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Sounds
from the Hudson Volume 8, Issue 1 LTC David Deitrick - Commander The Academy Band is Y2K
Compliant Drums in Ohio The Baldric: A Badge of
Rank The Making of an Army
Halftime Show Jazz Knights Welcome New
Members; The
Academy Band is Y2K Compliant Mr. Sousa Enters the New Millennium Come and usher in the new century with the U.S. Military Academy Band as they spotlight the immortal music of John Philip Sousa. Sousa, the consummate American composer and master of musical showmanship, will have his annual West Point tribute on Friday, January 14th, 7:30 p.m., in the Eisenhower Hall Theatre. Styled on traditional performances the "March King" himself might have led, these annual winter concerts are eagerly anticipated by loyal concert-goers.
According to Sousa himself, he was interested foremost in pleasing his audience. To him, the inspiration that came from the audience was the greatest compliment a musician could have.
Accordingly, Band Commander, Lieutenant Colonel David Deitrick will intersperse lively Sousa marches and compositions throughout the evening. Soloists will include Master Sgt. William Treat, on piccolo, presenting J. Occa’s Kinloch of Kinloch, and vocalist Staff Sgt. Mary Kay Messenger interpreting Verdi’s Pace, pace, mio Dio, from "La Forza del destino" This Century Past The band’s deputy commander Major William Garlette, and members of the concert band will stage a presentation featuring the diverse sounds of 20th century chamber winds on Sunday, March 19th, 3:00 p.m. in the Thayer Hall South Auditorium. Employing groups ranging in size from eight to twenty players, the concert will summarize the varied styles of the last century, particularly American jazz and the effect it had on classical ensembles. Highlights include Igor Stravinsky’s Octet, Leonard Bernstein’s Prelude, Fugue and Riffs, Darius Milhaud’s Creation of the World, and Henri Tomasi’s Liturgical Fanfares. Jazz Knights in Florida Chief Warrant Officer Kevin Laird and the Academy Band’s Jazz Knights will fly down to the wonderful world of Disney this April. According to Laird, the Knights will participate in the Disney Institute’s "Magic Music Days Jazz Festival." Laird explained that the festival is aimed at young jazz musicians. Performing on two stages, various groups will play and then receive instructive comments from festival judges. The Jazz Knights will act as the capstone event on April 29th, and then present a public concert the next day. Hellcats Travel to Ohio Sgt. Maj. David Brzywczy and the Academy Band’s popular field music group, the Hellcats, plan an ambitious expedition to the Buckeye state during April. This intrepid band of buglers and drummers, who maintain good discipline and marching precision among the Corps of Cadets, will perform at Cedarville College in Cedarville, Ohio. Drums
in Ohio This past October the concert band traveled to Columbus, Ohio, to participate in the Percussive Arts Society International Convention. Organized in part by Sgt. 1st Class Dana Kimble, the concert band performed a program on the evening of October 28, showcasing four world-renowned percussionists: Steve Houghton, Andy Narrell, Emil Richards and Leigh Howard Stevens. It was a standing-room-only audience in the Hyatt Regency Ballroom as Lt. Col. David Deitrick and Maj. William Garlette conducted a diverse line up. It featured not only the four soloists, but also the band alone in several works. The program order was: The Gallant 7th, John Phillip Sousa; Carnival Overture, Antonin Dvorak; Rosewood Dreaming, William Cahn; Molly on the Shore, Percy Grainger; Panhandlin’, arranged by Staff Sgt. Michael Brown; Perc, by John Clayton; and All That Jazz, arranged by Master Sgt. Jim Perry. The three pieces performed by the Academy Band alone were The Gallant 7th, Carnival Overture, and Molly on the Shore. One of Sousa’s later marches, written in November 1922, The Gallant 7th was composed for the 7th Regiment, 107th Infantry of the New York National Guard. Dvorak wrote the Carnival Overture as the second of three orchestral overtures. "The piece," wrote Dvorak, "portrays a lonely contemplative wanderer reaching, at twilight, a city where a carnival is in full sway." This powerhouse of an orchestral work, arranged for band, demonstrated the strengths and talents of every section. The Irish reel Molly on the Shore was a delightful opening for the second half of the program. The inclusion of a Grainger work is appropriate not only because of Grainger’s ties to the Academy Band in his later years, but because Grainger was a former U.S. Army musician. The first soloist of the evening was Leigh Howard Stevens. Mr. Stevens graduated from the Eastman School of Music and was hailed by Time magazine as "the world’s greatest classical marimbist."Stevens’ repertoire ranges from Bach to contemporary works written expressly for him. Much of this new literature would have been technically impossible for one player before Stevens developed a new four-mallet technique. His innovation and fresh approach to the marimba has led to more than 25 world premieres, including Rosewood Dreaming.
