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 Michael Jedd, a drummer and drum collector in Connecticut with a long history in drum corps, including having played with the Casper Troopers Drum & Bugle Corps as well as some of the finest fife and drum corps in Connecticut.)

Jedd reports that manufacture of the drum (see "Buck Soistman Shell Assembled by Reamer (1979)" was started by Buck Soistman and completed by Bill Reamer. As such, he says, it is 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. Jedd said that Soistman/Moeller drums (birch shells) are considered by many drummers to be the Stradivarius of rope-tuned drums.

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

Later Jedd spoke with Reamer about any remaining Soistman drums, including any left-over GAR shells, hoops, ears, hardware. Jedd learned in January, 1977 that there was one GAR shell left in inventory with hoops, ears, rope and hardware. The drum was finished in August 1979.

Jedd said that at the time that the Connecticut Yankees folded, they disoposed of six Soistman drums. He said 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."

Jedd 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.

-----

Aug. 23, 2009 update: Jedd wrote today mentioning that he had just returned from the Westport (CT) Muster where Andrew Reamer (son of Bill, Principal Percussionist with the Pittsburgh Symphony and Chair of Percussion at Duquesne University)) and his wife (Ruth Ann) were selling drum sticks and taking orders for drums. Reamer reportedly had quite an inventory of drum sticks. Jedd noted that a GAR drum fully painted in the Moeller tradition is priced at $2,000.00. See Drummers Service.

Andrew Reamer has moved the drum manufacturing shop from his father's basement in Lancaster County closer to Andrew's home near Pittsburgh. And Andrew has hired a person to work in the shop. Jedd was not sure if that person is making sticks, drums, or both. Andrew was extremely busy selling drum sticks.

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).

-----

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.

-----

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.

Aut Vincere Aut Mori -- Do or Die Motto on Boston Drum

There is a better photo of the John Robbins drum discussed at "John Robbins' Bunker Hill Drum at Old State House, Boston", this blog, March 20, 2009. The photo is on flikr:

That photo shows the drum's painted emblazonment which is reminiscent of the work of American landscape artist Charles Hubbard (ca. 1834) whose work is discussed on several other drums (at least one by H. Prentiss of Boston) discussed in these blog postings:

William H. Guthman's Incredible Drum Collection, January 7, 2009;

Rope Drums in Boston's Museum of Fine Arts, February 29, 2009; and

Historic Drum of the First Corps of Cadets, Massachusetts, March 19, 2008.

Aut Vincere Aut Mori (Latin: "either to conquer or to die"). Also, a traditional macabre motto: "do or die".

Photo of Civil War Drummer (from The National Archives)

Marbury, Gilbert A., drummer, Company H, 22d New York Infantry; posing with drum. 111-B-5497.

1814 Abner Stevens Drum

We are writing to you on the recommendation of Jim Ellis (Cooperman) of Vermont .... We have a drum which descended in our family which has a paper label inside reading "Abner Stevens, 1814, Pittsfield, Mass Fifes Tamboreens & Bass & Military Drums, All sizes and prices made at his American Drum & Factory"; also written in pencil on the inside is a note saying "New heads put on by Albert H. Fruman (or Truman), Sept. 7th 1891".

It is in otherwise original condition with red painted rims, approximately 16" tall with tackhead design of a spokestar surrounded by a circle with diamond design above and below and banded by two vertical tackhead borders. It was taken apart for a move and the rope is no longer usable. There are 3-4 leather ears?

We are interested in selling it and have been advised not to attempt to put it back together as a collector would prefer to do it him or herself.

...

With kindest regards,
K.A.

D.C. Hall/A.W. White (Boston) Drum for Robert F. Morss

From the John Gibson Collection in the Virtual Museum of Vermont in the Civil War:

Richard H. Morse [Note: the drum says "Morss"], age 19(?), credited to Wolcott, Lamoille County, Vermont, enlisted on June 26, 1862 and mustered in as a private in Co. H, 9th Vermont Volunteer Infantry. On December 26, 1864, he was promoted to Principal Musician of the regiment, and he mustered out with the regiment on June 13, 1865. Morse was born on February 2, 1846 (if correct, this makes him only 16 when he enlisted), and died on July 6, 1910. He is buried in the McLaren cemetery, in Greensboro, Orleans County, Vermont.

