Francis Charles “Massa” Johnston – Band Blasts from the Past

Choosing music and grading bands: The unenviable tasks of band associations and their music advisory boards

May 21, 2020September 14, 2021 Jeremy de Korte2 Comments

Introduction:

Administering band associations was, and is even now, never an easy task. Granted, the first focus of early band associations was managing the affiliations of member bands, forming rules and running competitions. These tasks aside, there was little else they did. In this arcane and insular world of administration, decisions that the early band associations made were at times difficult to understand and criticism was rife. It can be seen in previous posts on the history of the National Band Council of Australia and the experiences of bands in South Street just how peculiar some administrative decisions could be. In their defence however, we can also see that the associations were acting on the information that they had available at the time, and that some questionable decisions can simply be attributed to a lack of communication.

This post is focusing on aspects of band administration where the difficult decisions of band grading and choices of music were made by sub-committees known as Music Advisory Boards. These noted groups of bands people, often adjudicators and conductors, made recommendations to band associations. While some records are not as informative as they could be, the Trove archive gives us some clues as to how they operated.

It is an interesting portion of band history where some bands people desired more of a focus on the music but recognized the value of association. Balancing these two ideals was a challenge!

Music Advisory Boards and Choosing music:

19330706-(19330714)_VBL-AGM-P1 — A section of the Victorian Bands’ League Annual Report 1933, p. 1 ( Source: Victorian Collections: Victorian Bands’ League)

19200814_Herald_J-Booth-Gore — *Herald*, 14/08/1920, p. 16

Above is part of the first page of an annual report presented by the Victorian Bands’ League at their second Annual General Meeting on 14^th July 1933. Prominently displayed on this first page are all the officers of the League; Delegates, Administrators, Conductors and Adjudicators, representing country, regional and metropolitan areas. A good mix of people at the time to run the fledging League! There is one group of musicians listed on this page that warrants special mention and is nominally the focus of this post – the Music Advisory Board.

It was not always possible to discern why the Music Advisory Boards existed in the first place. Through research in the Trove archives, it was mentioned that they did exist, but their exact purpose in assisting the Associations was harder to find – however their contemporary counterparts operate in much the same way so we can apply this knowledge back over the years.

This post is not trying to dismiss the operations of other State band associations and their MAB’s. However, the Victorian Bands’ Association and Victorian Bands’ League provided the most information through newspaper articles as to who was included in their MAB’s over the years. Which means it presents a perfect case study of how the personnel changed (or did not change) over the years. Below is a table detailing the members of the Victorian MAB over a time period of thirteen years. Knowing Victorian band history, we can see that these musicians were all eminent conductors/adjudicators who displayed an extensive knowledge of brass band repertoire. And they were all conductors of Victorian A Grade bands.

1920 – VBL	1922 – VBA	1927 – VBA	1933 – VBL
P. Code	J. Booth-Gore	P. Code	J. Bowden
P. Jones	L. Hoffman	F. C. Johnston	J. Booth-Gore
H. R. Shugg	F. C. Johnston	P. Jones	F. C. Johnston
	P. Jones	R. McCaskill	A. H. Paxton
	H. Niven	H. R. Shugg	H. R. Shugg
	H. R. Shugg

(Source of table data: “BAND ADJUDICATOR,” 1920; “BRASS BANDS REGRADED.,” 1927; Drummer Boy, 1922; “VICTORIAN BAND ASSOCIATION,” 1920; Victorian Bands’ League, 1933)

19200807_Herald_J-Bowden — *Herald*, 7/08/1920, p. 17

What is obvious here is the consistency of some of the appointments namely Percy Code, Percy Jones, Frank “Massa” Johnston, and Harry Shugg. Some pictures of these bandsmen are on the side of this post. We could assume that with the passage of time, if the same people were well-regarded in that role then they would continue to serve. The interesting fact about the Victorian MAB members is that they carried through the changeover from the VBA to the VBL. On a side note, given that many of these conductors were working with metropolitan bands at the time they would have been the instigators of the VBL in the early 1930s.

