AncientTimesPublished by the Company of fifers & drummers, inc. spring 2010 issue 128 $5.00

in this issue:ConCord’s old north bridgeremembering buzz Allennews from the west CoAst

i

Celebrating our 10th anniversary registration has begun for our 10th Junior fife & drum Corps Camp!!!

Junior fife & drum Camp dates: July 13th – 16th, 2010

Hello to our Fife and Drum Community!

We are so excited to offer this camp to our kids once again. Thisis the future of our Company of Fifers and Drummers. Please, if youcan, help support the camp. Log onto www.jrfdc.org to see camphighlights. There you will find information regarding instructors,pictures and video of prior camps. Also, there is a link for regis-tration, camp schedules, donations, and much more!

Want to contribute? Send donations to:

JUST ONE MORE THING!

Are you a veteran of this wonderful camp? If so, plan to celebrate with us on Friday night at Deep River. Wearone of your old camp T-Shirts or order the new camp shirt from Cap. We hope to see you there!!!

Cap Corduan748 Westminster StreetFitchburg, MA 01420Email:captainclam@comcast.netCell: 978-660-0924

From the editor

Given the plethora of mate-rial received for this issue,I will err on the side of

brevity.I’d like to thank all the writers

who contributed to this spring edi-tion of the Ancient Times. With lit-tle more than a month betweenissues, I was worried that I wouldhave few articles to share. How-ever, the opposite is the case. Forthose of you unfamiliar with theins and outs of editing and layout,this is a pleasurable problem tohave. There is nothing worsewhen editing than to find youhave little material and thus beforced to spread things out to “killspace.” A font can only be so largebefore it becomes gratuitous.

I hope the selection of articlesand photographs here pleases. Wehave some historical selections, in-cluding a timely piece on Con-cord’s Old North Bridge forPatriot’s Day, as well as newsfrom the vast world that lies be-yond New England. I have alsodecided to solicit some contribu-tions from fifers and drummerswho are involved with musicalgroups at the margins of the“mainstream” fife and drum com-munity, as a humble attempt tocreate some dialogue about thetraditional music we play. In thisissue, we have what I think is aninteresting piece from The Colo-nial Minstrels, and in the summeredition keep your eyes peeled fora contribution from Americlique.

As always, please refer to theguidelines for submission, anddon’t hesitate to contact me withyour ideas, articles, and, whennecessary, complaints.

Deirdre SweeneyEditor, Ancient Times

in t

his

issu

e 12

a Motley Crew ConnectsMusic, Dance and Colo-

nial Craft

5

the girl i left behindMe

7

Concord’s old northbridge

9

Drum taps in Dixie

11

buzz allen: the ulti-mate Drum Corps Dad

12

Muster news from theyoung Colonials

13

tribute to the 1950sMonumentals

14

Western Wind

16

off to California: Morenews from the West

18

Fasnacht 2010

19

DraM scholarship

20

2009 President’s report

20

a Message from thetreasurer

21

the 2010 Funding effortthrough Ct’s naa Pro-

gram

22

the Muffled Drum

AncienttimesIssue 128, Spring 2010

Published by

the Company ofFifers & Drummershttp:/ / companyoffifeanddrum.orgeditor: Deirdre SweeneyArt & design director: Deirdre SweeneyAdvertising manager: Deirdre Sweeney, pro temContributing editor: Bill Malingmembership/subscriptions:For corps, individual, or life membership infor-mation or institutional subscriptions:Attn: Membership The Company of Fifers &Drummers P.O. Box 277, Ivoryton, CT06442-0277membership@companyoffifeanddrum.orgtel: 860-767-2237; fax: 860-767-9765editorial:For submissions or questions:Attn: Ancient Times, P.O. Box 277, Ivoryton, CT 06442-0277ancienttimes@companyoffifeanddrum.orgtel: 508-847-4460Advertising:For rates and availability contact:The Ancient Times, P.O. Box 277,62 North Main St., Ivoryton, CT 06442-0277 tel: 508-847-4460

the Company ofFifers & DrummersPresident: Sylvia Hooghkirk, 860-526-9944,president@companyoffifeanddrum.orgfirst Vice President: Mark Logsdon, 586-247-1775,vicepresident@companyoffifeanddrum.orgsecond Vice President: Bill Bouregy, 860-526-1433,deepriverlawyer@netscape.netsecretary: Sarah Brown, 860-399-7572,secretary@companyoffifeanddrum.orgtreasurer: Jack Doyle, 415-334-5707,treasurer@companyoffifeanddrum.orgArchives / museum Curator: Jim Clark, 860-346-3232,jimclark@fifeanddrum.netfacilities Co-manager: Kevin Brown, 860-399-7572,brownwind@hughes.net membership Chair: Mark Reilly, 703-975-5517, mem-bership@companyoffifeanddrum.orgmusic Chair: Dominick Cuccia, 203-405-1176, music-committee@companyoffifeanddrum.orgthe Company store: Sandy BidwellThe Company of Fifers & Drummers, Inc.Company StoreP.O. Box 277, Ivoryton, CT 06442-0277 companys-tore@companyoffifeanddrum.orgAncient Times is published quarterly by The Com-pany of Fifers & Drummers, Inc., Museum, Music Li-brary, Headquarters, P.O. Box 277 Ivoryton, CT.06442-0277, tel: 860-767-2237

The publication (ISSN0091-7176) seeks to keep individual, institu-

tional, and drum corps members throughout the world informed

primarily on the activities of traditional American fife and drum

corps known as Ancients. The Company maintains a museum and

headquarters on two-plus acres. It seeks to perpetuate the histori-

cal significance and folk traditions of American field music and to

foster the spirit of fellowship among all fifers and drummers.

Founded in 1965, The Company of Fifers & Drummers, Inc. is a tax-

exempt, tax-deductible, non-profit corporation.

2

7

14

11

22

16

18

on the cover: the Minute Man statueat Concord’s old north bridge

Ancienttimes

By AL PETTy & BRIAN PLuMB

It has happened at most musters.you may have experienced ityourself. After a long day of

marching, playing, performing, ap-plauding and (perhaps) drinking; afterthe evening jam has been stopped bythe local constabulary and the loud in-struments have been put away, a hushfalls over the muster encampment. Butit is a hush that carries with it thestrains of a quieter music. A guitarhere, a flute there, a group having animpromptu Irish session will be thefocal point for those who just can’tstop playing at 11.

Meanwhile at reenactments all overthe country, a surprisingly similarphenomenon is occurring. Reenactorswho find themselves in the smallhours recovering from a strenuousday of living history find overly tired,somewhat sober musicians huddled inthe dark playing traditional music ontraditional instruments.

In both of these cases musicians whohave never seen each other before findand share common tunes. That, afterall, is what it means to be part of a tra-dition. They pull out beautifully hand-made folk instruments and findcommon ground as musicians havedone since before the invention of thewheel.

A third group that participates inour great musical tradition is the coun-try dancers. Groups like the Country

Dance and Song Society host dancesacross the country where people per-form traditional music and enjoydances from the 17th through the 19thcenturies. Traditional dancers do notregularly mix with living historians orfifers and drummers. The music andspirit of the dance does, however, bindus all together.

At its faire, the Sudbury fifes anddrums played music for a briefdemonstration of country dance bythe Sudbury Militia. This demonstra-tion was an attempt to maintain a con-nection between dance and thecolonial music of the fife and drumcommunity. But just as many reenac-tors do not play very much music butjust reenact the part of musicians,these dance demonstrators were thosewho only reenacted dancing but didnot dance recreationally. Fortunately,there has been a growing communityof folks who do not just reenact musicand dance but are active, year-roundparticipants in music and dancegroups. Many also engage in a colo-nial craft such as tailoring or tin-smithing.

We started the Colonial Minstrels asa means of truly living the traditionsthat we love so much. The music anddance style were those seen and heardin colonial taverns or played by itiner-ant musicians. The Minstrels areformed of musicians who have beenplaying with a few of the other mem-

bers at many of the same reenact-ments, musters, or dances for years.until recently, we had never all playedtogether at once. So you might say thatwe are back together again for the firsttime. Along with the Minstrels, westarted the country dance group calledthe Wayside In-steppers. The twogroups have had an open colonialmusic and dance session every Tues-day night at Longfellow’s WaysideInn for the past two years. Variousmembers of the In-steppers have beendemonstrating colonial dance at localfestivals, reenactments and celebra-tory events.

2

A MOTLEy CREW CONNECTS MuSIC, The Colonial Minstrels discover

Ancienttimes

As the Minstrels try to carry theirmessage of unity to the various com-munities we are surprised at howmuch each of these groups have incommon and how little they have todo with each other. Reenactors havefifers and drummers albeit with a lim-ited repertoire. There is not an Irishsession where the musicians don’tplay Blackberry Blossoms, Larry O’Gaff,or Rakes of Kildare: all of which are inThe Company books. Dancers oftenfind themselves dancing to such jamsession standards as Morpeth Rant, Lil-liburlero, Welcome Here Again, or Jeffer-son and Liberty. There is even an 18th

century dance called The Conventionthat is danced to York Fusiliers.

Just as fifers and drummers relyheavily on the two Company books,colonial dance musicians have the twoBarnes Books. The Barnes Books con-tain tunes (not drumming) researchedand compiled by Peter Barnes; ar-guably the most famous dance musi-cian in the country. His band, BareNecessities, pioneered traditionaldance music at the same time the tra-ditional fife and drum idiom wasbeing revived. His books are painstak-ingly researched, with alternate titlesand publication dates provided for the

tunes where appropriate. Both of hisbooks should be in the library of theserious traditional musician. Theyhave the tunes that reenactors jam toalong with many eminently fifeabletunes.

