E. RUSH (1903 – 1965)
Ralph Rush was born in Hayesville, Ashland County, Ohio. He graduated from Delaware, Ohio High
School in 1921. His B.A. degree was earned at Ohio Wesleyan University in 1925, and a Master of Music
degree at the University of Southern California in 1946. He did graduate study at the University of
Michigan and at Cornell University. His teaching career began at Ohio Wesleyan as a teaching assistant.
For seven years, beginning in 1927, he served as band and orchestra director of the Patrick Henry Junior
High School and Glenville Senior High School in Cleveland, Ohio.
For twelve years he was Director of Instrumental Music for the Cleveland Heights Public Schools, during
which time his bands and orchestras were always in the top groups at state, district and national contests.
Since 1946 he has devoted his full career to teaching at the University of Southern California, advancing
from assistant, associate, and finally full professorship in both the School of Music and the School of
Education, along with the chairmanship of those departments. He served as president of the Ohio Music
Education Association and president of the Music Educators National Conference, and was on numerous
committees for colleges and universities in thirty-nine states. He was a member of the Ford Foundation
Young Composers project. Two years ago he was named to receive a special Ford Foundation cash award
as a Master Teacher, and one year ago the USC Associates named him as one of their five greatest teachers
of the year.
After leaving the school band field for teaching work at USC, Ralph resigned from ABA, where he had
been a member since 1934. He was well known to all members of ABA and was highly respected as a
band man, teacher and scholar.
He was one of the very active men in the old National School Band Association, and also in the old
National School Orchestra Association, where he served on the board and on various committees.
Ralph Rush is survived by his wife, Marjorie, of Los Angeles; a son Richard, who teaches high school in
Cambria, California; and daughters Mrs. James Benninghoven of Fresno, California, and Janet, a graduate
student at USC.
1966 ABA Newsletter
MYRON E. RUSSELL (1904 – 1993)
Myron E. Russell was born in Stafford County, Kansas on October 18, 1904 and passed away on July 13,
1993 in Cedar Falls, Iowa. He attended school in Stafford County through the 10 th grade, after which the
family moved to Manhattan, Kansas. He graduated from high school there, having played oboe in the
band.
Myron earned the Bachelor of Music degree at Kansas State University, the Master of Music degree at the
Eastman School of Music and the Doctor of Philosophy degree in music from the University of Michigan.
He also taught at Kansas State University, the University of Michigan and Wartburg College.
Professionally, Myron performed with Gilbert‘s All-American Band, Roy Smith‘s Scotch Highland Band,
Bachman‘s Million Dollar Band, the Chicago Civic Orchestra and the St. Louis Symphony Orchestra.
In 1929 Myron joined the music faculty of the University of Northern Iowa, where he conducted the bands
and other instrumental ensembles until 1951 and taught woodwinds from 1929 until 1973, the year he
retired. During his career he frequently performed on all five woodwind instruments—oboe, flute, clarinet,
saxophone and bassoon—combining them all in one recital. His extensive knowledge of all woodwinds
was staggering and he had the unique gift of imparting that knowledge to his students. Many of his
students established national and international careers as performers and music educators.
Myron was a founding member of the Waterloo-Cedar Falls Symphony Orchestra. He appeared as guest
performing artist with the orchestra and was its conductor for 13 years. Recipient of numerous honors,
Myron received the Chicago Civic Music Association Scholarship. He was an Honorary Member of both
Phi Mu Alpha and Phi Beta Mu.
The State College of Iowa honored Myron with their Certificate of Merit. He also was given the State of
Iowa Service Certificate and the Distinguished Service Award of the Iowa Music Educators Association.
In 1954 he attended the Philadelphia Orchestra workshop hosted by Eugene Ormandy. This workshop
greatly influenced Myron‘s conducting philosophy. He emphasized the importance of musicianship,
utilizing techniques and references characteristic of Eugene Ormandy, a musician whom he greatly
admired.
During the course of his career, Myron served as President of the Iowa Bandmasters Association, the Iowa
Music Educators Association and the Iowa Music Teachers Association. He was in great demand as a
clinician, adjudicator and guest conductor. His diversity of musicianship and musical wisdom as
performer, conductor and teacher are almost unequalled in our profession. Myron was very active in ABA,
becoming a member in 1949. He was elected to the Board of Directors in 1990. Myron was one of the
truly elite musicians in the ABA.
The editor of the University of Northern Iowa Music Newsletter remembered Myron‘s last words to him:
Forty-four years on the University of Northern Iowa staff and over sixty years in one community
have given us a host of friends—of whom we have most pleasant memories.
We in ABA also have most pleasant memories of a gentleman named Myron.
1994 ABA Annual Report
Note: The 2004 Annual Report noted the death of Ruth Russell, wife of Myron.
S
HENRY EVERETT SACHS (1881 – 1970)
Henry Sachs attended public schools in Denver, Colorado and was graduated from East High School. He
was Conductor of the Denver Municipal Band for 44 years, with the exception of almost 6 years when he
conducted opera in New York. His long time Denver Municipal Band Manager, Alex F. Horst, remembers
Henry conducting the opera ―Blossom Time‖ in New York, and he knows there were others, but he does
not remember the exact number of years of those engagements.
Henry Sachs was known as the leader of free public concerts in City Park each summer given by the
Denver Municipal Band. He was President of the Sachs-Lawler Company in Denver for almost 40 years, a
firm founded by his father in 1881 and one of the largest western manufacturers of marking products, such
as rubber stamps and stencils. He was a frequent guest conductor of the Denver Symphony Orchestra and
had played piano, violin and trombone. He opened the Denver Civic Center in 1919, Red Rocks in 1941,
and the Denver Coliseum in 1952 with his Denver Municipal Band. He was also a composer of more than
100 marches and songs, and was a continuous contributor of items from his musical library to local schools
and universities. These gifts included 3,000 band scores to the University of Denver‘s Lamont School of
Music in 1963.
Henry Sachs was President of the Denver Symphony Society and belonged to the Mile High Club, Denver
Athletic Club, Denver Club, Rotary Club, American Society of Composers and Publishers, the American
Bandmasters Association, the National Association for American Composers and Conductors, and Kappa
Kappa Psi, among others.
Reminiscences of band concerts of long ago were related in a tribute paid to Henry Sachs in the July 28,
1970 issue of the Rocky Mountain News:
The maestro by 1930 had been a veteran conductor of various musical endeavors here and
throughout the country. It was remarkable that last year, at age 88, he was still mounting the
podium in the bandstand by the big lake, standing his ramrod stance, banging the podium, and
taking his musicians along the lyrical and inspirational waves of music. Mother and Dad would
assume their seats on the green wire-woven park benches in front of the bandstand. We kids
would run off to the hillside sloping from the north side of the lake to roll and tumble so violently
that sleep on the way home came easily. The strains of the band floated over the lake—a sound
engraved on my mind. The maestro worked with the stage hand who operated the lights as he did
when he worked in a theatre or concert hall.
He [Sachs] was a man of great modesty, a twinkling eye, and a great love for music and for the
city in which he was born in 1881. He was always impeccably dressed and didn‘t flaunt shaggy
hair, goatee, or other artistic manifestations. His repertoire was amazing. He rose with the
bandstand from the pits of the Denver theatres in the days of vaudeville. But in his later years his
only venture away from the band shell at City Park was to guest conduct for the Denver
Symphony—a real love of musical life. I suppose Gabriel will be a lot more attentive to his horn
now that the maestro is listening.
ABA 1971 Newsletter
JAMES G. ―Jimmie‖ SAIED (1915 – 2004)
James G. ―Jimmie‖ Saied, son of Lebanese immigrants, was born June 14, 1915 and died at the age of 89
on December 9, 2004.
During World War II he was decorated for his service in the Battle of the Bulge. Returning from the war in
1946, he started Saied Music Store Co. in downtown Tulsa. In January of 1946 Jimmie ―sent out letters to
all the band directors I knew telling them about our grand opening. Three people came to the store that
day—my wife, our one-year-old son, and one band director who came in, looked around, and left without
buying anything.‖ Saied Music is now managed by his son Bob and has four locations in Oklahoma and
Arkansas.
Saied had a lifelong fascination with John Philip Sousa. He also had an uncanny physical resemblance to
Sousa and regularly imitated him on the podium.
His admiration for Sousa led him to successfully lobby President Ronald Reagan to name ―The Stars and
Stripes Forever‖ as the country‘s official march. The National Association of Music Merchants sponsored
Saied‘s drive, and eventually he was called to Washington to testify in front of a Congressional Committee
about why ―The Stars and Stripes Forever‖ should be the national march. Testifying with him was John
Philip Sousa III. In December 1977 President Reagan signed ―The Stars and Stripes Forever‖ as the
national march of the United States of America.
Jimmie was elected Honorary Associate Member of ABA in 1988.
2005 ABA Annual Report
LYNN L. SAMS (1896 – 1990)
Lynn Sams, Honorary Life Associate Member, was born in Clarion, Iowa and died on March 17, 1990 in
Merced, California, less than a month short of his 94 th birthday. In 1984 our 50th annual ABA Convention
was held in Tempe, and was dedicated to Lynn, then the only living individual who had attended the first
ABA Convention in 1930. He also had the distinction of being one of the ABA‘s founding fathers. Lynn
became an Honorary Life Associate Member in 1948.
A graduate of Southern Illinois University, he was also a member of the band. During World War I Lynn
served in the Navy. He was one of five ABA members who were assigned to battleships: Otto Kraushaar
on the USS Pennsylvania, Dale Harris on the USS Wisconsin, Joe Grolimund on the USS Kentucky,
William Stanbury on the USS Kansas, and Lynn on the USS Louisiana. Lynn said: ―We sailed the nautical
high seas and hit the musical high C‘s…but none of us reenlisted. I doubt if some of us have ever seen a
battleship since.‖
After the war, Lynn joined the C.G. Conn Co. as a traveling salesman, visiting schools throughout the
Midwest, selling instruments. He was one of those early traveling salesmen who served as an inspiration
for Meredith Willson‘s ―The Music Man.‖
Lynn eventually became president of the Conn Co. When he retired he was given the last silver trumpet
made at the Conn Co. in recognition of his leadership. Not satisfied with retirement, he became president
of the Buescher Instrument Co. When he finally retired, he went to live in Napa, California, the wine-
producing center. He often referred to himself as ―The Little Old Wind Maker of Napa Valley.‖ During
this time he also served as musical advisor in Hollywood for the motion picture based on John Philip
Sousa‘s life.
Lynn was editor of the first ABA Newsletters until he turned over the reins to Dick Madden. We
remember with affection his gentle needling and will miss his camaraderie, but especially his wealth of
ABA lore.
Lynn was a good storyteller. Frequently, following an evening ABA concert, the old timers would meet in
the hotel lobby and exchange reminiscences. Usually present were Lynn, Frank Simon, Scrubby Watson,
Karl King, Henry Fillmore, Cliffe Bainum, Albert Austin Harding, Vesey Walker, Merle Evans and others.
Their amusing stories continued into the early hours of the morning.
I still remember Lynn‘s laughter when Scrubby Watson told this true story of his early days with a circus.
At this particular time they were touring rural Arkansas. On the afternoon before their evening
performance, they took a small group into town to ballyhoo. The setting was the small town square. The
band led the parade, followed by one elephant, one camel, one lion, one tiger, one bear and a few clowns.
A horse and buggy were standing in the street. A little old lady was sitting in the driver‘s seat. When the
band started playing, the frightened horse snorted, bolted, and took off uncontrolled. As the band left town,
the little old lady and her runaway horse watched them leave. She glared at the band and said, ―Daisy don‘t
like your music!‖
During his retirement Lynn continued compiling the history of the band movement in America—a
movement in which he has been a true pioneer—he relished being our ABA historian. Besides compiling
autobiographies of members, he donated to the ABA Research Center more than 250 photographic portraits
of many of the 20th century‘s top bandsmen. Over 200 of them were autographed in appreciation to Lynn.
One photograph was that of him and John Philip Sousa, taken on March 5, 1932, hours before Sousa died.
Bill Revelli was one of the band directors who benefited from Lynn‘s advice and support when Lynn was a
traveling salesman. On hearing of Lynn‘s death, Bill wrote:
I know of no one who did more for the school band program than Lynn. He was a dear friend,
counselor and true bandsman all the way. I shall miss him very much.
We all will miss him.
1991 ABA Annual Report
Note: The 1986 Annual Report noted the death of Ferne Same, wife of Lynn, on February 1, 1986.
―Report on Lynn Sams‖
Presented by Jim Strouse, Associate Members Chairman - 2003
I was asked by our President, Jim Keene, to tell the story of Lynn Sams. He said that there are many ABA
members that might not know about, or remember who Lynn Sams was, and he thought we should know
what Lynn‘s role was in the band world.
I could give all of the pertinent stats, like when and where Lynn was born and died but that would make
this sound like an obituary, and Lynn already has one of those on record with ABA. I would rather tell you
about what this wonderful man did and represented in his life that has affected all band directors and
bandsmen.
I talked with Jimmy Saied last week, and the first thing he said was that Lynn Sams was the beginning of
the band business. After researching this matter, I think that Jim said that not only because it‘s true, but
perhaps it was because of the fact that he worked for Mr. C.G. Conn, the founder of the Conn Band
Instrument Company in Elkhart, Indiana. He also worked with all of the prominent bandmasters of the
country like John Philip Sousa, Henry Fillmore, Edwin Franko Goldman, Frank Simon and others. It was
because of his close friendship with people like that, that he was one of the founders of the American
Bandmasters Association. He attended the first convention in 1930, and he was the last one left of those
who attended that convention to attend an ABA convention in 1984, when the convention was dedicated to
him. Lynn was the first Associate Member of ABA, and he is the only one to ever be an Honorary Life
Member. We still have two Honorary Associate Members in Jimmy Saied and Neil Kjos, Jr., but Lynn is
the only Honorary Life Member of the Associates.
Lynn graduated from Southern Illinois University and played in the band there, although Bill Revelli said
that he was not a good cornet player. After serving in the Navy aboard the battleship USS Louisiana during
WWI, he joined the C.G. Conn Company as a traveling salesman. He visited schools throughout the
Midwest selling instruments. It seemed that every man I questioned concerning Lynn Sams referred to the
idea that Meredith Willson used Lynn Sams as the inspiration for writing ―The Music Man.‖ Even Bill
Revelli mentioned it in remarks he made to the ABA at the 1991 convention. About the only think they
didn‘t mention in this regard was whether Robert Preston talked with Lynn to develop the wonderful
character of Professor Harold Hill. It would only seem reasonable to think that he did.
Lynn eventually became the president of the Conn Company. When he retired he was given the last silver
cornet made by that company in recognition of his leadership. Lynn wasn‘t satisfied with being retired
(Isn‘t that a new idea!!) and went on to become the president of the Buescher Band Instrument Company.
When he finally retired, he lived in the Napa Valley in California. During that retirement, Lynn served as
the musical advisor for the motion picture based on John Philip Sousa‘s life.
I learned that Lynn was a good story teller. Frequently following an evening ABA concert, the old timers
would meet I the hotel lobby and exchange reminiscences. Wouldn‘t that be a terrific memory for any of
us to have, of sitting with the likes of Lynn, Frank Simon, Scrubby Watson, Karl King, Henry Fillmore,
Cliff Bainum, Albert Austin Harding, Vesey Walker, Merle Evans and others while they told stories into
the early hours of the morning?
Lynn continued during his retirement to compile the history of the band movement in America. Besides
compiling biographies of members, he donated to the ABA Research Center more than 250 photographs of
many of the 20th Century‘s top bandsmen. Over 200 of them were autographed in appreciation to Lynn.
One of them that piqued my interest is a photo of Lynn and John Philip Sousa taken on March 5, 1932, just
hours before Sousa died.
One of the things I have learned about Lynn Sams is probably the most important to all of us here in this
room. Lynn was the first editor of the ABA newsletter. He used this newsletter to almost single-handedly
keep the American Bandmasters Association together during the WWII years when, for several years, we
had no convention.
There are a few people that I want to thank for helping me prepare this vignette of Lynn Sams. What they
told me when I talked with them and what they wrote and shared with me, are immensely treasured by me.
I want you to know who they are. Jimmy Saied, Don McGinnis, Paul Bierley, Nick Peck and John
Yesulaitis. Thank you all.
Bill Revelli wrote, ―I know of no one who did more for the school band program than Lynn Sams.‖ Now I
know why Jim Keene was so relentless in his suggestion that I present this story about a true treasure and
founder of the American Bandmasters Association.
2003 ABA Annual Report
LYNN SAMS Interviewed by James Berdahl
March 29, 1984
Berdahl: Tell us about the early beginnings of ABA.
Sams: It is too much of an honor to have me say anything because the only ―claim to fame‖ I have is my
age. As you know, I have been very much interested in the American Bandmasters Association since its
beginning and was fortunate to have attended the first meeting and many meetings after that.
In this review I have, much of the information came from Paul Yoder who was instrumental in establishing
the ABA Research Center and the Journal of Band Research. The material came from Dr. Goldman who
you know was one of the principal originators of ABA. Dr. Goldman left the material with Forrest
McAllister who was then the Editor of the ―School Musician.‖ It was left with Forrest for safe keeping
until the Research Center could be established. The material is now in the ABA Research Center in
Hornbake Library at the University of Maryland.
Of course, I have kept my own information and have all the files of the contents of the conventions held
from the beginning and all that. I think that between Paul and me and what Dr. Goldman left, you have
reasonably accurate information about the Association.
As briefly as possible, I‘ll tell you a little about the beginning. It was on October 20, 1928, when the first
discussion of having some type of Band Organization was held. Dr. Goldman, Victor Grabel and Captain
Stannard were the three that first entered into this discussion. At the time, they were guest conductors at
the fair in Cleveland, Ohio. They set up an outline for a Constitution and By-laws.
The Proposed objectives of the planned association were:
Mutual helpfulness
Better band instrumentation
Induce composers to write for bands
Establish higher standards of performance (artistic performance particularly)
Cooperate with military in obtaining commissions for the Army musicians
(Up to this time the Army had on permanent commissions for musicians.)
They passed this information around among bandmasters and a group of recognized bandmasters were
invited to the first session for what was later called the ―organizing session.‖ Those invited were: John
Philip Sousa, Herbert L. Clarke, Dr. A.A. Harding, Dr. Charles O‘Neill, Lt. Charles Benter, Patrick
Conway, Captain Taylor Branson and Captain William J. Stannard. It was then that the organization was
named The American Bandmasters Association.
On July 5, 1929 Dr. Goldman invited the following bandmasters to attend the meeting in the Pennsylvania
Hotel in New York and they formalized the first association. Those present were:
Dr. Edwin Franko Goldman—Goldman Band, New York City
Charles Benter—United States Navy Band
Victor Grabel—Chicago Concert Band
Dr. A.A. Harding—University of Illinois Band
Dr. Charles O‘Neill—Royal 22nd Regiment Band, Quebec, Canada
Arthur Pryor—Pryor‘s Band, New York
Frank Simon—ARMCO Band, Cincinnati, Ohio
R.B. Hayward—Toronto Concert Band, Toronto, Ontario
J.J. Gagnier—Canadian Guard Band, Montreal, Canada
It was at this meeting that the Charter was received and these men were named Charter Members.
Berdahl: According to the names you just read, all of them were professional people with the exception of
Mr. Harding. What were the feelings of what the membership should be like at that time?
Sams: It was pretty well understood at this first meeting that it would be a professional organization. Not
that they had any objections to the educational groups coming in, as far as I have heard, but Dr. Harding
was the only one at this first meeting and he took a very active part, which they all appreciated. I think
they chose Dr. Harding for his close contacts with Mr. Sousa. Sousa thought that the University of Illinois
Band was one of the finest he had ever heard and, in those days, it probably was.
Incidentally, the first high school band director voted into the Association was A.R. McAllister of the
famous Joliet, Illinois Band and that was in 1931.
Berdahl: If I might make another observation: with three of this small group from Canada, the founding
people must have thought very highly of having the ABA ―international in scope‖ with Canadians and
Americans in it from the beginning.
Sams: It certainly was. In fact, the Canadians, you might say, very much lead the field. One in
particular—Dr. O‘Neill. I have always thought, and many others thought at I did, that Charlie O‘Neill was
the best educated man in band music. He was an exceptionally fine cornetist and was highly respected by
everybody. It was Dr. O‘Neill who wrote the famous entrance exam for ABA and if you couldn‘t pass it
you couldn‘t be in ABA. I think Paul Yoder was the last one to take the exam. There were some
exceptions though. Karl King said, ―If I had to take that exam, I would never have become a member.‖
Berdahl: Can you tell us something about the famous examination so we‘ll know how lucky we are to be
in ABA without having to take it?
Sams: Yes, I do have an outline of the questions asked.
1. Outline of musical history with special study of the particular period or phase. This paper will
include an essay on the given musical subject—time 3 hours.
2. Paper on musical form and analysis—time 3 hours.
3. Paper on Instruments and Scoring—time 3 hours.
4. Paper on Harmony that may consist of a figured or unfigured bass to be harmonized in not
more than four parts and a given melody to be treated as directed—time 3 hours.
Berdahl: I am sure many of us are concerned about that first convention in Middletown. What went on or
what kind of papers or business sessions did you have?
Sams: Different members were asked to give papers or talks on certain subjects.
Mr. Sousa gave a paper—The Orchestra and the Band as they Originally Existed.
R.B. Hayward gave Comparison of English, French, German, Italian and American
Instrumentation of Concert Bands.
Victor Grabel‘s paper was Revising Published Band Arrangements.
J.J. Gagnier gave Developing the Use of Alto, Bass and Contra-bass Clarinets in the Present Band
Instrumentation.
Dr. Goldman—How to Improve Bands and Band Music.
Karl King—How to Secure Financial Support for Municipal Bands.
The Growth of University and College Bands was given by Dr. Harding.
Captain Stannard gave How to Induce Prominent Composers to Write for the Band.
The last paper was A Plea for the Army Bandmasters given by Arthur S. Hayes.
Those papers were all very well received and were excellent papers. They were considered very important.
Berdahl: I agree that they are important subjects. They are so important that we are not through discussing
them yet, are we?
Berdahl (continues): I would like to go back and clear up some things that are confusing. ―Lest We
Forget‖ shows some members elected in 1929 when the first convention was in 1930.
Sams: For a short period, the organizational meeting in 1929 was called a convention. But after a while
that was changed. They even elected officers in 1929. Those officers were about the same as the ones
elected in 1930. The members who attended the organizing meeting in 1929 were the Charter Members
and they elected those who did not attend in 1929 to membership. This is why some are shown as being
members in 1929.
Berdahl: That clears that up and helps us to understand some of the discrepancies. Lynn, in one of our
previous sessions we were discussing up-coming conventions and our concern about hotel rates. I‘m
curious about what kind of rates you paid at some of the early conventions.
Sams: You might say they were excessive rates in those days. For instance, when the questionnaire came
as to the type of room you wanted, you had your choice of the deluxe or standard room. The deluxe room
was priced almost out of reach—at $1.50. The regular room rates were $1.00.
Berdahl: Oh, boy. Would that we could have those days back again!
1984 ABA Annual Report
WILLIAM F. SANTELMANN (1902 – 1984)
March 30, 1984—We lost a national treasure when our beloved Honorary Life Member, William F.
Santelmann, died March 30, 1984. He had just conducted the United States Marine Band at the 50 th Annual
Convention in Tempe, Arizona, in an arrangement by his father of the ―Ride of the Valkyries‖ from ―Die
Walkure‖ by Richard Wagner, and received thunderous applause. He then conducted ―Semper Fidelis
March‖ by John Philip Sousa as an encore and received a standing ovation.
Back stage, Bill expressed pride in the Marine Band, which he conducted from 1940 to 1955. He
remarked, ―This is the happiest day of my life.‖ Shortly after he received numerous expressions of thanks
and compliments from members of the band and ABA members who were back stage, he was asked how
the leaders of the Marine Band were selected. In his own inimitable style, he raised his head and gave his
customary preparatory ―ah,‖ then said no more. Bill suffered a massive heart attack and was pronounced
dead at approximately 11:40 p.m.
Colonel John R. Bourgeois, in the tradition of the Marine Corps, continued the concert at Margaret‘s
request. She felt that this is what Bill would have wanted.
1984 ABA Annual Report
―What the American Bandmasters Association Means to Me‖
By President William F. Santelmann – ca. 1953
For many years band suffered from an inferiority complex, probably caused by their reluctance, or
inability, to compete on the same high musical plane always enjoyed by the great symphony orchestras.
Many factors contributed to this state of mind. The lack of a thorough musical education on the part of
many bandsmen who were forced to obtain what instruction they could from the local music master, could
be one. Another, the fact that most of the repertoire—with the lone exception of marches, which have
always been the band‘s forte—had to be borrowed from the orchestra, opera or light opera library. Playing
to al fresco audiences in the park always permitted careless performances not tolerated in the concert hall.
And certainly the lack of personal harmony between the bandmasters of the outstanding bands acted as a
restraint in the further development of the band movement.
Believing that much good band music could be offered to the music-loving public and also believing that
what was good for one band was good for all, Dr. Edwin Franko Goldman requested a small group of the
outstanding bandmasters of Canada and the United States to meet with him in New York. It was the
consensus of this group that by combining their efforts and striving for a single goal of better bands and
better band music, the concert band could be developed and enriched and that it could be raised in the
esteem of the public. Thus was the organization known as the American Bandmasters Association formed.
Feeling that this effort should embrace all levels of band development, bandmasters of all categories—high
school, college, municipal, industrial and professional—who had distinguished themselves in their
particular field were invited to join. With this group acting as a forum for discussion of the problems
besetting bandmasters, a program was developed to improve bands of all levels and to improve standard
instrumentation. Publishers were attracted to the Association and gave their assistance in establishing a
national instrumentation for concert and symphonic bands. Composers of national repute were encouraged
to compose new music primarily for band. This last phase proved so successful that in some instances the
same compositions were later transcribed for symphony orchestra.
There can be no question about the progress that has been achieved by the development of this program.
Not only have all bands felt the impetus of this concerted effort, but it has also bred a feeling of fraternity
among the bandmasters themselves. Much has been done, but in its continuing drive toward its goal of
―better bands and better band music‖ the American Bandmasters Association is ready and willing to accept
the challenge of any new problem besetting the bandmaster and his music, while at the same time
continuing along the path thus far so firmly established.
News Release to ABA Members ca. 1953
President Santelmann‘s Address - 1954
Coming from Washington where our National Congress is the most notable convening body, I feel that in
making my president‘s speech, I should try to follow the example of the President of the United States by
giving you a report of the activities and progress of our organization just as President Eisenhower gives the
nation in his State of the Union message. Fortunately for all of us, my report does not have to be as lengthy
as his and also need not pay heed to either subversion or McCarthyism.
First of all, let me say that, as a body, I believe the American Bandmasters Association is sound in body
and mind. It I were a doctor—and I‘m beginning to answer to almost any title that is carelessly used near
me—I‘d say that we suffer only from the V‘s. I don‘t mean V for viruses or vanity, but rather, from vigor,
vitality, and, may I even add, virility. From the programs received of our members from coast to coast,
from the views we get on our television sets, from our good friend, Lynn Sams‘ Newsletter, and from the
verbal reports that I was fortunate enough to receive personally while on an eight week concert tour last
fall, I can only conclude that all of you have been most industrious and hard working in the pursuit of the
goals established long ago for our Association. I feel sure that the reports to be given later by the various
committees will substantiate this statement and will point the way to still further possible developments
which we might strive to attain. With the concerted efforts of all of our members, I have no doubt that we
can broaden our outlook and influence, and lead the way to still better bands, band music, and the more
comprehensive use of the great musical talents that are discovered every day in the youth of our country.
One item of progress that I am most happy to report and of which I am sure most of you are already aware,
is the fact that legislation has finally passed the Congress giving at least partial recognition to two of our
military service members, permitting their promotion to higher rank. I refer to our esteemed Vice
President, Charles Brendler, and our hard working and highly efficient host and Convention Committee
Chairman, Francis E. Resta. I use the phrase ―partial recognition‖ because I cannot help but feel that the
many years of faithful, intelligent and efficient service that these two individuals have rendered to their
organizations and to their services should eventually receive still further approbation and reward. I am sure
we will all enjoy addressing our two comrades as Commander and Major respectively now, and I am sure
too, that had you attended the Congressional Committee hearing on the legislation, you would have been
pleased with the unanimity displayed by all the members of the ABA who heartily endorsed the passage of
this legislation.
Another matter of interest to all was the action taken by our organization last fall to bestow upon the Leader
of the great Guard Republican Band of France some honor to indicate the warm approval and
commendation that we felt he deserved for the splendid performances that he gave with his band on a
transcontinental tour last fall. Undoubtedly many of you heard this outstanding group and were greatly
impressed with the excellent results they were able to attain. The suggestion to honor him was made by
several members of our organization, and so after receiving the unanimous approval of the Board of
Directors, a very handsome certificate of honorary life membership in the American Bandmaster
Association was prepared on fine grained leather and it was my proud privilege to present it to Captain
Francois-Julien Brun at the concert given at the Academy of Music in Philadelphia last December 8 th on
behalf of the American Bandmasters Association. Colonel George Howard made the trip with Mrs.
Santelmann and me, and we were delighted to see a large number of other ABA members also present. I
believe Jim Harper would have merited the befeathered White Owl cigar for coming the greatest distance
for the occasion. And incidentally, I think a special credit line should be included here to our peregrinating
Secretary-Treasurer for supervising the design of such an elegant certificate. Could you have seen it, I am
sure you would all have agreed with me that it was a document that cast credit on the Association we
represent.
Unfortunately, my duties in Washington as Leader of the Marine Band and as Supervisor of Marine Corps
Bands throughout the Corps, prevented me from doing the amount of traveling on behalf of the ABA that I
should have liked, and it was consequently necessary for me to decline many invitations to act as guest
conductor and clinician that many of you were kind enough to extend to me. I must say that I sincerely
regret this inability because I firmly believe that one of the prime duties of the President of this
organization is to make as many public appearances in that capacity as possible. I can assure you, though,
that no opportunity to publicize the American Bandmasters Association was lost while I was on a 56-day
concert tour extending over New England and parts of the North Central States last fall. And I am sure that
our Vice President also followed the same pattern on the tour he made also last fall with the United States
Navy Band.
I think it necessary for me to summarize briefly the work of one committee who will not be called upon to
make a formal report. That is the committee appointed to select a composer to write the commissioned
composition for band. As you all know, this commissioning of a new work for band carries out the thought
first expressed by Dr. Goldman and is made possible through his own generosity. I discussed the procedure
of selection with Dr. Goldman and although he himself did not wish to take part in it, yet I was able to
persuade Richard Goldman to chair the committee. A committee was appointed and each member was
requested to indicate a choice from a set of three names or to suggest the name of a composer they felt
more desirable. In addition to Richard Goldman, the following were named to assist: Dr. A.A. Harding,
Major Hugh Curry, Glenn C. Bainum, Clarence Sawhill, Manley Whitcomb, and Lt. Barry Drewes. The
consensus indicated a choice of Dr. Howard Hanson, who for the last thirty years has been the director of
the Eastman School of Music at the University of Rochester. Dr. Hanson has long established himself as
one of America‘s foremost contemporary composers, having among a long list of original compositions
three symphonies and an opera entitled Merry Mount, that was first presented by the Metropolitan Opera
Company in 1934 and enjoyed nine performances in that year alone. The second of his symphonies was
commissioned by Serge Koussevitsky for use with the Boston Symphony Orchestra, and the third
symphony was likewise commissioned by the Columbia Broadcasting System. As a result of the
committee‘s action, an invitation to accept the commission was dispatched to Dr. Hanson and although he
had never before written a composition for band, it was with enthusiasm that he accepted. I had a personal
visit with him while on tour and although he had been hospitalized for some months with a back injury, yet
I found him in his office that particular day and we discussed the form that the number should take. It was
in due time written and sent on to Major Resta to be rehearsed, and I know that all of you share the same
anticipation that I feel for its first hearing. I also expressed the hope that Dr. Hanson would be able to
come here to our meeting to conduct the premier performance, but due to previous commitments and
illness, he could give me no assurance that this would be possible. Knowing him personally for many
years, I was anxious for him to join with us so that we might become better acquainted and that he might
become more interested in compositions for band. I hope that this composition will be but the first of many
others written for band that will come from his pen.
Now, in closing I want to express my most sincere appreciation to all those members of the Association
who so whole-heartedly accepted assignment to committees, and especially the various chairmen. As time
is always very limited at these conventions, I have asked each chairman to prepare a report based on the
accumulated ideas, suggestions, and experiences of his committee members, and I am sure that you will
find these reports informative, enlightening and extremely interesting. I also want to thank all of you for
the trust that you have placed in me by allowing me to serve you in the capacity as your President.
Although the job is perhaps more time consuming than one might at first expect, yet the honor to represent
such a distinguished organization is more than compensation for the efforts expended. With the close of
my year as President, you may be sure that I stand ready to serve the organization and its future presidents
in any capacity that they may indicate.
1954 ABA Annual Report
ABA 1976 Convention Dedication
President Yesulaitis fondly called attention to the fact that the 1976 Convention Program was dedicated to
Colonel William F. Santelmann in recognition of his long and outstanding service as a member and
conductor of the United States Marine Band and his efficient and dedicated service as Secreatary-Treasurer
of The American Bandmasters Association.
1976 ABA Annual Report
Lt. Col. William F. Santelmann, esteemed Honorary Life Member of the American Bandmasters
Association, died last March while attending our convention in Tempe. Elected to membership in 1941,
Col. Bill served on the Board of Directors from 1949 through 1951 and again in 1954. He was elected
President in 1953 and was our Secretary-Treasurer from 1965 to 1975. He became an Honorary Life
Member in 1980.
Born in Washington, D.C., Col. Bill began studying the violin at the age of six. He graduated from
McKinley Tech High School and later studied music at the Washington College of Music and the New
England Conservatory.
Col. Bill‘s entire military career was with the Marine Band until his retirement in 1955 after 37 years of
service. In 1923 he enlisted as a Marine Band private following his second audition on violin and
euphonium. He failed his first audition because, as a string player, he did not double on a brass instrument.
His rise through the ranks was rapid. Concert violinist for ten years, he became the concertmaster in 1930
and five years later was appointed an assistant leader.
In 1940 he succeeded Captain Taylor Branson as the 18 th director of the oldest military organization in the
United States. Col. Bill was only the third director in Marine Band history to receive an officer‘s
commission. Incidentally, his father, Captain William H. Santelmann, was the 16 th director of the band
from 1898 to 1927 and the first director to become a commissioned officer.
Although Col. Bill often said he was primarily an orchestra man, it was as a military band director that he
gained worldwide fame. During a White House celebration at which Col. Bill and his band were
performing, President Eisenhower suggested ending a songfest with two numbers—The National Anthem
and the Marine‘s Hymn. None of the guests remembered the third chorus of the Marine‘s Hymn. When all
were silent, Col. Bill, standing alone in the center of the East Room, in his strong, resonant voice, sang ―If
the Army or the Navy ever look on heaven‘s scene, they will find the streets are guarded by United States
Marines.‖ Amid laughter and applause, the President bowed and saluted Col. Bill.
Most of us have favorite memories of the Col…his great sense of humor…his explosive, booming
laughter…his strong, resonant voice…his familiar wide grin…his sincerity and honesty. Each memory
serves to increase our fondness for him, our appreciation of him and our high regard of him as a man and
musician.
Col. Bill was born and raised in music. His earliest memories were of the Marine Band, so it is fitting that
the very last music he heard was Semper Fidelis—Always Faithful—performed by his band under his
direction.
1985 ABA Annual Report
R. LESLIE ―Les‖ SAUNDERS (1907 – 1970)
R. Leslie Saunders was born in Harrisburg, Pennsylvania on April 19, 1907. Music was the focal point in
his life. Les acquired his early education in the Harrisburg public schools. He was granted his BS degree
in Music from Lebanon Valley College in 1935 and also took post-graduate work at the University of
Pennsylvania, and qualified for a master‘s degree from New York University. Les Saunders and His
Orchestra was a dance group well known throughout the early 1940s; prior to organizing his own dance
band, he played with the Penn-Diamond Orchestra and the Ted Browningdale Orchestra, both nationally
known recording groups. Friends recall that Les received his education by working for it as a musician; it
was also recalled that he turned down many offers to be in show business because he preferred a career in
school music.
Les began his long association with the public schools in 1938 when he accepted a post of instrumental
music; prior to that time he taught all music, both vocal and instrumental, in the Cornwall School System.
Later he became supervisor of instrumental music in the Lebanon City Schools. He was a charter member
of the Harrisburg Symphony Orchestra and was trombonist with the Hershey Theatre Orchestra. Superiors
and associates have over the years hailed his devotion to duty and interest in the welfare of his students
during his long career in the local school system. A number of his students have distinguished themselves
as musicians in the Armed Forces, in schools and colleges and universities, including musical careers in
show business.
Les was elected to membership in The American Bandmasters Association in 1955 and was a regular
attendant at the conventions. ABA Member Paul Harner, a close friend of Les, wrote:
Les was in and out of the hospital about the last six months before his death. He had one of the
best high school bands in Pennsylvania. I don‘t remember him ever coming out of a contest with
less than a second rating, and he had many firsts. He played in the pit band at the Hershey Theatre
for the Ice Follies for many years and did a fine job. His dance bands played all over the state. He
did many clinics. He was a very fine musician and no one ever worked any harder than he. He
was President of the Pennsylvania School Music Association for two years.
On Saturday, July 25th the local radio station, WHAT, had a memorial concert for Les, which was
the spring concert he conducted in May 1969. Resolutions of Respect were sent by the Southern
District Pennsylvania Music Educators Association; also a Resolution of Respect was given by the
Board of School Directors and Administration of the Lebanon School District.
1971 ABA Newsletter
CLARENCE SAWHILL (1906 – 1982)
Clarence Sawhill, Band Director Emeritus of the University of California at Los Angeles, died on February
26, 1982 at the age of 75. A graduate of Bethany College in Lindsborg, Kansas, he began his teaching
career at the high school in Norton, Kansas.
Impressed with his achievements as director of the Lawrence, Kansas High School Band, Dr. A. Austin
Harding invited Clarence to join the teaching staff at the University of Illinois.
In 1948 Clarence was elected to membership in the American Bandmasters Association, the same year he
assumed the position of band director at the University of Southern California. After 35 years of fruitful
teaching there, he joined the faculty of the University of California at Los Angeles, serving as Director of
Bands for 20 years until his retirement.
For over 35 years this dedicated musician trained many band directors and professional musicians, besides
conducting exciting clinics and honor bands throughout the world.
We salute Clarence for his missionary zeal to improve bands and develop young people‘s talents. The
music world will miss his laughter, skills and concern for all.
1983 ABA Annual Report
The 1981 Annual Report noted the death of Marie Sawhill, wife of Clarence, on May 31, 1980.
DEAN SAYRE (1918 – 2000)
Dean Sayre was born in Galliopolis, Ohio on August 18, 1918 and died of congestive heart failure in Hazel
Crest, Illinois on September 19, 2000. Afflicted with polio when he was two years old, he wore a leg brace
and cast for eight years. His family moved to Pittsburgh when he was six years old. When he was ten, he
tired of the discomfort of his leg cast and felt that he could get along without it. On his way to school one
morning he removed the cast and threw it into the Monongahela River, got on his bicycle and rode to
school. He did manage to get along without it. While in high school he played saxophone in the band and
dance band. He even organized his own dance combo that was very active locally.
Dean began his 60-year career as a jazz musician as soon as he graduated from high school. He traveled to
California where his earliest job was as an extra in Hollywood Class B movies calling for musicians.
Subsequently, he spent more than fifteen years performing on the road. He played saxophone and clarinet
and sang with the great dance band legends, including Charlie Barnet, Lou Diamond, Frankie Carle, the
Dorsey brothers and Glenn Miller. He traded solos with Ella Fitzgerald and performed with Sammy Davis,
Jr. and Jerry Lewis. In 1940 he was a member of the Jan Garber Swing Band, which performed at Army
bases.
In the late 1940s Dean settled in Chicago but kept up many of his big band connections. In 1950 he opened
his first music store, known as the Chicago Heights Music Co. Eventually he changed the name to Musart
and expanded to five branches in the Chicago area. In order to assess the needs of the band directors he
was serving, Dean became the band director of the Brookwood Junior High School in Glenwood, Illinois.
During the eight years he taught there, his bands won numerous contest and honors.
For the next 40 years he operated the stores, taught in area schools, gave private lessons and furnished
directors with musical supplies. His stores provided music lessons, which at times saw as many as 700
students a week. Many of those students now perform with bands and symphonies or head school music
programs across the United States and in England.
Although constantly involved in operating his business, Dean found time to share his talents with numerous
musical organizations, including the Governor‘s State University Concert Band, the Prairie State University
Concert Band and the South Suburban Community Concert Band. He also taught at Western Illinois
University and at Interlochen for several summers. For ten years he played clarinet in ABA Past President
John Paynter‘s Northshore Band and was a member of the Chicago Heights Symphony for fifteen years.
Dean‘s establishment was elected to ABA Associate Membership in 1970.
Dean met his first wife, Mona, while touring Army bases in Texas. She caught up with him in San
Francisco, where they were married in 1945. Mona died in 1983. Later Dean married Edith Armstrong.
Edith said she liked music and it became Music 101 when she married Dean. Although she learned a great
deal about music and musicians, she said she never passed the course.
Dean was vibrant, kind, thoughtful and caring—a great mentor and dedicated teacher. Music was his
passion—a passion he eagerly shared with all of us.
2001 ABA Annual Report
WILLIAM P. SCHUELER (1899 - 1978)
ABA President Donald McGinnis read the names of ABA members who have died since the last
convention. This list included William P. Schueler, who passed away on August 6, 1978. He was elected
to ABA membership in 1967.
1979 ABA Annual Report
Note: The 1985 Annual Report noted the death of Gertrude Schueler, wife of William, on November 15,
1984.
GUNTHER SCHULLER
―Remarks‖ - March 1, 1989
Distinguished members of ABA: I was originally given the impression that I would be speaking to you at
9:00 a.m. this morning, which I found a little difficult because I don‘t quite function yet at 9:00 a.m. But
besides that, I was trying to figure out how I could be greeting you and welcoming you to Florida and
addressing you when, of course, I‘m an outsider. I‘m an outsider at FSU, I‘m an outsider to the ABA; so
how I should be greeting and welcoming you was a bit of a difficulty. Now that I‘ve been demoted by
virtue of this delay to only addressing you, I feel a little more comfortable and I‘m happy to do that, of
course, because as some of you may know and some of you may not know, I‘ve been a full and good friend
of The American Bandmasters Association for many, many years, and I regard many of you as friends and
as very much respected colleagues.
In fact, I suppose, in reality I‘m more of an ―insider‖ than many of you might suspect, because I have
composed and/or arranged for bands for many, many years now—arrangements ranging from Joplin to
Rudy Wiedoft, all the way over to Hector Berlioz—and, of course, many original compositions for band
and/or for wind ensemble, the first of which, I think, goes back 28 years when I wrote my first big concert
band piece for Herbert Hazelman, who I think is in the room somewhere, from Greensboro, North
Carolina—that piece: ―Meditation.‖ I‘ve also been guilty of writing the biggest and longest and most
difficult piece for the band medium: namely, my symphony, ―In Praise of Winds,‖ a movement of which, I
guess, you‘re going to hear later on in this convention. And more than that, in betwixt and between many
other pieces, you‘re also going to hear, on Saturday night, a brand new work, a Divertimento for Band,
which I just finished last Thursday, believe it or not. This was commissioned by the Air Force Band and
Colonel Bankhead. I think one of the copyists at Bolling Air Force Field is still copying out parts at this
very moment—but it‘ll be ready on Saturday.
Not only that—here‘s a claim that I don‘t think any of you can make, maybe: I played with the Goldman
Band, actually for seven years, as first horn. Those were very enjoyable years—this was during the
summer, of course—playing a lot of very interesting literature with Edwin Franko Goldman. The only
thing I didn‘t like about that gig was that we sometimes had to traipse through rainstorms to Prospect Park,
only to find out, once we had got to the bandshell, that the concert had been cancelled. Sometimes we sat
in the rain—I remember once playing the entire Tchaikovsky Fifth solo in a rainstorm. How times have
changed! That was a terrific band, filled with New York professionals, many of whom went on to
important positions in our major symphony orchestras. Indeed, I myself was, at that time, principal horn of
the Metropolitan Opera. I mention Goldman because, of course, he is your founder, your instigator, your
motivator, and very crucial in the founding of this very organization so many years ago. I admired him a
great deal for his wide-ranging programs, and his commissions, and his desire to stimulate the field and
create new repertory; and indeed I participated in quite a number of those premieres during that period I‘m
speaking of, nearly forty years ago, in the 1950s.
Although I didn‘t know them, I also admire some of the other Past Presidents, either as composers, or as
performers, or as major figures in this medium of concert band: Herbert L. Clarke; Frank Simon, about
whom I heard a great deal when I was a young horn player in Cincinnati in the early forties; Karl King; and
Henry Fillmore, to whom I pay a little tribute, by the way, in this new piece which is premiering here on
Saturday night. The last movement is a parody, kind of an Ivesian takeoff on all kinds of things having to
do with bands, and I hope you will enjoy it and you‘ll find it humorous, funny; and the subtitle is: ―With a
respectful bow to Mssrs. Charles Ives, James Reese Europe, (whom I hope you all know about) and Henry
Fillmore.‖
So those are some of the Past Presidents that I did get to know. There‘s one sitting right in front of me I did
get to know, with whom I worked a great deal, William Revelli. So I‘ve been in and out of the ABA in
various ways for many, many years now, and I stand before you as a friend of this medium. And I do that
with great pride and love for the medium, and recognizing that there are many composers and, alas, many
people in the field of music altogether who perhaps do not have as high a regard for the band medium as I
do. I also recognize that there are now, in a way, two branches of this medium: the one being the concert
band or the marching band, the big band; and the other the relatively new kid on the block, the wind
ensemble. I love them both, of course, and they both have their valid and viable functions; and I think they
are both media, or organizations, or types of instrumentations which can contribute superbly to the whole
field of music.
The band is, for me, one of the most terrific instruments! I sometimes think I love it more, even, than the
symphony orchestra. In some ways I find it sonically superior to the orchestra. Yes, it doesn‘t have
strings, but it‘s got so many other things that a symphony orchestra doesn‘t have, including all those
incredible varieties of wind instruments, especially those low clarinets, which I‘ve been trying to get into
the symphony orchestra for years. Every last orchestral piece I‘ve written in the last fifteen years has had
in it contra-alto, contra-bass clarinet. I‘m trying to get those instruments in as permanent instruments in the
symphony orchestra, but I haven‘t succeeded yet. Anyway, it‘s telling you how I feel about these things—
and I myself, of course, am a horn player, a wind instrument player, (―wind-blown‖ instrument)—and so
perhaps I have a sort of natural predilection for these instruments and for this medium. I think it‘s an
amazingly versatile medium. I don‘t think it has any limitations, either creatively or organizationally, but it
does have one problem, which I‘m always sorry to note: and it is that, unfortunately, in the largest field of
the music world it isn‘t regarded with as much credibility, with as much respect, as I think it should be—
and I find that deplorable. There‘s something that sticks, to this medium, of the amateur status. I don‘t
know why one should regard it as lower than some other status, frankly. It also is stigmatized by being
located primarily in the educational field, and some people look down their noses at that; again, I don‘t
understand quite why. And, of course, maybe the greatest liability which people ascribe to it is that it lacks
the great literature. It doesn‘t have the Mozarts, it doesn‘t have the Beethovens, the Brahmses, the
Tchaikovskys, and so on. As I say, I deplore that viewpoint, and I think that band medium is as wonderful
potentially, inherently, as any other medium and as viable as any other.
The wind ensemble is seen in some quarters as slightly more professional. There have been some
professional or semi-professional wind ensembles around. But it, too, is still relegated to this sort of
second-class view by the music field in general, by virtue of the fact that it is based almost entirely on a
contemporary literature; and of course we know that lots of people have problems with contemporary
music altogether. So that certain critics and tastemakers and managers and conductors and other leaders of
the musical field either are not aware of the band medium and the wind ensemble at all, or if they are aware
of it, they sort of look down upon it as some kind of second-class citizenry.
I‘m not telling you anything new. I think—I know—that you have made efforts in a variety of ways to
improve that image, and to keep these standards of performance and of creativity very high in your
medium. I would like to make, perhaps, one suggestion, or two, possibly. And that is insofar, through your
Foundation and other efforts, you have commissioned works for concert band, I think that has all been to
the good. But my impression is that you have not yet tackled those composers who could, almost in one
fell swoop, give this medium the kind of status and credibility by the quality of those composers in the
overall field. In other words, to commission—and this will cost you some more, but it‘s worth the effort—
to commission Leonard Bernstein; Elliott Carter; George Perle; Andrew Imbrie out in Berkeley; Ollie
Wilson, probably our greatest Black composer; Bill Bolcom; Donald Erb; I probably could go on.
Following a large burst of applause for his most entertaining and significant remarks, Gunther Schuller was
presented the Edwin Franko Goldman Memorial Citation by Past President William D. Revelli. In his
remarks, Dr. Revelli noted that Mr. Schuller had been a professional wind instrument performer (horn)
since age 18, and that his father had been a bandmaster. The presentation was greeted by another lengthy
ovation.
1989 ABA Annual Report
FREDERICK F. SCHULTE (1891 – 1966)
Born in Racine, Wisconsin, Frederick Schulte had been a lifetime resident of the city. He was married to
the former Genevieve LaMere in Jacksonport, Wisconsin in 1923, and is survived by his wife, two sons,
Frederick, Jr. and Richard, and one daughter, Marion.
Stricken with an apparent heart attack, he died while enroute to St. Mary‘s Hospital in Racine. The funeral
mass was at St. John‘s Nepomuc, and interment was in the Racine cemetery, where he was buried with
military honors on Friday, October 7, the day he was to conduct a concert by members of the Racine Local
of A.F.M.
A beautiful floral piece and a letter of sympathy were sent to the family by ABA Secretary Col. Santelmann
in the name of The American Bandmasters Association. Representing ABA at the services were Dr.
Raymond F. Dvorak and Associate Member Charles Faulhauber.
Frederick was a member of St. John‘s Nepomuc Church, Holy Name Society of St. John Nepomuc, past
officer in the Wisconsin Bandmasters Association, a member of The American Bandmasters Association,
American Legion Post #76, the Last Man‘s Club of Post #76, the American Federation of Musicians,
Knights of Columbus Council 697, and Msgr. Weiler General Assembly 4 th Degree Knights of Columbus.
The name Schulte has been synonymous with music in Racine for more than 90 years. Frederick Schulte
followed in the footsteps of his father, Henry, who was one of six musician sons of an immigrant cabinet
maker. The six Schultes organized a family band in 1876, supplemented by other young men of Racine.
Frederick started his long career in 1907, when he began playing professionally. He had mastered some six
musical instruments and later played each of them in various professional bands and orchestras. He served
in World War I, playing French horn in one of the U.S. Navy Bands at Great Lakes under the late John
Philip Sousa.
In 1929 he created much interest and enthusiasm in drum corps when he introduced the playing of classical
music by the Boys of ‘76 Drum and Bugle Corps. He was also associated with many other musical groups,
including the YMCA Kilties and the Racine Park Board Band. He organized the Racine Symphony in
1931 and was its conductor for 25 years. He taught music and was head of the music department of
Washington Park High School, and was Music Consultant to the Racine Public School Systems from 1921
to 1957, when he retired from school work. In 1927 the Johnson Wax Band was formed and was directed
by Frederick until 1963. In 1937 he founded the Johnson Company All-Girls Chorus, and one year later
founded its Men‘s Glee Club, both of which he conducted until his retirement in 1963.
It was Frederick Schulte who organized the first Massed Band to play in Racine, and it was Frederick
Schulte with the Racine Symphony who presented the first concertized version of the opera ―Carmen‖ with
an all-Racine cast. And it was Frederick Schulte who was in the pit orchestra of the Belle City Opera
House in Racine when Maude Adams played in ―Peter Pan‖—and when Eddie Foy appeared there, long
before all the little Foys were born. And it was Frederick Schulte who accompanied Eva Tanguay, whose
―I Don‘t Care‖ was a catchword, and who offered him a road show job at the then fabulous salary of $56.00
per week, because, she said, ―It‘s the first time my show was ever played right.‖
The Racine-Journal-Times newspaper of October 5 ended its tribute to Frederick‘s having played the
annual ―Good Fellers‖ dinners for funds for the needy children for more than 18 years:
There‘ll be someone different wielding the baton this year and leading the crowd in a roof-raising
rendition of ―God Bless America,‖ but in memory, many will still see the smiling Fred on that
stage—a veritable symbol of the name ―Good Feller.‖
And an excerpt from the Johnson Weekly magazine tribute reads as follows:
They called him ―Mr. Music‖ for they did it with sincerity and respect, for if ever a man brought a
talent and a love to this art form, it was Frederick Schulte. Frederick Schulte, who spent more
than 35 years of meritorious service in our company, and who probably knew, and was known by,
as many persons as anyone ever associated with us. In 1956 he was awarded the Carnauba Palm
for this service. The Johnson Weekly, on behalf of employees, can only extend its sympathy to
his family.
1967 ABA Newsletter
―Frederick Schulte Remembered‖
Frederick Schulte became a member of ABA in 1953. He was the conductor of The Johnson Wax Band,
sponsored by S.C. Johnson and Son, Inc., of Racine, Wisconsin. The band was founded in 1926.
1987 ABA Annual Report
HERBERT L. SCHULTZ, JR. (1923 – 2007)
Dr. Herbert L. Schultz, Jr.
December 23, 1923 - October 2, 2007
Memorial written by Don Wilcox
ABA Memorial Speaker: Leland Lillehaug/Don Wilcox
Professor Emeritus Herbert Schultz, founder and conductor for thirty years of the Vermont Wind Ensemble
passed away on October 2, 2007 at the age of 84. Herb was born in Buffalo, New York and grew up in
nearby Kenmore where he graduated from Kenmore West High School. During World War II he served
with honor in the 84th ―Rail-splitters‖ Infantry, receiving the Bronze Star. He was taken prisoner, but
escaped capture from the Nazis and later was instrumental in the capture of a high-ranking Nazi SS
Colonel. As accomplished athlete, Dr. Schultz received gold medals in the middle distances and
relays for the G.I. Olympics held during the war. At the war‘s end, he played trumpet for General Patton‘s
funeral, and taps at Allied services for concentration camp victims.
After the war, Dr. Schultz returned to the states to earn his bachelor‘s degree from Fredonia Teacher‘s
College and both his masters and doctorate in music education from Columbia University, and then
married Jean in 1950. In 1957 Herb joined the faculty of the University of Vermont and they lived in
northern Vermont for the next half-century. A versatile musician, Dr. Schultz served as the choral director
for the First Congregational Church in Burlington while building the University band program with the
Wind Ensemble, a jazz ensemble and founded the UVM High School Summer Music Session. In the late
1970‘s he also founded the Vermont Winds and the Tri-State Music Festival, which evolved into the
Northeast Music Festival. All of these thrive to this day.
In addition to his membership in the ABA, Dr. Schultz also had served as president and conductor of the
Vermont State Music Festival; as president of the Eastern Division of the Music Educators Association
and was a former president of the American Concert Band Association. In his retirement after thirty years
at UVM, he established the American Winds Concert Band, which toured Europe every summer for 25
years and received the International Confederation of Music Societies‘ Meritorious Achievement Award.
He also received the ACB Mentor‘s Award; was a member of Kappa Kappa Psi; and was a Mason.
Herb and his wife Jean were partners for 57 years and he leaves a legacy of hundreds of students who loved
and respected him deeply. When Dennis Wilson, trombonist with the Count Basie Orchestra and on the
faculty of the University of Michigan, came to Vermont a few years ago to conduct the All-State Jazz
Band, he made special note of Herb‘s presence at the concert and thanked him in front of a packed Flynn
Theatre for all that Dr. Schultz had done for him. Many others would echo that sentiment.
CHARLES P. SELTENRICH (1913 – 1986)
Charles P. Seltenrich died in Laramie, Wyoming on May 4, 1986, ten days short of his 73 rd birthday. Born
in Cedar Falls, Iowa, Chuck received his musical education at Northern Iowa University and the University
of Iowa. He became a member of the American Bandmasters Association in 1961.
Chuck taught instrumental music in several Midwestern high schools and Oberlin Conservatory of Music
before joining the faculty of the University of Wyoming in 1950. There he was band director and professor
of music until his retirement in 1978. Chuck was an active oboist in symphony orchestras in Cheyenne,
Casper and Laramie, where he received the University‘s George Duke Humphrey Distinguished Faculty
Award.
Chuck was a rare individual who earned the respect and devotion of his students and colleagues through his
honesty, dependability and excellent musicianship. His quiet confidence, sound judgment and loyalty to
students and friends are a testament to the kind of man Chuck was.
The Charles P. Seltenrich Memorial Scholarship Fund was established by the Department of Music in his
honor. In 1959 he was elected President of the Wyoming Music Educators Association, which eulogized
him in their newsletter with this quotation:
For no man dies as long as there is one person left in the living world who remembers him with
fond recall and shares a thought of him—though he has gone ahead.
1987 ABA Annual Report
WESLEY SHEPARD (1908 - 1991)
Wesley Shepard, retired Chairman of the Department of Music at the University of Evansville, Indiana
passed away on February 14, 1991 after an extended illness. Wesley was born in Harvey, Illinois on
September 25, 1908, where he received his early education. He earned his Bachelor of Music Education
degree from Columbia School of Music and his Master of Music degree from Northwestern University.
His doctoral studies were at the Eastman School of Music, Indiana University and the University of
Michigan. He started his teaching career as band director at the St. Louis Country Day School.
Subsequently he taught at the Maywood, Illinois Junior High School and at Central High School in
Evansville, Indiana.
For 26 years Wesley was band director and chairman of the music department at the University of
Evansville. His teaching duties were interrupted for several years during World War II when he was
conductor of Army Air Force bands at Moore Field, Mission, Texas and Scott Field, Illinois.
Wesley‘s 42-year teaching career was varied, encompassing professional, military, academic and civic
activities. He served as Assistant Conductor and principal clarinetist of the Evansville Philharmonic
Orchestra. As composer and arranger, he produced more than 100 works for band. As guest conductor he
directed some of the nation‘s most prestigious ensembles, including the University of Illinois Band, the
Interlochen National Music Camp Band and the U.S. Army Band. He was also Director Emeritus and
Founder of the Tri-State Band and the University of Evansville Symphonic Band.
Wesley was elected to membership in the America Bandmasters Association in 1955. Among his
numerous honors and awards were election as honorary member of Phi Mu Alpha Sinfonia and as an
honorary member of Phi Beta Mu. Music affiliations included the College Band Directors National
Association, Phi Kappa Phi National Honor Society, Pi Kappa Lambda, the Music Educators National
Conference and the Indiana Higher Education Music Administrators Association. In 1972 the Governor of
Indiana awarded him the ―Indiana Distinguished Service Award.‖
Wesley will be remembered as a leader in his profession and a staunch and loyal supporter of The
American Bandmasters Association.
1991 ABA Annual Report
FRANK SIMON (1889 - 1967)
On Friday, March 3, 1967 the ladies were invited to attend the opening of the morning session, as it was to
open with a brief memorial to our late, respected and beloved Honorary Life President, Dr. Frank Simon.
As Secretary-Treasurer, Lt. Col. William F. Santelmann was present as a pallbearer at Dr. Simon‘s funeral,
President McCall called upon him to read the eulogy given by Rabbi Albert A. Goldman at Dr. Simon‘s
funeral in Middletown, Ohio on January 31st, 1967.
[Text of Rabbi Goldman‘s eulogy]
It is not necessary for me to rehearse here the inestimable place won by Frank Simon in those areas of
endeavor where his name will live on with the great musicians and bandmasters of this country. In his
lifetime he already knew that he achieved that rare distinction which placed him on the honor roll shared by
Sousa and Edwin Franko Goldman. His name had become a household word throughout this area when he
became famous for his leadership of the ARMCO Band. There is no band in the concert hall, or marching
band today which struts across the gridiron field which does not know that he is among its invisible
conductors marching and leading them. High honors, honorary degrees, the plaudits of thousands of young
people, the recognition of colleagues, have all been part of the manifold achievements of Frank Simon. In
two weeks a memorial service will be held at the University of Cincinnati and there tribute, through word
and sound, will be paid to him for his great musicianship.
I have come rather to speak of him as the friend and the man, as father and husband, as neighbor and
teacher. There were other aspects to his genius which won him the love and admiration of so many. He
was a complex man, yet simple, but not ordinary. He was highly sophisticated and yet could be completely
at ease with anyone and everyone. He was driving and dynamic, yet tender and soft. He was highly
pragmatic and profoundly spiritual. He could be demanding of his co-workers, yet easily moved to tears.
And who of us can ever forget that wonderful sense of humor, the hearty, tumbling laugh, the rich tones of
the dialect, the infectious laughter and the readiness to share a new story as quickly as he heard it? It was
good humor, never cheap and vulgar. It was a way in which he threw off the many pressures and tensions;
but even more, his affable and affectionate nature came through.
I doubt if Frank Simon had the capacity to dislike anyone, and I would be amazed to discover that anyone
could possibly have had some negative feelings about him. I do not describe him as one who sought
honors of popularity, but these he easily gained, yet he could be fierce in his loyalties as well as in his
demands. He was a man who was motivated by high principle and great standards bordering on perfection.
It was something he wanted from himself, and asked of himself, before he asked it of others. And therefore
his genius was quickly recognized. It has been said that genius is the capacity for infinite painstaking
work, and if that be true, it applies so well to him. No man could stand in the rarified atmosphere of
leadership and not know the heavy burdens of responsibility. The musician is vulnerable to the audience
and the critic. He must meet high standards of expectation or else face ignominy. He was too careful, too
meticulous a person to be haphazard or careless or indifferent to his art. His commitment was to his co-
workers and together, they forged a great instrument.
He enjoyed this work, its challenge, and its creativity made him respond with all of his ability. He
especially enjoyed teaching. This was another mark in this man‘s greatness. He did not hold himself aloof
nor become unapproachable. Frank Simon always remembered that there was a teacher who took him in
hand and tutored him into greatness. He remained grateful to that man, and his gratitude was fulfilled by
following his example. There are many in the field of music who have reached prominence because of
him; and each of his students, fired by his example, has added something to the musical growth of our
country. He was the master, the maestro, and no greater praise can come to him than they came from far
and near to be taught by him.
Thirty years ago I came to live in this community (Middletown, Ohio) as its first student Rabbi. It was a
high moment then, and it has always been, to have become one of his friends. That friendship has
remained constant over the years. In my files are letters which we exchanged and appended to each are
some stories he shared with me. Whether I was overseas or on the eastern shores, we maintained our lines
of communication. All of this goes back to the time when two or three times a week he would pick me up
early in the morning and deposit me at the Hebrew Union College while he went on to teach at the
conservatory. He regarded me in this sense as a pupil. He was deeply interested in my career, as he was in
the future and welfare of his students. I learned in those days how deep was his concern for all of them,
and perhaps only a few know how much he did for them at his own expense—how often he kept a student
at school who could no longer afford his tuition. I think I could say in this regard that he was ―generous to
a fault,‖ but it was something that he seldom spoke about. Those were still depression days, and in the
midst of that gloom, Frank‘s irrepressible spirit could only bring joy in one form or another.
He was a family man. His band was part of that family of comrades and co-workers; but Frank was blessed
with a beloved help-mate and two sons in whom he always took great pride; a pride he shared with their
two wives and their children. But in Mary, his beloved wife, he found his ballast and his bulwark.
Carefully she guarded and sustained him. In trial and triumph, they shared their life‘s experiences. There
were high moments of exultation, and there were moments of great frustration. The bravados and the
blows came equally, and when other men might have been crushed completely, she helped him pick
himself up once again, to march into a new life, and in a new place. They rejoiced with their sons and their
families; they suffered their growing pangs with them as well. Frank was a proud father and grandfather. I
have seldom met a man who was so basically affectionate in his open regard for his children. They have
brought him great satisfaction. He was always proud of their achievements and the prominence they have
won. Above all, he was proud of their achievements and the prominence they have won. Above all, he
was proud of the shared communication between them; where he knew that rare accomplishment of being
both father and friend to all of them.
I have spoken of but a few aspects of the life of this good and great man. Perhaps someday a biography
will tell his story whole. The author could do no better in choosing a subject. But let me add a word more.
It is fitting that this service for Frank Simon is held today in this city. In 1954 the Middletown Journal
spoke of him as one of its most famous sons. Certainly he brought an enduring luster to this fine
community. He loved Middletown. He could travel throughout the length and breadth of this country; but
he always came home. The old familiar places and faces always beckoned him. He did not leave those
friends, nor they him, although time has taken them from each other. Here he felt a great sense of comfort
and the recognition he found here meant more to him than the praise of the critics. Not long ago, and it will
be repeated, he recorded on my radio program, his original composition ―Homecoming.‖ And Frank has
now come home again. Here where his parents nurtured him; and here where his great talent was revealed;
here where his great band was born; and here where his deepest ties and roots were nourished. In this
sense, Middletown recognizes its great debt to him and to all its sons who have helped make it into a fine
city. In its annals, the name of Frank Simon will remain high on the list.
The last note has been sounded…the baton in the hand of the master has been laid down…but the melody
lingers on. The stirring sounds are heard…but even more, the stirring life of a man is remembered. He
who stood before the aggregation and inspired it to play in majestic harmony…who carefully blended its
variations into a oneness of sound and rhythm…whose rich tones of the cornet pierce the very heavens.
We recall the words of the psalmist…―and in thy favour our horn is exalted‖…he was a sweet singer in
Israel, and his song is not silenced. Wherever the bands of America will play, Dr. Frank Simon will stand
on the podium and will inspire them, that the great trumpet will be sounded for all mankind to come
singing a new song…AMEN.
1967 ABA Annual Report
―The Armco Concert Band‖
American Rolling Mill Company—Middletown, Ohio
In early 1920 the Armco Association, an employees group, decided to form an industrial band. Frank
Simon, already a prominent local musician, was persuaded to assume leadership and management
responsibilities. He did so with notable success and The Armco Band assumed a place of importance
among American concert bands. After ten years Frank Simon reorganized The Armco Band as a fully
professional radio band and it, too, achieved renown.
Frank Simon had experience with the Cincinnati Symphony Orchestra, under Stokowski, and as cornet
soloist of the Sousa Band before becoming conductor of The Armco Concert Band. He, his sponsors, and
his band hosted the first ABA convention in March of 1930 at Middletown, Ohio. He was a charter
member of ABA (1929), and he became its fourth president at Cincinnati in 1935. He was elected
Honorary Life President of ABA, its fourth, in 1962.
1987 ABA Annual Report
―A BIG MAN, Remembering FRANK SIMON‖
Presented by John Colbert - March 8, 2002
During my high school years, participation in cornet trios and as a soloist entering our local elimination, the
district, state and national contests further solidified my ambition to become a professional cornet soloist.
In 1939 I was awarded a scholarship to study cornet with Dr. Simon at the Cincinnati Conservatory of
Music. I packed my new gold lacquered Selmer cornet and entered the Conservatory in the wonderful city
of Cincinnati.
During the spring semester of my freshman year, Dr. Simon asked if I would play in a trio with two of his
students. Both students were in their junior year. I thought both were fantastic and upper classmen at that!
For nearly four years during my undergraduate studies I had the opportunity to play in the Conservatory
Concert Band conducted by Dr. Simon. We performed Sousa marches (the way he did) on each concert.
Rehearsal intermissions were great! Dr. Simon and some students gathered in a side-room while stories
and jokes seemed to just roll from him. His stories were about Sousa days and whatever came to mind. Dr.
Simon kept a new cigar alive while the side-room became a haze of smoke. What a treat! During those
wonderful stories I have seem Dr. Simon give bills (worth more than today) to worthy-needy students for
financial support. (A Big Man)
His joke telling was second to none. It was especially fun to watch—during the punch line—his well-
formed paunch bounce with laughter. And during rehearsals it was a fantastic sight to see this well-formed
paunch bounce on the Sousa accents…those were real Sousa accents.
Lunches were served in the Conservatory dining room. On rehearsal days Dr. Simon and some students
would informally discuss cornet playing, bands and whatever came to mind. Dessert most often included
those wonderful powdered sugar donuts. Dr. Simon almost always wore the formal dark suit. (Have the
picture?) With each punch line his laugh blew powdered sugar over his well-formed paunch.
Uncle Sam became anxious for my presence during the second semester of my senior year. Dr. Simon
immediately went into action. Following basic training I became a member of Headquarters Band at Fort
Knox, Kentucky. It was there I fulfilled nearly four years of service.
In 1957 I became conductor of the Jordan Conservatory of Music, Butler University, Concert Band
following Nilo W. Hovey. In 1962 I received an invitation from Dr. Simon to sit at his table during the
banquet of the American Bandmasters Association meeting at Purdue University. What a thrill! Following
the banquet dinner and entertainment I escorted him to his room, realizing this may be the last time I would
see him.
Valuable information concerning the interpretation of Sousa marches is included in a two-volume set,
―Sounds of John Philip Sousa: Authentic Rehearsal Techniques.‖ Each volume contains complete
published instructions by Dr. Simon regarding Sousa‘s stylistic performances as well as the recorded (on 78
RPM) examples of marches annotated. The recordings should be transferred to CD production.
Both volumes were sponsored by the ASBDA and were conducted by Dr. Simon. Volume I was performed
by the Band of Northern Virginia. Volume II was performed by the United States Army Band. Both
volumes produced and edited by Mac E. Carr. Copyright by the ASBDA.
Further information about Dr. Simon may be found in the book ―Music Man: The Story of Frank Simon‖
by Michael Freedland, published by Valentine Mitchell, 1994.
Frank Simon lived by the words of Thomas Payne: ―The world is my country and to do good is my
religion.‖
THE BIG MAN.
2002 ABA Annual Report
LYLE SKINNER (1895 - 1973)
Jack Mahan, President of the American Bandmasters Association, read the names of those members who
had passed on since the last meeting. This list included Lyle Skinner, who passed away in 1973. He had
been a member of ABA since 1956.
1974 ABA Annual Report
KENNETH B. SLATER (1917 – 2005)
Distinguished band director and cornet soloist Kenneth B. Slater passed away Thursday, April 14, 2005 at
the age of 87, in Indianapolis, Indiana, where he had lived since 1997. Ken was born June 18, 1917 in
Cohoes, New York and received his early musical training from his father. Like an increasing number of
ABA members, Ken Slater was a second-generation band conductor and instrumentalist. His father,
George Holt Slater, was a euphonium soloist with the Arthur Pryor Concert Band in the early part of the
20th century. Upon graduation from Waterford High School and then the New York Military Academy in
1937, Slater was accepted at the age of 20 as a trumpet player into the United States Marine Band, ―The
President‘s Own.‖ Following ten years in the Marine Band, he was appointed cornet soloist with the
United States Army Field Band, a position he would hold for another decade.
Shortly before his retirement from the military, Ken became the director of the Almas Temple Shrine Band
in Washington, DC from 1953 to 1962. In 1955 his Shrine band won the National Shrine Band
competition, and on his retirement as its conductor he was named Band Director Emeritus of the Almas
Shrine Band. He was appointed director of the Hagerstown Municipal Band in 1959, a position he would
hold for another decade. During this time he also served for five years as the director of the Shippensberg
Pennsylvania City Band. In recent years he was a frequent guest conductor of the Virginia Grand Military
Band in Arlington.
Ken Slater, often called ―Slats‖ by his friends and colleagues, was best known as a cornet or trumpet soloist
and guest conductor or clinician with bands throughout the United States. He was a member of the Naval
Lodge FAAM #4, the Columbia Chapter #1 RAM and a 50 year member of the Almas Temple in
Washington, DC. He was also a member of American Legion Post 1112, New York City and the BPOE
Elks, Hagerstown Lodge 378, Washington County Museum of Fine Arts and the National Cathedral
Association of Washington, DC. He was a charter member of the Shrine Bandmasters, a member of
Windjammers Unlimited and a Past President of the Pennsylvania Bandmasters Association. Ken was a
recipient of the Gold Medal given by the French Guard Republic Band, Paris, France. He was elected to
membership in the American Bandmasters Association in 1965.
Kenneth Slater left an astounding quantity (17 linear feet!) of valuable historical material to the ABA
archives housed at the University of Maryland. This collection dates from 1859 – 1997, and a significant
amount of it goes back to his father‘s era and the Arthur Pryor Concert Band.
He composed several works for band, including ―Mohawk View‖ for cornet and band, and the march
―Almas on Parade.‖ He was an active member of the Allisonville Christian Church in Indianapolis. Ken is
survived by his wife of 63 years, Evelyn Fey Slater of Indianapolis.
Read by ABA Memorial Speaker: Loras John Schissel
2006 ABA Annual Report
EARL A. SLOCUM (1902 – 1994)
Dr. Earl A. Slocum, Honorary Life Member of ABA, was born on a farm near Concord, Michigan on June
17, 1902 and died on November 29, 1994 in DeLand, Florida at the age of 92. He attended a one-room
school before his family moved to Albion, Michigan.
Earl studied piano and violin during his high school days and taught himself to play the flute from a
Langley Self-Tutor book. While in high school he received eight athletic letters: three in baseball, three in
football and two in basketball. Earl entered Albion College in 1921, planning to be an engineer. The
director of the school‘s conservatory of music convinced him that his future should be in music. He
became the first student to graduate from Albion with a public school music certificate. He earned his
bachelor‘s and master‘s degrees at the University of Michigan.
Earl‘s first high school teaching position was in Detroit, where he also played professionally. In 1926 he
moved to Greensboro, North Carolina, where he taught music in the public schools for seven years. In
1933 Earl became the director of bands and conductor of the symphony orchestra at the University of North
Carolina in Chapel Hill. He remained at the University until his retirement in 1967. He was also a visiting
professor at the universities of Michigan, Georgia and Kentucky and a clinician and adjudicator at
numerous band and orchestra festivals.
In 1942 Earl was elected to membership in ABA and was our president in 1963. He served on the Board of
Directors in 1959, 1960 and 1963. For twelve years Earl was Province Governor of Phi Mu Alpha Sinfonia
for the Eastern United States. He was a member of Pi Kappa Lambda, Phi Beta Mu, ASCAP, CBDNA
(serving as president of the southern province) and MENC. He was an honorary member of the Florida
Bandmasters Association. Several years ago the North Carolina Band Directors Association honored Earl
for his lifetime contributions to music in the state. He had been a member of Sigma Chi since his induction
at Albion College in 1921. The same institution awarded him an honorary Doctor of Music degree in 1960.
Earl was an accomplished flutist, having studied with John Wummer, solo flutist with the New York
Philharmonic. He performed as guest soloist with theatre, concert and symphony orchestras, and concert
and circus bands. After he retired from the University of North Carolina, Earl joined the Lexington,
Kentucky Symphony Orchestra as principal flutist. When he moved to DeLand, Florida he taught at the
Stetson University School of Music. For nine years he served on the board of advisors and conducted the
symphony orchestra. He was co-organizer and conductor of the DeLand Little Symphony. In spite of his
many commitments, he continued to be an active performer, adjudicator, conductor and arranger. Although
he was primarily a music educator, Earl was probably best known for his concert band transcriptions,
which have been played all over the world. In 1980 Albion College established an award in his honor,
given annually to the student making the most outstanding contribution to the college band.