There were some occasions regarding band competitions where MAB’s were not involved in choosing music. We can see articles published in the Advocate newspaper in 1921 and 1927 that Percy Jones was the adjudicator of the popular New Year’s Day Burnie carnival band competition (“BURNIE.,” 1927; “BURNIE CARNIVAL.,” 1921). However, it is in the 1927 article where we can see that Percy Jones himself made recommendations to the Burnie Athletics Club on the choice of music for the next carnival band competition:

Last year’s band adjudicator, Mr. Percy Jones, wrote recommending that “Gournod (Rimmer)” and “A Garland of Classics (Rimmer)” be chosen as test pieces for the B and C grade contests respectively, at the next carnival. The recommendation was adopted, on the motion of Messers Southwell and Trethewey. It was also decided to continue negotiations with a view to obtaining an adjudicator from New South Wales for the next carnival. Last year’s rule that the own choice selection be made from National Airs was again adopted.”
(“BURNIE.,” 1927)

One notable criticism of the music choices made by MAB’s came from Cecil Clarence Mullen in his booklet, Mullen’s Bandsmen of South Street (1900-1951). We know from a previous post that Mullen was very opinionated, and it is not clear how much influence he wielded through his writings, especially his booklet. He wrote:

Some years ago the Advisory Board of selectors introduced a new type of Test Selection for South Street band contests. These are mostly technical works and appreciated by bandmasters and players, the musicianship point of view has only been taken into consideration. Our contests promoters and managers have been overlooked the fact that one party – the public who pay to attend contests – have been left out. Statistics show clearly that all the largest crowds at the South Street competitions were in the years from 1900 to 1924, when the operatic brass band arrangements were chosen for Test Selections. […] Technical works are all very well for those of us who understand them, but they are cold and colourless to the general listener as he cannot follow them and does not know what they are all about.
(Mullen, 1951, p. 6)

19200911_Herald_P-Code — *Herald*, 11/09/1920, p. 14

Now while Mullen might be right about the years when the largest crowds attended the brass band competitions at South Street, it must be recognized that he was merely expressing his opinion and it might be a short stretch to link crowd numbers with choices of music. He went on further in this section of the booklet to explain his reasons for wanting more operatic arrangements in the band competitions with the implied belief that they were far more musical than what current brass band composers were providing, and that they were more pleasing to the ears of the audience (Mullen, 1951). He was especially taken with the operatic arrangements of Alexander Owen and he also wanted a sight-reading section to be introduced (Mullen, 1951). This was not the first time Mullen wrote with favour on operatic works being played by bands. In a later article he attributed the fine playing of bands in the early years to their playing of operatic works (Mullen, 1965).

Aside from Mullen, there appears to be a distinct lack of criticism in early newspapers regarding the choices of music made by the MAB’s. Which contrasts with the criticisms levelled at State Band Associations and MAB’s regarding grading of bands. Grading was a vexed issue, and this will be explored in the next section.

Music Advisory Boards, State band Associations and Grading:

To understand why grading does or does not work, it’s important to know a little history on how Associations applied grading to bands. The first competition that included grading of some sort was in New South Wales at the 1896 Intercolonial Band Contest held in Sydney in November where bands were grouped into “first division” or “second division” (Greaves, 1996, p. 23). In Victoria, the first five years of South Street from 1900-1905 were ungraded and, Mullen (1951) has provided some history as to how grading developed from 1905.

In 1905 the first “B” grade contest was arranged owing to some bands having progressed so much from the experience and tuition of former English bandmasters that it was thought younger combinations and country bands would have a better chance in a second class contest. So fast did the better class bands progress, however, that it was thought that with many new bands starting that a “C” grade was held in 1909.
(p. 7)

Having only three grades was the status quo in Victoria until, according to available resources, a D grade was introduced in 1922 (“Victorian Bands’ Association,” 1922).