The Colonial Minstrels play fromsuch primary sources as John Griffiths’Dancing Master, 1788, John and WilliamNeal’s Choice Collection of CountryDances, 1726, and tunes culled fromother archives. The Wayside In-step-pers are blessed with the award-win-ning George Fogg as dance consultant.George has published several mono-graphs of 18th century dances andmusic transcribed from the hand-writ-ten “dance diaries” kept by certainAmerican gentlemen around the timeof the American Revolution and theMinstrels make free with these tunesas well.

It seems that too often the dancers,musicians and reenactors have be-come too inwardly focused in thesame way some fife and drum corpscan become too wrapped up in theirown music and traditions to see whata wide world of ancient music there is.We could all make better music andhave more fun if we borrowed morefrom each of our separate traditions.

That we can have a weekly dancemade up of almost equal parts of colo-nial and federalist reenactors, tradi-tional dancers andfife and drum folk is

DANCE AND COLONIAL CRAFT an already extensive repertoire

3

cont. on p.4

some members of theColonial minstrels playedfor the sudbury faire in2009. Pictured here fromleft to right are: mattbrench of the stow min-uteman Company, brianPlumb of the sudbury An-cients, fiddler franksmith, matt Plumb on gui-tar, and Al Petty also ofsudbury. most recently theminstrels provided musicfor dancers at the daffodilball in weston, mA.

Ancienttimes

a testament to the power ourgreat musical craft has to bringpeople together.

The Colonial Minstrels are re-connecting these three worlds forthe sheer joy of it.

4 cont. from p. 3

Among the Colonial min-strels’ favorite tunes is aslip jig called Why Didyou Promise to Marryme?. included with thesheet music are the dancefigures recorded some 250year ago. their fledglingwebsite, www.colo-nialminstrels.com, has avideo performance of thispiece and others. thegroup would like to sharethis tune with the fife anddrum community as itmakes a fun piece on thefife as well as other wood-winds and strings.

sweetheart flutes32 South Maple Street, Enfield, CT 06082

fifes: Colonial & Civil War models; Cloos repros; Folk & Modern “engineered” - in many keys

flutes: Irish style - keyed or keyless; Baroque, and Renaissance

whistles: D&C - For Jigs & Reels!

Send for Brochure and/or Antique & Used flute list

Tel:(860) 749-4494 Email: Ralphsweet@aol.com

On the Web: www.sweetheartflute.com

imPortAnt notiCe

When your mailing address changes,please notify us promptly!

The Post Office does not advise us.

Write: Membership Committee P.O.Box 227, Ivoryton, CT 06442-0227

or email: membership@companyoffife-anddrum.org

~.,I.~ -... . ,.._ . ... · · ...;. . - ,., , .... - -- ~ - -... ii ....._ l ~ ,.... _ , I!"!!!"' ' • _. - • !;._ - ll!I!' • ~

·_,,,, .,,., . r Ii. . - - - . . ~ ,;.J.,," .• , •. ,• .. ,'lf · ': 1, ,r· -

":J . .. . ·- .

~ 1 ~ r.l - --L - • •--i- i )

.. .... ,... .. [. I . ..

I.I'

- ·-'"""" -=-- ! '

11111!11 ' ~ I!"" . - ...-• i . _. - -. 111'1· I

-~ .~ ' : . - I . I • ,· -- ... ' LL-'

l . 11 •

_,__ _ , I'."""'' •- ··- II!_ - ~ • ,.- l -••-•it 11 I _ - • I -- ... _

5Ancienttimes

By DEIRDRE SWEENEy

years ago, as I played throughTomás Ó Cannain’s excellentcollection Traditional Slow Airs

of Ireland, I came across a lovely piece,An Spailpín Fánach (translates from theIrish as The Wandering Laborer). Afternoodling around with it for a while Irealized I’d already been playing a re-markably similar tune for years: TheGirl I Left Behind Me. In the SudburyAncients, we step off to The Girl at thestart of every parade, and the once-a-decade failure to do so evokes a dis-pleasure not unlike taking anunsuspecting gulp of sour milk. ThenI nearly forgot all about my discoveryuntil I heard a recording of the Irishvocalist Cathy Jordan, of Dervish,singing the same.

So, the other week, during an excessof unscheduled time, I thought Imight go and see what I could findout about the origins of The Girl.

I realize to some it may seem a bitlike a fool’s errand to start chasingdown tunes and their notational andlyrical variants: that greatly dreadcombination of the academic and theinane. However, I think it is importantto remember that the music we play isnot the music once found in the impe-rial drawing rooms of the high andmighty. Most, if not all, is the music ofthe down and out. These “down andout,” shunted to history’s marginsthen and now, left us meager recordsof their daily lives. We forget “ancientmusic” is, in many ways, our primary

inheritance from them. And when wedig into this music, we can see theconnections between disparate (anddesperate) peoples - the soldiers ofAmerican and British armies, the im-migrant tenements of big cities fromNew york to Liverpool, the menpressed into service on the high seasand those who defected – and dis-parate times. And I believe these con-nections, and this kind of collectiveaffirmation and authorship of tradi-tional music, can help us rediscovertruths we were perhaps encouragedto forget.

The majority of us probably knowThe Girl as a Civil War marching tune.Like many tunes coming from thebroadside ballad tradition, it not onlyhas lyrics, but moreover it has count-less variations on those lyrics, and aswith many of these tunes, we meet theusual women, Sally, Betsey, andPeggy (only outdone in the Irish sub-set of this tradition by Nancy andMary), renowned for breaking heartswith wild abandon on both sides ofthe Atlantic. The narrator, in this case,is some poor unfortunate whiskedaway to fight here or sail there with nodefinite date of return: “In Carlowtown I lived I own / All free fromdebt and danger. / Till Colonel Reillylisted me /To join the WicklowRangers.”(1)

Likewise The Girl – or Brighton Campas it was sometimes called – was wellknown as a favorite marching tune ofthe British Army in the 1800s. And lestI forget there was the time, back in

1997, that I played The Girl for someItalian friends and they insisted that itwas a song about nutella (the deliciouschocolate-hazlenut spread).

While unceasingly popular, The Girlhas garnered her share of controversy.In 1913, Frank Kidson, an English mu-sicologist and folksong collector, andW. H. Grattan-Flood, an Irish musicol-ogist, got into quite a tiff in a journalof the day, The Musical Times (2). Is TheGirl English or Irish? Mr. Kidson, whohad recently contributed an article onthe question to Oxford’s Grove’s ‘Dic-tionary of Music and Musicians’ (a fivevolume set, now available online),championed the English claim; Mr.Grattan-Flood, the Irish claim (partic-ular as pertaining to that old air, AnSpailpín Fánach ). In dispute were sev-eral factors: the earliest printed man-uscript of the tune (1770, 1810, and soon), the location of said manuscripts,the actual notation of the tune, its titleas The Girl or Brighton Camp, the pro-nunciation of Brighton or “Brightelm-stone,” its “decided Irishisms” or lackthereof, and, of course, anything thateither man had written on the topic.In his rejoinder to Grattan-Flood’schallenge to his Grove piece, Mr. Kid-son was in rather a tizzy, accusing theother gentleman of “unjustly” quotingand misquoting him and disclaiming“the Irish bull.”

It is noteworthy to recall that this ar-gument occurred amidst the years ofthe Gaelic Revival, and several yearsbefore the 1916 EasterRising in Dublin, and

THE GIRL I LEFT BEHIND MEA Misadventure in ‘Tuneology,’

Or Beware Your Choice of Theme Music When Seeking World Domination

cont. on p. 6

Ancienttimes

the sheet music for Anspailpín fánach as includedin tomás Ó Canainn’s collec-tion, traditional slow airs ofireland. You can decide foryourself if there is a strongresemblance between the oldair and popular marchingtune.

reprinted with permissionof the author.

thus morewas at stake

in these arguments of competing Eng-lish and Irish claims than we mightrecognize today. unfortunately, nei-ther man really did much to advanceanalysis to anything resembling a con-clusion, to the extent a decisive con-clusion is possible. For my part, itappears intuitively more likely TheGirl started as an Irish-language songand then had its melody adopted byEnglish speakers, as that is in keepingwith the trends of the English linguis-tic and cultural conquest of Ireland atthat time.

Personally, I enjoy the potential his-toric irony of The Girl as an Irish tune.In the Irish original dating to the late18th century, the spailpín, who evi-dently has no interest in the ubiqui-tous Peggy or Sally as she is nevermentioned, is a migrant laborer, “de-pending on my health / walking thedew early in the morning / catchingall the illnesses going around,” drivenby the destruction of home to pursuea soldier’s life abroad in the army ofFrance, not unlike his oft-roving Eng-

lish language counterpart (4). In itslater incarnation as The Girl I Left Be-hind Me, what was once a tale of thecolonized spailpín, our poster boy forthe high cost of imperialism, becamethe marching tune for the armies ofcolonization in the British Empire andthe American West. The Girl wasamong the marching tunes of Custer’sSeventh Cavalry as they conqueredNative American lands. Custer’s un-pleasant fate then is perhaps fittinggiven his peculiar and possibly jinxingmusical tastes. And I think it is equallyfitting that the besieged British forcesduring the Indian Mutiny of 1857were serenaded by rebel Indianbandsmen playing, what else, but TheGirl I Left Behind Me.

Footnotes:1. Taken from p. 36 of Colm O

Lochlainn’s Irish Street Ballads, 1960Citadel Press, Ny: one of many ver-sions of the lyrics (American, Englishor Irish) readily available in books oronline.

