The Leon reporter. (Leon, Iowa) 1887-1930, 1907-10-17
TIE OLD JUNIOR BAND

"reminiscences of a Famous Leon
Musical Organization, the Pride
of the Town Years Ago.
Interesting indeed was Mr.. G.. A.
| Woods "reminiscences OF the PinafOre
revival in Leon in 1892, and perhaps he
does not over estimate the Influence to-
wards higher musical culture trace
able to that pleasing performance, but
the real impulse that created the
musical tidal wave which afterwards en-
quilted our community, dated back
some fifteen years earlier than 81. The
writer refers, Of course, to the organi-
zation of The Leon Junior Cornet band.
The original "Junior Band" was re-
cruited from callow musical amateurs,
and very few of the bunch knew a whole
half note. The story that Junior
soloist once mistook bunch of fly
| specks for cadenza, and executed
them artistically, has foundation in
truth. Most of the boys ignored with
fne scorn the signs "p'' and "pp," and
left out such accidentals as did not
meet with their approval, while "rests,"
by the trombone battery were not re-
garded as worthy of consideration. At
| first this organization was barely
tolerated by the law abiding citizens of
the town, but in time it became the
pride of Leon, and awakened in the
people critical appreciation of good
music.
the original membership of this band
| &c IN vi h,,4 -
Tome Arnold and Mack Sanford took
took the E flat, and Pusy Hall and
Harry Sanford, the B flat cornets.
"Took" is used advisedly, for these
gentlemen had announced that it was
"E flat or B flat or nuthin," and us
youngsters had to knuckle or quit.
Pusy, Tome and Mack Sanford soon
dropped out, mainly perhaps, because
being in society, and there being only
seven practice nights in the week, they
couldn't spare the time. So the
cornets came to the youngsters after
all. M
| Scott Robinson was given bell
back oornet which had narrowly
escaped the junk pile, and which under
his manipulations gave up dubious
sounds much like unto the plant Of
Cal Hatfeld's OK wagon calling for more
soft-soap. Fortunately Scotts lips
were not strong or he would have much
to answer for.
The alto and tenor horns changed
hands SO frequently, that memory does
not recall, at this late day, all who
helped along with the e"Twat-ty-ty -twat''
of the harmony" That's what they
called it-"The Harmony" tho why
never knew.
Edgar McClelland had been cast for
baritone part, and had succeeded in
producing what he called tone from
that instrument, but it was soon dis
covered that Harry Sanford's lip fitted
the big horn admirably and so Mack
was transferred to the B aat cornet
and Harry appropriated the baritone
This was a change that added muchlto
the effectiveness of the band, for Nc
| Clelland developed a fine cornet lip and
Sanford attacked his new horn with in
creased vigor. Harry Sanford's rend-
itions of "Grand-Father's Clock" and
| "Who Emma" are remembered as unique
if not entirely artistic. His free and
unconventional Interpretation of these
themes was not strongly marked by
originality. He contorted his face, and
blew out his heeks, and frightened
babies, while strong men wept ano
women tainted as the robust tones
rolled from his German-Silver, rselloW
toned baritone.
Probably the gravest error ia judg
ment in allotting the instruments was
made when Charlie Gardner was giver
the bass trombone. Gardner seemed tt
proceed upon the assumption THAT there
was only one horn in the band, and he
1frequently managed to impress the
\ audience with the same belief for he
A habitually "biew the bell off" on every
\ occasion, nothing delighting him more
j| than to deeply drown all piano solos
\ given to the eornets. In this nefari
GUS crime he Was joyfully aided by The
rest Of the bass section. Frank Warne.
was a member of the JuniOrs in the
early days. He played largely by ear
and improvised many of his parts. He
dropped out before he had acquired {
national reputation as banAsman.
Lark Bobbitt was at first assigned tx
the second tenor, but it soon became
apparent that Lark had cornet lip,
and much amstion, SO he fell heir to
the bell front e flat cornet, which made
a noise under the pressure like the
exaggerated sauak of pempkin vine
Bobbitt soon raised blister OH hit
lip as big as a quarter, and proud of it
For many day it required real courage
for him to attempt middle C' in the
Quick Step "Bonnie Eloise7' (arr by
Kelly.)
4 Joe Sell fell in love with the big tuba
and became an artist at oeaxing har
monious tones from that obese instru
ment. He fondled his tortuoes, ungain
ly horn like a baby, and kept it resplen
IDENTIFY polished, and unlucky was the
[ man who defiled it's bright surface by 8
touch.
Sweet Derrickson fell as madly in
love with the base drum, and developed
an extraordinary expertness. that was
despair of competing band masters
The bull drum seemed to talk in varied