William Cahn’s Rosewood Dreaming was originally a single-movement work commissioned and premiered by Stevens and the Texas Christian University Percussion Ensemble. The instrumentation consisted of solo marimba and an ensemble of two marimbas, vibraphone, six tuned tom-toms, two suspended cymbals and glockenspiel. This piece then became the third movement in a three-movement concerto of the same title, premiered by Stevens and the acclaimed percussion ensemble NEXUS. The performance by the Academy Band was the premiere of the wind ensemble version. The title, Rosewood Dreaming, Mr. Cahn explained, comes from the wood from which marimba bars are made, and dreaming, a condition in which thoughts and images pass freely through the mind, sometimes following a logical, orderly flow and sometimes making illogical connections. Words from a familiar children’s song are also appropriate: "life is but a dream." Throughout the performance, it was clear from the hushed, spellbound audience that they were listening to one of the greatest marimbists of our time. International pan soloist Andy Narrell joined the band on the second half. Narrell, a major figure in steel pans, discovered this Trinidadian instrument through his father’s social work with Lower East Side gangs of Manhattan.
He traveled to Trinidad and worked and studied with Ellie Mannette, a founding father of steel pan. After graduating from the University of California, Berkeley, in 1973, Narrell recorded regularly and started his own record label. He has introduced steel pans to jazz as a solo instrument, using Caribbean and Latin melodies, R & B, funk and straight-ahead jazz. Narrell transported the audience to the sunny Caribbean, as he impressed them with his dexterity and ease while improvising over the piece Panhandlin’, arranged by Staff Sgt. Michael Brown. It is a medley of three tunes: Sugar Street, an original work by Narrell; Claudia, a Latin-jazz standard by Cuban pianist "Chucho" Valdes; and the Brazilian samba-inspired Segura Ele by Alfredo da Rocha "Pixinguinha" Viana, Jr. (Trophy Point concert-goers may remember this piece from the concert band’s August 1, 1999 "South of the Border" program, which also featured Mr. Narrell.) The leading West Coast studio percussionist, Steve Houghton, began his career early by touring with the Woody Herman Band after playing with the University of North Texas One O’clock Lab Band. Following his years with Herman, he completed his training in jazz, studio and orchestral percussion, while playing with such greats as jazz vibraphonist Gary Burton, bandleader Toshiko Akiyoshi, trumpeter Freddie Hubbard and singer Paul Anka. His television music credits include "Northern Exposure," "Matlock" and "Coach." Mr. Houghton has also served as a department chair and teacher at the Percussion Institute of Technology in Los Angeles. John Clayton wrote Perc, Solo for Percussion and Concert Band, for Steve Houghton. This work was visually stimulating, as Houghton performed on a flurry of percussion instruments, including drum set, vibraphone and the "whirly-bird." This unusual instrument is played by swinging it over the head, and is derived from the Aboriginal instrument known as a bulls-roar. Perc was written in three movements: Chorale: Tap Dance, Winds of Change, and Down South. It is a conceptual work featuring many different compositional techniques. These techniques include: a "tap dance" on drum set in the first movement; wind noises in the second movement, created by blowing through instruments without creating actual tones, and by the "whirly-bird" (an entire section of "whirly-birds"!), and a full Brazilian samba-percussion battery in the third movement. Interwoven throughout the piece were Mr. Houghton’s strong ties to jazz and improvisation. Closing out the extraordinary evening of percussion and band was the incomparable Emil Richards. Playing xylophone since age six, Richards has performed with Charlie Mingus, Ed Shaughnessy, Perry Como, Ray Charles and George Shearing. He is a renowned Los Angeles studio musician, having recorded with Judy Garland, Frank Sinatra, and Nelson Riddle; and can be heard on film scores by Jerry Goldsmith, John Williams and Elmer Bernstein. In addition, in 1952-53, Mr. Richards served in the U.S. Army as a member of the First Cavalry Band.
