Cut Down Brown Drum in Vicksburg Museum

This photo of a heavily tacked drum, and the below accompanying information, from the website of the National Park Service's Virtual Museum of Vicksburg National Military Park.

Drum
Wood, Brass. Dia 45, H 45 cm
Vicksburg National Military Park , VICK 841

Musical Instruments in Battle

Musicians, particularly drummers, played a crucial role during the Civil War. They helped raise troop morale. Drummer boys woke the troops, called them to meals, and on the battlefield, tapped out rhythms to help units stay together.

Orion Howe, a 14-year old musician served with the 55th Illinois Infantry at Vicksburg. He played both drum and fife. The Howe family carried these fifes, and Orion played a drum similar to this, during the 47-day Siege of Vicksburg. During the Vicksburg Campaign, Howe's unit came under fire at the battle of Stockade Redan. His unit was running low on cartridges. Young Howe was ordered to make his way to the supply wagon and secure more cartridges. Dodging gunfire, Orion was struck by a minié ball that severely wounded his thigh. This didn't stop him from trying to fulfill his orders. Major William T. Sherman told the bleeding young boy to seek medical treatment. Howe refused to leave until Sherman promised that he would get the desperately needed cartridges to his unit. Only then, did Howe leave the battlefield to have his leg tended. For his bravery, Orion received the Medal of Honor, America's highest military award. To date, he is the youngest recipient of this award.

Compare the tack pattern on the center drum in the photo below (from the collection of the National Music Museum,

with the tack pattern on the Vicksburg drum. It is clearly the same, the Vicksburg drum having unfortunately been cut down.

(Center Drum: NMM 10039. Side drum by Eli Brown & Son, Bloomfield, Connecticut, 1841. Printed on paper label inside drum shell, visible through vent hole: ELI BROWN & SON. / DRUM MANUFACTURERS, / HAVE CONSTANTLY FOR SALE / BASS AND SNARE DRUMS / MADE IN THE NEATEST AND BEST MANNER / Bloomfield, Conn. 1841. Maple shell, natural finish, 495mm (19-1/2") x 471mm (18-1/2"). Rope tension. Ten leather tugs. Wood rims painted red, with holes drilled for the rope to pass through. Brass snare adjuster. William F. Ludwig II Collection, 2001. Lit.: Jayson Dobney, "Museum Enhances its Percussion Collections with Rare Instruments That Document the American Percussion Industry," America's Shrine to Music Museum Newsletter, Vol. 29, No. 1 (February 2002), pp. 4-5. -------, Innovations in American Snare Drums 1850-1920, M.M. Thesis (Vermillion: University of South Dakota, 2003), pp. 105-107.)

Mattatuck (nee Wolcott) Drum Band

Mattatuck (nee Wolcott) Drum Band drum
Wolcott Historical Society Museum
(Note one of the Brown family signature tack patterns)
Mattatuck (nee Wolcott) Drum Band suvivors in 1922

Reprinted from:

Wolcott Historical Society News - June 2009
By Florence Goodman

In this edition, I will share the history of the oldest drum band in the Waterbury area, the Mattatuck Drum Band, because its origins are meshed with our early history. The Drum Band has had various names throughout its history. It originated as the Training Band, followed by the 10th Regiment Band, the Farmingbury Band, the Wolcott Drum Band, and since 1881, the Mattatuck Drum Band.

Early settlers of the town were peace-loving people, but they realized it was important to be prepared to protect themselves and their property in times of need. By law, all male persons from the ages of 16 to 60 were subject to military duty and required to participate in Training Days, which took place six times a year. The Farmingbury men were attached to the Waterbury companies until the formation of their own militia. In 1767, the newly formed Farmingbury Train Band, which was part of the towns of Waterbury and Farmington, was founded under the command of Captain Aaron Harrison, Lt. Heman Hall, and Ensign Josiah Rogers.

Drummers and fifers were essential components of the First Militia Company and were skillful in martial music and became known throughout the region for their patriotic sound. A quote from the Waterbury Republican-American recounts a colorful description of Wolcott's "Training Day" held in 1803. "It is with the pride and boast of all farmers that their oxen and steers excel in stature; and that their military company is the tallest and the best equipped and disciplined in regiment, and at annual Train-Day their Drum Band is famous and sought by all public occasions far and near.

During those early years of the establishment of the Farmingbury Parish and their Militia, the settlers were feeling the unrest that "taxation without representation" was creating throughout the English Colonies. Town residents protested the tyranny of King George III around "Liberty Poles" that had been placed on their Town Greens. As late as 1841, a Liberty Pole was still found on our Green.