John Gibson is a Montpelier, Vermont native, currently residing in Maryland. He is an artisan, specializing in applied decorative finishes, a historian of American made toys from the Golden Age of Toymaking, and a Civil War collector and dealer specializing in Vermont related items with a fondness for the 2nd Vermont Infantry. Vermont in the Civil War.

A virtual museum does not have any real treasures, but simply scans or transcripts of historical material. Source: VermontCivilWar.Org Database; Creator/Webmaster: Tom Ledoux

Blue Drum in Army Museum in Stockholm

From "Wargaming the Great Northern War", a blog, published by legatus hedlius, 26 January 2008.

Certificate for Jordan B. Noble

eBay seller cwbadges( 8967) received a winning bid of $102.50 for eBay item no. 370181689937


12" X 9 1/2" ~ PRINTED BY MOWER POST NO.1, DEPT OF LOUISIANA, GAR ~ JORDAN B. NOBLE, VET OF 1812, FLORIDA WAR 1846, MEXICAN WAR AND CAPT IN THE 7TH LA. VOLS, UNION, RAISED FOR THE DEFENSE OF NEW ORLEANS IN 1863 ~ ASKS FOR MEMBERS TO SUPPORT THE OLD VETERAN AS HE SUPPORTS HIMSELF PLAYING MUSIC AS ENTERTAINMENT WITH HIS HISTORIC DRUM.

1809 Brown Drum Hits the Market

eBay Seller barryglick( 2 ) has opened bidding on this beauty at $3,000. (See eBay item no. 120436923419.) If you've ever wanted a genuine Brown drum in your collection, you know that these babies don't come along every day. Glick's starting price is not unreasonable. (Note: The above photos are exclusive to FieldDrums.com. They are not, as of the time of this posting, posted on eBay.)

Glick described the drum as follows:

"The drum is manufactured by B. E. and M. of Windsor Conn. It was made in 1809 and numbered 26 on the label. As you can see from the notes inside it was used by a soldier from 1861 to 1864 which of course is the period of the Civil War. The Drum is in execlent condition. It is 16 inches in diameter and 16 inches high."

Glick reports (see photos) that there are notes inside attributed to a Civil War soldier. That's a major plus in valuing this drum which Glock reports dates from 1809 (that's only 30 something years after the Revolution and 50 something years before the Civil War).

So, my thinking on this one is to break out the piggy bank, mortgage the house, and borrow from your friends if you have to, but get this drum.


Here's the real deal folks.

The printed and partially handwritten label reads:

DRUMS,

Manufactured and Sold

BY

B.E. and M. BROWN,

Windsor, Conn.

[then in handwriting] No. 26 ~ 1809

Also in handwriting is:

DRUMER POSNET

CO. N ["N" somewhat illegible]

1861 1st VT. VOL 1864

And, attesting to the drum's continued use:

[illegible] Goodspeed

[illegible], Vermont

1924
Note: no record could be found of a Vermont Civil War soldier named Posnet, Posner, Pusnet, Pusner, Osnet or Osner. Also, The First Regiment Vermont volunteer Infantry comprised militia companies from Bradford, Brandon, Burlington, Cavendish, Middlebury, Northfield, Rutland, St. Albans, Swanton and Woodstock. They were selected from the uniformed militia of the State at Burlington, April 19, 1861. Vermont in the Civil War. The 1st Regiment Vt. Volunteers was mustered into the service of the United States May 2d, 1861. Vermont in the Civil War.

It appears, however, that the 1st Vermont served three months and almost a full fourth month (less four days) until approximately August 15, 1861. Vermont in the Civil War. Some soldiers who served with that unit later re-enlisted with other Vermont units. Thus the second date on the drum, 1864, could be the date that the drummer who inscribed his name and service record, was mustered out, but not from the same Vermont unit.

Susan Cifaldi, who has studied and written about Brown drums, emailed this afternoon with the following comment:

For what it's worth, I think it says "Wallace B. Goodspeed / Wells [Rutland Co] Vermont. The "drumer Posnet" could be a corruption of Pownal, which is also in Rutland County but about 60 miles south of Wells. As you note, there is no "Posnet" in Vermont.