2. The 19th century witnessed agreatly renewed interest in antiquities

and folklore of all varieties and in allfields, from music to archaeology, atthe same time that nationalist aspira-tions began simmering across Europe.In Ireland, a number of men assem-bled impressive collections of dancemusic – including tunes familiar to thefife and drum community – althoughthey had a tendency to domesticatethe music of their colonized subjects,rendering it more palatable to theaforementioned imperial drawingrooms of London and Dublin. BothKidson and Grattan-Flood are heirs tothis revival in the study of folk cul-ture.

3. See “Fresh Light on Old EnglishAirs,” by Grattan-Flood, The MusicalTimes vol. 54 No. 843; “The Girl I LeftBehind Me: The English Point ofView,” by Frank Kidson, vol. 54 No.846; and in response to Kidson’s arti-cle, “To the Editor of ‘The MusicalTimes’” by Grattan-Flood, vol. 54 No.847.

4. Translation from the Dervishalbum, At the End of the Day, 1995 KellsMusic, Garden City, Ny.

6cont. from p. 5

94. A.n SpaiJpin fanach J. !;IQ - -

fl fittEr~- Jn J JJ 11 :J-j'µ I ( ltq ...--------------~- ---........ .__

~d'JJJr· ~1 r r r v I r H · 1 r r r EM

ti, E£:r- fflJJl1 J~ l]JJ I • ) A "·

Ancienttimes

By BRIAN PLuMB

Many of us in the fife anddrum community have ex-perienced the thrill of

marching down Punkatasset Hill tothe Old North Bridge in Concord. Ap-proaching the bridge, the fifemastercalls out The White Cockade, similar tohow the young fifer Luther Blanchardmay have played it on that fatefulmorning of April 19, 1775 (1).

Several fife and drum and militiagroups do the annual pilgrimage tothe site. Among them are Concord,Lincoln, Acton, Bedford, and Sudbury.The march to the bridge is, in a sense,the kickoff for the fife and drum sea-son for many local groups.

The Sudbury Ancients for examplemarch the 10 mile route roughly takenby The Sudbury Minute and MilitiaCompanies. The event begins everyyear at 6am on the 19th of April, nomatter what day of the week it falls on.During the march, we play every tunein our repertoire. Our current fifemas-ter Al Renzi has a list of well over 200tunes to call this year. Stepping off,there’s a nip in the air that makes one’shands a bit cold, but the marching andplaying gets your blood going quick.Knowing that 235 years ago some veryheroic men did the same march, will-ingly and under much different cir-cumstances, certainly puts our effortsand inconveniences in perspective.I’m mentioning this event becauseanyone from any corp wearing colo-

nial attire is always welcome tocome along and join the fun withSudbury. Just show up at the townhall. Afterwards we picnic at theWayside Inn.

The Old North Bridge’s historyis well known, but in this Apriledition of the Ancient Times, itseemed appropriate to bring it upagain to honor those fallen patriots(particular the fifer Luther Blan-chard, who died 5 months laterfrom wounds suffered there) andalso perhaps to stir up a fondmemory or two you may havefrom playing at the Bridge.

The North Bridge today is a 2005restoration of a 1956 bridge. The 1956bridge is the fifth bridge to occupy thissite since the battle (it is not clear howmany were there before the battle; thefirst reference to one is 1654). Thebridge that was on this site in 1775 wastaken down somewhere between 1788and 1793. For nearly 90 years, nobridge occupied the crossing.

By the late 1830's the town was at itseconomic and political pinnacle andlooking to solidify its place in Ameri-can history. As a suburb of Boston andcounty seat of Middlesex County,Concord was making a bid to be oneof the major commercial centers westof Boston. Highlighting the town's rolein the revolution was seen as an im-portant part of that campaign. Fur-thermore, there were many concernedcitizens who considered this “sacred

ground” and wanted it recognizedand protected for future generations.

Finally, now sixty years or so later,citizens were determined to properlycommemorate the event’s significancebefore all of the participants passedaway. While a smaller tribute wasmade on the 50th anniversary of thebattle (on the town square), nothingwas done at the actual site of the OldNorth Bridge.

With donated land in hand andfunds available, work on the monu-ment began in late 1835. It wasthought that the monument could becompleted by April 19, 1836. RalphWaldo Emerson, a notable figure inthe town of Concord, created hispoem, “Concord Hymn,” for this 1836d e d i c a t i o nevent. Alas,

CONCORD’S OLDNORTH BRIDGE

7

Concord bridge, 1875

1875 monument dedication

cont. on p. 8

other delayscaused this date to slip, and Emerson’spoem was finally delivered on July 4,1837, the date the monument was ac-tually dedicated (so technically thedate on the monument, 1836, is a yeartoo soon).

What was interesting about the ded-ication ceremony (beside the fact thatno bridge was there), was that “Con-cord Hymn” was not a poem as manyof us learned in school. It was actuallya song (ah! “Hymn”), sung to themusic of Old Hundredth (wiki “Old100th” and you’ll find a midi file at theend). The chorus that sung this tunefrom the Concord Academy includedfellow transcendentalist Henry DavidThoreau. Emerson was not even therethe day of the unveiling; he was visit-ing friends in Plymouth. I always pic-tured the great orator there with hisarm on the monument and reciting hiswork with flags unfurling aroundhim. It was however a beautiful day,spirits were high, and one veteran was

in attendance according to the news-paper of that time, The Yeoman’sGazette. The article went on: “The as-sembled multitude then retired in per-fect stillness and order, highlygratified and deeply impressed.”

But still no bridge. It took anothermonument 38 years later to force theconstruction. By 1875, the 100th an-niversary of the event, there wasmuch ado about placing a monument(the David French minuteman statue)on the “colonial” side of the river. Toreach the other side, a bridge was fi-nally constructed.

This bridge looked nowhere nearwhat the present bridge looks like.From photos and descriptions, it hada rustic design and was made of cedar.In one of the photos, you can see thetents used for the centennial celebra-tion.

The 1875 structure would be washedout in 1888 and replaced by a massiveoak unit in 1889 which was washedaway again in 1908 and replaced in

1909 by a cement bridge resemblingthe original (for a time, automobiletraffic was permitted). In 1955, Hurri-cane "Diane" wiped this bridge out, soit was replaced by the current bridgein 1956 (refurbished in 2005). Vandalstried to dynamite the bridge in 1969,but apparently there was no damage.

I think we all agree it is a beautifuland peaceful site. We really areblessed to have such remarkable struc-tures near us that are accessible andable to be shared by all. Fifteen yearsfrom now will be the 250th anniver-sary. If we slow down a bit at themusters, maybe we’ll make it. See youthere (I hope).

1. See the Lincoln Minute Men website, www.lin-

colnminutemen.org, and click on the historical info

and articles links for: “The White Cockade: A Jaco-

bite Air at the North Bridge?” by D. Michael Ryan

for research on the actual playing of this tune.

Ancienttimes8 cont. from p. 7

two views of Concord’s north bridge, 2010: due to heavy rains and signifi-cant flooding this year, the north bridge promises a wet end to the April 19thmarch. the road between the bridge and Visitor Center is currently underwater.

9Ancienttimes

In Review...DruM taPs in Dixie

THE MEMOIR OF A yOuNG CIVIL WAR DRuMMERBy GARy SLATE

About 20 years ago, I was atGeorge Carroll’s shop in St.Augustine, Florida, where I

bought a reprint of Drum Taps in Dixie,by Delavan Miller. George told methat this book and The Little Fifer’sDiary by C.W. Bardeen were the onlytwo Civil War memoirs of field musi-cians he could recommend. I read it atthe time and then put it on my book-shelf, and never gave it anotherthought. Then, I recently stumbledacross a website of the 4 River ValleysHistorical Society, which serves thenorth country of New york State allthe way up to the St. Lawrence River.These folks not only sell that samereprint ($8.95 + $2 shipping and han-dling), but they also have Miller’s se-quel, More Tales of the Drum, which Iimmediately bought and read.

For the purpose of this review, I hadto reread Miller’s Drum Taps in Dixie.When I was the about the age ofMiller, I got involved in the Civil WarCentennial. A neighbor and I joined aconfederate reenactment group (the2nd Va. Infantry), mail-ordered ouruniforms from New york City, andwere in the middle of theHanover/Gettysburg reenactmentweek of 1963. We were such unbeliev-able farbs, and looking back I wonderwhy I didn’t do some basic research,scour the Rescue Mission clothes bins,and come up with more historicallyaccurate uniforms. But with all the en-thusiasm of teenagers, we were rightthere where it happened, living it justas it felt and looked to our ancestors,surrounded by a couple of thousandmen and boys doing the same. Livinghistory can be a vivid experience that

imprints your mind like nothing else.A close second is reading the firsthand account of those who actuallywere there. By the time I read Miller’sfirst and second book, I felt like I wasa Civil War veteran, and could morefully appreciate what he was tellingme.

Delavan Miller’s mother had diedand his father had left for the war withthe 2nd Ny Heavy Artillery in 1861.An officer who had come home to re-cruit replacements agreed to take 13year-old Miller to the regiment, andlet his father decide if he could stay.Those who have lived through a waror two might wonder that any parentwould allow a teenager to go to anywar, but this I have read of, time aftertime. Caring parents would choose totrust their son to men of the neighbor-hood who had enlisted in the samecompany or regiment rather than risktheir son running away from homeand enlisting under an alias in a regi-ment of strangers. The risk of death ordisease may have been equal, but theydreaded the chance of never hearingof the fate of the missing son; killed,captured, or missing. Neighbors youhad known all your life were lesslikely to bully or take advantage, andmore likely to act as a surrogate par-ent. Truly, boys the age of Miller werenot held to the same strict discipline asthe men.

