A modern history of Windham county, Connecticut : a Windham county treasure book, Volume II, Part 6

Author: Lincoln, Allen B
Publication date: 1920
Publisher: Chicago : S. J. Clarke publ. co.
Number of Pages: 960

USA > Connecticut > Windham County > A modern history of Windham county, Connecticut : a Windham county treasure book, Volume II > Part 6

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THE NATIONAL AND WILLIMANTIC BAND

Along about the summer of 1876 a new Willimantic Band was formed, following the disbanding of the old "Cornet Band." It was believed for a time that this band would be picked by the state to be attached and known as the Third Regiment Military Band, but such luck did not come the way of Willimantic. The pick of the old Cornet Band and star players from other places made up the organization. The band made fine progress under the

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HISTORY OF WINDHAM COUNTY

direction of Director Rollinson. When the latter left, Carroll B. Adams became its leader. In the early '80s another band appeared on the firmament bearing the name of the National Band of Willimantic, having for its leader Harry Williams, with its membership the pick of the former St. Joseph's Band and other "future greats" of Willimantic. For a time there was great rivalry between the new Willimantic Band and the National Band. Both organizations boasted of some of the best musicians in the state of that time. When T. H. Rollinson left to play with the Boston Cadet Band, the leadership was taken over by George Arnold, a member of the original Cornet Band, and who later made fame with the Wheeler and Wilson Band of Bridgeport. Then for a time the band was lead by George Wheeler, then a famous dance prompter. The new Willimantic Band held rehearsals on the top floor of the Savings Insti- tute Building, now used as a lodge hall. The National band was organized in and held its first rehearsals in the top floor of the Holmes Block and later in the old "lockup" building on North Street, where is now located the Windham Silk Company Building.

Most of the credit of the success of the Willimantic Cornet Band was due to Thomas H. Rollinson, who was a born musician, according to men who played in the band with him, a leader as well as a writer of music. Mr. Rollinson was born in Willimantic. His father, Joseph Rollinson, a wool manufacturer, gave him a fine musical education in sending him to the Boston Conservatory of Music.

After becoming director of the local band, his fame became wide, through his compositions of band music. When the band enthusiasm was at a low ebb in Willimantic in the early '80s, Mr. Rollinson joined the Cadet Band of Bos- ton, becoming its director. Later he went to Waltham, Mass., and organized the famous Waltham Watch Band, being also its director. For many years this organization was rated one of the best in the country. Later he became identi- fied with the Oliver Ditson Music Company in Boston in the writing of band music for that concern, and at the present time is at the head of one of the departments of the firm.

ST. JOSEPH'S BAND

Along about 1870-71 the young men of St. Joseph's Roman Catholic Parish organized a band known as "St. Joseph's Band," with a membership of about thirty. Their instructor was Thomas H. Rollinson, who found time to instruct this band while the "Cornet Band" told of was slipping. St. Joseph's Band, like all other musical organizations, reached its zenith and over the hill, dis- banding in the later '70s. The band during its history made a fine record and had two leaders, the first being James E. Murray and the second John F. Carey.

In the spring of 1884 band matters began to look up again and with both the republican and democratic political parties naming their candidates for president, the musical "fever" again took hold of the "wind" instrument experts. Another Willimantic Band was organized, this time in quarters over the present H. E. Remington & Company clothing store in the early fall of 1884. The band members selected as their director William J. Maxwell, an accomplished cornet player. The band was made up of members of the bands that had disbanded the year or two previous. This organization, while it lasted about three years, met with good success and besides filling many engage- ments locally, gave a few excursions, and played for several out of town organi-

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zaticns. This band hit the rocks in the early part of 1888, with the exception of a few times when called on, little in the line of band music was carried out until 1890, when Charles N. C. Wheeler, one of T. H. Rollinson's pupils, took hold.