In May 1774, Captain John Alcott was commissioned by Governor Trumbull as captain of the Thirteenth Company of the trainband of Farmingbury Parish. In 1775, the trainband Company in Farmingbury consisted of 41 men.

When a National Army was established in 1775 under General George Washington, the Farmingbury Company was disbanded. Many Farmingbury men enlisted as drummers and fifers in this newly formed Army; records indicate that at least 100 Farmingbury men served in various areas of action from Montreal, Canada, to Yorktown, Virginia.

Zaccheus Gillet enlisted in July 1775 as a drummer in Col. Huntington's regiment operating near Boston and reenlisted in 1776 serving in the New York area. Samuel Benham, drummer, enlisted on May 1, 1775 and re-enlisted in 1776 and 1777. Benoni Gillet, son of Zaccheus, served as a drummer in the Continental Army. Nathan Gillet, fifer, another son of Zaccheus, enlisted in 1776 and served under General Washington. Thomas Welton, 3rd., fifer, enlisted in 1779. These are just a few of the soldiers from Farmingbury that served in the Revolutionary War and some of who gave their lives for our independence.

At the end of the war, two companies of Trainbands were organized and commanded by Captain Heman Hall and Captain Levi Gaylord. Again, the Drum Band, although a separate unit, became an important part of the two companies. On general training days, the men were outfitted in bright red coats with brass buttons, buff pants, and plumed hats. Their leader was Nathan Gillet, who was said to be one of the best Fife Majors in the Continental Army. Their music was in great demand at social activities and at General Trainings. In 1796, when the town was incorporated and took the name of Wolcott, the Drum Band changed its name to the Wolcott Drum Band.

During the War of 1812, recruits were again needed to help fight the war, so a recruiting station was set up in the far southern section of Wolcott at Lewis Tavern and another in Waterbury at East Farms. The officers of these companies called upon the Wolcott drummers to "drum up" volunteers for this war effort and they did.

In 1830, Samuel Wilcox became the leader of the Drum Band. He introduced a new, original style of drumming based on notation with a full set of rudiments and beats; this became known as the "Wilcox Style." The Drum Band became renowned for its fine music and appearance until 1845, but soon after that date, the State Militia died out and so did interest in drum bands. The Wolcott Drum Band was not the same; uniforms were lost and worn out, members died and others moved away. Those that were left turned out at parades, rallies, and fairs without uniforms and many instruments were missing.

When the Civil War broke out, drummers were scarce, but greatly sought after and again, the Wolcott drummers rallied. Sherman Moulthrop enlisted as a drummer in 1861 and served in New Orleans. Elihu Moulthrop enlisted in 1862 and served with General Sherman in Georgia. Newell Moulthrop enlisted in 1862, served in Louisiana and had his bass drum captured by the Confederates at Irish Bend. Drum Major George F.Hotchkiss enlisted as Captain in 1862 and served in the Army of the Potomac. Many of his men were killed or captured at Chancellersville, Virginia, on May 3, 1863.

Early in 1862, Col. H.C. Hart was in Southington recruiting drummers and fifers for the Regimental Drum Band. While staying at a local inn, he heard drums in the distance and was told that the Wolcott Drum Band was practicing six miles away in the center of town. He hired a team and hastened to Wolcott. There he hired Mr. Henry Chatfield as leader and instructor and Hezekiah and Leslie Todd as fifers. They were able to recruit other drummers and fifers needed for the 71st Regiment of New York. Later, the 71st Regiment was said to be one of the best Drum Corps in the Army.

When the war ended, many of the fifers and drummers found residence elsewhere, thus the Drum Band numbers were few, but they kept the band going. In 1872, Charles S. Miller joined the Drum Band at the age of fourteen. As a youngster, he lived in Wolcott with his grandmother, Mrs. A. Frisbie Somers, and attended school at the old stone schoolhouse on Nichols Road.

By 1876, there were only five members left. In the fall of 1877, Mr. Levi Atkins and his son, Homer, reorganized the Band by teaching about 16 new young men how to fife and drum. They bought new uniforms, which consisted of red shirts, three-cornered hats, blue pants and white belts. They also had assistance from Elihu Moulthrop as Drum Major, and the hills of Wolcott once again were filled with that wonderful sound. Later, Captain George F. Hotchkiss took over as Drum Major.

After several years, many of the younger boys lost interest and the older men were tired, so in 1881, Charles Miller and several East End Waterbury boys bought the equipment from the old Band and moved it to Waterbury; they renamed it the Mattatuck Drum Band. They chose the name because Mattatuck was the Indian name for Waterbury. There were still some Wolcott men that belonged to the new band. They were Charles S. Tuttle, Arthur Harrison, Franklin Browne, Robert Wakelee, Frederick C. Moulthrop, Bement Wakelee, Edgar Upson, and Morris Tyler.