Miller was a drummer when he en-listed, but even the musician of todayhas a hard time imagining total im-mersion into the military schedule ofcamp duties, daily practice, and learn-ing military traditions. He startedwith some rather naive notions of howsoon the war would end, and howeasy it is to be a hero. The war was

much longer, death was not alwaysheroic, and yet many of his closefriends found the courage to performtheir duty, day after day. In threeyears, he literally grew up in the army,like thousands of other underage sol-diers. When the war ended, he was aveteran and had seen more than boyor man should see in a lifetime. Muchof that is unsaid but understood,which is why I would recommend thebook even for young readers. I canimagine Miller telling his story to aone-room schoolhouse of childrenwho need to learn what their parentsdid during the war.

To those who are looking for adrummer’s version of Hardtack andCoffee, this may seem to lack the de-tails of daily life and routine, with fewspecifics to help improve your firstperson impression. To those lookingfor authentic drum beats to improveyour knowledge of what they actuallyplayed, not so much. To those with anancestor in the 2nd Ny Heavy Ar-tillery who hope to find a regimentalhistory, Miller is sparing of the namesof individuals, or what the regimentdid beyond the major campaigns andbattlefields. He does, however, spenda few paragraphs at the end to detailwhy his regiment was in the top ten of“Fox’s 300 fighting regiments,” thosewho had the highest percentage ofkilled and wounded during the war.

Miller’s book is your chance to listento a Civil War veteran reminisce aboutwhat he did in the war, removed aftertwenty or thirty years of peace, filter-ing out much of the blood and goreand unthinkable cruelty. His regimentspent many months building andmanning the huge net-work of forts that grew cont. on p. 10

up aroundWashington. They were assigned tothe Second Corps and used as infantryshortly before the Second Manassascampaign, and from then on were insome of the heaviest fighting of thewar in the east. He relates several an-ecdotes that any Civil War buff wouldappreciate. At one spot he mentions afriendly rivalry his New york drumcorps had with a Massachusetts regi-ment in the same brigade, contrastinghis group of boys with their grownmen, and their different regionalstyles:

“…Their drum corps was a goodone, too, but of course the boys ofthe Second New york thoughtthey were a little better than theBay State fellows, consequentlyquite a little rivalry existed be-tween the organizations, andwhen the regiments were out for areview or brigade drill the stal-wart drummers from down Eastwould always try to drown outthe lads of the Second Heavy.They were all full grown menwhile our drum corps was madeup of boys all under eighteenyears of age. Their music was al-ways of the “When the SpringtimeComes, Gentle Annie,” and“Chunks of Pudding and Pieces ofPie,” style, played in 6-8 time, justsuited to stalwart men in theirranks; while ours was more of the“Rory O’More,” “Garry Owen”and “Get-out-of-the-way-Old-Dan-Tucker” sort, which weplayed 2-4 time, better adapted tothe quick-stepping New yorkersbehind us. We had some dandyuniforms, too, and I know wewere a trim-looking lot in ourclose-fitting jackets with plenty ofbrass buttons and red trimmings,and “McClellan caps” settingsaucily on the side of our heads...”(p. 25-26, Miller)

He laments that as he wrote these

stories (about 1904), “real music” wasrarely heard from contemporary brassbands or even young aspiring drumcorps, but occasionally could still beheard at gatherings of the GAR, when“70-years-plus” aged drummerswould start jamming.

Like any memoir, there are nuggetsof gold to be mined from this book.There are questions you would like toask, but you have to be content withwhat is there. This may not be a clas-

sic, but if I was thirteen again and wasreally interested in learning moreabout Civil War musicians, I wouldwant to read and reread this book. Forsomeone a little older, this is a pleas-ant way to enlarge your appreciationof history by listening to someonewho lived through it, came home tolive a peaceful and satisfied life, andcould always find time to share hismemories with other veterans.

Ancienttimescont. from p. 910

From log to finished concert-quality instruments,Cooperman's drums, fifes, and sticks are the proudproduct of over 50 years of dedication to traditional

high-quality workmanship.

Visitors to our Vermont shop are always welcome. Pickup and delivery of repair work may be arranged.

and Repair and Restoration Services forContemporary and Antique Rope Drums

CoopermanHandcrafted

Fifes,Drums,&Drumsticks

1007 Route 121, P O Box 821, Bellows Falls, VT 05101 Voice 802 463 9750 Fax 802 463 4123 Web www.cooperman.com Email: JEllis@cooperman.com

Cooperman TM

by Parmelee of Durham

Bob Parmelee90 Creamery Road Durham, CT 06422

Phone & Fax: 860.349.8233E-mail: preservationdesigns@comcast.net

Specializing in serving the Fife & Drum community since 1983.Silk screened apparel, totes, umbrellas and more.

Our own line of designs on T-Shirts and Sweatshirts are currently available at selective historical museums and parks.

Or, they may be purchased online at ....

www.preservationdesigns.com

Ancienttimes

Buzz ALLEN: THEuLTIMATE DRuM

CORPS DAD

11

By PRISCILLA ALLEN WOOD

Iam not exactly sure how I endedup in drum corps formation be-hind the Westbrook Town Hall

but there I stood preparing for myfirst parade on Memorial Day 1970. Ido not remember how I came aboutsigning up to join the corps, attendinggroup rehearsals or any other momentthat led me up to that day. It's been along time and my memory does notserve me well. I do remember practic-ing my sharp right and left hand turnsin the backyard and wondering how Iwould ever be able to turn AND playthe fife at the same time. But there Istood behind the Town Hall wearingnavy blue socks instead of the stan-dard black, a short-sleeved white shirtinstead of the required long-sleevedwith my black tri-cornered hat sittingfar above the specific 2-fingers widthabove my eye brow. Nonetheless mydad, Buzz Allen, sat in his wheelchairlooking at me just busting with pride.I recall feeling terribly awkward,shorter than the rest of the corps andvery nervous, but his smile and gentlenod of approval was enough to giveme the courage to march forth andstay in line!

I honestly do not remember how itall began but for the next decade mymemories of the Junior Colonials re-main quite clear from that MemorialDay forward. My mother reminds me

that prior to moving to Westbrook wehad attended the Westbrook Musterand were in awe. We moved to townthe following week and my parentssigned me up. My dad and momquickly made friends with the otherJ.C. parents and my father found him-self spending most, if not all, of hisspare time working on projects for thecorps as well as The Company of Fifersand Drummers. In no time at all Buzzhad officially become a Drum CorpsDad!

It was not long before Dad’s art stu-dio at home was filled with a multi-tude of ongoing projects for the JuniorColonials and The Company. Differentlogos, muster buttons, programs andvarious artwork he was working onwould appear on his drafting table.Bass drums he was hand-letteringwere filling up the living room, tem-plates and plans for little wooden fig-urines to sell at the J.C. store lined hisoffice like a miniature parade.

Like most fife and drum families ourweekend days were filled with pa-rades, dedications, musters, competi-tions and concerts, and the nightswith socializing. Much of his and mymom’s social time was spent with mydad’s best friend Dick Higgins and hiswife Teddy. Buzz and Dick were asForest Gump described, “like peasand carrots.” They remained bestfriends until Dick’s passing in 1980.Dad and mom had lots of friends and

we celebrated birthdays and anniver-saries, enjoyed cookouts, picnics, poolparties and more.

Eventually Buzz became presidentof the Junior Colonials in the early1970’s and he and my mother enjoyedthe network of friendships they hadcultivated. My mother did spend agood deal of time working on theweekends so my father and I wereoften off on our own. Of course wetook part in the dutiful carpooling ofcorps members and were often chal-lenged by the task cramming mysnare drum, uniform, flags, bannersand my father’s wheelchair into theDodge Dart. Driving hundreds ofmiles, sweltering summer afternoons,drive-thru meals, motel stays, camp-ing in the rain and sleeping on the busall became part of our weekend rou-tine and we loved every minute of it!

My father’s friendships spread wellbeyond the Junior Colonials as he be-came close friends with our thenmusic instructors Norm Ott and KenLemley. This kicked off his connectionto the Ancient Mariners with whomhe created countless, wonderfulfriendships: friendship with peoplewho remain in the corps, those who“graduated” to the Sons of theWhiskey Rebellion and those who henow joins at the “Eternal Jam Ses-sion.” It seemed only fitting that hewas asked to becomean honorary member cont. on p. 12

buzz Allen, withthe Ancientmariners, atdeep river

By ANITA PLAAGIN

On Friday, August 7, 2009, thetown of Patterson, New yorkprepared for something they

had missed the week before: their an-nual parade. Each year, the town hasa parade but this year’s parade, whichwould have been hosted by the Patter-son Fire Department and was sched-uled for August 1st, had been rainedout.

Luckily, Patterson Fire Departmenthad already graciously agreed to letthe young Colonials Fife & DrumCorps use their beautiful grounds andpavilion for their 22nd AnnualMuster, and there was not a drop ofrain in sight!

As the field filled with tents andcampers, the muster participants gath-ered for an impromptu jam session

and explored the area and the busi-nesses within walking distance.Everyone agreed that this was the per-fect new home for the muster.

On Saturday, the young Colonialsled the parade, which began a short,walking distance from the musterfield. On this beautiful sunny day, theyoung Colonials enjoyed the music ofcorps such as the Westbrook DrumCorps, the marching and maneuver-ing of the Marquis of Granby andMarlborough Junior Ancients, and aglimpse into what the future mayhold as they watched the “not so”young Colonials alumni take thestand.