The 1st VT Regiment was a 3-months regiment raised in April 1861 (CoK came from Rutland County). I could not find a regimental roster for the 1st VT, but I did find Wallace Goodspeed listed in the 17th, but it, too, saw only short service, from March 1864 until July 1865. If he served in 1862 and 1863, it escaped my notice.

Hope this helps.

Sue

The tack pattern is classic Brown. See, e.g., 1837 Eli Brown and Son Field Drum with Label for something comparable:


Also see "Leo J. Brennan's Eli Brown Drum (1829)".

And, finally, see "When is a brown drum a Brown drum?".

Old Snare Drum with an 1882 Patent

eBay Seller svenskaboy( 2449)'s eBay posting guru musta been smokin' some of dat weed when (s)he posted this relatively unremarkable metal drum with a starting price of $1,960.00 as eBay item no. 220438415484.

But, in fairness, it's a free country and a seller can ask whatever (s)he wants. Sometimes a fish comes along and takes the bait. See, e.g., "Caveat Emptor -- 'Civil War' Drum Questioned by Reader", this blog, January 29, 2009, reporting the sale of what is believed to be a $100 Pakistani-made Eagle knock-off for $1,350. Barnum said it best, something about a certain type of person being "... born every minute".

This drum, at least, appears to be the real thing, probably about 100 years old.

The label is interesting too. Named "The New Departure Drum", it bears a partial label from "[missing' Music Co." with a Detroit street address (missing).

ANTIQUE SNARE DRUM PATENT DATE 1882

This antique snare drum was found in a pile of discarded items in the garage at a Kansas City estate sale. The shell measures 15 [inches] in diameter and is 6 [inches] deep. The shell is made of roll formed steel. The rims are wood. It has six tensioning lugs made of iron rod and copper rim clamps and a copper tensioning center nut. The snares are of twisted cow or horse hide. There are remnants of both cowhide heads. The snare adjustment is by a raised thumb screw (see closeup photos). Inside the shell are two original paper labels. The first reads "THE NEW DEPARTURE DRUM, Patented by C. S. Knapp, February 28, 1882". The second paper label is incomplete, but it appears to be from a music store in Detroit. The only online reference I can find for "The New Departure Drum" is from a 1893 newspaper article [see link below] pertaining to Lyon & Healy's (music company) exhibition awards at the Chicago World's Fair.

Considering this drum 125 +/- age, it remains in very good, restorable condition. A great project for a serious collector of percussion instruments.

Because this drum is such a rare example of the transition from rope to metal rod tensioning, I canít find any guidelines to suggest its value, however the lack of information also supports the notion of it be rare.

Research:
The New Departures Drum is referred to in a newspaper article in the New York Times, LYON & HEALY'S TRIUMPH.; The Big Chicago Music House Given Twelve World's Fair Diplomas", page 8, September 28, 1893.

And an illustrated advertisement (not available) was accompanied by this descriptive information "*THE NEW DEPARTURE DRUMS* are made with patent double acting rods and folding knee rest. Light, substantial and handsome. Used in the best Bands and Orchestras. Unequaled for tone, surpass all others in finish and appearance. If nearest Music dealer does not keep them, write to us for Illustrated Catalogue.
*LYON & HEALY, Chicago, Ill.*

From that, and from the fact that the labels with the drum's name and the seller are separate, it appears that the drum was made by Lyon & Healy (Chicago) and sold by a musical instruments retailer in Detroit which affixed its own label to the inside of the drum directly under the manufacturer's label.

Civil War Ebony Drumsticks with Leather Beltloop Carrier

eBayer eds541( 443) is offering this beautiful pair of hardwood drumsticks as eBay item no. 200348069356 and describes them as follows:

I picked these beauties up several years back from an older couple. They said that they bought them, and I believe they said a canteen, at an antique shop many years ago, on a trip to Gettysburg.

At any rate this is a beautiful pair of Civil War Drum Sticks in their original leather carrier.

