ironlips

The '65 Crusaders were an absolute monster. I remember watching them perform after us (Sunrisers) at the Grand Prix, I believe. My buddy John and I turned to each other about halfway through "Goldfinger" and uttered the ultimate NY compliment, in unison: "Fuggedaboudit!".

If your symptoms include cracking a lot and missing partials even though you are practicing a lot, take a couple of days off and build back slowly. You haven't been playing that long and the musclature is not that well developed. If you play on damaged chops you will do more harm than good.

uncle z, My understanding is that all of Ken's masters were bequeathed to DCI in his will. There may have been some conditions as to releasing them. Why not inquire about this directly to Dan Acheson?

A couple of those Buddhas, ceramic and wood, grace our fireplace. They were won by the BDs back in the day. The LA Chinese corps was a real kick. I'd love to see them again.

If I can figure out how to add a photo to a post, I've got some good ones of early bugles. Can I get a little guidance?

Sign me up, though you could have started any time after 1998 or so since there is indisputable photo evidence of military bugle corps from at least the Spanish American War. 2018 would mark the beginning of the formation of veteran's organization corps using bugles. These had existed as fife and drum corps since Revolutionary War days. Either way, I have a collection of the instruments and music from the late 1800s to the present. Who wants to play?

That's a perfect example of why it was so rewarding to teach the Crossmen: those kids had an irresistible combination of creativity and fearlessness. They revelled in the art of improvization. Kelsey and I had a ball with them. I'm sure Chez gets the same feeling these days.

Boston 1977, Thanks for keeping me on my toes. I remember spending countless hours trying to cop Jimmy C's solo off that LP, but nobody could play it like him. I've got to get him to DCA I&E next summer. He'll teach everybody a lesson.

Hey 7, You left out a ! !!_!_!!!

I realized after posting that the composer, Burt Bacharach, had already been ID'd. Mr. Denon was an icon among arrangers. I think of him as the J.S. Bach of Drum Corps, the culmination of a particular style that began with Jim Donnelly and St. Vinny's. The help he had on TLT was from Mr. Shellmer, who most likely suggested the tune in the first instance.

Perhaps there could be special awards for naming the composer and arrangers of BAC's version of Turkey Lurkey Time, a song with a silly title, but hip in the extreme. I saw it performed on Broadway and it was a rippin' production number that set choreographic standards. This was a fun thread. Thanks for starting it.

Here's a Dream Team: Brass Jim Prime -arranger Wayne Downey - tech Visual George Zingali Pete Emmons Percussion Gerry Shellmer Fred Sanford Ralph Hardimon Guard Scott Chandler T.J. Doucette Denise Bonfiglio Director Jimmy Costello Staff Therapist Shirley Dorritie

It was good then. It's good now. And without the "then" there'd be no "now". Some things are much better: the instruments, the skills, the logistics, for instance. Other things are not so good: decline in participation, disconnect from the local community, much of the musical appeal. Still, drum corps is pound for pound one of the best experiences you will ever have on this planet. Celebrate it, all of it, the "then" and the "now".

The first corps on the list should rightfully be Preston Scout House, though few on this board would ever have seen them compete. They were visually spectacular and musically ahead of the times, using keyboards and Bb instruments in the late '50s. Today there is an alumni corps with the sweetest sounding brass section in its class.

Tom P. introduces an important point: all the great teachers were taught by and interacted with other great teachers. As an example, Bill Hayes (Blessed Sac, St. Catherine's) taught John Sasso (St. Catherine's, St. Lucy's, Sunrisers) who taught Wayne Downey, who taught John Meehan and Gino...etc. The past is prologue.

Mike, I really don't recall, specifically, but I would guess that it was Dave Shaw who was writing for Drum Corps Digest at the time, I think. We all thought we were so far out in front of the curve in show design. That entire project was outlined one evening after rehearsal. Around the table at the Route 46 Diner sat Bobby Hoffman, Pete Emmons, John Sasso, George Tuthill, Ray Cappiccile and yours truly. (I was basically a fly on the wall, the assistant brass instructor. Since my BA was in History, however, I was consulted about story continuity. Who knew John would soon move on and leave me with the arranging? I was in 'way over my head. Thank God for Tuthill and Larry Schillings.)

Devlin was truly one of the greats, and you described him to a "t". As for working with a lot of fine corps, I have been very fortunate in that regard. (One of those was your corps, in 1978.)

SKEK Sop, Yes, 1977 is correct. Gerry's notes and Bobby Devlin's patience made my brass arrangements really sing. Garfield, ironically, did not do well in drums, mainly due to some key defections to Bayonne on the part of some very talented players who would't buy into the Shellmer method. Playing the new "independent" style and reading music was tough medicine. By 1980, it was de rigeur among top lines like Santa Clara. Currently, Gerry resides in Delaware.

Drum god, indeed! Gerry is that, a genius. He saved my charts at Garfield, too. A man, a martini and a briefcase full of golden notes. Most corps folks today probably don't realize he is responsible for introducing melodic percussion, keyboards, tympani...etc. Gerry is the Godfather of the Pit. When Boston and the Sunrisers were threatened with disqualification for marching xylophones, Gerry commented "They think they can put the bells in jail! Too late, 'cause they're out of the box, a-ha!" The Sunrisers played Conquest in '68 when they won Legion Nationals. That was BS for them (Before Shellmer).

Also, Sunrisers 1970. Drum arranger: Gerry Shellmer Brass arranger and sop solo: yours truly

Upon reading John's article, I realize that the Oakland Crusaders were the springboard for the notable arranging career of Ralph Hardimon, DCI Hall of Famer and recent Lifetime Achievement Award recipient. He is also my best friend, former roommate and "Best Man". Drum corps is truly a small world that connects us all. (Ralph and Float anchored Anaheim's snare line in the early '70s, as you probably know.)

Jim, I believe it's Vicki Drummond from Blue Rock. In the early '60s, Barbara Bergdoll conducted St. Kevin's in their wailing rendition of South Rampart Street Parade. She really lit up Roosevelt Stadium at the Dream. She may have been guard captain and stepped out just for that tune. Either way, she was a star. Her dad, Frank, was the arranger (a monster talent), and her brother, Buzzy, was a rippin' good French Horn. I believe he is currently writing for Light Brigade and playing mellophone. Alice Dobson was the fabulous DM of the Bridgeport PAL in their heyday in the mid-'60s.

John, I really don't think there was hypocricy here, or any attempt to slight anyone. Jeff Mitchell and I spent weeks listening to 30 years-worth of finals drum solo recordings, specifically trying to get as broad a representation as possible so that all selections would not come from the same 5 or 6 corps, however outstanding they were. We didn't look at scores or placements, just used our ears. The problem was, '77 Oakland does not appear on a CD, and those were the recordings we sourced. I agree that it is a shame this great drum line was not better documented. If the currently available CDs move strong enough numbers, there will be a second volume. Should I be involved again, I will request use of the '77 prelims analog recording so that line is included. Frank

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