Earl continued to play his flute until shortly before he died. Like so many of our ABA members, he
exerted a profound influence. A talented, inspired teacher, and loyal supporter of ABA, Earl will long be
remembered as one of the outstanding pioneers in the band field.
1995 ABA Annual Report
Note: The 1988 Annual Report noted the death of Beatrice Slocum, wife of Earl, on October 10, 1987.
―Earl Slocum Remembers the Early ABA‖
In reminiscing about the early days of The American Bandmasters Association, one cannot help but make
use of ―name dropping.‖ Most of the persons I will be talking about I knew quite well.
A word about myself: I started my teaching career in the Detroit Public Schools. I moved to Greensboro,
North Carolina in 1926 where I taught for seven years. In 1933 I was called to the University of North
Carolina where I served as Band Director and conductor of the University Symphony Orchestra. I retired
from the University in 1967.
In the late nineteen thirties Glenn Cliffe Bainum of Northwestern University came to North Carolina to
judge our State Music Contest. I had not met him before, but when I did, he said: ―Earl, for Pete‘s sake,
tell Jim Harper to lay off pushing you for ABA. You will make it some day when you are better known.‖
This was the first time I had ever heard of ABA. Now it happened the very next year that I was invited to
judge the Florida Music Contest. When I arrived in Miami, I learned that there were several other judges,
namely: Glenn Cliffe Bainum, A.R. McAllister, Peter Buys, Arthur Pryor, Jim Pfohl, Ed Chenette, and
Henry Fillmore. (Perhaps others.) I‘m not sure if Fillmore was one of the judges, but he was around all the
time and I got acquainted with him, along with the others.
The following year I was invited to membership in ABA, provided I passed a written examination to be
given by Capt. Charles O‘Neill of Quebec, Canada. The exam consisted of harmony, counterpoint, band
arranging, and music history. It seems that I passed the exam, for I was notified by Bainum that I was now
a member of ABA. I cherish a letter I received from Edwin Franko Goldman, congratulating me and
saying that he ―hoped I would take an active part in ABA and attend its Conventions.‖ I took him
seriously, for in all the years since 1941 I have missed only three conventions.
Now it happens that Col. Wm F. Santelmann was also elected in 1941 with the proviso that he pass Capt.
O‘Neill‘s written examination. Bill‘s reaction was ―to hell with the exam, if being conductor of the United
States Marine Band is not qualifications enough, then forget it.‖ Bainum and O‘Neill went round and
round over this issue. Bainum won, Bill was elected, and O‘Neill resigned the next year, in 1942.
I would like to go back to the contest in Miami for an anecdote which I shall never forget. One night, after
finishing judging, my wife and I went down to the hotel bar before retiring to get a sassafras soda. Upon
entering the bar we found Arthur Pryor sitting alone. He invited us to join him. He immediately ordered
two daiquiris for us. It seems that he had already had several and was in a very talkative mood. He
practically told us his life history. One very amusing story was that when he was playing with Sousa, some
of the boys in the band would look up some local trombone player and bet that their friend (Pryor) was
faster. Then all would go out back of the grandstand or the auditorium for the contest, which he said, ―I
always won!‖ Then his friends would divide the money with him.
Another tale was the he (Pryor) would write some piano music and take it to a publisher. There were
waltzes, shottishes, mazurkas, etc., all were accepted except one number called a ―Gavotte.‖ He said, ―I
liked the little number, which went like this: da da da ta ump ta de dil a de de de.‖ Then he said, ―I‘d go
back home and write some more piano music and take it to a publisher and the same thing would happen—
they‘d take everything except my da da da ta ump ta de dil a de da ded.‖ By this time I had my own band,
so I arranged it for piccolo and band and put a little business of a barking dog by the tuba at the end and
called it ―The Whistler and His Dog.‖ I used it for an encore and we had to repeat it every time we played
it. Then you should have seen the publishers try to get it from me to let them publish it. I finally sold it to
Carl Fischer.
Another thing I learned at the Miami contest was that Peter Buys, Sousa‘s E-flat clarinet player, was
Sousa‘s arranger. He told me that many times when the band was traveling on a train, Sousa would get out
some manuscript paper and sketch the melody for a new march, then pass it to Peter to score it for the band.
He said he gave it an introduction, and wrote a break strain and bridge, created some counter-melodies and
passed it on to the copiers to extract the parts. And in many cases the new march was played at the next
band concert. I had to believe that his story was true, for Peter Buys struck me as being a fine, quiet,
upright man.
In the early days there were some fine story tellers in the association. Karl King was a great one, but many
of his stories were a bit off-color. Frank Simon was the best story teller I ever heard. He was such a
sensitive person that he would have you laughing one moment and shedding tears along with him the next
moment. I never heard Herbert Clarke solo at a time when the Sousa Band was at its height in both size
and quality.
A story about Herbert Clarke is worth telling. I once had Vincent Bach present a clinic at my school. He
cautioned my students to always take the time to place the mouthpiece carefully and not move it while
playing. Then he told about the time he asked Herbert Clarke how he could possibly play with the band and
play a solo at both the afternoon and evening concerts. Clarke told him that it was easy, for he played the
afternoon concert on the left side of his lip and played his solo in the center. Then at night he played the
band parts on his right side and the solo in the center. So you see, both Vincent Bach and Herbert Clarke
had a good sense of humor.
I must say that I was fortunate to have known so many of the great old-timers. One of them was Austin
Harding, who as you know was a great leader in the school music field. One time Austin was conducting
my band and my solo clarinet player was inclined to want to be heard. Harding stopped the band and asked
him if he could play any louder, and the reply was ―Yes, sir.‖ Whereupon Harding said in a quiet voice,
―You can?‖
I have one more tale to tell about an ABA‘er, Harry Alford, who arranged ―The World Is Waiting for the
Sunrise‖ for Harding and his Illinois Bands. He also wrote the ―Purple Carnival March‖ for Bainum and
his Northwestern University Band and much other band music. You heard another of his fine marches last
night. My story is about Harry Alford. I was playing at a hotel in Hot Springs, Arkansas in 1922 and
Harry wintered there with his small collapsible pump organ, which he used to test his music. He came to
me one day and asked if I and our oboe player would play a lobby concert with him. Of course, we said
yes! He arranged the music for flute, oboe and small pump organ and we played an unusual, but interesting
concert for the people of Hot Springs.
I have not said much about Edwin Franko Goldman, for we all know he was our founder, along with Sousa
and others. Goldman conducted my University of North Carolina Band once and I had the pleasure of
conducting his, the Goldman Band, in Grand Central Park, in New York City. In addition to those names I
have mentioned, there are others who contributed much to our organization. To name a few: Henry
Fillmore, Harold Bachman, Ray Dvorak, Joe Maddy, Otto Kraushaar, Earl Irons, Howard Bronson, Merle
Evans and many, many others whose names we must never forget.
I could go on and on about early ABA members. Although we miss all those old timers, we have many to
take their places, as exemplified by the progress now being made in The American Bandmasters
Association.
Respectfully yours, Earl Slocum ‗41
1988 ABA Annual Report
President Slocum‘s Address - 1963
Just twenty-one years ago last month I received two letters which I shall always cherish. One was from our
beloved secretary, Rusty Bainum, saying that Capt. Charles O‘Neill reported that I had successfully passed
all my written examinations for membership in the American Bandmasters Association. The second letter
was from Edwin Franko Goldman congratulating me upon my election to ABA. He said, ―I hope that you
will be interested in the affairs of the organization and will take an active part in them.‖ This I have tried to
do. As a matter of fact, I have missed only three conventions since becoming a member.
As momentous as the year 1942 was to me, it was far surpassed year before last when, as I listened to a
nominating speech, I suddenly realized that the person being talked about was me. It is impossible to tell
about one‘s feelings at a time like this. I couldn‘t believe my ears. A lump came into my throat and…all
of a sudden it was all over…I had been elevated by my peers to the Vice Presidency of the American
Bandmasters Association, an honor undeserved, but one which I was proud to accept. And now after
having served this year as your president, I can only say, as every preceding president of this organization
has said, ―It is the highest honor that can be bestowed upon any band director.‖ With this I agree. Thanks
for allowing me to serve.
This past year has been a rewarding one for ABA, I believe. By awarding the Edwin Frnako Goldman
Memorial Citation to deserving men outside our membership, we have not only honored them, but have
honored the memory of our founder and first president, Edwin Franko Goldman. As most of you know, the
first citation was presented last summer to Capt. Harry F. Guggenheim, distinguished president of the
Daniel and Florence Guggenheim Foundation. The occasion was at a special ABA concert by the Goldman
Band in Central Park on July 20, 1962. This concert, which was arranged by Richard Goldman, featured
many of our ABA members as guest conductors. Past presidents Harold Bachman, James Harper, Col.
George Howard, Herb Johnston, Vice President Paul Yoder, the late Eric Leidzen and Paul Van
Bodegraven were on hand in addition to Richard and myself. Capt. Guggenheim evidently was much
pleased with the felicitous and impressive ceremonies arranged for the occasion. From a letter received
from him dated August 6, 1962 I read in part:
I was most happy to receive the Edwin Franko Goldman Memorial Citation. I have read the
Citation with much pleasure and satisfaction. I shall call the Citation to the attention of the
members of the Board of Directors of the Daniel and Florence Guggenheim Foundation. I am sure
they will share my pleasure.
A second award was made July 28, 1962 to Charles M. Tremaine at the National Music Camp when eight
members of our Association visited the camp as guest conductors of the high school symphonic band. Mr.
Tremaine, who helped establish the National Music Camp in 1928 with Joe Maddy, was honored for his
―effective and generous service to the musical interests of America for well over half a century.‖ He was
founder and director of the National Bureau for the Advancement of Music and inaugurated National Music
Week. With your permission I would like to read a letter received from his last spring:
Dear Mr. Slocum:
Your letter of March 20th telling me of the proposed Citation to be given me by the American
Bandmasters Association as a special ABA concert at Interlochen in July has surprised and
pleased me greatly.
As I shall be 92 in June, my mental and physical faculties are far from being as good as I would
like them to be. However, I do hope to get to Interlochen to receive the Citation in person.
All the famous bandmasters of years ago are close to my heart, as the American Bandmasters
Association will always be. You can, therefore, understand my pleasure at the proposed action by
the leaders of today.
Sincerely,
C.M. Tremaine
No one who witnessed the presentation will ever forget the genuine pleasure Mr. Tremaine displayed
during the reading of the Citation and the actual presentation. He literally hugged the Citation and then
proceeded to the microphone and made a very heart-warming speech of acceptance. I shall always be
grateful that I was present for this momentous occasion. In addition to Joe Maddy and George Wilson of
the National Music Camp, and to whom we are greatly indebted for arranging last summer‘s concert, the
following ABA‘ers were on hand as guest conductors: Glenn Bainum, Col. Schoepper, Leonard Falcone,
Milburn Carey, Herb Hazelman, Jim Dunlop, Wesley Shepard, and myself.
A third Edwin Franko Goldman Memorial Citation will be presented to Herman D. Kenin, president of the
American Federation of Musicians. President Kenin will be our guest during the convention and will
receive the Citation at the Army Band Concert on Saturday night.
Although the American Bandmasters Association took a long time considering an appropriate way to honor
the memory of our founder, the time was well spent. The recommendation of the committee headed by
Harold Bachman and the acceptance by the membership of ABA to award the Edwin Franko Goldman
Memorial Citation has, in my opinion, proved to be of really significant importance to our organization. If,
in the future, we continue to select only worthy candidates, as was the case this year, the Citation will not
only enhance the honor of the recipient, it will add luster to the Goldman memory and increase the prestige
of the American Bandmasters Association.
I wish to express my thanks to various ABA members for the fine cooperation given throughout the year:
HAROLD BACHMAN – Chairman E.F.G. Memorial Citation Committee (Karl King, Jim Harper,
Sam Loboda, H.E. Nutt); Harold singled out for special praise—collecting bids, folder, compiling
biographical information, working text, numerous other details.
GLENN BAINUM – The President‘s friend. Always most helpful and very gracious when doing
so—prompt replies to correspondence, etc., etc.
PAUL YODER – two committees
1. Membership – compiling information on candidates
2. Chairman of North American Band Directors Coordinating Committee, along with
Hubert Henderson and Herb Fred, representing ABA.
BOARD OF DIRECTORS – Chairman Otto Kraushaar, Leonard Falcone, Clifford Hunt, John
Paynter, and Arthur Williams.
HERBERT HAZELMAN – Convention Host. Planning Committee – Jim Harper, Paul Yoder,
Paul Bryan, Herb Fred, Herb Hazelman and your President [Slocum].
WILLIAM F. SANTELMANN – Chairman Sousa Memorial Committee.
JOHN YESULAITIS – Chairman Ostwald Award
JIM HARPER – New York Publicity, Transportation (or anything)
LYNN SAMS – Compiling ABA Newsletter. Sams is own secretary – difficult to write each for
Newsletter. Needs help, more cooperation.
Earl Slocum, President
1963 ABA Annual Report
CLAUDE T. SMITH (1932 – 1987)
Claude Smith died following a heart attack on December 13, 1987 at the age of 55. Although he was born
in Monroe City, Missouri he grew up in Carrollton, Missouri. Claude attended Central Methodist
University for two years and then served a three-year hitch as an Army bandsman, before completing his
bachelor‘s degree at the University of Kansas. For eighteen years he was a band director at public schools
in Cozak, Nebraska, Kansas City and Chillicothe, Missouri. Claude‘s last teaching position was at
Southwest Missouri State University where he taught theory and composition and was conductor of the
symphony orchestra.
Claude served as Educational Consultant for the Wingert-Jones Music Co., which launched him on his
composing career when they published his first composition. Subsequently, Claude was staff composer of
Jenson Publications, making numerous appearances as guest conductor, adjudicator and clinician. Claude
became a prolific composer with a large number of published and commissioned works. Among his
numerous commissions were works for each of the Washington, D.C. service bands. His music entitled
―Flight‖ was written for the Smithsonian Institute to serve as a background for the film shown daily at the
Aerospace Museum. It has been seen by millions of visitors.
For over twenty-five years Claude was a choir director for a number of churches, frequently composing
special music for their services. On the day he died, Claude conducted his original music for soloist,
chorus and orchestra in his final service at the Blue Ridge Presbyterian Church in Kansas City, praising in
song the Lord he served so faithfully.
Claude considered his election to membership in ABA in 1981 his greatest honor and achievement.
Scholarships honoring him have been established by Jenson Publications at four schools: the University of
Kansas, Southwest Missouri University, Central Missouri State University and the Central Methodist
University, which will confer on Claude a posthumous Doctorate in May.
Claude was greatly admired and loved by his family, students, peers and friends. His gentle manner,
kindness and concern for others were always very apparent. Claude never looked back. He said he had too
much to do in the future to be concerned about the past. For Claude, the past was just…a prologue.
1988 ABA Annual Report
ROGER H. SMITH ( - 1975)
Hugh McMillen, President of the American Bandmasters Association, read the names of those members
who had passed on since the last meeting. This list included Roger H. Smith, who passed away on
February 25, 1975. He had been a member of ABA since 1965.
1975 ABA Annual Report
SANDY S. SMITH
Sandy S. Smith was elected to membership in the ABA in 1949. He was the conductor of The Cutler-
Hammer Band, which was sponsored by The Cutler-Hammer Company of Milwaukee, Wisconsin.
1987 ABA Annual Report
W. BRAMWELL SMITH (1929 – 1993)
W. Bramwell Smith was born in Toronto, Ontario in 1929 and died of cancer in Bramalea, Ontario on
August 4, 1993 at the age of 64. He spent his adolescence in Toronto and it was there that he began to play
the cornet. Bram came by his talent naturally since both his grandfather and father were excellent
cornetists.
He earned his bachelor‘s degree from the Royal Conservatory of Music, having studied with Sir Ernest
MacMillan. Bram became one of North America‘s premier cornetists, performing with the Benny Louis
Orchestra and the Royal Regiment Band.
Bram‘s desire was to be a member of the U.S. Marine Band, which he considered to be the best in the
world. His wish became a reality when in 1949 he was accepted as a member of that organization,
becoming the first musician who was not an American citizen. For eight years, from 1949 through 1957,
he performed as soloist at concerts, ceremonies and on tour. During White House receptions he displayed
his artistry before such international notables as Nikita Khrushchev, Charles de Gaulle and Queen Elizabeth
II.
Returning to Canada, Bram worked for the Canadian Broadcasting Corporation, appearing with the Howard
Cable Orchestra on radio and television.
Once again he came to the United States, this time to become a member of the U.S. Army Band. Besides
being a soloist, he was an advisor on period music and helped form the U.S. Army Herald Trumpets, the
premier ceremonial music unit in the nation‘s capital. Bram also composed and arranged the president‘s
ceremonial fanfare.
He returned to Canada again as Director of the Royal Canadian Mounted Police Band for eight years, from
1967 to 1975, followed by a period of time when he was the Canadian representative for Yamaha Music.
He became music coordinator for Humber College in 1978. Four years later he traveled to Morocco,
having been hired by King Hassan II to tutor the Moroccan Royal Air Force Band. He spent three years on
this special assignment.
Upon his return to his homeland, he assumed the directorship of the University of Toronto Concert Band.
Bram‘s colorful career ended as conductor of the York University Brass Band. His departure from our
ranks will be felt for many years to come.
1994 ABA Annual Report
KENNETH O. SNAPP (1916 – 1991)
Dr. Kenneth O. Snapp died in Phoenix, Arizona on March 24, 1991. A native of Montone, Indiana, he
grew up in Bristol, Indiana, where early in life he came under the influence of the music activities of nearby
Elkhart. Kenneth was a member of a very musical family. His mother played the piano and all the children
in the family had played in the Bristol High School Band.
Kenneth was a scholarship student at the University of Miami where, in 1939 he received a Bachelor of
Music degree. Subsequently he earned the master‘s degree from the University of Michigan and the PhD
from Indiana University.
For seven years Kenneth was a music director in public schools in Florida and Missouri. He served at
various times as band director at Indiana University, the National Music Camp at Interlochen, Baldwin-
Wallace College and Ithaca College. In 1974 and 1975 he was a visiting professor at the University of
Southern California and the University of California in Los Angeles.
Kenneth was active in promoting original band music, commissioning major works by our Honorary ABA
Member Vincent Persichetti, Norman Dello Joio, and Karel Husa, whose ―Music for Prague 1968‖ was
premiered by the Ithaca Band at the National MENC Convention held here in Washington, DC in 1969.
During World War II Kenneth served in the Army Air Corps as an officer with the Special Services
entertainment branch. He was a member of the United States Air Force Reserve with the rank of major.
Kenneth was a member of Pi Kappa Lambda, the Music Educators National Conference, and as the College
Band Directors National Association, serving as president of the Western Division in 1974. He was elected
to membership in ABA in 1967.
Kenneth was appointed Director of Bands at Arizona State University in 1970. Three years later he was
honored as one of the ten outstanding music educators in the country. In 1974 Kenneth assumed the
position of Director of Bands at Western State College in Gunnison, Colorado, from which he retired as
Director Emeritus. Although he retired to the Phoenix area, Kenneth remained active as guest conductor
and clinician until his unexpected death at the age of 74.
1992 ABA Annual Report
JOHN PHILIP SOUSA (1854 - 1932)
―Reminiscences from Col. William Santelmann‖ - 1984
You know, you people are very kind. This time, I knew that I was going to be called on—yesterday, I
didn‘t know and it was a surprise. I felt very much like the corpse that rose from his grave and read for the
first time the epitaph the family had put on his stone. It was very complimentary, loving and wonderful. It
was so wonderful that he couldn‘t believe it. So he read it again—what a great man, etc. etc. Finally, he
turned to the spirit on the side of the grave and said, ―Surely these people didn‘t know me or I‘ve been in
the wrong hole all this time.‖
Now, before I get into what I would like to tell you about, I want to make a tribute to the other Bill—Dr.
Bill Revelli—for his wonderful performance last night of ―LeRoi d‘Ys‖. I know the composition quite well
and have used it on the road, but Bill, you did a magnificent job—you got everything there was to get out
of it and ―My heart at thy sweet voice‖.
I, too, met John Philip Sousa on several occasions and talked with him, although he did not remember my
name—but my father was in the Marine Band under Sousa, 1888 or 1887. I played under his direction
many, many times. We did premier performances for many celebrations and I don‘t know how many times
we played ―Stars and Stripes‖ under his direction. So, with that, you and I have very much the same
experience.
I also was privileged to be one of the honorary pallbearers for Karl King and Frank Simon. Thinking this
over put my mind in a very funereal line and I began to think, ―I wonder how many people in this
aggregation know anything about the funeral—the internment—of John Philip Sousa.‖ We know his birth
date, we know his death date, but we don‘t know what happened. I have all of that information and think
that should be interesting. I doubt if there are more than a hundred people in the United States who would
know, for instance, how George Washington was buried in the crypt at Mt. Vernon—or how Harry Truman
was buried. These are things that we know about the man—when he was born and what he does during his
life—but from the moment he closes his eyes in heavenly repose, we stop. We don‘t pay attention.
Sousa, as you may know, started his career as a boy of 13 in the Marine Corps as a music boy. In the
contract with his parents with the Marine Corps, they allowed the Corps to deduct from his salary to pay for
teaching him the art and mysteries of music. He took over the Marine Band in 1880 and remained Leader
until 1892.
Of course, that was many years ago and a man, as he reaches our age, forgets a lot of things. I had been in
the Marine Band nine years before Mr. Sousa died, and I took part in every single thing that took place
there. It gave me quite a thrill to know that, although he was dead, yet he was a neighbor of mine because
he is buried in a cemetery in Southeast Washington.
To be sure that I did not misstate myself, I must start by saying that in 1921 my father was still director of
the Marine Band, and at that time Congress appointed a second leader. Now I use the term ―Leader‖ and
―Second Leader‖ because that is the way those positions were enunciated when Congress determined our
positions. My father then appointed a man by the name of Taylor Branson to be Second Leader. Later on,
Branson succeeded my father as Director of the Marine Band and became a member of The American
Bandmasters Association.
Taylor Branson (who had been my father‘s pupil, by the way) and my father and I got together and decided
that it really was a great shame for information about the Marine Band to end here. Wouldn‘t history like
to know what the Marine Band did for the King when he came to visit Washington? When Lincoln said,
―No, I don‘t want the music and the concerts to stop…Washington needs music…Let the Marine Band
play,‖ they continued to play on the South grounds of the White House until Robert Lincoln died.
Maybe we should have recorded these things in the past; perhaps we should record them from now on and
register all the funerals, the inaugurals and visits of kings and queens. The King and Queen of England, the
father and mother of the present Queen, were welcomed into Washington by the Marine Band. I was
conducting it and we marched all the way up to the White House. We took FDR‘s remains from the train
all the way to the White House, where the Navy Band took over and played ―The Marine‘s Hymn.‖ There
are so many things in my mind that should have been placed in writing so we would understand and know
what the Marine Band has done.
The Marine Band, God bless them, are always so good to me. They xeroxed the leaves from Branson‘s
diary and there is a lot of fine information there. One could go in and read that diary and write a book.
Branson said in his diary that on March 6, John Philip Sousa‘s body arrived at the station (which is no
longer in existence) on Wisconsin Avenue. The body was taken from there to the funeral parlor. On
March 7, a memorial concert was broadcast on radio for Sousa, who had died on March 6 in Reddy,
Pennsylvania. Clark played ―Ave Maria‖ and many musical numbers followed. The diary also speaks of
the weather…the day before the funeral there was a huge snowstorm.
On March 10 the funeral was held in the Band Auditorium. The body laid in state from Wednesday
morning, placed on the podium of the Marine Band state—John Philip Sousa had returned to his rightful
place where he started in 1880. The people filed by and paid their last respects. ―Abide With Me‖ and
―Jesus, Lover of My Soul,‖ written by the leader of the band, were played behind a floral background. The
Marine Band, in preparation to going to the parade ground, played ―The Son of God Goes Forth to War‖
and ―Nearer, My God, to Thee,‖ as the body was brought from the Band Auditorium.
After the services, the Band went out on the parade ground—we had a company of Marines and a company
of Sailors behind us. On the way to the cemetery, the band played ―Semper Fidelis‖ in dirge time. It was
the strangest thing I ever heard—―Semper Fidelis,‖ always faithful. Several more funeral music numbers
were played at the grave. ―Jesus, Lover of My Soul‖ and ―Abide With Me‖ were sung by a quartet. There
was no eulogy, only a brief benediction. The service was very short. According to the diary, all these
things were announced on radio by Arthur Godfrey.
We were cold as the devil—I know I had on an overcoat but I shivered while the service was going on.
Notable musicians, honorary pallbearers, were: Eugene Buck, President of ASCAP; Stephen Rathburg;
Arthur Pryor; George M. Cohan; Edwin Franko Goldman and others who were outstanding in the music
world.
There was an overflow crowd at the funeral. Throngs of people lined the streets. We marched to the gates
of the cemetery and were told to diminish front and go through.
Margaret and I went over to see the grave last week and the plantings around the grave are still there,
unmarred. The stone is beautiful white marble. Sousa‘s son and daughter Priscilla Jane are buried there.
In 1951 we had a convention in Washington and the entire ABA membership went to the grave in
Congressional Cemetery and had a tribute to John Philip Sousa. The Marine Corps has taken over the
responsibility of trimming and cleaning the gravesite. The grave of Herbert Lincoln Clarke is right across
the road from Sousa‘s.
This picture shows the Sousa grave. There are three gentlemen standing there. One of them, in uniform,
was the Commanding Officer of the Marine Barracks, John Potts. I often kidded him about his name,
saying that there were three cities named for him: Pottsville, Pottstown, and Chambersburg. He had a
wonderful sense of humor. The second man is Frank Simon and I am the third. Tape was played as we
boarded the bus and departed. This shows a fine picture of the grave itself, and I am going to turn this
photo over to our marvelous Secretary-Treasurer here and let him take charge of it.
If you will give me just two seconds, I want to answer a question I had fired at me. I toured the states many
times, coast to coast, and so many people come to me and said, ―John Philip Sousa was in the Marine
Corps, was he not?‖ ―Yes, sir.‖ ―He was also at the Naval Base in Illinois. So then why wasn‘t he buried
in Arlington?‖ Well, the truth of the matter is, you must remember that Sousa lived in the 19th century and
the regulations at Arlington Cemetery at that time (my own mother and father are buried there) were that a
man (officer) and his wife could be buried in separate graves. Space has become very scarce, so now a
man‘s wife has to be buried in the same grave (above or below). So in John Philip Sousa‘s time, in the
Congressional Cemetery (which is misnamed because a lot of well-known congressmen are buried there
but they all have the same headstones) Sousa could buy a plot, not for himself alone, but for his entire
family. I am sure that is the reason he chose that cemetery, which was only a stone‘s throw from where he
was born.
Sousa was baptized in the same church I was baptized in. It didn‘t do me any more good than it did him.
Nevertheless, as we looked at that grave the other day I thought, here lies not only the leader of all music of
the Marine Band, but the leader of all music in the United States. But he only lies there. His spirit soars
above us all. We will remember him, we will play his music and we will love him forever.
1984 ABA Annual Report
―What Inspired Mr. Sousa to Compose ‗The Stars and Stripes Forever‘?‖
Mr. Sousa experienced one of the most vivid incidents of his career in December 1896. It occurred while
he was returning from a European vacation. As the ship sailed out of the harbor he was pacing the deck,
absorbed in thoughts of the many decisions he had to make when he returned to the United States.
Suddenly he began to sense the rhythmic beat of a band playing within his brain. Throughout the voyage,
that imaginary band continued to unfold the same theme—echoing and re-echoing the most distinct
melody.
He did not transfer a note of that music to paper until he reached shore. On Christmas Day he set down the
measures that his ―brain band‖ had been playing for him—and not a note of it has been changed.
1988 ABA Annual Report
GALE L. SPERRY (1923 - 1973)
Jack Mahan, President of the American Bandmasters Association, read the names of those members who
had passed on since the last meeting. This list included Gale L. Sperry, who passed away in 1973. He had
been a member of ABA since 1960.
1974 ABA Annual Report
RANDALL SPICER (1914 – 2002)
L. Randall Spicer was born on July 27, 1914 in La Junta, Colorado and died in Pullman, Washington on
March 4, 2002. He took up playing the clarinet while in junior high school and performed in both the
junior and senior high bands. He enjoyed playing dance music, and at the age of sixteen was a member of
several dance bands. Randall also played the piano. For several years before the ―talkies‖ began he played
background music for the silent movies. Jokingly, he said he‘d never be featured in the concert hall.
Randall attended the University of Colorado in Boulder where he earned his bachelor‘s degree in 1941 and
his master‘s degree in 1942. He started his career as supervisor of public school music in Las Animas,
Colorado in 1936. From 1937 until 1942 he was director of bands in Longmont, Colorado High School.
During the following eleven years he was associate director of bands at the University of Colorado and
supervisor of public school band music in Boulder. His high school bands had set a standard that band
directors tried to emulate. Randall was also known as an outstanding clarinet performer.
In 1952 the University of Colorado Band, directed by ABA member Hugh McMillen, gave the second
performance ever of the Hindemith Symphony for Band. The first chair clarinetist was too ill to play the
solo part, so Hugh simply called Randall to come in for the dress rehearsal and concert because he was the
best clarinetist around.
In 1953 Randall became director of bands and a member of the music faculty at Washington State
University in Pullman—a position he held until his retirement in 1977. Under his direction, the bands were
recognized worldwide. He also ran the high school summer camp at the university. Many attendees went
on to careers in music and the arts. He was very proud of the hundreds of successful students he mentored,
but was especially proud of the nine former students who have been elected to ABA membership.
Randall was a founding board member of the Western International Band Clinic, serving the clinic from
1980 to 2002. He was on the Board of Directors of the American Band College from 1989 until 2001, and
was associated with the Bandworld magazine. He was a frequent contributor to the School Musician
magazine, the Instrumentalist, the World of Music and numerous other publications. For many years he
prepared a newsletter that was sent to members of the National Band Association. He also served on the
Leblanc advisory board.
For many years after his retirement, Randall and Lucille took high school age musicians on tours of
Europe. Randall‘s commitment to music and education was recognized throughout the music world. He
was elected to the Music Educators Hall of Fame in both Colorado and Washington. He was Past President
of the Northwest College Band Directors Association. Besides being a conductor and clinician in twenty-
eight states and three Canadian provinces, Randall was frequently invited to be guest conductor throughout
the United States, Canada, Europe and Japan. Elected to ABA membership in 1953, he served on the
Board of Directors in 1975 and 1976.
In 1986 the Alan Rogers Residence Hall System was dedicated on the Washington State University
campus. Each hall in this ten-story residence became a house. One of these is the Spicer Music House. It
offers a unique environment for music majors, as well as music enthusiasts. Annually, the University
College of Liberal Arts awards the Randall and Lucille Spicer New Talent Scholarship to music majors.
Randall was a glowing example of what it meant to be a good husband, father and friend. He was an
inspiration to those who knew him. This truly gifted man was one of America‘s most respected band
directors, who, for more than seventy years, unselfishly contributed his talents to the profession he loved.
2003 ABA Annual Report
WILLIAM EDWARD STANBURY (1897 – 1996)
William Edward Stanbury was born in Brantford, Ontario on December 11, 1897 and died of pneumonia in
Kansas City, Missouri on August 1, 1996. His family moved to the United States when he was four years
old. His father was a tailor and his occupation took him to temporary residences in Ohio and Kentucky.
When William was ten years old his family settled permanently in Quincy, Illinois where he attended the
public schools. In 1917 he joined the Navy and was stationed on the battleship USS Kansas. Although he
was not a musician, the Navy gave him the rating of Musician First Class. William is one of the small
number of ABA members who served in World War I.
After his discharge from the Navy in 1919, William went to New York City to become an apprentice,
studying tailoring and design. In 1921 he was hired by the DeMoulin Bros. Uniform Company. Four years
later he moved to Kansas City and joined the Craddock Uniform Company. In 1941 he moved to Chicago
and was employed by the Price Brothers Clothing Store. Two years later he returned to Kansas City to
establish his own uniform business. In 1958, in order to cut operating expenses, the factory operation was
moved to Brookfield, Missouri, although the business offices remained in Kansas City.
The Stanbury Uniform Company was one of four uniform manufacturers who were sponsors of the Mid-
West Clinic during the first years of the clinic‘s existence. For several years this sponsorship benefited
both the manufacturers and clinicians.
William regularly attended our annual meetings and was proud of his association with ABA. He was
elected to Associate ABA Membership in 1969.
William sold his uniform company to Medalist Industries in 1976 and served as an advisor to the new
company for several years. Medalist Industries retained the Stanbury Uniform Company name because of
the excellent reputation it had attained over the years—so his heritage lives on.
1997 ABA Annual Report
MACK STARK (ca 1886 – 1960)
Mack Stark, 73, general manager of Mills Music, Inc. for more than 25 years and one of the prominent
leaders in the educational field, died at his home in Miami Beach, Florida on August 20. Mack had been in
the music business for more than 50 years.
Starting as a drummer at the RKO and the B.F. Keith Vaudeville Theaters, he continued in theater and
vaudeville until about 1914, when he joined the publishing firm of Waterson, Berlin and Snyder, where he
became general manager. He later became a partner in the firm of Stark and Cowan, Inc. and then later
joined Stept and Greene, and Paramount Pictures Music Corp. Mack was prominent among the publishers
who supported and founded the American Society of Composers, Authors and Publishers over 40 years
ago. He was also a member of the Music Publishers Association, representing leading educational and
standard publishers. As one of the key figures in educational music, he helped develop many composers,
including Leroy Anderson and Morton Gould, both of whom have made outstanding musical contributions.
Surviving are his wife Stella, a son Lewis, a daughter Mrs. Thelma Rome, two grandchildren, four great-
grandchildren and two sisters.
1960 ABA Newsletter
CARLETON LEE STEWART, Sr. (1907 – 1985)
Carleton Lee Stewart, Sr. died on November 21, 1985 at the age of seventy-eight. Carleton was born into
music at Clarion, Iowa where his father was director of the high school and municipal bands. He received
his musical education at the University of Iowa and the Ithaca Conservatory of Music. Carleton was
elected to membership in the American Bandmasters Association in 1936 and served on the Board of
Directors in 1948, 1958 and 1961. He was elected president in 1960.
After serving as high school band director in Elizabeth, New Jersey for one year, Carleton came to the
Mason City school system. During his nineteen years as conductor-teacher in their schools, he established
the great Mason City Band tradition, which has continued for more than a half century. Nine of his bands
and five of his orchestras received the highest ratings in national contests.
In 1950 Carleton left the school band field to start his own music company. However, he continued to
serve as conductor of the Mason City Municipal Band for thirteen years and served as clinician, lecturer
and guest conductor. Universal respect for Carleton led to his election as President of the Old National
Band Association and President of the Iowa Bandmasters Association. Some of the other honors he
received during his long and distinguished career were the American School Band Directors Association
Edwin Franko Goldman Award and his induction into the National Band Association Hall of Fame of
Distinguished Conductors.
Carleton was always gracious, humble, kind and generous in his praise of others. In a tape recording made
in 1983 and now on file with his memoirs at the National Hall of Fame, Carleton said:
I‘d like to have whatever is written about my honors mention all of the bands, all
of the directors who worked with me, and what the school administration and community of
Mason City have done to make all of this possible.
1986 ABA Annual Report
President Stewart‘s Message - 1961
The time has come now for the 23rd President of the American Bandmasters Association to deliver his
annual message. It is the one opportunity he has to speak directly to his colleagues and it is an occasion
that is filled with the most moving and deeply felt personal feelings. It is also an occasion on which the
president should look backward and, at the same time, look forward while trying to express himself on the
wonderfully complex subject of the concert band and its leaders.
At the outset I must say some things which I am sure have been said by every ABA President before me.
However, it is only when you finally stand in this position that you can fully realize the need for their
speaking as they did. To have been elected President of ABA is the highest honor that can come to anyone
in our field. I would not have believed that such an honor could come to me and, when it did, I was
overwhelmed with a sense of humility and a feeling of gratitude. At this point I want to thank you from the
bottom of my heart for the opportunity to represent the greatest honorary organization of its kind in this
world.
During the past year it has been my happy privilege to represent ABA in person and in print on a number of
occasions. I hope that I have served you well. On each occasion I was gratified to recognize the universal
respect and admiration in which ABA is held. This was most noticeable and very satisfying and it is,
perhaps, one of our greatest assets.
During the past year there has been some activity toward the formation of one or more additional national
band organizations. I do not feel that there need be any negative concern about this on the part of ABA.
The principles upon which ABA was founded are clear and distinct. The formation of new organizations,
based upon other principles, can only serve to emphasize and enhance the honorary character of ABA. We
welcome new organizations and we wish them well. We offer to them the cooperation of the one
organization which includes the most outstanding personalities in all of the various fields of band activity.
So far as the future is concerned, I think we would do well to continue on our present course. The concert
band is slowly but surely achieving its place as a serious medium of musical expression and I feel sure that
ABA will continue to lead the way to its ultimate position.
Very shortly I will become a past president. I want to assure you that the honor of being your president
will never be forgotten by me. I will continue to devote myself to our causes and principles. I do not
intend to retire into inactivity, but rather work harder than ever for those noble causes to which we are all
devoted. I have looked forward to the fellowship of this convention and I shall cherish every moment of
our time together. I hope that when the convention is over we can look back upon it with happy memories
and a great sense of achievement.
1961 ABA Annual Report
RICHARD STRANGE
President‘s Address - 1986
May I say here and now that it gives me great pleasure to welcome the ladies to our midst. We have here
with us two new members of the opposite sex. I‘m certain they will be joined by more in the future. It was
inevitable, gentlemen.
I must compliment Jack Mahan for the absolutely astounding amount of work that he does for the ABA.
From the vantage point of the Office of President, it is evident to me that his dedication and ―just plain hard
work‖ are the main reasons for the smooth functioning of our organization. He and Florence spend more
hours on ABA business than could reasonably be expected of ten people. We owe them a huge ―Thank
You.‖
For almost the entire year I have been mulling over ideas for this speech. As all Past Presidents can attest,
new and different phrases are not easy to find, especially at speech-making time. So, after trying to
discover a significant new topic (and failing), I decided to address several issues that have occasioned much
soul-searching among our membership.
In the course of many years, any organization takes into its membership people who do not understand and,
sometimes, do not agree with the objectives of the organization. They don‘t comprehend that
organization‘s purpose and they are mystified by what happens in its meetings. The ABA is no exception.
In the past, we have taken into our ranks quite a few distinguished gentlemen who accepted membership
when invited, but no longer attend on any regular basis. I have spent a lot of time talking with several of
them, and have ascertained that, almost without exception, they are looking for something that is not
present in the ABA, and probably never will be. Invariably, their concerns come down to the following
points. Let me enumerate and discuss them one by one.
Concern Number 1:
Why do we waste (these are their words) so much time on business meetings that are concerned
mainly with electing new members and listening to committee reports?
My answer: We have a self-perpetuating organization that seeks to honor excellence in the band world, if
for no other reason than that our founders thought it needed to be done. Many of you may not be aware of
the fact that only 469 persons have been so honored since 1929 and 230 of them are on the roll at the
present time. I must admit that I was rather flabbergasted by this figure. We tend to think of any
organization with a fairly long history as being larger than it really is. What this means is that some of
those members who were taken in during the first several years are still with us, and much of the population
of this organization has been with us for some time. Considering the number of eligible candidates for the
honor of election to the ABA throughout the course of its history, this is as it should be, under the terms of
our constitution, because the identification of high achievement takes time. It is not something that
happens overnight.
We have many strengths, but our biggest one is our membership and its dedication to the great band
traditions that have accumulated since the time of John Philip Sousa. Yes, to some members, we seem to
spend an inordinate amount of time discussing candidates and bickering over election procedures. This
statement may be true, to a certain extent, but misses the point of why we do these things. The point is not
that we spend ―too much‖ time electing members; the important thing is that we spend time electing worthy
members after extensive screening.
Also, the point is not that we must listen to reports from committees; the important thing is that we have
committees functioning in a productive manner.
Concern Number 2:
Why are there so many fine musicians and conductors on the outside of the organization if we
truly elect to membership the best in our field?
My Answer: It has been said that we accept well-known directors too slowly, at times. In response to this,
I would rather use the word ―deliberate‖ than ―slow‖. It is appropriate that the honor of membership in the
ABA be conferred after all candidates have received lengthy, positive, friendly scrutiny. As many of you
who have been in these deliberations know, quite often the reason for a deferral has more to do with the
lack of material presented on behalf of a candidate than the merit of the candidate. We are working
constantly on procedures that make it easier to submit a comprehensive file on those people who are
candidates. When I was Vice-President, I revised all of the forms and clarified a few phrases so that some
of the questions could be answered more clearly. This process will go on again and again as each new
Vice-President takes office.
Concern Number 3:
Why do we give concerts that feature so much antiquated band music and transcriptions of
orchestra music? We seem only to be interested in listening to ―old war horses‖ and attending
long, sumptuous banquets.
My Answer: I plead guilty to the charge of attending (and enjoying) long, sumptuous banquets, so let‘s
skip that one. However, concerning our concerts, the point is not that we play ―old war horses‖. The
important thing is that we have well-played concerts with enjoyable music and conducting.
Please pardon me for stating the obvious. The ABA is not, and to my mind should not be, the College
Band Directors National Association. It is unique unto itself and must maintain its own traditions or lose
its place in the band world. When I attend CBDNA (and I will be doing a lot of that in the next few years),
I expect and want to hear concerts that are full of original and often ―avant garde‖ music. This is one of the
main reasons that I go to the CBDNA. There, I get to hear music that I can hear no place else. I believe
that there is ―a time and a place for everything,‖ and CBDNA is the time and the place for me to hear
esoteric new music in large amounts.
To bring that same programming into the ABA would risk alienating a great number of our own members
and also alienating the audiences who come to our concerts expecting a large dose of traditional music.
Having played host to two conventions already, I can say that I have no difficulty attracting a reasonably
large audience to an ABA concert. People read our publicity in the paper; they read the names of famous
band leaders who will function as guest conductors, and they come to the concerts in droves with the
expectation of hearing a large amount of traditional band music. These audiences will listen to music that
is different and challengingly ―avant garde‖ but they enjoy it in limited amounts.
Since I have been a member of the ABA, I have been aware of an almost constant upgrading of the content
of our concerts. I think if you will look over our programs from the past several years, you will see that
there is a mix of old and new, small forces and large forces, plus the added interest of soloists. Our format
needs no basic change.
Concern Number 4:
Why do some members seem to speak so disparagingly about wind ensembles and wind ensemble
conductors?
My Answer: I have been aware in recent years of a growing dichotomy between devotees of the wind
ensemble concept and those of us who were weaned on the sound of the old University of Colorado,
Michigan and Illinois Bands. This split is distressing. Why is one good and the other bad? It seems
obvious that the music chosen, plus the balance and sound of the group, are the only important factors in
the choice of an expressive medium. My own ear tells me that I like the built-in balance of the large group
for most music, but, I would be silly to accompany the Stravinsky Piano Concerto with 75 wind players
doubling and tripling all parts.
On the other hand, my ear has difficulty accepting the sound of the Hindemith Symphony in Bb when
played on a 1-on-a-part group. It seems to me that the woodwind sound, indeed, the woodwind presence
disappears when the brass and percussion sections exceed the forte level, as they must in such a massive
score.
In the final analysis, however, we all stand or fall musically on the performance of our groups. If
musicians of equal stature prefer different means of arriving at the same musical goal, so be it. The sound
of the group is the final test. A wonderful wind ensemble equals a top-flight band of symphonic
proportions in the ears of a discerning audience when the music is appropriate to the group and is played
with taste and style. Why can our programs not have elements of both groups, rather than being confined
to the structures of only one idea.
Some of us prefer to create a wind ensemble from the first chairs of our large bands when the music calls
for it. Others prefer to have a wind ensemble as a separate group, playing music appropriate to that group.
There is no right or wrong, there are only good performances and unacceptable performances. We should
use the sound, not the size of the group, as our criterion for excellence. The ―straw man‖ of Wind
Ensemble vs. Symphonic Band should be banished from our thoughts once and for all. MEMBERS ON
BOTH SIDES OF THAT FENCE SHOULD ―LIVE AND LET LIVE.‖
Concern Number 5:
What is there in this convention that will be of value to me (and my students, if I am a teacher)?
My Answer: When I attend meetings of other band organizations, I go to gather new materials for use at
my own school. When I come to the ABA, I come basically to renew my faith in the band movement, as
exemplified by our membership (many of whom were my teachers). There is no greater professional
privilege, in my book, than the privilege of spending 4 days and evenings with Hugh McMillen, Bill
Revelli, Mark Hindsley, Cliff Hunt, and all the myriad other members who had so much influence on me. I
look forward to listening to them talk about our band heritage. They are the ones who made it possible for
those of us who came later to carry on a tradition that they initiated.
Each time I say ―hello‖ to Hugh McMillen I remember, all over again, his gentleness and poise, which
never failed to elicit from us the best playing of which we were capable. Yes, I see them for a few minutes
at the Mid-West; yes, I see some of them at CBDNA meetings, but no, I don‘t spend time with them in the
same way that I can here in the small family of our membership.
Sometimes it is both easy and, hopefully, wise to speak in clichés. It has been my experience, generally,
that clichés exist because they seem to truly representative of what happens in the real world. After much
thought on the subject I have concluded that one of the oldest of the clichés is applicable directly to our
organization. ―If it ain‘t broke, don‘t fix it.‖
I say that because the ABA has been a successful organization since its inception and has evolved slowly
but surely. What we have today, basically, is a FRATERNITY OF KINDRED SPIRITS—people who all
share a love of music and a high regard for each other. We come together formally once each year to
renew our friendships and ―recharge our batteries‖, so to speak, by coming into intellectual and emotional
contact with each other. This is done in conjunction with many different activities, but still, in my mind, a
basic purpose for coming together is simply to see each other, enjoy each other, and talk to each other.
Those members who maintain their dues payments and yet shun our meetings forget one thing. We all
grow older, day by day, and, therefore, need each other‘s companionship more each year. When is the last
time that many of our retired members attended an MENC or CBDNA meeting? Probably not for several
years. When are retired members given a chance to conduct a band at one of these other meetings? For
most, the answer is ―never.‖ The organization that welcomes, retains and honors the retired members in
our field is the ABA. It is a place where our younger members can meet and greet their elders each year. It
is no sin to pass up an ABA convention, if other plans intervene, but all sincere members should make an
effort to attend whenever possible.
I am happy that the rule which allowed and almost dictated punishment for non-attendance has been
abolished. With this rule change, the ABA has shown that it wants to keep on the membership roll those
who do not attend regularly until they desire the fellowship that is here for the asking. At that time, it will
be a pleasure to welcome them back to our meetings.
Our greatest problem, as with most organizations, is finding the money to implement the many programs
that we wish to run. The second most significant step in the history of our organization has just been taken,
that of setting up a TAX-FREE PERPETUAL FOUNDATION. Obviously, the most significant event was
the founding of our group; however, in years to come, the ABA Foundation will assume greater and greater
importance as the lifeblood of the ABA. An absolute minimum ―nest-egg‖ that is necessary within the next
year or two is $50,000. That will give us a good start toward funding the Ostwald Award.
Also, the Research Library has a great need for funds to help in soliciting and preserving invaluable
research material. This, most certainly, should be high on our list of priorities once interest money in
significant amounts is generated from Foundation funds.
Remember, the money you give to the ABA Foundation stays with the ABA Foundation in perpetuity. The
organization can use only the interest generated. Therefore, one gift from you becomes a perpetual gift to
the ABA, to bands in general, and to all of the worthwhile projects that we sponsor. To date, a small
number of members have contributed a rather significant sum of money to the Foundation. I have, as my
goal, to persuade 100% of our members to donate ACCORDING TO THEIR ABILITY.
In order to start the process, I am going to fall back on an old trick. It is called ―the challenge grant.‖
There are very few members of the ABA without the resources to contribute $100 to the ABA Foundation;
so, my challenge to you is this: I have a sign-up sheet with slots, each of which stands for a $100 donation.
For every 10 people who sign one of these $100 slots during this convention, I will give 100 of my own
dollars to a maximum of $1,000. In other words, for every $1,000 of accumulated contributions on this
sheet, I will give $100. It will take 10,000 of your dollars to guarantee 1,000 of my dollars.
Harry Begian made a significant contribution; Neil Kjos made a significant contribution; I hope that you
will ―force‖ me to do the same thing. Come on, relieve me of my money. It will be put to good use and I
will be happy to give it as long as I am a part of a great number of contributing members who have the
same ideas and aspirations for our organization.
Finally, I extend my personal welcome to all of our new members. May you derive as much happiness
from the fellowship of the ABA as those who came before you.
To all of you, please accept my heartfelt thanks for your friendship.
1986 ABA Annual Report
FOSTER DAVID STREEP (1914 – 1997)
Foster David Streep, Jr., known to us in ABA as Bud, was born in 1914 in Elizabeth, New Jersey and died
on February 1, 1997 in Winter Park, Florida at the age of 83. Bud grew up in Kansas City, Missouri, where
his father owned a music store. His father was a pioneer in the development of school bands throughout
Missouri and Kansas. Following graduation with honors from Missouri Military Academy, Bud continued
his studies at the University of Missouri and Kansas City Junior College.
During the Depression his family moved east and he began his music industry career as an accountant and
credit manager of the Selmer store in New York City. During this period several interesting events took
place. In the first one, a saxophone was sold to a mother who was convinced her son had great promise as
a musician. Mother was right. Her son became world-famous jazz saxophonist Charlie Parker. The
second event was known as ―chasing delinquent accounts.‖ One particular account involved a young man
who had purchased a B-15 Selmer clarinet. Bud did his job and the account was paid in full by the
clarinetist‘s sister. The young man became one of the world‘s most celebrated musicians—Benny
Goodman. Bud left the Selmer Company to become sales manager of the Excelsior Accordion Company.
He traveled coast-to-coast reorganizing their nationwide dealer policies.
In January 1938 Bud returned to Kansas City, where he and his father opened a new music store. However,
his new venture was interrupted by the Second World War. He served aboard a Navy ship for 18 months.
After the war he returned to Kansas City and expanded the services of the business to include organ sales
and installations. Bud left the store to become sales manager for the organ division of the Wurlitzer
Company, covering the United States and Canada. He established channels of distribution for the new
Wurlitzer church organs and traveled extensively for five years.
In January 1953 he left Wurlitzer to organize his own retail business in Orlando, Florida. The business has
flourished for over 30 years. It was elected to Associate ABA Membership in 1983.
Bud was active in community affairs. He was past president of the Florida Symphony Society, President of
the Central Florida Civic Music Association, the Orlando School Band Association, and the March of
Dimes for Central Florida. He was an honorary member of Phi Beta Mu, Phi Mu Alpha and Delta Chi at
the University of Kansas.
Bud was also very active in the national affairs of the music industry. He served as president of the
National Association of Music Merchants, with two terms on the Board of Directors. He published many
articles for the industry‘s trade journals, spoke at seminars and conventions and was a clinician for the
American Piano Foundation.
Through Bud‘s efforts a number of colleges and universities have developed curricula to prepare young
people with an interest in both music and business for the music industry. Presently there is an Association
of Colleges and Universities who are training people for gainful employment in the music business.
In 1954 Bud organized ―Music for Missions,‖ a project to supply free of charge musical instruments and
supplies to schools attended by children of American missionaries in foreign countries. The Conn
Instrument Co., Ludwig Drum Co., and Bud‘s store furnished most of the instruments and supplies, which
were shipped to Brazil, Peru, Japan, Korea, Alaska, the Dominican Republic and a number of African
nations. Merle Kelly of Apopka, Florida was given the task of forming the first missionary school band in
Japan. He was successful and is looked upon by some as the father of the Japanese school band movement.
Bud Streep was a wonderful, creative and innovative man—a giant in his field—a friend who somehow
touched all of us in a special way. This is just a limited glimpse of the fruitful life of Bud Streep.
1997 ABA Annual Report
LLOYD F. SWARTLEY (1900 - 1975)
Ardeen Foss, ABA Vice President, read this eulogy.
Lloyd F. Swartley was my friend. He was a friend to his many students, a friend to his colleagues, and a
friend to people in all walks of life. In addition to being a fine musician, bandmaster and teacher, he was a
gentleman. The countless people who knew him well always remember Lloyd as a man eager to share his
talents with his students and as a man profoundly interested in his community.
Lloyd was born on October 24, 1900 and went to high school in Fayette, Iowa. He received his BA degree
from Upper Iowa University, where he earned his tuition by conducting the band. Trombone was his major
instrument, and he played trombone in the Chautauqua Circuit with an opera company that traveled in 32
states. His first teaching position was in Sigourny, Iowa from 1924 to 1928. In 1928 he took his new
bride, Edith Grether Swartley, and moved to LeMars, Iowa to conduct the band and become principal of the
high school. In 1932 they moved to Iowa City. It was here that Lloyd won a number of national awards
with his band. He also taught summer sessions at the University of Iowa. In 1939 Lloyd became the
director of bands and orchestras at Denfield High School in Duluth, Minnesota. In 1964 he became the
Director of Music for the Duluth school system. After 28 years in the Duluth schools, he retired.
He became a charter member of the American School Band Directors Association in 1953 and was elected
to active membership in The American Bandmasters Association in 1955. He was listed in ―Who‘s Who in
Music‖ and was the author of numerous articles in national music publications. August 1, 1975 he was
awarded an honorary doctorate of music by Upper Iowa University.
In addition to his school activities, he also served his community. He was director of the Aad Temple
Shrine Band, the Scottish Rite, and the Shrine Chanters. He played bass trombone in the Duluth Symphony
for 30 years, was an active Kiwanian, active in the Duluth Fatherless Boys‘ Club, board member of the
First United Methodist Church, choir director, and was a member of Local 18 of the American Federation
of Musicians.
ABA member Maurice Callahan worked with Lloyd for many years in Duluth, and they were close friends.
Maurice told me that Alvin Edgar of Iowa State University and ABA member Gerald Prescott were
classmates with Lloyd in college. Al Edgar and Lloyd Swartley died on the same day. One of Maurice‘s
comments impressed me:
I never heard Lloyd make one derogatory remark about a music colleague. He was a good man
and the word ―good‖ had special meaning for him.
Every Sunday morning Lloyd and his wife Edith would read the 23 rd Psalm. Sunday, October 26, 1975 was
routine. Edith went to fix breakfast and when she came back Lloyd had passed away. Lloyd Swartley
departed to that place not made with hands, eternal in the Heavens, from which no man returns, but his
contributions and life work will remain with us. The story of Lloyd‘s career cannot yet be considered
complete, for his example as a man and as a musician lives on in the many lives he influenced. He lived a
rich and full life of 75 years.
1976 ABA Annual Report
T
CHARLES F. THIELE (1884 - 1954)
It is with deep regret that I tell you of the wire I received on February 4 telling of the death of Charles F.
Thiele…for to me the death of one whom I have long known brings sadness. But I like to think of all of the
good things I have known about everyone. Charlie Thiele did much for the promotion and advancement of
bands in Canada. A friend of mine who knew him well stated that he believed that Charlie spent more
money and devoted more personal effort toward the advancement of bands and band music in Ontario than
did any other single man before him, or probably any would do after him
1954 ABA Newsletter
EDGAR THIESSEN (1913 – 1984)
On January 3, 1984, Edgar Thiessen, a native of Kiel, Wisconsin departed from our midst at the age of
seventy. He earned the Bachelor of Music Education and Master of Music Education degrees at
VanderCook College of Music, where he subsequently served as President of the Board of Directors.
Ed‘s many-faceted career started at the Kiel, Elkhart Lake and New Holstein school systems and continued
unabated for over half a century. While a resident of New Holstein, he was a member of the City Council
and active in numerous civic organizations. In the 1930s and ‘40s he directed his own dance orchestra.
At Lakeland College he served as head of the Instrumental Music Department. This institution conferred
on him an Honorary Doctorate. One of Ed‘s greatest claims to fame was his fifty years of service as
director of the renowned Kiel Municipal Band. Elected to ABA membership in 1966, Ed was the editor of
our column in The School Musician National Magazine. One of his many national honors was the Phi Beta
Mu Award for 1976. He was also chairman of the Community Band Division of the National Band
Association.
A memorial fund has been established in Ed‘s name, and next year‘s ABA convention is dedicated to him
as a tribute to his achievements.
We all have wonderful memories of Ed. His life was his eulogy—a life dedicated not only to his family but
to the many others he served. Edgar Thiessen‘s song is not ended. It will play on through all the lives he
touched.
1984 ABA Annual Report
―I Know This Man - Edgar Thiessen‖
by Ethel Thiessen - 1985
He worked hard all of his lifetime to attain ―his‖ best. As a child he carried newspapers, not by
bike…because he had to earn one.
He became a member of the Kiel Arion Band at the age of seven…he marched his first parade with the
Arion Band. The day was hot, the parade was long, but he kept going to the park. On his arrival, he
collapsed from exhaustion. Did he quit marching? No, he continued on for the rest of his life…marching
the last time for the ―Santa Claus‖ parade in Kiel, Wisconsin in 1983.
At age eleven he began to play with ―Old Time Bands‖ to help support his family.
Going to Kiel High School, I entered the picture. I was a ―country girl‖ and had to live with a Kiel family
during my school days. I was a shy person and became aware of him at age fourteen (a sophomore). I
immediately knew he was the man for me. We dated…that is, we walked home from school together and
also went to events together. We loved each other from age fourteen.
After graduation from the same school, I went to Normal School to become an elementary teacher. He
continued to work with dance bands and wrote arrangements for several other groups. When I got a
teaching job, I earned enough money to buy a used car, making it easier for us to see each other more often.
From playing with ―old time‖ bands, he went on working with the area ―Big Bands.‖ The Howard
Kraemer Band was the first of many. Burl Ives made up part of this group and was his ―road trip‖
roommate. On the first job he earned seventy-five cents, which he and all the other members were asked to
return to buy new music.
He was a charter member of the Kiel Municipal Band, and at the age of twenty he was asked to become the
director. This allowed time for him to work with other bands, with the next step being the formation of his
own ―big band‖ group. This later became his ten-piece unit. He did his own booking and arrangements for
this band, which was well received throughout the Midwest.
The time came when we could be married…October 1936. We were married on a Monday and went to
Milwaukee for three days and two nights. Our mornings and nights were spent at the Auto Show listening
to the Horace Heidt Band. We ran out of money and had to leave, so we spent one night with his sister and
brother-in-law, which was on our way home. We had to be home Friday to play a job at Marinette,
Wisconsin, that evening. I went along and sat backstage writing ―thank-you‖ notes for our gifts. His ten-
piece band was also well received. He spent three months in Valley City, North Dakota, broadcasting from
the same studio as the Lawrence Welk Orchestra. He always used the Benny Goodman style of playing his
clarinet.
The war years came, but we had two children, so he was exempt the first years. During this period of time
he worked in a foundry by night, part time in a grocery store and at Elkhart Lake, Wisconsin teaching
school three days a week. He moved on to full-time teaching in New Holstein, Wisconsin. The dance band
broke up because too many of the group were called into the service of our country.
He received a lifetime teaching certificate without a college degree. That‘s when we decided to ―go for it.‖
Every summer he, the kids (now there were three) and I went to school. Some of the places we traveled
were Boston; Charlottesville, Virginia; Gunnison, Colorado; and finally Chicago, where he finished his
degree at VanderCook College of Music.
Every Saturday morning at 2:00 a.m. during the school year we flagged down the south-bound train,
making it possible to travel to Chicago, returning the same evening on the 11:00 p.m. train. Later, he did
the summer school sessions to complete the work on his degree and returned to VanderCook to earn his
Master‘s Degree in Music Education.
The last two years of his life he worked with a jazz group in Manitowoc, Wisconsin…his last job was two
nights before he died. He had a very special relationship with the owner of ―The Sting‖ where the group
worked. He never allowed the group to replace him, stating, ―He can‘t be replaced‖ when the subject was
brought up.
What an interesting life we had! He reached his goal of teaching in two colleges, directing the Kiel
Municipal Band for fifty years, publishing many of his arrangements and original compositions and
receiving an Honorary Doctor of Humane Letters from Lakeland College.
Complete retirement after this year was next in our plans. This would allow us free time together…but
God willed it differently.
1985 ABA Annual Report—Written by Ethel Thiessen, Edgar‘s widow. [Note: The Thiessens were to be
hosts for the 1985 ABA Convention in Kiel, Wisconsin, but Edgar passed away prior to that. The
convention was still held there in his memory, with the family being gracious hosts.]
1985 ABA Annual Report
JAMES MORGAN THURMOND (1908 – 1998)
James Morgan Thurmond was born in Dallas, Texas on September 10, 1908 and passed away following a
stroke in Silver Spring, Maryland on June 21, 1998. His musical career was launched in the Dallas school
system, where as a lad he not only played French horn in the high school band but was proficient enough to
play in the Palace Theatre Orchestra and the Dallas Symphony. When he was nineteen years old he
traveled to Philadelphia with his life savings of $250 in his pocket. There in 1927 he met Anton Horner,
Principal Horn of the Philadelphia Orchestra, under whose tutelage Jim auditioned for Leopold Stokowski,
playing the Siegfried Horn Call perfectly. During this period, Jim was also associated with the Curtis
Institute of Music. In the summer of 1932 he was a member of the orchestra in Philadelphia‘s Robin Hood
Dell and had the distinction of performing in the Dell‘s inaugural season. The Depression years of the
early thirties forced the Philadelphia Orchestra to operate on a reduced budget, and Jim found himself
unemployed. In the fall of 1932 he applied for a French horn vacancy in the United States Navy Band in
Washington, DC, won the audition and was employed again—this time as the Principal Horn of the Navy
Band.
When the Navy Department was seeking ways to improve the level of musicianship of their personnel, Jim
conceived the idea of a music school. In 1935 the Navy School of Music was created and Jim became its
director. During World War II he was in command of all of the Fleet Bands for the Music Branch of the
Navy. Eventually the school became the School of Music for the Armed Forces, preparing musicians for
all branches of the service, except the Air Force.
While in Washington, Jim earned a bachelor‘s degree from American University and the Master of Arts
degree from Catholic University. In 1944 the Washington College of Music bestowed on him an Honorary
Doctorate.
After serving in the Navy for nineteen years, Jim retired as a Lt. Commander in 1951. Three years later he
joined the faculty of Lebanon Valley College as Professor and Director of Bands and the choral and glee
club director. He taught there for twenty-five years. Although he had retired, Jim remained active by
teaching part-time at Messiah and Gettysburg Colleges and Temple University. In 1982 he published his
book, ―Note Groupings: A Method of Achieving Expression and Style in Musical Performance.‖ Jim also
played French horn in the Harrisburg, Pennsylvania Symphony and was its Associate Director until 1993.
Active as a clinician, conductor and adjudicator, he was a member of numerous organizations, including
the College Band Directors National Association and the Music Educators National Conference. He
became a member of the American Bandmasters Association in 1944.
Dr. Kenneth Laudermilch, Director of Bands at Westchester State University in Pennsylvania, was one of
Jim‘s students at Lebanon Valley College thirty years ago. This is what he said about his mentor:
My words are inadequate to eulogize this man. He truly was a man who, being endowed with
many gifts, developed and used them to the fullest in the service of others. His great desire was
not to leave a legacy, but to enrich the lives of others, to give in return for the blessings he
received in life.
1999 ABA Annual Report
RUDOLPH E. TIMMEL (1905 – 1993)
Rudolph Timmel was born on May 28, 1905 in Oconomowoc, Wisconsin and died there on April 19, 1993
at the age of 87. Educated in his hometown, he played alto saxophone in the high school band. Rudy
earned his Bachelor of Science degree in music from the University of Wisconsin at Madison and the
Master of Music Education degree from VanderCook College. He was elected to membership in ABA in
1963 and had been one of our most loyal members—gregarious and good-natured.
In 1930 Rudy‘s first teaching position took him to Iowa. However, a year later he was back in his
hometown as band director at the junior and senior high schools, beginning an association that lasted
almost 40 years. He also directed the American Legion Band for over 25 years, and for a number of
summers he taught at the Interlochen Arts Academy.
Rudy had an unusual method for rewarding good musical effort. When a student played extraordinarily
well, he would reach into his pocket, pull out a quarter, present it to the student telling him he performed
well. Then he would return to the podium and continue conducting.
Rudy was truly unique. He possessed a photographic mind and remembered his students‘ names, their year
of graduation and the instrument each had played. He taught them that superior achievement required
discipline, practice, patience, commitment and determination. He shared with them his love and passion
for the beauty and grandeur of wonderful music. He seemed to be everywhere for everyone.
Rudy was a member of ASBDA, NBA and the Wisconsin Band Directors Association. Although he retired
in 1969, he remained very active. For five years he was associated with the Interlochen Arts Academy
library, compiling instrumental inventories. Upon his return to Oconomowoc in 1975, he became a musical
advisor and a substitute teacher in the schools until 1991. The area school district music department
established the Rudolph Timmel Scholarship Endowment Fund to help keep alive the memory of one of
Oconomowoc‘s most memorable citizens.
Bruce Brown, one of Rudy‘s students in the early 1940s, now a columnist with the Oconomowoc
Enterprise, wrote these comments:
Rudy has become a legend. He has been an influence on multiple generations of students. We all
must thank him for just being, and for letting us know him not only as a teacher, but as a friend.
He will not be forgotten, and in time our paths will cross again.
1994 ABA Annual Report
RICHARD E. TOWNSEND, SR. (1908 – 1985)
Richard E. Townsend, Sr. passed away at the Bethesda Naval Hospital on December 15, 1985 following a
heart attack. He was seventy-seven years old. Dick was born and raised in Philadelphia and received his
musical education at the Curtis Institute of Music. In 1951 he was elected to membership in The American
Bandmasters Association.
Dick enlisted in the official United States Navy Band in 1932 and was the featured flute soloist for a
number of years. In 1942 he was appointed Assistant Leader with the rank of Warrant Officer. He
conducted at numerous concerts and ceremonial events in this country and abroad. For several years before
his retirement, Dick served on the faculty of the Navy School of Music.
After his retirement in 1960, Dick became a member of the National Symphony Orchestra, a piccolo player
and flutist. Eleven years later he retired for a second time, but continued to teach privately until his death.
He was the founding director of the Flute Society of Washington and served as co-director of the John
Philip Sousa Memorial Fund, which solicited funds nationally to help finance the Sousa Concert Hall stage
in the John F. Kennedy Center for the Performing Arts. In a very quiet way, Dick contributed much to his
colleagues and to his profession.
1986 ABA Annual Report
SAM H. TRELOAR (ca 1865 – 1951)
Sam Treloar became a member of the ABA in 1929. He was the director of The Butte Mines Band, which
was sponsored by a consortium of mine industries in Butte, Montana. The band was founded in 1887.
1987 ABA Annual Report
WILMONT TRUMBULL (1916 – 1983)
Wilmont Trumbull died in Arlington, Virginia on May 8, 1983 at the age of 67. Born in Worcester,
Massachusetts, he received his early education in the Worcester Classical High School. After earning the
Bachelor of Music degree from the New England Conservatory, he began his teaching career as Music
Supervisor in the Worcester school system.
In 1941, at the outset of World War II, Will entered the Army and became a band director. He directed
several bands, including the famous Fifth Army Band in Africa. For his noteworthy combat service in
Africa, Italy and Germany, Will received the Legion of Merit, the Army Commendation Medal and the
Italian Cross for Valor, which was presented to him by Prince Umberto at the Summer Palace in Naples.
Following post war duty in the United States, Will returned to Germany as leader of Army Bands in
Munich and Berlin. In 1957 he was appointed the Chief of Army Band Units in the Adjutant General‘s
Office. Will was elected to membership in The American Bandmasters Association in 1966, the year he
assumed leadership of the United States Army Field Band. After twenty-five years of dedicated service to
his country, he retired form the Army due to physical disability.
Although Will came to our Montgomery meeting, his travel was severely curtailed because of chronic
bronchitis. A tracheotomy further limited his activities. With great courage, unselfishness and ingenuity
he helped nurses devise methods for communicating with patients who had undergone tracheotomies.
In his own quiet way, Will did much to enhance the art of music and the art of living.
1984 ABA Annual Report
HERMAN TRUTNER, Jr. (1876 - 1961)
It was with great sadness that I received word of the death of my very dear friend, Mr. Herman Trutner, Jr.,
Oakland, California, which occurred on December 27, 1961 at Letterman Army Hospital in San Francisco.
In previous newsletters I had written of Herman as ―the youngest oldster I ever knew.‖
His career was most unusual inasmuch as he followed the footsteps of his Army father and enlisted at the
age of 10, going through the Spanish-American War Campaign and stationed for a considerable length of
time in the Philippines. In 1913 he retired from the Army as an officer and began a new career in Oakland,
California as a teacher of instrumental music. He became one of the first supervisors of instrumental music
ever to be appointed in the United States, and his work in developing bands and orchestras in Oakland
achieved national prominence. He was the first President of the California Music Educators Association,
and later became Director of the fine Oakland Municipal Band, Director of the famous Bohemian Club
Band of San Francisco and Director of the Scottish Rite Orchestra. Interspersed with these activities, he
also served in World War I.
And then again in World War II he was called on more in a musical advisory capacity. In 1943, at which
time he retired from the Oakland Public Schools, he became a regular member of the French horn section
of the San Francisco Symphony Orchestra, which position he held until it was necessary to take
compulsory retirement. The effect of his pioneering for the cause of school music in California continues
to be felt. Many honors and tributes were heaped upon him, including a ―Herman Trutner Day,‖ declared
by the city of Oakland. The ceremonies opened with the civic equivalent of a 21-gun salute in Lakeside
Park where he occupied the podium for 30 years. Greetings were sent from the White House; gifts, letters,
tributes, scrolls and resolutions came from many musical organizations, civic groups, military and fraternal.
A special tribute was the Aahmes Shrine Band which Herman conducted from1924 to 1944, marching into
the bandstand area in full regalia and called on Herman as guest conductor. Paying personal tribute was
Major General J.J. Binns, Chief of Staff of the United States Sixth Army, Presidio in San Francisco, with
personal letter of commendation from former President Hoover, Senator William Knowland, Gov.
Goodwin Knight and retired Army Bandmaster Victor Norling, who had played under Trutner‘s direction
in Manila in the early days of the century and who was a member of the band performing at Trutner‘s
retirement as an Army officer in1913.
Those in ABA who attended the Santa Fe Convention will recall that Mrs. Trutner was taken ill during the
meeting and it was necessary for the Trutners to remain in Santa Fe for several weeks, until her health
would permit her being taken home. Mrs. Trutner‘s serious illness continued until December 6, 1961, at
which time she suffered a heart attack. It was at this time that Herman wrote me as follows:
She was doing so well, too, eating better than in years, and had gained some weight. It was a
shock and I am not over it, for it leaves a void after being together for 62 years. She was buried in
a plot assigned to me in the U.S. Army Cemetery at the Presidio in San Francisco.
Another sadness suffered by Herman was the tragedy of his married son (also a member of the French horn
section of the San Francisco Symphony) and his wife who perished in a fire in their apartment. This
tragedy occurred just prior to the death of Mrs. Trutner.
Among other honors paid to Herman was the ABA member Frank Mancini Award presented in 1957, an
honor of which he was justly proud. ABA members who attended the Long Beach Convention will long
remember this 85-year old stalwart of music who stood and walked as erect as a man of 40—a quick mind,
an outstanding musician both as performer and conductor, a man who was active in music in three wars, the
founder of a school music program that has been most lasting, a professional musician, experienced in all
phases of band and orchestra music, military, professional, municipal, fraternal, school and adult amateur
groups—yet one of the most modest and unassuming men ever known, whose work will now serve as an
everlasting monument. Yes, Herman Trutner, Jr.‘s passing will leave a void in all musical activities to
which he contributed both directly and indirectly.
1962 ABA Newsletter
FISHER A. TULL (1934 – 1994)
Fisher A. Tull was born on September 24, 1934 in Waco, Texas and died on August 23, 1994 in Huntsville,
Texas after a year-long battle with cancer. After graduating from Waco High School in 1952, he entered
the University of North Texas, where he subsequently earned the degrees of Bachelor of Music in Music
Education, Master of Music in Theory and Trumpet, and Doctor of Philosophy in Music Composition.
While in high school, Fisher was active as a trumpeter and jazz band arranger. Later, during his collegiate
years, he called on this experience to become the staff arranger for the University of North Texas Lab
Bands. He wrote more than 100 arrangements for dance bands, recordings, and radio and television
productions.
In 1957 Fisher joined the faculty of Sam Houston State University, serving as Chairman of the Department
of Music from 1965 to 1982. His first serious compositions were for brass ensembles and symphonic band.
One of his first serious compositions for symphonic band, ―Toccata,‖ won our ABA/Ostwald Award in
1970. He had become a composer of international renown, having completed more than forty
compositions. Included were commissions from the Houston Symphony, Houston Ballet, United States
Army Band, United States Air Force Band, and Doc Severinsen. A number of his compositions were
recorded by the Los Angeles Brass Society, Philharmonic Brass, Tidewater Brass Quintet, the London
Symphony, and Doc Severinsen. Fisher‘s music has been highly acclaimed—his ―Sketches on a Tudor
Psalm‖ is widely acknowledged as a band masterpiece.
Over the past twenty years, Fisher appeared as guest conductor, composer, and lecturer on more than
seventy campuses throughout the United States and Germany. He received awards in composition from the
American Society of Composers, Authors and Publishers, the Artists Advisory Council of the Chicago
Symphony Orchestra, Willamette Arts Festival, National Flute Association and the Texas Composers
Guild. Phi Mu Alpha Sinfonia honored him with their Orpheus Award and Kappa Kappa Psi gave him
their Distinguished Men of Music Medal. In 1984 Fisher received the Texas State Prestigious Paper
Award, and he was honored by Sam Houston State University as a Distinguished Professor. Fisher was
elected to membership in ABA in 1990. One year later the Texas Music Teachers Association named him
the Texas Composer of the Year. In 1994 Sam Houston State University presented him with the
Excellence in Research Award. Over the years at the university, he received six faculty research grants for
composition. Fisher was also honored recently by his alma mater by being named an honorary alumnus of
the University of North Texas School of Music. The music department of Sam Houston State University
established the Fisher A. Tull Scholarship in his honor.
Fisher‘s colleagues, students and friends described him as having a delightful sense of humor, as being
extremely modest about his gifts and talents, and shy about touting his accomplishments. They considered
him one of the beloved people in American music. His wife, Charlotte, added: ―Everybody that met him
loved him, and he loved them back.‖
Fisher was buried in the Texas State Cemetery in Austin. Governor Ann Richards signed a proclamation to
permit his burial at this site, which is reserved only for prominent Texas dignitaries.
1995 ABA Annual Report
U
MERTON B. UTGAARD (1914 – 1998)
Merton B. Utgaard was born in Maddock, North Dakota on November 2, 1914 and died on December 19,
1998 in Mesa, Arizona. Merton was introduced to music while attending the town band concerts in
Maddock, where his father played the alto horn. He began his musical experience in his sixth grade band
playing the cornet, which he borrowed from his uncle. After the family moved to Valley City, North
Dakota, Merton played in the high school band until he graduated in 1933. He enrolled in the Valley City
Teachers College and earned a two-year certificate, which enabled him to teach music at the elementary
level. His initial teaching assignment was at the Aneta, North Dakota elementary school, where he
organized their first band. During the next three years Merton developed a creditable band program
through self-study and trial and error. Merton resumed studies at the Valley City College where in 1940 he
earned a Bachelor of Arts degree, with a double major in music and physics. For the next three years he
was the music director in the Carrington, North Dakota school system. From 1943 to 1945 Merton served
as a commissioned officer in the Army Air Corps. Following his discharge, he joined the Army Air Corps
Reserves, retiring after twenty years in the rank of major.