As you can tell from the photos, the sticks perfectly form to the leather, thus being carried and stored there for quite some time. The patina on the brass ferrules is very nice as they have not been touched.

Notice the green tint where they were cradled in the leather! If one chose, they would polish up nicely with no effort, but that would be a shame.

The ebony sticks are in excellent condition, no cracks or chips. As you can see from the photos, the color is superb. Their length is 15 inches end to end.

The carrier has a repair or a reinforcing piece of leather sewn to the back, directly under the belt loop.

As it doesn't look quite look period it certainly isn't contemporary. It takes nothing away from the looks, and adds tremendously to the function.

I did hand rub a thin layer of Pecards Leather Conditioner to it as it does not deplete the antiquity value, but keeps the leather pliable. It is plenty sturdy enough to use in reenacting.

I can't say anything more than the pictures won't show. I more than welcome any questions that you might have, and please ask for more pictures if needed.

Note: The blue green discoloration appears to coincide with the depth to which the brass ferrules on the sticks were inserted in the leather carrier.

Thompson & Odell (by J.B. Treat) Field Drum

eBayer eds541( 443), a Civil War collector in Oregon who has been in touch with the Blogmaster, phoned last week to say that he will be selling some of his Civil War collection. He has posted a very clean Thompson & Odell field drum as eBay item no. 200349525528 and bidding is underway.


eBayer eds541( 443) writes as follows:

This being one of my favorites, is a snare drum with dimensions being 16 1/2" in diameter X 10 1/2" tall. It was made by J.B. Treat for Thompson and Odell of Boston. The label is still affixed to the inner shell and is crisp and clear.

The address on the label lists the company at 177 Washington. According to the "Directory Of American Military Goods & Makers 1755-1915" they were at that address from 1880-86. However, on our label, the 177 has a pencil mark through it and 523 is written underneath. They were at 523 from 1890-1900.

Apparently they were using up their remaining stock of labels, thus probably putting this drum at 1889-90.

A military drum with the same label, made by Treat, was listed in one of Flaydermans catalogs back in the 1960s. Thompson and Odell drums are quite desirable, however the ones made by J.B. Treat are RARE, military drums by Treat, VERY RARE.

There is a Thompson and Odell, Treat drum on display at the National Music Museum in South Dakota, it is part of the Ludwig Collection. It however is a later model with a 1905 date.

FieldDrums.com is another excellent site to see a Thompson and Odell, plus MANY great drums and articles.

As you can see from the photos, this drum is museum quality. A centerpiece to most any military, or drum collection. If you are buying it to play, it is 100% playable, the skins wouldn't even have to be changed, just adjust the tension! It is 100% original, down to the tugs and rope. Skins, gut snares, everything looks to be original and untouched! Usually when I get a drum, the first thing I do is hand rub the tugs with Pecards Leather Treatment. BUT NOT THIS ONE. All 12 tugs are present, original, and in great shape! This truly is a rare and beautiful drum. Hopefully the pictures will speak for themselves.

Sympathetic Restoration

"Sympathetic restoration." Ah, the term may be what we all have been looking for. For quite some time, I've been wrestling with the fix-don't fix, restore/refurbish/replace dilemma. What exactly is the right thing to do to a vintage drum (or any musical instrument, piece of furniture, timepiece, or body part for that matter). Sympathetic restoration may sum it all up.

But what is sympathetic restoration? I have searched for a definition but haven't found one. Instead, the term used in context can shed some light on what it means.

In "Restoring Classic & Collectible Cameras" By Thomas Tomosy wrote (p. 6): "One must be aware of the kind of restoration he or she undertakes if keeping or increasing the value of the item is important. The term used in the antique furniture field is "sympathetic restoration." The term means bringing the piece as close to its original condition as possible, not only in appearance, but in the methods and materials used to restore the object."

A watch collector described it as a restoration that follows the spirit of the original watch.

An antique clock collector wrote as follows: "There are many disciplines involved in antique clock restoration that demand a knowledge of the history of the specific timepiece. Some of these include early carpentry methods, lacquering, dial restoration, silvering and gilding, wheel cutting and bushing, reconstructing broken or lost parts, cleaning and lubricating, dismantling and assembly and of course thorough testing. We use the appropriate professional for the work involved, and all work is performed by craftsmen possessing a high degree of competency in the skill required. They work with care, pride in their accomplishments and a real passion for antique clocks."