The firemen ran the concessionstand and beer garden and appreci-ated the remarks of the muster atten-dees on their beautiful grounds and

firehouse. And once the jam began,they asked the young Colonials toplease hold the muster at their facili-ties in 2010. And so begins a beautifulfriendship!

The 2010 muster is scheduled for theTHIRD weekend of August this year.We’re hoping that some of the corpstraveling toward Westbrook for theNational Muster may “pop” in. Theweekend will begin on Friday, August20th with a small opening ceremony,tattoo and jam and the muster willkick into full swing on Saturday, Au-gust 21st at noon. Please contactCatherine Cuccia-Cavallo at203.775.4234 or by e-mail mad-cat920@charter.net for more details.

Ancienttimesof the An-

cient Mariners considering he went toall the rehearsals, owned his requisitered and white stripped shirt, spentcountless hours under their mustertent and had a fondness for ale. One ofhis greatest fife and drum momentswas when he marched (or in his casewas pushed in his wheelchair) downPennsylvania Avenue during a Bicen-tennial Celebration in 1976. He lovedthose crazy guys and they loved himback....with gusto.

Dad’s commitment to The Companyof Fifers and Drummers was clearly ap-parent to anyone who stepped intoour home and especially into his stu-dio. His countless hours of work onthe Ancient Times were splayed onhis drafting table along with a multi-tude of other projects, inventions andartwork. His design of the then new

Company of Fifers and Drummers Mu-seum and all the architectural draw-ings for that, the numerous manila filefolders from his term as Companypresident, Ancient Times editor andmuch more were never far from hisartistically, talented fingertips. Hisdedication extended outside the homeas at any local muster you could al-ways hear the sound of Buzz’s voiceas it boomed over the dusty field andyou could find me loyally toting cupsof ale to the announcers table saying,“Can’t let your voice go dry Dad.”

About a decade ago my parents re-tired to Florida fulltime and Buzz leftbehind his days of musters, rehearsalsand meetings but what he missed themost were his friends. He was alwaysasking me for updates on people andwanted to be up to speed on the who,what, when and where of his Drum

Corp Family. Last year around thistime when there was an announce-ment of an emergency Company meet-ing my father phoned and asked meto attend the Trustees meeting. I washonored to do so and was warmlywelcomed by the Executive Commit-tee on his behalf. He had great con-cern for the future of The Company andwas proud of the progress and com-mitment made that day.

My father’s life was full of familyand friends and there was no greaterpassion than his love for The Companyof Fifers and Drummers. In the truespirit of fellowship may you raiseyour pewter mugs to my father BuzzAllen, a faithful member of The Com-pany, a man of wisdom and integrity,and the ultimate Drum Corp Dad!

12 cont. from p. 11

MUSTER NEWS FROM THE YOUNGCOLONIALS

Ancienttimes

WANTED: ANCIENT TIMES CONTRIBuTORS

The Ancient Times is always looking for writers, colum-nists, photographers, and advertisers.

Contact the editor with interest, ideas and inquiries:ancienttimes@companyoffifersanddrummers.org, ordeirdre.sweeney@hotmail.com

The Ancient Times does accept unsolicited articles, al-though we cannot guarantee publication in a specificmagazine issue.

NEEDED: ANCIENT TIMES

ADVERTISING MANAGER

The Ancient Times needs an advertising manager.

Responsibilities include contacting advertisers well inadvance of issue deadline to make arrangements fortheir ads, maintaining records of each advertiser’s ac-count, ensuring that the art and design director has allnecessary information and digital material required foreach ad, and, when possible, soliciting new advertisers.

Email the editor if interested.

By GuS MALSTROM

On Tuesday April 6, 2010 the Mon-umental City Fife & Drum Corps fromBaltimore, MD, set aside the eveningto pay honor and tribute to their 1950members. Of the known 17 surviving1950 members, six honored us withtheir presence, namely: Bill Malstrom,bass; Gus Malstrom, fife; JosephCarter, snare; Luke McCusker, snare;Charley Kammer, bass; and BillynMojica, snare. Supported by a host ofother alumni and current membersthese six gentlemen musicians weregiven a warm welcome.

A background of the Monumentalsis in order here. In 1950 the Monu-mental City Fife & Drum Corps was

organized underthe leadership andguidance ofCharley "Buck"Soistman. Besideslocal musical activ-ities, this grouptravelled to Newyork and Con-necticut to takepart in competi-tions. The Ny Fife& Drum Associa-tion awarded the Monumentals hon-orary membership in their association.In 1955, the Monumentals wereawarded “longest distance” at theDeep River Muster- their first non-competitive muster.

unfortunately forvarious reasons,the Monumentalswere forced to dis-band in the latter1950s just as othercorps did aroundthe same time,namely: Chas T.Kirk Fife, Drum &Bugle Corps, TheSons of Liberty,and North Bran-ford Ancients.

As good things

do come around, the Monumentals re-organized in 1992 resurrecting thename Monumental City once againwith the return of several 1950 mem-bers: Mel Doxzon, Joseph Carter andGus Malstrom.

We believe that we have again builtup a wonderful group of real friendsand musicians who love working andplaying together in all of our activities,local and out-of-town. We are proudthat our membership now includesfour Life Members in The Company ofFifers and Drummers as well as threehonored Jaybirds. Our current mem-bership includes one drum major, afour man color guard, 16 fifers, 6snares and 2 bass drummers. Godbless all the ancient fife and drumcorps everywhere.

ancient timessubmission guidelines

Please submit articles and high-resolution photographselectronically to the editor: ancientimes@companyoffifersanddrummers.org ordeirdre.sweeney@hotmail.com

In the case of material that cannot be submitted elec-tronically, please contact the editor at the above emailaddress or call (508) 847-4460 to make special submis-sion arrangements.upcoming issue 129 submission deadline: June 30, 2010

13

members of the 1950s monumentalsPhotograph courtesy of sharon Carter

TRIBUTE TO THE 1950S MONUMENTALS

I

I_ _J ~

I -1 I

L _J

14Ancienttimes

To a large extent, fifing anddrumming in the WesternStates has been a struggle to

find a niche in places without an on-going fife and drum history such asone finds back East. Most of the exist-ing groups in California, Washington,Oregon, and New Mexico have foundthat niche by allying themselves withvarious historical groups, such asreenacting organizations and histori-cal venues. Many have successfullyconvinced parade organizers that agood fife and drum band is an asset totheir parades while others existmainly for the joy of the music, play-ing in public whenever they areasked. California Consolidated DrumBand (CCDB) also includes schoolconcerts and a partnership with theCalifornia National Guard in theirschedule.

I nthis issue, West-ern Wind looks at three corps: Col-orado’s Mile High Fife and DrumCorps, New Mexico’s First NM FieldMusic, and of course, California’sCCDB. All three groups share a deeprespect for American history, andenjoy healthy relationships with reen-acting organizations.

One of CCDB’s favorite types ofevent is a living history encampment.The encampment provides his-torical context for the music, asthe fifers and drummers play thecamp calls and duties, give in-formative concerts, and providemusic when the soldiers are onthe march. Last October CCDBand the soldiers of the First Newyork Legion established such an

encampment in the historical town ofMonterey, CA.

Karen McGuire sent the followingnews about the Mile High Fife andDrum Corps, from the Denver, Col-orado area. They kicked off their 2010season with a President’s Day per-formance sponsored by a local library.Replete with professional historiansand reenactors, Mile High performedmusic from the days of the early pres-idents thru the Civil War period, withmembers dressed in both colonial and

CCdb musicians sounding a duty Call at the first new York encampmentin monterey, CA

mile high fife and drum Corps at the denve

western windby left Coast marty

Civil War uniforms. The corps performed mostadmirably in the concert format, playing tunesand drum beats different from the usual paradeselections.

Most recently, they marched in the Denver St.Patrick’s Day Parade, providing field music forthe 1st Colorado Infantry. This venue is alwaysexciting for musicians and spectators alike as thesoldiers fire their guns frequently on parade andthe fifers and drummers play well-known tunesfrom the Civil War era. This year Mile Highfielded five snare drummers, a bass drummerand four fifers, including a new and talented re-cruit marching for her first time. And for the firsttime in many years, their ranks were filled solelyby local members – without treasured guestsfrom New Mexico, or Connecticut by way ofNew Mexico, or Maryland or Pennsylvania.However, the word is out that guests from theFirst New Mexico may be joining Mile High tolead the upcoming Independence Day Parade inMonument, Colorado. On this day they willmarch with the 2nd Colorado in a picturesque mountaincommunity situated just a few miles from the u.S. AirForce Academy. Look for them a few weeks later at the

Deep River AncientMuster!

Hal Meyer sent the picture above of The First New Mex-ico Field Music "trooping the line" just before the reenact-ment of the Battle of Picacho Peak, Az, the westernmostbattle of the American Civil War.

Ancienttimes

er, Co, st. Patrick’s day Parade

east meets west where the south met the north. the first new mexico field musicleft to right: Kathy Palmer (Albuquerque, nm, formerly Connecticut), ArtPope (marana, Az, formerly Connecticut), ron sanders (Albuquerque, nm),bill Jackson (santa fe, nm), hal meyer (tijeras, nm) and Austin Cynecki, bu-gler (Phoenix, Az). Photo by lisa normand-meyer

15

HEALy FLuTECOMPANy

Skip Healy Fife & Flute Maker

Featuring hand-crafted instrumentsof the finest quality.