Much of the information that I used for this article was taken from the History of the Mattatuck Drum Band written by Charles Miller. Miller, also known as "Uncle Charlie" moved to the East End of Waterbury and lived at the corner of East Main Street and Frost Road. He made many of the drums that were used by the drummers in the Band and he taught more boys to drum during this period than anyone in Connecticut. Charles S. Miller kept daily journals throughout his life from 1876 until his death in 1943. His journals continually made reference to teaching students how to drum and fife. A portrait bust of Mr. Miller was unveiled on February 15, 1942, on the occasion of the 175th anniversary of the Mattatuck Drum Corps and Band. It also marked the 50th anniversary of Mr. MillerÕs direction of the Band. It is obvious that the Mattatuck Drum Band holds a special place in the hearts and history of early Wolcott residents. This is just one more example of the wonderful legacy our forefathers have left for us to enjoy.

(Information for this article was taken from the Wolcott, Connecticut 175th Anniversary booklet 1796-1971 by John Washburne, History of the Town of Wolcott, Connecticut from 1731 to 1874 by Samuel Orcutt, History of the Mattatuck Drum Band by Charles Miller, and WOLCOTT in the French and Indian Wars, The Revolutionary War and The War of the Rebellion.)

Note: Additional information concerning the Mattatuck Drum Band can be found on its website.

Drums in the Ticonderoga Museum

Reprinted from:

"Drums & Lancets", Go Do A Test (blog name)
Posted on Monday, April 7, 2008 at 02:20 by Jeff


On a trip to upstate New York a few years ago, Nancy and I toured Fort Ticonderoga, just across the border with Vermont. In the Fort’s museum, more than 30,000 18th century artifacts are stored and exhibited for visitors to see and read about. Two of those items that were of particular interest to me were a display case of antique drums, and a two hundred year old “state of the art” blood lancet device. Let’s look at the lancet first.

The collection at Ticonderoga includes something that most GDAT!! readers can associate with. The photo below is of a blood lancet circa 1800, which would date it to about the Adams administration -- the first Adams, not Quincy. According to the notes on the display, the device was used for opening a vein for bloodletting, a procedure used for removing poisons commonly referred to as “excesses,” that were believed to contribute to the health problems of a patient.

I wonder when they finally caught on that the lancet was making some of its own sizable “contributions” to the health problems of patients.

No one was exempt from the procedure if a doctor deemed it necessary. No less a man than George Washington saw the “therapy” used on himself in the hours before, as George Washington Custis wrote, his “noble spirit took its noiseless flight.”

Now, the drums.

My childhood career as a drummer began in the basement of my parents’ home one afternoon when I came across a pair of long wooden dowels in close proximity to a large cardboard box. With the makeshift kit readily available, my family was soon enduring relentless, repetitive performances of “Wipe Out.” My father, a life-long musician, picked up on my ability to hammer out a solid beat punctuated with creative fills. He signed me up for lessons, and sealed the family’s fate of daily concussive pounding resonating throughout our otherwise bucolic home in the country.

So with keen interest I spent a fair amount of time looking over the various drums in the Ticonderoga museum. Six or seven of them stood behind protective glass, in varying degrees of condition. Several sets of drumsticks were present, but their symmetric, well-balanced, lathe-turned quality led me to think they might have come from a much later time.

It was in my teenage years when my grandmother told me that (because I was the little drummer boy of the family) I was going to inherit a musical instrument that belonged to her own grandfather in the 1800s. She left her living room and returned with a large plastic shopping bag. Inside was the snare drum pictured here, along with a pair of sticks that were hand-carved by my great-great-grandfather sometime (to use another Executive Branch timeline) around the administrations of Ulysses Grant or Rutherford Hayes. She informed me that, at one point in the drum’s life, her sister expressed a desire to cut out the drum’s upper skin with a borrowed pocketknife, and plant flowers in it. Egads.

Changing circumstances over the years brought an end to my drumming, and two years ago I sold my beautiful vintage Ludwigs and the five Zildjian cymbals that had served me well since the early 1970s. For so many years they provided me with sweaty, strenuous, muscle-building sessions, as drumming is a much more physical activity than many folks realize. Today, I sometimes look at my scrawny arms and yearn for those long ago upper-body workouts.

But not on great-great grandpa’s snare, of course.

British drum an object of storied history

The drum captured from the British on Aug. 22, 1777, is preserved at the New York State Military Museum and Veterans Research Center in Saratoga Springs. (Times Union)
This article reprinted from:

British drum an object of storied history
June 23, 2009 at 12:22 pm by Warren Roberts
(Distinguished Teaching Professor, University at Albany)
www.TimesUnion.com

There is a story behind the British drum that was shown with Bruce W. Dearstyne’s May 31 Perspective article on the importance of New York history. It was left behind by a British army that was within 150 yards of Fort Stanwix in 1777 when a strange episode forced it to retreat.

