ironlips

Not to mention "Caveat Emptor" and "Carpe Diem". Ray Fallon is a Renaissance Man.

Yes, it's used extensively in Klingon music.

Having shared the field with and worked for Bobby on so many occasions over the past 50 years, I can truthfully say I never met a more honorable and courageous man. Most now think of him in a management role, but he was one hell of a solo soprano. Bob was the very definition of "a natural". When his photo appeared prominently on the front sleeve of Fleetwood's 1967 Mission Drums LP, he joked that he preferred that to the cover of Rolling Stone. Had he been a guitarist with even remotely similar skill, that would have been a certainty. http://www.fleetwoodsounds.com/catalog/product_info.php?cPath=22&products_id=195 My deepest condolences to Patti, their family and all who loved him.

If you would like to hear the great Sunriser soloist, Frank Diliberto, at the absolute top of his game, get your hands on a copy of this recording from the 1965 Cavalcade: http://www.fleetwoodsounds.com/catalog/product_info.php?cPath=22&products_id=270 Billy Hightower couldn't make this show, so Frank covers his "Sing, Sing, Sing" solo like it will never be heard again, as well as his own signature "Ballin' the Jack". He played on a Getzen slip-slide G/D soprano, and no one has ever surpassed his performance that night on such a horn. The cat was positively on fire.

What a serendipitous choice of words with reference to the great Vinnie Ratford! In 1965 he was holding forth at a Sunrisers rehearsal at what was affectionately known as "the pit", a huge excavation in Mineola which was intended as a landfill on the outskirts of town. He was notorious for saddling folks with nicknames as long-lasting as they were clever, and a young Danny Dayman (RIP)was guarding the US colors while awaiting a spot in the drumline. Vinnie instructed the 2 of them to march straight ahead at one point, then promptly forgot about them. They continued past the sideline about 25 yards before marking time for about 10 minutes while he worked with another section. When he finally noticed the hapless pair, he put his fingers in his mouth and emitted one of those trademark ear-splitting whistles for which he was famous while spinning around like a whirling dervish possessed by Satan. "Get back here!", he commanded, and both rookies ran to his side. He glared at the two of them, steam hissing from under his collar. "You", he said to the flag bearer, "you look like Bela Lugosi, and you", he shouted at Danny, "you must be his first victim!" And that's how both of them acquired the sobriquets they carried for the rest of their drum corps lives. The Great Vinnie had spoken.

Jim and all other interested parties, Here's a look at the horns we use: http://www.rjsamp.com/clairons.html All told among Infantry, Cavalry and Artillery, there are a couple of hundred different Civil War calls. A Chief Bugler would know most of these by heart and all that pertained to his particular branch. They are fun and challenging to play and easily found online.

Our drum corps fraternity was well represented this past weekend at the first of two major re-enactments highlighting the 150th Anniversary of the battle of Gettysburg. A second event will be held here next weekend. As my 2nd Batallion entered the field in support of the Iron Brigade who advanced against over 3,000 fierce Confederates on Friday morning, I could hear the calls of our 3rd Brigade bugler, Douglas Grunn (Manville Crusaders, Sunrisers), several hundred yards to the front. A quarter mile away to my far left, Rich Pawling (Reading Bucs) echoed the call to advance. We all carried authentic style French Clairon single twist bugles. These are "period correct" instruments pitched in Bb that look like modern flugel horns without valves. A competent bugler can project calls at least a mile over open ground, even above the sound of artillery and rifle fire. As we awaited Pickett's charge at the top of the hill yesterday afternoon, we could hear the Confederate drums and bugles coming from the woods on the far side of the field, at a distance of a mile and a quarter. These are, after all, "field" instruments, meant to be played loudly, the drums larger and tuned lower than modern drum corps, and played with thicker, heavier sticks. In addition, the Federal Camp alone included buglers, fifers and drummers who had marched with Blue Rock, Cadets, Chocolatiers, US Air Force, Crossmen, Hanover Lancers, Westshoremen and Hurricanes. These Civil War individuals and small ensembles were the direct ancestors of our modern corps. I encourage anyone with a serious interest in that activity to investigate its roots.

He played lead sop in '68 until we kicked him over to the mellophones for being too clean-cut.

Pete China did play lead sop once upon a time, but in the Bronx Kingsmen and the Sunrisers. He was never in the Hurricanes.

Was our boy a soloist by any chance?

If I'm right about the horn, it's either '68 or '69, OR the very early '80s since some corps were still using those valve/rotors. I tend to think the former because of the leg rest on the drum, and the kid's haircut. So (wild guess): 1969 Syracuse Brigs.

OK. Let's try to "triangulate" a bit. North, South, East or West of Wall Street? Nanci?