Emil Richards played All That Jazz, a medley of three jazz standards arranged by Academy Band member Master Sgt. Jim Perry. Perry included Well You Needn’t, by Thelonius Monk; Fats Waller’s Jitterbug Waltz; and Little Sunflower, by Freddie Hubbard, to display the phenomenal improvisation skills of Richards. The audience was obviously amazed by his lightening speed while delivering highly developed and creative phrasing. An encore of the "Flintstones" theme was enthusiastically received. (Attendees of this year’s "1812 Concert" at Trophy Point will recall these pieces and Mr. Richards’s performance, as well.) As this magical evening came to a close, and the Academy Band headed back to West Point the next morning, many people reflected upon the exciting performances of four of the world’s finest percussionists. There was no question that the United States Military Academy Band had participated in an historical performance. The band had brought the pride of the Academy and the Hudson Valley to Columbus Ohio and the Percussive Arts Society International Convention. The
Baldric: A Badge of Rank In addition to his many operational duties, the drum major serves as the ceremonial figurehead of the marching band. His uniform, which includes unique and elaborate pieces, distinguishes him from the other members of the organization. One special element of the drum major’s uniform is his sash, called the baldric. Our drum major's particular baldric was designed in the mid-1980’s, expressly for the Academy Band. It differs slightly from baldrics worn in other Army units in that it is positioned from the right shoulder to the left hip, instead of falling from left to right. Additionally, the Academy Band’s baldric has an attachment at the bottom, called a frog, which holds the drum major’s saber.
When worn, the baldric displays the distinguishing markings representing the unit. The Academy Band’s baldric is lined with red trim around its edges to commemorate the ancestry of the band. Until the early 1800’s, the band was attached to the Corps of Engineers at West Point, and the traditional color for this unit of miners and sappers was red. To honor the heritage of Army music, there is a set of crossed drumsticks, as the first soldier-musicians were drummers who signaled in camp and on the battlefield. The West Point crest adorns the baldric as well, stating the motto of the Military Academy, "Duty, Honor, Country," alongside the Roman numerals MDCCCII, to represent the founding of the Academy in 1802. At the bottom, a wreath completes the design of the Academy Band’s baldric. It represents the Presidential Unit Citation awarded to the organization after World War II, and also symbolizes leadership, drawing a parallel to cadet uniforms, which also display a wreath honoring leadership. The baldric worn by the Academy Band’s drum major serves functionally and ceremonially, just as the drum major himself does. Its principal purpose is to identify the leader of the marching band, but a closer look at it reveals some of the rich history of our organization. The
Making of an Army Halftime Show When one thinks of the United States Military Academy at West Point, the first two things that usually come to mind are, cadets in full-dress grays passing in review, and Army football. When the public visits West Point, these are among the most prominent things that they see involving cadets. What some may not realize, however, is the extent of the role that the Academy Marching Band plays in both traditions. On home football Saturdays, the Marching Band is involved in everything from the beginning to the end of the day, starting with a full-dress review in the morning, and including a pre-game show and halftime show at the Army football game. In combination with the cadet spirit band, the Marching Band adds to the revelry of the game itself by performing exuberantly in the stands. The main focus for the group at the game, however, is entertaining the faithful during halftime. What are the processes involved in putting together an Army halftime show? Master Sergeant Robert Smither, the band’s half-time show producer, shed some light on the subject at a recent interview. What is the purpose of Army halftime
shows? Who are the personnel involved in
putting together a show? Could you summarize the charting
(choreographing) process, including the use of computers? How many total hours go into putting
together a show with the full band? What kind of coordination is involved
with the Army Athletic Department and other organizations, both at West
Point and off-post?
A great deal of work goes into coordinating multiple large groups for a show. We use as many as thirty area high school bands on "Band Day." Eighteen to forty fife and drum corps and bagpipe bands participate in a tattoo. Housing arrangements need to be made for some participants, and meals have to be provided for all those involved in the show. Various supplies, such as ladders for conductors and wood platforms or props, must be procured from different departments on post. Storage areas in the stadium need to be reserved. We also work with the engineer platoon whenever we require cannon fire for a show. Each one has its own special details that need to be taken care of. What are some of the different types of
shows that have been done, and who have been some of the guest performers? What were some features of the 1999
Army/Navy show, and why was this game special? Jazz
Knights Welcome New Members; During the latter part of 1999 the Jazz Knights were happy to welcome two new performers to their ranks. After an extensive search and rigorous audition procedure, these excellent musicians were selected to help carry on the Knights’ twenty-six year tradition of service to the Corps of Cadets and the American public.