The army under Barrimore St. Leger was moving down the Mohawk corridor to Albany, where it was to join the army of Gen. John Burgoyne that was moving down the Champlain-Hudson corridor. Neither army made it to Albany.

No one played a more important role in the repulsion of one British army and the defeat of the other than Benedict Arnold. He headed up the Mohawk with 1,200 men, to stop the much larger force of British regulars and Indians laying siege to Fort Stanwix.

His ingenious plan was for a somewhat daft distant cousin of Philip Schuyler, Hon Yost Schuyler, who in moments of excitement spoke in tongues and was regarded by Indians as a holy man, to meet with Mohawk Indians allied with the British.

He made his way to St. Leger’s camp and told the Indians about an army moving up the Mohawk. When asked how large it was, he rolled his eyes and looked upward, as if there were more men than leaves in the trees above. The Indians took flight, forcing the British army to abandon the siege of Fort Stanwix.

Having repulsed one British army, Arnold joined the battle with Burgoyne’s forces at Saratoga.

The stunning American victory there was the turning point of the war. It persuaded France to support the American cause, a move that resulted in a fiscal crisis that led directly to the French Revolution. Some historians consider the Battle of Saratoga, fought along the Hudson River, the most important battle of the last thousand years; it saved the American Revolution and led to the French Revolution.

It is useful to keep this in mind as we celebrate the 1609 discovery of the Hudson River and Lake Champlain. The drum shown with Dearstyne’s article is a physical object that is part of a New York story that is of no small historical importance.

Army Drum Used in President John F. Kennedy's Funeral

Americans old enough to remember November 1963, and the horror of the assassination of President Kennedy, no doubt recall the relentless cadence sounded by MSG Vincent Battista, on this drum, as they watched the funeral procession make its way to Arlington Cemetery on national television. Part of the Army National Collection, the instrument is of eighteenth century rope-tension pattern, made of traditional materials for the Army Band by the famed craftsman, the late Charles Soistman of Baltimore. The black crepe, exposing the hand-painted national arms on the shell, is part of the ritual associated with military funerals. The drum is currently [as of June 2009] on loan to the Smithsonian Institution for an exhibit. U.S. Army, Center of Military History, "Artifact of the Month".

Compare the drum worn by Frederick Fennell and pictured in "Frederick Fennell's Moeller Drum and Terry Cornett's Connection with Fennell", this blog, March 9, 2009.

Close-up on Fennell's Drum
As we observed in that article, note the counterhoop's widening at the sling clip, a design feature most observers would have missed and attributed the uneven hoop width to wear or breakage instead of an intentional beefing up of the hoop at a stress concentration point -- the carry point. Reader Terry Cornett attributes that design feature to Ubaldo.

And see "Leo J. Brennan's Buck Soistmann Drum (ca. 1964)", this blog, March 7, 2009:


Additional Photos:

Source: Life and Death in the White House

Master Sergeant Vincent Battista, a member of the United States Army Band, "Pershing's Own," at Fort Myer, Virginia, was one of the drummers in President Kennedy's funeral procession. Source: Life and Death in the White House

39th Mass. Volunteers Drummer, Drum and Sticks

Heritage Auction Galleries' 2009 June Signature Civil War Auction - Dallas, TX. Auction #6024, item 57218, catalog at p. 105.

Enlarge the photo and you can just make out the faint lettering "VOLUNTEERS" on the drum.

57143 Unique Pose CDV of Drummer Roland F. Spencer, 39th Mass. Vol. Great casual pose with arms crossed in front of him and left leg propped up on his drum, sticks stuck in the ropes. Wears shell jacket open exposing military vest. Drum with shield and “Volunteers” clearly visible on the front. Backmark of “G. H. Nickerson Photographer Chatham and Orleans Mass.” Spencer enlisted in the 39th Mass. on July 26, 1862 as a musician at the age of 18. He mustered out June 2, 1865.

The 39th was heavily engaged in The Wilderness, Spotsylvania and Weldon Railroad. Very fine quality and condition. Great image with excellent history.

Est.: $1,600-$1,800 Start Bid: $800.

Session Two, Auction #6024 • Thursday, June 25, 2009 • 1:00 PM CT

Civil War Snare Drum with Great Patriotic Design

Heritage Auction Galleries' 2009 June Signature Civil War Auction - Dallas, TX. Auction #6024, item 57218, catalog at p. 156:

This original, uncut snare drum is distinguished by an attractive gold and red patriotic stenciled design set against a black painted shell. The design measures a full 16” long and fills the 13” between each drum head.