Since that year Mr. Wheeler has been the recognized head of brass bands in Willimantic, devoting his entire time to directing bands and teaching new players and to the sale of musical instruments and music. While there was an organization known as the Willimantic Band between 1890 and 1900 witlı rehearsals for the most part held on the second floor of the old Town Hall Building on Church Street, it was not until 1900 that the institution was on what could be called a sound basis.

This band was organized and known as Wheeler's American Band and continued as such until 1917 when the name of Wheeler, by the latter's desire, was dropped. Two years after this band was organized, a hitch occurred over business arrangements and the appearance in town of other musicians. Among the latter was Sala D. Jones, who had come to Willimantic from Middletown to play in the Loomer Opera House orchestra. Director Wheeler, with about eight or nine of his band, secured quarters on the upper floor of the Yonclas Block on Main Street. Another band had been organized by Harry Merrill, a member of the opera house orchestra, who held the directorship, but he soon afterwards left to take a position with a musical organization at Kalamazoo, Mich. The leadership was then taken by Sala D. Jones and the band known as Jones' Band. The latter left town in the latter part of 1903, and his organi- zation soon "petered out." In the meantime, the Willimantic Band, under the leadership of Wheeler, had struggled along and following the disbanding of the Jones' Band, most of the members of that organization flocked back to their old leader.

The American Band continued its career without interruption at the quar- ters in the Yonclas Block. The members displayed a "sticktoit" spirit and dur- ing the past few years the engagements were many and, with the social times staged by the band, the members were gratifyingly recompensed for their efforts.

This band, the longest in existence of any of the several Willimantic bands, showed their loyalty in the period of the late World war in giving their services gratis on deserving occasions, as well as many times doing their "bit" for charity. They lost nothing by those acts as they have first call at all times now, whenever music is required in Willimantic social events. The band is now as well equipped as any in the state. The membership at present numbers thirty- two. Following is the personnel, the instruments played, name and date of joining the band: C. N. C. Wheeler, director; bassos, George Michaud, 1902; W. Smith, 1914; W. Simmons, 1919; baritone, Joseph Bishop, 1888; Archille Goudreau, 1900; A. Dumas, J. Roy, 1902; W. Tracy, 1914; John Meehan, 1919; altos, Pierre Chasse, 1888; W. Crane, John Roux, 1914; saxaphones, Edwin Fitch, 1914; Harry Lester, 1918; Frank Brooke, 1920; cornets, D. L'Heureux, 1888 ; William Buckingham, 1902; A. Roy, 1888; Joseph Pipen, 1914; Richard Moriarty, 1918; clarinets, Fred Hornberger, 1902; A. Roy, R. Young, E. Backus, 1914; Nelson Frink, A. Simad, 1920; piccolo, J. D. Conant, 1888; drums, Francis Johnson, 1902; William Taylor, 1902; Leon Walker, Sam Mose- ley, 1902.

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WHITE EAGLE'S POLISH AMERICAN BAND

Another and the last band organized in Willimantic up to this writing bears the name "White Eagle's Polish American Band." To the efforts of William C. Smith, messenger at the American Thread Company employment office, the organizing of the band was due. Mr. Smith for some time before had interested himself in welfare work among the Polish employes of the thread mills. In September, 1919, a meeting was he'd of a number of Polish young men at Polish Hall, lower Main Street, and the matter of organizing a brass band was broached. The idea was very favorable to the young men, who decided to try out. Charles N. C. Wheeler was secured as teacher and met with fine success as the Polish young men showed themselves apt scholars. They attended strictly to rehearsals and fine progress was made. The first public appearance of this band was on the evening of June 24, 1920, on Lincoln Square, where a concert of six numbers was rendered. The music was excel- lent. On July 4th the band was at the head of the Fourth of July celebration in this city carried out by the Polish societies of the place. The band numbers