And, in "Understanding the Art Market: Condition, Restoration and Conservation" one blogger wrote: "Sympathetic restoration is crucial in any field. We deal in antique clocks and furniture and unless you restore sympathetically you can destroy the value of anything."

A home remodeler wrote in connection with the term "[w]e work hard to ensure that any work we carry out closely matches the original style of the property. This is very important when working on period buildings."

And an article discussing the restoration of the Georgian Theatre Royal (England) notes, "Theatre trustees were praised for the sympathetic and detailed approach to the restoration of the landmark venue."

Restore or Preserve?

In "Classic Mustang Forum" (a website for car collectors) one contributor wrote of a car as "ridiculously original". That term might sum up the goal of "sympathetic restoration".

Last year, in Behind the Scenes in the Musical Instrument Department of the Metropolitan Museum of Art , I wrote that "I ... attended a discussion sponsored by The Amati (Friends of the Department of Musical Instruments) titled 'Seen or Heard'. Speakers were curator Kenneth Moore and conservator Susana Caldeira of Department of Musical Instruments at the Met, and Eric Grossman, Curator of String Instruments, The Julliard School. There is much common ground with drums and many of the same issues -- store or restore, play or don't play, replace consumables or not (viz. strings on string instruments; snares, ropes and pulls on rope drums). And, as in the world of rope drums, there are many views.

"My take-away was an understanding of a museum's important role in preserving musical instruments (as other historical objects) in their original state for future study, replication, and even perhaps occasional playing. Preservation allows interested researchers to see actual specimens of genuine articles decades or centuries after original manufacture. Although some would criticize museums on the ground that they don’t display everything they have, one should consider that that is neither possible nor necessarily desirable. Also, many museums allow serious researchers access to their stored assets under controlled but reasonable conditions. That’s a fine trade-off for the important role museums serve in preserving instruments that otherwise could fall into the hands of restorers of varying degrees of skill who, despite good intentions, might destroy forever the only evidence of original condition in existence."

-----

WMEA - Antiques Road Show - by Nancy Campbell

Outline

A. Antique Instrument Materials and Construction
1. Related to aging an instrument
2. Related to worth of instrument
B. To Restore or Not to Restore
1. Restoration Types
a. For Display
b. Display/Playable
c. Performance
C. Examples of Restoration Challenges
1. Specific Problems
2. Restoration Examples and CSI
D. References
E. Questions
F. Display Instruments

Antique Instrument Construction in General (1800 to present) - aging an instrument

Woodwinds - Body materials early on were usually light colored wood, such as boxwood or maple - occasionally rosewood or fruit wood, probably because of availability. Later, dark woods became more common; rosewood, ebony, and grenadilla. Flute and piccolo head joints might be made of ivory (occasionally a whole instrument was). Hard rubber, metal and plastics came in later in the 19th century. The rings and reinforcements were horn, ivory, or bone, and later became brass and nickel. The tenons were swedged with tread rather than cork. The earliest flutes did not have head-to-barrel tuning slides, just regular tenons. Early keys were flat; either square or round; sometimes decorated, and had leather rather than pads. When cupped keys became more prevalent in the 2nd quarter of the 19th century, stuffed leather pads were used. These keys were originally mounted in wood saddles machined into the body of the instrument. Later, they were mounted in metal saddles mounted with screws into the body, and eventually posts drilled into the wood or soldered on to the metal. Key systems overlapped widely - Simple system flutes had 1 to 8 or 10 keys, and clarinets had from 4 to 13 keys. Rings were added, and eventually the Albert system and Boehm systems became the norm, although they co-existed well into the 20th century. Number of keys, and the material that the keys were made of or plated in, dictated price. Metal flutes tended to be more expensive than wooden ones because of the tooling and machines required to make them. Features to look for: Extra keys, precious metals, engraving or decoration.