It consists of an arch of thirty-four gold stars beneath which is a spread winged eagle motif, with red highlights added to the top of the eagle’s head and wings. The eagle is holding a gold banner that reads “North America” beneath which, in one inch high letters, is “UNION/ AND/ LIBERTY” flanked by two gold sunbursts. Both battens are original with only one small tear. The hoops retain much of their original red paint and the drum measures 17” from top hoop to bottom hoop. The rope and leather braces are replacements and the maker is unknown. A nice, solid example of an early Civil War era drum with remarkable patriotic content.
Est.: $2,500-$3,500 Start Bid: $2,000.

Historic Federal Regulation Drum Used by Young Pennsylvanian Wounded in Action

Heritage Auction Galleries' 2009 June Signature Civil War Auction - Dallas, TX. Auction #6024, item 57100, catalog at p. 71:

Having great visual appeal, this classic “eagle” snare drum reflects its service in the field with a famed Keystone State regiment. The folk art inscription on its bottom head shows it was carried by 18-year-old William “Billy” Kirchner of Company L, 62nd Pa. Volunteer Infantry. The drum itself has a superb “look” and wonderful patina, with the traditional multicolored “arms of the United States” eagle/ sunburst/ riband design painted as per regulations on a deep blue background on its front. The colors are clear and fully visible, although subdued from age, and there is essentially no paint loss. Overall, this rarity is perfectly sound and two minor split areas in the painted wood do not detract in any way from the drum’s integrity.

Both original heads are intact as are the wooden rims which retain almost all their original red paint. Only the ropes are correct, old replacements. Five of the original sliding brown leather tightening “ears” or braces are still in place as are the remains of three others. About a half dozen tacks are missing from the usual pattern around the air hole at the side. Contemporary to its wartime use, the drum was apparently shortened about one inch at the bottom.

The top head is complete with only a small two inch tear near the center. The original bottom head is completely intact and is decorated with wonderful ink drawings of a cannon, shield, and flag. Also inscribed on the head in large inked letters (partially obscured but clear) is “Billy Kirchner” and below, in smaller letters, what appears to be “His drum.” At the bottom there are also large penciled letters “D.W.C.C.,” meaning unknown. Three of the original rawhide snares are still partially affixed.

Private Kirchner enlisted in this unit on August 29, 1861, and fought at Mechanicsville and Gaines Mill before being seriously wounded at Malvern Hill on July 1, 1862. He was discharged as a result of that wound on October 26. Eagerly sought by collectors, this attractive classic drum is in exceptional condition and almost impossible to find with such a fine history and connection to a great Army of the Potomac regiment.

Est.: $6,500-$8,500 Start Bid: $3,250.

Session One, Auction #6024 • Thursday, June 25, 2009 • 10:00 AM CT

Boy with [Toy?] Drum in 1865 CDV -- Is It a Field Drum?

A summer education intern at a southern fine arts museum doing research on field drums for a Fourth of July workshop sent us a photograph recently purchased by the museum's decorative arts curator who asked that she inquire about it.

The photo is of a young boy posed with a drum. They were wondering if it was an authentic field drum used in the Civil War (the photograph dates to 1865) or just a photographer’s prop.


We responded as follows:

Judging by the size of the drum in Mr. Brown’s photo, I would say that it looks like a real but toy children’s drum.

It’s real, in that it is built to very similar specifications to those of a field drum. It is a toy, in my opinion, because it is probably only 10 to 12 inches in diameter and about the same size in height. Civil War field drums generally went from 14” to 16” (and earlier drums went to 18” and even 21” in diameter).

Also, although it’s difficult to say for sure, the rope looks a bit thin for a field drum. And, importantly, there appear to be only 8, as opposed to 10 or more, drilled holes in each of the counterhoops (rims).

See, e.g., "J. C. Haynes & Co. Drum (Child Size)", this blog, Sep. 6, 2008.


See, also, this image (below) from the collection of the New York Public Library which looks very much like the drum in your photo. ("The Phenomenal Digital Collection of Prints of the New York Public Library", this blog, Jan. 3, 2009)

Image Title: The Infant Drummer, Wm. Henry Marsh. Aged 2½ Years.
Medium: Engravings
Specific Material Type: Prints
Source: Muller Collection / William Henry Marsh
Location: The New York Public Library for the Performing Arts / Music Division
Catalog Call Number: Muller Collection (Marsh, William Henry #1)
Digital ID: 1270440
Record ID: 624934
Digital Item Published: 10-24-2005; updated 7-31-2007

By comparison, this (below) is what a regulation drum would look like in comparison to the size of a young boy (probably a bit older than the boy in your photo):


Source: "Union Drummer Boy CDV", this blog, Nov. 25, 2008.