There's some good sleuthing going on here. For the record, I have no idea who this is or what corps is involved. As for the horn, it appears to be a valve/rotor G/F, so could have been made no earlier than 1967, though some alumni players still use these. They were sweet, like a vintage T-Bird. The snare leg rest was an endangered species by the early '70s, though still used by some show bands today (see the film, "Drumline", for example). Upon further review, his hands are under the instrument, and could be resting on blacktop. This would be mighty uncomfortable when the sun was high except in moderate temperatures, or under cloud cover. The sunglasses counter indicate the latter. Could his shirt be inscribed, "Hello"? This is a good one. How about a hint from someone who knows his identity?

Andy is right about the turf, and that might be a red herring, but there was some around and who rests his horn on cement and then puts his head on it? No self-respecting lead sop in my experience would do that. Yes, he's smiling, but that's because it's summer and he's a drum corps bum I think. I still believe it's a light-deprived upstate kid, though I could be wrong. Can anyone decipher the script on his shirt?

Can you actually balance a leg-rest snare that way? Shadow reveals someone nearby, but not close enough to be bracing the drum. The horn is a valve/rotor, possibly an Olds G/F, c. 1972. The player in question is reclining, but probably not on dirt or concrete. My guess is the track around a field, or possibly the original carpet form of Astro Turf. The specs are vintage '70s and he clearly relishes a few minutes in the sun, indicating a resident of a northern climate who appreciates any summer he can get. What do you think, Watson?

I will be with you, Bonnie and the JOBE in spirit. Doug was an extraordinary and gifted man and musician. Nobody who met him is likely to ever forget the experience.

There are far too many people to list, and this topic could begin to get maudlin in a hurry. That said, I miss: 1. 14-minute shows that allowed for some variety and/or development. 2. Rudiments 3. A season that extended from Memorial Day to October 4. The previous abundance of soloists 5. Full retreats Of course, we won't see any of these again, unless we believe in Santa, the Easter Bunny and the Tooth Fairy.

I think I first saw him as he led the guard onto retreat at the 1963 Northeastern Championships at Agawam. We actually had "retreat" back then, complete with flag presentation and the bugle calls "Colors" and "Retreat". It was considered an honor to be selected to play these and at this show there were to be two of us, one from the Amboy Dukes (probably Joe Brancati) and "the Sunriser kid from the military school". (That would be me.) Since the Hurcs were the reigning circuit champs, we were to stand on the 50 with their guard while all the corps prepared to enter. All senior corps still had many military vets, but this color guard captain was clearly senior to most of them and it it was heartening to know that one could seemingly do drum corps for life. As we prepared to march onto the field I whispered to the other bugler, "Do you think he was in the war?" He nodded in the affirmative. "I'm gonna ask him about D-Day", I said. To this my partner grinned and replied, "Ask him about Gettysburg."

Andy, You put Ray and me in the "same era"? I don't know about that. When I studied at the University of Sasso, I often accompanied Ted to Oceanside Legionnaire rehearsals, hand copying parts and running the occasional third soprano sectional. In the rear of the obligatory parade formation, there stood a 12-year old baritone who was taller than everybody else (except the lanky John Kamerdin), and always had a 5 o'clock shadow. He still looks like that, but the rest of us got older.

Man, there are lots of notorious characters in that photo. Some I can name (especially if we start at the other end) but others are less familiar, since by the time this picture was taken I had been banished from "Senior" corps and sent on a pilgrimage to the tribes of the Wild West.

That is Billy Fulson narrating the Polo Grounds and Shea Stadium home movies. He and Ted Sasso were the contra bass section in that corps from '63 through '65. Ted stayed and performed through the '80s. Billy Cobham was in the drumline in the early '60s until he had to go on tour with Miles Davis and some other cats. I recall having to learn the "My Beer is Rheingold, the Dry Beer" tune for that Polo Grounds gig. And guess what we got to enjoy (gratis) after we came off the field. Those were the days, my friends.

I believe The Scarlet Lancers were the very first Champions of the Long Island Circuit. They were instructed by a couple of ex-Queensmen, Donald Jenkins (drums) and Nick Saunders (brass). These days, Nick continues to tour with the famous doo-wop group, The Cleftones, singing bass.

Jim, You may find this interesting: http://www.drumcorpsplanet.com/2011/01/off-the-record-qbandsq-of-brothers/ FD

I'm sure this is correct. I recall reading this myself some time ago. As to specifics regarding Carver, I suggest you check with our mutual friend, Gene Bennett. He should know the history. Coincidentally, I have recently been corresponding with the iconic Clark Terry, trumpeter with Basie, Ellington, NBC orchestra...et al, whose recent autobiography "Clark" carries an account of his playing the bugle in the Tom Powell Post D&B Corps in the late 1930s. They were the predecessor of the great Spirit of St. Louis. As you probably know, Clark is a member of the Buglers Hall of Fame, to which he refers in his book.

Any chance that this person was a drum legend whose initials correspond to the 2 letter acronym used to describe an album of songs that played at 33 1/3 rpm?