POLISH AM

RICAN BAND

COMA

WHITE EAGLE'S POLISH AMERICAN BAND

thirty-five members with the following officers: president, Joseph Nowak ; vice president, Konstanty Seretney ; recording secretary, Frank Nucek; finan- cial secretary, Andrew W. Ogozalek; treasurer, Peter Sorota; trustees, Albert Kansek and A. Cymbor. -

Following is the list of the members: cornets, Andrew W. Ogozalek, Joseph Nowak, Daniel Wack, Joseph Zaklukiewicz, Joseph Sadecki, Louis Wojick, Andrew Dziekan, Roman Sledziewski, Vincent Latusek, Hohn Falat, Frank

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Nycek, Joseph Lorenc, Michael Pletz, Walter Sokolowski. Clarinets, Peter Sorota, Michael Kogut, Isidor Rajchel, John Kawa, Frank Frenkiewicz, Michael Motytko, Konstanty Serentny, Stanley Latusek, Walter Pieszkalo, Vincent Kokoszka. Altos, Albert Kansek, Anthony Cymbor, Albert Baran, Walter Wegrzyn. Baritones, Michael Maliga, John Misak. Trombones, John Suslik, Peter Jedziniak, Anthony Stawarz. Bassos, Michael Ostrega, Felix Lesniowski. Snare drums, Michael Kozak, Joseph Sokolowski. Bass drummer, Jacob Wrzesien. Cymbalist, Walter Wilk. Utility drummer, John Czajka.

FIFE AND DRUM CORPS

One has only to recall that famous painting "The Spirit of '76" to realize that as a musical organization the "Fife and Drum Corps" not only far ante- dates the brass band, but even preceded the Constitution of the United States. This was the outstanding feature of the old training days, and after the Civil war every presidential campaign and every Memorial Day parade had its fife and drum corps. In fact, there is something about this old-time drum beat and the shrill fife that will more quickly awaken the patriotic spirit than any brass band ever organized.

In the history of drum corps in Willimantic there were two or three modern drum corps, one of them being that of St. Joseph's Cadets connected with St. Joseph's Roman Catholic Parish. "Jake" Connors, the drum major of this organization, was in his day one of the best baton swingers in the state.

As a rule the local organization was known as the "Ancients" for the rea- son that the drums were of the type known as "Continental" design, ranging from twenty-two to twenty-six inches, cumbersome in appearance, but produc- ing a great volume of sound. For a number of years or up to November 18, 1918, the Willimantic Fife and Drum Corps was directed by Lyman Maine, Jr. On that date, Armistice Night, the pick of the fifers and drummers in Willimantic met and organized a corps on a sound business basis, adopting the name, "Thread City Continental Drum Corps," with William H. Small leader and Odell M. Chapman manager and drum major. The membership is now twenty-one, twelve snare drummers, three bass drummers and six fifers. The organization has been successful in many ways. The corps has filled several engagements in connection with local out-of-door events. On September 6, 1919, their first field day was held with twelve out of town corps taking part. In May, 1920, the second field day was staged and this time thirty out of town corps were present. This event equalled the majority of the state conventions of the Connecticut Fifers and Drummers Association. The local corps led them all in the matter of prizes given in contests, the number being thirty- five gold and silver loving cups and medals. The members of the corps on each occasion proved themselves to be excellent hosts.

The uniform of the Thread City Continental Drum Corps is considered the finest in the state, being of the best quality of Continental design, the entire costuming making up a bill of over $1,300. Since the corps has been organized they have taken part in four contests and each time won first prize for "An- cient" style of playing. The corps has its meeting place as well as rehearsals on the second floor of the old Town Hall Building on Church Street.

Three of the oldest members are William E. Taylor, who has been connected with local drum corps for nearly forty years; William H. Small for thirty

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years-in fact, Small has been beating the drum since he was nine years old ; Odell M. Chapman, who is superintendent of the Atwood Machine Company in this city, has been identified with drum corps for over twenty years. He is an expert maker of drums and the instruments used by the local corps were all made by him.