So, it looks pretty certain that the drum in your photo is not a regulation drum but a toy drum. Just as real but not for use in the field.

[Also see eBay item no. 120439356949. The drum looks very similar.

The above drum is described on eBay as:
A CHARMING AND DELIGHTFUL CIVIL WAR PERIOD IDENTIFIED CARTE-DE-VISITE BY J. KIRK OF NEWARK, NEW JERSEY SHOWING YOUNG WILLIE PEMBERTON ATWOOD HOLDING TWO DRUMSTICKS AND STANDING NEXT TO A LARGE PAINTED DECORATED DRUM. HE STANDS ON A CHAIR WITH THE DRUM UP ON A TABLE. BEARS KIRK'S IMPRINT LOGO ON VERSO. 1860s.

IN NEAR FINE CONDITION, ONE SMALL EMULSION TEAR OR ABRASION AT TOP CENTER EDGE, ELSE VERY FINE TONALITY AND SHARPNESS, SOME MINOR SPOTTING AS SEEN IN SCAN. 1860s.

And see eBay item no. 120442930383 which also looks dimensionally similar.


The above drum is described as: an antique wooden rope snare drum with leather tabs. ... It measures about 6 and 1/2" tall and is almost 10" in diameter. The wood looks mostly to be in good shape, and the top and bottom wooden bands have a light blue pinstripe that encircles the drum. The top of the drum does look like it has some pencil marks/doodle on it, and there are two very small tears just beginning on the outer edge as shown in the pictures. They are about 3/8" long. The bottom of the drum does have 3 strips that go across the diameter of it, and there are a couple of tears beginning around the edges of this side too. They measure about 1" to 1 and 1/4".]

Best regards.

Ellis Mirsky
BlogMaster@FieldDrums.com

Letter from Reader: Looking for Drum Instructor Howard Reiff

This is probably not the forum for such a request but I don't see the harm. Let's see whether anyone out there can assist Paul Blaccard, a reader of this blog, who wrote recently:

Curious, I was searching for my old drum instructor Howard Reiff and came across your blog. What info do you have on him? I know he lived in Huntington Long Island ...

It was 1969 - 1974. Howard Reiff was the drum instructor for a Junior Corp called The Crusaders or formerly the St. Helena Cadets (Bronx NY). They had hired him because he was the best and known for producing points winning drum lines.

At the time I recall he also taught a drum line called the Blue Angels. They were right. Because of Howard's approach to teaching us grueling rudiment exercises and teaching us how to read music at a very young age, there was rarely a drum competition that we did not take 1st or 2nd place.

I'll have you also note that in this time frame NOBODY was using kit accessories such as high hats and ride cymbals on stands which we implemented into the routine.

As Howard said, "There are no rules saying we cannot". Of course this is quite common today. He knew many people and was instrumental in bringing us Senior Corps members from the Hawthorne Caballeros to mentor us. That led me with a short stint with Hawthorne but I had to leave in 1976 because my family moved out of state.

I'm still playing drums today and had and still have a great career playing drums. I can tell you the instruction I received from Mr. Reiff made me have rock solid meter and dexterity in my wrists. He was a real stickler for correct snare form. If your elbows did not fall properly or one side was not even with the other he'd tie pillows around your torso so your arms would not collapse. This is really true.

Thanks,

Paul

Well, Paul, I am sorry to say that I confirmed today with Jim Ellis of Cooperman Drum Company that Mr. Reiff passed away a couple of years ago.

We did an article on him and his drums last year. See "From the Drum Collection of Howard Reiff", this blog, July 23, 2008. I understand from Jim Ellis of Cooperman Drum Company that the drums are available for purchase from "A Candle in the Night" in Brattleboro, Vermont.

Also, see Stormy Knights Guest Book Entries, guest book of the Stormy Knights Drum & Bugle Corps for an entry that mentions Howard Reiff as the Stormy Knights' original drum instructor:

Date: 1/4/2001 Fred Petrone frederick_petrone@hotmail.com
Subject: Our Lady of the Snows
Comments: or just plain "Snows" as we where known, way way back. Hello, to everyone who was a part of OLS Stormy Knights, especially those who made the transition from standstill to M&M. Here are a few people places and things that I can still remember. Howard Reiff - original drum line instructor. Freddy Zoeller - who came on board as the drum instructor when we went M&M. St. Josephs Brigade, a major competitor during the standstill years. Quartet competitions. Mr. D, chewing on his cigar, the "7 stroke roll", and our big fife, drum and G bugle hit: Stars and stripes Forever. Keep, keeping in touch, This is fun.