Drums - Early snare drums and bass drums were longer than they were around. Mid-nineteenth century drums were more equal, and later ones are larger around than deep - as instruments went from strictly outdoor instruments to concert-type, and did not need to be overpoweringly loud. Shells were made of wood; solid wood fastened with nail and tacks in early drums, and veneered solid and plywood that were glued later on. Early materials were usually oak, ash or walnut for the shells, and ash or maple for the hoops. Snares were gut, and tensioned with iron or brass strainers. Late 19th century snares were often like shoe laces; leather or plastic covered fiber. Heads were calfskin - mylar is a mid 20th century invention. As a result, early drums can be any size - the plastic heads necessitated standardizing drum diameters. The early drums were tuned with linen rope and leather 'ears' through holes in the hoop; later, cast iron and brass hooks were used for the rope. Single rod tension drums appear after the Civil War, and evolve into modern hardware. Features to look for: painting or extra ornamentation - such as ivory, marquetry, tack patterns.

Brass - In 1800, brass were either natural instruments or slide instruments. The first new innovation was the addition of keys, which produced the Keyed Bugle, and later the Quinticlave and Ophicleide. Valves were being experimented with in the 1820's and 30's, and a number of valve types were born. They included odd types like the disk and box valve, the Berlin piston valve, the Vienna twin piston valve, the Stolzel single piston valve, and the rotary valve. Valve numbers could be 1 to 6 valves in these experimental times, and they may be arranged differently than in modern instruments. More modern Perinet or French style valves didn't come along for about another 30 years or so. Instruments were made of solid metals; brass, nickel silver, silver or gold; plating is a late 19th century innovation, and lacquer is not seen widely until after WWI. Also, the tubing all has seams - seamless extruded tubing is not seen usually until after 1900. Parts are hand fitted and made, and valves will not interchange, though sometimes slides will. Makers names are usually stamped or hand engraved early on; later more elaborated hand and machine engraving is seen. Every type of instrument configuration can be seen in the early to mid 19th century, from Over-the-Shoulder instruments, to Bell-Up, to Bell-Front, to Teardrop and Circular in any voice. After 1900, instruments became more standard in configuration. In the early era of sound recording (before microphones), front facing recording bells in large brass became the norm. Instruments were often sold by the metal or finish, with cheaper instruments plain brass and more expensive ones nickel silver, then when plating was common, the nickel plated, silver plated, and gold
plated instruments graduated upwards in price. Features to look for: fewer or more numerous valves, odd valve types, keys, extra engraving, precious metals, accessories.

Restoration Guidelines

1. For Display - Instrument to be kept as original as possible - minor repairs possible to facilitate assembly for display such as crack stabilization, tenon swedging, bore oiling, exterior cleaning

2. Playable for Display/Demonstration - Missing pads replaced - keys working or missing key holes plugged - tenons swedged with thread or cork for assembly purposes - valves workable - slides pulled if necessary - new drum head if
necessary for assembly of drum - major leaks repaired or covered with a reversible repair such as tape - major dents removed

3. For Performance - Instrument should be kept as original as possible, but repaired or parts replaced only if missing or necessary to playability - keeping to the historical appearance and workings of the instrument - leaks sealed - dents removed to the extent that the instrument is round and straight - pads and corks replaced in woodwinds - thread or cork replaced on tenons - new heads, rope, leathers on drums - snares can often be re-used - slides pulled - valves felted and corked as new - bore oiling - cleaning with non-abrasive metal cleaners - flushed out - "like new" Some makers to look for:

Woodwind - Pond, Samual Graves, Firth, Christopher Gerock, Gehring, Martin, H. F. Meyer, Rudall Carte, Rudall & Rose, J.C. Haynes, Metzler, Jerome Thibouville-Lamy, Kohlert, Buffet, LeBlanc, Bonneville, Haynes, Peloubet, Whitely

Drums - Pollard, Noble & Cooley, Thomas Bringham, Graves, Horstmann, Eli Brown, Lyon & Healy, Ludwig & Ludwig, Leedy, Meacham, Thompson & Odell, Eisele, J. C. Haynes, C. C. Clapp, Kilbourn, Abner Stevens, Werner Soistmann