Three of the drums that are used occasionally by members of the corps are over one hundred years old, made by Eli Brown of Windsor, who in his day held an unequalled reputation. Music by drum corps is not slipping by any means as there are at the present time ninety corps affiliated with the Con- necticut State Fifers and Drummers Association, to say nothing of the many independent corps.

ORCHESTRAS

The first orchestra in Willimantic, according to the old sages of the present- day, sprang in for prominence at the time that the Willimantic Cornet Band was organized before the Civil war, and from that time until the opening of the Loomer Opera House in 1879, the orchestras were made up of players from the bands of those years augmented by experts of the time who could play the violin, the piano, viola or the "bull" fiddle, as the bass viol was called. From 1880 to 1900 the leading organization was known as the Loomer Opera House Orchestra. One of the first was made up of James MacFarlane, violinist ; Carroll B. Adams, violinist ; Louis Wheeler, clarinet ; Joseph W. Rollinson, trombone ; T. H. Rollinson, cornet. Between 1890 and 1900 the orchestra which had the swing was made up of Michael Sheehan (leader) ; violin, William J. Maxwell ; cornet, Charles H. C. Wheeler; viola, George L. Wheeler; drums, Moses Blair. In those twenty years Willimantic was considered a fine show town by dramatic and musical shows and the orchestras mentioned furnished music for the best companies then on the road. There were concerts and balls lasting until day- break. It is related that when the midnight hour sounded the orchestra would strike up "We won't go home until morning," and then adjournment would be taken for supper, after which the slogan was "on with the dance." In those years kitchen dances were as popular as the present-day "movies," and every liveryman could bank on good business with dances at Eagleville, Scot- land, Hop River, Lebanon, and other places, to say nothing of the "week end" soirees in the borough.

In the spring of 1900 John Philbin and Clinton C. Helmold came from Clinton, Mass., to conduct the Irvin House, for many years one of the leading local hotels. Helmold was a musician of note and violin playing his forte, although he could play any other instrument. His fame preceded him and he accommodated in a few concerts. In that year the old Opera House orchestra disbanded and Manager John H. Gray prevailed on Helmold to organize an orchestra with the mantle of leader. Helmold had come to Willimantic, as he said, to conduct a hotel, and forsake music as a livelihood. Nevertheless a pic- ture was painted to him as how his connection with the opera house would boom the hotel and he consented, and in August, 1900, the orchestra was made up of C. C. Helmold, leader and violinist; Harry Royce, pianist; C. N. C. Wheeler, clarinet ; J. D. Conant, flute ; Henry Bishop, cornet; and Moses Belair, drums. Two seasons afterward there was a change in the line-up; and besides Helmold, there was Harry Merrill, clarinet; Sala D. Jones. cornet: Fred Per-

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kins, trombone; Nick Carter, drums, and George W. Hickey, pianist. This orchestra, known as Helmold's Orchestra, played at Loomer's until 1917, when the "movie drama" held sway over the "legit" which required less music. Since that time the music at the opera house has been furnished by a piano player or a picked-up orchestra of not over three pieces.

Between 1900 and 1907 there was one other orchestra in Willimantic that made fame, known as "Tucker's Orchestra." The leader was Charles Tucker of North Windham, a violin player of considerable note. This orchestra played for all kinds of engagements, oratorios, concerts, festivals, receptions and the like and for a time furnished music for the opera house. There were fine musicians in this orchestra.

About 1914 an orchestra was assembled by George W. Hickey and later, when Mr. Hickey left for an extended trip in the far West, the orchestra was taken over by Robert E. Pickett, a pupil of C. C. Helmold. This orchestra has had success from the time of its organization, not only filling dates in Willimantic, but all through Eastern Connecticut. Mr. Pickett died about a year ago and a short time ago the orchestra name was changed from "Pick- ett's" to the Peerless Orchestra.