Merton enrolled in a graduate program at the University of Minnesota and was the Marching Band director
until its regular director, ABA member Gerald Prescott, returned from the service. Merton received his
master‘s degree in music and physics from the University of Minnesota. Subsequently he earned his
doctorate degree in music from Colorado State University.
From 1946 to 1948 Merton taught in the Rochester, Minnesota school system. His university level
responsibilities began in 1949 when he became Director of Bands at the University of South Dakota. Four
years later he was Director of Bands at Ball State University, and in 1947 he had the same duties at
Northern Illinois University. From 1964 to 1970 Merton was a visiting lecturer at Brandon University in
Manitoba, Canada.
While at the University of South Dakota and Ball State, Merton had a recurring vision of establishing a
summer music camp in North Dakota. In searching for a suitable sight, Merton and his wife Noella
remembered the International Peace Garden, 2300 beautiful acres in area that straddles the border of North
Dakota and Manitoba. As an Eagle Scout,
Merton attended the dedication ceremonies in 1932. He was teaching in Indiana when he decided
definitely that the Peace Garden would be the ideal place for a music and arts camp. Overcoming hurdles,
and there were many, the International High School Music Camp was established. The conductors at the
camp‘s first summer session in1956 were our own ABA members Al Wright and Martin Boundy. Both of
them, as well as many other ABA members, appeared frequently at subsequent sessions.
The Camp aroused the interest of such notables as Queen Elizabeth, numerous Canadian officials,
including the Prime Minister of Canada, John Diefenbaker, and the United States President‘s Committee of
the People to People Program. In 1960 Merton gave up his position as Director of Bands at Northern
Illinois University to become the full-time director of the International Music Camp, a position he filled for
twenty-eight years. During his stewardship, the Camp became a world-class music education and
performance center. Merton‘s Camp bands toured the United States and Canada frequently, and visited
Europe on nine different occasions, presenting over 100 concerts in ten European countries. The tour band
received first prize at both the World Music Contest in Kerkraade in 1996 and 1997, and at the
International Youth Festival in Purmerend. To date, over 90,000 young people from 63 nations, all 50
states and five Canadian provinces have attended summer sessions. The International Music Camp will
always be a monument to Merton‘s genius and far-sightedness.
After Merton retired in 1983, he published a history of the International Music Camp entitled ―A Dream
Come True,‖ documenting in detail this courageous achievement. To fully appreciate the magnitude of this
venture, one should read his book. Merton and Noella created the International Ambassadors of Music, a
non-profit organization that promotes cross-cultural music exchanges through scholarships for young music
students
to study in foreign countries and the support of foreign youth music organization tours.
Merton served on numerous local, state, national and international committees and commissions devoted to
the development of the arts. Here is a partial list: Chairman of the Arts and Cultural Committee of the
North Dakota Economic Development Commission; member of the North Dakota American Revolution
Bicentennial Commission; member of the Council of the Alliance for Arts Education in North Dakota;
chairman of the Inter-American Music Relations Committee of the National Federation of Music Clubs—in
1993 the president of the National Federation presented Merton with a citation for his outstanding work in
foreign relations in music; United States delegate to the International Conference for Leaders of Youth
Musicians held in Sweden; Vice President of the North Dakota Federation of Music Clubs; National Band
Association representative of the North American Band Directors Coordinating Council; State Coordinator
for the Association of Concert Bands of America; member of the Advisory Committee for the National
Black Music Colloquium and Competition; and Chairman of the International Relations Committee of the
American Bandmasters Association.
The School Musician, Director and Teacher honored him with their ―They Are Making America Musical‖
award. The American School Band Directors Association honored him with the prestigious A. Austin
Harding Award. He was the recipient of the North Dakota Outstanding Music Educator Award and was
inducted into the North Dakota Music Educators Hall of Fame. Merton was elected to membership in ABA
in 1969 and served on the Board of Directors in 1986 and 1987.
In his condolence letter to Merton‘s wife Noella, our secretary Dick Thurston spoke for all of us:
It is safe to say that few in the music profession, and perhaps none in ABA, were as effective and
influential in the area of international relations as Merton Utgaard. As founder and head of the
International Music Camp, as organizer and conductor of many overseas tours of performing
groups, and in countless other way, his energy and enterprise continue to resound and will be felt
for years to come. As chairman and member of ABA‘s own International Relations Committee,
he helped to give our organization a powerful voice in that area. Although in increasingly frail
condition in recent years, he remained active as his indomitable spirit would allow. We will be
forever in his debt and we will miss him sorely.
1999 ABA Annual Report
V
ROBERT STUART VAGNER (1913 – 1989)
Robert Stuart Vagner was born February 1, 1913 in Laramie, Wyoming and passed away on July 21, 1989
in Eugene, Oregon.
After graduating from the Sterling, Colorado High School he attended the Denver College of Music for a
year, before transferring to the Colorado State College of Education in Greeley. There he earned both the
Bachelor of Arts and Master of Arts degrees. Bob taught at Grinnell College in Iowa from 1938 to 1941.
He then attended the University of Michigan, where he earned his Master of Music degree. In 1942 he
became Director of Bands at the University of Wyoming. In 1950 Bob joined the faculty at the University
of Oregon as Director of Bands, serving in that capacity until he retired 28 years later. In 1957 Bob
founded the Eugene Symphonic Band and was its conductor for 28 years. Due to Bob‘s inspired leadership
and concern, community bands are once again thriving in many Northwest communities. He was elected to
membership in The American Bandmasters Association in 1963.
Bob‘s numerous honors and awards include the presidency of the Wyoming Music Educators Association
and the College Band Directors National Association. In 1972 he received the Citation of Excellence from
the National Band Association. In 1986 the Oregon Band Directors Association honored him with their
Distinguished Service Award and the University of Oregon gave him their Distinguished Master Teacher
Award. In his teaching Bob set high standards, demanded near perfection, and never settled for less than
the best. He demanded and got complete attention at rehearsals. The slightest whisper brought comments
such as ―Enough of this pool room attitude—let‘s get down to business.‖
1990 ABA Annual Report
NELSON ARTHUR ―Nels‖ VOGEL (1913 – 1983)
Nelson Arthur Vogel died on January 14, 1983. Although born in Detroit on August 16, 1913, Nels lived
much of his early life in Lima, Ohio. His family moved to Robbinsdale, Minnesota when he was 14.
Nels was president of Nels Vogel, Inc. The firm is one of the largest and most respected band instrument
and music distribution stores in America. For 34 years Nels sponsored the Northwest Band and Choral
Clinic in Moorhead, Minnesota. The clinic concerts are considered a highlight of winter entertainment.
Internationally famous artists are featured as soloists and clinicians.
Although Nels was primarily a businessman, he had a special interest in music education. His personal
interest and sincere council helped many young educators survive the first years of their careers.
Nels was elected to Associate Membership in The American Bandmasters Association in 1953. He
continually supported music-oriented organizations.
Nels was a champion of music education and bands. His high ideals and positive influence were marks of
his greatness. His quiet presence will be missed.
1983 ABA Annual Report
The 1979 Annual Report noted the death of Evelyn Vogel, wife of Nels, on July 24, 1978.
WALTER E. VOLKWEIN (1911 – 1994)
Walter Volkwein, Honorary Associate Member, was born in Pittsburgh, Pennsylvania on August 6, 1911
and died there on September 11, 1994. His parents were immigrants from Germany who settled in the
Pittsburgh area in the late 1800s. Walter uncle Jacob opened the Volkwein Music Store 109 years ago. In
1930 Walter and his brother inherited the business, which eventually became on of the largest of its kind in
the nation.
Walter was a graduate of Duquesne University, having majored in business. This prepared him well for a
career with the music company. The Volkwein Bros. Music Company was elected to ABA Associate
Membership in 1938. Walter was elected an Honorary Associate Member in 1987. He was spokesman and
secretary-treasurer for the Associate Members for many years, offering willing and cheerful leadership.
A staunch patron of the arts, Walter was a member of the Board of Directors of the Pittsburgh Opera, the
Pittsburgh Symphony, the Mendelssohn Choir and the Pittsburgh Athletic Association. He also had been
the treasurer of the Musician‘s Club of Pittsburgh.
In 1965 Paul Yoder and Walter helped establish the Japanese Band Directors Association. Three years
later he was made an Honorary Life Member of that association. Over the years he kept in close contact
with their activities.
Walter retired on January 15, 1990 after 60 years with Volkwein Bros. In reality, he retired to vacation.
Here is the itinerary for Walter and Helene‘s first year of retirement: January-February, New England and
Australia; March, ABA convention in Champaign, Illinois; April, Association of Concert Bands of
America in Rochester, New York; May, Eastern Mediterranean cruise; summer, Windjammers Circus
Fanfare in Columbia, Missouri, American School Band Directors Association convention in Honolulu and
Women Band Directors National Association convention; December, cruise West Coast to East Coast
through the Panama Canal; January Windjammers Circus convention in Sarasota, Florida. This is
retirement?
The American School Band Directors Association honored Walter with their Austin Harding Award. He
also served on their Board of Directors and was a member of their foundation committee. He personally
financed their ASBDA Band Curriculum Guide. Walter was a generous man, often quietly giving money
where it was needed.
His business associates remember some of Walter‘s admonitions: ―Get involved; we can do a lot together,
I can‘t do it myself; get to the point—let‘s discuss and resolve.‖ Yes, Walter was very direct, he didn‘t
waste words—he told it like it was. He was a trusted man of his word. Kind-hearted, warm and witty,
Walter enlivened many of our meetings. He liked to party, sing and have a good time. He worked hard
and he played hard.
Over the years Walter made great contributions to the advancement of bands and band music. He was a
real inspiration to all of us.
1995 ABA Annual Report
Note: A 2006 Newsletter noted the death of Helene Volkwein, wife of Walter, on June 9, 2006.
W
VESEY WALKER (1893 – 1977)
Vesey Walker became a member of ABA in 1962. He was the director of The Industrial Military Band,
which was sponsored by a group of utility companies in Racine, Wisconsin. The band was founded in
1929.
1987 ABA Annual Report
The January 1978 Newsletter reported the death of Audrey Walker, wife of Vesey, on March 4, 1977.
WAYMAN E. WALKER (1923 – 1997)
Wayman E. Walker was born in Cripple Creek, Colorado on May 12, 1923 and died in Lake Havasu City,
Arizona on January 5, 1997. When Wayman was born, his father was music director for the public schools
at Cripple Creek and at Victor, Colorado. Wayman received his early training in the schools of Worland,
Wyoming. He spent his summers in Denver, Colorado, studying cornet with George V. Roy. For three
consecutive years—in 1939, 1940 and 1941—Wayman earned first division ratings in high school state and
national competition. He was also selected as soloist with the Wyoming All-State Band in 1939 and 1941.
During the Second World War Wayman performed with several Army Air Corps bands and directed the
First Air Cadet Detachment Band at Michigan State University. After the war, Wayman attended the
University of Colorado at Boulder and received a Bachelor‘s Degree in Music Education in 1947. His first
teaching position was as music director for the Craig, Colorado public schools. From 1947 through 1950
his Craig bands and choirs received excellent ratings at regional and state music contests.
Wayman continued his studies at the University of Southern California where he earned his Master of
Music degree in 1951. While at USC he was elected to membership in Pi Kappa Lambda, the national
music society for scholarship. He also did additional graduate work at the University of Washington in
Seattle, UCLA, and the University of Northern Colorado in Greeley.
In the fall of 1951 Wayman became the Director of Bands at the University of Northern Colorado, a
position he held until his retirement in 1978. In 1952 Wayman organized the first Colorado All-State Band.
It has become an annual event on the University of Northern Colorado campus. In 1959 and again in 1963
Wayman was honored by the University Alumni Association by being selected as an outstanding educator.
In 1974 he was selected as the Outstanding Alumnus Faculty member.
Wayman has appeared as conductor, clinician and adjudicator throughout the United States. During the
summers of 1966 and 1977 he visited and observed many important European bands, including the Military
Band School at Kneller Hall, and the Guard bands of Paris, Rome and Lisbon. He was an honored guest at
the concert of the Municipal Band of Madrid, Spain. In recognition of his achievements, the band building
in Venango, Nebraska was named in his honor.
Wayman was a past-president of the Southwestern Division of the College Band Directors National
Association and past grand president of Kappa Kappa Psi. Other professional affiliations include Pi Kappa
Lambda, MENC, and the International Platform Association. In 1977 the Colorado Bandmasters
Association named him their Outstanding Bandmaster. He was elected to ABA membership in 1964.
When Wayman retired in 1978 the University of Northern Colorado College of Visual and Performing Arts
announced an annual music scholarship award in his honor—an honor well deserved.
1997 ABA Annual Report
HAROLD L. WALTERS (1918 – 1984)
Harold L. Walters passed away in Hollywood, Florida on October 22, 1984 at the age of 66. He was
always proud of his affiliation with The American Bandmasters Association, having been elected to
membership in 1956.
Harold was born in Gurdon, Arkansas, where he began his studies on cornet at the age of eight. He
performed with the Little Rock High School Band under ABA member L. Bruce Jones. His musical
studies were pursued at the Cincinnati Conservatory of Music, the American University and Washington
College of Music in the District of Columbia. The latter school conferred on him the Honorary Doctorate
in Composition. He studied composition with Nadia Boulanger and was a tuba player in Frank Simon‘s
Armco Band.
Harold was a member of the U.S. Navy arranging staff for six years. As a member of ASCAP he scored
extensively for the theater, motion pictures and several orchestras, including the Sigmund Romberg
Orchestra. Harold arranged many half-time shows for the Purdue University band and was honored by that
institution several years ago when a ―Harold Walters Day‖ was staged in his honor.
For over 25 years he was an arranger, conductor, composer and editor with the Rubank Publishing
Company and had more than 1,500 arrangements and compositions listed to his credit, everything from
Dixieland to the classics. Although he conducted bands around the world, two were most significant to
him: the smallest group was a nine-piece circus band, and the largest was the massed bands of 12,800
performers at the University of Michigan.
None of us can forget his devotion to our own ABA band, a group par excellence, where confusion
generally reigned and the music was usually colorful and occasionally intelligible. Harold was a
musician‘s musician, respected internationally for his versatility and talents.
1985 ABA Annual Report
RICHARD B. ―Scrubby‖ WATSON (1897 - 1975)
Hugh McMillen, President of the American Bandmasters Association, read the names of those members
who had passed on since the last meeting. This list included R. B. ―Scrubby‖ Watson, who passed away on
February 5, 1975. He had been a member of ABA since 1960.
1975 ABA Annual Report
ROY J. WEGER (1919 – 1991)
Roy J. Weger, musician and businessman, passed away on September 23, 1991 after suffering a stroke.
Roy formerly represented his own company, the Brook Mays Sheet Music Division in Dallas, which was
elected to Associate Membership in 1980. Roy later became an independent Associate Member.
He was born in Durant, Oklahoma on September 8, 1919, where he received his early education. Roy
earned the Bachelor of Arts degree from Southeastern Oklahoma State University and the master‘s degree
from the University of Northern Colorado at Greeley. His teaching career began as director of the Durant
High School Band. His bands were very successful in competition and were judged the outstanding concert
band at the Tri-State Music Festival four consecutive years.
In 1953 Roy became the Director of Bands at Bowling Green State University. Twelve years later he
assumed the same position at Southern Methodist University. Roy touched and influenced the lives of
many young musicians, including our own secretary-treasurer, Dick Thurston, who as a high school student
played under Roy‘s baton at several music festivals.
In 1973 Roy began his association with the Brook Mays Division, eventually becoming its owner. Roy was
active both as a musician and businessman until he died. He often took time from his business obligations
to edit and arrange music, notably a number of Italian and Spanish marches.
The music profession truly motivated his life—a life of notable achievement as an educator and leader in
the music industry.
A band scholarship has been established at Southeastern Oklahoma State University in Roy‘s memory.
1992 ABA Annual Report
MYRON WELCH
President‘s Address – 1997
What is it like to be President of this august organization? Let‘s start at the beginning. Everyone needs that
humbling experience of sitting there, half asleep in the Saturday morning meeting, and suddenly hearing
that you‘ve been nominated and quickly elected Vice-President. Number 1, you‘re speechless, and am I
glad that Francis McBeth forgot to ask me to make a few comments at that time! Then the honor sinks in.
The warmness and supportive nature of the group becomes evident. Soon reality sinks in. ―Why me?
Hey, my dance card for guest conducting is already filled for the next year, and I have to chair the
membership committee. Oh, oh, my secretary is not going to like this!‖ But somehow you survive that
most difficult year and don‘t make ABA history by becoming the first Vice-President to never become
President-Elect—a major accomplishment. Then you rest for a year as President-Elect (right, Frank?) and
you‘re President.
The first thing you do as President is sit down with the ―Lest We Forget‖ book and read about the great
people in the organization, past and present. Then you look at the list of Past-Presidents. Some are only
famous names to you, others are giants of the band world that are sitting in these meetings and nominated
you as leader of their beloved group. Then you think about not losing the gavel! Nightmares are made of
less material.
You live with the position every day. This constant thought about the organization is not without its stress.
Let me give you a few examples. Now keep in mind that I‘m in my early 50s.
1. I was sailing at Northport, Michigan, last summer and decided to take the local bus south to
the next town. I stepped on and asked the driver, ―How much?‖ He looked at me and said,
―50 cents.‖ I deposited the coins and sat down. Then I noticed the fare sign…$1.25, senior
citizens 50 cents. Hmm, I looked in the mirror.
2. I was out with the marching band once this fall, something I don‘t do very often, and climbed
the tower, which is only about 15 feet high, to conduct the National Anthem. One of the
students ran up to a graduate staffer and asked, ―Should he be climbing up there?‖ Boy, that
kid should see me swinging from the top of a 50-foot mast!
3. I ate breakfast at a local restaurant this fall and noticed that the bill was less than anticipated.
Then I figured out that the ―SR‖ on the bill qualified me for the Senior Citizen Rate. Back to
the mirror.
4. And then to top things off, I received my beautiful new Iowa farm scene calendar from my
insurance man. It was only a 6-month calendar!
I can‘t wait to join the ―Past-Presidents By-Pass Club!‖
You start to think about changes and new directions for the groups. Perhaps the organization needs a
slogan. One we adopted with the Iowa Bandmasters Association may be just right for us:
―We‘ve upped our standards, now up yours‖
There is also a secret hand signal that goes along with that, but I can‘t divulge that.
Yes, there are changes we need to make in order to not only retain our leadership position, but to survive.
1. We must look at the role of our group objectively. There are other fine groups nowadays,
namely the NBA, CBDNA, ASBDA AND WASBE. As you would expect, the founders and
most of the leaders of those groups come from our membership. What unique roles does each
group play?
2. This is particularly important in the role of encouraging, commissioning, or sponsoring new
works for band, one of the major goals of our organization. We need to make subtle changes
in our ABA/Ostwald project, and I have suggested to Frank that he appoint a Task Force to
study this area and report back to the membership at next year‘s convention. It should be
headed by Jim Keene and associates, or anyone that will associate with Jim.
We‘ve done a marvelous job of finding outstanding works, and I‘m sure you‘ll be thrilled
with this year‘s winner. But, we need to guard against that every-growing body of
commissioned literature that is long, boring, impossibly difficult, and has all the bad attributes
known to man except smell!
3. The area that most people know needs attention is membership. We need and must make
changes in this area and I invite a serious, friendly, controlled discussion on the membership
process. Don McGinnis and his Constitution Review Committee have started looking at some
of the problems and will continue the task next year. We must streamline our cumbersome
membership process.
There are numerous outstanding conductors that have not been invited to membership. That
includes some of the wonderful conductors/teachers in the public school arena. We must
somehow identify them, propose them for membership, and do our homework as sponsors to
make them known to the membership committee and the membership. To gather the best
recordings and biographical information requires the help of the candidate. Secrecy of
nomination is probably no longer possible or helpful.
Some of our membership was denied admission for too many years. Other fine conductors
have been rejected for making a youthful mistake 5, 10, or 15 years ago. Perhaps it‘s time to
forgive.
Yesterday we heard memorials for nine beloved members and two associates. Then we
introduced five new members. Do the math on that one, folks. Classes accepted in the past
have run from none to 28. There is nothing wrong with accepting ten or 15 new members
each year. Again we just need to do our homework as sponsors.
To quote from member Dick Bowles, ―Kill ‗dem pullets an‘ y‘all got no hens.‖
Membership is not just about new members. It‘s keeping all the fine elected members active.
Some choose not to participate, and this is a common and regrettable scenario in all
organizations. Perhaps a later date for our convention, not so close to the CBDNA convention
would be beneficial to both of our organizations. I know I cannot attend both, but I choose the
ABA. Others must make their own decisions.
4. The Associate Members have always been here to support the ABA. Should their role
change? Should they become more active? If so, how? New associates have new ideas, and
we need to listen to their suggestions.
5. We need to be of more help and guidance to the public school music teacher. What kind of
mentoring can we all do? Ed Lisk and his committee have done so much to address topics
central to the survival of school music. Perhaps through the ABA Foundation we should be
sponsoring the workshops given by Ed Lisk and Bill Gora, such as the Mid-West Clinic did
last summer.
6. One of the great things that has happened to our organization is the formation and success of
the ABA Foundation. We will soon have discretionary funds to spend on worthwhile projects
and enrich our conventions. Who will control the funds and how?
7. Publicity and visibility need constant attention, and what a job Ed Kruth and his committee
have done to improve these areas. I think we have had more information about ABA in our
state and national publications than ever before. Thanks also go to Max McKee for his help
in this area.
8. And finally, technology can help us to both aid the public school teachers and increase our
visibility. Many of us do not use the computer, but most teachers throughout the country do.
One of my undergraduates assembled material for an ABA web site, and although it needs a
more artistic layout, it is a starting point and refinements can be made from here. This
information will be very useful for everyone interested in who we are and what we do. The
address for the web site will be published in the next newsletter and the various national
publications. I have an overview of the pages on slides.
(Short demonstration of ABA Web Site)
If anyone wants to view this more thoroughly, I have it on my laptop computer, I have it on
discs for Macintosh and IBM, and I have a hard copy of all the pages.
In closing, Marcia and I would like to thank you for the honor extended us to lead this great
organization and would like to leave you with these two thoughts:
First, remember that in the concert of life there is no program; do what you need to do now,
not later; take time to enjoy your family and friends.
And second, may the roof above our heads never fall in and the friends below never fall out.
1997 ABA Annual Report
WALTER C. WELKE (1905 - 1975)
Hugh McMillen, President of the American Bandmasters Association, read the names of those members
who had passed on since the last meeting. This list included Walter C. Welke, who passed away on
February 16, 1975. He had been a member of ABA since 1939.
1975 ABA Annual Report
HARRY J. WENGER (1906 – 1992)
Harry Joseph Wenger was born on October 5, 1906 to Swiss-German immigrant parents on a farm near
Wayland, Iowa. He died in Mesa, Arizona on January 26, 1992 at the age of 85.
Harry‘s music journey began in the Wayland High School band, playing the Montgomery Ward cornet that
he shared with his brother. In 1932 he graduated from the University of Northern Iowa with a Bachelor of
Arts degree. He began teaching at the Mt. Pleasant, Iowa high school, where he handled all the music:
band, orchestra and choir. During the Depression of the Thirties, Harry was hired to replace three music
teachers at Le Mars, Iowa. In 1936 he became director of music at the Owatonna, Minnesota junior and
senior high schools. His bands, orchestras and choruses won numerous superior ratings in national
competition. Harry was strict and demanding, but his students loved him. As he walked to and from
school, he looked like the Pied Piper with his entourage of laughing boys and girls. He was particularly
proud that he had organized a choral group at the Owatonna High School called the Carolers. The chorus is
still a popular performing group.
Harry was mechanically inclined. He first designed metal stands for his band; then a sousaphone chair that
would comfortably support the large instruments. In an interview with the Owatonna Peoples‘ Press, Harry
recalled the invention:
One summer my brother and I set about making a chair for the sousaphone. We came up with
some of the oddest monstrosities you ever saw, but finally came up with one that worked. We
made about a dozen of them and had no trouble selling them.
In 1947 Harry took a leave of absence from teaching to start the Wenger Music Equipment Company. His
first factory was a horse barn, which rented for ten dollars a month. Although Harry returned to the
classroom to teach part time, he resigned in 1950 to devote all of his time to manufacturing.
Among Harry‘s numerous honors and awards were: The Music Educators National Conference special
recognition for ―Outstanding Service to the Music Industry Council‖; the Minnesota Music Educators
Association Distinguished Service Award; the Edwin Franko Goldman Award from the American School
Band Directors Association; and the first Richard V. Madden Fortissimo Award from VanderCook College
of Music. Harry was also a member of the Music Industry Council for twelve years, two as president. His
company was elected to ABA Associate Membership in 1960.
Harry used his teacher training to guide his employees to do their best jobs. He expected perfection, but
was patient and persistent. Today the Wenger Corporation employs over 300 people and has customers
around the world in schools, universities, municipalities and churches. Their specialized equipment, such
as acoustical shells and stage platforms, has been used by thousands of organizations, including the
Metropolitan Opera, the New York Philharmonic and London‘s Royal Albert Hall.
Although Harry was known as ―Owatonna‘s Music Man,‖ his company is his greatest claim to fame. Harry
believed in the Great American Way of free enterprise and his dream came true. A talented, wise, hard-
working and much-loved man has passed away. We will all miss him.
1992 ABA Annual Report
PEARL LEONARD WEST (1914 – 1999)
Pearl Leonard West was born on September 18, 1914 in Dean, Iowa and died in Coralville, Iowa on
January 23, 1999 after a lingering illness. He grew up on a farm outside Moulton, Iowa. His interest in
music began at an early age, since almost everyone in his family played an instrument. He became
proficient enough on the baritone horn to join the family band, touring county fairs in southern Iowa and
Illinois. Pearl switched to the tenor sax in high school. The Moulton school did not have a band program,
so during his last year in school he traveled about twenty miles every day to the school in Centerville, Iowa
in order to participate in their band program.
Pearl attended the University of Iowa, graduating in 1940 with a Bachelor of Music degree. While at the
university he was active playing the tenor sax in local dance bands. He continued playing the saxophone
until less than a year ago. In 1941 he opened a one-room musical instrument repair shop in Iowa City with
a partner who was a dance band colleague. The store, called the Peterson-West Music Company, had to
curtail operations when the United States entered World War II. The repair shop was then relocated at the
Huyett Music Company, a sheet music distributor in Iowa City. During the war Pearl taught music in the
Iowa City Schools and repaired instruments after school hours. He played saxophone and clarinet in area
dance bands and served as secretary of the local musicians‘ union.
In 1945 Pearl reestablished his own business, the West Music Company, and quickly earned an excellent
reputation as a repairman, teacher and performer. His retail store thrived with an active school rental
program and the addition of many new product lines. Pearl‘s hospitality to band directors and industry
representatives from the early days of his business until his retirement is legendary.
In the Sixties and Seventies Pearl researched, designed and began building his own flute in the basement of
the family home. He made about thirty of the handcrafted instruments. In the mid-seventies he acquired
the rights to the Platz Oboe, which he also manufactured. In 1977 Pearl became the exclusive distributor of
the Japanese Miyazawa flutes. For 22 years he collaborated with Masashi Miyazawa in the design,
manufacturing and marketing of the flutes.
Pearl was involved in and supported numerous industry programs. In 1966 he was elected to the Board of
Directors of the National Association of Music Merchants. He belonged to the National Association of
School Music Dealers and was a founding member of Omega, a music industry research group. In 1984 he
served as president of the Flute Industry Council. The West Music Company was elected to Associate
Membership in ABA in 1973.
Pearl was a loyal and dedicated member of our organization and a frequent and generous contributor to the
ABA Foundation. He was truly a model of what an Associate Member should be, and we are a better
organization for having had him among us.
Pearl retired as president of the West Music Company in 1979, at which time there were stores in Iowa
City, Coralville and Washington, Iowa. Now there are others serving Iowa in Cedar Rapids, Cedar Falls,
Waterloo and Ottumwa.
Throughout his forty-year career, Pearl was an avid supporter of, and advocate for, music education,
working closely with band directors to enhance music programs throughout the Midwest. He just enjoyed
making music.
1999 ABA Annual Report
MANLEY WHITCOMB (1913 – 1987)
Manley Whitcomb was born in Mellon, Wisconsin on January 21, 1913 and died in Tallahassee, Florida on
November 20, 1987—two months short of his 75th birthday. Because of failing health, he was unable to
attend our meetings for several years.
He earned both his bachelor‘s and master‘s degree at Northwestern University, where he played solo cornet
for Glenn Cliffe Bainum. Hugh McMillen and Dick Madden were his classmates. Manley was greatly
influenced by Bainum and patterned his bands and style of rehearsing them on Bainum‘s methods.
In 1935 Manley accepted a position as brass instructor at Ohio State University. Four years later he
became director of the marching and concert bands. His teaching duties were interrupted from 1943 until
1946 while he served his country as an Army Combat Infantry Sgt.
Returning to Ohio State, Manley was appointed chairman of the instrumental division of the School of
Music. He was one of a group from Ohio State eventually elected to ABA: Dick Madden, Clare
Grundman, Jack Evans and Don McGinnis.
In 1948 Manley shared what to him was wonderful news when he told Jack and Don, ―I just got a telegram,
and I was elected to the American Bandmasters Association!‖
In 1952 Manley and Ohio State University hosted our annual convention. Manley was on sabbatical in
1953 when he finished his Doctor of Education degree at Columbia University Teachers College. He then
accepted the position of Director of Bands and Coordinator of Music Education at Florida State University,
eventually becoming the Chairman of Music Education.
As a member of a number of music associations and fraternities, he was elected National President of the
College Band Directors National Association and served as National President of Kappa Kappa Psi. He
was also a Phi Mu Alpha Sinfonian.
Jack Evans, an associate of Manley at Ohio State University, summarized some of his achievements in this
way:
Whit was an outstanding musician with a keen sense of showmanship. He was an innovator,
always looking for new, better and more efficient ways of doing things. Among the things he
brought to the marching band were: the use of charts for each bandsman; the establishment of
standard spacings on the field; the five line scoring system of music arrangements; the eight to
five system of standardized length of steps; the use of a planning board for better perspective of
formations; and the use of band steps.
Whit was a most unusual man—brilliant, scholarly, a fine musician and excellent conductor, an
outstanding teacher and a great band director. He was also a warm, friendly and caring person,
held in high esteem and deep affection.
1988 ABA Annual Report
WILLIAM C. WHITE ( - 1964)
Chief Warrant Officer William C. White, retired Army Band Leader, was a former member of The
American Bandmasters Association. He was born in Centerville, Utah, and was a graduate of Harvard
University. He served for 41 years as an Army band leader and composer. He was principal of the Army
Music School at the Army War College during World War I. In 1919 he led the 75-piece Army Band at the
New York welcome for Gen. John J. Pershing on his return from Europe.
CWO William White began his career as a soldier-musician with the 10th Coast Artillery Band at Fort
Banks, Boston, and later served as adjutant of the Army Music School in New York. In 1928 he started a
six-year tour of duty in Hawaii. From June 1946 until his retirement in 1948 he led the 321 st Army Band.
Later, promoted to Lieutenant, he was the author of ―A History of Military Music in America,‖ ―Unisonal
Scales, Chords and Rhythmic Studies,‖ ―Military Band Arranging,‖ and ―Tone Building and Intonation
Studies for Military Bands.‖
Lt. White took an active part in the early day school band program. He judged the 1926 National School
Band contest in Fostoria, Ohio. He, together with John Philip Sousa and Edwin Franko Goldman, made the
recommendation for instrumentation for school bands, which recommendation was adopted in 1927. He
was the composer of several marches, the best known of them being, perhaps, ―American Doughboy.‖ He
was buried in Arlington National Cemetery on October 2, 1964.
1965 ABA Newsletter
CHESTER E. WHITING (1900 – 1985)
Lt. Col. Chester E. Whiting died at Walter Reed Army Medical Center on March 21, 1985. He was eighty-
five years of age. Elected to ABA membership in 1948, he served on the Board of Directors in 1955 and
1956. He became our President in 1964.
A native of Massachusetts, Chet began his musical career at the age of thirteen. Following his graduation
from the New England Conservatory of Music, he became the Director of Instrumental Music in the
Malden, Massachusetts public school system.
A great part of Chet‘s career was spent in the service of his country. In the early Twenties he joined the
110th Cavalry Band of the Massachusetts National Guard, serving as its director for sixteen years. During
World War II, Chet was the leader of the 26 th ―Yankee‖ Division Band with combat duty in the Pacific
Theater. Later he was appointed Commanding Officer of the American Division Band and was awarded
the Legion of Merit and the Bronze Star for meritorious service. Before the war ended, Chet returned to the
United States to form the First Combat Infantry Band, whose primary duty was to support War Bond
Drives. At the end of the war, Chet organized the United States Ground Forces Band, which was later re-
designated as the United States Army Field Band. Under his leadership, the band became world-renowned.
He was Commander-Conductor until his retirement in 1960.
Although Chet was recognized as a great bandmaster, he composed a number of marches, authored several
books and devoted his waning years to promoting education in the public school system of his Maryland
Community. He served as a member of the Prince Georges County School Board for many years.
At appearances in concerts during his forty-five year career, millions of people in this nation and abroad
applauded Chet‘s work.
1986 ABA Annual Report
President Whiting‘s Address - 1965
The American Bandmasters Association was organized 37 years ago. From what I have read of the
proceedings of the first convention, one year later, it is a rather astonishing fact that there were fashioned
then only Four Major Objectives which, during the intervening years, have served us well as our modus
operandi.
So well did the founding fathers of our great fraternity construct its framework, that what we have done
since amounts to but an extension, or a fuller development, of their original concepts. Let us briefly re-
examine these four objectives in the light of a progress report:
ONE: In cooperation with all of the music publishers, the American Bandmasters Association
should work for the adoption of a universal instrumentation, for better band arrangements, for
improved printing methods, and for a revised nomenclature of the instrumental parts.
With many thanks to the music publishers—and most special thanks from those of us who conducted bands
as far back as the Roaring Twenties—we can claim much progress toward this goal. Because the band
itself has been constantly undergoing change and revision, we still find much disagreement among
bandmasters and composers of what should rightfully constitute the ultimate in instrumentation. Perhaps
we have even changed our minds about the advisability of an international instrumentation which would of
necessity lesson one of the most attractive features of the band—the variety occasioned by endemic
groupings and practices. But it is obvious that from its inception the American Bandmasters Association
has provided stimulation and guidance in improving the quality of publications for the band.
TWO: To influence composers of this generation and generations to come to write seriously for
the band.
Within two years after its organization, the American Bandmasters Association induced many prominent
composers to write original compositions for the band. In 1948, Mr. Ernest Ostwald, long a staunch friend
of bands, offered an award ―for self-expression to a young musician of outstanding talent to composer a
band march.‖ Acting upon the advice of the sagacious Lt. Col. William Santelmann, Mr. Ostwald changed
―march‖ award to ―an Award for more effective contemporary music for the symphonic band.‖ A
committee was selected from the membership of our Association and charged with the dual responsibility
of establishing the rules governing the Award and selecting the winning composition.
The first Ostwald Award was presented during the 1956 convention, but unfortunately Ernest Ostwald did
not live to witness its presentation. As a tribute to Ernest, his brother Adolph has carried on this great
work. In 1956 there were 12 contestants; this year there were 85.
THREE: To raise the standard of the concert band.
FOUR: To convince the public that the band is entitled to enthusiastic support.
Because there is an obvious reciprocal dependence between these two objectives, I should like to treat them
as one. The bandmasters themselves have done much since the organization of our great fraternity to
capture the support of the public, by their efforts to raise the standards of the bands. However, it took more
than their efforts, for without the cooperation and assistance of our Associate Members, the combined
efforts and abilities of the Goldmans, the Sousas, and the Simons could not have raised the concert band to
its present state of excellence.
Therefore, it is appropriate, on this 37th anniversary of the founding of the American Bandmasters
Association, to express our gratitude to the Associate Membership for the great contributions they have
made in making far less difficult our task in presenting to the American public the best in band music. To
the publishers of music, the publishers of our various magazines, the manufacturers of musical instruments,
of accessories, of equipment—to all who produce the working tools of our profession—our sincere thanks.
Nor can we fail to include the dealer—the grassroots man, the local band director‘s advisor, friend and
neighbor.
Delving more deeply into the deliberation of those early days of the Association, we find some very
interesting topics. Many years ago, Dr. Edwin Franko Goldman, to whom we forever shall pay tribute as
the father of our organization, in his third presidential message emphasizing his stand upon one of the most
controversial subjects of the day, stated:
At the first two conventions the relative merits of the cornet and the trumpet were discussed and it
was unanimously voted that the cornet should be restored to its regular place in the band. We
want cornets, as well as trumpets, but both should be used in their proper places.
And to Glenn Cliffe Bainum is attributed the following:
Our drummers have been too inexpert; the drums they select have been too noisy; our arrangers
have been too lavish with the ink; and too frequently our conductors have had their eardrums
pounded into a state of partial insensibility to tonal balance.
At the same convention J.J. Gagnier enthused:
Just fancy a band with a complete section of 20 B-flat sopranos, 2 altos, 2 basses and 2 contrabass
clarinets!
Well, I choose not to comment. I simply offer these quotations for whatever comparisons you may wish to
make between then and now.
Not having been endowed with an uncanny power of introspection, I cannot predict what will be said at the
convention 37 years from now. Perhaps the ―relative merits of the cornet and the trumpet‖ will be
discussed. Maybe the first bandmaster to reach the moon will relate his experiences on hearing some really
―far-out‖ music! In any event, I can safely leave to a distant incumbent in this high office those things
which he may prefer to discuss thirty-seven years from now, only expressing the hope that he will dutifully
deposit a copy of his remarks in the by then voluminous files of the Research Center.
This Convention terminates my administration, but it will not bring to an end my zealous efforts to bring to
our American youth more band programs by means of the radio, a medium too long neglected by most of
us. I have dismissed, at least for the immediate future, any thoughts of trying to get bands on television, for
television producers are not presently in favor of band programs. I doubt, however, that this is so with
radio. The tremendous number of people who listen to radio at home and in their cars should not be
underestimated; nor can we fail to recognize their appetite for something other than the kind of music to
which they are exposed from morning till night.
That we have not been hearing band music on the radio for many years is, to a large extent, the fault of the
bandmasters themselves who, either through apathy, or disinterest, have not done a good selling job. Many
of you can recall those days when bands of the services, of industry, and of our universities, broadcast
weekly. These concerts were carried by practically every station in the country, in addition to regularly
scheduled programs—and radio time was at a premium then. There is no reason why our youth should any
longer be denied the great inspiration which these bands can afford them. This can be done, if we will
make an effort to get back in the broadcasting business. It is my contention that if we make serious effort
to bring to the American public, through the radio, those bands over which we hold leadership, it should not
be too long before sponsors will become interested in engaging professional bands. That is my ultimate
goal—and in building an approach to it I ask your cooperation.
In closing, I should like to write two cards of thanks. The first one I address to Mr. James Lamb Dixon, the
donor of our souvenir program; the man whose friendship and philanthropy have transformed into a
delightful experience what, for me, would have been an overwhelming task. The second I address to you,
my colleagues. I thank you for honoring me with the Presidency, and, for the cooperation you have given
me during my administration. I urge you to continue the warm and friendly spirit which has been the
moderator over our every act and discussion this past year. The American Bandmasters Association is a
generous and tolerant organization. These qualities were best exemplified a year ago when an humble man
was granted the privilege of sitting at the right of our great Honorary Life President, Dr. Frank Simon—
musician pre-eminent and noble servant of our fraternity. Especially for this honor am I profoundly
grateful.
1965 ABA Annual Report
FRANK WICKES
President‘s Address - 1998
At this time I would like to present what is customarily referred to as ―The President‘s Address.‖ After
witnessing the charm and style of the addresses of my predecessors, I realized once more what large
footsteps I must follow.
I confided to one of my dearest friends and long-time ABA wife how I thought the Presidents‘ addresses
were eloquent, and worried that I too needed to be somewhat eloquent. She responded by saying, ―Well,
Frank, you better not be too eloquent or they‘ll know it‘s not you!‖ Then when I told a very supportive
Past President how honored I was to be in this office, he replied, ―Well, just remember, it wasn‘t
unanimous!‖ My 91-year-old father, who on numerous occasions in my younger days often put me in my
place, laughed heartily at both these remarks.
What I am about to say are only my own thoughts. I present them to you because I have the privilege of
presiding over this forum at this time.
I frequently remind myself not to forget that ABA is an honorary organization. It is not only an honor to
belong to ABA, it is a high honor. Most of us, at some point, have probably wondered how we got into
ABA. To a person, however, whether we are in attendance or not, we were honored to have been invited to
membership.
It is my responsibility as president to preside over a convention where exciting things are happening and
where significant changes are being proposed. I don‘t know what the results will be, but I do know that
during the past year several people for whom I have the utmost respect were quietly working very hard to
structure these changes properly. As any administrator surrounded by top notch help will tell you, the best
course of action in those situations is probably to stay out of their way and let them do their jobs.
So it was with our many committees and task forces. Here, in Biloxi, we will focus on several important
issues.
Our Ostwald composition contest is the granddaddy and most prestigious of a growing list of national and
international band composition contests. For over 40 years it has been fulfilling Edwin Franko Goldman‘s
dream of developing a significant, original repertoire for the concert band. This week we will hear
recommendations to consider changing the format of the Ostwald Award. After talking to many of you,
including at least six composer members, I wish to go on record as favoring a return to the annual contest,
that we consider raising the $5,000 annual prize, and that we rescind the commission as soon as it is
convenient. In my judgment, it is the contest itself and the prestige which accompanies it that produces the
composer‘s best work. In addition, not all composers have found it easy to fulfill the commission
obligation within the year immediately following the prize because they are backlogged with other
priorities. Jim Keene‘s work on this ABA task force has been substantial and he will produce important
information in his report later in the convention.
This week we will also consider important changes to the ABA Constitution. After many hours of careful
perusal of both the old and the revised documents, I will urge approval of the monumental effort put forth
by Don McGinnis and his committee. He and they have restructured and modernized the constitution with
continuous and meticulous input without altering the original intent. Don‘s remarkable two-year effort has
been a tremendous achievement and is the work of one of our most brilliant past presidents. Don, I could
not be more grateful that you offered to continue with this work during my presidency. A heartfelt thank
you to you, your hard-working committee, and your charming wife and typist, Ruth.
Consideration of new members is among the most important business conducted at any annual convention.
For many young members (and some older ones for that matter) the process may be mystifying and is often
questioned. It behooves all of us to reflect on the poignant memorials delivered by John Yesulaitis during
the past two years, some 20 cherished members in all. What a remarkable job John does with this
extremely difficult task. But this year we have responded by nominating 21 certified candidates.
Our membership chairman and vice president, Bryce Taylor, has handled this task beautifully. He has also
worked diligently to revise the current membership evaluation form by removing ambiguities in an effort to
clarify the evaluation process.
In support of Bryce‘s work, Ken Bloomquist has been preparing a clarification of the step-by-step
processes of new candidate member identification, nomination, and sponsorship starting with our regional
convention caucuses. Both men hope to make it easier for all of us to enter into sponsorship when we
believe the right person is out there. I ask for your enthusiastic support of their excellent work.
We are all proud that our Foundation assets have now surpassed the quarter of a million dollars mark. I
personally believe that the Foundation will soon reach limits only dreamed of a few short years ago. The
decision to invoke the expertise of our Associates, including making Nick Peck chair, was wise indeed.
Why? Because business people understand big business practice. That‘s their forte and the Associates are
more than willing to assist us in our efforts. Soon we may need to assist the Foundation, perhaps through
the enrichment committee, by suggesting additional worthy projects that will benefit ABA. The ABA
Research Center at the University of Maryland is in need of our attention. Appointing Fred Boots as
Historian was a much needed step in the right direction. When I visited the center in the old library two
years ago with Rich Bergman, I was distressed to see that those files were somewhat in need of upkeep and
reorganization. At that time they happened to be shelved immediately next to the Mid-West Clinic files,
which were carefully catalogued. Nearby were also the complete files of MENC. I hope all of us will
support a strong effort to upgrade these archives and if it‘s manpower as well as financial support that‘s
needed, so be it.
The ABA Foundation finances have been superbly recorded and managed by its treasurer, Victor Zajec.
Few people in ABA are more thorough. The good news is that much of those carefully catalogued Mid-
West files next to ours at Maryland were also the work of Vic Zajec. I‘m not suggesting anything here,
Vic, but as you celebrate your 75th birthday…, I secretly hope that either you or your personally selected
ABA clone can somehow assist Fred Boots. May you live to be 150!
I also hope that you young members of ABA will sense the loyalty and dedication that some of the
members mentioned here bring to ABA. They are the stuff of which ABA is made, and they are wonderful
people to emulate. Take full advantage of our convention to get to know these great folks. Don‘t wait!
Our ABA breakfasts help.
There is much additional work to be done.
This organization very much enjoys the ―Friendship Directory,‖ which includes pictures and bios of all
Members, Associates and Significant Others. It was last assembled by Barbara Buehlman in 1996. Shortly
after Christmas I was able to retrieve all the files and correspondence pertaining to that directory from
Kelly Jocius of the Mid-West Clinic. The 1996 cost of the project was approximately $5,000 to ABA, with
the Mid-West picking up postage and printing of envelopes. I was told that assembling the picture and bios
was a very difficult project, but thanks to Barbara‘s tenacity, it was accomplished about as well as it could
be done. It is my hope that we can find both a sponsor and, most importantly, a committee chair or
volunteer who would agree to update this project by suggesting changes, and perhaps developing a new
format which would allow for the insertion of individual pages when new members are welcomed to the
organization.
Dick Thurston also tells me that it is again time to reprint ―Lest We Forget,‖ the complete membership
history of ABA. I have also suggested to Stan Michalski that he investigate updating the ABA Orientation
Handbook, which is distributed to new members and which includes a brief history as well as outlines the
convention customs of ABA. These projects take both energy and financial support. So as some of our
committees disappear with time, other new ones are needed. We invite both your energetic input and your
personal involvement as we approach the 21st century.
Finally, ABA is both an organization of strong character and an organization of strong (real) characters.
ABA is, most of all, fun. We have fun here and allow time for it. I very much enjoy the time I spend with
all of you and the many experiences we share together. So it is time for me to end with my favorite ABA
member story. I promise it‘s all true!
Two years ago in San Antonio we were all captivated by Ken Bloomquist‘s wonderful parable of the geese
and how the flock works to helps its own stay together. Ken is a member of the Snowgoose Clan who lives
so far north that only Harry Begian, Martin Boundy and Cliff Hunt understand why. Ken loves to come to
the deep South, and when I called him last week he was practically headed out the door to come to Biloxi.
Well, such was the case in 1984 when this great snowbird (goose) from Michigan flew south and picked up
another member of the flock, that great volunteer from Tennessee, J Julian, and both found their way to
Florida to judge with me at the Daytona Beach Music Festival. There we were in May judging the sights
together in coats and ties as we drove our rental car up and down Daytona‘s hard beaches while witnessing
both the chuckles and the gesture of the bathers. In those days the Daytona Beach Music Festival had a
marching contest on Friday evening and a concert contest on Saturday. So we gathered to eat in the
crowded hotel restaurant on Friday evening for dinner. The hostess seated our party of six around a
circular table and in the center of each table was a small open jar with a lighted candle in it. The menus
given to us by the waitress were quite large and were made, of all things, of parchment. Ken was so happy
to be in the warm climate and so engrossed in his dinner choices that he didn‘t realize his menu was
suddenly bursting into flames. We all jumped up and with everyone in the restaurant staring at us we
finally put out the flames, fanned the smoke away and settled back to the table. After much nervous
conversation and with considerable laughter we were able to finish dinner. We then proceeded to the
stadium to judge the marching contest. One of the bands during the contest had a squad of eight majorettes
which had disappeared behind the drum line to prepare for their final number. As you might expect all
eight majorettes suddenly began to file around the drums and through the brasses to take their positions
front and center with lighted fire batons. When they were all in place and twirling away, J Julian in his
own inimitable style, clicked off his cassette, looked over in our direction and said….‖Oh, look, Ken,
they‘re twirling menus!‖
Ladies and Gentlemen, such is the fun of people of ABA. God bless you all!
1998 ABA Annual Report
CHARLES ALBERT ―Pete‖ WILEY (1925 – 1992)
Charles Albert Wiley, known to us as ―Pete,‖ was born in Abilene, Texas on March 2, 1925 and died as the
result of a stroke in Moscow, Russia on June 2, 1992. He received his early musical training in the public
schools of Abilene and Lubbock. Pete served in the Navy during World War II as a navigator on a tanker
ship. During this time he studied at Columbia and Tulane Universities. After the war, Pete earned the
Bachelor of Science degree in mathematics from Texas Tech, where he played oboe and was the drum
major in the band, conducted by his father, D.O. Wiley. Pete attended the University of Kansas for one
year, where he was drum major and played oboe in the band conducted by his uncle, Russell L. Wiley.
Pete earned his Master of Music degree at the University of Texas and his Doctor of Education degree at
the University of Colorado. His teaching career began in the Austin, Texas High School as assistant band
director under ABA member Weldon Covington.
In 1952 Pete became the director of the Lamar State College of Technology 15-piece band! His goal was
to make the Lamar band and music department major institutions, a task that lasted 31 years, during which
time Lamar became a University. The student body grew from 1,500 to 16,000, the band from 15 to 350,
and the music department from 20 to 140 majors. Pete reached his goal against great odds. His first budget
was $1,500, with ten $90 annual scholarships. Eventually he raised $50,000 for a permanently endowed
scholarship program. Additionally, there was an annual budget of $100,000, with an extra $20,000 for
band scholarships.
Although many opportunities for other positions presented themselves, Pete chose to remain at Lamar
University until the job of laying a solid foundation was done, as his father had done at Texas Tech, and his
uncle had done at the University of Kansas.
Pete was elected to ABA membership in 1963, the third member of the Wiley family to become an ABA
member, along with his father, D.O. Wiley, and his uncle, Russell Wiley. Pete served on the ABA Board
of Directors in 1981 and 1982, and was chairman of the ABA/Ostwald Committee.
He was a member of Phi Beta Mu, Phi Mu Alpha, the Texas Music Educators Association, the Texas
Adjudicators Association, and was a past national president of Kappa Kappa Psi. In 1977 the School
Musician magazine named him one of the ten most outstanding band directors in the United States for that
year. Six years after Pete retired from Lamar University, the Texas Bandmasters Association gave him his
most surprising and cherished award when it selected him their ―Texas Bandmaster of the Year.‖
The Lamar Symphonic Band performed by invitation at five conventions of the Texas Music Educators
Association, at three national MENC conventions, at a regional convention of CBDNA, and at three
different ABA conventions. Pete‘s band also toured Mexico on five separate occasions.
In 1973 Pete founded TRN Music Publishers, Inc. For ten years he was the editor and publisher on a part-
time basis until his retirement from Lamar. He then moved his company and residence to Ruidoso, New
Mexico. His numerous publications are a testimony of his composing and arranging talents.
Pete Wiley was a very religious man. He said that every good thing in his life was a gift from God. Pete
Wiley was God‘s gift to us.
1993 ABA Annual Report
DEWEY O. WILEY (1898 – 1980)
Dewey O. Wiley, known to many as ―Prof‖ or to a few as ―D.O.,‖ is also known as ―the father of the school
band movement in Texas.‖ He died on December 29, 1980 at the age of eighty-two. He was elected to
membership in The American Bandmasters Association in 1936.
D.O. was born in Alexander, Texas, April 17, 1898 and grew up in Graham, Texas, where his father
worked a small farm. His early musical training began in elementary school when he taught himself from a
mail-order violin method and miraculously learned correctly such fundamentals as bowing, fingering and
hand position. Later, while still in high school, he made frequent trips to Ft. Worth to study with the Dean
of Music at what is now Texas Wesleyan University.
D.O. attended Midland College where he conducted the college orchestra, played tackle on the football
team, and while in college married his high school sweetheart, Willie Ruth Cole.
In 1921 he went to Simmons College in Abilene where he conducted the college orchestra and taught
violin. One year later he was also appointed director of the college band.
In 1923 the Chamber of Commerce in Abilene asked Wiley to taken the band to San Angelo for the West
Texas Band Contest. He objected, saying that the band had no uniforms. The Chamber of Commerce
countered that they would outfit the band and asked Wiley to select a design. He came up with cowboy
boots, chaps, a purple and gold cowboy shirt, and a ten-gallon cowboy hat. Thus was born the famous
Cowboy Band. They entered the 1923 contest and lost, but won other contests to become the official band
of the West Texas Chamber of Commerce. In the twelve years D.O. served as director of the Cowboy
Band, they toured all over the United States and Europe. The band played fourteen performances in
London at the Palladium Theater, and in many other famous theaters of Europe, such as The Hague in The
Netherlands.
In 1934 D.O. accepted the post as band director at Texas Tech University and in a short period built the
band to one of the largest and finest bands in the nation, with some 175 members enrolled.
When D.O. retired in 1959 many of his students had become leaders in music education. Among them
were his brother Russell, who was the band director at the University of Kansas, and his son ―Pete,‖ who
has been the band director at Lamar University since 1952. Both are members of The American
Bandmasters Association.
D.O. earned his unofficial title as ―Father of Texas Bands‖ partly because of the large number of his
students who became Texas band directors, and partly through his pioneer work with the Texas Music
Educators Association. The forty years during which he played an active part in the Texas Band Teachers
Association and the Texas Music Educators Association were marked by phenomenal transition of music
education in Texas, from a period of a few town bands, a few so-called school bands and orchestras of an
extracurricular nature, to a period in which the Music Educators of Texas achieved a level of national
leadership in the performance level of its bands, orchestras and choirs.
D.O.‘s influence for good went much father than music: he was a man of great Christian principles who
believed in being completely honest and in telling the truth at all times. As a man he will long be
remembered as an example in Christian living as well as an inspired teacher of music. The band field has
lost a great friend.
1981 ABA Annual Report
―DEWEY O. WILEY—The World Famous Cowboy Band‖
Presentation by Francis McBeth—March 24, 1994
In September of 1922, Dr. Jefferson Davis Sandefer, President of Simmons College in Abilene, Texas, was
faced with a serious problem. His band director, Mr. W. O. Hurwood, a piccolo player by profession, had
joined a circus band that summer without notifying Dr. Sandefer of his intention not to return.
The president and his administration persuaded the very reluctant orchestra director and violin teacher,
Dewey O. Wiley, to take the position. This was a few years before D. O. Wiley (father of Pete Wiley)
would found the TMEA and become an ABA member.
Wiley took the band, turned it into an all boys band and renamed it the Cowboy Band after the sports
team‘s mascot, which were the Simmons Cowboys.
I am presenting this very short history because it may have been the most famous university band in the
1930s in the South and was definitely the most famous university band in Europe. Also, it probably
graduated more ABA band members than any other private college of fewer than 2000 student enrollment
in America. It supplied the major band leadership in West Texas for 20 years, leadership which was
instrumental in the foundation of the band movement in Texas.
It is evident in the first roster of the original band of 1922.
Director: Dewey O. Wiley (ABA member)
Cornets: Clarinets:
Baker Cummings J.C. Burkett
A.C. Harper Clark Meador
Edwin Hart Euell Williams
Conrad Lam
Jack Morris Piccolo:
W. Aubrey Stephenson Ernest Yeatts
Willie C. Watts
Saxophones: Trombones:
Harvey Austin L.E. Derryberry
Raymond Bynum (ABA) Dewey Smith
Theron Cahill
Sam Donnell Baritones:
Wendell Foreman Murl McCasland
Bryan Hull Gracen Pack
Jack Perry
Earl Powell Basses:
Gilbert Sandefer Fred Farmer
R.W. Webb Raymond Morrow
J. Russell Odor
Alto Horns: Drums:
Rudolph Adams Joe W. Jackson
Earl Livengood J. Lowell Littleton
J. Phinis McBeth (father of Francis McBeth)
The national recognition from 1922 to 1930 is too long to discuss here. They performed from Arizona to
Florida for rodeos, fairs, political events—hundreds of affairs, from the opening of the International Bridge
at El Paso to the Confederate Soldier Reunion to the reception for Admiral Byrd‘s return from the South
Pole. They became so famous that the Texas House of Representatives put in their minutes in Austin,
Texas, ―The Cowboy Band is the greatest and most famous college band in the United States.‖ But all of
these accolades, coming from everyone from the governor of Chihuahua, Mexico, to Will Hayes, the movie
czar in Hollywood, to a recording contract financed by Southern Music Company on the RCA Victor label,
were nothing compared to their European success of 1930. By the way, one of the recorded works on the
RCA Victor label was the Cowboy Band March written especially for them by Herbert L. Clarke.
In June 1930 the band left New York Harbor on the huge liner, the S.S.Leviathan for England.
I must mention that this was very unusual for a university band. It was not like today where any college
group can go to Europe if each member ―comes up‖ with several thousand dollars. This was a business
venture, not a vacation.
At the Palladium Theatre in London a one-night engagement was held over for two weeks with two
performances a day. It was the rave reviews in the London papers of the Palladium performers that
guaranteed their European success. After twelve performances in Newcastle, they sailed for Holland and
Europe with sold out performances at the Tushinsky Theatre in Amsterdam, the Dierentium Theatre in The
Hague, the Grand in Rotterdam and then on to Paris.
Upon their return to England, their booking at the Hippodrome, England‘s second largest theatre, produced
this review in the London paper:
Hippodrome.—It is more the manner in which the Texas Cowboy Band, and those who help them,
present their show than what they actually do, which gives such relish to their item. Though they
are students from the Simmons University in Texas, they possess the secret of showmanship. As
for their work itself, it is excellent. The precision and harmonic quality of the band—all brass and
reed instruments—is extraordinarily good, and no less entertaining are the rope spinning and
stockwhip tricks with which they add variety to their performance.
After their return to America, D.O. Wiley, because of the huge success of the band, was lured away to
Texas Tech in Lubbock.
The baton was passed at Hardin-Simmons University in 1934 to Marion McClure, who was a snare
drummer on the European tour. Marion McClure remained as band director until his death in 1973.
During the McClure years the band‘s work and fame grew to the point that it became an incorporation.
This incorporation was run by four men and the university. These four men were Marion McClure,
president, and his three aides: Sheriff Will Watson, Johnny Reagan and Gib Sandefer. The last three men
are stories in themselves.
Will Watson, known as sheriff because he had been a commissioned Texas Ranger, had been with the band
from the beginning and was in charge of packing logistics in their travels and took care of the six white
horses that always were in front of the band at all parades. The horses were ridden by girls who each
carried one of the six flags that Texas was under. Watson had a long show business background. He had
been a contracting agent for the Tex Austin Shows in Europe, the Buffalo Bill Shows in Mexico and the
Ringling Brothers Circus. He remained with the band until his death in 1963.
Johnny Reagan (W.L. Alexandra) was born literally in the shadow of Windsor Castle and was entitled by
birth to go into the King‘s Royal Horse Guard in which his father was a trumpeter. At five feet two inches
tall, he was rejected, and at the age of 18 he left home to go to Australia as a working cowboy where he
learned ropes and whips.
After three years he returned to England as a star performer with a rodeo called ―Wild Australia.‖ Later he
was with Miller Brothers 101 Ranch Show and the Tex Austin Rodeo Show.
Reagan was in the audience at the London Palladium at the first show the Cowboy Band played. He saw
them each night and followed them back to America and was their star attraction from 1930 until 1950.
The fourth member of the group was Gib Sandefer who was the band‘s business manager from 1927 until
1946. He left this position to go as business manager of the Navy Band and the Marine Band in
Washington where he was the tour manager for both of these bands for almost 30 years.
It was during the 1930s that Will Rogers was attracted to the band, probably because of their western flair
and superb rope tricks of Reagan. Will Rogers helped the band financially and they performed for him. He
left the band his rope, some hats and one of his saddles.
With the coming of World War II a new but short period began. McClure was drafted and Ringling
Barnum and Bailey Circus shut down for the duration of the war. Merle Evans, the director of the Circus
Band, came to Hardin-Simmons University as the band director until the end of the war when McClure
would return and the circus would start back up.
These war years are so vivid in my memory. I was in the third, fourth, fifth and sixth grades, and my father
was teaching at Hardin-Simmons University. I watched in complete awe as Merle Evans conducted with
one hand and played his cornet with the other. Having come from the circus added another exotic aura
about him that caused me, as a child, to dream that some day I would be as good as he was.
Six years after the war, in 1951, I became a member of this wonderful band. It had been my goal since
before I started to school. During my college years I traveled all over the United States and Europe,
playing in this band, from Rome to Iceland, from the Phoenix Rodeo to Madison Square Garden, from
early TV in Dallas to the Tex McCrary and Jim Faulkenberg show in New York.
In 1952 we were engaged by Senator Cabot Lodge to play the Eisenhower Rallies in New York City that
were being held to try to get Ike to run for President. I bought my wife‘s engagement ring with the money I
made playing these rallies.
In 1953 we won an audition to entertain the troops in Europe. U.S. Camp Shows chose four show groups
to work four theaters of operation, the Aleutians, Japan, the South Pacific and Europe. The four shows
chosen were Eddie Fisher, Ray Milland, a group of starlets and the Hardin-Simmons University Cowboy
Band. In the final audition we won the top flight, which was the European tour.
We played the Opera House in Nice, France to the Titiania Palace in Berlin, from the hangar deck of the
carrier U.S.S. Leyte, to the Klaus House in Munich (which was Hitler‘s former private club), Iceland to
Oxford, England, and would have played in North Africa had a revolution not broken out. We had our own
DC-6 and our own crew, and we could go most anywhere on a whim, which we did on New Years Eve of
1952. We were playing in Chateauroux, France and flew up to Paris for 24 hours of the new year.
The band had many outstanding musicians. The stage band had several players that had ―come off‖ big
name bands. Joe Grantham had been with the Kenton Band, Russ Griep, the Ray Anthony Band, and
others like Pat Patterson, who many of you knew as the Executive Secretary of the Texas Bandmasters
Association. I should not try to name all the successful musicians that came out of this program, but let me
list the ABA members.
I dare say that more members of ABA were produced by this one band than any other small private school
can boast. They include:
D.O. Wiley Jack Grogan
Pete Wiley Bryan Shelburne
Merle Evans Francis McBeth
Raymond Bynum
With the death of Marion B. McClure, the band became just the usual small college band, but during the
Wiley and McClure years, 1922-1970, the Hardin-Simmons University Cowboy Band was one of the best
and most traveled and colorful university bands that America‘s band movement ever produced.
1994 ABA Annual Report
RUSSELL LEE WILEY (1903 – 1991)
Russell Lee Wiley died in Kansas City on November 6, 1991, several weeks short of his eighty-eighth
birthday. He was born in Woodson, Texas on November 26, 1903 into a family of musicians. Russell
began playing the violin when he was only seven years old.
He received his bachelor‘s degree in music education at Hardin-Simmons University. His graduate studies
took him to Drake University, where he earned his master‘s degree, with additional study at Randolph
College, the American Conservatory in Chicago, and Phillips University in Enid, Oklahoma. In 1932,
while at the latter institution, he helped establish the still flourishing Tri-State Music Festival.
Russell became the band director at the University of Kansas in 1934 and was a member of the music
faculty for forty years. In 1936 he founded the Midwestern Music and Art Camp, now considered by many
to be his major legacy to Kansas University. For over fifty years the camp has attracted tens of thousands
of students. Russell was an excellent recruiter, who was able to interest some of the nation‘s finest
musicians to study and perform at the University of Kansas.
In 1968 Russell left his post as band director to spend the last seven years on the university faculty working
on the summer camp program.
An editorial in the Lawrence, Kansas Journal World spoke of Russell‘s uniqueness:
Wiley‘s manner, his professionalism, his carriage and insistence on doing things right almost to a
degree of being a perfectionist, all combined to place him in a special category.
He was elected to membership in ABA in 1939. He was a member of Kappa Kappa Psi and the Kansas
Band Directors Association.
Russell was the recipient of many honors and awards. He was named Band Director of the Year by the
Kansas Band Directors Association and was initiated into the Kansas Music Educators Hall of Fame for
outstanding musicians. Phillips University conferred on him an honorary doctor‘s degree.
At Russell‘s memorial service, Bob Foster eulogized him in these words:
He has joined the true ―Maestro,‖ the great conductor and the real orchestrator, in a greater place.
And if there was not a concert band and a music camp there when he arrived, I suspect that there
will be one soon…. and that the heavens will resound with a new and joyous sound, as he rejoins
his former students and colleagues who have preceded him to that ultimate ensemble where there
are no ensemble or balance problems, and where rehearsals always start on time and concert
conflicts do not exist. No more long bus rides. Where you never march in the rain and snow,
where parts are always prepared, and budgets are no longer a problem…where never is heard a
discouraging word, and the skies are not cloudy all day.
1992 ABA Annual Report
Note: The 1995 Annual Report noted the death of Charmaine Wiley, wife of Russell, on October 6, 1994.
ARTHUR L. WILLIAMS (1902 - 1973)
Jack Mahan, President of the American Bandmasters Association, read the names of those members who
had passed on since the last meeting. This list included Arthur L. Williams, who passed away in 1973. He
had been a member of ABA since 1950.
1974 ABA Annual Report
Arthur Lyman Williams was born on April 21, 1902 in Oberlin, Ohio. As a young man, Williams was a
charter member of Jack Wainwright‘s Oberlin Boys Band. He earned an A.B. from the Oberlin College of
Arts and Sciences and a Bachelor of School Music from the Oberlin College Conservatory of Music in
1925. In 1932-1933 he was a student of Gordon Jacob at the Royal College of Music in London. Williams
also earned an A.M. from the Western Reserve University Graduate School in 1943. Williams was highly
active in music education, especially in Ohio. After teaching high school in Michigan, Williams was
appointed to the faculty of the Oberlin College Conservatory of Music in 1928. He founded the Ohio
Intercollegiate Band Festival in 1929, and the Ohio School Orchestra Contests in 1929. He served as
President of the Ohio Music Education Association in 1931-1932 and founded the state music education
publication Triad.
Williams married Mary Eleanor Maltbie on June 23, 1932 and was elected to the American Bandmasters
Association in 1950. He died on February 19, 1973.
ABA Research Center, Arthur Williams Collection
The 1982 Annual Report noted the death of Mary Williams, wife of Arthur, on August 26, 1981.
EDGAR WARREN WILLIAMS (1916 – 1984)
Edgar Warren Williams, known as ―Jack‖ to his friends, died on September 18, 1984 at the age of 67. He
earned his Bachelor of Arts degree at the University of Tampa and the master‘s degree at the University of
Maine. Prior to his retirement in 1982, Jack taught at the Winter Park High School in Florida for 34 years.
During his musical career he was also associated with Rollins College, Florida State University, the
Universities of Florida and Colorado, and served as a clinician for the Florida Music Educators
Association.
In 1976 Jack was the recipient of the prestigious MAC award for his outstanding achievements in the field
of school music and three years later was elected to membership in The American Bandmasters
Association, an honor that meant more to him than any other. He was also honored by the Phi Beta Mu
honorary fraternity.
A Past President of the Florida Bandmasters Association, he was for twenty years the chairman of the
state‘s music selection committee.
Early in 1984 he was honored by the University of Central Florida at their annual music festival. They
staged a ―Tribute to Edgar Williams,‖ the proceeds from which established a scholarship at the school in
his name. The Winter Park High School also established a scholarship in his memory.
The supervisors of music for Orange County paid this tribute to Jack:
He was the leader, the pilot, the man who set the standards for bands throughout the state. His
bands were the benchmark to which all others aspired.
1985 ABA Annual Report
Note: The 1995 Annual Report noted the death of Priscilla Williams, wife of Edgar.
JAMES CLIFTON WILLIAMS (1923 – 1976)
Harold Walters read this eulogy.
Dr. James Clifton Williams, 1923 – 1976. Traskwood, Arkansas was the birthplace of James Clifton
Williams. Miami, Florida was the termination of his fifty-two years. Jim lost his father at an early age, and
the family moved from Malvern, Arkansas to Little Rock. From that time on, his life was greatly affected
by the American Bandmasters Association. ABA Charter Member A. Austin Harding called his students
―his musical children,‖ and Jim was one of his ―grandchildren.‖ ABA member L. Bruce Jones was Jim‘s
musical father and a guiding one for many years. Jim‘s education continued at Louisiana State University
and the Eastman School of Music, interrupted only by his service in the Air Force Band during World War
II.
His awards were many, again stimulated by the ABA, as he was the recipient of two Ostwald Awards,
which laid the groundwork for most of his future publications.
Jim was a proficient performer on the French horn, even in the ABA Band. His compositions of serious
music were for the band, orchestra, chamber ensembles, and choral groups. He was a member of the music
faculty of the University of Texas for seventeen years, and since 1966 was head of the departments of
theory and composition at the University of Miami. Jim was keenly interested in Phi Mu Alpha Sinfonia,
and one of his favorite works was dedicated to that fraternity. He was elected to ABA in 1968 and he said
that he enjoyed the annual conventions because that‘s where he saw most of his friends. He was a guest
conductor at last year‘s [1975] convention in New Orleans.
Jim was deeply saddened by the recent deaths of his student John Barnes Chance and his close friends
James Dunlop and R.B. ―Scrubby‖ Watson. Jim is survived by his wife Maxine, four daughters, and five
grandchildren. A family project was their horse farm in Miami, called the Hunting Horn Stables.
Jim was a talented and exacting artist, uncompromising on quality and always searching for new ideas.
Typical of his life‘s outlook was his remark to a band that presented him with a plaque praising his music.
He said, ―Some people have a den filled with antlers and beer mugs, but my trophies are from young people
with whom I‘ve worked in music.‖
He always enjoyed the foreign tours he conducted with his Young American Musicians Abroad.
Dr. James Clifton Williams showed us that artistic greatness and a feeling for humanity can co-exist in one
human being. We of ABA should subscribe to the philosophy in which our deceased colleague believed:
―Ars Longa Vita Brevis‖ – Art is Eternal, Life is Short. His legacy to us is his music, which will live
forever.
1976 ABA Annual Report
Note: The 1996 Annual Report noted the death of Maxine Williams, wife of Clifton.
GEORGE CLAY WILSON (1908 – 2001)
George Clay Wilson was born on September 28, 1908 in Champaign, Illinois and died on February 24,
2001 in St. Louis Hospital. He was educated in the public schools of his hometown and attended his
hometown university, where he earned his undergraduate degrees in music and music education. Although
George‘s instrument was the violin, he was very interested in the concert band and was a student under
ABA Honorary Life President A.A. Harding. George was elected president of the band his senior year.
Following his graduation from the University of Illinois in 1931, he accepted a position at Kansas State
Teachers College as director of band and orchestra and remained in that post until 1939. During this period
he also managed to earn a Master of Arts degree from Teachers College, Columbia University. From 1939
to 1946 George was an associate professor and director of bands at the University of Arizona. In 1946 he
was appointed professor of music and director of band and orchestra at the University of Missouri. He
remained in that post for eleven years. He performed with the university string quartet as violist.
In 1957 George was appointed Vice President of the National Music Camp at Interlochen, and later became
director of the camp. In the same year George was awarded an honorary Doctor of Music degree by Philips
University.
During 1970 and 1971 he served as interim president at Interlochen. He was principal conductor of the
Interlochen High School Symphonic Band for 22 years and was the principal conductor of the World Youth
Symphony Orchestra for 13 years. He conducted the World Youth Symphony Orchestra in appearances at
the Ravinia Music Festival in Chicago and at the International Society of Music Education conferences at
Interlochen in 1966 and London, Ontario in 1978. He was a frequent guest conductor of the Interlochen
Arts Academy Symphony Orchestra and guest conducted at the Academy of Music in Philadelphia, at
Orchestra Hall in Chicago and at Lincoln Center in New York.
George was also the permanent conductor of a number of orchestras: the Ann Arbor Civic Orchestra, the
Jackson (Michigan) Symphony, the Northwestern Michigan Symphony and the Tucson (Arizona)
Symphony. George also served as president of the Michigan Civic Orchestra Association.
George made numerous appearances as guest conductor, advisor and adjudicator, both nationally and
internationally. In 1973 he was guest conductor with the Oporto National Symphony in Portugal. Later
that year he spent three weeks in Manila as advisor to Imelda Marcos, First Lady of the Philippines,
assisting her with the development of a National Arts Center. He returned there in 1976 for the dedication
of that facility.
In 1995 George spent three weeks in Japan as clinician and conductor of the first All-Japan orchestra and
band clinics in Hamamatsu, Nagoya, Yamagata City and Tokyo.
During four visits to Israel, George worked with the music foundation and government representatives in
the development of a music camp modeled after Interlochen. In 1985 he returned to conduct the Israeli
High School String Orchestra and in 1988 led workshops for the conductors and teachers of the
Community Youth Orchestras. His numerous other appearances included those with the University of
Michigan Band, Cass Tech High School Band, University of Illinois Symphonic Band, the Wheaton
College Band, and the official Army, Air Force and Marine Bands. He guest conducted at the Mid-West
Band and Orchestra Clinic, the Mid-East Clinic in Pittsburgh and the Tri-State Music Festival in Enid,
Oklahoma.
George was a member of Phi Mu Alpha Sinfonia, Kappa Kappa Psi, Pi Kappa Lambda, Phi Beta Mu and
MENC. He was elected to ABA membership in 1948 and served on the Board of Directors in 1963 and
1966, was our president in 1965 and became an Honorary Life Member in 1998.
George was a Past President of the Arizona Educators Association. In 1989 at their golden anniversary
celebration, the association honored him as one of the founders of that organization. George was also a
Past President of the Missouri Music Educators Association, and that group elected him to the Missouri
Hall of Fame for distinguished service to music education.
It may be of interest to note several other highlights of his varied career. George was honored by the
Interlochen Board of Trustees with a portrait and a citation. When he retired as Vice President of the
Interlochen Center for the Arts, he was elected an Honorary Trustee. He received the Medal of Honor for
distinguished service to music education from the Mid-West Band and Orchestra Clinic and was honored
by the National Federation of Music Clubs. He was the recipient of the first Distinguished Alumnus Award
granted by the University of Illinois School of Music.
The last ten years of George‘s life were spent in a St. Louis retirement home, where he often gave lectures
on music and presented recordings of his own concerts to his fellow residents. Seven years ago George
suffered a stroke and was unable to speak. He eventually recovered his speech and it began in an unusual
way—his first utterance was musical—he sang ―Take Me Out to the Ball Game.‖ We are indebted to
George‘s daughter Suzanne for providing us with many relevant insights. Suzanne observed that, in spite
of his ordeals, George always had a positive outlook. Although in failing health he found something to be
thankful for every day. George and his notable contributions to the music profession gave all of us
something to be thankful for.
2002 ABA Annual Report
President Wilson‘s Address - 1966
Distinguished Colleagues, Members of the American Bandmasters Association—
With deepest humility I stand before you in this moment. I am grateful for a year of the finest cooperation
from you, richer because of this year and in deepest admiration of your great talents and dedication to the
band movement.