19210108_Herald_L-Hoffman — *Herald*, 8/01/1921, p. 11

Let us take a look at how bands moved up or down grades over some years. Below are links to files that show the grades in certain years from Victoria, Queensland and Western Australia. The Victorian dataset is more condensed as they show the grades in the years 1920, 1922, 1923, 1924, 1926 & 1927. For Queensland, the dataset is more spread due to limited information and the files are based on information from the years 1913, 1919 & 1937. Included is an example of grading presented by the Western Australian Band Association in 1932, which is very limited, however there’s an interesting discussion from the WABA meeting that took place that year. All band lists were obtained from newspaper articles held in the Trove archive and can be accessed from the links in the citations. The grade files will appear as PDF’s and can be downloaded.

Victorian Grades – 1920-1927:

(Source of Victorian grade data: “BAND ASSOCIATION,” 1923; “BRASS BANDS REGRADED.,” 1927; “CLASSIFICATION OF BANDS.,” 1926; “VICTORIAN BAND ASSOCIATION,” 1924; “VICTORIAN BAND ASSOCIATION,” 1920; “Victorian Bands’ Association,” 1922)

Queensland Grades – 1913, 1919 & 1937:

(Source of Queensland grade data: “Band Association.,” 1919; “GRADING THE BANDS.,” 1913; “NEW GRADING LIST,” 1937)

Western Australian Grades – 1932:

Western Australian Band Association – All Grades 1932

(Source of Western Australian grade data: Delegate, 1932)

19200828_Herald_P-Jones — Herald, 28/08/1920, pg. 19

The Victorian context is possibly a better example of grade history given the range of years. Here we see a bulge– a smaller number of bands in A Grade and D Grade while B Grade is larger and C Grade having the most numerous amount of bands Taking a look at the C Grade in particular, while the D Grade was introduced in 1922, in 1924 there is large expansion of bands in C Grade. Whether this is down to the number of bands that affiliated that year, or general musical standard is open to interpretation. 1924 was certainly a golden year of bands, except for perhaps the A Grade where there were only three bands. Regarding the A Grade, once the top bands were placed in that grade, they tended not to leave. In 1926 and 1927 we see a jump in that number due to bands moving up from B Grade.

In Queensland it is a little more difficult to interpret the grading history given the lack of information, so a reliance on the available years is necessary. However, there are some similarities with Victoria, especially in the middle grades. In 1919 there is a large expansion in the number of bands in C Grade. We also see some innovation on the part of the Queensland Band Association in 1937 where there is a D Grade, but there are also grades to cater bands that are from specific locations or age groups. Here we see a “Sub D Grade (Country)” and a “Boy’s Band (Under 15 years)” (“NEW GRADING LIST,” 1937) which no doubt helped more bands participate in events.

The example from Western Australia is obviously small, but the list originates from an article published in the Sunday Times regarding a wide-ranging meeting held by WABA. The regrading of bands was included in the discussion as an agenda item:

The matter of regrading the bands affiliated with the association was then proceeded with. There are 17 in all, and prior to the 1931 contest these were graded as B or C. This grading has since remained unaltered officially, but for the purpose of giving the 1931 contest a high “tone”, the grades were officially announced as A and B. The question raised on Wednesday evening was whether to create a D grade from the smaller C grade bands or raise the status generally and make them A, B or C. The latter course was eventually decided upon and each band was, after submission to the meeting, graded by a majority vote. A suggestion that they should be graded according to the points awarded them by the adjudicator at the last contest was not accepted, though the idea found a good deal of support.
(Delegate, 1932)

Victoria offers more information on the roles of the MAB in the regrading process as the Queensland Band Association seems to have undertook this role themselves (there is no mention of a Queensland MAB). The role of the MAB’s in advising on regrading is evident although it seems, at least in the early stages, that the V.B.A. undertook the regrading process with their MAB offering limited advice. We see in 1920 that,

A report was submitted from the executive of the association dealing with the regrading of bands. It contained replies from Messrs H. Shugg and P. Code, two of the advisory committee who both concurred in the proposed regarding as submitted by the executive…
(“VICTORIAN BAND ASSOCIATION,” 1920)

However, in 1922, the Victorian MAB was responsible for the regrading process:

The advisory board of the Victorian Bands’ Association, the headquarters of which are at Ballarat, has regraded bands for the ensuring year as follows…
(“Victorian Bands’ Association,” 1922)

And mention of the role of the MAB in regrading bands is again mentioned in articles from 1926 and 1927 (“BRASS BANDS REGRADED.,” 1927; “CLASSIFICATION OF BANDS.,” 1926).