A few years ago C. C. Helmold and George W. Hickey joined hands and fostered an orchestra. Some time later Mr. Helmold devoted his time to teach- ing of the violin and mandolin and then Mr. Hickey reorganized the orchestra under the name of the Majestic Orchestra. The Peerless and Majestic orches- tras are at the present time the two leading orchestras in Willimantic.

The Peerless Orchestra at the present time has in its personnel the follow- ing well-known musicians: C. C. Helmold, violinist; Edwin Fitch, violin or clarinet ; Prosper Vegiard, cornetist; J. D. Conant, flute; Archille Gaudreau, trombone; William Taylor, drum; Harry Royce, pianist.

The Majestic Orchestra has among its players, George W. Hickey, pianist ; Ralph Wolmer, violinist; William Buckingham, cornetist.

In passing it might be mentioned that George W. Wheeler was connected with most of Willimantic orchestras in the role of prompter at dances and balls. During his reign of calling off the "figgers" thirty-nine long years, or from November, 1869, to the summer of 1906, Mr. Wheeler was looked upon as one of the best prompters at dances. He had the honor of "calling the changes" at twenty-four of the forty annual Thanksgiving-eve balls or dances of the Montgomery Hose Company, Willimantic Fire Department. Mr. Wheeler was in great demand all over the state and even was more prominent than the famous Gurdon Cady of Central Village fame-" All Ready, Mr. Cady." Mr. Wheeler prompted in connection with social affairs where Gilmore's famous orchestra, Arbuckle's of New York, Brown and Reeve's orchestra of Provi- dence, played. When he gave up the prompting game in 1906, it was a period in history, that select affairs had practically tabooed square dances. However, there is some indication that the once popular lancers, Portland fancy and quadrilles are coming back, which will give a new set of prompters a chance to blossom. What little work there is in that line at the present era is taken care of by Wilbur G. Stevens. According to Mr. Wheeler, one of the best orchestras in the early '80s in Willimantic was the Opera House Orchestra, made up of James MacFarlane, H. H. Hatch, George Arnold, Clarence Hunt and Charles Wheeler of the old band.

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INTRODUCING "BILLY" FORAN AND DUNN'S MASTODON MINSTRELS

The townspeople feel proud of "Billy" Foran, who has been out before the "big time" footlights for the past eighteen years. During the past four sea- sons he has played one of the star parts of the famous rustic play "Turn to the Right." "Billy" is the son of the veteran railroad engineer, William Foran, who at this writing handles the lever of the engine of the Black Dia- mond Express between Colchester and Turnerville! Billy Foran's first appear- ance eighteen years ago, after graduating as amateur on the Air Line and Cotton Belt circuits, was in the sextet of "Peck and His Mother-in-Law" for one season. He then put in four seasons with "Checkers," as an understudy for Dave Braham in the part of "Push Miller." This was a famous play, with horse racing as the theme of the play. For the next two seasons he entered the ranks of vaudeville, playing with Emmet Devoe and Company in "Dream- land" and the "Smiling Kid" in "The Spotless Reputation." Both sketches were attractions on the Keith, Proctor and Orpheum circuits. Between that time and his connection with the "Turn to the Right" show, he had strong parts in a number of other plays and for a time was an actor in the silent drama, "The Movies," with success. Last year, when Foran appeared at Loomer Opera House, the second largest box office returns in the history of the house resulted. Foran at one time played the part of "Doctor Whatt" in the musical comedy, "The Broken Idol." He succeeded the famous Otis Harlan in the part of "Doctor Whatt."

As amateur Foran ranked high. He took leading parts in three of Burton Leavitt's operettas, "The Idyll of the Mill," "Bell Rock," and "Charter Oak." He played the part of Friar Porter in "Christopher Columbus," and was strong in the standard play of "Brother Against Brother," and as "Shy- lock," in "The Merchant of Venice"; but the piece that landed him his first professional job was the part of an old sea captain in a play written by one of the faculty of Niagara University.