Thirty-eight years ago, when those nine charter members, men of kindred spirit and dedication, gathered to
create this great organization, they planned so well and established our course so wisely that today our
opportunities are greater than ever. One of those men, our Honorary Life President Dr. Frank Simon, still
provides abundantly of this great heritage and inspiration. He has the admiration of all of us as he
continues to give of himself to those whose lives he touches. What an example he continues to set before
us!
Dedicated men, with such illustrious careers, as are represented in the ABA membership could easily let
the ABA surrender its obligation to the present and future. To your credit, your own personal and
distinguished leadership is still the prime force on the contemporary band scene. To deal with one‘s past
achievements is important, but not enough. Our leadership for tomorrow is needed and fortunately being
furnished.
Standards of band instrumentation, which the ABA and its members helped to develop through the years,
guide contemporary usage in the band field. True, tomorrow‘s path is bound to be different, but we should
expect the direction of thinking and the weight of leadership to continue to be furnished through our
membership.
The stimulation given contemporary creative efforts for the band through the twelve years of activity of the
Ostwald Band Composition Award and through the individual contributions of many of our members has
greatly enlarged and developed the band‘s repertory. To Adolph Ostwald, the Ostwald Company, and
those men who have served so faithfully through the years, we all owe a debt of gratitude. Many similar
competitions have been established through the years, and we are proud that this one continues to attract
and develop so much fine literature for the band.
Your own individual commissions, established through your separate organizations and through the efforts
of your sponsors, have produced additions of great musical wealth to the band literature. A singularly
important force has been the very real inspiration from the talented pens of many of you as you continue to
enrich the body of band literature. Thus we salute your great talents and your many creative contributions.
That the ABA should have sponsored, developed and promoted the nationwide campaign to raise money
for the Sousa Memorial Concert Hall in the new Cultural Center in our nation‘s capital is no accident. For
years the ABA has sought the opportunity to establish a fitting memorial to its first Honorary Life
President, John Philip Sousa. This great man, who wrote, conducted and marched his way across this land
and around the world, whose musical magic left an imprint on the band that still motivates us, will be so
enshrined in this national monument. We acknowledge our great debt to all who have worked so hard in
the ABA through these years to bring this about, especially to Colonel William Santelmann, Colonel
George Howard, and Mr. James Dixon. What a fitting place for this Memorial in the great new Cultural
Center in Washington, DC. How appropriate that this Concert Hall should be dedicated to John Philip
Sousa, whose music reached so many hundreds of thousands and through this monument can continue to
furnish music to millions for years to come. This great effort needs our best support.
A vital need on the band scene was met a few years ago when Paul Yoder, as President of the ABA, had a
dream, believed in its importance and proceeded to establish the ABA Research Center and the ABA Band
Journal. In recent years these are two of the most significant things that have happened in the entire band
movement in this country. First, it is enabling us to ensure our record of the past, and secondly, to meet, in
a fine scholarly manner, our obligations to the present and future. We owe a great debt of gratitude to Paul
Yoder, to the University of Maryland, to Hugh Henderson and all those who have been so closely
associated with these endeavors.
I have already discussed with the Board of Directors, the ABA‘s responsibilities to these major committee
activities. They range from the need to assume complete responsibility for some committees, to others
where we only share in the work. Friends and other organizations have supported part of the activities of
some committees and are able to continue to function efficiently and effectively, and thus do the tasks set
before them.
Civic and community bands are still a vital need on the American Scene. What happens to the thousands of
fine young high school musicians after they reach adult life? How can the civic-community band
movement realize a more complete fulfillment of its role in our musical life in America? The one
organization that can and should do more for these activities is the ABA. At this convention you will enjoy
the contribution that is being made by a community band near Evanston, as well as have called to your
attention the years of professional band activities in and about Chicago as we pay tribute to two of our
colleagues, Harold Bachman and Glenn Cliffe Bainum.
A year ago President Whiting expressed a strong personal interest in seeing the development of more radio
exposure of band music in the United States. To this end a committee was formed, but its work this past
year was never able to get under way since the requests for assistance fell on indifferent ears among us.
Paul Yoder has conducted a band radio broadcast for some time and it has met with excellent response.
During the past year the radio station WIAA at Interlochen has produced over thirty broadcasts featuring
many of your bands. These are available for use elsewhere. There must be many such endeavors across
the country, about which we have no information. This is an opportunity and obligation for us and I hope
the next year will see a great interest develop in increased radio exposure for band music.
During the past year the Smithsonian Institute has made some repeated efforts to develop band concerts ON
THE MALL at the Institute in Washington, DC. They have sought our assistance and advice which Major
Gilbert Mitchell has helped provide for the ABA. This may become another opportunity for us to serve
additional band concert interests.
At the first convention of the ABA emphasis was given the importance of the cornet in the concert band. I
know that many of you share my concern for more use of the cornet in our bands. Among our membership
in the ABA are the finest teachers and artists of the cornet in America. Let all of us encourage, foster,
promote and develop more interest in this important member of the band tonal spectrum—the cornet.
Not possessing prophetic powers, but able to contribute from the experiences of this past year, as the 28 th
President of the ABA, it is my opinion that the American Bandmasters Association faces some crucial
decisions in the immediate future. Our opportunities for service to the band world have never been greater.
The support and energies we devote to our established projects and committees will determine the
usefulness of our future. Your active support of every endeavor we undertake and the contributions of your
great talents are necessary to see that the ABA continues to serve, to build—―to seek to establish for the
concert band higher standards of artistic excellence‖ and to thus gain additional musical stature for the
band—a cause to which we must be determined and dedicated to give our fullest devotion.
1966 ABA Annual Report
MAX WINKLER (1888 – 1965)
Max Winkler was another ―self-made‖ man who rose to the top of his profession by hard work and
determination. He was born in Reiszka, Romania and came to the United States at the age of 18. He soon
was given work by Carl Fischer, Inc., an ABA Associate, in their stockroom. Max quickly observed that
musicians playing for ―silent movies‖ must either do considerable improvising, or carry considerable music
in order to play appropriate excerpts for the many and fast-moving scene changes.
In 1918 he founded the music publishing house of Belwin, Inc. in New York City and became a pioneer in
the production of background music used in these early days of motion pictures. It was in 1951 that he
moved his Belwin Company to Rockville Center, Long Island, and it was under his guidance that Belwin
became one of the leading publishers in the world.
Max was a member of the American Society of Composers, Authors and Publishers. He was presented
with a testimonial plaque by the Nassau Music Educators Association. He was a member and past
president of Temple Emanuel. His well-known and widely read book, ―A Penny from Heaven,‖ was a
wonderful expression of his appreciation and gratitude for the opportunities accorded to him in the United
States. He was a leader in community life and in religious and philanthropic affairs.
Max Winkler was one of my long time and highly respected friends. He and I exchanged many ideas in our
discussions of school music programs, business affairs, teaching methods, music, and general business and
politics. Also we exchanged many stories, for which Max was noted. The fact that he could see the
humorous side of even the most serious matters recalls to mind the time that Max, Jack Echols (now
deceased, but then with C.G. Conn, Ltd.), and myself were enroute to one of the famous University of
Illinois Band Clinics (the Dr. Harding Clinics). This was about the time that Adolph Hitler began his first
tirade and persecutions of the Jewish people. We all agreed that such unreasonable cruelty and persecution
should be stopped, and also agreed that if Hitler was not stopped that we might also find him in the United
States. Then Max‘s blood ―really boiled‖, and he criticized, condemned, damned and berated Hitler and his
ilk. He ended his condemnation by stating that although he knew he would be killed almost immediately if
Hitler did invade the U.S. and he, Max, expressed such condemnation, yet he would procure a gun and seek
every opportunity to kill Hitler. Jack Echols listened to Max without interrupting, and then with a twinkle
in his eye said to Max, ―Max, the trouble with you is that you are prejudiced!‖ Max broke into one of the
biggest and longest laughs I have ever heard, and for years after that he would often close any letter that he
might write me with some really clever reference to his being prejudiced.
Max and Mrs. Winkler (Clara) were regular attendants at ABA Conventions up until poor health somewhat
limited his travels. Survivors are Mrs. Winkler, a daughter Mrs. Friedman, two sons, Martin and Harold, a
sister Mrs. Van Baien, five grandchildren and a great grandson. Son Harold heads the Luverne Music Co.
of Rochester, New York and son Martin is a member of the Belwin organization.
1966 ABA Newsletter
ROBERT A. WINSLOW (1931 – 2006)
Robert Winslow passed away on September 23, 2006 following a distinguished musical career. He was
born in Erie, Colorado in March of 1931. He graduated from South High School in Denver, Colorado and
began his college education at CSCE, which is now the University of Northern Colorado. His education
there was interrupted by service in the U.S. Air Force during the Korean War. Following the war, he
continued his education at the University of California at Los Angeles and earned a B.A. from the
institution. This was followed by a M.A. from California State University of Northridge and a Doctorate
from the University of Northern Colorado.
Dr. Robert A. Winslow joined the faculty of North Texas State University, later to become the University
of North Texas, in 1975 and retired from the College of Music in 1993 with the title Director of Bands
Emeritus, after eighteen years on that faculty. Previous to North Texas, he held similar positions at the
University of California at Los Angeles and at Boston University in Boston, Massachusetts. He became a
conductor of national and international reputation, conducting bands and orchestras and served as an
adjudicator throughout the United States and in Europe and Japan.
In 1998 Dr. Winslow enjoyed a three-month stay in Tokyo, Japan, conducting the wind ensemble at the
Musashino Academia Musicae. The wind ensemble toured Japan, performing before audiences totaling
over 5,000 and recorded a CD in Beethoven Hall at Musashino.
Dr. Winslow recorded and performed as a percussionist with many of the great conductors and composers
of the world, including: Zubin Mehta, Georg Solti, Eugene Ormandy, Seiji Ozawa, Andre Previn , Igor
Stravinsky, Carlos Chavez, William Kraft, Lucas Foss, John Cage and Elliott Carter. For many years he
was a regular member of the Los Angeles Philharmonic Orchestra and the Hollywood Bowl Symphony
Orchestras. He was an original member of the Los Angeles Percussion Ensemble under the direction of
William Kraft and was a freelance performer for television, motion pictures, recording and musical theater
in Los Angeles and Boston. He was a founding member of the Percussive Arts Society and served on the
first PAS executive committee.
Dr. Winslow was elected to membership in the ABA in 1987. Other personal awards and recognitions
include: Regents Professor at the University of North Texas; installed into the Alumni Hall of Fame at the
University of Northern Colorado in the early 1990s and into the School of Music Hall of Honor. He
received the University of North Texas Student Association Honor Professor Award and was twice
recognized by Mortar Board as an Outstanding Educator. He was a member of Phi Beta Mu and a life
member of Kappa Kappa Psi. Additionally, he was a member of the jury for the Sudler International Wind
Band Composition Contest and the ABA/Ostwald Composition Contest.
Dr. Winslow retired with his wife Jody to Silverthorne, Colorado, and later Tucson, Arizona, where he
remained active as a guest conductor. After 8 years they moved to Queen Creek, Arizona to be near their
daughter Rachel and her family. He thrived on the company of his grandchildren.
2007 ABA Annual Report
GENE WITHERSPOON (1919 - 1979)
ABA President Donald McGinnis read the names of ABA members who have died since the last
convention. This list included Gene Witherspoon. He was elected to ABA membership in 1971. Gene
was the band director at Arkansas Tech University from 1950 to 1979. He passed away on January 15,
1979.
1979 ABA Annual Report
AL G. WRIGHT
President‘s Address - 1982
Some fifty or more years ago in 1929, ten distinguished bandmasters from the United States and Canada
were brought together by Edwin Franko Goldman for the purpose of organizing an association dedicated to
the raising of the standards of bands and band music.
The make up of the membership of that founding group reflected the type of bands that flourished at that
time, and so it included many conductors of professional and military bands, these being the predominant
bands of the time.
Today the mix of our membership has changed somewhat, but still reflects the kind of bands we have in the
United States and Canada, and so it appropriately includes a considerable proportion of conductors from
universities, college and school bands. Fine composers have always been a part of our membership.
The ABA membership selection process has always been careful and rigorous. In the early days when
communication and travel were more time consuming and bandmasters did not know each other as well as
we do today, one of the early membership requirements was a difficult and scholarly musical examination.
This was eliminated after several years as individual assessment and evaluation became an easier
possibility.
Our membership in the ABA has grown relatively slowly but always with much consideration—and rightly
so, because it is the quality of the membership that assures the quality of the organization itself.
The ABA is a powerful force for establishing and maintaining high standards of band music and
performance of band music in the world today. As I said, we don‘t accomplish this by organizing clinics
and seminars, although a great many of our members are involved individually in those activities. Rather,
our influence for the good of bands and band music comes from the high standards of performance
demonstrated by our own bands and the high standards of the quality of the music we select for
performance on our programs.
As an organization, we do not ordinarily become involved in organizing a large number of projects.
Rather, we are sensitive to the changing needs of our profession and from time to time set in motion
machinery that will help ourselves and others meet and solve the needs and problems of our profession as
they are identified.
Some years ago the ABA saw the need for a scholarly journal in the band field and through Paul Yoder,
Acton Ostling and now John Long, caused to be established the ―Journal of Band Research‖, which is now
supported by and is of benefit to all of the several band organizations extant.
In another area, wishing to perpetuate the memory of John Philip Sousa, the ABA recognized the need to
finance the Sousa Stage in Washington‘s Kennedy Center for Performing Arts and founded the Sousa
Memorial Committee, chaired by Bill Santelmann and later George Howard, which brought the project to a
successful culmination.
The Sousa Memorial Committee later went on to become the Sousa Foundation, which is now a separate
organization from the ABA.
Individual ABA members have been instrumental in organizing other and more specialized band
organizations as the need became evident. Bill Revelli is recognized as the founder of CBDNA; Col. Irons
founded Phi Beta Mu, and Jack Mahan and Milburn Carey have advanced it through the years; John
Paynter and myself the NBA; Forrest McAllister the NABDCC; and Dale Harris the ASBDA.
When the Japanese requested help in organizing their JBA, Paul Yoder went to Japan and worked closely
with them.
Convincing good composers they should write for the band genre has been a continuing ABA activity from
the very beginning. Starting with Edwin Franko Goldman and Bill Revelli, who were so successful in
doing this in the early days, followed by Ostwald (now Conn/Slingerland Award), we saw last year Arnald
Gabriel‘s commissioning of three new works for the 1981 Convention in Washington, DC. In fact, a very
large number of our colleagues in ABA have, at one time or another, commissioned original works for
band.
And so the strength of our organization lies in the individual members. You are the ABA. Its success is
your success and your success is to the credit of our American Bandmasters Association.
Some thirty or more years ago, back in 1947, when Henry Fillmore was successful in getting me elected to
membership in the ABA, his advice to me was: ―Answer your mail and keep quiet in meetings.‖ I have
tried to follow Henry‘s good advice to the letter. Answering the mail was easy, but keeping quiet in
meetings was not always so.
However, I have enjoyed these thirty odd years as a member of the ABA and particularly appreciate your
trust in electing me President of this prestigious organization. Working together with you, my friends and
colleagues in ABA, in helping bands and band music throughout the world, is certainly the most enjoyable
and rewarding experience of my professional life.
Thank you very much.
1981 ABA Annual Report
―Nomination of Al G. Wright for Honorary Life President‖
by Col. John Bourgeois
Mr. President,
It is my distinct honor to speak of the accomplishments of a true living legend. There are few among us
who can claim to have been present at the creation of many of the institutions that serve our art.
I speak of a young boy, born in London, England of Cockney parents, and who came to the United States at
the age of 7 years. He played the French horn in the Pontiac, Michigan high school band of the legendary
Dale Harris. Following graduation from the University of Miami he became the band director at Miami
High School, where he was befriended by another legend, Henry Fillmore.
Henry took the young bandmaster under his wings and mentored him in the skills that would later become
his forte…imagination and innovation.
In 1948 Henry sponsored our young eaglet for membership in ABA and his solo flight began.
He went on to roost at Purdue University where he was conductor of the symphony and Director of Bands,
and boy did he make an impact! Not only with the world‘s biggest drum, but also in introducing a truly
American attraction, ―The Golden Girl.‖
He took his Purdue Band to New York and Radio City Music Hall where the band, dressed as the Marine
Band, along with the Rockettes, played for an extended run of the premier of the movie version of Meredith
Willson‘s ―Music Man.‖
Along with Paul Lavalle, he established the McDonald‘s All-American Band. He is a past president of
ABA and CBDNA and a co-founder of NBA. Along with George Howard he resurrected the Sousa
Memorial into the John Philip Sousa Foundation, where he was President and CEO and Chairman of the
Board. He was one of the original organizers of the ABA Foundation.
In 1953 he married his own golden girl who, in her own right and dynamism founded the Women Band
Directors National Association and was the first female member of ABA.
There have been few people of such vision and dedication to whom we of ABA are indebted. Since his
election to ABA he has had 50 years of uninterrupted attendance until this year.
I am sure that you know by now that only one person could fill my mystery scenario. It is my most humble
honor to place in nomination for the position of Life President of the American Bandmasters Association
my friend and master Bandmaster, Dr. Al G. Wright.
2007 Convention
Y
JOHN YESULAITIS (1916 – 2005)
One of the American Bandmasters Association‘s most respected members, Major John Yesulaitis, passed
away on December 7, 2005 at the age of 89. John was born in Coaldale, Pennsylvania and earned his B.S.
in Music Education from the University of Maryland and a master‘s from the Catholic University of
America. He joined the Army Band in 1936, eventually rising to the rank of Captain. (He was given the
rank of Major at his retirement.) During WW II he was the conductor of the 7 th and 77th Infantry Division
Bands and served in combat conditions in Leyte, Guam, Okinawa, and with the occupation forces in Japan
and Korea. He was awarded the Bronze Star for outstanding service.
After the war, he became associate director of the U.S. Air Force Band and was the founder and director of
the Strolling Strings, a musical ensemble that performed regularly at the State Department and the White
House during the Eisenhower and Kennedy administrations.
In 1964 he moved to Chapel Hill where he became the Director of Bands at the University of North
Carolina serving in this capacity for 25 years, until his retirement in 1989. In 1975 he was named ―One of
the 10 most outstanding music educators in the U.S. and Canada‖ by Teacher Magazine. He was known
affectionately by students and friends as ―Major Y‖ and was known for far more than his musical
accomplishments. He was a member of the Newman Catholic Student Center parish in Chapel Hill, where
he served as Eucharistic minister and greeter. He was a very prayerful person, but had a mischievous sense
of humor and could tell joke after joke.
He always greeted people warmly and often with a big hug and a Werther‘s candy, even in the middle of a
church service. He took up yoga and Spanish lessons in his later years at the prompting of his daughter
Joan, and also did the crossword and Word Jumble daily. A family friend described him as ―the youngest
80-something year-old person I‘ve ever known.‖ At his passing the e-mail messages that flowed among his
friends and former students were full of his two famous phrases: ―Keep smiling‖ and ―Go home and
study.‖
Following his election to the American Bandmasters Association in 1951, he became one of our
organization‘s most beloved members. At the end of his life, John was an Honorary Life Member and also
the senior Past President in the ABA‘s historical chain of leadership. The meticulous care and sincerity
that he gave in the preparation and presentation of the ABA Memorials at each convention endowed this
difficult task with a dignity and respect that gave great comfort to all who shared those emotional moments.
He will be greatly missed at our future conventions.
In John Yesulaitis’ unique way, he continued writing the Memorials for our ABA right up to his passing,
including his own. Here are John’s own words:
I was born in Coaldale, Pennsylvania on September 27, 1916. My parents were Lithuanian
immigrants. I played Alto Horn in the high school band and orchestra and was the first recipient
of the High School Outstanding Musician medal. Graduating in 1933, I received my musical
education at the Ernest Williams School of Music. In 1936 I enlisted in the U.S. Army Band in
Washington, DC as a French Hornist. Air Force Band members Robert Cray, George Dietz and I
were the first military musicians to perform the Army Air Corps Song (now USAF) in the
competition that chose the official song.
While in the Army Band, I used to go to the Anacostia Naval Air Station that was used jointly by
the Army and Navy. I frequently hitched airplane rides. On one occasion, I flew a training flight
piloted by a Captain who became the AF Chief of Staff, Gen. Hoyt Vandenberg. I earned a
private pilot‘s license in 1941 and made my cross-country flight on December 8, the day after
Pearl Harbor.
In 1943 I graduated from the Army School of Music as a Warrant Officer Band Leader and was
assigned to the 77th Infantry Division with which unit I served in the Pacific Theatre of
Operations. I was awarded the Bronze Medal for outstanding service. I served with the occupation
forces in Hokkaido, Japan. When the 77th Division was disbanded, I became the leader of the 7th
Division Band in Seoul, Korea.
In 1946 I was assigned to the U.S. Army Air Corps Band in Bolling Air Force Base. In 1950
when the band toured Europe, the members met King George the Sixth and Queen Elizabeth at
Buckingham Palace. Two years after the Strolling Strings were formed (in 1954) they performed
for the present Queen Elizabeth and Prince Philip in a formal reception at the Pan American
Union. The reception featured Marge and Gower Champion and actress Jane Powell. I received a
commendation from the State Department for my efforts organizing the entertainment.
While serving with the AF Band, I earned my Bachelor of Music in Music Education degree at the
University of Maryland, and the Master of Music degree from the Catholic University of America.
At the University of Maryland I was awarded the Alumni Education Award for being the most
outstanding student in the Senior Class, and made the school‘s Honorary Society, the equivalent of
Phi Beta Kappa.
In 1951 I was elected to membership in the American Bandmasters Association, which was
founded by John Philip Sousa and Edwin Franko Goldman. In 1976 I was elected President of
that organization. The same year I served as president of the local Rotary Club and am a Paul
Harris Fellow. In 2004 the ABA awarded me an Honorary Life Membership.
The Strolling Strings made many appearances all over the world. One appearance took them to
Okinawa for a SEATO Conference and an extended tour of military and civilian appearances in
Japan. The Tokyo Radio and TV companies recorded several special appearances in their studios
to be played at later dates. Several days after a performance in the city of Kyrin, north of Tokyo,
the Strings stopped off to eat at a restaurant. While there, the prerecorded TV show was aired.
The waitresses were astounded to see the performers in their midst.
Numerous memorable performances took place at the White House and State Department. On the
occasion of the French Culture Minister, Pierre Malroux‘s visit, Jack and Jackie Kennedy were in
the foyer, bidding goodbye to the guests. The Strolling Strings in the background were
highlighted as the center section of Match magazine. The photo has been seen in museums and
books.
In the 1950s and 1960s the Air Force recruiting program, Serenade in Blue, was carried by more
than 2,400 radio stations nationally and 75 overseas.
In 1963 I became the band director at Chanute Air Force Base, Illinois and served until I retired
from that position in 1964. I became the Director of Bands at the University of North Carolina in
Chapel Hill, and retired after 25 years of service in 1989. I was fortunate to be at the University
during the Michael Jordan era.
I‘m enjoying retirement and try to remain active. I recently underwent surgery for stomach cancer
and am slowly regaining my strength. I treasure my associations with many people and have fond
memories of some of the greatest experiences a person can have during any lifetime.
Read by ABA Memorial Speaker Don Wilcox
2006 ABA Annual Report
President Yesulaitis‘ Message - 1976
Distinguished members of The American Bandmasters Association, honored guests and friends—
It is my pleasant duty to welcome you to our 42nd annual convention. This is my 25th anniversary in ABA.
As my year in office ends, I echo the sentiment of Past Presidents by saying that election to the presidency
is indeed the highest honor accorded any band director. This has been a happy and rewarding year because
of my association with so many unselfish people who have assisted me in this year-long venture.
ABA has had almost a half century of dedicated leadership. Our heritage dates back to the year 1929. To
briefly review our beginnings, it was in 1929 that a few band-oriented pioneers met in New York City and
charted a course which has affected all subsequent bands and band directors.
As we continue to celebrate our National Bicentennial, it is interesting to note that the Boston Historical
Society has documented evidence showing that the History of Bands in America dates back before the days
of the colonies.
One of the early leaders in our profession was Irish born Patrick Gilmore. His band was the leading
attraction in Philadelphia in 1876 during the Centennial Exposition. Gilmore had a strong influence on our
first Honorary President, John Philip Sousa, who in turn became the musician our early founders emulated.
Most of us are aware of the original goals of our founders as well as the objectives added sine then. We are
quite fortunate to have had so many able musicians who accepted the challenge to provide leadership. Now
we can boast of a long history of dedication and excellence from leaders who have contributed significantly
to the cultural growth of America and the world.
During the past year all of our committees have been working to further the ideals of our organization—and
now as we add another chapter to our history, it might be appropriate to preview briefly these
achievements.
Jack and Dorothy Lee and the convention committee are to be commended for their extensive plans to
entertain us and to look after our comforts. Jack still has a few surprises under his sombrero. He has
already told us about his plan to honor the memory of Frank Simon.
Arthur Brandenburg will talk about the Research Center.
Paul Yoder has sent an exciting International Relations resume.
Gene Allen and the Ostwald Band Contest Committee have chosen an excellent original work which will
be premiered by the Armed Forces Bicentennial Band.
The status of John Philip Sousa‘s enshrinement will be discussed by Ray Dvorak.
Last December a number of committees met in Chicago: Col. Howard chaired the John Philip Sousa
Memorial Committee meeting; Everett Kisinger represented us at the North American Band Directors
Coordinating Council session; and Earl Willhoite met with the ABA Associate Members Executive
Committee. Their reports should be of great interest.
The pictorial History of the ABA is scheduled for presentation again. We are grateful to Sam Loboda for
arranging the revised version. The live sound track will, of course, be provided by Col. Bill.
The Edwin Franko Goldman Award Citation will be announced by H.E. Nutt.
You have already received advance copies of Dick Madden‘s Newsletter and Jack Evans‘ ―School
Musician‖ reports.
Harold Walter advises us that we cannot afford to miss this year‘s ABA extravaganza on Saturday.
It was a challenging experience for me to work so closely with our officers, the Board of Directors, and the
various committees in formulating agenda and convention schedule. I am grateful for their guidance and
dedication. I am especially grateful for the guidance of Board Chairman Hugh McMillen and our
Secretary, Jack Mahan.
Just as each ABA Convention site has been pleasurable in a unique way, there is no doubt that this Tucson
meeting will continue the happy tradition of past conventions. Pat and I are grateful for your trust in us and
for the opportunity to serve ABA.
1976 ABA Annual Report
PAUL V. YODER (1908 – 1990)
Paul V. Yoder, esteemed Honorary Life Member of The American Bandmasters Association, died on April
4, 1990 in Hendersonville, North Carolina at the age of 81. He was elected to membership in 1940, when
he was required to take a very demanding entrance examination. Paul served on the Board of Directors in
1955, 1961 and 1964. He was elected ABA President in 1963 and became an Honorary Life Member in
1986.
Paul grew up in Grand Forks, North Dakota, where he played in high school bands under ABA members
Everett Moses and Leo Haesle, and the University of North Dakota Band under ABA member John
Howard. While attending the University of North Dakota, before the advent of sound pictures, he played
drums in the local vaudeville and motion picture theater and in the college dance band.
In 1930 Paul graduated valedictorian from the university with a journalism degree and was elected to Phi
Beta Kappa. Several years ago his alma mater conferred on him an honorary doctor‘s degree in fine arts.
Following six years of teaching in the public schools of Aurora, Illinois and Evansville, Indiana, Paul
entered Northwestern University where, in 1941, he received the Master of Music degree.
During World War II Paul served his country as member of the 378 th ASF Band. After the war, he devoted
all of his time to composing, arranging, guest conducting, adjudicating, and serving as a clinician. Paul
wrote more than 1,400 compositions and arrangements for band. It is not an exaggeration to say that
literally millions of school children began their band experience using the ―Smith, Yoder, Bachman Band
Method.‖
During his tenure as President of our organization, Paul realized a long-time dream when on June 3, 1963
the ABA Research Center was formally established. He also helped formulate and execute plans that made
the ―ABA Journal of Band Research‖ a reality.
Paul‘s global ventures made him an international musical ambassador. He has been called the ―Father of
Japanese Bands‖ because he introduced them to our band teaching materials and methods. Paul also shared
his expertise with bands throughout Europe and the entire world. In 1987 the World Association of
Symphonic Bands and Ensembles honored him with an award for his contributions toward their
development. Other honors came from the College Band Directors National Association, National Band
Association, American Federation of Musicians, The John Philip Sousa Foundation, Japan Band Directors
Association, The Windjammers, Phi Beta Mu, Kappa Kappa Psi, and our ABA. These honors and awards
recognized a career that spanned more than 60 years.
Paul devoted more than 40 years to the Mid-West International Band and Orchestra Clinic, serving as
advisor and member of the Board of Directors. Many of us remember those unbelievable concerts of our
own ABA Band, which Paul founded and co-sponsored for so many years. We will also remember lighter
moments when Paul served as master of ceremonies at our banquets, often aided and abetted by his dear
Rosie. None of us can ever forget his sincere devotion to ABA, and whenever ABA meets, something of
Paul will be there.
At his memorial service, John Paynter eulogized Paul in these words:
Paul was a good friend to everyone. No student was too young, no band director too small, no
composer too inexperienced, no colleague too unimportant, no issue for the improvement of our
profession too insignificant for Paul‘s devotion. He never spoke an unkind word about a
colleague. He was generous in his praise, quick to chuckle, slow to anger, and humble in
accepting all of the justified plaudits that came his way.
Paul was a unique person, a giant in his profession, a musician‘s musician—respected internationally for
his versatility, talents and unselfishness.
Paul made a request of me. He said, ―Johnny [speaking to Johnny Long], when the time comes for my
eulogy, I want you to mention my name, and just tell a few jokes.‖ In conscience, I can‘t overlook this
request. I‘ll tell just one—biblical in nature. The setting is the Garden of Eden. Adam was concerned
about Eve. She seemed disconsolate. Noting her distress, he asked Eve, ―What‘s wrong?‖ She was
reluctant, but finally turned to him and asked, ―Adam, do you really love me?‖ ―Who else?‖ There it is,
Paul.
1991 ABA Annual Report
The 1977 Newsletter reported the death of Rosalyn Yoder, wife of Paul.
President Yoder‘s Address - 1964
The one word which might best express the activities of the ABA this year would be the word
―communication.‖ I have tried to see that the membership has been informed of all of our plans and actions
through the various Bulletins, Newsletters, Reports and the like which you have received.
You have heard from all of the committee heads at some time during the year, from our secretary, vice-
president, and convention host. This year we have had two Newsletters, for which I want to thank Lynn
Sams and John Paynter. We also had a Newsletter for the wives that Mrs. Yoder wrote, and which was
printed and send out by Walter Volkwein.
I have endeavored to keep you informed of our progress in many fields through a series of Bulletins which
I hope you have found interesting. I also sent you some items of lasting interest such as the Booklet from
the AFM titled ―And the Band Plays On,‖ the list of articles concerning the History and Tradition of the
Band from the ―School Musician,‖ the bibliographies of books and magazines in the same field. There is
also an item of lasting interest for the ladies in the book which my wife has prepared from the recipes
collected from the wives of ABA and which is titled ―Cooking in Rhythm.‖ When you see this I am sure
you will realize its value as a memento of this convention and I want to especially thank Walter Volkwein
and his firm for the hours of time which they spent in preparing this book for publication.
You will hear the reports of the various committees during the progress of the convention, so I will not try
to duplicate this information now. Suffice it to say that we have several forward-looking projects which are
moving along well and which need our continuing attention through the next several years.
We are proud of the interest taken each year in the Ostwald Award. In addition to the regular report, I have
asked Adolph Ostwald to give us a brief resume of the history of this award and a list of the winning
compositions so that we may keep this information fresh in our minds.
We have continued to honor our founder through the Edwin Franko Goldman Citation, having had one
presentation at Interlochen last summer, and another will take place at the closing concert of this
convention.
The ABA took an active part in the December meeting of the North American Band Directors Coordiating
Committee which now commands the respect and attention of the entire music profession.
At the close of the convention last year, Col. Santelmann asked to be replaced after six strenuous years as
head of the Sousa Memorial Committee. However, he has worked closely with the new chairman, Col.
Howard, and it now appears that the combined efforts of all these years will finally result in the perfect
memorial to our first Honorary Life President.
Let me say here that the Sousa Memorial is not just a recognition of this great man, but rather a recognition
of the entire band movement and of bands and band directors everywhere. It will serve to give the band a
place of respect among the fine arts, which are being commemorated in this magnificent new Cultural
Center in our nation‘s capital. It means that the band takes its rightful place along with the symphony
orchestra, the opera, the ballet and the chorus.
Our newest project, the ABA Research Center at the University of Maryland, is very dear to my heart
because I helped to create this during the past year and am determined to see it grow to something that will
be important and meaningful to the entire profession. Dr. Henderson will give us a detailed report on our
progress during this convention, but I want to further emphasize the long range potential of this new
project.
I would like to see us gather all possible information at this center concerning bands and bandmasters of
every field in the United States and Canada. We want your story and the story of your community and
state. Some day this must be all put together by competent writers so that the history of the band
movement will be forever preserved.
We now have several generations of players who have been through the school band program. Almost
without exception, they look back on this as a happy and worthwhile experience. This means there are
literally millions of people who would be interested in helping to preserve the story of the band, to trace its
many origins in this country through the service bands, show bands, town bands, industrial bands and all
the other forerunners of the school and college bands of today.
We have hundreds of exciting biographies among the band directors of this nation and Canada which have
never been written. Up until this time we do not even have a published biography of Edwin Franko
Goldman, although I am hoping Herb Johnston‘s fine book on this subject will soon be published. Think of
the interesting books that could be written about Arthur Pryor, Henry Fillmore, Herbert Clarke, Giuseppe
Creatore, Charles O‘Neill, Bohumir Kryl, Merle Evans, Frank Simon, Karl King and many, many more.
Don‘t tell me that these stories are only of interest to their friends. They are the stories of American Music
and would be read and treasured by thousands of former bandsmen.
Where is the story of the music industry itself? Meredith Willson‘s famous ―Music Man‖ did exist, but for
the most part he was an honest, hard working teacher who stayed in town after the horns were sold and
made sure that the students got a solid musical foundation as well as a shiny new instrument. The stories of
hundreds of these ―Music Men‖ have never been written. The thousands of yarns about those early days of
the school band movement could fill volumes.
The ABA has never had its own publication, as far as I know. I believe that just as soon as we have
gathered enough material at the Research Center, we should try to finance the publication of a ―Journal of
Band Research,‖ which would contain articles concerning the history and tradition of the Band, biographies
of famous figures in our field and summaries of some of the wealth of information which we are beginning
to collect here.
I envision the ABA as a dynamic force in our profession. I do not think we should become simply a social
club, content to sit by while the younger organizations take over the leadership which is rightfully ours.
This is the only bandmasters group with such a wide representation of the leading men in every phase of
the band profession. Our voice is important and it should be heard. Our leadership should be strong and
decisive. If we do not accept this challenge to assert our seniority, then we will have very little to interest
the new members whom we elect each year.
At this convention you will hear an interesting lecture by Col. Bachman on ―The Role of the Band in
American Culture.‖ I would like to feel that this will be the theme of this convention. When you hear this
carefully prepared lecture, complete with sound and pictures, you will again realize the important place of
the band in our nation‘s history.
We are going to follow this the next day with a panel discussion on ―The Future Role of the Band in
American Culture,‖ in which I hope you will all take part, and in which I hope we will have some strong
differences of opinion. There is never any progress without struggle. Your opinions on contemporary
music, on the wind ensemble, on the role of the marching band, are very important. I hope you will express
them.
Most of all, I hope we can continue to kept the ABA a vital organization which commands the attention and
respect of the profession. The combined years of experience represented here in every aspect of the band
field cannot be equaled in any other group. Let us accept the challenge of our obligation to make the ABA
the strongest and most vital force in our profession.
1964 ABA Annual Report
―PAUL YODER Reminisces‖
March 29, 1984
I want to thank President Boundy for inviting me to take part in speaking about some memories of earlier
days in ABA. I was elected after taking Captain Charles O‘Neill‘s eight-hour examination, and attended
my first convention in Madison, Wisconsin in 1941.
I recall going into the hotel where someone came up and put an arm around my shoulder saying, ―Hello,
Paul, we are so glad you are here with us.‖ Imagine my surprise when I looked around to see that it was
Frank Simon! I had a picture of him in my room at home, playing a solo in front of the Sousa Band and
simply couldn‘t imagine that he even knew my name.
This was the start of a great friendship between us. I soon found out that Frank was one of whom I
respectfully called ―the characters‖ in ABA. By this, I mean those special men who were endowed with a
wonderful sense of humor and enjoyed jokes about our profession. I soon found out that the others in this
group included Karl King, Henry Fillmore and Glenn Bainum. There was nothing official about such a
group, but I found that I was attracted to all four of them. I became Frank Simon‘s best audience and he
used to save up stories for me from one convention to the next.
In later years I had several priceless letters from Karl King. In one, he wrote to congratulate me on
receiving an honorary doctor‘s degree from the University of North Dakota, in which he wrote, ―No one
deserves an Honorary Doctor of Music Degree more than you do, after all the crappy old music you have
doctored up.‖ Another time he wrote to me about the Smith, Yoder, Bachman Method Books, as follows:
―I am wondering why it took three of you men to write a bunch of scales?….I suppose each of you wrote
the ones you know and then put them all together.‖
Henry Fillmore was a real idol of mine. I loved to watch him conduct and I loved his music. He told me
he wanted to write ―happy music‖ and he did. The only tune he ever wrote in minor was ―Gypsy Festival‖
(under the name of Al Hayes), and in the last strain he repeated the original theme in major.
Henry sort of adopted me and arranged it so that I was named a judge for the Florida State Contest for
about ten years. For all of Henry‘s jovial appearance, he could hear more inner parts while listening to a
school band in the balcony than anyone I ever knew. I moved to Florida because I idolized Henry Fillmore
so much.
Glenn Bainum had helped me in many ways when I moved to Chicago and gave up teaching. I took the
ABA examination in his office at Northwestern. Of course, Harold Bachman was like a Godfather to me,
making my first connection with the Rubank Company for publication and otherwise helping me establish a
career in arranging and composing for school bands.
These men really adopted me as what I would call a ―Junior Character,‖ and Lynn Sams broke me in as a
―Junior MC,‖ my principal role in the ABA ever since. They are largely responsible for the fact that this is
my thirty-ninth consecutive ABA convention, a record that has not been equaled by anyone else, and will
probably go down a the top attendance record in ABA.
Of course, I always admit I never had a steady job since 1936, expect for two unsteady years in the
Army…so there is no reason why I should not have been to every convention since I was elected.
1984 ABA Annual Report
―Band and Its Activities in the World‖
Presented by Paul Yoder - April 1984
Ladies and Gentlemen:
First of all, let me assure you that this speech will not take the 45 minutes scheduled on the program.
Likewise, I will refrain from any of my alleged humor today since I am very proud to have been trusted
with an important, serious subject and intend to develop this as best I can.
We are met here for the third time in a joint session of the American Bandmasters Association and the
Japanese Band Directors Association—ABA/JBA—magic words in the world of bands. Our first meeting
was in Hawaii in 1974, with Richard Lum as our host, the second in Arizona in 1980, with Dr. Richard
Strange and Robert Fleming as our hosts and here we are now in Tokyo with Manabu Kasuga and Ichitaro
Tsujii as the hosts of this meeting.
History tells us that the BAND came originally from the Military and so it has continued to this day in both
of our nations. This is also true in Europe, South America and all other parts of the world. But the band
has also been fostered in many other areas including community, industrial, fraternal, university, high
school and junior high school organizations.
For a time we had a number of fine professional bands leading the way to higher standards of performance,
but now we find that the full time professional bands are largely represented by military bands in most
nations. In our country these military bands offer the best opportunity for a qualified instrumental musician
to pursue a professional career.
Professional symphony orchestras are found in many parts of the world and we have nothing but praise for
their performances. However, they do tend to play largely a repertoire of the compositions of the great
masters and for this reason have a similarity in the programs which they play.
The band, on the other hand, offers a much greater opportunity for the present day composer to secure a
performance for his or her serious works. One of our own leading composers, the late Howard Hanson,
told us in Chicago several years ago, ―The Band is the savior of the American Composer.‖ I think this is
also true for the contemporary composers in all nations.
This fact leads to my own theory that the band, in its highest state of development, truly represents the
national spirit of every country. This spirit has been fostered for many years by the Confederation
International of Popular Music (CISPN), an organization devoted to the serious music of the people, not
only folk music or the current music for singing and dancing. CISPM already has made great strides in
encouraging the most able composers to contribute works in the feeling of each individual nation.
To pursue this theory further, it is my opinion that the Band more truly presents the musical mood of each
individual country and also performs this music with a distinctive national instrumentation. I attended
several meetings of CISPM in Europe where an effort was made to standardize the international
instrumentation of the Band. So far, this has not been successful and I feel that it is important that every
nation should retain its own combination of instruments in order to truly present the distinctive style of its
own country.
This means to me that the band is the one organization that can most successfully perform their own
national music including the works of their native composers. Most band musicians are amateurs and the
majority of band conductors are citizens of the country in which they live, which means that the band music
is truly the music of the people in every nation.
We now come to the problem that the bands in all nations would like to also play music of other countries.
This becomes a problem for the publishers. I have worked with music publishing firms who attempted to
issue an International Instrumentation. This is being done currently by some English and American firms
and there may be others about which I do not know. However, the big problem is that such an International
Instrumentation must include three sets of TROMBONE parts—three in concert pitch, three in the Bb
transposition in treble clef, and three in the Bb transposition in the bass clef. The four French Horn or Eb
Alto parts would add up to eight parts and the Basses with both Eb and BBb instruments along with the
various transpositions would add up to five separate Bass parts. Such multiplicity usually puts the selling
price of an individual publication too high for the average band budget.
This situation would be ideal if ALL players could learn to transpose readily so that any band might
purchase the original publication from any given country. It would also be possible if publishers would
allow any band to write out the necessary parts after buying the original publication. The publishers
throughout the world have been the band‘s best friends over the years. I am sure they would like to have
their own catalogues played around the world, but they must help us in some way to accomplish this.
A new international organization was recently formed through the leadership of the American College
Band Directors Association with Frank Battisti and Bill Johnson providing the initiative. This
organization, know as the World Association of Symphonic Bands and Ensembles (WASBE) first met in
Manchester, England in 1981 with great success. In 1983 we met in Skein, Norway with thirty nations
represented and a total membership of more than three hundred. Bands from eleven countries performed
and some excellent Clinics and Panel Discussions were presented. Membership is open to all individuals
interested in the band‘s future development. A number of publishers from several nations are members and
are working on just such problems as I mentioned earlier.
The position of band director carries wide and varied responsibility. In our schools and universities, it is
often necessary for one individual to be in charge of a symphonic or concert band, a marching band, a jazz
band and various ensembles. This sometimes becomes the work of an entire staff of band directors. As
much as many of these would like to concentrate on the concert organization, it is essential that these other
types of bands also be maintained.
With the advent of the wind ensemble, first developed at the Eastman School of Music by Dr. Frederick
Fennell, a new organization has become a part of the program in most schools and colleges. The wind
ensemble was conceived as a smaller group with an instrumentation of forty-five or fifty players to perform
more difficult or contemporary music with most of the parts covered by only one player. This has proved
very attractive to the players themselves and has also led to research in the music of the masters for
compositions written for wind and percussion instruments.
The nomenclature of the band varies in different parts of the world. In Europe we find brass bands, which
actually include those organizations with only brass and percussion instruments. They also have fanfare
bands, normally composed of brass, percussion and saxophones. The concert bands are called harmonye
bands or military bands, which is the usual case in Great Britain. And then of course we have town bands,
polka bands, jazz bands, mariachi bands and many others. In an effort to avoid the use of the word ―band,‖
we find wind orchestras as well as the aforementioned wind ensembles.
When I first came to Japan in 1965, I heard the National Contest, which was held in Nagasaki that year.
This contest included not only junior and senior high school bands, but also those from universities,
municipalities and bands in industry. I listened to eighty-five pieces of music that day and heard only one
composition by a Japanese. When I asked why this was, I received the old, familiar answer, ―Our best
composers do not write for the band.‖
I was so amazed at the technique of some of the young players that I suggested to the band directors that
they find composers in radio, television, motion pictures and other areas to take them out to hear some of
the bands so they would realize what these groups could really play. Since that time there are a number of
excellent Japanese composers of band music whose music is played not only in their country, but in Europe
and America as well.
I am happy to say that in the last three National Contests I have heard in recent years, the repertoire of the
junior and senior high bands would surpass that of most such events in our own country.
Superior bands now exist in many nations. I heard a wonderful band in the small town of Liria, Spain.
There are fine military bands in Holland, two magnificent wind orchestras in the London suburbs, a
splendid police band in Paris, some excellent brass ensembles in Hungary, a remarkable national youth
band in Norway, and I know that many of you here today could add to this list.
I must not fail to compliment the JBA on their success in organizing the Southeast Asia Band Association.
I attended the first meeting of this organization of which Kasuga Sam is now the Chairman, and I heard
from the representatives of South Korea, the Philippines, Indonesia, Hong Kong, Singapore and other
nations in this part of the world tell of their band activities. I also know that the JBA has visited in all these
places and assisted the band organizations. In particular, Nobuhisa Shitaya San, an important advisor to the
JBA, has gone along on many of these trips and has contributed instruments and music to the band
organizations in all of these nations. It is this kind of vision and generosity that will perpetuate the whole
band movement and make it grow throughout the world.
So what of the future? The band is riding high. We can well be proud of our accomplishments. Band
conductors everywhere are well trained musicians. There is no more ―eins-zwei-drei-SPIEL.‖ Band
directors are good people. They have studied hard and they work hard. They are progressive. Their minds
are open and ready to accept new works and new ideas. Best of all, they get along together! There is
remarkably little jealousy and envy among them. They are ―nice guys‖ and they bring their wives to
conventions!!!
I love you all! Thank you!
1984 ABA Annual Report
RAYMOND GUINN YOUNG (1932 – 1999)
Raymond Guinn Young was born in Morrilton, Arkansas on December 21, 1932 and died at the Tulane
University Medical Center on August 3, 1999 of congestive heart failure. When he was two years old his
family moved to Pontiac, Michigan. Educated in the public schools there, he started playing euphonium in
junior high school. He was a member of the Pontiac High School Band directed by ABA member Dale
Harris, who greatly influenced Ray‘s musical career.
Ray attended the University of Michigan, receiving both his Bachelor of Music Education and Master of
Music in performance from that institution. He was featured soloist with ABA Past President William D.
Revelli‘s symphonic band. Ray established himself as the leading euphonium player of his generation and
became an inspiration to thousands of young musicians. An internationally renowned artist, he performed
in Europe, Canada, Mexico, Japan, and throughout the United States, including performances at New
York‘s Carnegie Hall, Boston‘s Symphony Hall and on more than fifty university and college campuses.
His superb artistry has been preserved on numerous recordings. Unfortunately, they were never able to
capture the true essence of his unique, rich, dark tone. Presently, a memorial fund is being established to
release his older recordings on a CD.
Ray‘s teaching career began in Trenton, Michigan High School, where he was the band director for five
years. In 1961 Ray and ABA member Bill Moody joined the faculty of the University of Southern
Mississippi. Bill was the Director of Bands and Ray was Associate Director and teacher of low brass and
band methods. When Bill left the university in 1966, Ray became Director of Bands, a position he held for
six years. During this time ABA member Tom Fraschillo was a student member of Ray‘s band and was his
piano accompanist. Tom had the privilege of accompanying Ray on a solo album and on numerous
recitals, one of which was a Low Brass Symposium at Indiana University. Tom has lasting memories of
this unique association.
In 1972 Ray became Director of Bands and Head of the Music Department at Louisiana Tech University,
serving until his retirement. While there Ray was elected to ABA membership in 1986.
Ray was the first Euphonium Coordinator for T.U.B.A., the Tubist Universal Brotherhood Association.
His leadership in the early stages of T.U.B.A. was the foundation of euphonium participation in that
organization and has had long-reaching and important ramifications.
Ray was associated with a number of organizations and fraternities, including the College Band Directors
National Association, Kappa Kappa Psi, Phi Bet Mu, the Louisiana Music Educators Association and the
Louisiana Bandmasters Association, which honored him as a Bandmaster of the Year. He was also the
recipient of the Associate Arts Award of Sigma Alpha Iota. Throughout his career he was very active as
clinician, adjudicator and soloist.
Following his retirement from Louisiana Tech, he became the conductor of the City of Hattiesburg Concert
Band. We had the privilege of hearing their stellar performance at our Biloxi convention. The Raymond
G. Young Scholarship Fund was established in his honor by the Louisiana Tech University Concert Band.
Ray enjoyed life and loved to be around people. He would invite the entire marching band to come to his
home for a party. He loved to trade joke and stories. His true passion was making music and teaching. He
was a virtual legend in his own lifetime. The euphonium world has lost one of its strongest and most
dedicated proponents.
2000 ABA Annual Report
Z
VICTOR W. ZAJEC (1923 – 2005)
Victor W. Zajec was born in Chicago, Illinois on March 4, 1923 and died in Homewood, Illinois on
January 26, 2005 following a three-month illness. His parents were Slovenian immigrants who owned a
neighborhood hotel on the Southeast Side of Chicago. When Victor was a child, he was often surrounded
by itinerant musicians who made the hotel their temporary residence. Because of their influence, Victor
became interested in learning to play various instruments. He said that one time he was so intent on
learning to play the piano that he wouldn‘t let the pianist return to his room until he had taught Vic to play
―Beautiful Ohio‖ with one finger.
Victor began his formal musical studies on the cornet, but soon switched to clarinet, and after that added
the saxophone. During his high school years, he was also a member of the University of Chicago
Symphonic Band, conducted by ABA member Harold Bachman. Between his sophomore and junior years
Victor switched schools, transferring from Bowen High School to Marshall High School. This was,
perhaps, the greatest boost to his future, as he was able to play in two of the finest high school musical
organizations in Chicago—the Marshall band, directed by Clifford Lillya, and the orchestra, directed by
Merle Isaac. In addition, he participated in several small ensembles, winning superior ratings in city
contests. In 1941 he competed on clarinet in the national solo contest in Flint, Michigan, where he also
received a top rating.
Following graduation, Victor enlisted in the Army Air Corps in 1942. He served as an instructor in Basic
Electronics and Air Borne Radar, became a radar bombardier, and was assigned to the Pacific Theatre of
Operations. As a member of the 13th Air Force, he saw action as a radar navigator, bombardier in New
Guinea, Bismarck Archapelago, Southern Philippines (liberation), Borneo and Luzon.
After the war, Vic enrolled in the VanderCook School of Music, earning the Bachelor of Music Education
degree in 1950. His first teaching position as a band director was in Charleston, Mississippi in the fall of
1949. Following five years in Charleston, he became Director of Bands in Philadelphia, Mississippi. In
1958 his Philadelphia Band was invited to perform at the Midwest Band and Orchestra Clinic. During
Victor‘s nine years there, the band gained an excellent reputation for its high quality performances. An
important facet of the band‘s success was the mandate that each student must have a weekly private
lesson—all given by Victor, himself. This success was evidenced by the fact that frequently the first chair
positions in the All-State Bands were held by Vic‘s students.
During Victor‘s fourteen years in Mississippi he was President of the Mississippi Bandmasters Association,
director of several Lions All-State Bands, director of the Hamasa Temple Shrine Band, and choir director at
churches in Charleston and Philadelphia. In addition, he had his own dance combo, the Victor Williams
Orchestra, which performed at local events.
In 1963 Victor joined the faculty of VanderCook College of Music, where he completed his Master of
Music Education degree the following year. For twenty-five years he taught music theory, musical
acoustics, marching band, instrument repair, and woodwind and brass instruments and became the Dean of
the Graduate School in 1979. The College awarded him an Honorary Doctor of Music degree in 1990.
Victor retired from full-time teaching in the summer of 1988, but remained on the faculty teaching musical
instrument repair until the day before his final illness.
During Victor‘s 50+ years in music education he received many honors, including: Lifetime Membership
in the Mississippi Bandmasters Association; the Chicagoland Music Educators‘ John Paynter Lifetime
Achievement Award; the Al G. Wright Award from the Women Band Directors International; and the A.
Frank Martin Award from Kappa Kappa Psi. In addition, he was a Charter Member of the Phi Beta Mu
Hall of Fame in Mississippi and a Member of the Phi Beta Mu Hall of Fame in Illinois.
Vic‘s final musical honor came at the Midwest Clinic in December 2004, when the National Band
Association presented its prestigious ―Academy of Wind and Percussion Arts‖ medal, statue and citation.
Marilea accepted the tributes for her husband, who was hospitalized at that time.
Vic had a long association with the Midwest Clinic, beginning with the very first clinic in 1946, when he
was the solo chair clarinet in the only band to perform that year. In addition to his high school band
performing at the Midwest in 1958, Vic was on stage more than fifty times, as a soloist, guest conductor,
director of the VanderCook Band, and member of John Paynter‘s Northshore Concert Band, playing Eb
Clarinet. In 1983 he became a member of the Board of Directors of the Clinic, and later served as its
secretary. The Midwest Medal of Honor was presented to him at the 1996 Clinic.
After being named chair of the Midwest‘s Archives and History Committee in 1990, Victor wrote ―The
First 50 Years—A History of the Midwest International Band and Orchestra Clinic,‖ which was published
in 1996.
Victor became a member of the John Philip Sousa Foundation Board of Directors in 1996. Prior to that
time he had been the chairman of the Foundation‘s ―Historic Roll of Honor‖ for high school bands. He was
placed in the position of treasurer of the Sousa Foundation in 2000, and subsequently became the vice-
president, as well. One of his most treasured awards came from the Foundation in 1999—the Sousa
―Medal of Honor.‖
Victor was especially proud of his membership in ABA. He received notification of his election to ABA
on his 60th birthday, during a surprise party for him on that day. Subsequently, he became a member of the
Board of ABA from 1995 through 1998; was chairman and advisor of the Edwin Franko Goldman
Committee from 1988 through 2004; was the treasurer of the ABA Foundation from 1988 through 2004;
and was the Historian from 2001 – 2004. During these years he authored: ―The Recipients of the Edwin
Franko Goldman Memorial Citation‖ (1998); ―Past Presidents of the American Bandmasters Association‖
(2000); and revised ―Lest We Forget‖ (fourth edition, 2004). His final book, ―Memorials and Tributes to
Members of the American Bandmasters Association,‖ was only partially completed at the time of his death.
Victor‘s most meaningful, but humbling, experience came when he was made an Honorary Lifetime
Member of ABA at the Wichita Convention in 2002.
A former student expressed her remembrance of Victor:
He is solely responsible for my appreciation of music. He was a disciplined taskmaster and he
demanded a lot from his students. But we loved and respected him. I will always remember his
influence on so many lives. A good teacher never dies, but lives on in the lives of those he
touched.
[It was especially poignant to have Marilea present for the reading of this Memorial.]
2005 ABA Annual Report
MARCIA McENTYRE ZOFFUTO (1949 – 2008)
With the bloodlines of a musical dynasty and the training and tradition of playing in her father‘s legendary
Permian High School Band and Orchestra, Marcia McEntyre Zoffuto was clearly destined for great things
musically as a performer and a gifted teacher. She was also a very loving and caring mother, daughter,
sister and friend, and touched the lives of countless people.
She was born in San Antonio, Texas, grew up in Odessa, Texas playing in her father‘s bands. She
graduated from high school in 1967 after three years as a Texas All-State flutist. In 1968, as a flute student
of Dr. Gary Garner at West Texas State University, she was a winner in the Amarillo Symphony Young
Artists competition. The following summer she was chosen Miss West Texas in the Odessa pageant and
went on the next year to win the talent category and was named a finalist in the Miss Texas Pageant in Fort
Worth, Texas. She earned a bachelor of music education degree from West Texas State University in 1972
and while there, under Dr. Garner‘s direction, she performed as a featured soloist on tour with the WTSU
Band. She also completed graduate course work at the University of Kansas and Fort Hays State
University.
Mrs. Zoffuto was an exceptionally talented musician and teacher and served from 1988 to 1997 as band
director at McCullough Middle School in Highland Park, Texas; as beginning band teacher in several
Richardson, Texas, schools; as assistant band director at Lake Highlands Junior High School and
Westwood Junior High School in Richardson, Texas; and in 1995 Marcia became the band director for Sam
Houston Middle School in Garland, Texas. In 1998, Marcia began her outstanding work with the Coyle
Middle School Band in Rowlett, Texas.
Marcia‘s musical philosophy always exhibited inclusion. Every student had a place in her band. She
believed in maximizing the numbers of students in her performing ensembles and the Coyle Middle School
Band under her direction received many honors, including consistent UIL Sweepstakes and ―Best in Class‖
awards at various festivals.
The Coyle Band won the Class CC State Honor Band competition in 2002, and in 2006 won the Class CCC
State Honor Band competition. As a result both bands were invited to perform at the Texas Music
Educators Convention. Her band was also invited to perform at the Midwest International Band and
Orchestra Clinic in Chicago, Illinois; the Western International Band Clinic in Seattle, Washington; and in
2008 the Coyle Band was the only middle school asked to perform at the BOA Festival in Indianapolis,
Indiana. In March of 2008, in Miami, Florida, Marcia was elected into the membership of The American
Bandmasters Association. On May 10, 2008, at Bass Hall in Fort Worth, Marcia was awarded the
prestigious Bayard H. Friedman Hero Award as the most outstanding Band Teacher in North Texas.
Marcia was a gifted performer, an inspirational teacher and one who left the world a far better place for her
having been here.
2008 Annual Report
EARL R. RAY (1908 – 1995)
Earl R. Ray was born in Lyra, Texas, near the town of Mingus, on April 16, 1908 and died in Lubbock,
Texas of a heart attack on March 24, 1995, several weeks short of his 87 th birthday.
While a student at Mingus High School, Earl borrowed his uncle‘s violin and took lessons to prove to his
family that he was serious about music. The violin not only opened a new world for him, it also got him
out of a lot of chores, such as milking, churning and chopping wood. When Earl joined the Mingus
Municipal Band he switched from violin to the baritone, which the director loaned him. In 1925 after
graduating from Mingus High School he enrolled in John Tarleton State College where for two years he
continued playing in the band. After his family moved to Breckenridge, Texas Earl was befriended by the
high school band director, Pop Frazier. To prepare Earl for the band director‘s job at Monahans, Texas,
Pop gave Earl a two-week crash course on reed instruments and conducting. He began teaching there on
January 1, 1928. Without any formal schooling to prepare him, Earl had to rely on fingering charts and
was given advice by ABA members D.O. Wiley and Earl Irons. They coached him in conducting, band
literature and motivational techniques. In lieu of a salary, Earl charged each student $5.00 a month. In five
months Earl had a 17-piece band that performed well enough to enter the West Texas Chamber of
Commerce contest in Fort Worth and won second place in their class. This was quite a significant
achievement.
In the fall of 1928 Earl was hired by Wink High School to organize a band for them. Now with a regular
paycheck, he taught at Wink but also commuted to the Monahans school for one year. In the seven years
he taught at Wink his bands entered numerous division contests and consistently received high ratings. In
1931 he took his band to its first national contest in Tulsa, Oklahoma. There he met John Philip Sousa,
who conducted the massed bands. Earl treasured this experience. Sousa died the following year.
In 1935 Earl became director of the Abilene, Kansas high school band. His musicians continued their
winning ways for six years in national regional contests, appearing in Omaha, Lawrence and Topeka,
Kansas, Kansas City, Missouri, and Colorado Springs. He considered it an honor to have been judged by
such famous ABA members as A.A. Harding, Edwin Franko Goldman, Frank Simon, Earl D. Irons, D.O.
and Russell Wiley, Bill Revelli, Mark Hindsley and George Wilson.
To improve his teaching methods, Earl continued his education during the summer months. Besides
attending numerous clinics, he studied with Joseph De Luca, euphonium soloist with the Sousa Band. Earl
attended the University of North Texas, Hardin-Simmons University, Kansas University, Texas Tech
University, where he earned his bachelor‘s degree, and the University of Northern Colorado, where he
earned the master‘s degree. Several weeks each summer were spent at Camp Walters in Mineral
Wells, Texas where Earl played with the National Guard Mounted Band.
Beginning in 1942 Earl taught for four years at the North Dallas High School, after which he served as
Coordinator of Music in the Highland Park school system for a year.
In 1947 Earl joined the Adair Music Co. where he managed the band department for eight years. He
acquired the company and operated it as the Earl Ray Music Company. The firm was elected to Associate
Membership in ABA in 1964. Earl sold the company in 1985 and retired. He became an Individual
Associate Member and had been one of our most loyal, friendly and popular members.
Earl was a member of the Texas Band Teachers Association, Texas Music Educators Association, Texas
Bandmasters Association, a lifetime member of Kappa Kappa Psi, Tau Beta Sigma, Phi Beta Mu, and a
member of the National Association of School Music Dealers. In 1978 he was given the Outstanding
Contributor‘s Award by Phi Beta Mu. The Kappa Kappa Psi and Tau Beta Sigma chapters at Texas Tech
University established an Earl Ray Service Plaque given to the most deserving band member each year. A
memorial scholarship is being endowed in his name.
Earl had three highly successful careers—as band director, as music store owner, and probably most
importantly, as an advocate of bands and counselor of young band directors. Earl Ray loved bands and
through that love affectionately touched thousands of lives.
1996 ABA Annual Report
Note: The 2004 Annual Report noted the death of Laverne Ray, wife of Earl.
ALFRED REED (1921 – 2005)
Alfred Reed passed away following a short illness on Saturday afternoon, September 17, 2005 age the age
of 84. The world-known band composer was born on Manhattan Island in New York City on January 5,
1921 to Carl and Elizabeth Friedman. His gift to the world was a body of music that will continue to thrill,
charm and delight audiences in virtually every country of the world, as it has done for the past fifty years.
Alfred was the son of Austrian parents who had emigrated from Vienna to the United States before World
War I. His parents loved good music and made it a part of their daily lives. As a result Alfred grew up in a
home where he became familiar with much of the standard orchestral and opera repertoire while still a
young boy. He began trumpet lessons at the age of ten and was already playing in small hotel combos in
Catskill Mountain resorts as a teenager. His interests shifted from performing to arranging and
composition, and he worked with John Sacco in theory and harmony and continued later as a scholarship
student of Paul Yartin. In 1938 he began working as a staff composer and arranger and assistant conductor
for the Radio Workshop in New York.
During World War II he enlisted and served as a trumpet player with the 529 th Army Air Corps Band, for
which he composed and arranged nearly 100 compositions, developing a deep interest in the concert band
and its music. Following World War II, he studied composition with Vittorio Giannini at the Juilliard
School of Music. In 1948 he became staff composer and arranger for the National Broadcasting Company
and later served as staff composer and arranger for the American Broadcasting Company.
In 1953 Mr. Reed became conductor of the Baylor Symphony Orchestra at Baylor University in Waco,
Texas, at the same time completing his academic work, which had been interrupted by his leaving Juilliard
for NBC some five years earlier. His masters thesis was the ―Rhapsody for Viola and Orchestra,‖ which
later was to win the Luria Prize. It received its first performance in 1959, and was subsequently published
in 1966. During his two years at Baylor, he became interested in the problems of educational music at all
levels, especially in the development of repertoire materials for school bands, orchestras and choruses.
This led, in 1955, to his accepting the post of executive editor for Hansen Publications in New York.
After eleven years in the publishing business, he joined the Theory-Composition and Music Education
faculties at the University of Miami School of Music. During his tenure at the University from 1966 to
1993, he succeeded Frederick Fennell as conductor of the Wind Ensemble from 1980 to 1987, served as
executive editor of the University of Miami Music Publications, and developed the first music
merchandising degree program, which he administered as chairman of the department of music media and
director of the music industry program until his retirement in 1993. A couple of his more famous quotes
from his teaching of these business courses are: ―You can‘t give away what you are trying to sell and
expect to stay in business,‖ and ―I am the most published composer next to J.S. Bach.‖
Following his retirement, he composed extensively and maintained a busy guest-conducting schedule, with
performances in North America, Latin America, Europe, Asia and Australia. With over 250 published
works for concert band, wind ensemble, orchestra, chorus and various smaller chamber music groups,
many of which have been on the required performance lists in this country for the past 20 years, Dr. Reed is
one of the nation‘s most prolific and frequently performed composers. Among his many honors and
awards was an honorary doctor of music degree from the International Conservatory of Music in Lima,
Peru and the Academy of Wind and Percussion Arts Award in 1979. He was elected to membership in the
American Bandmasters Association in 1974.
His work as a guest conductor and clinician has taken him to 49 states, Europe, Canada, Mexico, Japan,
Australia and South America, and for many years, at least eight of his works have been on the required list
of music for all concert bands in Japan, where he was extremely active as a guest conductor. He became
the most frequently performed foreign composer in that country.
He was remembered fondly by Max and Nel McKee as a great friend who shared nine summers with them
teaching at the Saskatchewan Summer School of the Arts and as a frequent conductor at their WIBC honor
bands. They recalled playing cribbage, sharing learning about photography, and having Alfred become
almost a part of their family. They have produced a wonderful 14-minute video tribute and memorial.
At the time of his death, he had composition commissions that would have taken him to the age of 115.
―He still had writing projects that he wanted to do,‖ according to his wife Margie. David McCormick has
written:
His gift to the world is a body of music that will continue to thrill, charm and delight audiences in
virtually every country of the world, as it has done for the last fifty years.
Read by ABA Memorial Speaker Gary Green
2006 ABA Annual Report
The January 2008 Bulletin noted the death of Marjorie Reed, wife of Alfred.
FRANK L. REED, Jr. (1899 – 1984)
Frank L. Reed died in Elkhart, Indiana on February 26, 1984 at the age of 85. Born in Sioux City, he grew
up in Bedford, Indiana. Although he majored in business at Indiana University, music was an important
part of his collegiate life. He played flute in the University bands and for five summers during his school
years he toured the United States with Al Sweet‘s White Hussars on the Chatauqua circuit and played with
Bohumir Kryl‘s Concert Band.
From 1937 through 1957 Frank was General Sales Manager for the C.G. Conn Company. During World
War II he handled defense contracts for the company and called himself a ―fly-by-night‖ salesman, simply
because he didn‘t want to travel during business hours.
Before acquiring the GHW Percussion Company from George Way, a long-time friend and associate, Fred
managed it without salary for his ailing friend for two years. While working for the Buescher Band
Instrument Company, he also served as Executive Vice President of the National Association of Piano
Manufacturers.
Frank was elected an Associate Member of ABA in 1976 while serving as President of the American Music
Conference.
An active businessman until he died, the music business was his life. Most of his friends were associated
with the music profession.
1985 ABA Annual Report
WILIAM D. REVELLI (1902 – 1994)
Dr. William D. Revelli, son of Italian immigrants, was born in Dry Gulch, Colorado in 1902. His family
later moved to Panama, Illinois. Bill passed away in Ann Arbor, Michigan on July 16, 1994. He was
elected to membership in ABA in 1932, served on the Board of Directors in 1949 and 1953 and was our
president in 1952. He became an Honorary Life Member in 1984.
Bill studied music theory and violin at the Chicago Musical College, receiving a bachelor‘s degree in 1922.
Subsequently, he earned bachelors and masters degrees from the VanderCook School of Music. From 1929
until 1935 he was music supervisor for the Hobart, Indiana school system, developing an instrumental
program that produced six consecutive national championship bands.
In 1935 Bill became Director of Bands and chairman of the wind instrument department at the University
of Michigan, positions he held until his retirement in 1971. Starting with one band and himself as the only
department member, he built a program consisting of seven bands, with more than 500 members, and a
faculty of fifteen.
In 1961 he took his band on a sixteen-week international tour, performing eighty-eight concerts in eight
countries. His bands also presented annual concerts in our country, appearing in thirty states. In 1971 his
final tour took him and his band to Europe, with appearances in England, Germany, France and Italy, and
concluding with a concert in New York‘s Carnegie Hall.
Even in retirement Bill was in demand as a clinician, advisor and adjudicator, accepting over one hundred
engagements a year. His achievements continue to inspire the lives and careers of all of us.
Numerous honors were bestowed on Bill. He received eight honorary doctoral degrees in music, music
education, law, public service and humanities. In 1961 the University of Michigan presented him with its
Faculty Award for Distinguished Achievement. The band building was named Revelli Hall in his honor.
Bill was truly a mover and a shaker, exceptionally active in his profession. He founded the College Band
Directors National Association and was their Honorary Life President. He was Honorary Life Grand
President of Kappa Kappa Psi and the first recipient of their Distinguished Achievement Award. He was
Past President of the National Band Association and the first conductor elected to the Academy of Wind
and Percussion Arts. In 1965 he received the Interlochen Academy of Arts Medal of Honor. In 1969 the
American School Band Directors Association honored him with the Edwin Franko Goldman Award. In
1981 Bill was among the first living inductees to the National Band Association Hall of Fame of
Distinguished Band Conductors. In 1989 he received the Order of Merit from the Louis Sudler Foundation
and the John Philip Sousa Foundation. In 1992 Bill was inducted into the MENC Music Educators Hall of
Fame. His most recent honor came when the Phi Mu Alpha Sinfonia named him their 1994 Man of Music.
Bill was the musical director and conductor of the International Music Festival in Vienna, Austria and was
guest conductor, lecturer and clinician for the Israeli Band Federation. During his career, he conducted
concerts in thirty-eight countries. Few people in the band world have traveled farther in the interest of
developing bands and band music.
When interviewed for the Music Educators Journal, Bill offered these reflections on his own colorful
career:
I would prefer to be remembered as a conductor, teacher and music educator whose interest in
every student extended far beyond the daily rehearsal in classrooms—a teacher, conductor and
educator of people rather than students of music. My philosophy is that we do not teach music;
rather, we teach people through music.
1995 ABA Annual Report
Note: The 1994 Annual Report noted the death of Mary Revelli, wife of William D., in October 1993.
―Tributes to ABA Members‖ - March 27, 1984
By William D. Revelli
My Dear Men and Women of ABA:
Please permit me to say how deeply honored I am to have been asked by our esteemed President, Martin
Boundy, to say a few words to you on this, our 50 th anniversary, and to express to you on this occasion
what ABA has meant to Mary and myself.
Firstly, I shall be forever grateful and will never forget that eventful day when, while rehearsing the Hobart
High School Band, a telegram was delivered to me stating I had been elected to membership in ABA.
Needless to say, the remainder of that rehearsal found all the tempi considerably more rapid and ―con
spirito‖ than the composer‘s intent and score indicated.
Since that thrilling day, and for approximately 50 years thereafter, ABA has become a vital, meaningful
part of the lives of the Revelli household—memories Mary and I cherish beyond words. Firstly, we revere
your friendship and love; secondly, the opportunity to be associated with the finest ensemble of people of
the Band World—the opportunity to know and be a colleague of the world‘s greatest—the giants of our
profession. When a young neophyte, to have had the honor and thrill of shaking the hand of the greatest,
J.P. Sousa, the most beloved conductor who ever mounted a podium.
Dr. Edwin Franko Goldman—whose countless kindnesses to me shall forever be a source of inspiration.
Frank Simon—a true bandsman, friend and whose devotion to Mr. Sousa remains an example of all of us to
follow.
Herbert L. Clark—what a gentleman, artist and friend.
Dr. Harding—the Dean of all College Band Directors, a remarkable talent.
Jim Harper—Lenoir, North Carolina.
Karl King—a true genius with a ―Will Rogers‖ wit and humor.
Henry Fillmore—what a human being—what a personality. Uncle Henry was unique—enthusiastic—
never seemed to tire. He needed only to enter upon the stage for, even before his first downbeat, he already
captivated his audience. Never, I said Never should one follow Henry on a program—you would lose the
war. Here was a true ―Pied Piper.‖
Harold Bachman, G.C. Bainum, Arthur Pryor, Capt. O‘Neil, Ray Dvorak, Sam Loboda, Walter Smith and
many other of our departed friends serve as reminders of the quality of our ABA, as well as our
responsibilities in our quest for the maintenance of the goals, objectives and contributions these great men
have made to our ABA.
Today, ABA remains the most elite of all band organizations. Certainly, in no other organization—be it
fraternal, civic, professional or social—will we find a body of men and women with such loyalty, love and
faith as in our beloved ABA.
Perhaps it is because of the influences left and cherished by our departed members and by the younger
generation of ABA members in whom we have entrusted its future that we have. Yes, life and its values
remain previous and even more so as time moves on—yet one part of it remains static and unchanged, even
after half a century. Mary and I love ABA—because YOU ARE ABA.
1984 Annual Convention Report
―More Remarks‖ - March 6, 1991
By William D. Revelli
Good morning!
You know, it‘s difficult to stand up here as I look to this audience. You represent, of course, the greatest
voice in the world of music, the band; and secondly, you are really the special few. I would like to say a
few words to you about the moments I have enjoyed with some of our most illustrious and great
conductors, members of ABA, who have all left us and are departed.
How many of you in this room knew personally John Philip Sousa? I see only three or four. Well, let me
say a few words about this great man. My first opportunity to be in his presence was in 1932, in Tulsa,
Oklahoma. Dr. Edwin Franko Goldman called my room in another hotel and asked if I would be available
to come down, that he would like to meet me. This was at the National Band Contest in Tulsa, Oklahoma.
Mr. Sousa had adjudicated my band twice previously: 1929, in Denver, Colorado; 1930, in Flint,
Michigan. And now we‘re in Tulsa. I was, of course, tremendously excited and impressed to meet Dr.
Goldman, who also had adjudicated my band on those occasions. So I found the hotel—and I shall never
forget opening the door. Dr. Goldman met me at the door and there stood—can you imagine, this little
neophyte conductor from a little Hoosier town, Hobart, Indiana—coming into the presence of these
gentlemen who had served at that contest? Mr. Sousa, Edwin Franko Goldman, Arthur Pryor, Frank
Simon, A.A. Harding, Captain O‘Neill. I wanted to ―Abba, Abba,‖ you know—there was no way I
could—I was so excited to meet them. I had never met any of them previously. And I had a great
opportunity at that session to talk with Mr. Sousa at quite some length. Of course, I saw him after that a
couple of times. We all know that he was the greatest of the great.
Dr. Goldman: After this introduction, and after visiting with Mr. Sousa and all of them, Dr. Goldman
invited me to come to New York and conduct his band, which I did; and I‘ll never forget—without
rehearsal—―The Universal Judgment.‖ And that‘s not peanuts! But all I had to do was follow them, of
course. Dr. Goldman became my mentor, my friend—until he died. He was particularly important to me
in the study of repertoire for the band and, particularly, program building. In 1956, when Mary, our
daughter Rosemary and I—I was on sabbatical—went to see and had dinner with him—he was living at
One University Place at the time. And I‘ll never forget—we left in January and I was coming back in June,
the latter part of June. And I said, ―I‘ll see you and the band on the Mall, in June.‖ And that great man put
his arm around my shoulder and said, ―I don‘t think so.‖ I never knew what he meant. He was dying, and
knew it. So I never saw him again. In fact, when we arrived in Rome, he was dead. So I pay tribute to him
and Mr. Sousa.
Herbert Clarke, the prince of all cornet soloists. In Fort Dodge, Iowa, at the convention of ABA, he asked
me if I could see him in the afternoon for a visit. It was two o‘clock. We visited ‗til six, and we looked at
our watches and said, ―My God, it‘s the banquet!‖ Six o‘clock and here we are—we weren‘t changed or
anything. And that great man, while he was changing his trousers, kept right on talking about his
experiences and telling me about the value of the cornet against the trumpet in the concert band.