Staff Sgt. Laura Bradley, the new vocalist for the group, comes with an extensive background in both military music performance and military administration. From 1986 to 1993 she was a personnel service specialist in the 5th Personnel Service Company, Fort Polk, Louisiana. From 1994 through 1996 she was a soprano in the 25th Infantry Division Chorus, Schofield Barracks, Hawaii. She was soprano section leader, public relations NCO, and administration NCO for that unit. In November of 1996, Staff Sgt. Bradley was assigned as vocalist to the 214th Army Ground Forces Band, Fort McPherson, Georgia. Her duties at Fort McPherson included singing in the concert band, stage band, and jazz combos. She was also the administrative NCOIC for the 58-member unit. Staff Sgt. Bradley’s career highlights include many high-profile solo performances for dignitaries and with renowned civilian musicians. While stationed in Hawaii, she was selected by the White House Chief of Staff to sing the National Anthem for President Clinton. She also sang the anthem for the Atlanta Braves at Turner Field, with former President and Mrs. Carter in attendance. Staff Sgt. Bradley has performed as a featured soloist on three compact disc recordings with her units, singing in styles ranging from classical to patriotic, and jazz to R&B. It was a particular honor for her to be chosen to perform for soldiers in Haiti during Operation Uphold Democracy. She has also sung with such jazz greats as bassist John Clayton, trombonist Conrad Herwig, and improvisation educator Jamie Aebersold. According to Bradley, one of her most cherished musical memories is that of touring with the Army Soldier Show for its 1986 and 1991 seasons. Staff Sgt. Bryan Uhl, selected as the group’s new lead trumpet player, originally joined the Academy Band in November of 1997 as a bugler for the Hellcats. He holds a Bachelor of Arts degree from Iowa State University, and a Master of Music degree from the University of North Texas. Renowned for its excellent jazz ensembles, North Texas has a reputation as one of the top jazz schools in the nation. Skilled in classical performance as well as jazz, Staff Sgt. Uhl performs with the Regimental Brass, one of the Academy Band’s busy brass quintets, and plays regularly with the Westchester Broadway Theater orchestra in Elmsford, New York.
Two excellent musicians departed the Jazz Knights for other military bands during 1999. Staff Sgt. Ken McGee played lead trumpet with the band for four years. In addition to performing with the Jazz Knights, he sometimes played lead trumpet with the Concert Band, and was regularly featured with the Marching Band during Army halftime shows. McGee is now with the United States Army Concert Band in Washington, D.C. Staff Sgt. Marva Lewis, the former vocalist for the Jazz Knights, is now touring with the Army Field Band’s Jazz Ambassadors. Concert Band and Jazz Knights audiences throughout the Hudson Valley will miss Lewis’ memorable performances. Her soulful renditions of jazz and pop music elevated the excitement level of each concert in which she participated. The Jazz Knights’ gifted pianist, Staff Sgt. Derrick Boelter, has elected to pursue his musical career as a civilian beginning in February of 2000. His contributions to the Academy Band during his enlistment have been immeasurable. Staff Sgt. Boelter performed solo piano on countless occasions for dignitaries visiting West Point. In addition to his primary duty as pianist for the Jazz Knights, he also performed with the Jazz Knights Combo and the Concert Band. He performed Gershwin’s Rhapsody in Blue with the latter on two occasions. Boelter contributed musical arrangements to the Jazz Knights library, including extensive work on a halftime show that featured the Knights performing with the Buffalo Jills dance team. After he leaves the Academy Band, he will be moving to Denver to work as staff composer for AgriVision Productions, as well as being involved in marketing, on-line editing, and producing videos. Although Staff Sgt. Boelter will be sorely missed, the Jazz Knights wish him great success in his future musical endeavors.
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There
is considerable coordination involved. Michie Stadium has to be reserved
for rehearsals. Funding assistance needs to be obtained for our larger
events, like the "Military Tattoo" show. We need to work
together to make sure that the length of a show allows for whatever
presentation or contest might be scheduled for that halftime.
Additionally, seating has to be reserved and assigned for visiting
participants. Parking arrangements need to be worked out with both the
athletic office and the Provost Marshal’s Office. The Directorate of
Information Management must be contacted for audio, still photo, and video
support at rehearsals and on game day. We need to coordinate with those in
charge of the Corps of Cadets whenever we want to use them in a show, for
instance as cheerleaders, or escorts for high school bands.