William F. Ludwig's 1864 Eagle Drum on eBay

Which William Ludwig? Well, William Ludwig, III currently, but it's the same drum owned and used by his father William Ludwig, Jr., the famous drum manufacturer and owner, from time to time, of the drum companies bearing his name.

We wrote about this drum previously in "Wm. F. Ludwig's 1864 Rogers Eagle Drum", March 2, 2009.

The drum is now being offered on eBay as item no. 360165243855 by Bill Ludwig, III through a surrogate, drum_experts( 507).

Brown Knock-Off by Ron Peeler Looks Great

Something like finding a brand new 1955 Corvette, Ron Peeler directed me to Jim Krause's "Fifer's Web Page" for a photo of a Brown-like drum that he made. He wrote:

As a former member of Moodus. I had the opportunity to work on some of these old drums. I even made a couple of drums using Keller Shells copying the brown tack pattern and fooled a couple of people. Even turned real Pre-Banned Elephant ivory for the vent hole liner. You can see on of these on Jim Kraise's web site http://www.oldsodshanty.com/fifer.html.

Ron Peeler
Peeler Fifes
www.peelerfifes.com

The Story Behind the Last Soistman Drum Ever Built

(The story of this drum comes to us from eBayer uwyo73( 56), a drummer in Connecticut who wishes not to be further identified. FieldDrums.com has exchanged several emails with uwyo73, the owner of the drum pictured above. This post is based on the information so obtained. Also, the drum is currently on eBay as item no. 180371899171 with a reduced Buy-It-Now price of $6,000.)

uwyo73 stated that manufacture of the drum (see "Buck Soistman Shell Assembled by Reamer (1979)" was started by Buck Soistman and completed by Bill Reamer. It is thus the last GAR drum made by Buck Soistman and, even though it was completed by Bill Reamer, it is still the last Soistman ever made.

uwyo73 opined that Soistman/Moeller drums (birch shells) were considered by many drummers to be the Stradivarius of rope-tuned drums.

The Connecticut Yanks from Bristol, Connecticut (Around 1973-1976)
uwyo73 wrote that in 1977 he spoke with Bill Reamer at a rehearsal of the Connecticut Yankees Fife & Drum Corps. Reamer had just acquired Soistman's drum-making equipment and inventory from Buck Soistman's wife Marie and was moving it to Pennsylvania (Bromall). It was then that uwyo73 arranged for the purchase of some remaining Soistman drum sticks.

Later uwyo73 spoke with Reamer about any remaining Soistman drums, including any left-over GAR shells, hoops, ears, hardware. Reamer told uwyo73 that he had one GAR shell left with hoops, ears, rope and hardware. That was January 1977. The drum was finished in August 1979.

uwyo73 also noted that the Connecticut Yankees had six Soistman drums which were disposed of when the Yankees folded. uwyo73 told me that two of the drums went to corps officials, and that four were sold to the Connecticut Rebels of Danbury. "The hoops were re-painted solid red, but the Connecticut Yanks' name painted on the sides [was] left intact."

uwyo73 also reported that the first GAR drum totally built by Mr. Reamer is/was owned by Mr. Bill LaPort of Connecticut, a former executive with Connecticut General, now Cigna or ACE Insurance. The last GAR drums built by "Buck" Soistman were purchased by two former members of the Connecticut Yanks. Both drums are reportedly still in Connecticut.

Inlaid Drum Attributed to Civil War Drummer

$685.50 was the winning bid that eBay seller antiquery49( 293) recently received for eBay item no. 370212638816, described as follows

AUTHENTIC CIVIL WAR SNARE DRUM with EBONY STICKS...inscribed inside "N Daniels 48 Iowa Co D"...papers indicate the 48th Battalion was organized at Davenport and mustered on July 13th,1864, with O.H.P. Scott of Farmington as lieutenant Colonel, company D being from Des Moines and Lee counties and mustered out at Rock Island Barrack Oct.21,1864...the drummer was Nathan D. Daniels age 18 - 5'2" joined 6/10/1864 until 10/20/1864.

Rudiments -- A Very Brief History

I found this on edrumline.com. While not a scholarly dissertation, it is interesting:

Let’s get started at the beginning. The rudiments didn’t just appear one day. Rudiments evolved over time – a long time! They continue to evolve even today.

The history of rudimental drumming begins with the inventors of the coolest army knife known to mankind – the Swiss. Round about 1386 the Swiss troops at the Battle of Sempach used fifes and drums to signal troops in battle. The Swiss used this type of signaling more and more as time went on. Since Swiss troops were deployed throughout Western Europe as mercenaries, their signals were quickly adopted by the locals and thus spread the drums and fifes signaling system throughout Europe.