Frank Simon, the man who never grew up, who remained a boy all his life. He became world famous, but
never lost his drive and energy and the warmth that we all loved. He carried a little book of stories, mostly
Jewish stories—he was Jewish, of course. And he would take that book out and recite those stories, and he
would laugh more heartily than we did who had never heard them before. What a man—what a friend!
A.A. (Dr.) Harding, my university, as well as high school, advisor, mentor, and friend—the ―Father of the
College Concert Band‖—who loved to take a ride at night in the moonlight. He‘s say, ―Around the block,‖
and go miles. (Mark [Hindsley] knows all about that.) A man whom I can never thank enough. In one of
the national clinics which he founded, he came to me afterwards and asked if I was in a hurry to get back to
Hobart, and I wasn‘t, of course. We went out to dinner, went back to the hall, and spent three hours on the
―Phaeton‖ symphonic poem, which I was preparing at that time. He loved Chinese food. He wasn‘t a
drinking man, but he liked a bottle of beer with his meal, and it had to be Miller‘s High Life. He would
have a little book with all the restaurants, the great restaurants where he would go, and it would say:
―Great food, no beer.‖ He was this kind of a man. What shall I say, except ―Thanks, Dr. Harding.‖ He
and Jim Harper and I would get into the town and we each had an assignment: to find the best Chinese
restaurant in town. And that‘s where we would go and spend the evening and talk about nothing, of course,
except bands and band music. What a great man!
Karl L. King, the giant from Paynesville, Ohio, who said to me, ―I only had two lessons in my life—
harmony lessons. I wish I could have had that third lesson, but the guy left town.‖ What a man! I recall
that his band performed annually at the Iowa State Fair in Des Moines—and he, of course, was from Fort
Dodge, with his Fort Dodge Municipal Band, which we all know about. And he told me this story:
They built a bridge across the river and named it the Karl King Bridge, in Fort Dodge. On this
occasion, when I was doing my last concert with the band before my retirement, the governor was
there, and they presented me with a new Buick Riviera. And then they presented Ruth and me
with the most beautiful set of luggage. And Karl, in his own inimitable way, got up to the mike
and said, ‗Ladies and gentlemen, we thank you so much, Ruth and I, for these wonderful gifts.
First you build a bridge—then you buy a car—then you give me some luggage. How much more
obvious could you be that you want me to leave town?‘
Typical Karl King humor. What a man! We had him as a guest conductor one summer, and I‘ll never
forget this: we had one of these bass drummers that played the bass drum in Karl King‘s marches like that
(pp). Karl would ask several times for more bass drum and he had had it. So he walked over and took the
bass drum beater and hit that drum and knocked it about four feet across the floor and said, ―I want a forte I
can hear!‖ That‘s another thing about Karl King. I liked him—a wonderful guy, a great talent. God made
him a genius in his writings. I could speak for two hours on Karl King and the things that he did.
Henry Fillmore, another man that we all revere—I call him the ―Pied Piper‖ of ABA. Al Hayes, Will
Huff, Gus Dean, Harold Bennett, Henrietta Fillmore! Did you know he wrote piano solos under the name
―Henrietta Fillmore‖? What a man! He loved the old-fashioned band and its place in American civic and
educational life. Never follow him in a concert! Dr. Goldman made that mistake once, in Columbus, Ohio,
and Dr. Goldman said, ―Never again!‖ He didn‘t even have to make a downbeat. All he had to do was
come, and the audience was already entranced. And did you ever see him conduct ―Shoutin‘ Liza,‖
―Lassus Trombone‖? What a kind.
Harold Bachman really was one of the pioneers in founding the wind ensemble, because in his concerts in
the parks in Florida he only had 28 pieces, because they could not afford the 29 th player. That‘s a wind
ensemble. And what a great man he was! Did you know he came to Hobart? I met him in Gary, ten miles
away, brought him in to Hobart, and he taught cornet for me for four years, to the high school and the grade
school kids—two at a time, one dollar an hour. I shall never be able to thank that man. We both loved
baseball, and when we could, we got out into the park to see the Cubs play. I could go into that story a long
time—enough to say that he had a great influence.
Glenn Cliffe Bainum: he judged my Hobart band at district, state and national levels. Rusty was truly
ABA‘s ―Good Humor Man.‖ What a tremendous influence upon my life—as a teacher by observation and
association. What a maestro and friend—and I might say, one of a kind.
Sam Loboda and Ray Dvorak—two men of unparalleled courage. Two men of faith—strength. I must
tell you an incident. A Past President‘s dinner—I forgot the site—and I‘m sitting between these two. Sam
was almost blind; he had his cane, and he couldn‘t see anything. And we all know about Ray‘s loss of his
arm. I‘m sitting between them and they had steak for dinner, and neither of them could cut their steak.
Sam couldn‘t see it and Ray couldn‘t cut it. So I did it for both of them, and we had a wonderful visit. At
the end of the dinner we got up to go, and Sam wanted to go first and I got Ray to go behind him and I was
behind, sort of guiding traffic. And these wonderful men, Sam and Ray, looked at each other, and Ray
said, ―This is ridiculous—the blind leading the cripple!‖ Is that courage? Isn‘t that something? What can
you say about those kinds of people?
Paul Yoder: We‘ve said a lot about Paul Yoder. What you don‘t know is that Paul Yoder made about 40
arrangements for my marching band when I went to Michigan. He made both the scores and the parts.
Twenty-five dollars per arrangement. We were playing Chicago—the University of Chicago had a football
team in those days—and if you know your football, you know at one time, when they were under Stagg and
Yost, that was the big game: Michigan and Chicago. We were playing—this was my early days at
Michigan—and Paul had made an arrangement for me, a halftime show. And I had invited him to the
game, to be our guest. But what I didn‘t know: you had to have a pass, a ticket, to get in there, and I didn‘t
have one for Paul. So I said, ―Well, I‘ll get him in there.‖ I always had an extra overcoat and a hat, and so
on. You know, Paul was a rather large man, and the overcoat happened to be for a man smaller than
myself. The sleeves came up to here, the coat came up to here, and the hat sat up there—Paul had about an
8 ½ size head and this was about a 6 ¼ --sat up there like that. I gave him a pair of cymbals. And he‘s
coming down through the tunnel and the fellow looked at him and said, ―You‘re in the Michigan band?‖ I
said, ―He sure is.‖ He said, ―Who are you?‖ I said, ―I‘m the conductor.‖ He said, ―Man, you sure do need
some uniforms!‖ What a man!
Lynn Sams: Although not a conductor, we all know that Meredith Willson got his inspiration. Lynn was
not a good cornet player. By the way, someone mentioned this morning the wonderful collection of
photographs—I believe they are now in Maryland, aren‘t they? Well, you know, Lynn had them first, then
gave them to me—they were in the Revelli Hall. I suggested that they go there, because I didn‘t think that
Revelli Hall was quite the place they should be for preservation and eternity. So that‘s the least I can do for
Lynn. He was one wonderful man. When he was with Conn, and I had first come to Hobart, I went to see
him. This was the Depression. We didn‘t have any instruments and very little money. I could never tell
you what he did for me. And when we had finished our business, he said, ―Are you interested in football?‖
I said, ―I love it.‖ He said, ―Well, Knute Rockne‘s a friend of mine and I can get into any of his sessions—
I have a pass. Would you like to come?‖ And I went. It was the early part of the season, when Knute was
working with his Notre Dame team. I have never had a greater rehearsal in my life. Learning—learning
how to rehearse. I watched that man, I studied him—it was about a three-hour session. In those three
hours he worked on two plays I‘ve never seen such diagnosis, observation, and application. Moving a foot
over, a foot back, six inches to the right. ―Your left foot‘s too far back. Your right foot‘s too far forward.‖
Those two plays, by the time that was over, were working very well. Lynn said, ―That‘s only this
afternoon. That‘ll go on and on.‖ They played Southern Cal that year at Soldier Field and Lynn and I went
to the game. We saw those two plays. They beat Southern Cal by one touchdown. I got a lesson, and my
friend Mark talked about you.
Carleton Stewart: I could go on with so many of the others who‘ve left us. Carleton Stewart, who was
one of my dear friends, and a colleague. We exchanged records—we didn‘t have tapes in those days. We
exchanged records, we talked to each other on the phone, and talked all night about literature and bands and
interpretation and intonation, and everything else. He was also a wonderful, wonderful man.
Well, they all are. I don‘t want to bore you, but the old, trite, familiar saying, ―One never misses the water
until the well runs dry‖ certainly was never more appropriate than in my memories of my association with
these great departed ABAers who, I‘m sure, are still meeting in Heaven, and probably looking down at this
very moment—and they are asking and wondering if we are still maintaining the steadfast traditions, the
ideals, the goals, the standards that they had in mind when they first met.
A.R. McAllister: A man that I must not leave out—and I know I‘ve left out many—was A.R. McAllister.
It happened that Mary, my wife, lived in Joliet, and I met Mac when I was playing at the Rialto Theatre. I
got acquainted with Mac very closely, became his first vice-president of the old National Band Association;
and I was supposed to succeed him, because he was going to retire and I was supposed to be slated to be the
next president. And then, of course, I went to Michigan and that stopped that. But let me tell you about a
little incident. Mary was pregnant, and I asked Dr. Talbot, her doctor, if it would be all right for me to go
with Mac out to Interlochen, where we were holding our National Band Association meeting. He said,
―Nothing‘s going to happen for at least a couple of weeks.‖ So I went. I shall never forget this. Mac
called the meeting to order, and he had no sooner hit the gavel than a messenger came in with a telegram
that said, ―Expect things to happen within five hours.‖ I handed that to Mac; he hit the gavel, gave it to the
secretary-treasurer and said, ―Bill‘s going to be a father. We‘re on our way back to Joliet.‖ We went
through a blinding rainstorm for several hours, and if you knew Mac—he and Joe Maddy were the fastest
drivers I‘ve ever been with. He made it, and I got to the hospital fifteen minutes before Rosemary was
born. Well, of course I didn‘t do any good, except—I was there!
Well, I‘ve taken too much of your time. But I just want you to know that those departed people—souls—
have meant whatever success I‘ve had. I owe a debt of gratitude that I never can repay. And some of you
sitting here—with me, here today—are to be counted among those same people. I don‘t want to get into
names, but I‘ve learned so much from you, by observing and by talking and being with you.
I don‘t know what the year 2050 will do for ABA or what you‘ll do for that time. I will say one thing: for
God‘s sake, don‘t change the one thing that we have that‘s dear to all of us, and that‘s this: the unique
friendship, the family that we have. I have yet to hear an ABA member ever criticize another, when he‘s
on that podium at these various concerts. The respect that we have for each other….
Some day, in the not too distant future, I expect to join them. I have a goal in mind. If they have not
started a symphonic band, I‘m going to start one. I shall be waiting for you to audition for it—and believe
me, it‘ll be like that. It‘s been a pleasure to talk with you—I love you—and I want to just conclude my
remarks by saying there‘s one ABAer that I love more than you. She‘s been my pal, and more than that.
The greatest lady on earth: my dear wife, Mary. She loves you as much as I do. She can‘t be here with me
right now, but I just want you to know that her heart is here, and her spirit. Thank you very much.
1991 ABA Annual Report
GEORGE EARLE REYNOLDS (1921 – 1992)
George Earle Reynolds was born on February 2, 1921 in Joplin, Missouri and died of cancer on April 27,
1992 in St. Louis, Missouri. Although he was born in Joplin, George spent most of his childhood in Dodge
City, Kansas. He attended public school and played trumpet in the band. After graduating from Dodge
City High School he attended Southwestern College in Winfield, Kansas. He graduated with a Bachelor of
Science in Music degree in 1942 and immediately enlisted in the U.S. Coast Guard. He was assigned to
duty with the official Coast Guard Band.
After the war George earned the Master of Music degree from the University of Illinois. While studying in
Cincinnati he performed professionally in local dance and also with the ARMCO Band under the leadership
of ABA member Frank Simon.
George‘s first academic position was at the University of New Hampshire. While serving there as band
director he was elected to membership in ABA in 1949. He served on the ABA Board of Directors in
1957. During his days at New Hampshire George hosted the first national John Philip Sousa clinic.
Subsequently, George joined the music department of the Carnegie Institute of Technology in Pittsburgh.
He was the director of their famous Kiltie Band, which performed at our Pittsburgh ABA Convention.
Later he was associated with a number of schools—the Interlochen Arts Academy, Bowling Green
University, University of Wisconsin at Kenosha, and Cerritos College in Norwalk, California. During his
varied career he was director, performer, adjudicator, clinician and arranger, and belonged to many national
music organizations.
For the past fifteen years George lived in St. Louis, where he had the opportunity to perform with a number
of dance bands. Playing in jazz bands had been an integral part of his long musical career. In 1984 he was
employed by the St. Charles School District as Director of Instrumental Music. At his retirement concert in
June 1991, he was taken by surprise when the band substituted his march ―The Assembly‖ instead of the
programmed number.
Although he had to give up playing the trumpet, he continued performing with dance bands as a pianist.
George was an excellent pianist. During the past few years he played at home daily to relax, while
recovering from heart bypass surgery, pneumonia and living with terminal cancer. Music was George‘s
great source of strength.
1993 ABA Annual Report
J. JOHN ―J.J.‖ RICHARDS (1878 – 1956)
The Kable Concert Band
Kable Brothers Printing Company—Mount Morris, Illinois
The Band of The Kable Brothers Printing Company was founded by the two Kable brothers in 1896 at
Mount Morris, Illinois. It grew into one of America‘s most favorably known industrial bands. Two of its
conductors became presidents of ABA.
Howard C. Bronson, conductor from 1929 to 1941, became music advisor to the War Department in June
of 1941, as a captain. He served with great distinction until 1947, retiring as a colonel. Colonel Bronson
was chosen to be the eleventh president of ABA in 1948 at Sioux Falls, South Dakota. J.J. Richards
conducted the band from 1941 to 1945 and from 1950 to 1955. He became an ABA member in 1936 and
was elected the twelfth president of ABA at Charlotte, North Carolina, in 1949.
1987 ABA Annual Report
EVERETT ―Bud‖ ROBERTS (1914 – 2006)
Everett Lee ―Bud‖ Roberts was a founding father of the high school band movement in the state of Florida
and spent his entire teaching career in that state. He was a member of ABA for nearly half a century,
having been elected to membership in 1959. He was a charter member and former president of the Florida
Bandmasters Association, and prior to his death was the last surviving charter member of that association.
He was born in Meridian, Mississippi but grew up in Florida and was a graduate of Osceola High School in
Kissimmee, Florida. He attended Rollins College on a tennis scholarship and graduated with a Bachelor of
Music degree. He later earned a Master of Arts in School Administration from Stetson University.
He began an honored career as a music educator as Director of Music in Avon Park schools. He moved
from there to become the band director at Winter Park High School and Instructor of Wind and Brass
Instruments at Rollins College. His work there was interrupted by World War II.
During World War II he served in the U.S. Army Signal Corps, starting as a recruit and rising to the rank of
Captain. He served 42 months in the Army, of which 22 months were in the Pacific Theatre, in New
Guinea, Leyte, Okinawa and Japan. He was one of the first group of soldiers to enter Japan when the war
ended and was instrumental in establishing the first communications headquarters for the Army in Japan,
for which he received the Bronze Star Medal.
After the war, he returned to Avon Park and Rollins College until 1948, when he became the band director
at St. Petersburg High School, where he served for 32 years—20 years as the Director of Bands and an
additional 12 years as the Assistant Principal. After his retirement in 1980 he remained active as an
adjudicator of bands for the Florida Bandmasters Association until 1995.
He was a member and former president of the American School Band Directors Association, a founding
member and former Chairman of the North American Band Directors Coordinating Committee, a member
of the Florida Music Educators Association, a member of the Music Educators National Conference, a
member of Pi Kappa Lambda, and the honorary bandmasters fraternity Phi Beta Mu. In 1957 the School
Musician magazine named him as an Outstanding Music Director in the United States. In 1961 he was
awarded the ―Mac‖ Award for Outstanding Achievement in the Field of Music.
He was selected as Co-Director of the first U.S.A. High School Band on its concert tour of Europe in 1962.
In 1980 he was recognized by the American School Band Directors Association for outstanding service and
contributions to the school band movement. He was honored by the Florida Bandmasters Association for
Meritorious Support and Service to School Bands, and was honored by the school administrators for his 45
years of service to education. In 1984 he received the Phi Beta Mu Award for Outstanding Contributions to
Bands. In 1991 he received the Edwin Franko Goldman Award for Outstanding Contributions to School
Bands from the American School Band Directors Association. In 1992 he received the Phi Beta Mu Award
for Outstanding Band Director.
―Bud‖ Roberts died on January 16, 2006 at the age of 91. He is survived by his beloved wife of 68 years
Anna Foster Roberts; her brothers Raleigh, Marion, Fred, Henry, David and their children; and by
thousands of former band members and students whom he loved as his adopted children. He will be missed
and long remembered.
2007 ABA Annual Report
ARTHUR W. ROHR (1916 – 1988)
Arthur Rohr, founder and director of the Sarasota, Florida Concert Band died on July 15, 1988 after an
extended illness. He was 71 years old. Arthur was born in Masontown, West Virginia, where he received
his early music education playing trombone in the high school band. He earned his music degree at the
Shenandoah Conservatory of Music.
Arthur began his teaching career in Kannapolis, North Carolina. For twelve years he served both as the
high school band director and as supervisor of music for the school system.
After serving in the Army during World War II, Arthur became a traveling salesman for the Carg and
Dunner Music Company of Chicago. During his travels he developed an interest in Southern Florida and
decided to put down roots in Sarasota. He became manager of the Arthur Smith Music Company, where he
received the Merchant of the Year award in 1961.
Arthur founded the Sarasota Concert Band and was its conductor for 36 years. He was elected to American
Bandmasters Association membership in 1966. We in ABA were privileged to hear his band in 1977 when
Arthur hosted our annual convention. In 1976 the School Musician magazine named him one of the
nation‘s ten most outstanding band directors. Arthur was especially proud of his membership in ―Show
Folks of Sarasota,‖ an organization that honored circus musicians, performers and actors.
Like all dedicated directors, Arthur was a great promoter of music. He believed that music played an
important part in all of our lives. His dedication will continue to influence the future of those he taught and
directed.
1989 ABA Annual Report
RALPH E. RUSH (1903 – 1965)
Ralph Rush was born in Hayesville, Ashland County, Ohio. He graduated from Delaware, Ohio High
School in 1921. His B.A. degree was earned at Ohio Wesleyan University in 1925, and a Master of Music
degree at the University of Southern California in 1946. He did graduate study at the University of
Michigan and at Cornell University. His teaching career began at Ohio Wesleyan as a teaching assistant.
For seven years, beginning in 1927, he served as band and orchestra director of the Patrick Henry Junior
High School and Glenville Senior High School in Cleveland, Ohio.
For twelve years he was Director of Instrumental Music for the Cleveland Heights Public Schools, during
which time his bands and orchestras were always in the top groups at state, district and national contests.
Since 1946 he has devoted his full career to teaching at the University of Southern California, advancing
from assistant, associate, and finally full professorship in both the School of Music and the School of
Education, along with the chairmanship of those departments. He served as president of the Ohio Music
Education Association and president of the Music Educators National Conference, and was on numerous
committees for colleges and universities in thirty-nine states. He was a member of the Ford Foundation
Young Composers project. Two years ago he was named to receive a special Ford Foundation cash award
as a Master Teacher, and one year ago the USC Associates named him as one of their five greatest teachers
of the year.
After leaving the school band field for teaching work at USC, Ralph resigned from ABA, where he had
been a member since 1934. He was well known to all members of ABA and was highly respected as a
band man, teacher and scholar.
He was one of the very active men in the old National School Band Association, and also in the old
National School Orchestra Association, where he served on the board and on various committees.
Ralph Rush is survived by his wife, Marjorie, of Los Angeles; a son Richard, who teaches high school in
Cambria, California; and daughters Mrs. James Benninghoven of Fresno, California, and Janet, a graduate
student at USC.
1966 ABA Newsletter
MYRON E. RUSSELL (1904 – 1993)
Myron E. Russell was born in Stafford County, Kansas on October 18, 1904 and passed away on July 13,
1993 in Cedar Falls, Iowa. He attended school in Stafford County through the 10 th grade, after which the
family moved to Manhattan, Kansas. He graduated from high school there, having played oboe in the
band.
Myron earned the Bachelor of Music degree at Kansas State University, the Master of Music degree at the
Eastman School of Music and the Doctor of Philosophy degree in music from the University of Michigan.
He also taught at Kansas State University, the University of Michigan and Wartburg College.
Professionally, Myron performed with Gilbert‘s All-American Band, Roy Smith‘s Scotch Highland Band,
Bachman‘s Million Dollar Band, the Chicago Civic Orchestra and the St. Louis Symphony Orchestra.
In 1929 Myron joined the music faculty of the University of Northern Iowa, where he conducted the bands
and other instrumental ensembles until 1951 and taught woodwinds from 1929 until 1973, the year he
retired. During his career he frequently performed on all five woodwind instruments—oboe, flute, clarinet,
saxophone and bassoon—combining them all in one recital. His extensive knowledge of all woodwinds
was staggering and he had the unique gift of imparting that knowledge to his students. Many of his
students established national and international careers as performers and music educators.
Myron was a founding member of the Waterloo-Cedar Falls Symphony Orchestra. He appeared as guest
performing artist with the orchestra and was its conductor for 13 years. Recipient of numerous honors,
Myron received the Chicago Civic Music Association Scholarship. He was an Honorary Member of both
Phi Mu Alpha and Phi Beta Mu.
The State College of Iowa honored Myron with their Certificate of Merit. He also was given the State of
Iowa Service Certificate and the Distinguished Service Award of the Iowa Music Educators Association.
In 1954 he attended the Philadelphia Orchestra workshop hosted by Eugene Ormandy. This workshop
greatly influenced Myron‘s conducting philosophy. He emphasized the importance of musicianship,
utilizing techniques and references characteristic of Eugene Ormandy, a musician whom he greatly
admired.
During the course of his career, Myron served as President of the Iowa Bandmasters Association, the Iowa
Music Educators Association and the Iowa Music Teachers Association. He was in great demand as a
clinician, adjudicator and guest conductor. His diversity of musicianship and musical wisdom as
performer, conductor and teacher are almost unequalled in our profession. Myron was very active in ABA,
becoming a member in 1949. He was elected to the Board of Directors in 1990. Myron was one of the
truly elite musicians in the ABA.
The editor of the University of Northern Iowa Music Newsletter remembered Myron‘s last words to him:
Forty-four years on the University of Northern Iowa staff and over sixty years in one community
have given us a host of friends—of whom we have most pleasant memories.
We in ABA also have most pleasant memories of a gentleman named Myron.
1994 ABA Annual Report
Note: The 2004 Annual Report noted the death of Ruth Russell, wife of Myron.
S
HENRY EVERETT SACHS (1881 – 1970)
Henry Sachs attended public schools in Denver, Colorado and was graduated from East High School. He
was Conductor of the Denver Municipal Band for 44 years, with the exception of almost 6 years when he
conducted opera in New York. His long time Denver Municipal Band Manager, Alex F. Horst, remembers
Henry conducting the opera ―Blossom Time‖ in New York, and he knows there were others, but he does
not remember the exact number of years of those engagements.
Henry Sachs was known as the leader of free public concerts in City Park each summer given by the
Denver Municipal Band. He was President of the Sachs-Lawler Company in Denver for almost 40 years, a
firm founded by his father in 1881 and one of the largest western manufacturers of marking products, such
as rubber stamps and stencils. He was a frequent guest conductor of the Denver Symphony Orchestra and
had played piano, violin and trombone. He opened the Denver Civic Center in 1919, Red Rocks in 1941,
and the Denver Coliseum in 1952 with his Denver Municipal Band. He was also a composer of more than
100 marches and songs, and was a continuous contributor of items from his musical library to local schools
and universities. These gifts included 3,000 band scores to the University of Denver‘s Lamont School of
Music in 1963.
Henry Sachs was President of the Denver Symphony Society and belonged to the Mile High Club, Denver
Athletic Club, Denver Club, Rotary Club, American Society of Composers and Publishers, the American
Bandmasters Association, the National Association for American Composers and Conductors, and Kappa
Kappa Psi, among others.
Reminiscences of band concerts of long ago were related in a tribute paid to Henry Sachs in the July 28,
1970 issue of the Rocky Mountain News:
The maestro by 1930 had been a veteran conductor of various musical endeavors here and
throughout the country. It was remarkable that last year, at age 88, he was still mounting the
podium in the bandstand by the big lake, standing his ramrod stance, banging the podium, and
taking his musicians along the lyrical and inspirational waves of music. Mother and Dad would
assume their seats on the green wire-woven park benches in front of the bandstand. We kids
would run off to the hillside sloping from the north side of the lake to roll and tumble so violently
that sleep on the way home came easily. The strains of the band floated over the lake—a sound
engraved on my mind. The maestro worked with the stage hand who operated the lights as he did
when he worked in a theatre or concert hall.
He [Sachs] was a man of great modesty, a twinkling eye, and a great love for music and for the
city in which he was born in 1881. He was always impeccably dressed and didn‘t flaunt shaggy
hair, goatee, or other artistic manifestations. His repertoire was amazing. He rose with the
bandstand from the pits of the Denver theatres in the days of vaudeville. But in his later years his
only venture away from the band shell at City Park was to guest conduct for the Denver
Symphony—a real love of musical life. I suppose Gabriel will be a lot more attentive to his horn
now that the maestro is listening.
ABA 1971 Newsletter
JAMES G. ―Jimmie‖ SAIED (1915 – 2004)
James G. ―Jimmie‖ Saied, son of Lebanese immigrants, was born June 14, 1915 and died at the age of 89
on December 9, 2004.
During World War II he was decorated for his service in the Battle of the Bulge. Returning from the war in
1946, he started Saied Music Store Co. in downtown Tulsa. In January of 1946 Jimmie ―sent out letters to
all the band directors I knew telling them about our grand opening. Three people came to the store that
day—my wife, our one-year-old son, and one band director who came in, looked around, and left without
buying anything.‖ Saied Music is now managed by his son Bob and has four locations in Oklahoma and
Arkansas.
Saied had a lifelong fascination with John Philip Sousa. He also had an uncanny physical resemblance to
Sousa and regularly imitated him on the podium.
His admiration for Sousa led him to successfully lobby President Ronald Reagan to name ―The Stars and
Stripes Forever‖ as the country‘s official march. The National Association of Music Merchants sponsored
Saied‘s drive, and eventually he was called to Washington to testify in front of a Congressional Committee
about why ―The Stars and Stripes Forever‖ should be the national march. Testifying with him was John
Philip Sousa III. In December 1977 President Reagan signed ―The Stars and Stripes Forever‖ as the
national march of the United States of America.
Jimmie was elected Honorary Associate Member of ABA in 1988.
2005 ABA Annual Report
LYNN L. SAMS (1896 – 1990)
Lynn Sams, Honorary Life Associate Member, was born in Clarion, Iowa and died on March 17, 1990 in
Merced, California, less than a month short of his 94 th birthday. In 1984 our 50th annual ABA Convention
was held in Tempe, and was dedicated to Lynn, then the only living individual who had attended the first
ABA Convention in 1930. He also had the distinction of being one of the ABA‘s founding fathers. Lynn
became an Honorary Life Associate Member in 1948.
A graduate of Southern Illinois University, he was also a member of the band. During World War I Lynn
served in the Navy. He was one of five ABA members who were assigned to battleships: Otto Kraushaar
on the USS Pennsylvania, Dale Harris on the USS Wisconsin, Joe Grolimund on the USS Kentucky,
William Stanbury on the USS Kansas, and Lynn on the USS Louisiana. Lynn said: ―We sailed the nautical
high seas and hit the musical high C‘s…but none of us reenlisted. I doubt if some of us have ever seen a
battleship since.‖
After the war, Lynn joined the C.G. Conn Co. as a traveling salesman, visiting schools throughout the
Midwest, selling instruments. He was one of those early traveling salesmen who served as an inspiration
for Meredith Willson‘s ―The Music Man.‖
Lynn eventually became president of the Conn Co. When he retired he was given the last silver trumpet
made at the Conn Co. in recognition of his leadership. Not satisfied with retirement, he became president
of the Buescher Instrument Co. When he finally retired, he went to live in Napa, California, the wine-
producing center. He often referred to himself as ―The Little Old Wind Maker of Napa Valley.‖ During
this time he also served as musical advisor in Hollywood for the motion picture based on John Philip
Sousa‘s life.
Lynn was editor of the first ABA Newsletters until he turned over the reins to Dick Madden. We
remember with affection his gentle needling and will miss his camaraderie, but especially his wealth of
ABA lore.
Lynn was a good storyteller. Frequently, following an evening ABA concert, the old timers would meet in
the hotel lobby and exchange reminiscences. Usually present were Lynn, Frank Simon, Scrubby Watson,
Karl King, Henry Fillmore, Cliffe Bainum, Albert Austin Harding, Vesey Walker, Merle Evans and others.
Their amusing stories continued into the early hours of the morning.
I still remember Lynn‘s laughter when Scrubby Watson told this true story of his early days with a circus.
At this particular time they were touring rural Arkansas. On the afternoon before their evening
performance, they took a small group into town to ballyhoo. The setting was the small town square. The
band led the parade, followed by one elephant, one camel, one lion, one tiger, one bear and a few clowns.
A horse and buggy were standing in the street. A little old lady was sitting in the driver‘s seat. When the
band started playing, the frightened horse snorted, bolted, and took off uncontrolled. As the band left town,
the little old lady and her runaway horse watched them leave. She glared at the band and said, ―Daisy don‘t
like your music!‖
During his retirement Lynn continued compiling the history of the band movement in America—a
movement in which he has been a true pioneer—he relished being our ABA historian. Besides compiling
autobiographies of members, he donated to the ABA Research Center more than 250 photographic portraits
of many of the 20th century‘s top bandsmen. Over 200 of them were autographed in appreciation to Lynn.
One photograph was that of him and John Philip Sousa, taken on March 5, 1932, hours before Sousa died.
Bill Revelli was one of the band directors who benefited from Lynn‘s advice and support when Lynn was a
traveling salesman. On hearing of Lynn‘s death, Bill wrote:
I know of no one who did more for the school band program than Lynn. He was a dear friend,
counselor and true bandsman all the way. I shall miss him very much.
We all will miss him.
1991 ABA Annual Report
Note: The 1986 Annual Report noted the death of Ferne Same, wife of Lynn, on February 1, 1986.
―Report on Lynn Sams‖
Presented by Jim Strouse, Associate Members Chairman - 2003
I was asked by our President, Jim Keene, to tell the story of Lynn Sams. He said that there are many ABA
members that might not know about, or remember who Lynn Sams was, and he thought we should know
what Lynn‘s role was in the band world.
I could give all of the pertinent stats, like when and where Lynn was born and died but that would make
this sound like an obituary, and Lynn already has one of those on record with ABA. I would rather tell you
about what this wonderful man did and represented in his life that has affected all band directors and
bandsmen.
I talked with Jimmy Saied last week, and the first thing he said was that Lynn Sams was the beginning of
the band business. After researching this matter, I think that Jim said that not only because it‘s true, but
perhaps it was because of the fact that he worked for Mr. C.G. Conn, the founder of the Conn Band
Instrument Company in Elkhart, Indiana. He also worked with all of the prominent bandmasters of the
country like John Philip Sousa, Henry Fillmore, Edwin Franko Goldman, Frank Simon and others. It was
because of his close friendship with people like that, that he was one of the founders of the American
Bandmasters Association. He attended the first convention in 1930, and he was the last one left of those
who attended that convention to attend an ABA convention in 1984, when the convention was dedicated to
him. Lynn was the first Associate Member of ABA, and he is the only one to ever be an Honorary Life
Member. We still have two Honorary Associate Members in Jimmy Saied and Neil Kjos, Jr., but Lynn is
the only Honorary Life Member of the Associates.
Lynn graduated from Southern Illinois University and played in the band there, although Bill Revelli said
that he was not a good cornet player. After serving in the Navy aboard the battleship USS Louisiana during
WWI, he joined the C.G. Conn Company as a traveling salesman. He visited schools throughout the
Midwest selling instruments. It seemed that every man I questioned concerning Lynn Sams referred to the
idea that Meredith Willson used Lynn Sams as the inspiration for writing ―The Music Man.‖ Even Bill
Revelli mentioned it in remarks he made to the ABA at the 1991 convention. About the only think they
didn‘t mention in this regard was whether Robert Preston talked with Lynn to develop the wonderful
character of Professor Harold Hill. It would only seem reasonable to think that he did.
Lynn eventually became the president of the Conn Company. When he retired he was given the last silver
cornet made by that company in recognition of his leadership. Lynn wasn‘t satisfied with being retired
(Isn‘t that a new idea!!) and went on to become the president of the Buescher Band Instrument Company.
When he finally retired, he lived in the Napa Valley in California. During that retirement, Lynn served as
the musical advisor for the motion picture based on John Philip Sousa‘s life.
I learned that Lynn was a good story teller. Frequently following an evening ABA concert, the old timers
would meet I the hotel lobby and exchange reminiscences. Wouldn‘t that be a terrific memory for any of
us to have, of sitting with the likes of Lynn, Frank Simon, Scrubby Watson, Karl King, Henry Fillmore,
Cliff Bainum, Albert Austin Harding, Vesey Walker, Merle Evans and others while they told stories into
the early hours of the morning?
Lynn continued during his retirement to compile the history of the band movement in America. Besides
compiling biographies of members, he donated to the ABA Research Center more than 250 photographs of
many of the 20th Century‘s top bandsmen. Over 200 of them were autographed in appreciation to Lynn.
One of them that piqued my interest is a photo of Lynn and John Philip Sousa taken on March 5, 1932, just
hours before Sousa died.
One of the things I have learned about Lynn Sams is probably the most important to all of us here in this
room. Lynn was the first editor of the ABA newsletter. He used this newsletter to almost single-handedly
keep the American Bandmasters Association together during the WWII years when, for several years, we
had no convention.
There are a few people that I want to thank for helping me prepare this vignette of Lynn Sams. What they
told me when I talked with them and what they wrote and shared with me, are immensely treasured by me.
I want you to know who they are. Jimmy Saied, Don McGinnis, Paul Bierley, Nick Peck and John
Yesulaitis. Thank you all.
Bill Revelli wrote, ―I know of no one who did more for the school band program than Lynn Sams.‖ Now I
know why Jim Keene was so relentless in his suggestion that I present this story about a true treasure and
founder of the American Bandmasters Association.
2003 ABA Annual Report
LYNN SAMS Interviewed by James Berdahl
March 29, 1984
Berdahl: Tell us about the early beginnings of ABA.
Sams: It is too much of an honor to have me say anything because the only ―claim to fame‖ I have is my
age. As you know, I have been very much interested in the American Bandmasters Association since its
beginning and was fortunate to have attended the first meeting and many meetings after that.
In this review I have, much of the information came from Paul Yoder who was instrumental in establishing
the ABA Research Center and the Journal of Band Research. The material came from Dr. Goldman who
you know was one of the principal originators of ABA. Dr. Goldman left the material with Forrest
McAllister who was then the Editor of the ―School Musician.‖ It was left with Forrest for safe keeping
until the Research Center could be established. The material is now in the ABA Research Center in
Hornbake Library at the University of Maryland.
Of course, I have kept my own information and have all the files of the contents of the conventions held
from the beginning and all that. I think that between Paul and me and what Dr. Goldman left, you have
reasonably accurate information about the Association.
As briefly as possible, I‘ll tell you a little about the beginning. It was on October 20, 1928, when the first
discussion of having some type of Band Organization was held. Dr. Goldman, Victor Grabel and Captain
Stannard were the three that first entered into this discussion. At the time, they were guest conductors at
the fair in Cleveland, Ohio. They set up an outline for a Constitution and By-laws.
The Proposed objectives of the planned association were:
Mutual helpfulness
Better band instrumentation
Induce composers to write for bands
Establish higher standards of performance (artistic performance particularly)
Cooperate with military in obtaining commissions for the Army musicians
(Up to this time the Army had on permanent commissions for musicians.)
They passed this information around among bandmasters and a group of recognized bandmasters were
invited to the first session for what was later called the ―organizing session.‖ Those invited were: John
Philip Sousa, Herbert L. Clarke, Dr. A.A. Harding, Dr. Charles O‘Neill, Lt. Charles Benter, Patrick
Conway, Captain Taylor Branson and Captain William J. Stannard. It was then that the organization was
named The American Bandmasters Association.
On July 5, 1929 Dr. Goldman invited the following bandmasters to attend the meeting in the Pennsylvania
Hotel in New York and they formalized the first association. Those present were:
Dr. Edwin Franko Goldman—Goldman Band, New York City
Charles Benter—United States Navy Band
Victor Grabel—Chicago Concert Band
Dr. A.A. Harding—University of Illinois Band
Dr. Charles O‘Neill—Royal 22nd Regiment Band, Quebec, Canada
Arthur Pryor—Pryor‘s Band, New York
Frank Simon—ARMCO Band, Cincinnati, Ohio
R.B. Hayward—Toronto Concert Band, Toronto, Ontario
J.J. Gagnier—Canadian Guard Band, Montreal, Canada
It was at this meeting that the Charter was received and these men were named Charter Members.
Berdahl: According to the names you just read, all of them were professional people with the exception of
Mr. Harding. What were the feelings of what the membership should be like at that time?
Sams: It was pretty well understood at this first meeting that it would be a professional organization. Not
that they had any objections to the educational groups coming in, as far as I have heard, but Dr. Harding
was the only one at this first meeting and he took a very active part, which they all appreciated. I think
they chose Dr. Harding for his close contacts with Mr. Sousa. Sousa thought that the University of Illinois
Band was one of the finest he had ever heard and, in those days, it probably was.
Incidentally, the first high school band director voted into the Association was A.R. McAllister of the
famous Joliet, Illinois Band and that was in 1931.
Berdahl: If I might make another observation: with three of this small group from Canada, the founding
people must have thought very highly of having the ABA ―international in scope‖ with Canadians and
Americans in it from the beginning.
Sams: It certainly was. In fact, the Canadians, you might say, very much lead the field. One in
particular—Dr. O‘Neill. I have always thought, and many others thought at I did, that Charlie O‘Neill was
the best educated man in band music. He was an exceptionally fine cornetist and was highly respected by
everybody. It was Dr. O‘Neill who wrote the famous entrance exam for ABA and if you couldn‘t pass it
you couldn‘t be in ABA. I think Paul Yoder was the last one to take the exam. There were some
exceptions though. Karl King said, ―If I had to take that exam, I would never have become a member.‖
Berdahl: Can you tell us something about the famous examination so we‘ll know how lucky we are to be
in ABA without having to take it?
Sams: Yes, I do have an outline of the questions asked.
5. Outline of musical history with special study of the particular period or phase. This paper will
include an essay on the given musical subject—time 3 hours.
6. Paper on musical form and analysis—time 3 hours.
7. Paper on Instruments and Scoring—time 3 hours.
8. Paper on Harmony that may consist of a figured or unfigured bass to be harmonized in not
more than four parts and a given melody to be treated as directed—time 3 hours.
Berdahl: I am sure many of us are concerned about that first convention in Middletown. What went on or
what kind of papers or business sessions did you have?
Sams: Different members were asked to give papers or talks on certain subjects.
Mr. Sousa gave a paper—The Orchestra and the Band as they Originally Existed.
R.B. Hayward gave Comparison of English, French, German, Italian and American
Instrumentation of Concert Bands.
Victor Grabel‘s paper was Revising Published Band Arrangements.
J.J. Gagnier gave Developing the Use of Alto, Bass and Contra-bass Clarinets in the Present Band
Instrumentation.
Dr. Goldman—How to Improve Bands and Band Music.
Karl King—How to Secure Financial Support for Municipal Bands.
The Growth of University and College Bands was given by Dr. Harding.
Captain Stannard gave How to Induce Prominent Composers to Write for the Band.
The last paper was A Plea for the Army Bandmasters given by Arthur S. Hayes.
Those papers were all very well received and were excellent papers. They were considered very important.
Berdahl: I agree that they are important subjects. They are so important that we are not through discussing
them yet, are we?
Berdahl (continues): I would like to go back and clear up some things that are confusing. ―Lest We
Forget‖ shows some members elected in 1929 when the first convention was in 1930.
Sams: For a short period, the organizational meeting in 1929 was called a convention. But after a while
that was changed. They even elected officers in 1929. Those officers were about the same as the ones
elected in 1930. The members who attended the organizing meeting in 1929 were the Charter Members
and they elected those who did not attend in 1929 to membership. This is why some are shown as being
members in 1929.
Berdahl: That clears that up and helps us to understand some of the discrepancies. Lynn, in one of our
previous sessions we were discussing up-coming conventions and our concern about hotel rates. I‘m
curious about what kind of rates you paid at some of the early conventions.
Sams: You might say they were excessive rates in those days. For instance, when the questionnaire came
as to the type of room you wanted, you had your choice of the deluxe or standard room. The deluxe room
was priced almost out of reach—at $1.50. The regular room rates were $1.00.
Berdahl: Oh, boy. Would that we could have those days back again!
1984 ABA Annual Report
WILLIAM F. SANTELMANN (1902 – 1984)
March 30, 1984—We lost a national treasure when our beloved Honorary Life Member, William F.
Santelmann, died March 30, 1984. He had just conducted the United States Marine Band at the 50th Annual
Convention in Tempe, Arizona, in an arrangement by his father of the ―Ride of the Valkyries‖ from ―Die
Walkure‖ by Richard Wagner, and received thunderous applause. He then conducted ―Semper Fidelis
March‖ by John Philip Sousa as an encore and received a standing ovation.
Back stage, Bill expressed pride in the Marine Band, which he conducted from 1940 to 1955. He
remarked, ―This is the happiest day of my life.‖ Shortly after he received numerous expressions of thanks
and compliments from members of the band and ABA members who were back stage, he was asked how
the leaders of the Marine Band were selected. In his own inimitable style, he raised his head and gave his
customary preparatory ―ah,‖ then said no more. Bill suffered a massive heart attack and was pronounced
dead at approximately 11:40 p.m.
Colonel John R. Bourgeois, in the tradition of the Marine Corps, continued the concert at Margaret‘s
request. She felt that this is what Bill would have wanted.
1984 ABA Annual Report
―What the American Bandmasters Association Means to Me‖
By President William F. Santelmann – ca. 1953
For many years band suffered from an inferiority complex, probably caused by their reluctance, or
inability, to compete on the same high musical plane always enjoyed by the great symphony orchestras.
Many factors contributed to this state of mind. The lack of a thorough musical education on the part of
many bandsmen who were forced to obtain what instruction they could from the local music master, could
be one. Another, the fact that most of the repertoire—with the lone exception of marches, which have
always been the band‘s forte—had to be borrowed from the orchestra, opera or light opera library. Playing
to al fresco audiences in the park always permitted careless performances not tolerated in the concert hall.
And certainly the lack of personal harmony between the bandmasters of the outstanding bands acted as a
restraint in the further development of the band movement.
Believing that much good band music could be offered to the music-loving public and also believing that
what was good for one band was good for all, Dr. Edwin Franko Goldman requested a small group of the
outstanding bandmasters of Canada and the United States to meet with him in New York. It was the
consensus of this group that by combining their efforts and striving for a single goal of better bands and
better band music, the concert band could be developed and enriched and that it could be raised in the
esteem of the public. Thus was the organization known as the American Bandmasters Association formed.
Feeling that this effort should embrace all levels of band development, bandmasters of all categories—high
school, college, municipal, industrial and professional—who had distinguished themselves in their
particular field were invited to join. With this group acting as a forum for discussion of the problems
besetting bandmasters, a program was developed to improve bands of all levels and to improve standard
instrumentation. Publishers were attracted to the Association and gave their assistance in establishing a
national instrumentation for concert and symphonic bands. Composers of national repute were encouraged
to compose new music primarily for band. This last phase proved so successful that in some instances the
same compositions were later transcribed for symphony orchestra.
There can be no question about the progress that has been achieved by the development of this program.
Not only have all bands felt the impetus of this concerted effort, but it has also bred a feeling of fraternity
among the bandmasters themselves. Much has been done, but in its continuing drive toward its goal of
―better bands and better band music‖ the American Bandmasters Association is ready and willing to accept
the challenge of any new problem besetting the bandmaster and his music, while at the same time
continuing along the path thus far so firmly established.
News Release to ABA Members ca. 1953
President Santelmann‘s Address - 1954
Coming from Washington where our National Congress is the most notable convening body, I feel that in
making my president‘s speech, I should try to follow the example of the President of the United States by
giving you a report of the activities and progress of our organization just as President Eisenhower gives the
nation in his State of the Union message. Fortunately for all of us, my report does not have to be as lengthy
as his and also need not pay heed to either subversion or McCarthyism.
First of all, let me say that, as a body, I believe the American Bandmasters Association is sound in body
and mind. It I were a doctor—and I‘m beginning to answer to almost any title that is carelessly used near
me—I‘d say that we suffer only from the V‘s. I don‘t mean V for viruses or vanity, but rather, from vigor,
vitality, and, may I even add, virility. From the programs received of our members from coast to coast,
from the views we get on our television sets, from our good friend, Lynn Sams‘ Newsletter, and from the
verbal reports that I was fortunate enough to receive personally while on an eight week concert tour last
fall, I can only conclude that all of you have been most industrious and hard working in the pursuit of the
goals established long ago for our Association. I feel sure that the reports to be given later by the various
committees will substantiate this statement and will point the way to still further possible developments
which we might strive to attain. With the concerted efforts of all of our members, I have no doubt that we
can broaden our outlook and influence, and lead the way to still better bands, band music, and the more
comprehensive use of the great musical talents that are discovered every day in the youth of our country.
One item of progress that I am most happy to report and of which I am sure most of you are already aware,
is the fact that legislation has finally passed the Congress giving at least partial recognition to two of our
military service members, permitting their promotion to higher rank. I refer to our esteemed Vice
President, Charles Brendler, and our hard working and highly efficient host and Convention Committee
Chairman, Francis E. Resta. I use the phrase ―partial recognition‖ because I cannot help but feel that the
many years of faithful, intelligent and efficient service that these two individuals have rendered to their
organizations and to their services should eventually receive still further approbation and reward. I am sure
we will all enjoy addressing our two comrades as Commander and Major respectively now, and I am sure
too, that had you attended the Congressional Committee hearing on the legislation, you would have been
pleased with the unanimity displayed by all the members of the ABA who heartily endorsed the passage of
this legislation.
Another matter of interest to all was the action taken by our organization last fall to bestow upon the Leader
of the great Guard Republican Band of France some honor to indicate the warm approval and
commendation that we felt he deserved for the splendid performances that he gave with his band on a
transcontinental tour last fall. Undoubtedly many of you heard this outstanding group and were greatly
impressed with the excellent results they were able to attain. The suggestion to honor him was made by
several members of our organization, and so after receiving the unanimous approval of the Board of
Directors, a very handsome certificate of honorary life membership in the American Bandmaster
Association was prepared on fine grained leather and it was my proud privilege to present it to Captain
Francois-Julien Brun at the concert given at the Academy of Music in Philadelphia last December 8 th on
behalf of the American Bandmasters Association. Colonel George Howard made the trip with Mrs.
Santelmann and me, and we were delighted to see a large number of other ABA members also present. I
believe Jim Harper would have merited the befeathered White Owl cigar for coming the greatest distance
for the occasion. And incidentally, I think a special credit line should be included here to our peregrinating
Secretary-Treasurer for supervising the design of such an elegant certificate. Could you have seen it, I am
sure you would all have agreed with me that it was a document that cast credit on the Association we
represent.
Unfortunately, my duties in Washington as Leader of the Marine Band and as Supervisor of Marine Corps
Bands throughout the Corps, prevented me from doing the amount of traveling on behalf of the ABA that I
should have liked, and it was consequently necessary for me to decline many invitations to act as guest
conductor and clinician that many of you were kind enough to extend to me. I must say that I sincerely
regret this inability because I firmly believe that one of the prime duties of the President of this
organization is to make as many public appearances in that capacity as possible. I can assure you, though,
that no opportunity to publicize the American Bandmasters Association was lost while I was on a 56-day
concert tour extending over New England and parts of the North Central States last fall. And I am sure that
our Vice President also followed the same pattern on the tour he made also last fall with the United States
Navy Band.
I think it necessary for me to summarize briefly the work of one committee who will not be called upon to
make a formal report. That is the committee appointed to select a composer to write the commissioned
composition for band. As you all know, this commissioning of a new work for band carries out the thought
first expressed by Dr. Goldman and is made possible through his own generosity. I discussed the procedure
of selection with Dr. Goldman and although he himself did not wish to take part in it, yet I was able to
persuade Richard Goldman to chair the committee. A committee was appointed and each member was
requested to indicate a choice from a set of three names or to suggest the name of a composer they felt
more desirable. In addition to Richard Goldman, the following were named to assist: Dr. A.A. Harding,
Major Hugh Curry, Glenn C. Bainum, Clarence Sawhill, Manley Whitcomb, and Lt. Barry Drewes. The
consensus indicated a choice of Dr. Howard Hanson, who for the last thirty years has been the director of
the Eastman School of Music at the University of Rochester. Dr. Hanson has long established himself as
one of America‘s foremost contemporary composers, having among a long list of original compositions
three symphonies and an opera entitled Merry Mount, that was first presented by the Metropolitan Opera
Company in 1934 and enjoyed nine performances in that year alone. The second of his symphonies was
commissioned by Serge Koussevitsky for use with the Boston Symphony Orchestra, and the third
symphony was likewise commissioned by the Columbia Broadcasting System. As a result of the
committee‘s action, an invitation to accept the commission was dispatched to Dr. Hanson and although he
had never before written a composition for band, it was with enthusiasm that he accepted. I had a personal
visit with him while on tour and although he had been hospitalized for some months with a back injury, yet
I found him in his office that particular day and we discussed the form that the number should take. It was
in due time written and sent on to Major Resta to be rehearsed, and I know that all of you share the same
anticipation that I feel for its first hearing. I also expressed the hope that Dr. Hanson would be able to
come here to our meeting to conduct the premier performance, but due to previous commitments and
illness, he could give me no assurance that this would be possible. Knowing him personally for many
years, I was anxious for him to join with us so that we might become better acquainted and that he might
become more interested in compositions for band. I hope that this composition will be but the first of many
others written for band that will come from his pen.
Now, in closing I want to express my most sincere appreciation to all those members of the Association
who so whole-heartedly accepted assignment to committees, and especially the various chairmen. As time
is always very limited at these conventions, I have asked each chairman to prepare a report based on the
accumulated ideas, suggestions, and experiences of his committee members, and I am sure that you will
find these reports informative, enlightening and extremely interesting. I also want to thank all of you for
the trust that you have placed in me by allowing me to serve you in the capacity as your President.
Although the job is perhaps more time consuming than one might at first expect, yet the honor to represent
such a distinguished organization is more than compensation for the efforts expended. With the close of
my year as President, you may be sure that I stand ready to serve the organization and its future presidents
in any capacity that they may indicate.
1954 ABA Annual Report
ABA 1976 Convention Dedication
President Yesulaitis fondly called attention to the fact that the 1976 Convention Program was dedicated to
Colonel William F. Santelmann in recognition of his long and outstanding service as a member and
conductor of the United States Marine Band and his efficient and dedicated service as Secreatary-Treasurer
of The American Bandmasters Association.
1976 ABA Annual Report
Lt. Col. William F. Santelmann, esteemed Honorary Life Member of the American Bandmasters
Association, died last March while attending our convention in Tempe. Elected to membership in 1941,
Col. Bill served on the Board of Directors from 1949 through 1951 and again in 1954. He was elected
President in 1953 and was our Secretary-Treasurer from 1965 to 1975. He became an Honorary Life
Member in 1980.
Born in Washington, D.C., Col. Bill began studying the violin at the age of six. He graduated from
McKinley Tech High School and later studied music at the Washington College of Music and the New
England Conservatory.
Col. Bill‘s entire military career was with the Marine Band until his retirement in 1955 after 37 years of
service. In 1923 he enlisted as a Marine Band private following his second audition on violin and
euphonium. He failed his first audition because, as a string player, he did not double on a brass instrument.
His rise through the ranks was rapid. Concert violinist for ten years, he became the concertmaster in 1930
and five years later was appointed an assistant leader.
In 1940 he succeeded Captain Taylor Branson as the 18 th director of the oldest military organization in the
United States. Col. Bill was only the third director in Marine Band history to receive an officer‘s
commission. Incidentally, his father, Captain William H. Santelmann, was the 16 th director of the band
from 1898 to 1927 and the first director to become a commissioned officer.
Although Col. Bill often said he was primarily an orchestra man, it was as a military band director that he
gained worldwide fame. During a White House celebration at which Col. Bill and his band were
performing, President Eisenhower suggested ending a songfest with two numbers—The National Anthem
and the Marine‘s Hymn. None of the guests remembered the third chorus of the Marine‘s Hymn. When all
were silent, Col. Bill, standing alone in the center of the East Room, in his strong, resonant voice, sang ―If
the Army or the Navy ever look on heaven‘s scene, they will find the streets are guarded by United States
Marines.‖ Amid laughter and applause, the President bowed and saluted Col. Bill.
Most of us have favorite memories of the Col…his great sense of humor…his explosive, booming
laughter…his strong, resonant voice…his familiar wide grin…his sincerity and honesty. Each memory
serves to increase our fondness for him, our appreciation of him and our high regard of him as a man and
musician.
Col. Bill was born and raised in music. His earliest memories were of the Marine Band, so it is fitting that
the very last music he heard was Semper Fidelis—Always Faithful—performed by his band under his
direction.
1985 ABA Annual Report
R. LESLIE ―Les‖ SAUNDERS (1907 – 1970)
R. Leslie Saunders was born in Harrisburg, Pennsylvania on April 19, 1907. Music was the focal point in
his life. Les acquired his early education in the Harrisburg public schools. He was granted his BS degree
in Music from Lebanon Valley College in 1935 and also took post-graduate work at the University of
Pennsylvania, and qualified for a master‘s degree from New York University. Les Saunders and His
Orchestra was a dance group well known throughout the early 1940s; prior to organizing his own dance
band, he played with the Penn-Diamond Orchestra and the Ted Browningdale Orchestra, both nationally
known recording groups. Friends recall that Les received his education by working for it as a musician; it
was also recalled that he turned down many offers to be in show business because he preferred a career in
school music.
Les began his long association with the public schools in 1938 when he accepted a post of instrumental
music; prior to that time he taught all music, both vocal and instrumental, in the Cornwall School System.
Later he became supervisor of instrumental music in the Lebanon City Schools. He was a charter member
of the Harrisburg Symphony Orchestra and was trombonist with the Hershey Theatre Orchestra. Superiors
and associates have over the years hailed his devotion to duty and interest in the welfare of his students
during his long career in the local school system. A number of his students have distinguished themselves
as musicians in the Armed Forces, in schools and colleges and universities, including musical careers in
show business.
Les was elected to membership in The American Bandmasters Association in 1955 and was a regular
attendant at the conventions. ABA Member Paul Harner, a close friend of Les, wrote:
Les was in and out of the hospital about the last six months before his death. He had one of the
best high school bands in Pennsylvania. I don‘t remember him ever coming out of a contest with
less than a second rating, and he had many firsts. He played in the pit band at the Hershey Theatre
for the Ice Follies for many years and did a fine job. His dance bands played all over the state. He
did many clinics. He was a very fine musician and no one ever worked any harder than he. He
was President of the Pennsylvania School Music Association for two years.
On Saturday, July 25th the local radio station, WHAT, had a memorial concert for Les, which was
the spring concert he conducted in May 1969. Resolutions of Respect were sent by the Southern
District Pennsylvania Music Educators Association; also a Resolution of Respect was given by the
Board of School Directors and Administration of the Lebanon School District.
1971 ABA Newsletter
CLARENCE SAWHILL (1906 – 1982)
Clarence Sawhill, Band Director Emeritus of the University of California at Los Angeles, died on February
26, 1982 at the age of 75. A graduate of Bethany College in Lindsborg, Kansas, he began his teaching
career at the high school in Norton, Kansas.
Impressed with his achievements as director of the Lawrence, Kansas High School Band, Dr. A. Austin
Harding invited Clarence to join the teaching staff at the University of Illinois.
In 1948 Clarence was elected to membership in the American Bandmasters Association, the same year he
assumed the position of band director at the University of Southern California. After 35 years of fruitful
teaching there, he joined the faculty of the University of California at Los Angeles, serving as Director of
Bands for 20 years until his retirement.
For over 35 years this dedicated musician trained many band directors and professional musicians, besides
conducting exciting clinics and honor bands throughout the world.
We salute Clarence for his missionary zeal to improve bands and develop young people‘s talents. The
music world will miss his laughter, skills and concern for all.
1983 ABA Annual Report
The 1981 Annual Report noted the death of Marie Sawhill, wife of Clarence, on May 31, 1980.
DEAN SAYRE (1918 – 2000)
Dean Sayre was born in Galliopolis, Ohio on August 18, 1918 and died of congestive heart failure in Hazel
Crest, Illinois on September 19, 2000. Afflicted with polio when he was two years old, he wore a leg brace
and cast for eight years. His family moved to Pittsburgh when he was six years old. When he was ten, he
tired of the discomfort of his leg cast and felt that he could get along without it. On his way to school one
morning he removed the cast and threw it into the Monongahela River, got on his bicycle and rode to
school. He did manage to get along without it. While in high school he played saxophone in the band and
dance band. He even organized his own dance combo that was very active locally.
Dean began his 60-year career as a jazz musician as soon as he graduated from high school. He traveled to
California where his earliest job was as an extra in Hollywood Class B movies calling for musicians.
Subsequently, he spent more than fifteen years performing on the road. He played saxophone and clarinet
and sang with the great dance band legends, including Charlie Barnet, Lou Diamond, Frankie Carle, the
Dorsey brothers and Glenn Miller. He traded solos with Ella Fitzgerald and performed with Sammy Davis,
Jr. and Jerry Lewis. In 1940 he was a member of the Jan Garber Swing Band, which performed at Army
bases.
In the late 1940s Dean settled in Chicago but kept up many of his big band connections. In 1950 he opened
his first music store, known as the Chicago Heights Music Co. Eventually he changed the name to Musart
and expanded to five branches in the Chicago area. In order to assess the needs of the band directors he
was serving, Dean became the band director of the Brookwood Junior High School in Glenwood, Illinois.
During the eight years he taught there, his bands won numerous contest and honors.
For the next 40 years he operated the stores, taught in area schools, gave private lessons and furnished
directors with musical supplies. His stores provided music lessons, which at times saw as many as 700
students a week. Many of those students now perform with bands and symphonies or head school music
programs across the United States and in England.
Although constantly involved in operating his business, Dean found time to share his talents with numerous
musical organizations, including the Governor‘s State University Concert Band, the Prairie State University
Concert Band and the South Suburban Community Concert Band. He also taught at Western Illinois
University and at Interlochen for several summers. For ten years he played clarinet in ABA Past President
John Paynter‘s Northshore Band and was a member of the Chicago Heights Symphony for fifteen years.
Dean‘s establishment was elected to ABA Associate Membership in 1970.
Dean met his first wife, Mona, while touring Army bases in Texas. She caught up with him in San
Francisco, where they were married in 1945. Mona died in 1983. Later Dean married Edith Armstrong.
Edith said she liked music and it became Music 101 when she married Dean. Although she learned a great
deal about music and musicians, she said she never passed the course.
Dean was vibrant, kind, thoughtful and caring—a great mentor and dedicated teacher. Music was his
passion—a passion he eagerly shared with all of us.
2001 ABA Annual Report
WILLIAM P. SCHUELER (1899 - 1978)
ABA President Donald McGinnis read the names of ABA members who have died since the last
convention. This list included William P. Schueler, who passed away on August 6, 1978. He was elected
to ABA membership in 1967.
1979 ABA Annual Report
Note: The 1985 Annual Report noted the death of Gertrude Schueler, wife of William, on November 15,
1984.
GUNTHER SCHULLER
―Remarks‖ - March 1, 1989
Distinguished members of ABA: I was originally given the impression that I would be speaking to you at
9:00 a.m. this morning, which I found a little difficult because I don‘t quite function yet at 9:00 a.m. But
besides that, I was trying to figure out how I could be greeting you and welcoming you to Florida and
addressing you when, of course, I‘m an outsider. I‘m an outsider at FSU, I‘m an outsider to the ABA; so
how I should be greeting and welcoming you was a bit of a difficulty. Now that I‘ve been demoted by
virtue of this delay to only addressing you, I feel a little more comfortable and I‘m happy to do that, of
course, because as some of you may know and some of you may not know, I‘ve been a full and good friend
of The American Bandmasters Association for many, many years, and I regard many of you as friends and
as very much respected colleagues.
In fact, I suppose, in reality I‘m more of an ―insider‖ than many of you might suspect, because I have
composed and/or arranged for bands for many, many years now—arrangements ranging from Joplin to
Rudy Wiedoft, all the way over to Hector Berlioz—and, of course, many original compositions for band
and/or for wind ensemble, the first of which, I think, goes back 28 years when I wrote my first big concert
band piece for Herbert Hazelman, who I think is in the room somewhere, from Greensboro, North
Carolina—that piece: ―Meditation.‖ I‘ve also been guilty of writing the biggest and longest and most
difficult piece for the band medium: namely, my symphony, ―In Praise of Winds,‖ a movement of which, I
guess, you‘re going to hear later on in this convention. And more than that, in betwixt and between many
other pieces, you‘re also going to hear, on Saturday night, a brand new work, a Divertimento for Band,
which I just finished last Thursday, believe it or not. This was commissioned by the Air Force Band and
Colonel Bankhead. I think one of the copyists at Bolling Air Force Field is still copying out parts at this
very moment—but it‘ll be ready on Saturday.
Not only that—here‘s a claim that I don‘t think any of you can make, maybe: I played with the Goldman
Band, actually for seven years, as first horn. Those were very enjoyable years—this was during the
summer, of course—playing a lot of very interesting literature with Edwin Franko Goldman. The only
thing I didn‘t like about that gig was that we sometimes had to traipse through rainstorms to Prospect Park,
only to find out, once we had got to the bandshell, that the concert had been cancelled. Sometimes we sat
in the rain—I remember once playing the entire Tchaikovsky Fifth solo in a rainstorm. How times have
changed! That was a terrific band, filled with New York professionals, many of whom went on to
important positions in our major symphony orchestras. Indeed, I myself was, at that time, principal horn of
the Metropolitan Opera. I mention Goldman because, of course, he is your founder, your instigator, your
motivator, and very crucial in the founding of this very organization so many years ago. I admired him a
great deal for his wide-ranging programs, and his commissions, and his desire to stimulate the field and
create new repertory; and indeed I participated in quite a number of those premieres during that period I‘m
speaking of, nearly forty years ago, in the 1950s.
Although I didn‘t know them, I also admire some of the other Past Presidents, either as composers, or as
performers, or as major figures in this medium of concert band: Herbert L. Clarke; Frank Simon, about
whom I heard a great deal when I was a young horn player in Cincinnati in the early forties; Karl King; and
Henry Fillmore, to whom I pay a little tribute, by the way, in this new piece which is premiering here on
Saturday night. The last movement is a parody, kind of an Ivesian takeoff on all kinds of things having to
do with bands, and I hope you will enjoy it and you‘ll find it humorous, funny; and the subtitle is: ―With a
respectful bow to Mssrs. Charles Ives, James Reese Europe, (whom I hope you all know about) and Henry
Fillmore.‖
So those are some of the Past Presidents that I did get to know. There‘s one sitting right in front of me I did
get to know, with whom I worked a great deal, William Revelli. So I‘ve been in and out of the ABA in
various ways for many, many years now, and I stand before you as a friend of this medium. And I do that
with great pride and love for the medium, and recognizing that there are many composers and, alas, many
people in the field of music altogether who perhaps do not have as high a regard for the band medium as I
do. I also recognize that there are now, in a way, two branches of this medium: the one being the concert
band or the marching band, the big band; and the other the relatively new kid on the block, the wind
ensemble. I love them both, of course, and they both have their valid and viable functions; and I think they
are both media, or organizations, or types of instrumentations which can contribute superbly to the whole
field of music.
The band is, for me, one of the most terrific instruments! I sometimes think I love it more, even, than the
symphony orchestra. In some ways I find it sonically superior to the orchestra. Yes, it doesn‘t have
strings, but it‘s got so many other things that a symphony orchestra doesn‘t have, including all those
incredible varieties of wind instruments, especially those low clarinets, which I‘ve been trying to get into
the symphony orchestra for years. Every last orchestral piece I‘ve written in the last fifteen years has had
in it contra-alto, contra-bass clarinet. I‘m trying to get those instruments in as permanent instruments in the
symphony orchestra, but I haven‘t succeeded yet. Anyway, it‘s telling you how I feel about these things—
and I myself, of course, am a horn player, a wind instrument player, (―wind-blown‖ instrument)—and so
perhaps I have a sort of natural predilection for these instruments and for this medium. I think it‘s an
amazingly versatile medium. I don‘t think it has any limitations, either creatively or organizationally, but it
does have one problem, which I‘m always sorry to note: and it is that, unfortunately, in the largest field of
the music world it isn‘t regarded with as much credibility, with as much respect, as I think it should be—
and I find that deplorable. There‘s something that sticks, to this medium, of the amateur status. I don‘t
know why one should regard it as lower than some other status, frankly. It also is stigmatized by being
located primarily in the educational field, and some people look down their noses at that; again, I don‘t
understand quite why. And, of course, maybe the greatest liability which people ascribe to it is that it lacks
the great literature. It doesn‘t have the Mozarts, it doesn‘t have the Beethovens, the Brahmses, the
Tchaikovskys, and so on. As I say, I deplore that viewpoint, and I think that band medium is as wonderful
potentially, inherently, as any other medium and as viable as any other.
The wind ensemble is seen in some quarters as slightly more professional. There have been some
professional or semi-professional wind ensembles around. But it, too, is still relegated to this sort of
second-class view by the music field in general, by virtue of the fact that it is based almost entirely on a
contemporary literature; and of course we know that lots of people have problems with contemporary
music altogether. So that certain critics and tastemakers and managers and conductors and other leaders of
the musical field either are not aware of the band medium and the wind ensemble at all, or if they are aware
of it, they sort of look down upon it as some kind of second-class citizenry.
I‘m not telling you anything new. I think—I know—that you have made efforts in a variety of ways to
improve that image, and to keep these standards of performance and of creativity very high in your
medium. I would like to make, perhaps, one suggestion, or two, possibly. And that is insofar, through your
Foundation and other efforts, you have commissioned works for concert band, I think that has all been to
the good. But my impression is that you have not yet tackled those composers who could, almost in one
fell swoop, give this medium the kind of status and credibility by the quality of those composers in the
overall field. In other words, to commission—and this will cost you some more, but it‘s worth the effort—
to commission Leonard Bernstein; Elliott Carter; George Perle; Andrew Imbrie out in Berkeley; Ollie
Wilson, probably our greatest Black composer; Bill Bolcom; Donald Erb; I probably could go on.
Following a large burst of applause for his most entertaining and significant remarks, Gunther Schuller was
presented the Edwin Franko Goldman Memorial Citation by Past President William D. Revelli. In his
remarks, Dr. Revelli noted that Mr. Schuller had been a professional wind instrument performer (horn)
since age 18, and that his father had been a bandmaster. The presentation was greeted by another lengthy
ovation.
1989 ABA Annual Report
FREDERICK F. SCHULTE (1891 – 1966)
Born in Racine, Wisconsin, Frederick Schulte had been a lifetime resident of the city. He was married to
the former Genevieve LaMere in Jacksonport, Wisconsin in 1923, and is survived by his wife, two sons,
Frederick, Jr. and Richard, and one daughter, Marion.
Stricken with an apparent heart attack, he died while enroute to St. Mary‘s Hospital in Racine. The funeral
mass was at St. John‘s Nepomuc, and interment was in the Racine cemetery, where he was buried with
military honors on Friday, October 7, the day he was to conduct a concert by members of the Racine Local
of A.F.M.
A beautiful floral piece and a letter of sympathy were sent to the family by ABA Secretary Col. Santelmann
in the name of The American Bandmasters Association. Representing ABA at the services were Dr.
Raymond F. Dvorak and Associate Member Charles Faulhauber.
Frederick was a member of St. John‘s Nepomuc Church, Holy Name Society of St. John Nepomuc, past
officer in the Wisconsin Bandmasters Association, a member of The American Bandmasters Association,
American Legion Post #76, the Last Man‘s Club of Post #76, the American Federation of Musicians,
Knights of Columbus Council 697, and Msgr. Weiler General Assembly 4 th Degree Knights of Columbus.
The name Schulte has been synonymous with music in Racine for more than 90 years. Frederick Schulte
followed in the footsteps of his father, Henry, who was one of six musician sons of an immigrant cabinet
maker. The six Schultes organized a family band in 1876, supplemented by other young men of Racine.
Frederick started his long career in 1907, when he began playing professionally. He had mastered some six
musical instruments and later played each of them in various professional bands and orchestras. He served
in World War I, playing French horn in one of the U.S. Navy Bands at Great Lakes under the late John
Philip Sousa.
In 1929 he created much interest and enthusiasm in drum corps when he introduced the playing of classical
music by the Boys of ‘76 Drum and Bugle Corps. He was also associated with many other musical groups,
including the YMCA Kilties and the Racine Park Board Band. He organized the Racine Symphony in
1931 and was its conductor for 25 years. He taught music and was head of the music department of
Washington Park High School, and was Music Consultant to the Racine Public School Systems from 1921
to 1957, when he retired from school work. In 1927 the Johnson Wax Band was formed and was directed
by Frederick until 1963. In 1937 he founded the Johnson Company All-Girls Chorus, and one year later
founded its Men‘s Glee Club, both of which he conducted until his retirement in 1963.
It was Frederick Schulte who organized the first Massed Band to play in Racine, and it was Frederick
Schulte with the Racine Symphony who presented the first concertized version of the opera ―Carmen‖ with
an all-Racine cast. And it was Frederick Schulte who was in the pit orchestra of the Belle City Opera
House in Racine when Maude Adams played in ―Peter Pan‖—and when Eddie Foy appeared there, long
before all the little Foys were born. And it was Frederick Schulte who accompanied Eva Tanguay, whose
―I Don‘t Care‖ was a catchword, and who offered him a road show job at the then fabulous salary of $56.00
per week, because, she said, ―It‘s the first time my show was ever played right.‖
The Racine-Journal-Times newspaper of October 5 ended its tribute to Frederick‘s having played the
annual ―Good Fellers‖ dinners for funds for the needy children for more than 18 years:
There‘ll be someone different wielding the baton this year and leading the crowd in a roof-raising
rendition of ―God Bless America,‖ but in memory, many will still see the smiling Fred on that
stage—a veritable symbol of the name ―Good Feller.‖
And an excerpt from the Johnson Weekly magazine tribute reads as follows:
They called him ―Mr. Music‖ for they did it with sincerity and respect, for if ever a man brought a
talent and a love to this art form, it was Frederick Schulte. Frederick Schulte, who spent more
than 35 years of meritorious service in our company, and who probably knew, and was known by,
as many persons as anyone ever associated with us. In 1956 he was awarded the Carnauba Palm
for this service. The Johnson Weekly, on behalf of employees, can only extend its sympathy to
his family.
1967 ABA Newsletter
―Frederick Schulte Remembered‖
Frederick Schulte became a member of ABA in 1953. He was the conductor of The Johnson Wax Band,
sponsored by S.C. Johnson and Son, Inc., of Racine, Wisconsin. The band was founded in 1926.
1987 ABA Annual Report
HERBERT L. SCHULTZ, JR. (1923 – 2007)
Dr. Herbert L. Schultz, Jr.
December 23, 1923 - October 2, 2007
Memorial written by Don Wilcox
ABA Memorial Speaker: Leland Lillehaug/Don Wilcox
Professor Emeritus Herbert Schultz, founder and conductor for thirty years of the Vermont Wind Ensemble
passed away on October 2, 2007 at the age of 84. Herb was born in Buffalo, New York and grew up in
nearby Kenmore where he graduated from Kenmore West High School. During World War II he served
with honor in the 84th ―Rail-splitters‖ Infantry, receiving the Bronze Star. He was taken prisoner, but
escaped capture from the Nazis and later was instrumental in the capture of a high-ranking Nazi SS
Colonel. As accomplished athlete, Dr. Schultz received gold medals in the middle distances and
relays for the G.I. Olympics held during the war. At the war‘s end, he played trumpet for General Patton‘s
funeral, and taps at Allied services for concentration camp victims.
After the war, Dr. Schultz returned to the states to earn his bachelor‘s degree from Fredonia Teacher‘s
College and both his masters and doctorate in music education from Columbia University, and then
married Jean in 1950. In 1957 Herb joined the faculty of the University of Vermont and they lived in
northern Vermont for the next half-century. A versatile musician, Dr. Schultz served as the choral director
for the First Congregational Church in Burlington while building the University band program with the
Wind Ensemble, a jazz ensemble and founded the UVM High School Summer Music Session. In the late
1970‘s he also founded the Vermont Winds and the Tri-State Music Festival, which evolved into the
Northeast Music Festival. All of these thrive to this day.
In addition to his membership in the ABA, Dr. Schultz also had served as president and conductor of the
Vermont State Music Festival; as president of the Eastern Division of the Music Educators Association
and was a former president of the American Concert Band Association. In his retirement after thirty years
at UVM, he established the American Winds Concert Band, which toured Europe every summer for 25
years and received the International Confederation of Music Societies‘ Meritorious Achievement Award.
He also received the ACB Mentor‘s Award; was a member of Kappa Kappa Psi; and was a Mason.
Herb and his wife Jean were partners for 57 years and he leaves a legacy of hundreds of students who loved
and respected him deeply. When Dennis Wilson, trombonist with the Count Basie Orchestra and on the
faculty of the University of Michigan, came to Vermont a few years ago to conduct the All-State Jazz
Band, he made special note of Herb‘s presence at the concert and thanked him in front of a packed Flynn
Theatre for all that Dr. Schultz had done for him. Many others would echo that sentiment.
CHARLES P. SELTENRICH (1913 – 1986)
Charles P. Seltenrich died in Laramie, Wyoming on May 4, 1986, ten days short of his 73 rd birthday. Born
in Cedar Falls, Iowa, Chuck received his musical education at Northern Iowa University and the University
of Iowa. He became a member of the American Bandmasters Association in 1961.
Chuck taught instrumental music in several Midwestern high schools and Oberlin Conservatory of Music
before joining the faculty of the University of Wyoming in 1950. There he was band director and professor
of music until his retirement in 1978. Chuck was an active oboist in symphony orchestras in Cheyenne,
Casper and Laramie, where he received the University‘s George Duke Humphrey Distinguished Faculty
Award.
Chuck was a rare individual who earned the respect and devotion of his students and colleagues through his
honesty, dependability and excellent musicianship. His quiet confidence, sound judgment and loyalty to
students and friends are a testament to the kind of man Chuck was.
The Charles P. Seltenrich Memorial Scholarship Fund was established by the Department of Music in his
honor. In 1959 he was elected President of the Wyoming Music Educators Association, which eulogized
him in their newsletter with this quotation:
For no man dies as long as there is one person left in the living world who remembers him with
fond recall and shares a thought of him—though he has gone ahead.
1987 ABA Annual Report
WESLEY SHEPARD (1908 - 1991)
Wesley Shepard, retired Chairman of the Department of Music at the University of Evansville, Indiana
passed away on February 14, 1991 after an extended illness. Wesley was born in Harvey, Illinois on
September 25, 1908, where he received his early education. He earned his Bachelor of Music Education
degree from Columbia School of Music and his Master of Music degree from Northwestern University.