Also specializing in repairs and restorationof modern and wooden Fifes and Flutes

On the web: www.skiphealy.comPhone/Fax: (401) 935-9365Email: skip@skiphealy.com

5 Division Street Box 23 East Greenwich, RI 02818

Ancienttimes

stePhen sChmitt of Torrance, California sent the Ancient Times the fol-lowing news and pictures about the 24th Michigan Fife and Drum Corps fromWilmington, CA. They perform about ten times per year and are affiliated withthe Drum Barracks Civil War Museum also located in Wilmington, near Los An-geles. Drum Barracks, formerly known as Camp Drum, served as the unionArmy headquarters in the southwest during the 1860s.

OFF TO CALIFORNIA...More news from the West

16

Pictured above: the 24th michigan played for 2009 memorial day celebrations in santa Ana,CA. seated at the left is 98 years-young mary schmitt on tamborine, 24th michigan’s oldestmember.

Center top: on september 17th, the 24th michigan played for Constitution day with thedaughters of the American revolution in san Pedro, CA.

w. alboum hat Co. inC.presentsauthenticFife and Drum Corps Hats

For the finest quality headwearyou can buy. Call or Write:

(973)-371-9100 1439 springfield ave, irvington, nJ 07111

.. -

17Ancienttimes

Pictured above: in december 2009, the corps performed at the drum barracksCivil war museum.

Center bottom: on febrary 14, 2010, the 24th michigan played at Knott’s berryfarm in buena Park, CA.

Ancienttimes

By DAVID PEAR

you can feel the excitement buildingthe weekend before Fastnacht: thethree day festival native to the cityBasel, Switzerland. Not a drum isheard, but the sweet tones of the pic-colo can be heard throughout the city.This year Fasnacht celebrated 100years.

The beautiful thing about Fastnachtis that it is a family affair. Each cliquehas a binkie, youngen, stamm and ultaguard section. The binkies are the realyoung children around ten years-old;the youngen are high school age; thestamm are the middle age players; andthe ulta guard are the real old players.

For Morgenstreich, the first march at4 am Monday morning after AshWednesday, all four groups play to-gether. A clique may have 150 drum-mers and 150 piccollos or more, like abig “F Troop.” It is a wonderful soundand beautiful sight to see young andold play together. At 4 am all thelights of the city are turned off and thefifers and drummers take over the cityfor the next three days. As the suncomes up Monday morning the fifersand drummers return home for somesleep. The first of the two formal pa-rades begin Monday at 2PM. There isalso a formal parade or cortege as it iscalled Wednesday at the same time.The participants in the cortege de-velop a sujet or subject for the cortege,usually a satire. The costume and thehuge, gas-illuminated lantern reflectthat subject. This year a lot of cliquesmade Kadahfi their sujet. His two sonshad misbehaved in Switzerland andwere prosecuted. In turn Kadahfi im-prisoned two Swiss.

The lanterns are displayed in front

of the Muenster, a cathedral that over-looks the Rhine River which dividesthe city. There must be at least twohundred lanterns. Graphic artists inBasel paint all the lanterns, includingFreddie Prack and Freddie Otley ofthe Swiss Mariners. Artists also sub-mit designs for the blagedde which is apin worn during Fastnacht. Theblagedde is used to defray the cost ofFastnacht.

There are judges along the paraderoute who judge the cliques’ costumneand music. Winning cliques receivemoney to defray the cost of the cos-tumes and lanterns. There are about

fifteen thousand drummers and fifersthat participate.

Aside from the parade, each groupalso performs a specific program.usually a groups plays for abouttwenty minutes and then takes abreak. Tuesday is children’s day. Be-cause there is no formal parade onTuesday, drummers and fifers joingroups that are more or less “pick upgroups.”

If you love fifing and drumming,you must go to Fasnacht. I will guar-antee that if you try it you will like itand be “hooked” like me.

C.P. Burdick & Son, Inc.Four Generations of Warmth

Fuel Oil/Excavation Services24-Hour Service

860-767-8402

Main Street, IvorytonConnecticut 06442

interested in An internAtionAl swissmuster?

During my stay in Basel, Switzerland, I took it upon myself to see ifany Swiss corps was interested in hosting an international muster. Inthe past there have been international musters in Switzerland hosted byThe Swiss Colonials and other corps. I have talked to members of bothThe Grainfield Fife and Drum Corps and The Wildbunch and all haveagreed that a muster would have to be a cooperative effort involving allthe Swiss fife and drum corps. The muster would be two to three yearsin the planning. I would like to find out how many American corpswould like to attend such a muster. If your group would be interested,please e-mail me at dhpear01@comcast.net.

18

fAsnACht 2010

Ancienttimes

The Deep River Ancient Muster Scholarship was established in 1997 as a charitable organization exclusively dedicatedto the encouragement of young people's participation in fife and drum corps activity, especially the Deep River AncientMuster. The goal of the scholarship is to encourage fife and drum corps to attend the muster through a program thathelps young people in the corps with the struggle to meet the financial burden of higher education.

The Deep River Ancient Muster, held on the third weekend of every July, is a world famous event, being the oldestand largest annual gathering of fife and drums corps in the world. National Geographic and Time Magazine have recog-nized the muster as a major historical event of Connecticut, and Yankee Magazine featured the muster as its July Eventof the First year of the Third Millennium.

Many who grow up in the world of fife and drum drift away during their late high school and college years. But thevitality of fifing and drumming, and its goal to keep the spirit of ancient martial music alive, depends greatly on a con-stant influx of interested, motivated people. The youth are our greatest resource in this regard. The scholarship providesan incentive for young people to retain their interest in fifing and drumming, and specifically to participate in the muster.To be eligible for a scholarship award, applicants are required to attend the muster with their corps for two consecutiveyears. Thus, the scholarship supports higher education, and Deep River's most important annual public event, all atthe same time. The details of our program are as follows:

1. Scholarship awards are presented during the stand performance portion of the muster at Devitt's Field.

2. Scholarship Gifts: Our goal is to give two gifts of at least $1,000 each, one each to a fifer and a drummer. Wehave reached two-thirds of our way to this goal, with the two highest awards at $665 each. When we reach an ad-equate level of funding, we intend to include a gift in the category of "ancillary member" (color guard, rifle bearer,etc.), as well.

3. Scholarship Fund Management.: A Trust has been established. The actual scholarship amounts consist of theincome earned on the trust fund from year to year, so that the principal will remain intact and grow, in perpetuity.

4. Criteria for Eligibility: young men and women between the ages of 16 and 25 who belong to domestic fife anddrum corps, who have been accepted to or are attending an accredited college or university in the u. S. in a ma-triculated undergraduate or graduate program, who have been an active member of their corps for at least oneyear prior to the muster, and who attend two consecutive musters with their corps. The applicant's corps is askedto certify that the applicant meets these requirements.

5. Selection of Applicants: Scholarship recipients are selected randomly from the pool of eligible applicants.

6. Funding Solicitation: General public, private foundations, private commercial sector, and fife and drum corps.

Our scholarship awards have helped to fund education for fifers and drummers attending Allegheny College, BryantCollege, Community College Of Rhode Island, Connecticut State university, Franklin Pierce College, Hamilton College,Lafayette College, Lebanon Valley College, Loyola College of Maryland, Manchester Community College, Manhat-tanville College, Middlesex Community College, Mount Saint Mary College, Ramapo College of New Jersey, Rhode Is-land College, Three Rivers College, Tunxis Community Technical College, and the university of Connecticut.

For further information, please call trustee Bill Bouregy at 860-526-4331 (weekdays) or 860-526-1433 (eves and week-ends). Please send correspondence to 6 Elm Street, Deep River, CT, 06417.

Please vote for The Deep River Ancient Muster Scholarship in the Essex Savings Bank Community Investment Pro-gram. Thank you.

Scholarship awards since inception have totaled $8,541.00.

the deeP riVer AnCient muster sCholArshiP trust6 Elm Street

Deep River, Connecticut 06417Profile of The Deep River Ancient Muster Scholarship

19

By JACK DOyLE

The Company needs your contin-ued and ongoing financialsupport. We are no different

than any other member supported or-ganization. your local PBS station hasperiodic pledge breaks in order tocontinue the programming its mem-bers have come to expect. The GirlScouts sell cookies. Churches andschools hold bake sales. It’s simplysomething that must be done by theorganizations involved to not onlymake ends meet but to grow and de-velop.

Donations are a significant source ofthe funds used to support the mu-seum and its activities. Excluding theJunior Fife & Drum Camp, in 2008 do-nations comprised 20% of essentialoperating funds. In 2009 donationsdropped to $3,000, which is about 40%of the total drop in non-camp relatedCompany revenue.

The Company is at a point right nowwhere its members need to make achoice: continue the status quo andbarely squeak by year after year, or in-crease the size and frequency of dona-tions so The Company can grow. I am

writing to encourage you to make un-restricted donations so we can de-velop new programs and makerepairs and improvements to yourmuseum that will be needed in the fu-ture. unrestricted donations are thosethat can be used wherever there isneed, rather than being tied to onepurpose or program. By making unre-stricted donations we will be able tocover operating expenses and othercritical needs as they arise.

While we ended 2009 with about$1,700 more in income than we had inexpense, this is a very small margin

A messAge from the treAsurer

By SyLVIA HOOGHKIRK

From an operating income view-point, The Company had anothersuccessful year in 2009, produc-

ing about $1,700 more in total rev-enues than we had in expenses.However, this was a very narrow op-erating margin, only about 3% of totalrevenues. Although this 2009 financialperformance was enough to covernormal Company expenses, we werenot able to add much to our financialreserves for large, unexpected futureexpenses, or to fund any major mu-seum related capital projects, likearchival improvements.