When the stage lured Foran away, baseball was shy one star. When "Fornie" was a student at Windham High, he was the crack all-round fielder and could hit like "Babe" Ruth. But baseball came near ending his career. Jack Nichols took a Willimantic aggregation, called "The Kirby's" over to Putnam in the season of 1907. Foran played left field and in the fourth inning a Putnam chap named Lizzette hit a long drive out Foran's way. Billy made a great sprint and a high leap for the ball, and what was billed for a remark- able play fell short. Foran and the ball fell into the Quinnebaug River (among a lot of alder bushes) moving swiftly below. Foran grabbed a bush in his descent, performed a three-quarter cartwheel and landed up to his armpits in the unpurified muck. Foran figured it out afterwards that if it had been his feet that had tangled up in the alder bushes in his descent and had he gone down into the river face foremost, there would have been an obituary to chronicle.

As Foran's long suit is comedy, it came from his taking part in minstrels before he entered the "big show." Ex-Mayor Danny Dunn one time had the minstrel "bee," that was before he took up baseball and politics. Several years ago (say that it was before William Jennings Bryan delivered his famous "crown of thorns, cross of gold" remarks to the democrats) St. Joseph's Tem-

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perance Society put on a minstrel show that was a great go. Danny Dunn took the organization on a barnstorming tour, playing East Hampton and Jew- ett City, among other places. A special train brought the company back from the Jewett City engagement. None of the big shows had anything on "Dunn's Mastodon Minstrels," as it was named on the billboards. Charley Wheeler's Symphony Cornet Band headed the street parades. Each member of the troupe wore a plug hat. The first man the Jewett City denizens recognized when the busses arrived and deposited their human freight was Flag Doyle. "Mike" Falvey was advance man and ex-Alderman Dan Sullivan was master of props. The show was pulled off at Finn's Opera House and was the biggest thing ever seen there, before or since. Charles Wheeler was musical director, Danny Dunn. and "Jack" Williams, the federal building engineer, were the premiers at one wing of the circle and Billy Foran and Elmer Green were on the other. Dunn sang his "Town Topics," his big Willimantic success. Foran put force in a ragtime ditty. Elmer Green did his turn with his "Lucy Lee" solo.

The program. moved along swell until the interlocutor "Doc" Lahiff, an- nounced "Mistah Jack Williams" will now sing "Hannah Lady." There were some hisses as a greeting. It seems that there was a real "dinger" in Jewett City who was regarded as some pumpkin in the vocal line and Wil- liams' assignment was the "dinger's" best number. "Jack" did not lie down to this kind of a reception, but sang the song as it was never heard before in Jewett City. He had to respond to fourteen encores and after that the "dinger's" reputation was a dead one, whenever Williams' name was men- tioned. Another big hit was "The Gawks," an act by Flag Doyle, Shaun Sul- livan, Dude Moriarty and Dan Sullivan.

As Dunn was proprietor, manager and angel of the organization, he expected to make, but dropped money on the Jewett City date. He did not mind that as much as the fact that although the performance was a great artistic success, there was not a line of press notices in any of the papers along the cotton belt. Dunn and Dan Sullivan were talking of the incident a few months later and they sifted the blame on "Jim" Murphy, the ticket taker. Murphy, it seems, had turned down all holders of complimentaries. When the dramatic critics of Jewett City showed their credentials and certified that they had passed exams as Nym Crinkles, Murphy told them that he did not recognize the press, "whatever that was," and if they wanted to see the show, they could dig down like anybody else. Naturally there was a big blank space in the depart- ment usually devoted to "Plays and Players."

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A modern history of Windham county, Connecticut : a Windham county treasure book, Volume II, Part 6

Author: Lincoln, Allen B Publication date: 1920 Publisher: Chicago : S. J. Clarke publ. co. Number of Pages: 960

Author: Lincoln, Allen B
Publication date: 1920
Publisher: Chicago : S. J. Clarke publ. co.
Number of Pages: 960