His doctoral studies were at the Eastman School of Music, Indiana University and the University of
Michigan. He started his teaching career as band director at the St. Louis Country Day School.
Subsequently he taught at the Maywood, Illinois Junior High School and at Central High School in
Evansville, Indiana.
For 26 years Wesley was band director and chairman of the music department at the University of
Evansville. His teaching duties were interrupted for several years during World War II when he was
conductor of Army Air Force bands at Moore Field, Mission, Texas and Scott Field, Illinois.
Wesley‘s 42-year teaching career was varied, encompassing professional, military, academic and civic
activities. He served as Assistant Conductor and principal clarinetist of the Evansville Philharmonic
Orchestra. As composer and arranger, he produced more than 100 works for band. As guest conductor he
directed some of the nation‘s most prestigious ensembles, including the University of Illinois Band, the
Interlochen National Music Camp Band and the U.S. Army Band. He was also Director Emeritus and
Founder of the Tri-State Band and the University of Evansville Symphonic Band.
Wesley was elected to membership in the America Bandmasters Association in 1955. Among his
numerous honors and awards were election as honorary member of Phi Mu Alpha Sinfonia and as an
honorary member of Phi Beta Mu. Music affiliations included the College Band Directors National
Association, Phi Kappa Phi National Honor Society, Pi Kappa Lambda, the Music Educators National
Conference and the Indiana Higher Education Music Administrators Association. In 1972 the Governor of
Indiana awarded him the ―Indiana Distinguished Service Award.‖
Wesley will be remembered as a leader in his profession and a staunch and loyal supporter of The
American Bandmasters Association.
1991 ABA Annual Report
FRANK SIMON (1889 - 1967)
On Friday, March 3, 1967 the ladies were invited to attend the opening of the morning session, as it was to
open with a brief memorial to our late, respected and beloved Honorary Life President, Dr. Frank Simon.
As Secretary-Treasurer, Lt. Col. William F. Santelmann was present as a pallbearer at Dr. Simon‘s funeral,
President McCall called upon him to read the eulogy given by Rabbi Albert A. Goldman at Dr. Simon‘s
funeral in Middletown, Ohio on January 31st, 1967.
[Text of Rabbi Goldman‘s eulogy]
It is not necessary for me to rehearse here the inestimable place won by Frank Simon in those areas of
endeavor where his name will live on with the great musicians and bandmasters of this country. In his
lifetime he already knew that he achieved that rare distinction which placed him on the honor roll shared by
Sousa and Edwin Franko Goldman. His name had become a household word throughout this area when he
became famous for his leadership of the ARMCO Band. There is no band in the concert hall, or marching
band today which struts across the gridiron field which does not know that he is among its invisible
conductors marching and leading them. High honors, honorary degrees, the plaudits of thousands of young
people, the recognition of colleagues, have all been part of the manifold achievements of Frank Simon. In
two weeks a memorial service will be held at the University of Cincinnati and there tribute, through word
and sound, will be paid to him for his great musicianship.
I have come rather to speak of him as the friend and the man, as father and husband, as neighbor and
teacher. There were other aspects to his genius which won him the love and admiration of so many. He
was a complex man, yet simple, but not ordinary. He was highly sophisticated and yet could be completely
at ease with anyone and everyone. He was driving and dynamic, yet tender and soft. He was highly
pragmatic and profoundly spiritual. He could be demanding of his co-workers, yet easily moved to tears.
And who of us can ever forget that wonderful sense of humor, the hearty, tumbling laugh, the rich tones of
the dialect, the infectious laughter and the readiness to share a new story as quickly as he heard it? It was
good humor, never cheap and vulgar. It was a way in which he threw off the many pressures and tensions;
but even more, his affable and affectionate nature came through.
I doubt if Frank Simon had the capacity to dislike anyone, and I would be amazed to discover that anyone
could possibly have had some negative feelings about him. I do not describe him as one who sought
honors of popularity, but these he easily gained, yet he could be fierce in his loyalties as well as in his
demands. He was a man who was motivated by high principle and great standards bordering on perfection.
It was something he wanted from himself, and asked of himself, before he asked it of others. And therefore
his genius was quickly recognized. It has been said that genius is the capacity for infinite painstaking
work, and if that be true, it applies so well to him. No man could stand in the rarified atmosphere of
leadership and not know the heavy burdens of responsibility. The musician is vulnerable to the audience
and the critic. He must meet high standards of expectation or else face ignominy. He was too careful, too
meticulous a person to be haphazard or careless or indifferent to his art. His commitment was to his co-
workers and together, they forged a great instrument.
He enjoyed this work, its challenge, and its creativity made him respond with all of his ability. He
especially enjoyed teaching. This was another mark in this man‘s greatness. He did not hold himself aloof
nor become unapproachable. Frank Simon always remembered that there was a teacher who took him in
hand and tutored him into greatness. He remained grateful to that man, and his gratitude was fulfilled by
following his example. There are many in the field of music who have reached prominence because of
him; and each of his students, fired by his example, has added something to the musical growth of our
country. He was the master, the maestro, and no greater praise can come to him than they came from far
and near to be taught by him.
Thirty years ago I came to live in this community (Middletown, Ohio) as its first student Rabbi. It was a
high moment then, and it has always been, to have become one of his friends. That friendship has
remained constant over the years. In my files are letters which we exchanged and appended to each are
some stories he shared with me. Whether I was overseas or on the eastern shores, we maintained our lines
of communication. All of this goes back to the time when two or three times a week he would pick me up
early in the morning and deposit me at the Hebrew Union College while he went on to teach at the
conservatory. He regarded me in this sense as a pupil. He was deeply interested in my career, as he was in
the future and welfare of his students. I learned in those days how deep was his concern for all of them,
and perhaps only a few know how much he did for them at his own expense—how often he kept a student
at school who could no longer afford his tuition. I think I could say in this regard that he was ―generous to
a fault,‖ but it was something that he seldom spoke about. Those were still depression days, and in the
midst of that gloom, Frank‘s irrepressible spirit could only bring joy in one form or another.
He was a family man. His band was part of that family of comrades and co-workers; but Frank was blessed
with a beloved help-mate and two sons in whom he always took great pride; a pride he shared with their
two wives and their children. But in Mary, his beloved wife, he found his ballast and his bulwark.
Carefully she guarded and sustained him. In trial and triumph, they shared their life‘s experiences. There
were high moments of exultation, and there were moments of great frustration. The bravados and the
blows came equally, and when other men might have been crushed completely, she helped him pick
himself up once again, to march into a new life, and in a new place. They rejoiced with their sons and their
families; they suffered their growing pangs with them as well. Frank was a proud father and grandfather. I
have seldom met a man who was so basically affectionate in his open regard for his children. They have
brought him great satisfaction. He was always proud of their achievements and the prominence they have
won. Above all, he was proud of their achievements and the prominence they have won. Above all, he
was proud of the shared communication between them; where he knew that rare accomplishment of being
both father and friend to all of them.
I have spoken of but a few aspects of the life of this good and great man. Perhaps someday a biography
will tell his story whole. The author could do no better in choosing a subject. But let me add a word more.
It is fitting that this service for Frank Simon is held today in this city. In 1954 the Middletown Journal
spoke of him as one of its most famous sons. Certainly he brought an enduring luster to this fine
community. He loved Middletown. He could travel throughout the length and breadth of this country; but
he always came home. The old familiar places and faces always beckoned him. He did not leave those
friends, nor they him, although time has taken them from each other. Here he felt a great sense of comfort
and the recognition he found here meant more to him than the praise of the critics. Not long ago, and it will
be repeated, he recorded on my radio program, his original composition ―Homecoming.‖ And Frank has
now come home again. Here where his parents nurtured him; and here where his great talent was revealed;
here where his great band was born; and here where his deepest ties and roots were nourished. In this
sense, Middletown recognizes its great debt to him and to all its sons who have helped make it into a fine
city. In its annals, the name of Frank Simon will remain high on the list.
The last note has been sounded…the baton in the hand of the master has been laid down…but the melody
lingers on. The stirring sounds are heard…but even more, the stirring life of a man is remembered. He
who stood before the aggregation and inspired it to play in majestic harmony…who carefully blended its
variations into a oneness of sound and rhythm…whose rich tones of the cornet pierce the very heavens.
We recall the words of the psalmist…―and in thy favour our horn is exalted‖…he was a sweet singer in
Israel, and his song is not silenced. Wherever the bands of America will play, Dr. Frank Simon will stand
on the podium and will inspire them, that the great trumpet will be sounded for all mankind to come
singing a new song…AMEN.
1967 ABA Annual Report
―The Armco Concert Band‖
American Rolling Mill Company—Middletown, Ohio
In early 1920 the Armco Association, an employees group, decided to form an industrial band. Frank
Simon, already a prominent local musician, was persuaded to assume leadership and management
responsibilities. He did so with notable success and The Armco Band assumed a place of importance
among American concert bands. After ten years Frank Simon reorganized The Armco Band as a fully
professional radio band and it, too, achieved renown.
Frank Simon had experience with the Cincinnati Symphony Orchestra, under Stokowski, and as cornet
soloist of the Sousa Band before becoming conductor of The Armco Concert Band. He, his sponsors, and
his band hosted the first ABA convention in March of 1930 at Middletown, Ohio. He was a charter
member of ABA (1929), and he became its fourth president at Cincinnati in 1935. He was elected
Honorary Life President of ABA, its fourth, in 1962.
1987 ABA Annual Report
―A BIG MAN, Remembering FRANK SIMON‖
Presented by John Colbert - March 8, 2002
During my high school years, participation in cornet trios and as a soloist entering our local elimination, the
district, state and national contests further solidified my ambition to become a professional cornet soloist.
In 1939 I was awarded a scholarship to study cornet with Dr. Simon at the Cincinnati Conservatory of
Music. I packed my new gold lacquered Selmer cornet and entered the Conservatory in the wonderful city
of Cincinnati.
During the spring semester of my freshman year, Dr. Simon asked if I would play in a trio with two of his
students. Both students were in their junior year. I thought both were fantastic and upper classmen at that!
For nearly four years during my undergraduate studies I had the opportunity to play in the Conservatory
Concert Band conducted by Dr. Simon. We performed Sousa marches (the way he did) on each concert.
Rehearsal intermissions were great! Dr. Simon and some students gathered in a side-room while stories
and jokes seemed to just roll from him. His stories were about Sousa days and whatever came to mind. Dr.
Simon kept a new cigar alive while the side-room became a haze of smoke. What a treat! During those
wonderful stories I have seem Dr. Simon give bills (worth more than today) to worthy-needy students for
financial support. (A Big Man)
His joke telling was second to none. It was especially fun to watch—during the punch line—his well-
formed paunch bounce with laughter. And during rehearsals it was a fantastic sight to see this well-formed
paunch bounce on the Sousa accents…those were real Sousa accents.
Lunches were served in the Conservatory dining room. On rehearsal days Dr. Simon and some students
would informally discuss cornet playing, bands and whatever came to mind. Dessert most often included
those wonderful powdered sugar donuts. Dr. Simon almost always wore the formal dark suit. (Have the
picture?) With each punch line his laugh blew powdered sugar over his well-formed paunch.
Uncle Sam became anxious for my presence during the second semester of my senior year. Dr. Simon
immediately went into action. Following basic training I became a member of Headquarters Band at Fort
Knox, Kentucky. It was there I fulfilled nearly four years of service.
In 1957 I became conductor of the Jordan Conservatory of Music, Butler University, Concert Band
following Nilo W. Hovey. In 1962 I received an invitation from Dr. Simon to sit at his table during the
banquet of the American Bandmasters Association meeting at Purdue University. What a thrill! Following
the banquet dinner and entertainment I escorted him to his room, realizing this may be the last time I would
see him.
Valuable information concerning the interpretation of Sousa marches is included in a two-volume set,
―Sounds of John Philip Sousa: Authentic Rehearsal Techniques.‖ Each volume contains complete
published instructions by Dr. Simon regarding Sousa‘s stylistic performances as well as the recorded (on 78
RPM) examples of marches annotated. The recordings should be transferred to CD production.
Both volumes were sponsored by the ASBDA and were conducted by Dr. Simon. Volume I was performed
by the Band of Northern Virginia. Volume II was performed by the United States Army Band. Both
volumes produced and edited by Mac E. Carr. Copyright by the ASBDA.
Further information about Dr. Simon may be found in the book ―Music Man: The Story of Frank Simon‖
by Michael Freedland, published by Valentine Mitchell, 1994.
Frank Simon lived by the words of Thomas Payne: ―The world is my country and to do good is my
religion.‖
THE BIG MAN.
2002 ABA Annual Report
LYLE SKINNER (1895 - 1973)
Jack Mahan, President of the American Bandmasters Association, read the names of those members who
had passed on since the last meeting. This list included Lyle Skinner, who passed away in 1973. He had
been a member of ABA since 1956.
1974 ABA Annual Report
KENNETH B. SLATER (1917 – 2005)
Distinguished band director and cornet soloist Kenneth B. Slater passed away Thursday, April 14, 2005 at
the age of 87, in Indianapolis, Indiana, where he had lived since 1997. Ken was born June 18, 1917 in
Cohoes, New York and received his early musical training from his father. Like an increasing number of
ABA members, Ken Slater was a second-generation band conductor and instrumentalist. His father,
George Holt Slater, was a euphonium soloist with the Arthur Pryor Concert Band in the early part of the
20th century. Upon graduation from Waterford High School and then the New York Military Academy in
1937, Slater was accepted at the age of 20 as a trumpet player into the United States Marine Band, ―The
President‘s Own.‖ Following ten years in the Marine Band, he was appointed cornet soloist with the
United States Army Field Band, a position he would hold for another decade.
Shortly before his retirement from the military, Ken became the director of the Almas Temple Shrine Band
in Washington, DC from 1953 to 1962. In 1955 his Shrine band won the National Shrine Band
competition, and on his retirement as its conductor he was named Band Director Emeritus of the Almas
Shrine Band. He was appointed director of the Hagerstown Municipal Band in 1959, a position he would
hold for another decade. During this time he also served for five years as the director of the Shippensberg
Pennsylvania City Band. In recent years he was a frequent guest conductor of the Virginia Grand Military
Band in Arlington.
Ken Slater, often called ―Slats‖ by his friends and colleagues, was best known as a cornet or trumpet soloist
and guest conductor or clinician with bands throughout the United States. He was a member of the Naval
Lodge FAAM #4, the Columbia Chapter #1 RAM and a 50 year member of the Almas Temple in
Washington, DC. He was also a member of American Legion Post 1112, New York City and the BPOE
Elks, Hagerstown Lodge 378, Washington County Museum of Fine Arts and the National Cathedral
Association of Washington, DC. He was a charter member of the Shrine Bandmasters, a member of
Windjammers Unlimited and a Past President of the Pennsylvania Bandmasters Association. Ken was a
recipient of the Gold Medal given by the French Guard Republic Band, Paris, France. He was elected to
membership in the American Bandmasters Association in 1965.
Kenneth Slater left an astounding quantity (17 linear feet!) of valuable historical material to the ABA
archives housed at the University of Maryland. This collection dates from 1859 – 1997, and a significant
amount of it goes back to his father‘s era and the Arthur Pryor Concert Band.
He composed several works for band, including ―Mohawk View‖ for cornet and band, and the march
―Almas on Parade.‖ He was an active member of the Allisonville Christian Church in Indianapolis. Ken is
survived by his wife of 63 years, Evelyn Fey Slater of Indianapolis.
Read by ABA Memorial Speaker: Loras John Schissel
2006 ABA Annual Report
EARL A. SLOCUM (1902 – 1994)
Dr. Earl A. Slocum, Honorary Life Member of ABA, was born on a farm near Concord, Michigan on June
17, 1902 and died on November 29, 1994 in DeLand, Florida at the age of 92. He attended a one-room
school before his family moved to Albion, Michigan.
Earl studied piano and violin during his high school days and taught himself to play the flute from a
Langley Self-Tutor book. While in high school he received eight athletic letters: three in baseball, three in
football and two in basketball. Earl entered Albion College in 1921, planning to be an engineer. The
director of the school‘s conservatory of music convinced him that his future should be in music. He
became the first student to graduate from Albion with a public school music certificate. He earned his
bachelor‘s and master‘s degrees at the University of Michigan.
Earl‘s first high school teaching position was in Detroit, where he also played professionally. In 1926 he
moved to Greensboro, North Carolina, where he taught music in the public schools for seven years. In
1933 Earl became the director of bands and conductor of the symphony orchestra at the University of North
Carolina in Chapel Hill. He remained at the University until his retirement in 1967. He was also a visiting
professor at the universities of Michigan, Georgia and Kentucky and a clinician and adjudicator at
numerous band and orchestra festivals.
In 1942 Earl was elected to membership in ABA and was our president in 1963. He served on the Board of
Directors in 1959, 1960 and 1963. For twelve years Earl was Province Governor of Phi Mu Alpha Sinfonia
for the Eastern United States. He was a member of Pi Kappa Lambda, Phi Beta Mu, ASCAP, CBDNA
(serving as president of the southern province) and MENC. He was an honorary member of the Florida
Bandmasters Association. Several years ago the North Carolina Band Directors Association honored Earl
for his lifetime contributions to music in the state. He had been a member of Sigma Chi since his induction
at Albion College in 1921. The same institution awarded him an honorary Doctor of Music degree in 1960.
Earl was an accomplished flutist, having studied with John Wummer, solo flutist with the New York
Philharmonic. He performed as guest soloist with theatre, concert and symphony orchestras, and concert
and circus bands. After he retired from the University of North Carolina, Earl joined the Lexington,
Kentucky Symphony Orchestra as principal flutist. When he moved to DeLand, Florida he taught at the
Stetson University School of Music. For nine years he served on the board of advisors and conducted the
symphony orchestra. He was co-organizer and conductor of the DeLand Little Symphony. In spite of his
many commitments, he continued to be an active performer, adjudicator, conductor and arranger. Although
he was primarily a music educator, Earl was probably best known for his concert band transcriptions,
which have been played all over the world. In 1980 Albion College established an award in his honor,
given annually to the student making the most outstanding contribution to the college band.
Earl continued to play his flute until shortly before he died. Like so many of our ABA members, he
exerted a profound influence. A talented, inspired teacher, and loyal supporter of ABA, Earl will long be
remembered as one of the outstanding pioneers in the band field.
1995 ABA Annual Report
Note: The 1988 Annual Report noted the death of Beatrice Slocum, wife of Earl, on October 10, 1987.
―Earl Slocum Remembers the Early ABA‖
In reminiscing about the early days of The American Bandmasters Association, one cannot help but make
use of ―name dropping.‖ Most of the persons I will be talking about I knew quite well.
A word about myself: I started my teaching career in the Detroit Public Schools. I moved to Greensboro,
North Carolina in 1926 where I taught for seven years. In 1933 I was called to the University of North
Carolina where I served as Band Director and conductor of the University Symphony Orchestra. I retired
from the University in 1967.
In the late nineteen thirties Glenn Cliffe Bainum of Northwestern University came to North Carolina to
judge our State Music Contest. I had not met him before, but when I did, he said: ―Earl, for Pete‘s sake,
tell Jim Harper to lay off pushing you for ABA. You will make it some day when you are better known.‖
This was the first time I had ever heard of ABA. Now it happened the very next year that I was invited to
judge the Florida Music Contest. When I arrived in Miami, I learned that there were several other judges,
namely: Glenn Cliffe Bainum, A.R. McAllister, Peter Buys, Arthur Pryor, Jim Pfohl, Ed Chenette, and
Henry Fillmore. (Perhaps others.) I‘m not sure if Fillmore was one of the judges, but he was around all the
time and I got acquainted with him, along with the others.
The following year I was invited to membership in ABA, provided I passed a written examination to be
given by Capt. Charles O‘Neill of Quebec, Canada. The exam consisted of harmony, counterpoint, band
arranging, and music history. It seems that I passed the exam, for I was notified by Bainum that I was now
a member of ABA. I cherish a letter I received from Edwin Franko Goldman, congratulating me and
saying that he ―hoped I would take an active part in ABA and attend its Conventions.‖ I took him
seriously, for in all the years since 1941 I have missed only three conventions.
Now it happens that Col. Wm F. Santelmann was also elected in 1941 with the proviso that he pass Capt.
O‘Neill‘s written examination. Bill‘s reaction was ―to hell with the exam, if being conductor of the United
States Marine Band is not qualifications enough, then forget it.‖ Bainum and O‘Neill went round and
round over this issue. Bainum won, Bill was elected, and O‘Neill resigned the next year, in 1942.
I would like to go back to the contest in Miami for an anecdote which I shall never forget. One night, after
finishing judging, my wife and I went down to the hotel bar before retiring to get a sassafras soda. Upon
entering the bar we found Arthur Pryor sitting alone. He invited us to join him. He immediately ordered
two daiquiris for us. It seems that he had already had several and was in a very talkative mood. He
practically told us his life history. One very amusing story was that when he was playing with Sousa, some
of the boys in the band would look up some local trombone player and bet that their friend (Pryor) was
faster. Then all would go out back of the grandstand or the auditorium for the contest, which he said, ―I
always won!‖ Then his friends would divide the money with him.
Another tale was the he (Pryor) would write some piano music and take it to a publisher. There were
waltzes, shottishes, mazurkas, etc., all were accepted except one number called a ―Gavotte.‖ He said, ―I
liked the little number, which went like this: da da da ta ump ta de dil a de de de.‖ Then he said, ―I‘d go
back home and write some more piano music and take it to a publisher and the same thing would happen—
they‘d take everything except my da da da ta ump ta de dil a de da ded.‖ By this time I had my own band,
so I arranged it for piccolo and band and put a little business of a barking dog by the tuba at the end and
called it ―The Whistler and His Dog.‖ I used it for an encore and we had to repeat it every time we played
it. Then you should have seen the publishers try to get it from me to let them publish it. I finally sold it to
Carl Fischer.
Another thing I learned at the Miami contest was that Peter Buys, Sousa‘s E-flat clarinet player, was
Sousa‘s arranger. He told me that many times when the band was traveling on a train, Sousa would get out
some manuscript paper and sketch the melody for a new march, then pass it to Peter to score it for the band.
He said he gave it an introduction, and wrote a break strain and bridge, created some counter-melodies and
passed it on to the copiers to extract the parts. And in many cases the new march was played at the next
band concert. I had to believe that his story was true, for Peter Buys struck me as being a fine, quiet,
upright man.
In the early days there were some fine story tellers in the association. Karl King was a great one, but many
of his stories were a bit off-color. Frank Simon was the best story teller I ever heard. He was such a
sensitive person that he would have you laughing one moment and shedding tears along with him the next
moment. I never heard Herbert Clarke solo at a time when the Sousa Band was at its height in both size
and quality.
A story about Herbert Clarke is worth telling. I once had Vincent Bach present a clinic at my school. He
cautioned my students to always take the time to place the mouthpiece carefully and not move it while
playing. Then he told about the time he asked Herbert Clarke how he could possibly play with the band and
play a solo at both the afternoon and evening concerts. Clarke told him that it was easy, for he played the
afternoon concert on the left side of his lip and played his solo in the center. Then at night he played the
band parts on his right side and the solo in the center. So you see, both Vincent Bach and Herbert Clarke
had a good sense of humor.
I must say that I was fortunate to have known so many of the great old-timers. One of them was Austin
Harding, who as you know was a great leader in the school music field. One time Austin was conducting
my band and my solo clarinet player was inclined to want to be heard. Harding stopped the band and asked
him if he could play any louder, and the reply was ―Yes, sir.‖ Whereupon Harding said in a quiet voice,
―You can?‖
I have one more tale to tell about an ABA‘er, Harry Alford, who arranged ―The World Is Waiting for the
Sunrise‖ for Harding and his Illinois Bands. He also wrote the ―Purple Carnival March‖ for Bainum and
his Northwestern University Band and much other band music. You heard another of his fine marches last
night. My story is about Harry Alford. I was playing at a hotel in Hot Springs, Arkansas in 1922 and
Harry wintered there with his small collapsible pump organ, which he used to test his music. He came to
me one day and asked if I and our oboe player would play a lobby concert with him. Of course, we said
yes! He arranged the music for flute, oboe and small pump organ and we played an unusual, but interesting
concert for the people of Hot Springs.
I have not said much about Edwin Franko Goldman, for we all know he was our founder, along with Sousa
and others. Goldman conducted my University of North Carolina Band once and I had the pleasure of
conducting his, the Goldman Band, in Grand Central Park, in New York City. In addition to those names I
have mentioned, there are others who contributed much to our organization. To name a few: Henry
Fillmore, Harold Bachman, Ray Dvorak, Joe Maddy, Otto Kraushaar, Earl Irons, Howard Bronson, Merle
Evans and many, many others whose names we must never forget.
I could go on and on about early ABA members. Although we miss all those old timers, we have many to
take their places, as exemplified by the progress now being made in The American Bandmasters
Association.
Respectfully yours, Earl Slocum ‗41
1988 ABA Annual Report
President Slocum‘s Address - 1963
Just twenty-one years ago last month I received two letters which I shall always cherish. One was from our
beloved secretary, Rusty Bainum, saying that Capt. Charles O‘Neill reported that I had successfully passed
all my written examinations for membership in the American Bandmasters Association. The second letter
was from Edwin Franko Goldman congratulating me upon my election to ABA. He said, ―I hope that you
will be interested in the affairs of the organization and will take an active part in them.‖ This I have tried to
do. As a matter of fact, I have missed only three conventions since becoming a member.
As momentous as the year 1942 was to me, it was far surpassed year before last when, as I listened to a
nominating speech, I suddenly realized that the person being talked about was me. It is impossible to tell
about one‘s feelings at a time like this. I couldn‘t believe my ears. A lump came into my throat and…all
of a sudden it was all over…I had been elevated by my peers to the Vice Presidency of the American
Bandmasters Association, an honor undeserved, but one which I was proud to accept. And now after
having served this year as your president, I can only say, as every preceding president of this organization
has said, ―It is the highest honor that can be bestowed upon any band director.‖ With this I agree. Thanks
for allowing me to serve.
This past year has been a rewarding one for ABA, I believe. By awarding the Edwin Frnako Goldman
Memorial Citation to deserving men outside our membership, we have not only honored them, but have
honored the memory of our founder and first president, Edwin Franko Goldman. As most of you know, the
first citation was presented last summer to Capt. Harry F. Guggenheim, distinguished president of the
Daniel and Florence Guggenheim Foundation. The occasion was at a special ABA concert by the Goldman
Band in Central Park on July 20, 1962. This concert, which was arranged by Richard Goldman, featured
many of our ABA members as guest conductors. Past presidents Harold Bachman, James Harper, Col.
George Howard, Herb Johnston, Vice President Paul Yoder, the late Eric Leidzen and Paul Van
Bodegraven were on hand in addition to Richard and myself. Capt. Guggenheim evidently was much
pleased with the felicitous and impressive ceremonies arranged for the occasion. From a letter received
from him dated August 6, 1962 I read in part:
I was most happy to receive the Edwin Franko Goldman Memorial Citation. I have read the
Citation with much pleasure and satisfaction. I shall call the Citation to the attention of the
members of the Board of Directors of the Daniel and Florence Guggenheim Foundation. I am sure
they will share my pleasure.
A second award was made July 28, 1962 to Charles M. Tremaine at the National Music Camp when eight
members of our Association visited the camp as guest conductors of the high school symphonic band. Mr.
Tremaine, who helped establish the National Music Camp in 1928 with Joe Maddy, was honored for his
―effective and generous service to the musical interests of America for well over half a century.‖ He was
founder and director of the National Bureau for the Advancement of Music and inaugurated National Music
Week. With your permission I would like to read a letter received from his last spring:
Dear Mr. Slocum:
Your letter of March 20th telling me of the proposed Citation to be given me by the American
Bandmasters Association as a special ABA concert at Interlochen in July has surprised and
pleased me greatly.
As I shall be 92 in June, my mental and physical faculties are far from being as good as I would
like them to be. However, I do hope to get to Interlochen to receive the Citation in person.
All the famous bandmasters of years ago are close to my heart, as the American Bandmasters
Association will always be. You can, therefore, understand my pleasure at the proposed action by
the leaders of today.
Sincerely,
C.M. Tremaine
No one who witnessed the presentation will ever forget the genuine pleasure Mr. Tremaine displayed
during the reading of the Citation and the actual presentation. He literally hugged the Citation and then
proceeded to the microphone and made a very heart-warming speech of acceptance. I shall always be
grateful that I was present for this momentous occasion. In addition to Joe Maddy and George Wilson of
the National Music Camp, and to whom we are greatly indebted for arranging last summer‘s concert, the
following ABA‘ers were on hand as guest conductors: Glenn Bainum, Col. Schoepper, Leonard Falcone,
Milburn Carey, Herb Hazelman, Jim Dunlop, Wesley Shepard, and myself.
A third Edwin Franko Goldman Memorial Citation will be presented to Herman D. Kenin, president of the
American Federation of Musicians. President Kenin will be our guest during the convention and will
receive the Citation at the Army Band Concert on Saturday night.
Although the American Bandmasters Association took a long time considering an appropriate way to honor
the memory of our founder, the time was well spent. The recommendation of the committee headed by
Harold Bachman and the acceptance by the membership of ABA to award the Edwin Franko Goldman
Memorial Citation has, in my opinion, proved to be of really significant importance to our organization. If,
in the future, we continue to select only worthy candidates, as was the case this year, the Citation will not
only enhance the honor of the recipient, it will add luster to the Goldman memory and increase the prestige
of the American Bandmasters Association.
I wish to express my thanks to various ABA members for the fine cooperation given throughout the year:
HAROLD BACHMAN – Chairman E.F.G. Memorial Citation Committee (Karl King, Jim Harper,
Sam Loboda, H.E. Nutt); Harold singled out for special praise—collecting bids, folder, compiling
biographical information, working text, numerous other details.
GLENN BAINUM – The President‘s friend. Always most helpful and very gracious when doing
so—prompt replies to correspondence, etc., etc.
PAUL YODER – two committees
3. Membership – compiling information on candidates
4. Chairman of North American Band Directors Coordinating Committee, along with
Hubert Henderson and Herb Fred, representing ABA.
BOARD OF DIRECTORS – Chairman Otto Kraushaar, Leonard Falcone, Clifford Hunt, John
Paynter, and Arthur Williams.
HERBERT HAZELMAN – Convention Host. Planning Committee – Jim Harper, Paul Yoder,
Paul Bryan, Herb Fred, Herb Hazelman and your President [Slocum].
WILLIAM F. SANTELMANN – Chairman Sousa Memorial Committee.
JOHN YESULAITIS – Chairman Ostwald Award
JIM HARPER – New York Publicity, Transportation (or anything)
LYNN SAMS – Compiling ABA Newsletter. Sams is own secretary – difficult to write each for
Newsletter. Needs help, more cooperation.
Earl Slocum, President
1963 ABA Annual Report
CLAUDE T. SMITH (1932 – 1987)
Claude Smith died following a heart attack on December 13, 1987 at the age of 55. Although he was born
in Monroe City, Missouri he grew up in Carrollton, Missouri. Claude attended Central Methodist
University for two years and then served a three-year hitch as an Army bandsman, before completing his
bachelor‘s degree at the University of Kansas. For eighteen years he was a band director at public schools
in Cozak, Nebraska, Kansas City and Chillicothe, Missouri. Claude‘s last teaching position was at
Southwest Missouri State University where he taught theory and composition and was conductor of the
symphony orchestra.
Claude served as Educational Consultant for the Wingert-Jones Music Co., which launched him on his
composing career when they published his first composition. Subsequently, Claude was staff composer of
Jenson Publications, making numerous appearances as guest conductor, adjudicator and clinician. Claude
became a prolific composer with a large number of published and commissioned works. Among his
numerous commissions were works for each of the Washington, D.C. service bands. His music entitled
―Flight‖ was written for the Smithsonian Institute to serve as a background for the film shown daily at the
Aerospace Museum. It has been seen by millions of visitors.
For over twenty-five years Claude was a choir director for a number of churches, frequently composing
special music for their services. On the day he died, Claude conducted his original music for soloist,
chorus and orchestra in his final service at the Blue Ridge Presbyterian Church in Kansas City, praising in
song the Lord he served so faithfully.
Claude considered his election to membership in ABA in 1981 his greatest honor and achievement.
Scholarships honoring him have been established by Jenson Publications at four schools: the University of
Kansas, Southwest Missouri University, Central Missouri State University and the Central Methodist
University, which will confer on Claude a posthumous Doctorate in May.
Claude was greatly admired and loved by his family, students, peers and friends. His gentle manner,
kindness and concern for others were always very apparent. Claude never looked back. He said he had too
much to do in the future to be concerned about the past. For Claude, the past was just…a prologue.
1988 ABA Annual Report
ROGER H. SMITH ( - 1975)
Hugh McMillen, President of the American Bandmasters Association, read the names of those members
who had passed on since the last meeting. This list included Roger H. Smith, who passed away on
February 25, 1975. He had been a member of ABA since 1965.
1975 ABA Annual Report
SANDY S. SMITH
Sandy S. Smith was elected to membership in the ABA in 1949. He was the conductor of The Cutler-
Hammer Band, which was sponsored by The Cutler-Hammer Company of Milwaukee, Wisconsin.
1987 ABA Annual Report
W. BRAMWELL SMITH (1929 – 1993)
W. Bramwell Smith was born in Toronto, Ontario in 1929 and died of cancer in Bramalea, Ontario on
August 4, 1993 at the age of 64. He spent his adolescence in Toronto and it was there that he began to play
the cornet. Bram came by his talent naturally since both his grandfather and father were excellent
cornetists.
He earned his bachelor‘s degree from the Royal Conservatory of Music, having studied with Sir Ernest
MacMillan. Bram became one of North America‘s premier cornetists, performing with the Benny Louis
Orchestra and the Royal Regiment Band.
Bram‘s desire was to be a member of the U.S. Marine Band, which he considered to be the best in the
world. His wish became a reality when in 1949 he was accepted as a member of that organization,
becoming the first musician who was not an American citizen. For eight years, from 1949 through 1957,
he performed as soloist at concerts, ceremonies and on tour. During White House receptions he displayed
his artistry before such international notables as Nikita Khrushchev, Charles de Gaulle and Queen Elizabeth
II.
Returning to Canada, Bram worked for the Canadian Broadcasting Corporation, appearing with the Howard
Cable Orchestra on radio and television.
Once again he came to the United States, this time to become a member of the U.S. Army Band. Besides
being a soloist, he was an advisor on period music and helped form the U.S. Army Herald Trumpets, the
premier ceremonial music unit in the nation‘s capital. Bram also composed and arranged the president‘s
ceremonial fanfare.
He returned to Canada again as Director of the Royal Canadian Mounted Police Band for eight years, from
1967 to 1975, followed by a period of time when he was the Canadian representative for Yamaha Music.
He became music coordinator for Humber College in 1978. Four years later he traveled to Morocco,
having been hired by King Hassan II to tutor the Moroccan Royal Air Force Band. He spent three years on
this special assignment.
Upon his return to his homeland, he assumed the directorship of the University of Toronto Concert Band.
Bram‘s colorful career ended as conductor of the York University Brass Band. His departure from our
ranks will be felt for many years to come.
1994 ABA Annual Report
KENNETH O. SNAPP (1916 – 1991)
Dr. Kenneth O. Snapp died in Phoenix, Arizona on March 24, 1991. A native of Montone, Indiana, he
grew up in Bristol, Indiana, where early in life he came under the influence of the music activities of nearby
Elkhart. Kenneth was a member of a very musical family. His mother played the piano and all the children
in the family had played in the Bristol High School Band.
Kenneth was a scholarship student at the University of Miami where, in 1939 he received a Bachelor of
Music degree. Subsequently he earned the master‘s degree from the University of Michigan and the PhD
from Indiana University.
For seven years Kenneth was a music director in public schools in Florida and Missouri. He served at
various times as band director at Indiana University, the National Music Camp at Interlochen, Baldwin-
Wallace College and Ithaca College. In 1974 and 1975 he was a visiting professor at the University of
Southern California and the University of California in Los Angeles.
Kenneth was active in promoting original band music, commissioning major works by our Honorary ABA
Member Vincent Persichetti, Norman Dello Joio, and Karel Husa, whose ―Music for Prague 1968‖ was
premiered by the Ithaca Band at the National MENC Convention held here in Washington, DC in 1969.
During World War II Kenneth served in the Army Air Corps as an officer with the Special Services
entertainment branch. He was a member of the United States Air Force Reserve with the rank of major.
Kenneth was a member of Pi Kappa Lambda, the Music Educators National Conference, and as the College
Band Directors National Association, serving as president of the Western Division in 1974. He was elected
to membership in ABA in 1967.
Kenneth was appointed Director of Bands at Arizona State University in 1970. Three years later he was
honored as one of the ten outstanding music educators in the country. In 1974 Kenneth assumed the
position of Director of Bands at Western State College in Gunnison, Colorado, from which he retired as
Director Emeritus. Although he retired to the Phoenix area, Kenneth remained active as guest conductor
and clinician until his unexpected death at the age of 74.
1992 ABA Annual Report
JOHN PHILIP SOUSA (1854 - 1932)
―Reminiscences from Col. William Santelmann‖ - 1984
You know, you people are very kind. This time, I knew that I was going to be called on—yesterday, I
didn‘t know and it was a surprise. I felt very much like the corpse that rose from his grave and read for the
first time the epitaph the family had put on his stone. It was very complimentary, loving and wonderful. It
was so wonderful that he couldn‘t believe it. So he read it again—what a great man, etc. etc. Finally, he
turned to the spirit on the side of the grave and said, ―Surely these people didn‘t know me or I‘ve been in
the wrong hole all this time.‖
Now, before I get into what I would like to tell you about, I want to make a tribute to the other Bill—Dr.
Bill Revelli—for his wonderful performance last night of ―LeRoi d‘Ys‖. I know the composition quite well
and have used it on the road, but Bill, you did a magnificent job—you got everything there was to get out
of it and ―My heart at thy sweet voice‖.
I, too, met John Philip Sousa on several occasions and talked with him, although he did not remember my
name—but my father was in the Marine Band under Sousa, 1888 or 1887. I played under his direction
many, many times. We did premier performances for many celebrations and I don‘t know how many times
we played ―Stars and Stripes‖ under his direction. So, with that, you and I have very much the same
experience.
I also was privileged to be one of the honorary pallbearers for Karl King and Frank Simon. Thinking this
over put my mind in a very funereal line and I began to think, ―I wonder how many people in this
aggregation know anything about the funeral—the internment—of John Philip Sousa.‖ We know his birth
date, we know his death date, but we don‘t know what happened. I have all of that information and think
that should be interesting. I doubt if there are more than a hundred people in the United States who would
know, for instance, how George Washington was buried in the crypt at Mt. Vernon—or how Harry Truman
was buried. These are things that we know about the man—when he was born and what he does during his
life—but from the moment he closes his eyes in heavenly repose, we stop. We don‘t pay attention.
Sousa, as you may know, started his career as a boy of 13 in the Marine Corps as a music boy. In the
contract with his parents with the Marine Corps, they allowed the Corps to deduct from his salary to pay for
teaching him the art and mysteries of music. He took over the Marine Band in 1880 and remained Leader
until 1892.
Of course, that was many years ago and a man, as he reaches our age, forgets a lot of things. I had been in
the Marine Band nine years before Mr. Sousa died, and I took part in every single thing that took place
there. It gave me quite a thrill to know that, although he was dead, yet he was a neighbor of mine because
he is buried in a cemetery in Southeast Washington.
To be sure that I did not misstate myself, I must start by saying that in 1921 my father was still director of
the Marine Band, and at that time Congress appointed a second leader. Now I use the term ―Leader‖ and
―Second Leader‖ because that is the way those positions were enunciated when Congress determined our
positions. My father then appointed a man by the name of Taylor Branson to be Second Leader. Later on,
Branson succeeded my father as Director of the Marine Band and became a member of The American
Bandmasters Association.
Taylor Branson (who had been my father‘s pupil, by the way) and my father and I got together and decided
that it really was a great shame for information about the Marine Band to end here. Wouldn‘t history like
to know what the Marine Band did for the King when he came to visit Washington? When Lincoln said,
―No, I don‘t want the music and the concerts to stop…Washington needs music…Let the Marine Band
play,‖ they continued to play on the South grounds of the White House until Robert Lincoln died.
Maybe we should have recorded these things in the past; perhaps we should record them from now on and
register all the funerals, the inaugurals and visits of kings and queens. The King and Queen of England, the
father and mother of the present Queen, were welcomed into Washington by the Marine Band. I was
conducting it and we marched all the way up to the White House. We took FDR‘s remains from the train
all the way to the White House, where the Navy Band took over and played ―The Marine‘s Hymn.‖ There
are so many things in my mind that should have been placed in writing so we would understand and know
what the Marine Band has done.
The Marine Band, God bless them, are always so good to me. They xeroxed the leaves from Branson‘s
diary and there is a lot of fine information there. One could go in and read that diary and write a book.
Branson said in his diary that on March 6, John Philip Sousa‘s body arrived at the station (which is no
longer in existence) on Wisconsin Avenue. The body was taken from there to the funeral parlor. On
March 7, a memorial concert was broadcast on radio for Sousa, who had died on March 6 in Reddy,
Pennsylvania. Clark played ―Ave Maria‖ and many musical numbers followed. The diary also speaks of
the weather…the day before the funeral there was a huge snowstorm.
On March 10 the funeral was held in the Band Auditorium. The body laid in state from Wednesday
morning, placed on the podium of the Marine Band state—John Philip Sousa had returned to his rightful
place where he started in 1880. The people filed by and paid their last respects. ―Abide With Me‖ and
―Jesus, Lover of My Soul,‖ written by the leader of the band, were played behind a floral background. The
Marine Band, in preparation to going to the parade ground, played ―The Son of God Goes Forth to War‖
and ―Nearer, My God, to Thee,‖ as the body was brought from the Band Auditorium.
After the services, the Band went out on the parade ground—we had a company of Marines and a company
of Sailors behind us. On the way to the cemetery, the band played ―Semper Fidelis‖ in dirge time. It was
the strangest thing I ever heard—―Semper Fidelis,‖ always faithful. Several more funeral music numbers
were played at the grave. ―Jesus, Lover of My Soul‖ and ―Abide With Me‖ were sung by a quartet. There
was no eulogy, only a brief benediction. The service was very short. According to the diary, all these
things were announced on radio by Arthur Godfrey.
We were cold as the devil—I know I had on an overcoat but I shivered while the service was going on.
Notable musicians, honorary pallbearers, were: Eugene Buck, President of ASCAP; Stephen Rathburg;
Arthur Pryor; George M. Cohan; Edwin Franko Goldman and others who were outstanding in the music
world.
There was an overflow crowd at the funeral. Throngs of people lined the streets. We marched to the gates
of the cemetery and were told to diminish front and go through.
Margaret and I went over to see the grave last week and the plantings around the grave are still there,
unmarred. The stone is beautiful white marble. Sousa‘s son and daughter Priscilla Jane are buried there.
In 1951 we had a convention in Washington and the entire ABA membership went to the grave in
Congressional Cemetery and had a tribute to John Philip Sousa. The Marine Corps has taken over the
responsibility of trimming and cleaning the gravesite. The grave of Herbert Lincoln Clarke is right across
the road from Sousa‘s.
This picture shows the Sousa grave. There are three gentlemen standing there. One of them, in uniform,
was the Commanding Officer of the Marine Barracks, John Potts. I often kidded him about his name,
saying that there were three cities named for him: Pottsville, Pottstown, and Chambersburg. He had a
wonderful sense of humor. The second man is Frank Simon and I am the third. Tape was played as we
boarded the bus and departed. This shows a fine picture of the grave itself, and I am going to turn this
photo over to our marvelous Secretary-Treasurer here and let him take charge of it.
If you will give me just two seconds, I want to answer a question I had fired at me. I toured the states many
times, coast to coast, and so many people come to me and said, ―John Philip Sousa was in the Marine
Corps, was he not?‖ ―Yes, sir.‖ ―He was also at the Naval Base in Illinois. So then why wasn‘t he buried
in Arlington?‖ Well, the truth of the matter is, you must remember that Sousa lived in the 19th century and
the regulations at Arlington Cemetery at that time (my own mother and father are buried there) were that a
man (officer) and his wife could be buried in separate graves. Space has become very scarce, so now a
man‘s wife has to be buried in the same grave (above or below). So in John Philip Sousa‘s time, in the
Congressional Cemetery (which is misnamed because a lot of well-known congressmen are buried there
but they all have the same headstones) Sousa could buy a plot, not for himself alone, but for his entire
family. I am sure that is the reason he chose that cemetery, which was only a stone‘s throw from where he
was born.
Sousa was baptized in the same church I was baptized in. It didn‘t do me any more good than it did him.
Nevertheless, as we looked at that grave the other day I thought, here lies not only the leader of all music of
the Marine Band, but the leader of all music in the United States. But he only lies there. His spirit soars
above us all. We will remember him, we will play his music and we will love him forever.
1984 ABA Annual Report
―What Inspired Mr. Sousa to Compose ‗The Stars and Stripes Forever‘?‖
Mr. Sousa experienced one of the most vivid incidents of his career in December 1896. It occurred while
he was returning from a European vacation. As the ship sailed out of the harbor he was pacing the deck,
absorbed in thoughts of the many decisions he had to make when he returned to the United States.
Suddenly he began to sense the rhythmic beat of a band playing within his brain. Throughout the voyage,
that imaginary band continued to unfold the same theme—echoing and re-echoing the most distinct
melody.
He did not transfer a note of that music to paper until he reached shore. On Christmas Day he set down the
measures that his ―brain band‖ had been playing for him—and not a note of it has been changed.
1988 ABA Annual Report
GALE L. SPERRY (1923 - 1973)
Jack Mahan, President of the American Bandmasters Association, read the names of those members who
had passed on since the last meeting. This list included Gale L. Sperry, who passed away in 1973. He had
been a member of ABA since 1960.
1974 ABA Annual Report
RANDALL SPICER (1914 – 2002)
L. Randall Spicer was born on July 27, 1914 in La Junta, Colorado and died in Pullman, Washington on
March 4, 2002. He took up playing the clarinet while in junior high school and performed in both the
junior and senior high bands. He enjoyed playing dance music, and at the age of sixteen was a member of
several dance bands. Randall also played the piano. For several years before the ―talkies‖ began he played
background music for the silent movies. Jokingly, he said he‘d never be featured in the concert hall.
Randall attended the University of Colorado in Boulder where he earned his bachelor‘s degree in 1941 and
his master‘s degree in 1942. He started his career as supervisor of public school music in Las Animas,
Colorado in 1936. From 1937 until 1942 he was director of bands in Longmont, Colorado High School.
During the following eleven years he was associate director of bands at the University of Colorado and
supervisor of public school band music in Boulder. His high school bands had set a standard that band
directors tried to emulate. Randall was also known as an outstanding clarinet performer.
In 1952 the University of Colorado Band, directed by ABA member Hugh McMillen, gave the second
performance ever of the Hindemith Symphony for Band. The first chair clarinetist was too ill to play the
solo part, so Hugh simply called Randall to come in for the dress rehearsal and concert because he was the
best clarinetist around.
In 1953 Randall became director of bands and a member of the music faculty at Washington State
University in Pullman—a position he held until his retirement in 1977. Under his direction, the bands were
recognized worldwide. He also ran the high school summer camp at the university. Many attendees went
on to careers in music and the arts. He was very proud of the hundreds of successful students he mentored,
but was especially proud of the nine former students who have been elected to ABA membership.
Randall was a founding board member of the Western International Band Clinic, serving the clinic from
1980 to 2002. He was on the Board of Directors of the American Band College from 1989 until 2001, and
was associated with the Bandworld magazine. He was a frequent contributor to the School Musician
magazine, the Instrumentalist, the World of Music and numerous other publications. For many years he
prepared a newsletter that was sent to members of the National Band Association. He also served on the
Leblanc advisory board.
For many years after his retirement, Randall and Lucille took high school age musicians on tours of
Europe. Randall‘s commitment to music and education was recognized throughout the music world. He
was elected to the Music Educators Hall of Fame in both Colorado and Washington. He was Past President
of the Northwest College Band Directors Association. Besides being a conductor and clinician in twenty-
eight states and three Canadian provinces, Randall was frequently invited to be guest conductor throughout
the United States, Canada, Europe and Japan. Elected to ABA membership in 1953, he served on the
Board of Directors in 1975 and 1976.
In 1986 the Alan Rogers Residence Hall System was dedicated on the Washington State University
campus. Each hall in this ten-story residence became a house. One of these is the Spicer Music House. It
offers a unique environment for music majors, as well as music enthusiasts. Annually, the University
College of Liberal Arts awards the Randall and Lucille Spicer New Talent Scholarship to music majors.
Randall was a glowing example of what it meant to be a good husband, father and friend. He was an
inspiration to those who knew him. This truly gifted man was one of America‘s most respected band
directors, who, for more than seventy years, unselfishly contributed his talents to the profession he loved.
2003 ABA Annual Report
WILLIAM EDWARD STANBURY (1897 – 1996)
William Edward Stanbury was born in Brantford, Ontario on December 11, 1897 and died of pneumonia in
Kansas City, Missouri on August 1, 1996. His family moved to the United States when he was four years
old. His father was a tailor and his occupation took him to temporary residences in Ohio and Kentucky.
When William was ten years old his family settled permanently in Quincy, Illinois where he attended the
public schools. In 1917 he joined the Navy and was stationed on the battleship USS Kansas. Although he
was not a musician, the Navy gave him the rating of Musician First Class. William is one of the small
number of ABA members who served in World War I.
After his discharge from the Navy in 1919, William went to New York City to become an apprentice,
studying tailoring and design. In 1921 he was hired by the DeMoulin Bros. Uniform Company. Four years
later he moved to Kansas City and joined the Craddock Uniform Company. In 1941 he moved to Chicago
and was employed by the Price Brothers Clothing Store. Two years later he returned to Kansas City to
establish his own uniform business. In 1958, in order to cut operating expenses, the factory operation was
moved to Brookfield, Missouri, although the business offices remained in Kansas City.
The Stanbury Uniform Company was one of four uniform manufacturers who were sponsors of the Mid-
West Clinic during the first years of the clinic‘s existence. For several years this sponsorship benefited
both the manufacturers and clinicians.
William regularly attended our annual meetings and was proud of his association with ABA. He was
elected to Associate ABA Membership in 1969.
William sold his uniform company to Medalist Industries in 1976 and served as an advisor to the new
company for several years. Medalist Industries retained the Stanbury Uniform Company name because of
the excellent reputation it had attained over the years—so his heritage lives on.
1997 ABA Annual Report
MACK STARK (ca 1886 – 1960)
Mack Stark, 73, general manager of Mills Music, Inc. for more than 25 years and one of the prominent
leaders in the educational field, died at his home in Miami Beach, Florida on August 20. Mack had been in
the music business for more than 50 years.
Starting as a drummer at the RKO and the B.F. Keith Vaudeville Theaters, he continued in theater and
vaudeville until about 1914, when he joined the publishing firm of Waterson, Berlin and Snyder, where he
became general manager. He later became a partner in the firm of Stark and Cowan, Inc. and then later
joined Stept and Greene, and Paramount Pictures Music Corp. Mack was prominent among the publishers
who supported and founded the American Society of Composers, Authors and Publishers over 40 years
ago. He was also a member of the Music Publishers Association, representing leading educational and
standard publishers. As one of the key figures in educational music, he helped develop many composers,
including Leroy Anderson and Morton Gould, both of whom have made outstanding musical contributions.
Surviving are his wife Stella, a son Lewis, a daughter Mrs. Thelma Rome, two grandchildren, four great-
grandchildren and two sisters.
1960 ABA Newsletter
CARLETON LEE STEWART, Sr. (1907 – 1985)
Carleton Lee Stewart, Sr. died on November 21, 1985 at the age of seventy-eight. Carleton was born into
music at Clarion, Iowa where his father was director of the high school and municipal bands. He received
his musical education at the University of Iowa and the Ithaca Conservatory of Music. Carleton was
elected to membership in the American Bandmasters Association in 1936 and served on the Board of
Directors in 1948, 1958 and 1961. He was elected president in 1960.
After serving as high school band director in Elizabeth, New Jersey for one year, Carleton came to the
Mason City school system. During his nineteen years as conductor-teacher in their schools, he established
the great Mason City Band tradition, which has continued for more than a half century. Nine of his bands
and five of his orchestras received the highest ratings in national contests.
In 1950 Carleton left the school band field to start his own music company. However, he continued to
serve as conductor of the Mason City Municipal Band for thirteen years and served as clinician, lecturer
and guest conductor. Universal respect for Carleton led to his election as President of the Old National
Band Association and President of the Iowa Bandmasters Association. Some of the other honors he
received during his long and distinguished career were the American School Band Directors Association
Edwin Franko Goldman Award and his induction into the National Band Association Hall of Fame of
Distinguished Conductors.
Carleton was always gracious, humble, kind and generous in his praise of others. In a tape recording made
in 1983 and now on file with his memoirs at the National Hall of Fame, Carleton said:
I‘d like to have whatever is written about my honors mention all of the bands, all
of the directors who worked with me, and what the school administration and community of
Mason City have done to make all of this possible.
1986 ABA Annual Report
President Stewart‘s Message - 1961
The time has come now for the 23rd President of the American Bandmasters Association to deliver his
annual message. It is the one opportunity he has to speak directly to his colleagues and it is an occasion
that is filled with the most moving and deeply felt personal feelings. It is also an occasion on which the
president should look backward and, at the same time, look forward while trying to express himself on the
wonderfully complex subject of the concert band and its leaders.
At the outset I must say some things which I am sure have been said by every ABA President before me.
However, it is only when you finally stand in this position that you can fully realize the need for their
speaking as they did. To have been elected President of ABA is the highest honor that can come to anyone
in our field. I would not have believed that such an honor could come to me and, when it did, I was
overwhelmed with a sense of humility and a feeling of gratitude. At this point I want to thank you from the
bottom of my heart for the opportunity to represent the greatest honorary organization of its kind in this
world.
During the past year it has been my happy privilege to represent ABA in person and in print on a number of
occasions. I hope that I have served you well. On each occasion I was gratified to recognize the universal
respect and admiration in which ABA is held. This was most noticeable and very satisfying and it is,
perhaps, one of our greatest assets.
During the past year there has been some activity toward the formation of one or more additional national
band organizations. I do not feel that there need be any negative concern about this on the part of ABA.
The principles upon which ABA was founded are clear and distinct. The formation of new organizations,
based upon other principles, can only serve to emphasize and enhance the honorary character of ABA. We
welcome new organizations and we wish them well. We offer to them the cooperation of the one
organization which includes the most outstanding personalities in all of the various fields of band activity.
So far as the future is concerned, I think we would do well to continue on our present course. The concert
band is slowly but surely achieving its place as a serious medium of musical expression and I feel sure that
ABA will continue to lead the way to its ultimate position.
Very shortly I will become a past president. I want to assure you that the honor of being your president
will never be forgotten by me. I will continue to devote myself to our causes and principles. I do not
intend to retire into inactivity, but rather work harder than ever for those noble causes to which we are all
devoted. I have looked forward to the fellowship of this convention and I shall cherish every moment of
our time together. I hope that when the convention is over we can look back upon it with happy memories
and a great sense of achievement.
1961 ABA Annual Report
RICHARD STRANGE
President‘s Address - 1986
May I say here and now that it gives me great pleasure to welcome the ladies to our midst. We have here
with us two new members of the opposite sex. I‘m certain they will be joined by more in the future. It was
inevitable, gentlemen.
I must compliment Jack Mahan for the absolutely astounding amount of work that he does for the ABA.
From the vantage point of the Office of President, it is evident to me that his dedication and ―just plain hard
work‖ are the main reasons for the smooth functioning of our organization. He and Florence spend more
hours on ABA business than could reasonably be expected of ten people. We owe them a huge ―Thank
You.‖
For almost the entire year I have been mulling over ideas for this speech. As all Past Presidents can attest,
new and different phrases are not easy to find, especially at speech-making time. So, after trying to
discover a significant new topic (and failing), I decided to address several issues that have occasioned much
soul-searching among our membership.
In the course of many years, any organization takes into its membership people who do not understand and,
sometimes, do not agree with the objectives of the organization. They don‘t comprehend that
organization‘s purpose and they are mystified by what happens in its meetings. The ABA is no exception.
In the past, we have taken into our ranks quite a few distinguished gentlemen who accepted membership
when invited, but no longer attend on any regular basis. I have spent a lot of time talking with several of
them, and have ascertained that, almost without exception, they are looking for something that is not
present in the ABA, and probably never will be. Invariably, their concerns come down to the following
points. Let me enumerate and discuss them one by one.
Concern Number 1:
Why do we waste (these are their words) so much time on business meetings that are concerned
mainly with electing new members and listening to committee reports?
My answer: We have a self-perpetuating organization that seeks to honor excellence in the band world, if
for no other reason than that our founders thought it needed to be done. Many of you may not be aware of
the fact that only 469 persons have been so honored since 1929 and 230 of them are on the roll at the
present time. I must admit that I was rather flabbergasted by this figure. We tend to think of any
organization with a fairly long history as being larger than it really is. What this means is that some of
those members who were taken in during the first several years are still with us, and much of the population
of this organization has been with us for some time. Considering the number of eligible candidates for the
honor of election to the ABA throughout the course of its history, this is as it should be, under the terms of
our constitution, because the identification of high achievement takes time. It is not something that
happens overnight.
We have many strengths, but our biggest one is our membership and its dedication to the great band
traditions that have accumulated since the time of John Philip Sousa. Yes, to some members, we seem to
spend an inordinate amount of time discussing candidates and bickering over election procedures. This
statement may be true, to a certain extent, but misses the point of why we do these things. The point is not
that we spend ―too much‖ time electing members; the important thing is that we spend time electing worthy
members after extensive screening.
Also, the point is not that we must listen to reports from committees; the important thing is that we have
committees functioning in a productive manner.
Concern Number 2:
Why are there so many fine musicians and conductors on the outside of the organization if we
truly elect to membership the best in our field?
My Answer: It has been said that we accept well-known directors too slowly, at times. In response to this,
I would rather use the word ―deliberate‖ than ―slow‖. It is appropriate that the honor of membership in the
ABA be conferred after all candidates have received lengthy, positive, friendly scrutiny. As many of you
who have been in these deliberations know, quite often the reason for a deferral has more to do with the
lack of material presented on behalf of a candidate than the merit of the candidate. We are working
constantly on procedures that make it easier to submit a comprehensive file on those people who are
candidates. When I was Vice-President, I revised all of the forms and clarified a few phrases so that some
of the questions could be answered more clearly. This process will go on again and again as each new
Vice-President takes office.
Concern Number 3:
Why do we give concerts that feature so much antiquated band music and transcriptions of
orchestra music? We seem only to be interested in listening to ―old war horses‖ and attending
long, sumptuous banquets.
My Answer: I plead guilty to the charge of attending (and enjoying) long, sumptuous banquets, so let‘s
skip that one. However, concerning our concerts, the point is not that we play ―old war horses‖. The
important thing is that we have well-played concerts with enjoyable music and conducting.
Please pardon me for stating the obvious. The ABA is not, and to my mind should not be, the College
Band Directors National Association. It is unique unto itself and must maintain its own traditions or lose
its place in the band world. When I attend CBDNA (and I will be doing a lot of that in the next few years),
I expect and want to hear concerts that are full of original and often ―avant garde‖ music. This is one of the
main reasons that I go to the CBDNA. There, I get to hear music that I can hear no place else. I believe
that there is ―a time and a place for everything,‖ and CBDNA is the time and the place for me to hear
esoteric new music in large amounts.
To bring that same programming into the ABA would risk alienating a great number of our own members
and also alienating the audiences who come to our concerts expecting a large dose of traditional music.
Having played host to two conventions already, I can say that I have no difficulty attracting a reasonably
large audience to an ABA concert. People read our publicity in the paper; they read the names of famous
band leaders who will function as guest conductors, and they come to the concerts in droves with the
expectation of hearing a large amount of traditional band music. These audiences will listen to music that
is different and challengingly ―avant garde‖ but they enjoy it in limited amounts.
Since I have been a member of the ABA, I have been aware of an almost constant upgrading of the content
of our concerts. I think if you will look over our programs from the past several years, you will see that
there is a mix of old and new, small forces and large forces, plus the added interest of soloists. Our format
needs no basic change.
Concern Number 4:
Why do some members seem to speak so disparagingly about wind ensembles and wind ensemble
conductors?
My Answer: I have been aware in recent years of a growing dichotomy between devotees of the wind
ensemble concept and those of us who were weaned on the sound of the old University of Colorado,
Michigan and Illinois Bands. This split is distressing. Why is one good and the other bad? It seems
obvious that the music chosen, plus the balance and sound of the group, are the only important factors in
the choice of an expressive medium. My own ear tells me that I like the built-in balance of the large group
for most music, but, I would be silly to accompany the Stravinsky Piano Concerto with 75 wind players
doubling and tripling all parts.
On the other hand, my ear has difficulty accepting the sound of the Hindemith Symphony in Bb when
played on a 1-on-a-part group. It seems to me that the woodwind sound, indeed, the woodwind presence
disappears when the brass and percussion sections exceed the forte level, as they must in such a massive
score.
In the final analysis, however, we all stand or fall musically on the performance of our groups. If
musicians of equal stature prefer different means of arriving at the same musical goal, so be it. The sound
of the group is the final test. A wonderful wind ensemble equals a top-flight band of symphonic
proportions in the ears of a discerning audience when the music is appropriate to the group and is played
with taste and style. Why can our programs not have elements of both groups, rather than being confined
to the structures of only one idea.
Some of us prefer to create a wind ensemble from the first chairs of our large bands when the music calls
for it. Others prefer to have a wind ensemble as a separate group, playing music appropriate to that group.
There is no right or wrong, there are only good performances and unacceptable performances. We should
use the sound, not the size of the group, as our criterion for excellence. The ―straw man‖ of Wind
Ensemble vs. Symphonic Band should be banished from our thoughts once and for all. MEMBERS ON
BOTH SIDES OF THAT FENCE SHOULD ―LIVE AND LET LIVE.‖
Concern Number 5:
What is there in this convention that will be of value to me (and my students, if I am a teacher)?
My Answer: When I attend meetings of other band organizations, I go to gather new materials for use at
my own school. When I come to the ABA, I come basically to renew my faith in the band movement, as
exemplified by our membership (many of whom were my teachers). There is no greater professional
privilege, in my book, than the privilege of spending 4 days and evenings with Hugh McMillen, Bill
Revelli, Mark Hindsley, Cliff Hunt, and all the myriad other members who had so much influence on me. I
look forward to listening to them talk about our band heritage. They are the ones who made it possible for
those of us who came later to carry on a tradition that they initiated.
Each time I say ―hello‖ to Hugh McMillen I remember, all over again, his gentleness and poise, which
never failed to elicit from us the best playing of which we were capable. Yes, I see them for a few minutes
at the Mid-West; yes, I see some of them at CBDNA meetings, but no, I don‘t spend time with them in the
same way that I can here in the small family of our membership.
Sometimes it is both easy and, hopefully, wise to speak in clichés. It has been my experience, generally,
that clichés exist because they seem to truly representative of what happens in the real world. After much
thought on the subject I have concluded that one of the oldest of the clichés is applicable directly to our
organization. ―If it ain‘t broke, don‘t fix it.‖
I say that because the ABA has been a successful organization since its inception and has evolved slowly
but surely. What we have today, basically, is a FRATERNITY OF KINDRED SPIRITS—people who all
share a love of music and a high regard for each other. We come together formally once each year to
renew our friendships and ―recharge our batteries‖, so to speak, by coming into intellectual and emotional
contact with each other. This is done in conjunction with many different activities, but still, in my mind, a
basic purpose for coming together is simply to see each other, enjoy each other, and talk to each other.
Those members who maintain their dues payments and yet shun our meetings forget one thing. We all
grow older, day by day, and, therefore, need each other‘s companionship more each year. When is the last
time that many of our retired members attended an MENC or CBDNA meeting? Probably not for several
years. When are retired members given a chance to conduct a band at one of these other meetings? For
most, the answer is ―never.‖ The organization that welcomes, retains and honors the retired members in
our field is the ABA. It is a place where our younger members can meet and greet their elders each year. It
is no sin to pass up an ABA convention, if other plans intervene, but all sincere members should make an
effort to attend whenever possible.
I am happy that the rule which allowed and almost dictated punishment for non-attendance has been
abolished. With this rule change, the ABA has shown that it wants to keep on the membership roll those
who do not attend regularly until they desire the fellowship that is here for the asking. At that time, it will
be a pleasure to welcome them back to our meetings.
Our greatest problem, as with most organizations, is finding the money to implement the many programs
that we wish to run. The second most significant step in the history of our organization has just been taken,
that of setting up a TAX-FREE PERPETUAL FOUNDATION. Obviously, the most significant event was
the founding of our group; however, in years to come, the ABA Foundation will assume greater and greater
importance as the lifeblood of the ABA. An absolute minimum ―nest-egg‖ that is necessary within the next
year or two is $50,000. That will give us a good start toward funding the Ostwald Award.
Also, the Research Library has a great need for funds to help in soliciting and preserving invaluable
research material. This, most certainly, should be high on our list of priorities once interest money in
significant amounts is generated from Foundation funds.
Remember, the money you give to the ABA Foundation stays with the ABA Foundation in perpetuity. The
organization can use only the interest generated. Therefore, one gift from you becomes a perpetual gift to
the ABA, to bands in general, and to all of the worthwhile projects that we sponsor. To date, a small
number of members have contributed a rather significant sum of money to the Foundation. I have, as my
goal, to persuade 100% of our members to donate ACCORDING TO THEIR ABILITY.
In order to start the process, I am going to fall back on an old trick. It is called ―the challenge grant.‖
There are very few members of the ABA without the resources to contribute $100 to the ABA Foundation;
so, my challenge to you is this: I have a sign-up sheet with slots, each of which stands for a $100 donation.
For every 10 people who sign one of these $100 slots during this convention, I will give 100 of my own
dollars to a maximum of $1,000. In other words, for every $1,000 of accumulated contributions on this
sheet, I will give $100. It will take 10,000 of your dollars to guarantee 1,000 of my dollars.
Harry Begian made a significant contribution; Neil Kjos made a significant contribution; I hope that you
will ―force‖ me to do the same thing. Come on, relieve me of my money. It will be put to good use and I
will be happy to give it as long as I am a part of a great number of contributing members who have the
same ideas and aspirations for our organization.
Finally, I extend my personal welcome to all of our new members. May you derive as much happiness
from the fellowship of the ABA as those who came before you.
To all of you, please accept my heartfelt thanks for your friendship.
1986 ABA Annual Report
FOSTER DAVID STREEP (1914 – 1997)
Foster David Streep, Jr., known to us in ABA as Bud, was born in 1914 in Elizabeth, New Jersey and died
on February 1, 1997 in Winter Park, Florida at the age of 83. Bud grew up in Kansas City, Missouri, where
his father owned a music store. His father was a pioneer in the development of school bands throughout
Missouri and Kansas. Following graduation with honors from Missouri Military Academy, Bud continued
his studies at the University of Missouri and Kansas City Junior College.
During the Depression his family moved east and he began his music industry career as an accountant and
credit manager of the Selmer store in New York City. During this period several interesting events took
place. In the first one, a saxophone was sold to a mother who was convinced her son had great promise as
a musician. Mother was right. Her son became world-famous jazz saxophonist Charlie Parker. The
second event was known as ―chasing delinquent accounts.‖ One particular account involved a young man
who had purchased a B-15 Selmer clarinet. Bud did his job and the account was paid in full by the
clarinetist‘s sister. The young man became one of the world‘s most celebrated musicians—Benny
Goodman. Bud left the Selmer Company to become sales manager of the Excelsior Accordion Company.
He traveled coast-to-coast reorganizing their nationwide dealer policies.
In January 1938 Bud returned to Kansas City, where he and his father opened a new music store. However,
his new venture was interrupted by the Second World War. He served aboard a Navy ship for 18 months.
After the war he returned to Kansas City and expanded the services of the business to include organ sales
and installations. Bud left the store to become sales manager for the organ division of the Wurlitzer
Company, covering the United States and Canada. He established channels of distribution for the new
Wurlitzer church organs and traveled extensively for five years.
In January 1953 he left Wurlitzer to organize his own retail business in Orlando, Florida. The business has
flourished for over 30 years. It was elected to Associate ABA Membership in 1983.
Bud was active in community affairs. He was past president of the Florida Symphony Society, President of
the Central Florida Civic Music Association, the Orlando School Band Association, and the March of
Dimes for Central Florida. He was an honorary member of Phi Beta Mu, Phi Mu Alpha and Delta Chi at
the University of Kansas.
Bud was also very active in the national affairs of the music industry. He served as president of the
National Association of Music Merchants, with two terms on the Board of Directors. He published many
articles for the industry‘s trade journals, spoke at seminars and conventions and was a clinician for the
American Piano Foundation.
Through Bud‘s efforts a number of colleges and universities have developed curricula to prepare young
people with an interest in both music and business for the music industry. Presently there is an Association
of Colleges and Universities who are training people for gainful employment in the music business.
In 1954 Bud organized ―Music for Missions,‖ a project to supply free of charge musical instruments and
supplies to schools attended by children of American missionaries in foreign countries. The Conn
Instrument Co., Ludwig Drum Co., and Bud‘s store furnished most of the instruments and supplies, which
were shipped to Brazil, Peru, Japan, Korea, Alaska, the Dominican Republic and a number of African
nations. Merle Kelly of Apopka, Florida was given the task of forming the first missionary school band in
Japan. He was successful and is looked upon by some as the father of the Japanese school band movement.
Bud Streep was a wonderful, creative and innovative man—a giant in his field—a friend who somehow
touched all of us in a special way. This is just a limited glimpse of the fruitful life of Bud Streep.
1997 ABA Annual Report
LLOYD F. SWARTLEY (1900 - 1975)
Ardeen Foss, ABA Vice President, read this eulogy.
Lloyd F. Swartley was my friend. He was a friend to his many students, a friend to his colleagues, and a
friend to people in all walks of life. In addition to being a fine musician, bandmaster and teacher, he was a
gentleman. The countless people who knew him well always remember Lloyd as a man eager to share his
talents with his students and as a man profoundly interested in his community.
Lloyd was born on October 24, 1900 and went to high school in Fayette, Iowa. He received his BA degree
from Upper Iowa University, where he earned his tuition by conducting the band. Trombone was his major
instrument, and he played trombone in the Chautauqua Circuit with an opera company that traveled in 32
states. His first teaching position was in Sigourny, Iowa from 1924 to 1928. In 1928 he took his new
bride, Edith Grether Swartley, and moved to LeMars, Iowa to conduct the band and become principal of the
high school. In 1932 they moved to Iowa City. It was here that Lloyd won a number of national awards
with his band. He also taught summer sessions at the University of Iowa. In 1939 Lloyd became the
director of bands and orchestras at Denfield High School in Duluth, Minnesota. In 1964 he became the
Director of Music for the Duluth school system. After 28 years in the Duluth schools, he retired.
He became a charter member of the American School Band Directors Association in 1953 and was elected
to active membership in The American Bandmasters Association in 1955. He was listed in ―Who‘s Who in
Music‖ and was the author of numerous articles in national music publications. August 1, 1975 he was
awarded an honorary doctorate of music by Upper Iowa University.
In addition to his school activities, he also served his community. He was director of the Aad Temple
Shrine Band, the Scottish Rite, and the Shrine Chanters. He played bass trombone in the Duluth Symphony
for 30 years, was an active Kiwanian, active in the Duluth Fatherless Boys‘ Club, board member of the
First United Methodist Church, choir director, and was a member of Local 18 of the American Federation
of Musicians.
ABA member Maurice Callahan worked with Lloyd for many years in Duluth, and they were close friends.
Maurice told me that Alvin Edgar of Iowa State University and ABA member Gerald Prescott were
classmates with Lloyd in college. Al Edgar and Lloyd Swartley died on the same day. One of Maurice‘s
comments impressed me:
I never heard Lloyd make one derogatory remark about a music colleague. He was a good man
and the word ―good‖ had special meaning for him.
Every Sunday morning Lloyd and his wife Edith would read the 23 rd Psalm. Sunday, October 26, 1975 was
routine. Edith went to fix breakfast and when she came back Lloyd had passed away. Lloyd Swartley
departed to that place not made with hands, eternal in the Heavens, from which no man returns, but his
contributions and life work will remain with us. The story of Lloyd‘s career cannot yet be considered
complete, for his example as a man and as a musician lives on in the many lives he influenced. He lived a
rich and full life of 75 years.
1976 ABA Annual Report
T
CHARLES F. THIELE (1884 - 1954)
It is with deep regret that I tell you of the wire I received on February 4 telling of the death of Charles F.
Thiele…for to me the death of one whom I have long known brings sadness. But I like to think of all of the
good things I have known about everyone. Charlie Thiele did much for the promotion and advancement of
bands in Canada. A friend of mine who knew him well stated that he believed that Charlie spent more
money and devoted more personal effort toward the advancement of bands and band music in Ontario than
did any other single man before him, or probably any would do after him
1954 ABA Newsletter
EDGAR THIESSEN (1913 – 1984)
On January 3, 1984, Edgar Thiessen, a native of Kiel, Wisconsin departed from our midst at the age of
seventy. He earned the Bachelor of Music Education and Master of Music Education degrees at
VanderCook College of Music, where he subsequently served as President of the Board of Directors.
Ed‘s many-faceted career started at the Kiel, Elkhart Lake and New Holstein school systems and continued
unabated for over half a century. While a resident of New Holstein, he was a member of the City Council
and active in numerous civic organizations. In the 1930s and ‘40s he directed his own dance orchestra.
At Lakeland College he served as head of the Instrumental Music Department. This institution conferred
on him an Honorary Doctorate. One of Ed‘s greatest claims to fame was his fifty years of service as
director of the renowned Kiel Municipal Band. Elected to ABA membership in 1966, Ed was the editor of
our column in The School Musician National Magazine. One of his many national honors was the Phi Beta
Mu Award for 1976. He was also chairman of the Community Band Division of the National Band
Association.
A memorial fund has been established in Ed‘s name, and next year‘s ABA convention is dedicated to him
as a tribute to his achievements.
We all have wonderful memories of Ed. His life was his eulogy—a life dedicated not only to his family but
to the many others he served. Edgar Thiessen‘s song is not ended. It will play on through all the lives he
touched.
1984 ABA Annual Report
―I Know This Man - Edgar Thiessen‖
by Ethel Thiessen - 1985
He worked hard all of his lifetime to attain ―his‖ best. As a child he carried newspapers, not by
bike…because he had to earn one.
He became a member of the Kiel Arion Band at the age of seven…he marched his first parade with the
Arion Band. The day was hot, the parade was long, but he kept going to the park. On his arrival, he
collapsed from exhaustion. Did he quit marching? No, he continued on for the rest of his life…marching
the last time for the ―Santa Claus‖ parade in Kiel, Wisconsin in 1983.
At age eleven he began to play with ―Old Time Bands‖ to help support his family.
Going to Kiel High School, I entered the picture. I was a ―country girl‖ and had to live with a Kiel family
during my school days. I was a shy person and became aware of him at age fourteen (a sophomore). I
immediately knew he was the man for me. We dated…that is, we walked home from school together and
also went to events together. We loved each other from age fourteen.