This is not to say grading was always a smooth process and there were always levels of criticism from various parties, as well as disagreements between States – the rules were never fully unified. As early as 1914 we can see letters in the papers regarding the grading of bands. One letter from Mr S. E. Hambleton, then Secretary of the Collingwood Citizens’ Band stood out for its candidness. Part of his letter was criticism while contributing his own ideas:

The band of which I am secretary has not won a cash prize for five years, and although I have made applications to be re-classified (claimed on two years’ rules), I am told that the Victorian Band Association would not listen to it as we are an A Grade band. The other bands know this, and, of course, will not enter for the higher grade, with the promise, perhaps of a life sentence hanging over them.
Our band of 24 could be divided into three parts and absorbed by B Grade bands and allowed to play in B Grade. Why not classify the individual players and thus stop good players in A Grade bands from becoming members of a lower grade through better inducements. Collingwood and Prahran are the only two bands classed as A Grade, although there are four or five others advanced enough to compete in this grade.
Bands that have won C or B Grade contests should be placed in the class higher up and stay there for the stated time. If they fail to secure a cash prize, allow them to go to the next grade down again. Bands will not enter for a higher grade than they are classed in, for fear of winning a cash prize in it, being thereby debarred from competing in the grade that they had been classed in.
(Hambleton, 1914)

Again in 1914, a letter was published in Brisbane’s Daily Standard newspaper lamenting the grading process carried out by the Queensland Band Association after the Maryborough contests. The writer, Mr W. Jackson, a Delegate of the Childers band, was obviously annoyed at the whole process and made this quite clear in his letter. He wrote (in part),

…We were promised that the matter of grading the bands would be thoroughly gone into at an early date by the Q.B. Association. What is the result? Here we are three months before the August contest, and still in the same sorry plight. Is it encouragement for the small country bands to go to Brisbane to contest against bands from the large cities as at Maryborough when the “C” grade championships was won by a band that probably should have been graded “B” at least? I am afraid the same thing will occur again. What I contend is that the “C” grade should be open for bands from the small country towns only, thus giving them some encouragement for them to fight on to better class music.
(Jackson, 1914)

It would be fair to say that both Mr Hambleton and Mr Jackson made some fair points re grading problems in their respective states. They both knew their bands and how the administration worked. We could assume that the State associations were trying their best in trying to please everyone but in some respects, it was never a perfect process. Perhaps this was the reason MAB’s were formed to advise on grading.

As mentioned above, at times the rules and administration of different State associations came into conflict with each other regarding registration and grading. One notable example was highlighted in Tasmania after another one of the contests in Burnie. At a meeting of the Tasmanian Band Association in 1930, this was raised as an agenda item:

Very grave concern was expressed by the committee relating to the methods of grading and the registering of members of mainland bands which compete at the Burnie contests. It was discovered by the delegates at the recent Burnie contests that one of the competing bands from the mainland had been able, only a few days before the closing date of registrations, to register no less than nine prominent players of other bands, and perhaps of a higher grade. The regrading of bands on the registration for every contest might overcome the somewhat unfair aspect of this matter, but what is more desirable is uniform contests rules for all the States. The T.B.A. is approaching the State association concerned on this occasion, with a view to a general tightening up of grading and registrations.
(“BAND ASSOCIATION,” 1930)

19210219_Herald_H-Niven — *Herald*, 19/02/1921, p. 16

…which is fine in theory but as discovered in the history of the National Band Council of Australia, unification of rules was an ideal that never really reached fruition despite the best intentions of State associations.