The first rudimental publication came in 1588. The tile of this work, Orchesographie. There were two rudiments in this publication: the Swiss Stroke and the Swiss Storm Stroke. The two strokes were shown in a number of combinations, but the author failed to indicate which hand was to play each stroke.

America’s first published basic rudiments came at the hand of Baron Friedrich von Steuben, who was at the time working for the Continental Congress. His 1778 publication, Regulations, specified drum signals for the Revolutionary Troops. While these weren’t technically rudiments, the evolution was evident.

Rudiments as we know them are said to originate with Charles Stewart Ashworth, AKA the Father of Rudimental Drumming. Ashworth, one of the first drum majors of the United States Marine Corps Band, published a list of traditional rudiments in his 1812 book, which arguably has the longest title of any drumming publication: A New Useful and Complete System of Drum Beating, Including the Reveille, Troop, Officers Call, Signals, Salutes and the Whole of the Camp Duty as Practiced At Headquarters, Washington City; Intended Particularly for the Use of the United States Army and Navy.

Ashworth’s book laid the foundation for a drumming style known as the Ashworth System of Drum Beating. In A Useful and Complete System of Drum Beating…, Ashworth describes the basic rudiments in detail along with other rules and regulations for young drummers. The book included the reveille and all major duty calls. It continued selections and tunes for fifers.

Even with Ashworth’s book available, most drummers were still learning by good old fashioned rote method. That is, they simply memorized the rudiments, calls, and fife accompaniments by listening to someone else play. For all you young hotshot drummers out there, this would be known as the Nick Cannon Style.

The second great drumming manual was influenced by Ashworth’s work 50 years earlier. In 1862 and 1865 George B. Bruce coauthored a book called Dixie. Other early drumming titles included: 1869 Drum and Fife Instructor (Strube), 1886 Trumpet and Drum (Sousa).

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And this from the Be A Fifer website:

Ashworth System of Drum Beating

Less than a decade after Stephen Decatur quelled the pirates of the Mediterranean in the "Halls of Tripoli" and long before Messrs. Bruce, Emmett, Hart, Howe and Strube took their very first music lessons, there was Ashworth. Drum Major of the newly founded United States Marine Corps Band, Charles Stewart Ashworth established the methods by which most rudimental drummers learned their craft. The band itself was only 14 years in being, but already it had earned a reputation for the very highest quality musical performance.

In his "A Useful and Complete System of Drum Beating," Ashworth set up Rules to be Observed by Young Drummers. He describes basic rudiments in detail, the Reveille and the major Duty Calls, then continues with 36 duty calls and tunes for the fifers. It was published on January 14, 1812. This book is not just a tutor; it is 40 pages of history. Many say that it was the nucleus of Bruce & Emmett's Drummers' and Fifers' Guide, published 50 years later.

Digitally enhanced from the original and with the original layout, this book is available from Be A Fifer for $14.95 plus shipping.

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And this:

Ever since it was originally published in 1863, the Bruce & Emmett Drummers' and Fifer's Guide has been an indispensable reference for fifers and drummers who want to "do it right."

George B. Bruce was the Drum Major and Principal Drum Instructor for the U.S. Army at the School of Practice on Governor's Island in New York Harbor.

Daniel D. Emmett, the composer of "Dixie," was the Principal Fifer of the 6th Infantry, U.S. Army.

Few, if any, would argue that B&E is one of the most valuable resources for fifers and drummers alike, regardless of period...American Revolution or Civil War.

Please note: Some parties have insisted for quite some time that this book was in fact published late in the Civil War, in 1865, suggesting that it was too late to have played any important role in that conflict. John Carfizzi has provided [the blogmaster of beafifer.com with the following reference from the Yale University library, which has an 1862 copy in their collection. The contents of the 1862 and 1865 editions are identical.

The drummer's and fifer's guide: or self-instructor; containing a plain and... Author: Bruce, George B. Title: The drummer’s and fifer’s guide: or self-instructor; containing a plain and easy introduction of the rudimental principles for the drum and fife; to which are added, marches, quicksteps, side-beats, troops, retreats, signals, calls, &c ... also, the duty for the garrison or camp ... as used in the U. S. Army, the drum major’s duty ... &c ... by George B. Bruce. Published: New York, Firth, Pond & co., 1862. Description: 96 p. 29 cm. Location: MUSIC LIBRARY, SML, Special Collections (Non-Circulating) Call Number: MT735 B886 D7+ Oversize Status: Not Checked Out Subjects (Library of Congress): Drum --Methods --Self-instruction. Fife --Methods --Self-instruction. Military music. Database: Yale University Library.

Plastic "comb" bound so it lays flat, Bruce & Emmett is available from Be A Fifer! for $15.95 plus shipping.