The Salt Lake herald-Republican. [volume] (Salt Lake City, Utah) 1909-1918, 1909-08-22

/ thrown out and was as pOmpOuS as
Nero. On the other side I had an in
scription setting forth the reason for
the awarding of the medal and beneath
it the sentence, Good for one admis-
sion to any Innes concert Do you
know those medals followed me about
the country for twelve years? 1t was
all right for the first few years, but
when the children grew up into men
| and women it used to shock the door,
| keepers when they would present the
medal and ask for admission. But
when it came to a question Of giving
up the medal for admission the posses
scr always bought his ticket and kept
the medal"
Something About Innes.
Perhaps I should have told you some
| thing in the beginning about the per-
sOnality Of Frederick Neil Innes, this
/ great musical leader, whose fame is
! known from one side Of the continent
/ to the other. Just at present Mr.. Innes
! is recovering from a long iIlness-and
| If you need any further assurance I will
/ state that he was six months in bed
! Yet despite his suffering and confine-
| ment he still looks and acts the leader
not the musical leader alone, but the
! leader Of men. His face is strong, de-
/ termined-yOu look at him and under
! stand Immediately why Innes' band has
| been q financial as we'll as a musical
! success. He talks smoothly, entertain
lngly, out Of a fund of experience and
| anecdote that is tinged 18th humor
For twenty-five years he has been
master of his own band. Not the least
interesting bit of information that came
out during our talk was that his first
wave of the baton as a band leader
I do
old Mechanics pavilion. Before that
time-and, for that matter many years
ACKNOWLEDGEMENTS lines was famed
! in the musical world as a trombone
soloist. But lines band is an insti-
tuition taking much of its directors
time aside from that consumed on the
stage, and when he could no longer
sacrifice the daily hours for practice
Mr.. lines gave up playing. For nine
years now he has confined his work to
that of leadership.
7 was destined to the career of musi-
clan long before I had discovered there
were other professions in the world. 3"
he told me. You know in England the
son follows in his fathers footsteps. If
the father is tailor, he makes a tailor
OF his son; if he is a lawyer, he makes
lawyer Of his son. My father was a
musician in the First Life Guards band.
and so 1 inherited my musical talent as
well as my profession. I was still a
child when I began to take lessons on
the cornet and violin. When I was
about twelve years old the leader of the
Life Guards band told my father one
day that there was about to be a vacan-
cy IN the band, as the first trombone
player was to leave, and that if I could
qualify for the place he would recon-
mend me for it,
AT my fathers command I at once
dropped the cOTnet and violin and be-
gan practice on the trombone. I had
but months in which to prepare, but at
the end of the two months l took the
examination and passed it, immediately
getting the appointment. Trombone
soloists were almost unknown in those
days, and it was source of bitter re-
greet to me that I had been compelled
to quit the cornet.
His Battle With Levy.
zone night 1 attended a concert where
the great Jules Levy was to NAV 2
cornet solo. His playing was wonder
tul, and 1 was enraptured. Before the
concert was over 1 got to asking my
self why those same solos could not
be played on the trombone, and so 1 /
began 10 practice at once. with the
n
reputation as a sOlOist.
When 1 was about sixteen or seven
teen. I quit the Life Guards band and
went to Paris playing solos in the
ROLES Bergere and making a tremen-
dous success. One night after concert /
was over man stepped up to me and |
said:
Is this Mr. lines?
As soon as I recovered from nv sur
prise at being addressed in English I!
l replied, Yes sir
I want to talk to yOu.' he said.
so we went to a cafe, and after we /
We're seated at a table he said:
tune
He didn't have to say anything 4
more to arouse my interest That man
was Pat Gilmore the great band leader.
Gilmore had been engaged for a season /
OF concerts in New York. and the man
who had engaged him had also engaged
Jules Levy with his cornet solos as a /
side attraction. While Gilmore ALWAYS /
appreciated Levy as a musician, he dis /
liked the cOrnetist personally and, bent /
upon busting him from his supremacy.
he came to Europe III search of soIoists /
who might be able to take the honors
away from Levy. Before hearing me
IN Paris he had engaged an Italian
euphOnlum player named Rafaelo, of
whom he expected big things. He Of
tered me a salary that at that time was
to me tremendous. and so I accom-
panied him to New York When his
began Rafaelo's solos failed to
make the impression he had hoped for
and Levy still continued to be the
favorite. Gilmore then fell back ON me
as his final hope
The night Of my first appearance
Levy preceded me on the program
playing composition of his own. The
WhirlWind Polka When I was an
nounced L stepped out and played the
same selection It simply took the
crowd by storm. / became famous in
a night. After that when Levy pIaved
a. solo I always followed bv PLAYING
the same thing. 1t was an audacious
thing to do and was UnquestionabIy i'm
bad taste, but I was still a boy and I
suppose didn't know any better The
whole city was soon talking of Lew /
and me as the rival sOlofsts. 1 remem-
Der one of the papers devoted half a
page to what IT termed The War Of the
Blasters. The upshOt of the trouble |
was a conference between the park
manager, Mr.. Levy, Mr.. Gilmore and
myself, in which it was agreed I should |
not play any of Mr.. Levy's selections at
the same concert where he played them
A Series Of Solos.
And now to get home. After being l
With Mr.. Gilmore for several seasons I !
hpoar, 70 lone Fo,. o+r,o- G11,7o |