Our balance sheet remains verystrong, having major value in our totalassets and no debt, with a balance ofabout $27,000 in year end savings andchecking accounts. On a very positivenote, the Endowment Fund gainedback some of the losses from the pooreconomy in 2008, ending 2009 with abalance of about $69,000. use of theEndowment Fund is restricted forpurposes stated in the Trust agree-

ment. .The Junior Fife and Drum Camp

continues to be our major project andits 2009 revenues constituted about46% of total Company revenues. Wehad a small Camp surplus in 2009 thatgets us off to a good start for payingdeposits on the 2010 Camp. Thanks toCap Corduan, Camp Director, for allher efforts on this important project.The Camp is a wonderful representa-tion of the mission of The Company:youth education and musical heritageperpetuation.

On the negative side, our dues rev-enues from member corps and indi-viduals were down substantially from2008 by about $3,700 in all classes.This decrease is probably in part dueto the procedural changeover to a sin-gle due date in January for member-ship dues which may have delayedsome payments into 2010. Please noteour efforts to improve the member-ship list and procedures for bettercommunication and collections. Ex-cluding the Junior Camp, dues frommembers are about 40% of total oper-

ating revenues and are very importantto our overall financial performance.

I’d like to thank Sandy Bidwell againfor her efforts with The Company Store,which has been a reliable fund raisingsource of profit for The Company, morethan $3,000 in 2009 to help with oper-ating expense. I hope we will have avolunteer step forward to take overthe store. Perhaps there is a family outthere who could run the store tospread the work out, so one individ-ual does not have to carry the wholeload?

One last thing I would like to em-phasize is the respect that our mem-bers have to show to the requirementsof our state beverage license. Allmembers who use our facilitiesshould be aware of the rules andshould advise any of their guests toabide by these rules as posted in thedownstairs area. We don’t want tolose our license!

I hope you will all help contribute toa successful 2010 for The Company.

2009 President’s rePort20

Ancienttimes20

By BILL MALING

The Company made applications in March to theTown of Essex to qualify for funding under theConnecticut Neighborhood Assistance Act. Once

our application has been approved by both the town andthe state, it will be up to Company members to find cor-porate donors willing to participate.

The first of our two 2010 NAA applications was for$24,500 to fund various Energy Conservation projects atthe Museum. Any corporate donor to this Company proj-ect will receive a special 100% tax credit against their CTstate income tax obligation. This means the donation maycost the corporation absolutely nothing…. and they stillget to deduct the donation on their federal tax return, get-ting even more tax reduction benefits.

The second Company NAA application is for financialsupport of the Junior Fife and Drum Camp and financialhelp for the Ancient Times. Corporate donors for theseprojects receive the “standard” NAA tax credit of 60%,plus all the normal tax deduction benefits.

If you have any “inside” contacts at CT based corpora-tions, or corporations that do business in CT, please letme know. Because we need access to both the contribu-tions people and the tax people to explain that donationsare “no cost” to the corporations, we do have to reachfairly senior levels at the corporations… and do it by theend of summer 2010.

In 2009, more than one hundred CT corporations par-ticipated in the CT NAA program, giving a total of$3,400,000 to CT non-profit groups. you can help TheCompany get an NAA grant by contacting me through mye-mail address (drumsir@aol.com) and offering your sug-gestions of corporations to contact, and someone to talkto there, so we can place our solicitation package in thehands of the right management people.

The “sales pitch” gets a bit complicated in terms of taxesand the corporation qualifications to receive the NAAcredits… so we are not asking you to handle the actualsolicitation… just give us the “entry” into the corporationand we will do the rest. The Company will also be solicit-ing selected CT corporations by mail, but a personal con-tact greatly improves our chances of success! Please help.

the 2010 funding effortthrough Ct’s nAA ProgrAm

(about one month’soperating expense) and it does

not leave us with any significant funds for any major proj-ects, such as energy conservation, improvements to themuseum building or the archives.

The Company must pay out an average of almost $1,500per month just to maintain your building and protectyour collection. In 2009, an average month looked likethis:

Heat = $435 Insurance = $395 utilities = $347Maintenance = $190Sanitation = $47Security = $30Total = $1,444

This total just covers the fixed expenses to operate themuseum and headquarters. In addition, we have to payto print and mail the Ancient Times, keep inventory in TheCompany Store, have Junior activities, the summer concertseries and address whatever other issues arise.

Membership dues alone do not cover our needs. I hopeyou will take the time to take your support to the nextlevel and make a donation. It is my hope that you willalso encourage your fellow Ancients to become membersand make donations in the event they are not doing so al-ready.

21Treasurer’s message cont.

THE COMPANY OF FIFERS & DRUMMERS: STORE MANAGER NEEDED

After many stellar years running The Company store,our store manager Sandy Bidwell has to retire for per-sonal reasons. This leaves us with a volunteer positionto fill.

The Company Store Manager is responsible for arrang-ing for store products to be brought to musters & func-tions, having the store manned by volunteers willingto handle the sales (canopy, tables, & cash box), mak-ing sure products are available to internet and postalcustomers, filling orders, ordering products for thestore and giving reports to the Executive Board.If interested please contact Sylvia Hooghkirk: byphone 860-526-9944 or email president@companyof-fifeanddrum.org

Ancienttimes21

THEMuFFLEDDRuM

buzz Allen, 89honorary member, An-

cient marinersthe Company of fifers &

drummersmarch 22, 2010

roland e. benoit, 84Ancient mariners fife

and drum Corpsseptember 20, 2009

Jim edington, 93fifer, sons of the

whiskey rebellionseptember 25, 2009

daniel leslie malstrom,70

Color guard, monumen-tal City Ancient fife &

drum CorpsJuly 7, 2009

buzz Allen

Buzz Allen died peacefully at homeon March 22nd at the age of 89 after ashort bout with pneumonia. He wassurrounded by Violet, his loving wife of64 years and their 4 children Christine,Peg, David and Priscilla. Buzz was sur-vived by 2 brothers, 6 grandchildren, 1great-grandchild and predeceased by adaughter Louise and a son Stephen.

Buzz lived in Sarasota, Florida andmuch enjoyed The Company of hisfriends and particulary enjoyed the cli-mate. Florida was the perfect terrain forBuzz as he was able to roll much to hisheart’s content to most destinationsnearby with one local, casual spotnamed Cha Cha Coconuts as his regularfavorite. Here he met his buddies 3times a week at 4pm and just before hepassed away he asked that his servicebe "on a Monday, Wednesday or Fridayat 4pm" so that his happy hour buddiescould come.

Florida became the perfect inspirationfor his artwork as he was very busypainting beautiful landscapes and trop-ical birds inspired by the view of theSarasota Bay just outside his livingroom window.

Buzz spent much of his time reminisc-ing about his days of fife and drum, re-calling good friends and the memorabletimes he had. Buzz and Violet have en-joyed many wonderful years togetherwith frequent visits from family in awarm and wonderful home on thewater.

The community, his friends and hisfamily have suffered a huge loss and hewill be greatly missed.

by Priscilla Allen Wood

rolAnd e. benoit

Roland E. Benoit of North uxbridge,MA passed away early Sunday morn-ing September 20, 2009, at the age of 84.He is survived by his wife of 61 years,Theresa “Terry” (Murphy) Benoit,seven children, six daughters and sons-in-law, 14 grandchildren and one great-grandson.

Roland was a longtime fife and drumenthusiast. Basically, he had littlechoice, as most of his children weremembers of the Capt. Buxton/15thMass Fife and Drum Corps of uxbridgesince the early 1960s, under the direc-tion of the late Benjamin P. “Benny”Emerick.

Mr. Benoit chaperoned many corpsevents, narrated special performanceson several occasions, and made the trekto most Deep River and WestbrookMusters to watch the corps perform. Hewas also honored that his three oldestsons were members of The Old GuardFife and Drum Corps during the 1970s.

In his early 50s, Roland joined the An-cient Mariners of Guilford, CT, after

Ancienttimes22

they played in uxbridge’s 250th Anniversary parade. Heproudly carried a harpoon in the Mariners’ color guard forover 20 years, happy to finally be marching in front of hisfive sons who were playing in the Mariners’ fife line.

Roland graduated from Northbridge High School in1942 and joined the u.S. Army, serving in the 14th Ar-mored Division in France and Germany. He was woundedat the Battle of the Bulge, and earned the Purple Heart andBronze Star, among other awards. Mr. Benoit was a long-time member of the American Legion post in uxbridge,following WWII.

Mr. Benoit worked for 20 years at Whitin MachineWorks in Whitinsville, MA as a machinist after he left thearmy. He then took his knowledge as a master tool and diemaker to school as a machine shop teacher, upon the open-ing of the Blackstone Valley Regional Vocational TechnicalHigh School in upton, MA in 1966, and retired in 1986.Three sons, a son-in-law and a granddaughter graduatedfrom the vocational school, and two grandsons are cur-rently enrolled, one of them to graduate this summer.