After graduation from the same school, I went to Normal School to become an elementary teacher. He
continued to work with dance bands and wrote arrangements for several other groups. When I got a
teaching job, I earned enough money to buy a used car, making it easier for us to see each other more often.
From playing with ―old time‖ bands, he went on working with the area ―Big Bands.‖ The Howard
Kraemer Band was the first of many. Burl Ives made up part of this group and was his ―road trip‖
roommate. On the first job he earned seventy-five cents, which he and all the other members were asked to
return to buy new music.
He was a charter member of the Kiel Municipal Band, and at the age of twenty he was asked to become the
director. This allowed time for him to work with other bands, with the next step being the formation of his
own ―big band‖ group. This later became his ten-piece unit. He did his own booking and arrangements for
this band, which was well received throughout the Midwest.
The time came when we could be married…October 1936. We were married on a Monday and went to
Milwaukee for three days and two nights. Our mornings and nights were spent at the Auto Show listening
to the Horace Heidt Band. We ran out of money and had to leave, so we spent one night with his sister and
brother-in-law, which was on our way home. We had to be home Friday to play a job at Marinette,
Wisconsin, that evening. I went along and sat backstage writing ―thank-you‖ notes for our gifts. His ten-
piece band was also well received. He spent three months in Valley City, North Dakota, broadcasting from
the same studio as the Lawrence Welk Orchestra. He always used the Benny Goodman style of playing his
clarinet.
The war years came, but we had two children, so he was exempt the first years. During this period of time
he worked in a foundry by night, part time in a grocery store and at Elkhart Lake, Wisconsin teaching
school three days a week. He moved on to full-time teaching in New Holstein, Wisconsin. The dance band
broke up because too many of the group were called into the service of our country.
He received a lifetime teaching certificate without a college degree. That‘s when we decided to ―go for it.‖
Every summer he, the kids (now there were three) and I went to school. Some of the places we traveled
were Boston; Charlottesville, Virginia; Gunnison, Colorado; and finally Chicago, where he finished his
degree at VanderCook College of Music.
Every Saturday morning at 2:00 a.m. during the school year we flagged down the south-bound train,
making it possible to travel to Chicago, returning the same evening on the 11:00 p.m. train. Later, he did
the summer school sessions to complete the work on his degree and returned to VanderCook to earn his
Master‘s Degree in Music Education.
The last two years of his life he worked with a jazz group in Manitowoc, Wisconsin…his last job was two
nights before he died. He had a very special relationship with the owner of ―The Sting‖ where the group
worked. He never allowed the group to replace him, stating, ―He can‘t be replaced‖ when the subject was
brought up.
What an interesting life we had! He reached his goal of teaching in two colleges, directing the Kiel
Municipal Band for fifty years, publishing many of his arrangements and original compositions and
receiving an Honorary Doctor of Humane Letters from Lakeland College.
Complete retirement after this year was next in our plans. This would allow us free time together…but
God willed it differently.
1985 ABA Annual Report—Written by Ethel Thiessen, Edgar‘s widow. [Note: The Thiessens were to be
hosts for the 1985 ABA Convention in Kiel, Wisconsin, but Edgar passed away prior to that. The
convention was still held there in his memory, with the family being gracious hosts.]
1985 ABA Annual Report
JAMES MORGAN THURMOND (1908 – 1998)
James Morgan Thurmond was born in Dallas, Texas on September 10, 1908 and passed away following a
stroke in Silver Spring, Maryland on June 21, 1998. His musical career was launched in the Dallas school
system, where as a lad he not only played French horn in the high school band but was proficient enough to
play in the Palace Theatre Orchestra and the Dallas Symphony. When he was nineteen years old he
traveled to Philadelphia with his life savings of $250 in his pocket. There in 1927 he met Anton Horner,
Principal Horn of the Philadelphia Orchestra, under whose tutelage Jim auditioned for Leopold Stokowski,
playing the Siegfried Horn Call perfectly. During this period, Jim was also associated with the Curtis
Institute of Music. In the summer of 1932 he was a member of the orchestra in Philadelphia‘s Robin Hood
Dell and had the distinction of performing in the Dell‘s inaugural season. The Depression years of the
early thirties forced the Philadelphia Orchestra to operate on a reduced budget, and Jim found himself
unemployed. In the fall of 1932 he applied for a French horn vacancy in the United States Navy Band in
Washington, DC, won the audition and was employed again—this time as the Principal Horn of the Navy
Band.
When the Navy Department was seeking ways to improve the level of musicianship of their personnel, Jim
conceived the idea of a music school. In 1935 the Navy School of Music was created and Jim became its
director. During World War II he was in command of all of the Fleet Bands for the Music Branch of the
Navy. Eventually the school became the School of Music for the Armed Forces, preparing musicians for
all branches of the service, except the Air Force.
While in Washington, Jim earned a bachelor‘s degree from American University and the Master of Arts
degree from Catholic University. In 1944 the Washington College of Music bestowed on him an Honorary
Doctorate.
After serving in the Navy for nineteen years, Jim retired as a Lt. Commander in 1951. Three years later he
joined the faculty of Lebanon Valley College as Professor and Director of Bands and the choral and glee
club director. He taught there for twenty-five years. Although he had retired, Jim remained active by
teaching part-time at Messiah and Gettysburg Colleges and Temple University. In 1982 he published his
book, ―Note Groupings: A Method of Achieving Expression and Style in Musical Performance.‖ Jim also
played French horn in the Harrisburg, Pennsylvania Symphony and was its Associate Director until 1993.
Active as a clinician, conductor and adjudicator, he was a member of numerous organizations, including
the College Band Directors National Association and the Music Educators National Conference. He
became a member of the American Bandmasters Association in 1944.
Dr. Kenneth Laudermilch, Director of Bands at Westchester State University in Pennsylvania, was one of
Jim‘s students at Lebanon Valley College thirty years ago. This is what he said about his mentor:
My words are inadequate to eulogize this man. He truly was a man who, being endowed with
many gifts, developed and used them to the fullest in the service of others. His great desire was
not to leave a legacy, but to enrich the lives of others, to give in return for the blessings he
received in life.
1999 ABA Annual Report
RUDOLPH E. TIMMEL (1905 – 1993)
Rudolph Timmel was born on May 28, 1905 in Oconomowoc, Wisconsin and died there on April 19, 1993
at the age of 87. Educated in his hometown, he played alto saxophone in the high school band. Rudy
earned his Bachelor of Science degree in music from the University of Wisconsin at Madison and the
Master of Music Education degree from VanderCook College. He was elected to membership in ABA in
1963 and had been one of our most loyal members—gregarious and good-natured.
In 1930 Rudy‘s first teaching position took him to Iowa. However, a year later he was back in his
hometown as band director at the junior and senior high schools, beginning an association that lasted
almost 40 years. He also directed the American Legion Band for over 25 years, and for a number of
summers he taught at the Interlochen Arts Academy.
Rudy had an unusual method for rewarding good musical effort. When a student played extraordinarily
well, he would reach into his pocket, pull out a quarter, present it to the student telling him he performed
well. Then he would return to the podium and continue conducting.
Rudy was truly unique. He possessed a photographic mind and remembered his students‘ names, their year
of graduation and the instrument each had played. He taught them that superior achievement required
discipline, practice, patience, commitment and determination. He shared with them his love and passion
for the beauty and grandeur of wonderful music. He seemed to be everywhere for everyone.
Rudy was a member of ASBDA, NBA and the Wisconsin Band Directors Association. Although he retired
in 1969, he remained very active. For five years he was associated with the Interlochen Arts Academy
library, compiling instrumental inventories. Upon his return to Oconomowoc in 1975, he became a musical
advisor and a substitute teacher in the schools until 1991. The area school district music department
established the Rudolph Timmel Scholarship Endowment Fund to help keep alive the memory of one of
Oconomowoc‘s most memorable citizens.
Bruce Brown, one of Rudy‘s students in the early 1940s, now a columnist with the Oconomowoc
Enterprise, wrote these comments:
Rudy has become a legend. He has been an influence on multiple generations of students. We all
must thank him for just being, and for letting us know him not only as a teacher, but as a friend.
He will not be forgotten, and in time our paths will cross again.
1994 ABA Annual Report
RICHARD E. TOWNSEND, SR. (1908 – 1985)
Richard E. Townsend, Sr. passed away at the Bethesda Naval Hospital on December 15, 1985 following a
heart attack. He was seventy-seven years old. Dick was born and raised in Philadelphia and received his
musical education at the Curtis Institute of Music. In 1951 he was elected to membership in The American
Bandmasters Association.
Dick enlisted in the official United States Navy Band in 1932 and was the featured flute soloist for a
number of years. In 1942 he was appointed Assistant Leader with the rank of Warrant Officer. He
conducted at numerous concerts and ceremonial events in this country and abroad. For several years before
his retirement, Dick served on the faculty of the Navy School of Music.
After his retirement in 1960, Dick became a member of the National Symphony Orchestra, a piccolo player
and flutist. Eleven years later he retired for a second time, but continued to teach privately until his death.
He was the founding director of the Flute Society of Washington and served as co-director of the John
Philip Sousa Memorial Fund, which solicited funds nationally to help finance the Sousa Concert Hall stage
in the John F. Kennedy Center for the Performing Arts. In a very quiet way, Dick contributed much to his
colleagues and to his profession.
1986 ABA Annual Report
SAM H. TRELOAR (ca 1865 – 1951)
Sam Treloar became a member of the ABA in 1929. He was the director of The Butte Mines Band, which
was sponsored by a consortium of mine industries in Butte, Montana. The band was founded in 1887.
1987 ABA Annual Report
WILMONT TRUMBULL (1916 – 1983)
Wilmont Trumbull died in Arlington, Virginia on May 8, 1983 at the age of 67. Born in Worcester,
Massachusetts, he received his early education in the Worcester Classical High School. After earning the
Bachelor of Music degree from the New England Conservatory, he began his teaching career as Music
Supervisor in the Worcester school system.
In 1941, at the outset of World War II, Will entered the Army and became a band director. He directed
several bands, including the famous Fifth Army Band in Africa. For his noteworthy combat service in
Africa, Italy and Germany, Will received the Legion of Merit, the Army Commendation Medal and the
Italian Cross for Valor, which was presented to him by Prince Umberto at the Summer Palace in Naples.
Following post war duty in the United States, Will returned to Germany as leader of Army Bands in
Munich and Berlin. In 1957 he was appointed the Chief of Army Band Units in the Adjutant General‘s
Office. Will was elected to membership in The American Bandmasters Association in 1966, the year he
assumed leadership of the United States Army Field Band. After twenty-five years of dedicated service to
his country, he retired form the Army due to physical disability.
Although Will came to our Montgomery meeting, his travel was severely curtailed because of chronic
bronchitis. A tracheotomy further limited his activities. With great courage, unselfishness and ingenuity
he helped nurses devise methods for communicating with patients who had undergone tracheotomies.
In his own quiet way, Will did much to enhance the art of music and the art of living.
1984 ABA Annual Report
HERMAN TRUTNER, Jr. (1876 - 1961)
It was with great sadness that I received word of the death of my very dear friend, Mr. Herman Trutner, Jr.,
Oakland, California, which occurred on December 27, 1961 at Letterman Army Hospital in San Francisco.
In previous newsletters I had written of Herman as ―the youngest oldster I ever knew.‖
His career was most unusual inasmuch as he followed the footsteps of his Army father and enlisted at the
age of 10, going through the Spanish-American War Campaign and stationed for a considerable length of
time in the Philippines. In 1913 he retired from the Army as an officer and began a new career in Oakland,
California as a teacher of instrumental music. He became one of the first supervisors of instrumental music
ever to be appointed in the United States, and his work in developing bands and orchestras in Oakland
achieved national prominence. He was the first President of the California Music Educators Association,
and later became Director of the fine Oakland Municipal Band, Director of the famous Bohemian Club
Band of San Francisco and Director of the Scottish Rite Orchestra. Interspersed with these activities, he
also served in World War I.
And then again in World War II he was called on more in a musical advisory capacity. In 1943, at which
time he retired from the Oakland Public Schools, he became a regular member of the French horn section
of the San Francisco Symphony Orchestra, which position he held until it was necessary to take
compulsory retirement. The effect of his pioneering for the cause of school music in California continues
to be felt. Many honors and tributes were heaped upon him, including a ―Herman Trutner Day,‖ declared
by the city of Oakland. The ceremonies opened with the civic equivalent of a 21-gun salute in Lakeside
Park where he occupied the podium for 30 years. Greetings were sent from the White House; gifts, letters,
tributes, scrolls and resolutions came from many musical organizations, civic groups, military and fraternal.
A special tribute was the Aahmes Shrine Band which Herman conducted from1924 to 1944, marching into
the bandstand area in full regalia and called on Herman as guest conductor. Paying personal tribute was
Major General J.J. Binns, Chief of Staff of the United States Sixth Army, Presidio in San Francisco, with
personal letter of commendation from former President Hoover, Senator William Knowland, Gov.
Goodwin Knight and retired Army Bandmaster Victor Norling, who had played under Trutner‘s direction
in Manila in the early days of the century and who was a member of the band performing at Trutner‘s
retirement as an Army officer in1913.
Those in ABA who attended the Santa Fe Convention will recall that Mrs. Trutner was taken ill during the
meeting and it was necessary for the Trutners to remain in Santa Fe for several weeks, until her health
would permit her being taken home. Mrs. Trutner‘s serious illness continued until December 6, 1961, at
which time she suffered a heart attack. It was at this time that Herman wrote me as follows:
She was doing so well, too, eating better than in years, and had gained some weight. It was a
shock and I am not over it, for it leaves a void after being together for 62 years. She was buried in
a plot assigned to me in the U.S. Army Cemetery at the Presidio in San Francisco.
Another sadness suffered by Herman was the tragedy of his married son (also a member of the French horn
section of the San Francisco Symphony) and his wife who perished in a fire in their apartment. This
tragedy occurred just prior to the death of Mrs. Trutner.
Among other honors paid to Herman was the ABA member Frank Mancini Award presented in 1957, an
honor of which he was justly proud. ABA members who attended the Long Beach Convention will long
remember this 85-year old stalwart of music who stood and walked as erect as a man of 40—a quick mind,
an outstanding musician both as performer and conductor, a man who was active in music in three wars, the
founder of a school music program that has been most lasting, a professional musician, experienced in all
phases of band and orchestra music, military, professional, municipal, fraternal, school and adult amateur
groups—yet one of the most modest and unassuming men ever known, whose work will now serve as an
everlasting monument. Yes, Herman Trutner, Jr.‘s passing will leave a void in all musical activities to
which he contributed both directly and indirectly.
1962 ABA Newsletter
FISHER A. TULL (1934 – 1994)
Fisher A. Tull was born on September 24, 1934 in Waco, Texas and died on August 23, 1994 in Huntsville,
Texas after a year-long battle with cancer. After graduating from Waco High School in 1952, he entered
the University of North Texas, where he subsequently earned the degrees of Bachelor of Music in Music
Education, Master of Music in Theory and Trumpet, and Doctor of Philosophy in Music Composition.
While in high school, Fisher was active as a trumpeter and jazz band arranger. Later, during his collegiate
years, he called on this experience to become the staff arranger for the University of North Texas Lab
Bands. He wrote more than 100 arrangements for dance bands, recordings, and radio and television
productions.
In 1957 Fisher joined the faculty of Sam Houston State University, serving as Chairman of the Department
of Music from 1965 to 1982. His first serious compositions were for brass ensembles and symphonic band.
One of his first serious compositions for symphonic band, ―Toccata,‖ won our ABA/Ostwald Award in
1970. He had become a composer of international renown, having completed more than forty
compositions. Included were commissions from the Houston Symphony, Houston Ballet, United States
Army Band, United States Air Force Band, and Doc Severinsen. A number of his compositions were
recorded by the Los Angeles Brass Society, Philharmonic Brass, Tidewater Brass Quintet, the London
Symphony, and Doc Severinsen. Fisher‘s music has been highly acclaimed—his ―Sketches on a Tudor
Psalm‖ is widely acknowledged as a band masterpiece.
Over the past twenty years, Fisher appeared as guest conductor, composer, and lecturer on more than
seventy campuses throughout the United States and Germany. He received awards in composition from the
American Society of Composers, Authors and Publishers, the Artists Advisory Council of the Chicago
Symphony Orchestra, Willamette Arts Festival, National Flute Association and the Texas Composers
Guild. Phi Mu Alpha Sinfonia honored him with their Orpheus Award and Kappa Kappa Psi gave him
their Distinguished Men of Music Medal. In 1984 Fisher received the Texas State Prestigious Paper
Award, and he was honored by Sam Houston State University as a Distinguished Professor. Fisher was
elected to membership in ABA in 1990. One year later the Texas Music Teachers Association named him
the Texas Composer of the Year. In 1994 Sam Houston State University presented him with the
Excellence in Research Award. Over the years at the university, he received six faculty research grants for
composition. Fisher was also honored recently by his alma mater by being named an honorary alumnus of
the University of North Texas School of Music. The music department of Sam Houston State University
established the Fisher A. Tull Scholarship in his honor.
Fisher‘s colleagues, students and friends described him as having a delightful sense of humor, as being
extremely modest about his gifts and talents, and shy about touting his accomplishments. They considered
him one of the beloved people in American music. His wife, Charlotte, added: ―Everybody that met him
loved him, and he loved them back.‖
Fisher was buried in the Texas State Cemetery in Austin. Governor Ann Richards signed a proclamation to
permit his burial at this site, which is reserved only for prominent Texas dignitaries.
1995 ABA Annual Report
U
MERTON B. UTGAARD (1914 – 1998)
Merton B. Utgaard was born in Maddock, North Dakota on November 2, 1914 and died on December 19,
1998 in Mesa, Arizona. Merton was introduced to music while attending the town band concerts in
Maddock, where his father played the alto horn. He began his musical experience in his sixth grade band
playing the cornet, which he borrowed from his uncle. After the family moved to Valley City, North
Dakota, Merton played in the high school band until he graduated in 1933. He enrolled in the Valley City
Teachers College and earned a two-year certificate, which enabled him to teach music at the elementary
level. His initial teaching assignment was at the Aneta, North Dakota elementary school, where he
organized their first band. During the next three years Merton developed a creditable band program
through self-study and trial and error. Merton resumed studies at the Valley City College where in 1940 he
earned a Bachelor of Arts degree, with a double major in music and physics. For the next three years he
was the music director in the Carrington, North Dakota school system. From 1943 to 1945 Merton served
as a commissioned officer in the Army Air Corps. Following his discharge, he joined the Army Air Corps
Reserves, retiring after twenty years in the rank of major.
Merton enrolled in a graduate program at the University of Minnesota and was the Marching Band director
until its regular director, ABA member Gerald Prescott, returned from the service. Merton received his
master‘s degree in music and physics from the University of Minnesota. Subsequently he earned his
doctorate degree in music from Colorado State University.
From 1946 to 1948 Merton taught in the Rochester, Minnesota school system. His university level
responsibilities began in 1949 when he became Director of Bands at the University of South Dakota. Four
years later he was Director of Bands at Ball State University, and in 1947 he had the same duties at
Northern Illinois University. From 1964 to 1970 Merton was a visiting lecturer at Brandon University in
Manitoba, Canada.
While at the University of South Dakota and Ball State, Merton had a recurring vision of establishing a
summer music camp in North Dakota. In searching for a suitable sight, Merton and his wife Noella
remembered the International Peace Garden, 2300 beautiful acres in area that straddles the border of North
Dakota and Manitoba. As an Eagle Scout,
Merton attended the dedication ceremonies in 1932. He was teaching in Indiana when he decided
definitely that the Peace Garden would be the ideal place for a music and arts camp. Overcoming hurdles,
and there were many, the International High School Music Camp was established. The conductors at the
camp‘s first summer session in1956 were our own ABA members Al Wright and Martin Boundy. Both of
them, as well as many other ABA members, appeared frequently at subsequent sessions.
The Camp aroused the interest of such notables as Queen Elizabeth, numerous Canadian officials,
including the Prime Minister of Canada, John Diefenbaker, and the United States President‘s Committee of
the People to People Program. In 1960 Merton gave up his position as Director of Bands at Northern
Illinois University to become the full-time director of the International Music Camp, a position he filled for
twenty-eight years. During his stewardship, the Camp became a world-class music education and
performance center. Merton‘s Camp bands toured the United States and Canada frequently, and visited
Europe on nine different occasions, presenting over 100 concerts in ten European countries. The tour band
received first prize at both the World Music Contest in Kerkraade in 1996 and 1997, and at the
International Youth Festival in Purmerend. To date, over 90,000 young people from 63 nations, all 50
states and five Canadian provinces have attended summer sessions. The International Music Camp will
always be a monument to Merton‘s genius and far-sightedness.
After Merton retired in 1983, he published a history of the International Music Camp entitled ―A Dream
Come True,‖ documenting in detail this courageous achievement. To fully appreciate the magnitude of this
venture, one should read his book. Merton and Noella created the International Ambassadors of Music, a
non-profit organization that promotes cross-cultural music exchanges through scholarships for young music
students
to study in foreign countries and the support of foreign youth music organization tours.
Merton served on numerous local, state, national and international committees and commissions devoted to
the development of the arts. Here is a partial list: Chairman of the Arts and Cultural Committee of the
North Dakota Economic Development Commission; member of the North Dakota American Revolution
Bicentennial Commission; member of the Council of the Alliance for Arts Education in North Dakota;
chairman of the Inter-American Music Relations Committee of the National Federation of Music Clubs—in
1993 the president of the National Federation presented Merton with a citation for his outstanding work in
foreign relations in music; United States delegate to the International Conference for Leaders of Youth
Musicians held in Sweden; Vice President of the North Dakota Federation of Music Clubs; National Band
Association representative of the North American Band Directors Coordinating Council; State Coordinator
for the Association of Concert Bands of America; member of the Advisory Committee for the National
Black Music Colloquium and Competition; and Chairman of the International Relations Committee of the
American Bandmasters Association.
The School Musician, Director and Teacher honored him with their ―They Are Making America Musical‖
award. The American School Band Directors Association honored him with the prestigious A. Austin
Harding Award. He was the recipient of the North Dakota Outstanding Music Educator Award and was
inducted into the North Dakota Music Educators Hall of Fame. Merton was elected to membership in ABA
in 1969 and served on the Board of Directors in 1986 and 1987.
In his condolence letter to Merton‘s wife Noella, our secretary Dick Thurston spoke for all of us:
It is safe to say that few in the music profession, and perhaps none in ABA, were as effective and
influential in the area of international relations as Merton Utgaard. As founder and head of the
International Music Camp, as organizer and conductor of many overseas tours of performing
groups, and in countless other way, his energy and enterprise continue to resound and will be felt
for years to come. As chairman and member of ABA‘s own International Relations Committee,
he helped to give our organization a powerful voice in that area. Although in increasingly frail
condition in recent years, he remained active as his indomitable spirit would allow. We will be
forever in his debt and we will miss him sorely.
1999 ABA Annual Report
V
ROBERT STUART VAGNER (1913 – 1989)
Robert Stuart Vagner was born February 1, 1913 in Laramie, Wyoming and passed away on July 21, 1989
in Eugene, Oregon.
After graduating from the Sterling, Colorado High School he attended the Denver College of Music for a
year, before transferring to the Colorado State College of Education in Greeley. There he earned both the
Bachelor of Arts and Master of Arts degrees. Bob taught at Grinnell College in Iowa from 1938 to 1941.
He then attended the University of Michigan, where he earned his Master of Music degree. In 1942 he
became Director of Bands at the University of Wyoming. In 1950 Bob joined the faculty at the University
of Oregon as Director of Bands, serving in that capacity until he retired 28 years later. In 1957 Bob
founded the Eugene Symphonic Band and was its conductor for 28 years. Due to Bob‘s inspired leadership
and concern, community bands are once again thriving in many Northwest communities. He was elected to
membership in The American Bandmasters Association in 1963.
Bob‘s numerous honors and awards include the presidency of the Wyoming Music Educators Association
and the College Band Directors National Association. In 1972 he received the Citation of Excellence from
the National Band Association. In 1986 the Oregon Band Directors Association honored him with their
Distinguished Service Award and the University of Oregon gave him their Distinguished Master Teacher
Award. In his teaching Bob set high standards, demanded near perfection, and never settled for less than
the best. He demanded and got complete attention at rehearsals. The slightest whisper brought comments
such as ―Enough of this pool room attitude—let‘s get down to business.‖
1990 ABA Annual Report
NELSON ARTHUR ―Nels‖ VOGEL (1913 – 1983)
Nelson Arthur Vogel died on January 14, 1983. Although born in Detroit on August 16, 1913, Nels lived
much of his early life in Lima, Ohio. His family moved to Robbinsdale, Minnesota when he was 14.
Nels was president of Nels Vogel, Inc. The firm is one of the largest and most respected band instrument
and music distribution stores in America. For 34 years Nels sponsored the Northwest Band and Choral
Clinic in Moorhead, Minnesota. The clinic concerts are considered a highlight of winter entertainment.
Internationally famous artists are featured as soloists and clinicians.
Although Nels was primarily a businessman, he had a special interest in music education. His personal
interest and sincere council helped many young educators survive the first years of their careers.
Nels was elected to Associate Membership in The American Bandmasters Association in 1953. He
continually supported music-oriented organizations.
Nels was a champion of music education and bands. His high ideals and positive influence were marks of
his greatness. His quiet presence will be missed.
1983 ABA Annual Report
The 1979 Annual Report noted the death of Evelyn Vogel, wife of Nels, on July 24, 1978.
WALTER E. VOLKWEIN (1911 – 1994)
Walter Volkwein, Honorary Associate Member, was born in Pittsburgh, Pennsylvania on August 6, 1911
and died there on September 11, 1994. His parents were immigrants from Germany who settled in the
Pittsburgh area in the late 1800s. Walter uncle Jacob opened the Volkwein Music Store 109 years ago. In
1930 Walter and his brother inherited the business, which eventually became on of the largest of its kind in
the nation.
Walter was a graduate of Duquesne University, having majored in business. This prepared him well for a
career with the music company. The Volkwein Bros. Music Company was elected to ABA Associate
Membership in 1938. Walter was elected an Honorary Associate Member in 1987. He was spokesman and
secretary-treasurer for the Associate Members for many years, offering willing and cheerful leadership.
A staunch patron of the arts, Walter was a member of the Board of Directors of the Pittsburgh Opera, the
Pittsburgh Symphony, the Mendelssohn Choir and the Pittsburgh Athletic Association. He also had been
the treasurer of the Musician‘s Club of Pittsburgh.
In 1965 Paul Yoder and Walter helped establish the Japanese Band Directors Association. Three years
later he was made an Honorary Life Member of that association. Over the years he kept in close contact
with their activities.
Walter retired on January 15, 1990 after 60 years with Volkwein Bros. In reality, he retired to vacation.
Here is the itinerary for Walter and Helene‘s first year of retirement: January-February, New England and
Australia; March, ABA convention in Champaign, Illinois; April, Association of Concert Bands of
America in Rochester, New York; May, Eastern Mediterranean cruise; summer, Windjammers Circus
Fanfare in Columbia, Missouri, American School Band Directors Association convention in Honolulu and
Women Band Directors National Association convention; December, cruise West Coast to East Coast
through the Panama Canal; January Windjammers Circus convention in Sarasota, Florida. This is
retirement?
The American School Band Directors Association honored Walter with their Austin Harding Award. He
also served on their Board of Directors and was a member of their foundation committee. He personally
financed their ASBDA Band Curriculum Guide. Walter was a generous man, often quietly giving money
where it was needed.
His business associates remember some of Walter‘s admonitions: ―Get involved; we can do a lot together,
I can‘t do it myself; get to the point—let‘s discuss and resolve.‖ Yes, Walter was very direct, he didn‘t
waste words—he told it like it was. He was a trusted man of his word. Kind-hearted, warm and witty,
Walter enlivened many of our meetings. He liked to party, sing and have a good time. He worked hard
and he played hard.
Over the years Walter made great contributions to the advancement of bands and band music. He was a
real inspiration to all of us.
1995 ABA Annual Report
Note: A 2006 Newsletter noted the death of Helene Volkwein, wife of Walter, on June 9, 2006.
W
VESEY WALKER (1893 – 1977)
Vesey Walker became a member of ABA in 1962. He was the director of The Industrial Military Band,
which was sponsored by a group of utility companies in Racine, Wisconsin. The band was founded in
1929.
1987 ABA Annual Report
The January 1978 Newsletter reported the death of Audrey Walker, wife of Vesey, on March 4, 1977.
WAYMAN E. WALKER (1923 – 1997)
Wayman E. Walker was born in Cripple Creek, Colorado on May 12, 1923 and died in Lake Havasu City,
Arizona on January 5, 1997. When Wayman was born, his father was music director for the public schools
at Cripple Creek and at Victor, Colorado. Wayman received his early training in the schools of Worland,
Wyoming. He spent his summers in Denver, Colorado, studying cornet with George V. Roy. For three
consecutive years—in 1939, 1940 and 1941—Wayman earned first division ratings in high school state and
national competition. He was also selected as soloist with the Wyoming All-State Band in 1939 and 1941.
During the Second World War Wayman performed with several Army Air Corps bands and directed the
First Air Cadet Detachment Band at Michigan State University. After the war, Wayman attended the
University of Colorado at Boulder and received a Bachelor‘s Degree in Music Education in 1947. His first
teaching position was as music director for the Craig, Colorado public schools. From 1947 through 1950
his Craig bands and choirs received excellent ratings at regional and state music contests.
Wayman continued his studies at the University of Southern California where he earned his Master of
Music degree in 1951. While at USC he was elected to membership in Pi Kappa Lambda, the national
music society for scholarship. He also did additional graduate work at the University of Washington in
Seattle, UCLA, and the University of Northern Colorado in Greeley.
In the fall of 1951 Wayman became the Director of Bands at the University of Northern Colorado, a
position he held until his retirement in 1978. In 1952 Wayman organized the first Colorado All-State Band.
It has become an annual event on the University of Northern Colorado campus. In 1959 and again in 1963
Wayman was honored by the University Alumni Association by being selected as an outstanding educator.
In 1974 he was selected as the Outstanding Alumnus Faculty member.
Wayman has appeared as conductor, clinician and adjudicator throughout the United States. During the
summers of 1966 and 1977 he visited and observed many important European bands, including the Military
Band School at Kneller Hall, and the Guard bands of Paris, Rome and Lisbon. He was an honored guest at
the concert of the Municipal Band of Madrid, Spain. In recognition of his achievements, the band building
in Venango, Nebraska was named in his honor.
Wayman was a past-president of the Southwestern Division of the College Band Directors National
Association and past grand president of Kappa Kappa Psi. Other professional affiliations include Pi Kappa
Lambda, MENC, and the International Platform Association. In 1977 the Colorado Bandmasters
Association named him their Outstanding Bandmaster. He was elected to ABA membership in 1964.
When Wayman retired in 1978 the University of Northern Colorado College of Visual and Performing Arts
announced an annual music scholarship award in his honor—an honor well deserved.
1997 ABA Annual Report
HAROLD L. WALTERS (1918 – 1984)
Harold L. Walters passed away in Hollywood, Florida on October 22, 1984 at the age of 66. He was
always proud of his affiliation with The American Bandmasters Association, having been elected to
membership in 1956.
Harold was born in Gurdon, Arkansas, where he began his studies on cornet at the age of eight. He
performed with the Little Rock High School Band under ABA member L. Bruce Jones. His musical
studies were pursued at the Cincinnati Conservatory of Music, the American University and Washington
College of Music in the District of Columbia. The latter school conferred on him the Honorary Doctorate
in Composition. He studied composition with Nadia Boulanger and was a tuba player in Frank Simon‘s
Armco Band.
Harold was a member of the U.S. Navy arranging staff for six years. As a member of ASCAP he scored
extensively for the theater, motion pictures and several orchestras, including the Sigmund Romberg
Orchestra. Harold arranged many half-time shows for the Purdue University band and was honored by that
institution several years ago when a ―Harold Walters Day‖ was staged in his honor.
For over 25 years he was an arranger, conductor, composer and editor with the Rubank Publishing
Company and had more than 1,500 arrangements and compositions listed to his credit, everything from
Dixieland to the classics. Although he conducted bands around the world, two were most significant to
him: the smallest group was a nine-piece circus band, and the largest was the massed bands of 12,800
performers at the University of Michigan.
None of us can forget his devotion to our own ABA band, a group par excellence, where confusion
generally reigned and the music was usually colorful and occasionally intelligible. Harold was a
musician‘s musician, respected internationally for his versatility and talents.
1985 ABA Annual Report
RICHARD B. ―Scrubby‖ WATSON (1897 - 1975)
Hugh McMillen, President of the American Bandmasters Association, read the names of those members
who had passed on since the last meeting. This list included R. B. ―Scrubby‖ Watson, who passed away on
February 5, 1975. He had been a member of ABA since 1960.
1975 ABA Annual Report
ROY J. WEGER (1919 – 1991)
Roy J. Weger, musician and businessman, passed away on September 23, 1991 after suffering a stroke.
Roy formerly represented his own company, the Brook Mays Sheet Music Division in Dallas, which was
elected to Associate Membership in 1980. Roy later became an independent Associate Member.
He was born in Durant, Oklahoma on September 8, 1919, where he received his early education. Roy
earned the Bachelor of Arts degree from Southeastern Oklahoma State University and the master‘s degree
from the University of Northern Colorado at Greeley. His teaching career began as director of the Durant
High School Band. His bands were very successful in competition and were judged the outstanding concert
band at the Tri-State Music Festival four consecutive years.
In 1953 Roy became the Director of Bands at Bowling Green State University. Twelve years later he
assumed the same position at Southern Methodist University. Roy touched and influenced the lives of
many young musicians, including our own secretary-treasurer, Dick Thurston, who as a high school student
played under Roy‘s baton at several music festivals.
In 1973 Roy began his association with the Brook Mays Division, eventually becoming its owner. Roy was
active both as a musician and businessman until he died. He often took time from his business obligations
to edit and arrange music, notably a number of Italian and Spanish marches.
The music profession truly motivated his life—a life of notable achievement as an educator and leader in
the music industry.
A band scholarship has been established at Southeastern Oklahoma State University in Roy‘s memory.
1992 ABA Annual Report
MYRON WELCH
President‘s Address – 1997
What is it like to be President of this august organization? Let‘s start at the beginning. Everyone needs that
humbling experience of sitting there, half asleep in the Saturday morning meeting, and suddenly hearing
that you‘ve been nominated and quickly elected Vice-President. Number 1, you‘re speechless, and am I
glad that Francis McBeth forgot to ask me to make a few comments at that time! Then the honor sinks in.
The warmness and supportive nature of the group becomes evident. Soon reality sinks in. ―Why me?
Hey, my dance card for guest conducting is already filled for the next year, and I have to chair the
membership committee. Oh, oh, my secretary is not going to like this!‖ But somehow you survive that
most difficult year and don‘t make ABA history by becoming the first Vice-President to never become
President-Elect—a major accomplishment. Then you rest for a year as President-Elect (right, Frank?) and
you‘re President.
The first thing you do as President is sit down with the ―Lest We Forget‖ book and read about the great
people in the organization, past and present. Then you look at the list of Past-Presidents. Some are only
famous names to you, others are giants of the band world that are sitting in these meetings and nominated
you as leader of their beloved group. Then you think about not losing the gavel! Nightmares are made of
less material.
You live with the position every day. This constant thought about the organization is not without its stress.
Let me give you a few examples. Now keep in mind that I‘m in my early 50s.
5. I was sailing at Northport, Michigan, last summer and decided to take the local bus south to
the next town. I stepped on and asked the driver, ―How much?‖ He looked at me and said,
―50 cents.‖ I deposited the coins and sat down. Then I noticed the fare sign…$1.25, senior
citizens 50 cents. Hmm, I looked in the mirror.
6. I was out with the marching band once this fall, something I don‘t do very often, and climbed
the tower, which is only about 15 feet high, to conduct the National Anthem. One of the
students ran up to a graduate staffer and asked, ―Should he be climbing up there?‖ Boy, that
kid should see me swinging from the top of a 50-foot mast!
7. I ate breakfast at a local restaurant this fall and noticed that the bill was less than anticipated.
Then I figured out that the ―SR‖ on the bill qualified me for the Senior Citizen Rate. Back to
the mirror.
8. And then to top things off, I received my beautiful new Iowa farm scene calendar from my
insurance man. It was only a 6-month calendar!
I can‘t wait to join the ―Past-Presidents By-Pass Club!‖
You start to think about changes and new directions for the groups. Perhaps the organization needs a
slogan. One we adopted with the Iowa Bandmasters Association may be just right for us:
―We‘ve upped our standards, now up yours‖
There is also a secret hand signal that goes along with that, but I can‘t divulge that.
Yes, there are changes we need to make in order to not only retain our leadership position, but to survive.
9. We must look at the role of our group objectively. There are other fine groups nowadays,
namely the NBA, CBDNA, ASBDA AND WASBE. As you would expect, the founders and
most of the leaders of those groups come from our membership. What unique roles does each
group play?
10. This is particularly important in the role of encouraging, commissioning, or sponsoring new
works for band, one of the major goals of our organization. We need to make subtle changes
in our ABA/Ostwald project, and I have suggested to Frank that he appoint a Task Force to
study this area and report back to the membership at next year‘s convention. It should be
headed by Jim Keene and associates, or anyone that will associate with Jim.
We‘ve done a marvelous job of finding outstanding works, and I‘m sure you‘ll be thrilled
with this year‘s winner. But, we need to guard against that every-growing body of
commissioned literature that is long, boring, impossibly difficult, and has all the bad attributes
known to man except smell!
11. The area that most people know needs attention is membership. We need and must make
changes in this area and I invite a serious, friendly, controlled discussion on the membership
process. Don McGinnis and his Constitution Review Committee have started looking at some
of the problems and will continue the task next year. We must streamline our cumbersome
membership process.
There are numerous outstanding conductors that have not been invited to membership. That
includes some of the wonderful conductors/teachers in the public school arena. We must
somehow identify them, propose them for membership, and do our homework as sponsors to
make them known to the membership committee and the membership. To gather the best
recordings and biographical information requires the help of the candidate. Secrecy of
nomination is probably no longer possible or helpful.
Some of our membership was denied admission for too many years. Other fine conductors
have been rejected for making a youthful mistake 5, 10, or 15 years ago. Perhaps it‘s time to
forgive.
Yesterday we heard memorials for nine beloved members and two associates. Then we
introduced five new members. Do the math on that one, folks. Classes accepted in the past
have run from none to 28. There is nothing wrong with accepting ten or 15 new members
each year. Again we just need to do our homework as sponsors.
To quote from member Dick Bowles, ―Kill ‗dem pullets an‘ y‘all got no hens.‖
Membership is not just about new members. It‘s keeping all the fine elected members active.
Some choose not to participate, and this is a common and regrettable scenario in all
organizations. Perhaps a later date for our convention, not so close to the CBDNA convention
would be beneficial to both of our organizations. I know I cannot attend both, but I choose the
ABA. Others must make their own decisions.
12. The Associate Members have always been here to support the ABA. Should their role
change? Should they become more active? If so, how? New associates have new ideas, and
we need to listen to their suggestions.
13. We need to be of more help and guidance to the public school music teacher. What kind of
mentoring can we all do? Ed Lisk and his committee have done so much to address topics
central to the survival of school music. Perhaps through the ABA Foundation we should be
sponsoring the workshops given by Ed Lisk and Bill Gora, such as the Mid-West Clinic did
last summer.
14. One of the great things that has happened to our organization is the formation and success of
the ABA Foundation. We will soon have discretionary funds to spend on worthwhile projects
and enrich our conventions. Who will control the funds and how?
15. Publicity and visibility need constant attention, and what a job Ed Kruth and his committee
have done to improve these areas. I think we have had more information about ABA in our
state and national publications than ever before. Thanks also go to Max McKee for his help
in this area.
16. And finally, technology can help us to both aid the public school teachers and increase our
visibility. Many of us do not use the computer, but most teachers throughout the country do.
One of my undergraduates assembled material for an ABA web site, and although it needs a
more artistic layout, it is a starting point and refinements can be made from here. This
information will be very useful for everyone interested in who we are and what we do. The
address for the web site will be published in the next newsletter and the various national
publications. I have an overview of the pages on slides.
(Short demonstration of ABA Web Site)
If anyone wants to view this more thoroughly, I have it on my laptop computer, I have it on
discs for Macintosh and IBM, and I have a hard copy of all the pages.
In closing, Marcia and I would like to thank you for the honor extended us to lead this great
organization and would like to leave you with these two thoughts:
First, remember that in the concert of life there is no program; do what you need to do now,
not later; take time to enjoy your family and friends.
And second, may the roof above our heads never fall in and the friends below never fall out.
1997 ABA Annual Report
WALTER C. WELKE (1905 - 1975)
Hugh McMillen, President of the American Bandmasters Association, read the names of those members
who had passed on since the last meeting. This list included Walter C. Welke, who passed away on
February 16, 1975. He had been a member of ABA since 1939.
1975 ABA Annual Report
HARRY J. WENGER (1906 – 1992)
Harry Joseph Wenger was born on October 5, 1906 to Swiss-German immigrant parents on a farm near
Wayland, Iowa. He died in Mesa, Arizona on January 26, 1992 at the age of 85.
Harry‘s music journey began in the Wayland High School band, playing the Montgomery Ward cornet that
he shared with his brother. In 1932 he graduated from the University of Northern Iowa with a Bachelor of
Arts degree. He began teaching at the Mt. Pleasant, Iowa high school, where he handled all the music:
band, orchestra and choir. During the Depression of the Thirties, Harry was hired to replace three music
teachers at Le Mars, Iowa. In 1936 he became director of music at the Owatonna, Minnesota junior and
senior high schools. His bands, orchestras and choruses won numerous superior ratings in national
competition. Harry was strict and demanding, but his students loved him. As he walked to and from
school, he looked like the Pied Piper with his entourage of laughing boys and girls. He was particularly
proud that he had organized a choral group at the Owatonna High School called the Carolers. The chorus is
still a popular performing group.
Harry was mechanically inclined. He first designed metal stands for his band; then a sousaphone chair that
would comfortably support the large instruments. In an interview with the Owatonna Peoples‘ Press, Harry
recalled the invention:
One summer my brother and I set about making a chair for the sousaphone. We came up with
some of the oddest monstrosities you ever saw, but finally came up with one that worked. We
made about a dozen of them and had no trouble selling them.
In 1947 Harry took a leave of absence from teaching to start the Wenger Music Equipment Company. His
first factory was a horse barn, which rented for ten dollars a month. Although Harry returned to the
classroom to teach part time, he resigned in 1950 to devote all of his time to manufacturing.
Among Harry‘s numerous honors and awards were: The Music Educators National Conference special
recognition for ―Outstanding Service to the Music Industry Council‖; the Minnesota Music Educators
Association Distinguished Service Award; the Edwin Franko Goldman Award from the American School
Band Directors Association; and the first Richard V. Madden Fortissimo Award from VanderCook College
of Music. Harry was also a member of the Music Industry Council for twelve years, two as president. His
company was elected to ABA Associate Membership in 1960.
Harry used his teacher training to guide his employees to do their best jobs. He expected perfection, but
was patient and persistent. Today the Wenger Corporation employs over 300 people and has customers
around the world in schools, universities, municipalities and churches. Their specialized equipment, such
as acoustical shells and stage platforms, has been used by thousands of organizations, including the
Metropolitan Opera, the New York Philharmonic and London‘s Royal Albert Hall.
Although Harry was known as ―Owatonna‘s Music Man,‖ his company is his greatest claim to fame. Harry
believed in the Great American Way of free enterprise and his dream came true. A talented, wise, hard-
working and much-loved man has passed away. We will all miss him.
1992 ABA Annual Report
PEARL LEONARD WEST (1914 – 1999)
Pearl Leonard West was born on September 18, 1914 in Dean, Iowa and died in Coralville, Iowa on
January 23, 1999 after a lingering illness. He grew up on a farm outside Moulton, Iowa. His interest in
music began at an early age, since almost everyone in his family played an instrument. He became
proficient enough on the baritone horn to join the family band, touring county fairs in southern Iowa and
Illinois. Pearl switched to the tenor sax in high school. The Moulton school did not have a band program,
so during his last year in school he traveled about twenty miles every day to the school in Centerville, Iowa
in order to participate in their band program.
Pearl attended the University of Iowa, graduating in 1940 with a Bachelor of Music degree. While at the
university he was active playing the tenor sax in local dance bands. He continued playing the saxophone
until less than a year ago. In 1941 he opened a one-room musical instrument repair shop in Iowa City with
a partner who was a dance band colleague. The store, called the Peterson-West Music Company, had to
curtail operations when the United States entered World War II. The repair shop was then relocated at the
Huyett Music Company, a sheet music distributor in Iowa City. During the war Pearl taught music in the
Iowa City Schools and repaired instruments after school hours. He played saxophone and clarinet in area
dance bands and served as secretary of the local musicians‘ union.
In 1945 Pearl reestablished his own business, the West Music Company, and quickly earned an excellent
reputation as a repairman, teacher and performer. His retail store thrived with an active school rental
program and the addition of many new product lines. Pearl‘s hospitality to band directors and industry
representatives from the early days of his business until his retirement is legendary.
In the Sixties and Seventies Pearl researched, designed and began building his own flute in the basement of
the family home. He made about thirty of the handcrafted instruments. In the mid-seventies he acquired
the rights to the Platz Oboe, which he also manufactured. In 1977 Pearl became the exclusive distributor of
the Japanese Miyazawa flutes. For 22 years he collaborated with Masashi Miyazawa in the design,
manufacturing and marketing of the flutes.
Pearl was involved in and supported numerous industry programs. In 1966 he was elected to the Board of
Directors of the National Association of Music Merchants. He belonged to the National Association of
School Music Dealers and was a founding member of Omega, a music industry research group. In 1984 he
served as president of the Flute Industry Council. The West Music Company was elected to Associate
Membership in ABA in 1973.
Pearl was a loyal and dedicated member of our organization and a frequent and generous contributor to the
ABA Foundation. He was truly a model of what an Associate Member should be, and we are a better
organization for having had him among us.
Pearl retired as president of the West Music Company in 1979, at which time there were stores in Iowa
City, Coralville and Washington, Iowa. Now there are others serving Iowa in Cedar Rapids, Cedar Falls,
Waterloo and Ottumwa.
Throughout his forty-year career, Pearl was an avid supporter of, and advocate for, music education,
working closely with band directors to enhance music programs throughout the Midwest. He just enjoyed
making music.
1999 ABA Annual Report
MANLEY WHITCOMB (1913 – 1987)
Manley Whitcomb was born in Mellon, Wisconsin on January 21, 1913 and died in Tallahassee, Florida on
November 20, 1987—two months short of his 75th birthday. Because of failing health, he was unable to
attend our meetings for several years.
He earned both his bachelor‘s and master‘s degree at Northwestern University, where he played solo cornet
for Glenn Cliffe Bainum. Hugh McMillen and Dick Madden were his classmates. Manley was greatly
influenced by Bainum and patterned his bands and style of rehearsing them on Bainum‘s methods.
In 1935 Manley accepted a position as brass instructor at Ohio State University. Four years later he
became director of the marching and concert bands. His teaching duties were interrupted from 1943 until
1946 while he served his country as an Army Combat Infantry Sgt.
Returning to Ohio State, Manley was appointed chairman of the instrumental division of the School of
Music. He was one of a group from Ohio State eventually elected to ABA: Dick Madden, Clare
Grundman, Jack Evans and Don McGinnis.
In 1948 Manley shared what to him was wonderful news when he told Jack and Don, ―I just got a telegram,
and I was elected to the American Bandmasters Association!‖
In 1952 Manley and Ohio State University hosted our annual convention. Manley was on sabbatical in
1953 when he finished his Doctor of Education degree at Columbia University Teachers College. He then
accepted the position of Director of Bands and Coordinator of Music Education at Florida State University,
eventually becoming the Chairman of Music Education.
As a member of a number of music associations and fraternities, he was elected National President of the
College Band Directors National Association and served as National President of Kappa Kappa Psi. He
was also a Phi Mu Alpha Sinfonian.
Jack Evans, an associate of Manley at Ohio State University, summarized some of his achievements in this
way:
Whit was an outstanding musician with a keen sense of showmanship. He was an innovator,
always looking for new, better and more efficient ways of doing things. Among the things he
brought to the marching band were: the use of charts for each bandsman; the establishment of
standard spacings on the field; the five line scoring system of music arrangements; the eight to
five system of standardized length of steps; the use of a planning board for better perspective of
formations; and the use of band steps.
Whit was a most unusual man—brilliant, scholarly, a fine musician and excellent conductor, an
outstanding teacher and a great band director. He was also a warm, friendly and caring person,
held in high esteem and deep affection.
1988 ABA Annual Report
WILLIAM C. WHITE ( - 1964)
Chief Warrant Officer William C. White, retired Army Band Leader, was a former member of The
American Bandmasters Association. He was born in Centerville, Utah, and was a graduate of Harvard
University. He served for 41 years as an Army band leader and composer. He was principal of the Army
Music School at the Army War College during World War I. In 1919 he led the 75-piece Army Band at the
New York welcome for Gen. John J. Pershing on his return from Europe.
CWO William White began his career as a soldier-musician with the 10th Coast Artillery Band at Fort
Banks, Boston, and later served as adjutant of the Army Music School in New York. In 1928 he started a
six-year tour of duty in Hawaii. From June 1946 until his retirement in 1948 he led the 321st Army Band.
Later, promoted to Lieutenant, he was the author of ―A History of Military Music in America,‖ ―Unisonal
Scales, Chords and Rhythmic Studies,‖ ―Military Band Arranging,‖ and ―Tone Building and Intonation
Studies for Military Bands.‖
Lt. White took an active part in the early day school band program. He judged the 1926 National School
Band contest in Fostoria, Ohio. He, together with John Philip Sousa and Edwin Franko Goldman, made the
recommendation for instrumentation for school bands, which recommendation was adopted in 1927. He
was the composer of several marches, the best known of them being, perhaps, ―American Doughboy.‖ He
was buried in Arlington National Cemetery on October 2, 1964.
1965 ABA Newsletter
CHESTER E. WHITING (1900 – 1985)
Lt. Col. Chester E. Whiting died at Walter Reed Army Medical Center on March 21, 1985. He was eighty-
five years of age. Elected to ABA membership in 1948, he served on the Board of Directors in 1955 and
1956. He became our President in 1964.
A native of Massachusetts, Chet began his musical career at the age of thirteen. Following his graduation
from the New England Conservatory of Music, he became the Director of Instrumental Music in the
Malden, Massachusetts public school system.
A great part of Chet‘s career was spent in the service of his country. In the early Twenties he joined the
110th Cavalry Band of the Massachusetts National Guard, serving as its director for sixteen years. During
World War II, Chet was the leader of the 26th ―Yankee‖ Division Band with combat duty in the Pacific
Theater. Later he was appointed Commanding Officer of the American Division Band and was awarded
the Legion of Merit and the Bronze Star for meritorious service. Before the war ended, Chet returned to the
United States to form the First Combat Infantry Band, whose primary duty was to support War Bond
Drives. At the end of the war, Chet organized the United States Ground Forces Band, which was later re-
designated as the United States Army Field Band. Under his leadership, the band became world-renowned.
He was Commander-Conductor until his retirement in 1960.
Although Chet was recognized as a great bandmaster, he composed a number of marches, authored several
books and devoted his waning years to promoting education in the public school system of his Maryland
Community. He served as a member of the Prince Georges County School Board for many years.
At appearances in concerts during his forty-five year career, millions of people in this nation and abroad
applauded Chet‘s work.
1986 ABA Annual Report
President Whiting‘s Address - 1965
The American Bandmasters Association was organized 37 years ago. From what I have read of the
proceedings of the first convention, one year later, it is a rather astonishing fact that there were fashioned
then only Four Major Objectives which, during the intervening years, have served us well as our modus
operandi.
So well did the founding fathers of our great fraternity construct its framework, that what we have done
since amounts to but an extension, or a fuller development, of their original concepts. Let us briefly re-
examine these four objectives in the light of a progress report:
ONE: In cooperation with all of the music publishers, the American Bandmasters Association
should work for the adoption of a universal instrumentation, for better band arrangements, for
improved printing methods, and for a revised nomenclature of the instrumental parts.
With many thanks to the music publishers—and most special thanks from those of us who conducted bands
as far back as the Roaring Twenties—we can claim much progress toward this goal. Because the band
itself has been constantly undergoing change and revision, we still find much disagreement among
bandmasters and composers of what should rightfully constitute the ultimate in instrumentation. Perhaps
we have even changed our minds about the advisability of an international instrumentation which would of
necessity lesson one of the most attractive features of the band—the variety occasioned by endemic
groupings and practices. But it is obvious that from its inception the American Bandmasters Association
has provided stimulation and guidance in improving the quality of publications for the band.
TWO: To influence composers of this generation and generations to come to write seriously for
the band.
Within two years after its organization, the American Bandmasters Association induced many prominent
composers to write original compositions for the band. In 1948, Mr. Ernest Ostwald, long a staunch friend
of bands, offered an award ―for self-expression to a young musician of outstanding talent to composer a
band march.‖ Acting upon the advice of the sagacious Lt. Col. William Santelmann, Mr. Ostwald changed
―march‖ award to ―an Award for more effective contemporary music for the symphonic band.‖ A
committee was selected from the membership of our Association and charged with the dual responsibility
of establishing the rules governing the Award and selecting the winning composition.
The first Ostwald Award was presented during the 1956 convention, but unfortunately Ernest Ostwald did
not live to witness its presentation. As a tribute to Ernest, his brother Adolph has carried on this great
work. In 1956 there were 12 contestants; this year there were 85.
THREE: To raise the standard of the concert band.
FOUR: To convince the public that the band is entitled to enthusiastic support.
Because there is an obvious reciprocal dependence between these two objectives, I should like to treat them
as one. The bandmasters themselves have done much since the organization of our great fraternity to
capture the support of the public, by their efforts to raise the standards of the bands. However, it took more
than their efforts, for without the cooperation and assistance of our Associate Members, the combined
efforts and abilities of the Goldmans, the Sousas, and the Simons could not have raised the concert band to
its present state of excellence.
Therefore, it is appropriate, on this 37th anniversary of the founding of the American Bandmasters
Association, to express our gratitude to the Associate Membership for the great contributions they have
made in making far less difficult our task in presenting to the American public the best in band music. To
the publishers of music, the publishers of our various magazines, the manufacturers of musical instruments,
of accessories, of equipment—to all who produce the working tools of our profession—our sincere thanks.
Nor can we fail to include the dealer—the grassroots man, the local band director‘s advisor, friend and
neighbor.
Delving more deeply into the deliberation of those early days of the Association, we find some very
interesting topics. Many years ago, Dr. Edwin Franko Goldman, to whom we forever shall pay tribute as
the father of our organization, in his third presidential message emphasizing his stand upon one of the most
controversial subjects of the day, stated:
At the first two conventions the relative merits of the cornet and the trumpet were discussed and it
was unanimously voted that the cornet should be restored to its regular place in the band. We
want cornets, as well as trumpets, but both should be used in their proper places.
And to Glenn Cliffe Bainum is attributed the following:
Our drummers have been too inexpert; the drums they select have been too noisy; our arrangers
have been too lavish with the ink; and too frequently our conductors have had their eardrums
pounded into a state of partial insensibility to tonal balance.
At the same convention J.J. Gagnier enthused:
Just fancy a band with a complete section of 20 B-flat sopranos, 2 altos, 2 basses and 2 contrabass
clarinets!
Well, I choose not to comment. I simply offer these quotations for whatever comparisons you may wish to
make between then and now.
Not having been endowed with an uncanny power of introspection, I cannot predict what will be said at the
convention 37 years from now. Perhaps the ―relative merits of the cornet and the trumpet‖ will be
discussed. Maybe the first bandmaster to reach the moon will relate his experiences on hearing some really
―far-out‖ music! In any event, I can safely leave to a distant incumbent in this high office those things
which he may prefer to discuss thirty-seven years from now, only expressing the hope that he will dutifully
deposit a copy of his remarks in the by then voluminous files of the Research Center.
This Convention terminates my administration, but it will not bring to an end my zealous efforts to bring to
our American youth more band programs by means of the radio, a medium too long neglected by most of
us. I have dismissed, at least for the immediate future, any thoughts of trying to get bands on television, for
television producers are not presently in favor of band programs. I doubt, however, that this is so with
radio. The tremendous number of people who listen to radio at home and in their cars should not be
underestimated; nor can we fail to recognize their appetite for something other than the kind of music to
which they are exposed from morning till night.
That we have not been hearing band music on the radio for many years is, to a large extent, the fault of the
bandmasters themselves who, either through apathy, or disinterest, have not done a good selling job. Many
of you can recall those days when bands of the services, of industry, and of our universities, broadcast
weekly. These concerts were carried by practically every station in the country, in addition to regularly
scheduled programs—and radio time was at a premium then. There is no reason why our youth should any
longer be denied the great inspiration which these bands can afford them. This can be done, if we will
make an effort to get back in the broadcasting business. It is my contention that if we make serious effort
to bring to the American public, through the radio, those bands over which we hold leadership, it should not
be too long before sponsors will become interested in engaging professional bands. That is my ultimate
goal—and in building an approach to it I ask your cooperation.
In closing, I should like to write two cards of thanks. The first one I address to Mr. James Lamb Dixon, the
donor of our souvenir program; the man whose friendship and philanthropy have transformed into a
delightful experience what, for me, would have been an overwhelming task. The second I address to you,
my colleagues. I thank you for honoring me with the Presidency, and, for the cooperation you have given
me during my administration. I urge you to continue the warm and friendly spirit which has been the
moderator over our every act and discussion this past year. The American Bandmasters Association is a
generous and tolerant organization. These qualities were best exemplified a year ago when an humble man
was granted the privilege of sitting at the right of our great Honorary Life President, Dr. Frank Simon—
musician pre-eminent and noble servant of our fraternity. Especially for this honor am I profoundly
grateful.
1965 ABA Annual Report
FRANK WICKES
President‘s Address - 1998
At this time I would like to present what is customarily referred to as ―The President‘s Address.‖ After
witnessing the charm and style of the addresses of my predecessors, I realized once more what large
footsteps I must follow.
I confided to one of my dearest friends and long-time ABA wife how I thought the Presidents‘ addresses
were eloquent, and worried that I too needed to be somewhat eloquent. She responded by saying, ―Well,
Frank, you better not be too eloquent or they‘ll know it‘s not you!‖ Then when I told a very supportive
Past President how honored I was to be in this office, he replied, ―Well, just remember, it wasn‘t
unanimous!‖ My 91-year-old father, who on numerous occasions in my younger days often put me in my
place, laughed heartily at both these remarks.
What I am about to say are only my own thoughts. I present them to you because I have the privilege of
presiding over this forum at this time.
I frequently remind myself not to forget that ABA is an honorary organization. It is not only an honor to
belong to ABA, it is a high honor. Most of us, at some point, have probably wondered how we got into
ABA. To a person, however, whether we are in attendance or not, we were honored to have been invited to
membership.
It is my responsibility as president to preside over a convention where exciting things are happening and
where significant changes are being proposed. I don‘t know what the results will be, but I do know that
during the past year several people for whom I have the utmost respect were quietly working very hard to
structure these changes properly. As any administrator surrounded by top notch help will tell you, the best
course of action in those situations is probably to stay out of their way and let them do their jobs.
So it was with our many committees and task forces. Here, in Biloxi, we will focus on several important
issues.
Our Ostwald composition contest is the granddaddy and most prestigious of a growing list of national and
international band composition contests. For over 40 years it has been fulfilling Edwin Franko Goldman‘s
dream of developing a significant, original repertoire for the concert band. This week we will hear
recommendations to consider changing the format of the Ostwald Award. After talking to many of you,
including at least six composer members, I wish to go on record as favoring a return to the annual contest,
that we consider raising the $5,000 annual prize, and that we rescind the commission as soon as it is
convenient. In my judgment, it is the contest itself and the prestige which accompanies it that produces the
composer‘s best work. In addition, not all composers have found it easy to fulfill the commission
obligation within the year immediately following the prize because they are backlogged with other
priorities. Jim Keene‘s work on this ABA task force has been substantial and he will produce important
information in his report later in the convention.
This week we will also consider important changes to the ABA Constitution. After many hours of careful
perusal of both the old and the revised documents, I will urge approval of the monumental effort put forth
by Don McGinnis and his committee. He and they have restructured and modernized the constitution with
continuous and meticulous input without altering the original intent. Don‘s remarkable two-year effort has
been a tremendous achievement and is the work of one of our most brilliant past presidents. Don, I could
not be more grateful that you offered to continue with this work during my presidency. A heartfelt thank
you to you, your hard-working committee, and your charming wife and typist, Ruth.
Consideration of new members is among the most important business conducted at any annual convention.
For many young members (and some older ones for that matter) the process may be mystifying and is often
questioned. It behooves all of us to reflect on the poignant memorials delivered by John Yesulaitis during
the past two years, some 20 cherished members in all. What a remarkable job John does with this
extremely difficult task. But this year we have responded by nominating 21 certified candidates.
Our membership chairman and vice president, Bryce Taylor, has handled this task beautifully. He has also
worked diligently to revise the current membership evaluation form by removing ambiguities in an effort to
clarify the evaluation process.
In support of Bryce‘s work, Ken Bloomquist has been preparing a clarification of the step-by-step
processes of new candidate member identification, nomination, and sponsorship starting with our regional
convention caucuses. Both men hope to make it easier for all of us to enter into sponsorship when we
believe the right person is out there. I ask for your enthusiastic support of their excellent work.
We are all proud that our Foundation assets have now surpassed the quarter of a million dollars mark. I
personally believe that the Foundation will soon reach limits only dreamed of a few short years ago. The
decision to invoke the expertise of our Associates, including making Nick Peck chair, was wise indeed.
Why? Because business people understand big business practice. That‘s their forte and the Associates are
more than willing to assist us in our efforts. Soon we may need to assist the Foundation, perhaps through
the enrichment committee, by suggesting additional worthy projects that will benefit ABA. The ABA
Research Center at the University of Maryland is in need of our attention. Appointing Fred Boots as
Historian was a much needed step in the right direction. When I visited the center in the old library two
years ago with Rich Bergman, I was distressed to see that those files were somewhat in need of upkeep and
reorganization. At that time they happened to be shelved immediately next to the Mid-West Clinic files,
which were carefully catalogued. Nearby were also the complete files of MENC. I hope all of us will
support a strong effort to upgrade these archives and if it‘s manpower as well as financial support that‘s
needed, so be it.
The ABA Foundation finances have been superbly recorded and managed by its treasurer, Victor Zajec.
Few people in ABA are more thorough. The good news is that much of those carefully catalogued Mid-
West files next to ours at Maryland were also the work of Vic Zajec. I‘m not suggesting anything here,
Vic, but as you celebrate your 75th birthday…, I secretly hope that either you or your personally selected
ABA clone can somehow assist Fred Boots. May you live to be 150!
I also hope that you young members of ABA will sense the loyalty and dedication that some of the
members mentioned here bring to ABA. They are the stuff of which ABA is made, and they are wonderful
people to emulate. Take full advantage of our convention to get to know these great folks. Don‘t wait!
Our ABA breakfasts help.
There is much additional work to be done.
This organization very much enjoys the ―Friendship Directory,‖ which includes pictures and bios of all
Members, Associates and Significant Others. It was last assembled by Barbara Buehlman in 1996. Shortly
after Christmas I was able to retrieve all the files and correspondence pertaining to that directory from
Kelly Jocius of the Mid-West Clinic. The 1996 cost of the project was approximately $5,000 to ABA, with
the Mid-West picking up postage and printing of envelopes. I was told that assembling the picture and bios
was a very difficult project, but thanks to Barbara‘s tenacity, it was accomplished about as well as it could
be done. It is my hope that we can find both a sponsor and, most importantly, a committee chair or
volunteer who would agree to update this project by suggesting changes, and perhaps developing a new
format which would allow for the insertion of individual pages when new members are welcomed to the
organization.
Dick Thurston also tells me that it is again time to reprint ―Lest We Forget,‖ the complete membership
history of ABA. I have also suggested to Stan Michalski that he investigate updating the ABA Orientation
Handbook, which is distributed to new members and which includes a brief history as well as outlines the
convention customs of ABA. These projects take both energy and financial support. So as some of our
committees disappear with time, other new ones are needed. We invite both your energetic input and your
personal involvement as we approach the 21st century.
Finally, ABA is both an organization of strong character and an organization of strong (real) characters.
ABA is, most of all, fun. We have fun here and allow time for it. I very much enjoy the time I spend with
all of you and the many experiences we share together. So it is time for me to end with my favorite ABA
member story. I promise it‘s all true!
Two years ago in San Antonio we were all captivated by Ken Bloomquist‘s wonderful parable of the geese
and how the flock works to helps its own stay together. Ken is a member of the Snowgoose Clan who lives
so far north that only Harry Begian, Martin Boundy and Cliff Hunt understand why. Ken loves to come to
the deep South, and when I called him last week he was practically headed out the door to come to Biloxi.
Well, such was the case in 1984 when this great snowbird (goose) from Michigan flew south and picked up
another member of the flock, that great volunteer from Tennessee, J Julian, and both found their way to
Florida to judge with me at the Daytona Beach Music Festival. There we were in May judging the sights
together in coats and ties as we drove our rental car up and down Daytona‘s hard beaches while witnessing
both the chuckles and the gesture of the bathers. In those days the Daytona Beach Music Festival had a
marching contest on Friday evening and a concert contest on Saturday. So we gathered to eat in the
crowded hotel restaurant on Friday evening for dinner. The hostess seated our party of six around a
circular table and in the center of each table was a small open jar with a lighted candle in it. The menus
given to us by the waitress were quite large and were made, of all things, of parchment. Ken was so happy
to be in the warm climate and so engrossed in his dinner choices that he didn‘t realize his menu was
suddenly bursting into flames. We all jumped up and with everyone in the restaurant staring at us we
finally put out the flames, fanned the smoke away and settled back to the table. After much nervous
conversation and with considerable laughter we were able to finish dinner. We then proceeded to the
stadium to judge the marching contest. One of the bands during the contest had a squad of eight majorettes
which had disappeared behind the drum line to prepare for their final number. As you might expect all
eight majorettes suddenly began to file around the drums and through the brasses to take their positions
front and center with lighted fire batons. When they were all in place and twirling away, J Julian in his
own inimitable style, clicked off his cassette, looked over in our direction and said….‖Oh, look, Ken,
they‘re twirling menus!‖
Ladies and Gentlemen, such is the fun of people of ABA. God bless you all!
1998 ABA Annual Report
CHARLES ALBERT ―Pete‖ WILEY (1925 – 1992)
Charles Albert Wiley, known to us as ―Pete,‖ was born in Abilene, Texas on March 2, 1925 and died as the
result of a stroke in Moscow, Russia on June 2, 1992. He received his early musical training in the public
schools of Abilene and Lubbock. Pete served in the Navy during World War II as a navigator on a tanker
ship. During this time he studied at Columbia and Tulane Universities. After the war, Pete earned the
Bachelor of Science degree in mathematics from Texas Tech, where he played oboe and was the drum
major in the band, conducted by his father, D.O. Wiley. Pete attended the University of Kansas for one
year, where he was drum major and played oboe in the band conducted by his uncle, Russell L. Wiley.
Pete earned his Master of Music degree at the University of Texas and his Doctor of Education degree at
the University of Colorado. His teaching career began in the Austin, Texas High School as assistant band
director under ABA member Weldon Covington.
In 1952 Pete became the director of the Lamar State College of Technology 15-piece band! His goal was
to make the Lamar band and music department major institutions, a task that lasted 31 years, during which
time Lamar became a University. The student body grew from 1,500 to 16,000, the band from 15 to 350,
and the music department from 20 to 140 majors. Pete reached his goal against great odds. His first budget
was $1,500, with ten $90 annual scholarships. Eventually he raised $50,000 for a permanently endowed
scholarship program. Additionally, there was an annual budget of $100,000, with an extra $20,000 for
band scholarships.
Although many opportunities for other positions presented themselves, Pete chose to remain at Lamar
University until the job of laying a solid foundation was done, as his father had done at Texas Tech, and his
uncle had done at the University of Kansas.
Pete was elected to ABA membership in 1963, the third member of the Wiley family to become an ABA
member, along with his father, D.O. Wiley, and his uncle, Russell Wiley. Pete served on the ABA Board
of Directors in 1981 and 1982, and was chairman of the ABA/Ostwald Committee.
He was a member of Phi Beta Mu, Phi Mu Alpha, the Texas Music Educators Association, the Texas
Adjudicators Association, and was a past national president of Kappa Kappa Psi. In 1977 the School
Musician magazine named him one of the ten most outstanding band directors in the United States for that
year. Six years after Pete retired from Lamar University, the Texas Bandmasters Association gave him his
most surprising and cherished award when it selected him their ―Texas Bandmaster of the Year.‖
The Lamar Symphonic Band performed by invitation at five conventions of the Texas Music Educators
Association, at three national MENC conventions, at a regional convention of CBDNA, and at three
different ABA conventions. Pete‘s band also toured Mexico on five separate occasions.
In 1973 Pete founded TRN Music Publishers, Inc. For ten years he was the editor and publisher on a part-
time basis until his retirement from Lamar. He then moved his company and residence to Ruidoso, New
Mexico. His numerous publications are a testimony of his composing and arranging talents.
Pete Wiley was a very religious man. He said that every good thing in his life was a gift from God. Pete
Wiley was God‘s gift to us.
1993 ABA Annual Report
DEWEY O. WILEY (1898 – 1980)
Dewey O. Wiley, known to many as ―Prof‖ or to a few as ―D.O.,‖ is also known as ―the father of the school
band movement in Texas.‖ He died on December 29, 1980 at the age of eighty-two. He was elected to
membership in The American Bandmasters Association in 1936.
D.O. was born in Alexander, Texas, April 17, 1898 and grew up in Graham, Texas, where his father
worked a small farm. His early musical training began in elementary school when he taught himself from a
mail-order violin method and miraculously learned correctly such fundamentals as bowing, fingering and
hand position. Later, while still in high school, he made frequent trips to Ft. Worth to study with the Dean
of Music at what is now Texas Wesleyan University.
D.O. attended Midland College where he conducted the college orchestra, played tackle on the football
team, and while in college married his high school sweetheart, Willie Ruth Cole.
In 1921 he went to Simmons College in Abilene where he conducted the college orchestra and taught
violin. One year later he was also appointed director of the college band.
In 1923 the Chamber of Commerce in Abilene asked Wiley to taken the band to San Angelo for the West
Texas Band Contest. He objected, saying that the band had no uniforms. The Chamber of Commerce
countered that they would outfit the band and asked Wiley to select a design. He came up with cowboy
boots, chaps, a purple and gold cowboy shirt, and a ten-gallon cowboy hat. Thus was born the famous
Cowboy Band. They entered the 1923 contest and lost, but won other contests to become the official band
of the West Texas Chamber of Commerce. In the twelve years D.O. served as director of the Cowboy
Band, they toured all over the United States and Europe. The band played fourteen performances in
London at the Palladium Theater, and in many other famous theaters of Europe, such as The Hague in The
Netherlands.
In 1934 D.O. accepted the post as band director at Texas Tech University and in a short period built the
band to one of the largest and finest bands in the nation, with some 175 members enrolled.
When D.O. retired in 1959 many of his students had become leaders in music education. Among them
were his brother Russell, who was the band director at the University of Kansas, and his son ―Pete,‖ who
has been the band director at Lamar University since 1952. Both are members of The American
Bandmasters Association.
D.O. earned his unofficial title as ―Father of Texas Bands‖ partly because of the large number of his
students who became Texas band directors, and partly through his pioneer work with the Texas Music
Educators Association. The forty years during which he played an active part in the Texas Band Teachers
Association and the Texas Music Educators Association were marked by phenomenal transition of music
education in Texas, from a period of a few town bands, a few so-called school bands and orchestras of an
extracurricular nature, to a period in which the Music Educators of Texas achieved a level of national
leadership in the performance level of its bands, orchestras and choirs.
D.O.‘s influence for good went much father than music: he was a man of great Christian principles who
believed in being completely honest and in telling the truth at all times. As a man he will long be
remembered as an example in Christian living as well as an inspired teacher of music. The band field has
lost a great friend.
1981 ABA Annual Report
―DEWEY O. WILEY—The World Famous Cowboy Band‖
Presentation by Francis McBeth—March 24, 1994
In September of 1922, Dr. Jefferson Davis Sandefer, President of Simmons College in Abilene, Texas, was
faced with a serious problem. His band director, Mr. W. O. Hurwood, a piccolo player by profession, had
joined a circus band that summer without notifying Dr. Sandefer of his intention not to return.
The president and his administration persuaded the very reluctant orchestra director and violin teacher,
Dewey O. Wiley, to take the position. This was a few years before D. O. Wiley (father of Pete Wiley)
would found the TMEA and become an ABA member.
Wiley took the band, turned it into an all boys band and renamed it the Cowboy Band after the sports
team‘s mascot, which were the Simmons Cowboys.
I am presenting this very short history because it may have been the most famous university band in the
1930s in the South and was definitely the most famous university band in Europe. Also, it probably
graduated more ABA band members than any other private college of fewer than 2000 student enrollment
in America. It supplied the major band leadership in West Texas for 20 years, leadership which was
instrumental in the foundation of the band movement in Texas.
It is evident in the first roster of the original band of 1922.
Director: Dewey O. Wiley (ABA member)
Cornets: Clarinets:
Baker Cummings J.C. Burkett
A.C. Harper Clark Meador
Edwin Hart Euell Williams
Conrad Lam
Jack Morris Piccolo:
W. Aubrey Stephenson Ernest Yeatts
Willie C. Watts
Saxophones: Trombones:
Harvey Austin L.E. Derryberry
Raymond Bynum (ABA) Dewey Smith
Theron Cahill
Sam Donnell Baritones:
Wendell Foreman Murl McCasland
Bryan Hull Gracen Pack
Jack Perry
Earl Powell Basses:
Gilbert Sandefer Fred Farmer
R.W. Webb Raymond Morrow
J. Russell Odor
Alto Horns: Drums:
Rudolph Adams Joe W. Jackson
Earl Livengood J. Lowell Littleton
J. Phinis McBeth (father of Francis McBeth)
The national recognition from 1922 to 1930 is too long to discuss here. They performed from Arizona to
Florida for rodeos, fairs, political events—hundreds of affairs, from the opening of the International Bridge
at El Paso to the Confederate Soldier Reunion to the reception for Admiral Byrd‘s return from the South
Pole. They became so famous that the Texas House of Representatives put in their minutes in Austin,
Texas, ―The Cowboy Band is the greatest and most famous college band in the United States.‖ But all of
these accolades, coming from everyone from the governor of Chihuahua, Mexico, to Will Hayes, the movie
czar in Hollywood, to a recording contract financed by Southern Music Company on the RCA Victor label,
were nothing compared to their European success of 1930. By the way, one of the recorded works on the
RCA Victor label was the Cowboy Band March written especially for them by Herbert L. Clarke.
In June 1930 the band left New York Harbor on the huge liner, the S.S.Leviathan for England.
I must mention that this was very unusual for a university band. It was not like today where any college
group can go to Europe if each member ―comes up‖ with several thousand dollars. This was a business
venture, not a vacation.
At the Palladium Theatre in London a one-night engagement was held over for two weeks with two
performances a day. It was the rave reviews in the London papers of the Palladium performers that
guaranteed their European success. After twelve performances in Newcastle, they sailed for Holland and
Europe with sold out performances at the Tushinsky Theatre in Amsterdam, the Dierentium Theatre in The
Hague, the Grand in Rotterdam and then on to Paris.