Brass - D. C. Hall, Samual Graves, Isaac Fiske, Quinby, Boston, Gilmore, Moennig, John F. Stratton, Ernst Seltmann, Wm. Seefeldt, Klemm, Julius Bauer, Louis Shreiber, Jerome Thibouville-Lamy, Besson, Cortois, Couturier, Highham, Diston, J. W.
Pepper, C. G. Conn, H. N. White, Buescher, York, Selmer, Slater, Adolph Sax, Ditson
Dealers - Lyon & Healy, Carl Fischer, Montgomery Ward, Sear, Roebuck & Co., Cundy-Bettony, misc. music stores

References

Books

1. The New Langwill Index - A Dictionary of Musical Wind-Instrument Makers and Inventors - by William Waterhouse - Tony Bingham, London - 1993

2. Early American Brass Makers - Robert E. Eliason - The Brass Press - 1979/1981

3. Woodwind Instruments and Their History - Anthony Baines - Dover Publications - 1967

4. Brass Instruments, Their History and Development - Anthony Baines - Dover Publications - 1976

5. Twentieth Century Brass Musical Instruments in the United States - Richard J. Dundas - Queen City Brass Publications - 1986

6. Graves & Company, Musical Instrument Makers - Greenfield Village & Henry Ford Museum - The Brass Press

7. Keyed Bugles in the United States - Robert E. Eliason - Smithsonian Institution Press - 1972

8. Musical Wind Instruments - Adam Carse - Dover Publications - 1937/2002

9. The Early Flute - John Solum - Oxford University Press 1992

10. A Pictorial History of Civil War Era Musical Instruments & Military Bands - Robert Garafolo & Mark Elrod - Pictorial Histories Publishing Company - 1985

11. The Flute and Flute Playing - Theobald Boehm - Dover Publications - 1922/1992

12. The Keyed Bugle - Ralph Dudgeon - The Scarecrow Press - 1993

13. The Music Men - Hazen & Hazen - Smithsonian Institution Press - 1993

Internet

1. National Music Musem - www.usd.edu.smm/

2. 1st Brigade Band - www.1stbrigadeband.org

3. The Band Museum - http://bandmuseum.tripod.com/

4. The R. Jones Trumpet Page - http://www.whc.net/rjones/

5. Vintage Cornets - http://www.vintagecornets.com/

6. J. W. Pepper - http://www.jwpepper.com/catalog/histpg1.jsp

7. The Company of Fifers and Drummers - http://companyoffifeanddrum.org/

8. Lars Kirmser's Music Trader (Instrument serial numbers) - www.musictrader.com

9. Vintage Instruments - www.vintage-instruments.com

10. Horn-U-Copia (antique instrument forums) - www.horn-u-copia.net

11. H. N. White - www.hnwhite.com

12. Conn Loyalist - http://www.xs4all.nl/~cderksen/

13. Tony Bingham - www.oldmusicalinstruments.co.uk

14. Early Musical Instruments - http://www.earlymusicalinstruments.com/

15. eBay - www.ebay.com

Letters from our Readers: Can You Identify This Drum?

Ellis,

I am an avid viewer of your page, but usually do not post anything of my own. I do have a question though about a drum. The previous owner of this drum said that it had been in the family for many years and was used during the Revolution. His grandfather had been in an Ohio regiment during the Civil War. I had done some research on him and found that he was not a drummer, so I'm not sure how she ended up with the drum.

I had some thoughts that it could be a Benjamin or Moses Brown drum, but wanted to have an expert opinion. I've attached some photos for you to look at. I was not sure how to contact Susan Cifaldi, so if you know how to get ahold of her, or anyone else who could shed some light on this matter, I would really appreciate it.

Sincerely,

Patrick Jones
Camp Chase Fifes and Drums
-----

Perhaps Susan Cifaldi or some of our readers up in Moodus can chime in here. I haven't seen any Brown drums with the same tack pattern (but I haven't seen the Moodus collection which I understand numbers about 90 Brown drums).

The coloring, on the other hand, is similar to some by Abner Stevens.

Thanks for your inquiry. Let's hope some readers can help solve your mystery.

Best.

Ellis Mirsky
Blogmaster@FieldDrums.com