Roland was buried with full military honors at the VANational Cemetery in Bourne, MA on Sept. 24, 2009.

by Paul Benoit, Fife Major, 15th Mass Regt Field Musick

Jim edington

Drum Corps is a hobby you can readily engage in allyour life. In a few cases, some have lived to an advancedage and became too infirm to continue. So, at some point,you no longer see them. I’ve known a few people like this.This one in particular is Jim Edington from the Bronx, bornin 1917. Jim’s father was a fifer in a few drum corps, pri-marily the 69th Regiment (“The Fighting Irish”) in Man-hattan. It was inevitable that he too would be a fifer. In1924, his father brought him to one of the best junior drumcorps in the Bronx, if not all of New york City: St. Anselm’sFife Drum and Bugle Corps. By 1931 he was its fife instruc-tor and lead drum major. After a few more years, he hadcharge of the corps as musical director, drill instructor andoverall managing director. No easy job for a corps with 200members. His fife arrangements for St. Anselm’s of SecondConnecticut Regiment* and Old Comrades* were near leg-endary in competition. He also created a New york styleof playing fife, further refined and elevated by John Mc-Donagh, a student of his in the late 30’s. In 1939 Jim beganto teach fife at St. Benedict’s, another drum corps in theBronx. There, he can be credited with almost instanta-neously improving them to a top position in competition.One of his St. Anselm’s students, Helen Griffin, stated “Jimwas a hard taskmaster and took excuses from no one. He

always demanded the best of us.” It was his phi-losophy to encourage his “kids” to pursue their educationand go to college - a fairly rare thought in the 1940s and1950s. If your grades were not to his liking, he’d suspendyou from the corps.

For more than 40 years he was also heavily involved inthe NyS Fife & Drum Association as a judge on fife, colorguard, drum major, appearance and timing. Jim was alsoone of the architects of the Northeastern States Champi-onship Competition. The first one in 1950 was held in aBronx American Legion Post in St. Benedict’s parish. Hewas a proponent of Ancient music, even though all thecorps’ he taught were in the Modern class. His fife lineslearned as many quicksteps and hornpipes as they didmarches. In the stairwell of The Company Museum, there isa picture of the Geronimo Field Music at an early DeepRiver Muster (1950 or ’51 with only 10 or so corps in atten-dance). Jim, along with his good friend Ed Olsen and for-mer fife student Jim Douglas, comprised almost half thefife line of GFM.

Jim’s relationship with St. Anselm’s ended when thecorps disbanded in 1963. Its legacy of numerous champi-onships and a long line of superb fifers can all be creditedto him. His next stage in drum corps was at Mother CabriniHigh School: an all girl fife, drum and bell unit in upperManhattan. While not a competition corps, it performs atdozens of concerts and parades throughout the NyC areaall year long. Jim ran and taught this group for 27 yearsuntil his retirement in 1992. He was succeeded by GeorgePeragine, one of his St. Benedict’s fife students. The corpsis still going strong. In his later years, he continued to play.At age 74 in 1990, Jim joined Ed Olsen once more to playin the Sons of the Whiskey Rebellion. For about four years,he paraded with them as well as attended several West-brook Musters.

For these last ten years, Jim had become too infirm totravel from the St. Patrick's Nursing Home in the Bronx.He was constantly visited by friends and students from St.Anselm’s, Mother Cabrini and St. Benedict’s. He died Sep-tember 25, 2009 at the age of 93 with several MotherCabrini alumnae at his side. If the story of New york Citydrum corps in the 20th century were to be written, JamesEdington would be its central character if not hero.

* Recording available on youtube.com at the links belowor search BronxFifer:

Second Connecticuthttp://www.youtube.com/watch?v=zVJF3BqPxec

Old Comrades http://www.youtube.com/watch?v=Pap3dQXSeqM

by George Carteris

23

cont. on p. 28

Ancienttimes23

DANIEL L. MALSTROM

Daniel passed away quietly on July7, 2009 with his 5 siblings, niece andhis godson nephew, Daniel, at hisbedside, thus ending a five year longbattle with cancer. This was just sixdays before his good friend Ed Olsendied.

For 15 years, Daniel proudly carriedthe American Flag for the Monumen-tal City Ancients of Baltimore, Mary-land despite the last 3 years battlingthe onset and effects of cancer.

Dan was the most dedicated andbeloved member of the Monumentalsand was the fourth brother to join theBaltimore Ancients following Gus, Billand Jack.

Dan loved everyone and always hada wave and a smile for all who passedby the way. Dan earned the friendshipof good friends like Ed Olsen, BobRedican, Hugh Quigley, El Arsenault,Ed Classey, Jay Tuomey, Roy Wa-

trous, and Tom Connolly to mentiona few.

Dan was also very proud to havemarched with Lancraft at the West-brook Muster in their famous Indiancolor guard outfits. He also took partin the Wednesday clean-up days atThe Company museum for severalyears.

At the cemetery, after the ceremony,the Monumental fifers and drummersstayed to play several tunes to honortheir beloved friend and member Dan.

The Malstrom Family hosted a thankyou party for the Monumentals as agesture in return for all of the love,prayers and attention they showeredon Dan during his 17 years as a Mon-umental.

Good bye Danny boy, we love youand we miss you.

by Gus Malstrom

24 cont. from p. 27

in memorY of KAthleen mArie KellY

Chester fife and drum Corpsseptember 16, 1951 - January 19, 2009

Washington Irving once said, “A mother is the truest friend we have, when trials heavy and sudden,fall upon us; when adversity takes the place of prosperity; when friends who rejoice with us in oursunshine desert us; when trouble thickens around us, still will she cling to us, and endeavor by herkind precepts and counsels to dissipate the clouds of darkness, and cause peace to return to ourhearts.” No truer words have ever been spoken. As peace slowly overcomes grief, we carry you inour hearts. With every beat of the drum the memory of your kindness is confirmed; With each trillof the fife your laughter rings; With each step marched we recall your resilience, and in every randomact of kindness we feel your presence.

Ancienttimes24

the CompanystoreMail Order Form

shiP to:

Name

Address

City

State

zip

imPortAnt! in case we need tocontact you about your order:

Phone:

Email:

Make Check Or MoneyOrder Payable to:

the Company of Fifers &Drummers, inc.

Please send this order formwith your payment to:

Company storethe Company of

Fifers & DrummersP.O. Box 277

Ivoryton, CT 06442-0277

Total Amount Due(from total at right)

Shipping & Handling

up to $9.99 $4$10-$49.99 $6$50-$99.99 $8$100-$199.99 $10$200 or over $12

BK001 The Company Music Book - Vol.I $19

BK002 The Company Music Book - Vol. II $24

BK003 The Company Music Book - Vol. III $15

BK024 The Company Music Book - Vol. IV $15

BK004 Camp Duty Music Book (CFD) $18

BK005 The Muffled Drum (CFD) $5

BK006 Tunes of the Hudon Valley - Vol.I (Attanasio & Grady) $10

BK007 Tunes of the Hudon Valley - Vol.II (Attanasio & Grady) $14

BK008 Camp Dupont Music Book $7

BK009 Chas. T. Kirk Fife Music Book $15

BK010 American Rudimental Method Drum Book (Classey) $7

BK011 Better, Stronger, Faster (Bill Hart) $10

BK012 25 Tunes to make Your Face fall Off (Lussier) $7

BK013 John McDonagh Fife Instruction Manual $12

BK014 110 Military Drum Duets (Munier) $12

BK015 40 Rudimental Drum Beats (Perrilloux) $7

BK016 14 Modern Contest Solos (Pratt) $7

BK017 The New Pratt Book - Contest Solos for Snare Drum ( Pratt) $10

BK018 Rudimental Solos for Accomplished Drummers (Pratt) $13

BK019 The Solo Snare Drummer - Vol. I (Pratt - Schinstine - Moore) $10

BK020 Sturtze Drum Book $19

BK021 Sons of Liberty Music Book $14

BK022 Roy Watrous Book $12

CD001 The Company Music Book CD - Vol. I (set of 2) $16

CD003 Camp Lincoln (Emerick) $16

CD004 200 Years of Fife & Drum in America (N.Y. Regimentals) $16

AP001 The Company Cap, embroidered $22

AP002 The Company Cap, screened $15

AP003 The Company Jacket, blue - (circle size) M L XL XXL $30

AP004 The Company Polo Shirt, blue - (circle size) S M L XL XXL $24

AP005 The Company Sweat Shirt, blue - (circle size) S M L XL XXL $22

AP006 The Company T-Shirt, blue - (circle size) S M L XL XXL $12

AP006N T-shirt, natural, CFD Logo (circle size) M L XL XXL $12

AP007 The Company T-Shirt, blue, Child - (circle size) M L $10

AP008 T-Shirt, natural, Flag Drum - (circle size) L XL $14

AP009 Jaybird T-Shirt - (circle size) M L XL XXL $12

(add $2 for XXL on all shirts above)

OM001 The Company 25th Anniversary Pin $3

OM002 The Company Lapel Pin $4

OM003 The Company Museum Pin $3

OM004 Muster Up a Meal Cookbook (CFD) $6

OM005 The Company Patch, embroidered $4

OM006 The Company Portfolio, blue nylon, zippered $8

OM007 The Company Umbrella $16

OM008 The Company Window Decal $2

OM010 History of the Conn. Fifers & Drummers Association $4

OM011 John McDonagh in Fife & Drum, A Biography $5

OM012 The Company Mug (Pewtarex) $30

OM013 Spirit of ‘76 Shot Glass $4

OM014 The Company Coffee Mug $5

SubTotal $

Shipping & Handling (see chart at left) $

Connecticut Residents Add 6% Sales Tax (Apparel not taxable) $

TOTAL $

Item# Description Qty Price Total

$

Mu

sic

Bo

ok

sA

pp

are

lO

ther

Merc

han

dis

e

Ancienttimes25

__ 1 ____ _____...____.___.._

Alan J. P. Thompson, Sculptor

Marching Colonial Drummer

Original, limited edition21” High - 4” X 8” Base$1,350 - Bronze casting$850 - resin, bonded bronze(631) 271-4845ajthompson7@mac.comWebsite: ajptsculptor.com