Upon their return to England, their booking at the Hippodrome, England‘s second largest theatre, produced
this review in the London paper:
Hippodrome.—It is more the manner in which the Texas Cowboy Band, and those who help them,
present their show than what they actually do, which gives such relish to their item. Though they
are students from the Simmons University in Texas, they possess the secret of showmanship. As
for their work itself, it is excellent. The precision and harmonic quality of the band—all brass and
reed instruments—is extraordinarily good, and no less entertaining are the rope spinning and
stockwhip tricks with which they add variety to their performance.
After their return to America, D.O. Wiley, because of the huge success of the band, was lured away to
Texas Tech in Lubbock.
The baton was passed at Hardin-Simmons University in 1934 to Marion McClure, who was a snare
drummer on the European tour. Marion McClure remained as band director until his death in 1973.
During the McClure years the band‘s work and fame grew to the point that it became an incorporation.
This incorporation was run by four men and the university. These four men were Marion McClure,
president, and his three aides: Sheriff Will Watson, Johnny Reagan and Gib Sandefer. The last three men
are stories in themselves.
Will Watson, known as sheriff because he had been a commissioned Texas Ranger, had been with the band
from the beginning and was in charge of packing logistics in their travels and took care of the six white
horses that always were in front of the band at all parades. The horses were ridden by girls who each
carried one of the six flags that Texas was under. Watson had a long show business background. He had
been a contracting agent for the Tex Austin Shows in Europe, the Buffalo Bill Shows in Mexico and the
Ringling Brothers Circus. He remained with the band until his death in 1963.
Johnny Reagan (W.L. Alexandra) was born literally in the shadow of Windsor Castle and was entitled by
birth to go into the King‘s Royal Horse Guard in which his father was a trumpeter. At five feet two inches
tall, he was rejected, and at the age of 18 he left home to go to Australia as a working cowboy where he
learned ropes and whips.
After three years he returned to England as a star performer with a rodeo called ―Wild Australia.‖ Later he
was with Miller Brothers 101 Ranch Show and the Tex Austin Rodeo Show.
Reagan was in the audience at the London Palladium at the first show the Cowboy Band played. He saw
them each night and followed them back to America and was their star attraction from 1930 until 1950.
The fourth member of the group was Gib Sandefer who was the band‘s business manager from 1927 until
1946. He left this position to go as business manager of the Navy Band and the Marine Band in
Washington where he was the tour manager for both of these bands for almost 30 years.
It was during the 1930s that Will Rogers was attracted to the band, probably because of their western flair
and superb rope tricks of Reagan. Will Rogers helped the band financially and they performed for him. He
left the band his rope, some hats and one of his saddles.
With the coming of World War II a new but short period began. McClure was drafted and Ringling
Barnum and Bailey Circus shut down for the duration of the war. Merle Evans, the director of the Circus
Band, came to Hardin-Simmons University as the band director until the end of the war when McClure
would return and the circus would start back up.
These war years are so vivid in my memory. I was in the third, fourth, fifth and sixth grades, and my father
was teaching at Hardin-Simmons University. I watched in complete awe as Merle Evans conducted with
one hand and played his cornet with the other. Having come from the circus added another exotic aura
about him that caused me, as a child, to dream that some day I would be as good as he was.
Six years after the war, in 1951, I became a member of this wonderful band. It had been my goal since
before I started to school. During my college years I traveled all over the United States and Europe,
playing in this band, from Rome to Iceland, from the Phoenix Rodeo to Madison Square Garden, from
early TV in Dallas to the Tex McCrary and Jim Faulkenberg show in New York.
In 1952 we were engaged by Senator Cabot Lodge to play the Eisenhower Rallies in New York City that
were being held to try to get Ike to run for President. I bought my wife‘s engagement ring with the money I
made playing these rallies.
In 1953 we won an audition to entertain the troops in Europe. U.S. Camp Shows chose four show groups
to work four theaters of operation, the Aleutians, Japan, the South Pacific and Europe. The four shows
chosen were Eddie Fisher, Ray Milland, a group of starlets and the Hardin-Simmons University Cowboy
Band. In the final audition we won the top flight, which was the European tour.
We played the Opera House in Nice, France to the Titiania Palace in Berlin, from the hangar deck of the
carrier U.S.S. Leyte, to the Klaus House in Munich (which was Hitler‘s former private club), Iceland to
Oxford, England, and would have played in North Africa had a revolution not broken out. We had our own
DC-6 and our own crew, and we could go most anywhere on a whim, which we did on New Years Eve of
1952. We were playing in Chateauroux, France and flew up to Paris for 24 hours of the new year.
The band had many outstanding musicians. The stage band had several players that had ―come off‖ big
name bands. Joe Grantham had been with the Kenton Band, Russ Griep, the Ray Anthony Band, and
others like Pat Patterson, who many of you knew as the Executive Secretary of the Texas Bandmasters
Association. I should not try to name all the successful musicians that came out of this program, but let me
list the ABA members.
I dare say that more members of ABA were produced by this one band than any other small private school
can boast. They include:
D.O. Wiley Jack Grogan
Pete Wiley Bryan Shelburne
Merle Evans Francis McBeth
Raymond Bynum
With the death of Marion B. McClure, the band became just the usual small college band, but during the
Wiley and McClure years, 1922-1970, the Hardin-Simmons University Cowboy Band was one of the best
and most traveled and colorful university bands that America‘s band movement ever produced.
1994 ABA Annual Report
RUSSELL LEE WILEY (1903 – 1991)
Russell Lee Wiley died in Kansas City on November 6, 1991, several weeks short of his eighty-eighth
birthday. He was born in Woodson, Texas on November 26, 1903 into a family of musicians. Russell
began playing the violin when he was only seven years old.
He received his bachelor‘s degree in music education at Hardin-Simmons University. His graduate studies
took him to Drake University, where he earned his master‘s degree, with additional study at Randolph
College, the American Conservatory in Chicago, and Phillips University in Enid, Oklahoma. In 1932,
while at the latter institution, he helped establish the still flourishing Tri-State Music Festival.
Russell became the band director at the University of Kansas in 1934 and was a member of the music
faculty for forty years. In 1936 he founded the Midwestern Music and Art Camp, now considered by many
to be his major legacy to Kansas University. For over fifty years the camp has attracted tens of thousands
of students. Russell was an excellent recruiter, who was able to interest some of the nation‘s finest
musicians to study and perform at the University of Kansas.
In 1968 Russell left his post as band director to spend the last seven years on the university faculty working
on the summer camp program.
An editorial in the Lawrence, Kansas Journal World spoke of Russell‘s uniqueness:
Wiley‘s manner, his professionalism, his carriage and insistence on doing things right almost to a
degree of being a perfectionist, all combined to place him in a special category.
He was elected to membership in ABA in 1939. He was a member of Kappa Kappa Psi and the Kansas
Band Directors Association.
Russell was the recipient of many honors and awards. He was named Band Director of the Year by the
Kansas Band Directors Association and was initiated into the Kansas Music Educators Hall of Fame for
outstanding musicians. Phillips University conferred on him an honorary doctor‘s degree.
At Russell‘s memorial service, Bob Foster eulogized him in these words:
He has joined the true ―Maestro,‖ the great conductor and the real orchestrator, in a greater place.
And if there was not a concert band and a music camp there when he arrived, I suspect that there
will be one soon…. and that the heavens will resound with a new and joyous sound, as he rejoins
his former students and colleagues who have preceded him to that ultimate ensemble where there
are no ensemble or balance problems, and where rehearsals always start on time and concert
conflicts do not exist. No more long bus rides. Where you never march in the rain and snow,
where parts are always prepared, and budgets are no longer a problem…where never is heard a
discouraging word, and the skies are not cloudy all day.
1992 ABA Annual Report
Note: The 1995 Annual Report noted the death of Charmaine Wiley, wife of Russell, on October 6, 1994.
ARTHUR L. WILLIAMS (1902 - 1973)
Jack Mahan, President of the American Bandmasters Association, read the names of those members who
had passed on since the last meeting. This list included Arthur L. Williams, who passed away in 1973. He
had been a member of ABA since 1950.
1974 ABA Annual Report
Arthur Lyman Williams was born on April 21, 1902 in Oberlin, Ohio. As a young man, Williams was a
charter member of Jack Wainwright‘s Oberlin Boys Band. He earned an A.B. from the Oberlin College of
Arts and Sciences and a Bachelor of School Music from the Oberlin College Conservatory of Music in
1925. In 1932-1933 he was a student of Gordon Jacob at the Royal College of Music in London. Williams
also earned an A.M. from the Western Reserve University Graduate School in 1943. Williams was highly
active in music education, especially in Ohio. After teaching high school in Michigan, Williams was
appointed to the faculty of the Oberlin College Conservatory of Music in 1928. He founded the Ohio
Intercollegiate Band Festival in 1929, and the Ohio School Orchestra Contests in 1929. He served as
President of the Ohio Music Education Association in 1931-1932 and founded the state music education
publication Triad.
Williams married Mary Eleanor Maltbie on June 23, 1932 and was elected to the American Bandmasters
Association in 1950. He died on February 19, 1973.
ABA Research Center, Arthur Williams Collection
The 1982 Annual Report noted the death of Mary Williams, wife of Arthur, on August 26, 1981.
EDGAR WARREN WILLIAMS (1916 – 1984)
Edgar Warren Williams, known as ―Jack‖ to his friends, died on September 18, 1984 at the age of 67. He
earned his Bachelor of Arts degree at the University of Tampa and the master‘s degree at the University of
Maine. Prior to his retirement in 1982, Jack taught at the Winter Park High School in Florida for 34 years.
During his musical career he was also associated with Rollins College, Florida State University, the
Universities of Florida and Colorado, and served as a clinician for the Florida Music Educators
Association.
In 1976 Jack was the recipient of the prestigious MAC award for his outstanding achievements in the field
of school music and three years later was elected to membership in The American Bandmasters
Association, an honor that meant more to him than any other. He was also honored by the Phi Beta Mu
honorary fraternity.
A Past President of the Florida Bandmasters Association, he was for twenty years the chairman of the
state‘s music selection committee.
Early in 1984 he was honored by the University of Central Florida at their annual music festival. They
staged a ―Tribute to Edgar Williams,‖ the proceeds from which established a scholarship at the school in
his name. The Winter Park High School also established a scholarship in his memory.
The supervisors of music for Orange County paid this tribute to Jack:
He was the leader, the pilot, the man who set the standards for bands throughout the state. His
bands were the benchmark to which all others aspired.
1985 ABA Annual Report
Note: The 1995 Annual Report noted the death of Priscilla Williams, wife of Edgar.
JAMES CLIFTON WILLIAMS (1923 – 1976)
Harold Walters read this eulogy.
Dr. James Clifton Williams, 1923 – 1976. Traskwood, Arkansas was the birthplace of James Clifton
Williams. Miami, Florida was the termination of his fifty-two years. Jim lost his father at an early age, and
the family moved from Malvern, Arkansas to Little Rock. From that time on, his life was greatly affected
by the American Bandmasters Association. ABA Charter Member A. Austin Harding called his students
―his musical children,‖ and Jim was one of his ―grandchildren.‖ ABA member L. Bruce Jones was Jim‘s
musical father and a guiding one for many years. Jim‘s education continued at Louisiana State University
and the Eastman School of Music, interrupted only by his service in the Air Force Band during World War
II.
His awards were many, again stimulated by the ABA, as he was the recipient of two Ostwald Awards,
which laid the groundwork for most of his future publications.
Jim was a proficient performer on the French horn, even in the ABA Band. His compositions of serious
music were for the band, orchestra, chamber ensembles, and choral groups. He was a member of the music
faculty of the University of Texas for seventeen years, and since 1966 was head of the departments of
theory and composition at the University of Miami. Jim was keenly interested in Phi Mu Alpha Sinfonia,
and one of his favorite works was dedicated to that fraternity. He was elected to ABA in 1968 and he said
that he enjoyed the annual conventions because that‘s where he saw most of his friends. He was a guest
conductor at last year‘s [1975] convention in New Orleans.
Jim was deeply saddened by the recent deaths of his student John Barnes Chance and his close friends
James Dunlop and R.B. ―Scrubby‖ Watson. Jim is survived by his wife Maxine, four daughters, and five
grandchildren. A family project was their horse farm in Miami, called the Hunting Horn Stables.
Jim was a talented and exacting artist, uncompromising on quality and always searching for new ideas.
Typical of his life‘s outlook was his remark to a band that presented him with a plaque praising his music.
He said, ―Some people have a den filled with antlers and beer mugs, but my trophies are from young people
with whom I‘ve worked in music.‖
He always enjoyed the foreign tours he conducted with his Young American Musicians Abroad.
Dr. James Clifton Williams showed us that artistic greatness and a feeling for humanity can co-exist in one
human being. We of ABA should subscribe to the philosophy in which our deceased colleague believed:
―Ars Longa Vita Brevis‖ – Art is Eternal, Life is Short. His legacy to us is his music, which will live
forever.
1976 ABA Annual Report
Note: The 1996 Annual Report noted the death of Maxine Williams, wife of Clifton.
GEORGE CLAY WILSON (1908 – 2001)
George Clay Wilson was born on September 28, 1908 in Champaign, Illinois and died on February 24,
2001 in St. Louis Hospital. He was educated in the public schools of his hometown and attended his
hometown university, where he earned his undergraduate degrees in music and music education. Although
George‘s instrument was the violin, he was very interested in the concert band and was a student under
ABA Honorary Life President A.A. Harding. George was elected president of the band his senior year.
Following his graduation from the University of Illinois in 1931, he accepted a position at Kansas State
Teachers College as director of band and orchestra and remained in that post until 1939. During this period
he also managed to earn a Master of Arts degree from Teachers College, Columbia University. From 1939
to 1946 George was an associate professor and director of bands at the University of Arizona. In 1946 he
was appointed professor of music and director of band and orchestra at the University of Missouri. He
remained in that post for eleven years. He performed with the university string quartet as violist.
In 1957 George was appointed Vice President of the National Music Camp at Interlochen, and later became
director of the camp. In the same year George was awarded an honorary Doctor of Music degree by Philips
University.
During 1970 and 1971 he served as interim president at Interlochen. He was principal conductor of the
Interlochen High School Symphonic Band for 22 years and was the principal conductor of the World Youth
Symphony Orchestra for 13 years. He conducted the World Youth Symphony Orchestra in appearances at
the Ravinia Music Festival in Chicago and at the International Society of Music Education conferences at
Interlochen in 1966 and London, Ontario in 1978. He was a frequent guest conductor of the Interlochen
Arts Academy Symphony Orchestra and guest conducted at the Academy of Music in Philadelphia, at
Orchestra Hall in Chicago and at Lincoln Center in New York.
George was also the permanent conductor of a number of orchestras: the Ann Arbor Civic Orchestra, the
Jackson (Michigan) Symphony, the Northwestern Michigan Symphony and the Tucson (Arizona)
Symphony. George also served as president of the Michigan Civic Orchestra Association.
George made numerous appearances as guest conductor, advisor and adjudicator, both nationally and
internationally. In 1973 he was guest conductor with the Oporto National Symphony in Portugal. Later
that year he spent three weeks in Manila as advisor to Imelda Marcos, First Lady of the Philippines,
assisting her with the development of a National Arts Center. He returned there in 1976 for the dedication
of that facility.
In 1995 George spent three weeks in Japan as clinician and conductor of the first All-Japan orchestra and
band clinics in Hamamatsu, Nagoya, Yamagata City and Tokyo.
During four visits to Israel, George worked with the music foundation and government representatives in
the development of a music camp modeled after Interlochen. In 1985 he returned to conduct the Israeli
High School String Orchestra and in 1988 led workshops for the conductors and teachers of the
Community Youth Orchestras. His numerous other appearances included those with the University of
Michigan Band, Cass Tech High School Band, University of Illinois Symphonic Band, the Wheaton
College Band, and the official Army, Air Force and Marine Bands. He guest conducted at the Mid-West
Band and Orchestra Clinic, the Mid-East Clinic in Pittsburgh and the Tri-State Music Festival in Enid,
Oklahoma.
George was a member of Phi Mu Alpha Sinfonia, Kappa Kappa Psi, Pi Kappa Lambda, Phi Beta Mu and
MENC. He was elected to ABA membership in 1948 and served on the Board of Directors in 1963 and
1966, was our president in 1965 and became an Honorary Life Member in 1998.
George was a Past President of the Arizona Educators Association. In 1989 at their golden anniversary
celebration, the association honored him as one of the founders of that organization. George was also a
Past President of the Missouri Music Educators Association, and that group elected him to the Missouri
Hall of Fame for distinguished service to music education.
It may be of interest to note several other highlights of his varied career. George was honored by the
Interlochen Board of Trustees with a portrait and a citation. When he retired as Vice President of the
Interlochen Center for the Arts, he was elected an Honorary Trustee. He received the Medal of Honor for
distinguished service to music education from the Mid-West Band and Orchestra Clinic and was honored
by the National Federation of Music Clubs. He was the recipient of the first Distinguished Alumnus Award
granted by the University of Illinois School of Music.
The last ten years of George‘s life were spent in a St. Louis retirement home, where he often gave lectures
on music and presented recordings of his own concerts to his fellow residents. Seven years ago George
suffered a stroke and was unable to speak. He eventually recovered his speech and it began in an unusual
way—his first utterance was musical—he sang ―Take Me Out to the Ball Game.‖ We are indebted to
George‘s daughter Suzanne for providing us with many relevant insights. Suzanne observed that, in spite
of his ordeals, George always had a positive outlook. Although in failing health he found something to be
thankful for every day. George and his notable contributions to the music profession gave all of us
something to be thankful for.
2002 ABA Annual Report
President Wilson‘s Address - 1966
Distinguished Colleagues, Members of the American Bandmasters Association—
With deepest humility I stand before you in this moment. I am grateful for a year of the finest cooperation
from you, richer because of this year and in deepest admiration of your great talents and dedication to the
band movement.
Thirty-eight years ago, when those nine charter members, men of kindred spirit and dedication, gathered to
create this great organization, they planned so well and established our course so wisely that today our
opportunities are greater than ever. One of those men, our Honorary Life President Dr. Frank Simon, still
provides abundantly of this great heritage and inspiration. He has the admiration of all of us as he
continues to give of himself to those whose lives he touches. What an example he continues to set before
us!
Dedicated men, with such illustrious careers, as are represented in the ABA membership could easily let
the ABA surrender its obligation to the present and future. To your credit, your own personal and
distinguished leadership is still the prime force on the contemporary band scene. To deal with one‘s past
achievements is important, but not enough. Our leadership for tomorrow is needed and fortunately being
furnished.
Standards of band instrumentation, which the ABA and its members helped to develop through the years,
guide contemporary usage in the band field. True, tomorrow‘s path is bound to be different, but we should
expect the direction of thinking and the weight of leadership to continue to be furnished through our
membership.
The stimulation given contemporary creative efforts for the band through the twelve years of activity of the
Ostwald Band Composition Award and through the individual contributions of many of our members has
greatly enlarged and developed the band‘s repertory. To Adolph Ostwald, the Ostwald Company, and
those men who have served so faithfully through the years, we all owe a debt of gratitude. Many similar
competitions have been established through the years, and we are proud that this one continues to attract
and develop so much fine literature for the band.
Your own individual commissions, established through your separate organizations and through the efforts
of your sponsors, have produced additions of great musical wealth to the band literature. A singularly
important force has been the very real inspiration from the talented pens of many of you as you continue to
enrich the body of band literature. Thus we salute your great talents and your many creative contributions.
That the ABA should have sponsored, developed and promoted the nationwide campaign to raise money
for the Sousa Memorial Concert Hall in the new Cultural Center in our nation‘s capital is no accident. For
years the ABA has sought the opportunity to establish a fitting memorial to its first Honorary Life
President, John Philip Sousa. This great man, who wrote, conducted and marched his way across this land
and around the world, whose musical magic left an imprint on the band that still motivates us, will be so
enshrined in this national monument. We acknowledge our great debt to all who have worked so hard in
the ABA through these years to bring this about, especially to Colonel William Santelmann, Colonel
George Howard, and Mr. James Dixon. What a fitting place for this Memorial in the great new Cultural
Center in Washington, DC. How appropriate that this Concert Hall should be dedicated to John Philip
Sousa, whose music reached so many hundreds of thousands and through this monument can continue to
furnish music to millions for years to come. This great effort needs our best support.
A vital need on the band scene was met a few years ago when Paul Yoder, as President of the ABA, had a
dream, believed in its importance and proceeded to establish the ABA Research Center and the ABA Band
Journal. In recent years these are two of the most significant things that have happened in the entire band
movement in this country. First, it is enabling us to ensure our record of the past, and secondly, to meet, in
a fine scholarly manner, our obligations to the present and future. We owe a great debt of gratitude to Paul
Yoder, to the University of Maryland, to Hugh Henderson and all those who have been so closely
associated with these endeavors.
I have already discussed with the Board of Directors, the ABA‘s responsibilities to these major committee
activities. They range from the need to assume complete responsibility for some committees, to others
where we only share in the work. Friends and other organizations have supported part of the activities of
some committees and are able to continue to function efficiently and effectively, and thus do the tasks set
before them.
Civic and community bands are still a vital need on the American Scene. What happens to the thousands of
fine young high school musicians after they reach adult life? How can the civic-community band
movement realize a more complete fulfillment of its role in our musical life in America? The one
organization that can and should do more for these activities is the ABA. At this convention you will enjoy
the contribution that is being made by a community band near Evanston, as well as have called to your
attention the years of professional band activities in and about Chicago as we pay tribute to two of our
colleagues, Harold Bachman and Glenn Cliffe Bainum.
A year ago President Whiting expressed a strong personal interest in seeing the development of more radio
exposure of band music in the United States. To this end a committee was formed, but its work this past
year was never able to get under way since the requests for assistance fell on indifferent ears among us.
Paul Yoder has conducted a band radio broadcast for some time and it has met with excellent response.
During the past year the radio station WIAA at Interlochen has produced over thirty broadcasts featuring
many of your bands. These are available for use elsewhere. There must be many such endeavors across
the country, about which we have no information. This is an opportunity and obligation for us and I hope
the next year will see a great interest develop in increased radio exposure for band music.
During the past year the Smithsonian Institute has made some repeated efforts to develop band concerts ON
THE MALL at the Institute in Washington, DC. They have sought our assistance and advice which Major
Gilbert Mitchell has helped provide for the ABA. This may become another opportunity for us to serve
additional band concert interests.
At the first convention of the ABA emphasis was given the importance of the cornet in the concert band. I
know that many of you share my concern for more use of the cornet in our bands. Among our membership
in the ABA are the finest teachers and artists of the cornet in America. Let all of us encourage, foster,
promote and develop more interest in this important member of the band tonal spectrum—the cornet.
Not possessing prophetic powers, but able to contribute from the experiences of this past year, as the 28 th
President of the ABA, it is my opinion that the American Bandmasters Association faces some crucial
decisions in the immediate future. Our opportunities for service to the band world have never been greater.
The support and energies we devote to our established projects and committees will determine the
usefulness of our future. Your active support of every endeavor we undertake and the contributions of your
great talents are necessary to see that the ABA continues to serve, to build—―to seek to establish for the
concert band higher standards of artistic excellence‖ and to thus gain additional musical stature for the
band—a cause to which we must be determined and dedicated to give our fullest devotion.
1966 ABA Annual Report
MAX WINKLER (1888 – 1965)
Max Winkler was another ―self-made‖ man who rose to the top of his profession by hard work and
determination. He was born in Reiszka, Romania and came to the United States at the age of 18. He soon
was given work by Carl Fischer, Inc., an ABA Associate, in their stockroom. Max quickly observed that
musicians playing for ―silent movies‖ must either do considerable improvising, or carry considerable music
in order to play appropriate excerpts for the many and fast-moving scene changes.
In 1918 he founded the music publishing house of Belwin, Inc. in New York City and became a pioneer in
the production of background music used in these early days of motion pictures. It was in 1951 that he
moved his Belwin Company to Rockville Center, Long Island, and it was under his guidance that Belwin
became one of the leading publishers in the world.
Max was a member of the American Society of Composers, Authors and Publishers. He was presented
with a testimonial plaque by the Nassau Music Educators Association. He was a member and past
president of Temple Emanuel. His well-known and widely read book, ―A Penny from Heaven,‖ was a
wonderful expression of his appreciation and gratitude for the opportunities accorded to him in the United
States. He was a leader in community life and in religious and philanthropic affairs.
Max Winkler was one of my long time and highly respected friends. He and I exchanged many ideas in our
discussions of school music programs, business affairs, teaching methods, music, and general business and
politics. Also we exchanged many stories, for which Max was noted. The fact that he could see the
humorous side of even the most serious matters recalls to mind the time that Max, Jack Echols (now
deceased, but then with C.G. Conn, Ltd.), and myself were enroute to one of the famous University of
Illinois Band Clinics (the Dr. Harding Clinics). This was about the time that Adolph Hitler began his first
tirade and persecutions of the Jewish people. We all agreed that such unreasonable cruelty and persecution
should be stopped, and also agreed that if Hitler was not stopped that we might also find him in the United
States. Then Max‘s blood ―really boiled‖, and he criticized, condemned, damned and berated Hitler and his
ilk. He ended his condemnation by stating that although he knew he would be killed almost immediately if
Hitler did invade the U.S. and he, Max, expressed such condemnation, yet he would procure a gun and seek
every opportunity to kill Hitler. Jack Echols listened to Max without interrupting, and then with a twinkle
in his eye said to Max, ―Max, the trouble with you is that you are prejudiced!‖ Max broke into one of the
biggest and longest laughs I have ever heard, and for years after that he would often close any letter that he
might write me with some really clever reference to his being prejudiced.
Max and Mrs. Winkler (Clara) were regular attendants at ABA Conventions up until poor health somewhat
limited his travels. Survivors are Mrs. Winkler, a daughter Mrs. Friedman, two sons, Martin and Harold, a
sister Mrs. Van Baien, five grandchildren and a great grandson. Son Harold heads the Luverne Music Co.
of Rochester, New York and son Martin is a member of the Belwin organization.
1966 ABA Newsletter
ROBERT A. WINSLOW (1931 – 2006)
Robert Winslow passed away on September 23, 2006 following a distinguished musical career. He was
born in Erie, Colorado in March of 1931. He graduated from South High School in Denver, Colorado and
began his college education at CSCE, which is now the University of Northern Colorado. His education
there was interrupted by service in the U.S. Air Force during the Korean War. Following the war, he
continued his education at the University of California at Los Angeles and earned a B.A. from the
institution. This was followed by a M.A. from California State University of Northridge and a Doctorate
from the University of Northern Colorado.
Dr. Robert A. Winslow joined the faculty of North Texas State University, later to become the University
of North Texas, in 1975 and retired from the College of Music in 1993 with the title Director of Bands
Emeritus, after eighteen years on that faculty. Previous to North Texas, he held similar positions at the
University of California at Los Angeles and at Boston University in Boston, Massachusetts. He became a
conductor of national and international reputation, conducting bands and orchestras and served as an
adjudicator throughout the United States and in Europe and Japan.
In 1998 Dr. Winslow enjoyed a three-month stay in Tokyo, Japan, conducting the wind ensemble at the
Musashino Academia Musicae. The wind ensemble toured Japan, performing before audiences totaling
over 5,000 and recorded a CD in Beethoven Hall at Musashino.
Dr. Winslow recorded and performed as a percussionist with many of the great conductors and composers
of the world, including: Zubin Mehta, Georg Solti, Eugene Ormandy, Seiji Ozawa, Andre Previn , Igor
Stravinsky, Carlos Chavez, William Kraft, Lucas Foss, John Cage and Elliott Carter. For many years he
was a regular member of the Los Angeles Philharmonic Orchestra and the Hollywood Bowl Symphony
Orchestras. He was an original member of the Los Angeles Percussion Ensemble under the direction of
William Kraft and was a freelance performer for television, motion pictures, recording and musical theater
in Los Angeles and Boston. He was a founding member of the Percussive Arts Society and served on the
first PAS executive committee.
Dr. Winslow was elected to membership in the ABA in 1987. Other personal awards and recognitions
include: Regents Professor at the University of North Texas; installed into the Alumni Hall of Fame at the
University of Northern Colorado in the early 1990s and into the School of Music Hall of Honor. He
received the University of North Texas Student Association Honor Professor Award and was twice
recognized by Mortar Board as an Outstanding Educator. He was a member of Phi Beta Mu and a life
member of Kappa Kappa Psi. Additionally, he was a member of the jury for the Sudler International Wind
Band Composition Contest and the ABA/Ostwald Composition Contest.
Dr. Winslow retired with his wife Jody to Silverthorne, Colorado, and later Tucson, Arizona, where he
remained active as a guest conductor. After 8 years they moved to Queen Creek, Arizona to be near their
daughter Rachel and her family. He thrived on the company of his grandchildren.
2007 ABA Annual Report
GENE WITHERSPOON (1919 - 1979)
ABA President Donald McGinnis read the names of ABA members who have died since the last
convention. This list included Gene Witherspoon. He was elected to ABA membership in 1971. Gene
was the band director at Arkansas Tech University from 1950 to 1979. He passed away on January 15,
1979.
1979 ABA Annual Report
AL G. WRIGHT
President‘s Address - 1982
Some fifty or more years ago in 1929, ten distinguished bandmasters from the United States and Canada
were brought together by Edwin Franko Goldman for the purpose of organizing an association dedicated to
the raising of the standards of bands and band music.
The make up of the membership of that founding group reflected the type of bands that flourished at that
time, and so it included many conductors of professional and military bands, these being the predominant
bands of the time.
Today the mix of our membership has changed somewhat, but still reflects the kind of bands we have in the
United States and Canada, and so it appropriately includes a considerable proportion of conductors from
universities, college and school bands. Fine composers have always been a part of our membership.
The ABA membership selection process has always been careful and rigorous. In the early days when
communication and travel were more time consuming and bandmasters did not know each other as well as
we do today, one of the early membership requirements was a difficult and scholarly musical examination.
This was eliminated after several years as individual assessment and evaluation became an easier
possibility.
Our membership in the ABA has grown relatively slowly but always with much consideration—and rightly
so, because it is the quality of the membership that assures the quality of the organization itself.
The ABA is a powerful force for establishing and maintaining high standards of band music and
performance of band music in the world today. As I said, we don‘t accomplish this by organizing clinics
and seminars, although a great many of our members are involved individually in those activities. Rather,
our influence for the good of bands and band music comes from the high standards of performance
demonstrated by our own bands and the high standards of the quality of the music we select for
performance on our programs.
As an organization, we do not ordinarily become involved in organizing a large number of projects.
Rather, we are sensitive to the changing needs of our profession and from time to time set in motion
machinery that will help ourselves and others meet and solve the needs and problems of our profession as
they are identified.
Some years ago the ABA saw the need for a scholarly journal in the band field and through Paul Yoder,
Acton Ostling and now John Long, caused to be established the ―Journal of Band Research‖, which is now
supported by and is of benefit to all of the several band organizations extant.
In another area, wishing to perpetuate the memory of John Philip Sousa, the ABA recognized the need to
finance the Sousa Stage in Washington‘s Kennedy Center for Performing Arts and founded the Sousa
Memorial Committee, chaired by Bill Santelmann and later George Howard, which brought the project to a
successful culmination.
The Sousa Memorial Committee later went on to become the Sousa Foundation, which is now a separate
organization from the ABA.
Individual ABA members have been instrumental in organizing other and more specialized band
organizations as the need became evident. Bill Revelli is recognized as the founder of CBDNA; Col. Irons
founded Phi Beta Mu, and Jack Mahan and Milburn Carey have advanced it through the years; John
Paynter and myself the NBA; Forrest McAllister the NABDCC; and Dale Harris the ASBDA.
When the Japanese requested help in organizing their JBA, Paul Yoder went to Japan and worked closely
with them.
Convincing good composers they should write for the band genre has been a continuing ABA activity from
the very beginning. Starting with Edwin Franko Goldman and Bill Revelli, who were so successful in
doing this in the early days, followed by Ostwald (now Conn/Slingerland Award), we saw last year Arnald
Gabriel‘s commissioning of three new works for the 1981 Convention in Washington, DC. In fact, a very
large number of our colleagues in ABA have, at one time or another, commissioned original works for
band.
And so the strength of our organization lies in the individual members. You are the ABA. Its success is
your success and your success is to the credit of our American Bandmasters Association.
Some thirty or more years ago, back in 1947, when Henry Fillmore was successful in getting me elected to
membership in the ABA, his advice to me was: ―Answer your mail and keep quiet in meetings.‖ I have
tried to follow Henry‘s good advice to the letter. Answering the mail was easy, but keeping quiet in
meetings was not always so.
However, I have enjoyed these thirty odd years as a member of the ABA and particularly appreciate your
trust in electing me President of this prestigious organization. Working together with you, my friends and
colleagues in ABA, in helping bands and band music throughout the world, is certainly the most enjoyable
and rewarding experience of my professional life.
Thank you very much.
1981 ABA Annual Report
―Nomination of Al G. Wright for Honorary Life President‖
by Col. John Bourgeois
Mr. President,
It is my distinct honor to speak of the accomplishments of a true living legend. There are few among us
who can claim to have been present at the creation of many of the institutions that serve our art.
I speak of a young boy, born in London, England of Cockney parents, and who came to the United States at
the age of 7 years. He played the French horn in the Pontiac, Michigan high school band of the legendary
Dale Harris. Following graduation from the University of Miami he became the band director at Miami
High School, where he was befriended by another legend, Henry Fillmore.
Henry took the young bandmaster under his wings and mentored him in the skills that would later become
his forte…imagination and innovation.
In 1948 Henry sponsored our young eaglet for membership in ABA and his solo flight began.
He went on to roost at Purdue University where he was conductor of the symphony and Director of Bands,
and boy did he make an impact! Not only with the world‘s biggest drum, but also in introducing a truly
American attraction, ―The Golden Girl.‖
He took his Purdue Band to New York and Radio City Music Hall where the band, dressed as the Marine
Band, along with the Rockettes, played for an extended run of the premier of the movie version of Meredith
Willson‘s ―Music Man.‖
Along with Paul Lavalle, he established the McDonald‘s All-American Band. He is a past president of
ABA and CBDNA and a co-founder of NBA. Along with George Howard he resurrected the Sousa
Memorial into the John Philip Sousa Foundation, where he was President and CEO and Chairman of the
Board. He was one of the original organizers of the ABA Foundation.
In 1953 he married his own golden girl who, in her own right and dynamism founded the Women Band
Directors National Association and was the first female member of ABA.
There have been few people of such vision and dedication to whom we of ABA are indebted. Since his
election to ABA he has had 50 years of uninterrupted attendance until this year.
I am sure that you know by now that only one person could fill my mystery scenario. It is my most humble
honor to place in nomination for the position of Life President of the American Bandmasters Association
my friend and master Bandmaster, Dr. Al G. Wright.
2007 Convention
Y
JOHN YESULAITIS (1916 – 2005)
One of the American Bandmasters Association‘s most respected members, Major John Yesulaitis, passed
away on December 7, 2005 at the age of 89. John was born in Coaldale, Pennsylvania and earned his B.S.
in Music Education from the University of Maryland and a master‘s from the Catholic University of
America. He joined the Army Band in 1936, eventually rising to the rank of Captain. (He was given the
rank of Major at his retirement.) During WW II he was the conductor of the 7 th and 77th Infantry Division
Bands and served in combat conditions in Leyte, Guam, Okinawa, and with the occupation forces in Japan
and Korea. He was awarded the Bronze Star for outstanding service.
After the war, he became associate director of the U.S. Air Force Band and was the founder and director of
the Strolling Strings, a musical ensemble that performed regularly at the State Department and the White
House during the Eisenhower and Kennedy administrations.
In 1964 he moved to Chapel Hill where he became the Director of Bands at the University of North
Carolina serving in this capacity for 25 years, until his retirement in 1989. In 1975 he was named ―One of
the 10 most outstanding music educators in the U.S. and Canada‖ by Teacher Magazine. He was known
affectionately by students and friends as ―Major Y‖ and was known for far more than his musical
accomplishments. He was a member of the Newman Catholic Student Center parish in Chapel Hill, where
he served as Eucharistic minister and greeter. He was a very prayerful person, but had a mischievous sense
of humor and could tell joke after joke.
He always greeted people warmly and often with a big hug and a Werther‘s candy, even in the middle of a
church service. He took up yoga and Spanish lessons in his later years at the prompting of his daughter
Joan, and also did the crossword and Word Jumble daily. A family friend described him as ―the youngest
80-something year-old person I‘ve ever known.‖ At his passing the e-mail messages that flowed among his
friends and former students were full of his two famous phrases: ―Keep smiling‖ and ―Go home and
study.‖
Following his election to the American Bandmasters Association in 1951, he became one of our
organization‘s most beloved members. At the end of his life, John was an Honorary Life Member and also
the senior Past President in the ABA‘s historical chain of leadership. The meticulous care and sincerity
that he gave in the preparation and presentation of the ABA Memorials at each convention endowed this
difficult task with a dignity and respect that gave great comfort to all who shared those emotional moments.
He will be greatly missed at our future conventions.
In John Yesulaitis’ unique way, he continued writing the Memorials for our ABA right up to his passing,
including his own. Here are John’s own words:
I was born in Coaldale, Pennsylvania on September 27, 1916. My parents were Lithuanian
immigrants. I played Alto Horn in the high school band and orchestra and was the first recipient
of the High School Outstanding Musician medal. Graduating in 1933, I received my musical
education at the Ernest Williams School of Music. In 1936 I enlisted in the U.S. Army Band in
Washington, DC as a French Hornist. Air Force Band members Robert Cray, George Dietz and I
were the first military musicians to perform the Army Air Corps Song (now USAF) in the
competition that chose the official song.
While in the Army Band, I used to go to the Anacostia Naval Air Station that was used jointly by
the Army and Navy. I frequently hitched airplane rides. On one occasion, I flew a training flight
piloted by a Captain who became the AF Chief of Staff, Gen. Hoyt Vandenberg. I earned a
private pilot‘s license in 1941 and made my cross-country flight on December 8, the day after
Pearl Harbor.
In 1943 I graduated from the Army School of Music as a Warrant Officer Band Leader and was
assigned to the 77th Infantry Division with which unit I served in the Pacific Theatre of
Operations. I was awarded the Bronze Medal for outstanding service. I served with the occupation
forces in Hokkaido, Japan. When the 77th Division was disbanded, I became the leader of the 7th
Division Band in Seoul, Korea.
In 1946 I was assigned to the U.S. Army Air Corps Band in Bolling Air Force Base. In 1950
when the band toured Europe, the members met King George the Sixth and Queen Elizabeth at
Buckingham Palace. Two years after the Strolling Strings were formed (in 1954) they performed
for the present Queen Elizabeth and Prince Philip in a formal reception at the Pan American
Union. The reception featured Marge and Gower Champion and actress Jane Powell. I received a
commendation from the State Department for my efforts organizing the entertainment.
While serving with the AF Band, I earned my Bachelor of Music in Music Education degree at the
University of Maryland, and the Master of Music degree from the Catholic University of America.
At the University of Maryland I was awarded the Alumni Education Award for being the most
outstanding student in the Senior Class, and made the school‘s Honorary Society, the equivalent of
Phi Beta Kappa.
In 1951 I was elected to membership in the American Bandmasters Association, which was
founded by John Philip Sousa and Edwin Franko Goldman. In 1976 I was elected President of
that organization. The same year I served as president of the local Rotary Club and am a Paul
Harris Fellow. In 2004 the ABA awarded me an Honorary Life Membership.
The Strolling Strings made many appearances all over the world. One appearance took them to
Okinawa for a SEATO Conference and an extended tour of military and civilian appearances in
Japan. The Tokyo Radio and TV companies recorded several special appearances in their studios
to be played at later dates. Several days after a performance in the city of Kyrin, north of Tokyo,
the Strings stopped off to eat at a restaurant. While there, the prerecorded TV show was aired.
The waitresses were astounded to see the performers in their midst.
Numerous memorable performances took place at the White House and State Department. On the
occasion of the French Culture Minister, Pierre Malroux‘s visit, Jack and Jackie Kennedy were in
the foyer, bidding goodbye to the guests. The Strolling Strings in the background were
highlighted as the center section of Match magazine. The photo has been seen in museums and
books.
In the 1950s and 1960s the Air Force recruiting program, Serenade in Blue, was carried by more
than 2,400 radio stations nationally and 75 overseas.
In 1963 I became the band director at Chanute Air Force Base, Illinois and served until I retired
from that position in 1964. I became the Director of Bands at the University of North Carolina in
Chapel Hill, and retired after 25 years of service in 1989. I was fortunate to be at the University
during the Michael Jordan era.
I‘m enjoying retirement and try to remain active. I recently underwent surgery for stomach cancer
and am slowly regaining my strength. I treasure my associations with many people and have fond
memories of some of the greatest experiences a person can have during any lifetime.
Read by ABA Memorial Speaker Don Wilcox
2006 ABA Annual Report
President Yesulaitis‘ Message - 1976
Distinguished members of The American Bandmasters Association, honored guests and friends—
It is my pleasant duty to welcome you to our 42nd annual convention. This is my 25th anniversary in ABA.
As my year in office ends, I echo the sentiment of Past Presidents by saying that election to the presidency
is indeed the highest honor accorded any band director. This has been a happy and rewarding year because
of my association with so many unselfish people who have assisted me in this year-long venture.
ABA has had almost a half century of dedicated leadership. Our heritage dates back to the year 1929. To
briefly review our beginnings, it was in 1929 that a few band-oriented pioneers met in New York City and
charted a course which has affected all subsequent bands and band directors.
As we continue to celebrate our National Bicentennial, it is interesting to note that the Boston Historical
Society has documented evidence showing that the History of Bands in America dates back before the days
of the colonies.
One of the early leaders in our profession was Irish born Patrick Gilmore. His band was the leading
attraction in Philadelphia in 1876 during the Centennial Exposition. Gilmore had a strong influence on our
first Honorary President, John Philip Sousa, who in turn became the musician our early founders emulated.
Most of us are aware of the original goals of our founders as well as the objectives added sine then. We are
quite fortunate to have had so many able musicians who accepted the challenge to provide leadership. Now
we can boast of a long history of dedication and excellence from leaders who have contributed significantly
to the cultural growth of America and the world.
During the past year all of our committees have been working to further the ideals of our organization—and
now as we add another chapter to our history, it might be appropriate to preview briefly these
achievements.
Jack and Dorothy Lee and the convention committee are to be commended for their extensive plans to
entertain us and to look after our comforts. Jack still has a few surprises under his sombrero. He has
already told us about his plan to honor the memory of Frank Simon.
Arthur Brandenburg will talk about the Research Center.
Paul Yoder has sent an exciting International Relations resume.
Gene Allen and the Ostwald Band Contest Committee have chosen an excellent original work which will
be premiered by the Armed Forces Bicentennial Band.
The status of John Philip Sousa‘s enshrinement will be discussed by Ray Dvorak.
Last December a number of committees met in Chicago: Col. Howard chaired the John Philip Sousa
Memorial Committee meeting; Everett Kisinger represented us at the North American Band Directors
Coordinating Council session; and Earl Willhoite met with the ABA Associate Members Executive
Committee. Their reports should be of great interest.
The pictorial History of the ABA is scheduled for presentation again. We are grateful to Sam Loboda for
arranging the revised version. The live sound track will, of course, be provided by Col. Bill.
The Edwin Franko Goldman Award Citation will be announced by H.E. Nutt.
You have already received advance copies of Dick Madden‘s Newsletter and Jack Evans‘ ―School
Musician‖ reports.
Harold Walter advises us that we cannot afford to miss this year‘s ABA extravaganza on Saturday.
It was a challenging experience for me to work so closely with our officers, the Board of Directors, and the
various committees in formulating agenda and convention schedule. I am grateful for their guidance and
dedication. I am especially grateful for the guidance of Board Chairman Hugh McMillen and our
Secretary, Jack Mahan.
Just as each ABA Convention site has been pleasurable in a unique way, there is no doubt that this Tucson
meeting will continue the happy tradition of past conventions. Pat and I are grateful for your trust in us and
for the opportunity to serve ABA.
1976 ABA Annual Report
PAUL V. YODER (1908 – 1990)
Paul V. Yoder, esteemed Honorary Life Member of The American Bandmasters Association, died on April
4, 1990 in Hendersonville, North Carolina at the age of 81. He was elected to membership in 1940, when
he was required to take a very demanding entrance examination. Paul served on the Board of Directors in
1955, 1961 and 1964. He was elected ABA President in 1963 and became an Honorary Life Member in
1986.
Paul grew up in Grand Forks, North Dakota, where he played in high school bands under ABA members
Everett Moses and Leo Haesle, and the University of North Dakota Band under ABA member John
Howard. While attending the University of North Dakota, before the advent of sound pictures, he played
drums in the local vaudeville and motion picture theater and in the college dance band.
In 1930 Paul graduated valedictorian from the university with a journalism degree and was elected to Phi
Beta Kappa. Several years ago his alma mater conferred on him an honorary doctor‘s degree in fine arts.
Following six years of teaching in the public schools of Aurora, Illinois and Evansville, Indiana, Paul
entered Northwestern University where, in 1941, he received the Master of Music degree.
During World War II Paul served his country as member of the 378 th ASF Band. After the war, he devoted
all of his time to composing, arranging, guest conducting, adjudicating, and serving as a clinician. Paul
wrote more than 1,400 compositions and arrangements for band. It is not an exaggeration to say that
literally millions of school children began their band experience using the ―Smith, Yoder, Bachman Band
Method.‖
During his tenure as President of our organization, Paul realized a long-time dream when on June 3, 1963
the ABA Research Center was formally established. He also helped formulate and execute plans that made
the ―ABA Journal of Band Research‖ a reality.
Paul‘s global ventures made him an international musical ambassador. He has been called the ―Father of
Japanese Bands‖ because he introduced them to our band teaching materials and methods. Paul also shared
his expertise with bands throughout Europe and the entire world. In 1987 the World Association of
Symphonic Bands and Ensembles honored him with an award for his contributions toward their
development. Other honors came from the College Band Directors National Association, National Band
Association, American Federation of Musicians, The John Philip Sousa Foundation, Japan Band Directors
Association, The Windjammers, Phi Beta Mu, Kappa Kappa Psi, and our ABA. These honors and awards
recognized a career that spanned more than 60 years.
Paul devoted more than 40 years to the Mid-West International Band and Orchestra Clinic, serving as
advisor and member of the Board of Directors. Many of us remember those unbelievable concerts of our
own ABA Band, which Paul founded and co-sponsored for so many years. We will also remember lighter
moments when Paul served as master of ceremonies at our banquets, often aided and abetted by his dear
Rosie. None of us can ever forget his sincere devotion to ABA, and whenever ABA meets, something of
Paul will be there.
At his memorial service, John Paynter eulogized Paul in these words:
Paul was a good friend to everyone. No student was too young, no band director too small, no
composer too inexperienced, no colleague too unimportant, no issue for the improvement of our
profession too insignificant for Paul‘s devotion. He never spoke an unkind word about a
colleague. He was generous in his praise, quick to chuckle, slow to anger, and humble in
accepting all of the justified plaudits that came his way.
Paul was a unique person, a giant in his profession, a musician‘s musician—respected internationally for
his versatility, talents and unselfishness.
Paul made a request of me. He said, ―Johnny [speaking to Johnny Long], when the time comes for my
eulogy, I want you to mention my name, and just tell a few jokes.‖ In conscience, I can‘t overlook this
request. I‘ll tell just one—biblical in nature. The setting is the Garden of Eden. Adam was concerned
about Eve. She seemed disconsolate. Noting her distress, he asked Eve, ―What‘s wrong?‖ She was
reluctant, but finally turned to him and asked, ―Adam, do you really love me?‖ ―Who else?‖ There it is,
Paul.
1991 ABA Annual Report
The 1977 Newsletter reported the death of Rosalyn Yoder, wife of Paul.
President Yoder‘s Address - 1964
The one word which might best express the activities of the ABA this year would be the word
―communication.‖ I have tried to see that the membership has been informed of all of our plans and actions
through the various Bulletins, Newsletters, Reports and the like which you have received.
You have heard from all of the committee heads at some time during the year, from our secretary, vice-
president, and convention host. This year we have had two Newsletters, for which I want to thank Lynn
Sams and John Paynter. We also had a Newsletter for the wives that Mrs. Yoder wrote, and which was
printed and send out by Walter Volkwein.
I have endeavored to keep you informed of our progress in many fields through a series of Bulletins which
I hope you have found interesting. I also sent you some items of lasting interest such as the Booklet from
the AFM titled ―And the Band Plays On,‖ the list of articles concerning the History and Tradition of the
Band from the ―School Musician,‖ the bibliographies of books and magazines in the same field. There is
also an item of lasting interest for the ladies in the book which my wife has prepared from the recipes
collected from the wives of ABA and which is titled ―Cooking in Rhythm.‖ When you see this I am sure
you will realize its value as a memento of this convention and I want to especially thank Walter Volkwein
and his firm for the hours of time which they spent in preparing this book for publication.
You will hear the reports of the various committees during the progress of the convention, so I will not try
to duplicate this information now. Suffice it to say that we have several forward-looking projects which are
moving along well and which need our continuing attention through the next several years.
We are proud of the interest taken each year in the Ostwald Award. In addition to the regular report, I have
asked Adolph Ostwald to give us a brief resume of the history of this award and a list of the winning
compositions so that we may keep this information fresh in our minds.
We have continued to honor our founder through the Edwin Franko Goldman Citation, having had one
presentation at Interlochen last summer, and another will take place at the closing concert of this
convention.
The ABA took an active part in the December meeting of the North American Band Directors Coordiating
Committee which now commands the respect and attention of the entire music profession.
At the close of the convention last year, Col. Santelmann asked to be replaced after six strenuous years as
head of the Sousa Memorial Committee. However, he has worked closely with the new chairman, Col.
Howard, and it now appears that the combined efforts of all these years will finally result in the perfect
memorial to our first Honorary Life President.
Let me say here that the Sousa Memorial is not just a recognition of this great man, but rather a recognition
of the entire band movement and of bands and band directors everywhere. It will serve to give the band a
place of respect among the fine arts, which are being commemorated in this magnificent new Cultural
Center in our nation‘s capital. It means that the band takes its rightful place along with the symphony
orchestra, the opera, the ballet and the chorus.
Our newest project, the ABA Research Center at the University of Maryland, is very dear to my heart
because I helped to create this during the past year and am determined to see it grow to something that will
be important and meaningful to the entire profession. Dr. Henderson will give us a detailed report on our
progress during this convention, but I want to further emphasize the long range potential of this new
project.
I would like to see us gather all possible information at this center concerning bands and bandmasters of
every field in the United States and Canada. We want your story and the story of your community and
state. Some day this must be all put together by competent writers so that the history of the band
movement will be forever preserved.
We now have several generations of players who have been through the school band program. Almost
without exception, they look back on this as a happy and worthwhile experience. This means there are
literally millions of people who would be interested in helping to preserve the story of the band, to trace its
many origins in this country through the service bands, show bands, town bands, industrial bands and all
the other forerunners of the school and college bands of today.
We have hundreds of exciting biographies among the band directors of this nation and Canada which have
never been written. Up until this time we do not even have a published biography of Edwin Franko
Goldman, although I am hoping Herb Johnston‘s fine book on this subject will soon be published. Think of
the interesting books that could be written about Arthur Pryor, Henry Fillmore, Herbert Clarke, Giuseppe
Creatore, Charles O‘Neill, Bohumir Kryl, Merle Evans, Frank Simon, Karl King and many, many more.
Don‘t tell me that these stories are only of interest to their friends. They are the stories of American Music
and would be read and treasured by thousands of former bandsmen.
Where is the story of the music industry itself? Meredith Willson‘s famous ―Music Man‖ did exist, but for
the most part he was an honest, hard working teacher who stayed in town after the horns were sold and
made sure that the students got a solid musical foundation as well as a shiny new instrument. The stories of
hundreds of these ―Music Men‖ have never been written. The thousands of yarns about those early days of
the school band movement could fill volumes.
The ABA has never had its own publication, as far as I know. I believe that just as soon as we have
gathered enough material at the Research Center, we should try to finance the publication of a ―Journal of
Band Research,‖ which would contain articles concerning the history and tradition of the Band, biographies
of famous figures in our field and summaries of some of the wealth of information which we are beginning
to collect here.
I envision the ABA as a dynamic force in our profession. I do not think we should become simply a social
club, content to sit by while the younger organizations take over the leadership which is rightfully ours.
This is the only bandmasters group with such a wide representation of the leading men in every phase of
the band profession. Our voice is important and it should be heard. Our leadership should be strong and
decisive. If we do not accept this challenge to assert our seniority, then we will have very little to interest
the new members whom we elect each year.
At this convention you will hear an interesting lecture by Col. Bachman on ―The Role of the Band in
American Culture.‖ I would like to feel that this will be the theme of this convention. When you hear this
carefully prepared lecture, complete with sound and pictures, you will again realize the important place of
the band in our nation‘s history.
We are going to follow this the next day with a panel discussion on ―The Future Role of the Band in
American Culture,‖ in which I hope you will all take part, and in which I hope we will have some strong
differences of opinion. There is never any progress without struggle. Your opinions on contemporary
music, on the wind ensemble, on the role of the marching band, are very important. I hope you will express
them.
Most of all, I hope we can continue to kept the ABA a vital organization which commands the attention and
respect of the profession. The combined years of experience represented here in every aspect of the band
field cannot be equaled in any other group. Let us accept the challenge of our obligation to make the ABA
the strongest and most vital force in our profession.
1964 ABA Annual Report
―PAUL YODER Reminisces‖
March 29, 1984
I want to thank President Boundy for inviting me to take part in speaking about some memories of earlier
days in ABA. I was elected after taking Captain Charles O‘Neill‘s eight-hour examination, and attended
my first convention in Madison, Wisconsin in 1941.
I recall going into the hotel where someone came up and put an arm around my shoulder saying, ―Hello,
Paul, we are so glad you are here with us.‖ Imagine my surprise when I looked around to see that it was
Frank Simon! I had a picture of him in my room at home, playing a solo in front of the Sousa Band and
simply couldn‘t imagine that he even knew my name.
This was the start of a great friendship between us. I soon found out that Frank was one of whom I
respectfully called ―the characters‖ in ABA. By this, I mean those special men who were endowed with a
wonderful sense of humor and enjoyed jokes about our profession. I soon found out that the others in this
group included Karl King, Henry Fillmore and Glenn Bainum. There was nothing official about such a
group, but I found that I was attracted to all four of them. I became Frank Simon‘s best audience and he
used to save up stories for me from one convention to the next.
In later years I had several priceless letters from Karl King. In one, he wrote to congratulate me on
receiving an honorary doctor‘s degree from the University of North Dakota, in which he wrote, ―No one
deserves an Honorary Doctor of Music Degree more than you do, after all the crappy old music you have
doctored up.‖ Another time he wrote to me about the Smith, Yoder, Bachman Method Books, as follows:
―I am wondering why it took three of you men to write a bunch of scales?….I suppose each of you wrote
the ones you know and then put them all together.‖
Henry Fillmore was a real idol of mine. I loved to watch him conduct and I loved his music. He told me
he wanted to write ―happy music‖ and he did. The only tune he ever wrote in minor was ―Gypsy Festival‖
(under the name of Al Hayes), and in the last strain he repeated the original theme in major.
Henry sort of adopted me and arranged it so that I was named a judge for the Florida State Contest for
about ten years. For all of Henry‘s jovial appearance, he could hear more inner parts while listening to a
school band in the balcony than anyone I ever knew. I moved to Florida because I idolized Henry Fillmore
so much.
Glenn Bainum had helped me in many ways when I moved to Chicago and gave up teaching. I took the
ABA examination in his office at Northwestern. Of course, Harold Bachman was like a Godfather to me,
making my first connection with the Rubank Company for publication and otherwise helping me establish a
career in arranging and composing for school bands.
These men really adopted me as what I would call a ―Junior Character,‖ and Lynn Sams broke me in as a
―Junior MC,‖ my principal role in the ABA ever since. They are largely responsible for the fact that this is
my thirty-ninth consecutive ABA convention, a record that has not been equaled by anyone else, and will
probably go down a the top attendance record in ABA.
Of course, I always admit I never had a steady job since 1936, expect for two unsteady years in the
Army…so there is no reason why I should not have been to every convention since I was elected.
1984 ABA Annual Report
―Band and Its Activities in the World‖
Presented by Paul Yoder - April 1984
Ladies and Gentlemen:
First of all, let me assure you that this speech will not take the 45 minutes scheduled on the program.
Likewise, I will refrain from any of my alleged humor today since I am very proud to have been trusted
with an important, serious subject and intend to develop this as best I can.
We are met here for the third time in a joint session of the American Bandmasters Association and the
Japanese Band Directors Association—ABA/JBA—magic words in the world of bands. Our first meeting
was in Hawaii in 1974, with Richard Lum as our host, the second in Arizona in 1980, with Dr. Richard
Strange and Robert Fleming as our hosts and here we are now in Tokyo with Manabu Kasuga and Ichitaro
Tsujii as the hosts of this meeting.
History tells us that the BAND came originally from the Military and so it has continued to this day in both
of our nations. This is also true in Europe, South America and all other parts of the world. But the band
has also been fostered in many other areas including community, industrial, fraternal, university, high
school and junior high school organizations.
For a time we had a number of fine professional bands leading the way to higher standards of performance,
but now we find that the full time professional bands are largely represented by military bands in most
nations. In our country these military bands offer the best opportunity for a qualified instrumental musician
to pursue a professional career.
Professional symphony orchestras are found in many parts of the world and we have nothing but praise for
their performances. However, they do tend to play largely a repertoire of the compositions of the great
masters and for this reason have a similarity in the programs which they play.
The band, on the other hand, offers a much greater opportunity for the present day composer to secure a
performance for his or her serious works. One of our own leading composers, the late Howard Hanson,
told us in Chicago several years ago, ―The Band is the savior of the American Composer.‖ I think this is
also true for the contemporary composers in all nations.
This fact leads to my own theory that the band, in its highest state of development, truly represents the
national spirit of every country. This spirit has been fostered for many years by the Confederation
International of Popular Music (CISPN), an organization devoted to the serious music of the people, not
only folk music or the current music for singing and dancing. CISPM already has made great strides in
encouraging the most able composers to contribute works in the feeling of each individual nation.
To pursue this theory further, it is my opinion that the Band more truly presents the musical mood of each
individual country and also performs this music with a distinctive national instrumentation. I attended
several meetings of CISPM in Europe where an effort was made to standardize the international
instrumentation of the Band. So far, this has not been successful and I feel that it is important that every
nation should retain its own combination of instruments in order to truly present the distinctive style of its
own country.
This means to me that the band is the one organization that can most successfully perform their own
national music including the works of their native composers. Most band musicians are amateurs and the
majority of band conductors are citizens of the country in which they live, which means that the band music
is truly the music of the people in every nation.
We now come to the problem that the bands in all nations would like to also play music of other countries.
This becomes a problem for the publishers. I have worked with music publishing firms who attempted to
issue an International Instrumentation. This is being done currently by some English and American firms
and there may be others about which I do not know. However, the big problem is that such an International
Instrumentation must include three sets of TROMBONE parts—three in concert pitch, three in the Bb
transposition in treble clef, and three in the Bb transposition in the bass clef. The four French Horn or Eb
Alto parts would add up to eight parts and the Basses with both Eb and BBb instruments along with the
various transpositions would add up to five separate Bass parts. Such multiplicity usually puts the selling
price of an individual publication too high for the average band budget.
This situation would be ideal if ALL players could learn to transpose readily so that any band might
purchase the original publication from any given country. It would also be possible if publishers would
allow any band to write out the necessary parts after buying the original publication. The publishers
throughout the world have been the band‘s best friends over the years. I am sure they would like to have
their own catalogues played around the world, but they must help us in some way to accomplish this.
A new international organization was recently formed through the leadership of the American College
Band Directors Association with Frank Battisti and Bill Johnson providing the initiative. This
organization, know as the World Association of Symphonic Bands and Ensembles (WASBE) first met in
Manchester, England in 1981 with great success. In 1983 we met in Skein, Norway with thirty nations
represented and a total membership of more than three hundred. Bands from eleven countries performed
and some excellent Clinics and Panel Discussions were presented. Membership is open to all individuals
interested in the band‘s future development. A number of publishers from several nations are members and
are working on just such problems as I mentioned earlier.
The position of band director carries wide and varied responsibility. In our schools and universities, it is
often necessary for one individual to be in charge of a symphonic or concert band, a marching band, a jazz
band and various ensembles. This sometimes becomes the work of an entire staff of band directors. As
much as many of these would like to concentrate on the concert organization, it is essential that these other
types of bands also be maintained.
With the advent of the wind ensemble, first developed at the Eastman School of Music by Dr. Frederick
Fennell, a new organization has become a part of the program in most schools and colleges. The wind
ensemble was conceived as a smaller group with an instrumentation of forty-five or fifty players to perform
more difficult or contemporary music with most of the parts covered by only one player. This has proved
very attractive to the players themselves and has also led to research in the music of the masters for
compositions written for wind and percussion instruments.
The nomenclature of the band varies in different parts of the world. In Europe we find brass bands, which
actually include those organizations with only brass and percussion instruments. They also have fanfare
bands, normally composed of brass, percussion and saxophones. The concert bands are called harmonye
bands or military bands, which is the usual case in Great Britain. And then of course we have town bands,
polka bands, jazz bands, mariachi bands and many others. In an effort to avoid the use of the word ―band,‖
we find wind orchestras as well as the aforementioned wind ensembles.
When I first came to Japan in 1965, I heard the National Contest, which was held in Nagasaki that year.
This contest included not only junior and senior high school bands, but also those from universities,
municipalities and bands in industry. I listened to eighty-five pieces of music that day and heard only one
composition by a Japanese. When I asked why this was, I received the old, familiar answer, ―Our best
composers do not write for the band.‖
I was so amazed at the technique of some of the young players that I suggested to the band directors that
they find composers in radio, television, motion pictures and other areas to take them out to hear some of
the bands so they would realize what these groups could really play. Since that time there are a number of
excellent Japanese composers of band music whose music is played not only in their country, but in Europe
and America as well.
I am happy to say that in the last three National Contests I have heard in recent years, the repertoire of the
junior and senior high bands would surpass that of most such events in our own country.
Superior bands now exist in many nations. I heard a wonderful band in the small town of Liria, Spain.
There are fine military bands in Holland, two magnificent wind orchestras in the London suburbs, a
splendid police band in Paris, some excellent brass ensembles in Hungary, a remarkable national youth
band in Norway, and I know that many of you here today could add to this list.
I must not fail to compliment the JBA on their success in organizing the Southeast Asia Band Association.
I attended the first meeting of this organization of which Kasuga Sam is now the Chairman, and I heard
from the representatives of South Korea, the Philippines, Indonesia, Hong Kong, Singapore and other
nations in this part of the world tell of their band activities. I also know that the JBA has visited in all these
places and assisted the band organizations. In particular, Nobuhisa Shitaya San, an important advisor to the
JBA, has gone along on many of these trips and has contributed instruments and music to the band
organizations in all of these nations. It is this kind of vision and generosity that will perpetuate the whole
band movement and make it grow throughout the world.
So what of the future? The band is riding high. We can well be proud of our accomplishments. Band
conductors everywhere are well trained musicians. There is no more ―eins-zwei-drei-SPIEL.‖ Band
directors are good people. They have studied hard and they work hard. They are progressive. Their minds
are open and ready to accept new works and new ideas. Best of all, they get along together! There is
remarkably little jealousy and envy among them. They are ―nice guys‖ and they bring their wives to
conventions!!!
I love you all! Thank you!
1984 ABA Annual Report
RAYMOND GUINN YOUNG (1932 – 1999)
Raymond Guinn Young was born in Morrilton, Arkansas on December 21, 1932 and died at the Tulane
University Medical Center on August 3, 1999 of congestive heart failure. When he was two years old his
family moved to Pontiac, Michigan. Educated in the public schools there, he started playing euphonium in
junior high school. He was a member of the Pontiac High School Band directed by ABA member Dale
Harris, who greatly influenced Ray‘s musical career.
Ray attended the University of Michigan, receiving both his Bachelor of Music Education and Master of
Music in performance from that institution. He was featured soloist with ABA Past President William D.
Revelli‘s symphonic band. Ray established himself as the leading euphonium player of his generation and
became an inspiration to thousands of young musicians. An internationally renowned artist, he performed
in Europe, Canada, Mexico, Japan, and throughout the United States, including performances at New
York‘s Carnegie Hall, Boston‘s Symphony Hall and on more than fifty university and college campuses.
His superb artistry has been preserved on numerous recordings. Unfortunately, they were never able to
capture the true essence of his unique, rich, dark tone. Presently, a memorial fund is being established to
release his older recordings on a CD.
Ray‘s teaching career began in Trenton, Michigan High School, where he was the band director for five
years. In 1961 Ray and ABA member Bill Moody joined the faculty of the University of Southern
Mississippi. Bill was the Director of Bands and Ray was Associate Director and teacher of low brass and
band methods. When Bill left the university in 1966, Ray became Director of Bands, a position he held for
six years. During this time ABA member Tom Fraschillo was a student member of Ray‘s band and was his
piano accompanist. Tom had the privilege of accompanying Ray on a solo album and on numerous
recitals, one of which was a Low Brass Symposium at Indiana University. Tom has lasting memories of
this unique association.
In 1972 Ray became Director of Bands and Head of the Music Department at Louisiana Tech University,
serving until his retirement. While there Ray was elected to ABA membership in 1986.
Ray was the first Euphonium Coordinator for T.U.B.A., the Tubist Universal Brotherhood Association.
His leadership in the early stages of T.U.B.A. was the foundation of euphonium participation in that
organization and has had long-reaching and important ramifications.
Ray was associated with a number of organizations and fraternities, including the College Band Directors
National Association, Kappa Kappa Psi, Phi Bet Mu, the Louisiana Music Educators Association and the
Louisiana Bandmasters Association, which honored him as a Bandmaster of the Year. He was also the
recipient of the Associate Arts Award of Sigma Alpha Iota. Throughout his career he was very active as
clinician, adjudicator and soloist.
Following his retirement from Louisiana Tech, he became the conductor of the City of Hattiesburg Concert
Band. We had the privilege of hearing their stellar performance at our Biloxi convention. The Raymond
G. Young Scholarship Fund was established in his honor by the Louisiana Tech University Concert Band.
Ray enjoyed life and loved to be around people. He would invite the entire marching band to come to his
home for a party. He loved to trade joke and stories. His true passion was making music and teaching. He
was a virtual legend in his own lifetime. The euphonium world has lost one of its strongest and most
dedicated proponents.
2000 ABA Annual Report
Z
VICTOR W. ZAJEC (1923 – 2005)
Victor W. Zajec was born in Chicago, Illinois on March 4, 1923 and died in Homewood, Illinois on
January 26, 2005 following a three-month illness. His parents were Slovenian immigrants who owned a
neighborhood hotel on the Southeast Side of Chicago. When Victor was a child, he was often surrounded
by itinerant musicians who made the hotel their temporary residence. Because of their influence, Victor
became interested in learning to play various instruments. He said that one time he was so intent on
learning to play the piano that he wouldn‘t let the pianist return to his room until he had taught Vic to play
―Beautiful Ohio‖ with one finger.
Victor began his formal musical studies on the cornet, but soon switched to clarinet, and after that added
the saxophone. During his high school years, he was also a member of the University of Chicago
Symphonic Band, conducted by ABA member Harold Bachman. Between his sophomore and junior years
Victor switched schools, transferring from Bowen High School to Marshall High School. This was,
perhaps, the greatest boost to his future, as he was able to play in two of the finest high school musical
organizations in Chicago—the Marshall band, directed by Clifford Lillya, and the orchestra, directed by
Merle Isaac. In addition, he participated in several small ensembles, winning superior ratings in city
contests. In 1941 he competed on clarinet in the national solo contest in Flint, Michigan, where he also
received a top rating.
Following graduation, Victor enlisted in the Army Air Corps in 1942. He served as an instructor in Basic
Electronics and Air Borne Radar, became a radar bombardier, and was assigned to the Pacific Theatre of
Operations. As a member of the 13th Air Force, he saw action as a radar navigator, bombardier in New
Guinea, Bismarck Archapelago, Southern Philippines (liberation), Borneo and Luzon.
After the war, Vic enrolled in the VanderCook School of Music, earning the Bachelor of Music Education
degree in 1950. His first teaching position as a band director was in Charleston, Mississippi in the fall of
1949. Following five years in Charleston, he became Director of Bands in Philadelphia, Mississippi. In
1958 his Philadelphia Band was invited to perform at the Midwest Band and Orchestra Clinic. During
Victor‘s nine years there, the band gained an excellent reputation for its high quality performances. An
important facet of the band‘s success was the mandate that each student must have a weekly private
lesson—all given by Victor, himself. This success was evidenced by the fact that frequently the first chair
positions in the All-State Bands were held by Vic‘s students.
During Victor‘s fourteen years in Mississippi he was President of the Mississippi Bandmasters Association,
director of several Lions All-State Bands, director of the Hamasa Temple Shrine Band, and choir director at
churches in Charleston and Philadelphia. In addition, he had his own dance combo, the Victor Williams
Orchestra, which performed at local events.
In 1963 Victor joined the faculty of VanderCook College of Music, where he completed his Master of
Music Education degree the following year. For twenty-five years he taught music theory, musical
acoustics, marching band, instrument repair, and woodwind and brass instruments and became the Dean of
the Graduate School in 1979. The College awarded him an Honorary Doctor of Music degree in 1990.
Victor retired from full-time teaching in the summer of 1988, but remained on the faculty teaching musical
instrument repair until the day before his final illness.
During Victor‘s 50+ years in music education he received many honors, including: Lifetime Membership
in the Mississippi Bandmasters Association; the Chicagoland Music Educators‘ John Paynter Lifetime
Achievement Award; the Al G. Wright Award from the Women Band Directors International; and the A.
Frank Martin Award from Kappa Kappa Psi. In addition, he was a Charter Member of the Phi Beta Mu
Hall of Fame in Mississippi and a Member of the Phi Beta Mu Hall of Fame in Illinois.
Vic‘s final musical honor came at the Midwest Clinic in December 2004, when the National Band
Association presented its prestigious ―Academy of Wind and Percussion Arts‖ medal, statue and citation.
Marilea accepted the tributes for her husband, who was hospitalized at that time.
Vic had a long association with the Midwest Clinic, beginning with the very first clinic in 1946, when he
was the solo chair clarinet in the only band to perform that year. In addition to his high school band
performing at the Midwest in 1958, Vic was on stage more than fifty times, as a soloist, guest conductor,
director of the VanderCook Band, and member of John Paynter‘s Northshore Concert Band, playing Eb
Clarinet. In 1983 he became a member of the Board of Directors of the Clinic, and later served as its
secretary. The Midwest Medal of Honor was presented to him at the 1996 Clinic.
After being named chair of the Midwest‘s Archives and History Committee in 1990, Victor wrote ―The
First 50 Years—A History of the Midwest International Band and Orchestra Clinic,‖ which was published
in 1996.
Victor became a member of the John Philip Sousa Foundation Board of Directors in 1996. Prior to that
time he had been the chairman of the Foundation‘s ―Historic Roll of Honor‖ for high school bands. He was
placed in the position of treasurer of the Sousa Foundation in 2000, and subsequently became the vice-
president, as well. One of his most treasured awards came from the Foundation in 1999—the Sousa
―Medal of Honor.‖
Victor was especially proud of his membership in ABA. He received notification of his election to ABA
on his 60th birthday, during a surprise party for him on that day. Subsequently, he became a member of the
Board of ABA from 1995 through 1998; was chairman and advisor of the Edwin Franko Goldman
Committee from 1988 through 2004; was the treasurer of the ABA Foundation from 1988 through 2004;
and was the Historian from 2001 – 2004. During these years he authored: ―The Recipients of the Edwin
Franko Goldman Memorial Citation‖ (1998); ―Past Presidents of the American Bandmasters Association‖
(2000); and revised ―Lest We Forget‖ (fourth edition, 2004). His final book, ―Memorials and Tributes to
Members of the American Bandmasters Association,‖ was only partially completed at the time of his death.
Victor‘s most meaningful, but humbling, experience came when he was made an Honorary Lifetime
Member of ABA at the Wichita Convention in 2002.
A former student expressed her remembrance of Victor:
He is solely responsible for my appreciation of music. He was a disciplined taskmaster and he
demanded a lot from his students. But we loved and respected him. I will always remember his
influence on so many lives. A good teacher never dies, but lives on in the lives of those he
touched.
[It was especially poignant to have Marilea present for the reading of this Memorial.]
2005 ABA Annual Report
MARCIA McENTYRE ZOFFUTO (1949 – 2008)
With the bloodlines of a musical dynasty and the training and tradition of playing in her father‘s legendary
Permian High School Band and Orchestra, Marcia McEntyre Zoffuto was clearly destined for great things
musically as a performer and a gifted teacher. She was also a very loving and caring mother, daughter,
sister and friend, and touched the lives of countless people.
She was born in San Antonio, Texas, grew up in Odessa, Texas playing in her father‘s bands. She
graduated from high school in 1967 after three years as a Texas All-State flutist. In 1968, as a flute student
of Dr. Gary Garner at West Texas State University, she was a winner in the Amarillo Symphony Young
Artists competition. The following summer she was chosen Miss West Texas in the Odessa pageant and
went on the next year to win the talent category and was named a finalist in the Miss Texas Pageant in Fort
Worth, Texas. She earned a bachelor of music education degree from West Texas State University in 1972
and while there, under Dr. Garner‘s direction, she performed as a featured soloist on tour with the WTSU
Band. She also completed graduate course work at the University of Kansas and Fort Hays State
University.
Mrs. Zoffuto was an exceptionally talented musician and teacher and served from 1988 to 1997 as band
director at McCullough Middle School in Highland Park, Texas; as beginning band teacher in several
Richardson, Texas, schools; as assistant band director at Lake Highlands Junior High School and
Westwood Junior High School in Richardson, Texas; and in 1995 Marcia became the band director for Sam
Houston Middle School in Garland, Texas. In 1998, Marcia began her outstanding work with the Coyle
Middle School Band in Rowlett, Texas.
Marcia‘s musical philosophy always exhibited inclusion. Every student had a place in her band. She
believed in maximizing the numbers of students in her performing ensembles and the Coyle Middle School
Band under her direction received many honors, including consistent UIL Sweepstakes and ―Best in Class‖
awards at various festivals.
The Coyle Band won the Class CC State Honor Band competition in 2002, and in 2006 won the Class CCC
State Honor Band competition. As a result both bands were invited to perform at the Texas Music
Educators Convention. Her band was also invited to perform at the Midwest International Band and
Orchestra Clinic in Chicago, Illinois; the Western International Band Clinic in Seattle, Washington; and in
2008 the Coyle Band was the only middle school asked to perform at the BOA Festival in Indianapolis,
Indiana. In March of 2008, in Miami, Florida, Marcia was elected into the membership of The American
Bandmasters Association. On May 10, 2008, at Bass Hall in Fort Worth, Marcia was awarded the
prestigious Bayard H. Friedman Hero Award as the most outstanding Band Teacher in North Texas.
Marcia was a gifted performer, an inspirational teacher and one who left the world a far better place for her
having been here.
2008 Annual Report