What we have seen in this small history are situations where the grading process was fraught with difficulty, did not please everyone and criticism was rife. And it was a thankless task as the reputations of the early bands hinged on success in competition and the decisions of the State associations. Most of the time it was done correctly. On occasion there were problems. With the influx of bands starting up and wanting to participate in events, grading them was a necessity that called upon the State associations to try to find solutions. When this went wrong, the administration was generally found to be lacking.

Conclusion:

For the MAB’s involved in the processes of choosing music and advising on band regrading, generally they did the right thing and all they could really do was offer advice. Thankfully, the reputations of the MAB members carried them through some of the decisions made by State associations. Evidently the fact that many of the Victorian members held their positions for many years is a testament to their authority as prominent bandsmen.

We should thank these early members of the MAB’s for the foundations that they laid as the members of the modern MAB’s carry out their tasks in much the same way as they did back then.

19200724_Herald_H-Shugg — *Herald*, 24/07/1920, p. 11

References:

BAND ADJUDICATOR : For Newcastle Contest : Mr. Percy Jone’s Career. (1920, 04 December). Newcastle Sun (NSW : 1918 – 1954), 2. http://nla.gov.au/nla.news-article162621130

BAND ASSOCIATION : Deciding Championship. (1923, 21 August). Ballarat Star (Vic. : 1865 – 1924), 2. http://nla.gov.au/nla.news-article213824101

Band Association : Grading for the Contest. (1919, 20 November). Telegraph (Brisbane, Qld. : 1872 – 1947), 8. http://nla.gov.au/nla.news-article176840373

BAND ASSOCIATION : Registering and Grading. (1930, 24 January). Mercury (Hobart, Tas. : 1860 – 1954), 3. http://nla.gov.au/nla.news-article29151289

BRASS BANDS REGRADED. (1927, 18 October). Argus (Melbourne, Vic. : 1848 – 1957), 13. http://nla.gov.au/nla.news-article3885887

BURNIE. (1927, 17 June). Advocate (Burnie, Tas. : 1890 – 1954), 4. http://nla.gov.au/nla.news-article68241846

BURNIE CARNIVAL : New Years Day : Bright Prospects. (1921, 16 November). Advocate (Burnie, Tas. : 1890 – 1954), 4. http://nla.gov.au/nla.news-article69316043

CLASSIFICATION OF BANDS. (1926, 18 May). Argus (Melbourne, Vic. : 1848 – 1957), 8. http://nla.gov.au/nla.news-article3782670

Delegate. (1932, 21 August). BRASS BANDS : W.A. Association News : And General Notes. Sunday Times (Perth, WA : 1902 – 1954), 6. http://nla.gov.au/nla.news-article58669392

Drummer Boy. (1922, 21 October). BANDS AND BANDSMEN. Northern Star (Lismore, NSW : 1876 – 1954), 11. http://nla.gov.au/nla.news-article93411340

GRADING THE BANDS. (1913, 27 October). Queensland Times (Ipswich, Qld. : 1909 – 1954), 4. http://nla.gov.au/nla.news-article118654062

Greaves, J. (1996). The great bands of Australia [sound recording] [2 sound discs (CD)]. Australia, Sound Heritage Association.

Hambleton, S. E. (1914, 13 January). EFFECT OF GRADING. Herald (Melbourne, Vic. : 1861 – 1954), 5. http://nla.gov.au/nla.news-article241657411

Jackson, W. (1914, 08 May). BAND GRADING : (To The Editor). Daily Standard (Brisbane, Qld. : 1912 – 1936), 3. http://nla.gov.au/nla.news-article178879778

Mullen, C. C. (1951). Mullen’s Bandsmen of South Street (1900-1951). Horticultural Press.

Mullen, C. C. (1965). Brass bands have played a prominent part in the history of Victoria. The Victorian Historical Magazine, XXXVI(1), 30-47.

NEW GRADING LIST ISSUED BY QUEENSLAND BAND ASSOCIATION. (1937, 12 November). Telegraph (Brisbane, Qld. : 1872 – 1947), 13. http://nla.gov.au/nla.news-article183521534

Quickstep. (1920a, 28 August). Bandsmen’s Gossip : A Knight of the Baton. Herald (Melbourne, Vic. : 1861 – 1954), 19. http://nla.gov.au/nla.news-article242311544

Quickstep. (1920b, 14 August). Bandsmen’s Gossip : A Meritorious Career. Herald (Melbourne, Vic. : 1861 – 1954), 16. http://nla.gov.au/nla.news-article242305795

Quickstep. (1920c, 07 August). Bandsmen’s Gossip : An Enthusiastic Conductor. Herald (Melbourne, Vic. : 1861 – 1954), 17. http://nla.gov.au/nla.news-article242306287

Quickstep. (1920d, 11 September). Bandsmen’s Gossip : Australia’s Great Soloist. Herald (Melbourne, Vic. : 1861 – 1954), 14. http://nla.gov.au/nla.news-article242308980

Quickstep. (1920e, 24 July). Bandsmen’s Gossip : Leader of Two Famous Bands. Herald (Melbourne, Vic. : 1861 – 1954), 11. http://nla.gov.au/nla.news-article242308343

Quickstep. (1921a, 19 February). Bandsmen’s Gossip : Noted Musical Qualities. Herald (Melbourne, Vic. : 1861 – 1954), 16. http://nla.gov.au/nla.news-article242256082

Quickstep. (1921b, 08 January). Bandsmen’s Gossip : St Vincent’s Bandmaster. Herald (Melbourne, Vic. : 1861 – 1954), 11. http://nla.gov.au/nla.news-article242259553

VICTORIAN BAND ASSOCIATION : Classification of Bands. (1924, 19 August). Ballarat Star (Vic. : 1865 – 1924), 1. http://nla.gov.au/nla.news-article213535974

VICTORIAN BAND ASSOCIATION : Special and General Meeting. (1920, 18 May). Ballarat Star (Vic. : 1865 – 1924), 2. http://nla.gov.au/nla.news-article211906214

Victorian Bands’ Association : Grading for the Year. (1922, 24 August). Age (Melbourne, Vic. : 1854 – 1954), 14. http://nla.gov.au/nla.news-article205773169

Victorian Bands’ League. (1933). Victorian Bands’ League : Annual General Meeting : Annual Report [Annual Report]. Victorian Bands’ League. https://victoriancollections.net.au/items/5b6a740621ea691478e4b482

The poetry of brass bands

August 21, 2019September 2, 2021 Jeremy de Korte1 Comment

Introduction:

While undertaking research for my blog posts thus far I have come across all manner of writing describing brass bands, their members and competitions. Much of the writing is very useful in finding the “little stories” behind people, places and events. Occasionally I have come across some oddities in the mix and this post is going to highlight an aspect of writing; poetry.

In this context of brass band history, penning up a poem about musicians, bands and competitions might seem very colloquial. And in some respects, it is. One only has to look at the style of writing and while the poems might not have won any literature awards, they were helpful in bringing to life some little stories in a unique style.

Below are just three of these brass band poems. I have not been actively searching for these. However, if while searching for material on other topics and they appeared, I have made a note of them for the novelty. These are defiantly the needles in haystacks! Two of the poems were published in local newspapers by writers using pseudonyms while the third poem was composed by brass band writer C. C. Mullen in his rare book, Mullen’s Bandsmen of South Street (1900 – 1951).

I am quite sure there are other brass band poems in other newspaper articles so this post might be expanded in the future. Please enjoy the language and stories that are being told here and remember that they were for another time. Perhaps this blend of artforms might be used again one day.

“A Welcome” by ‘Bannerman’ (1918):

One of the first blog posts in Band Blasts from The Past was about the famous Cornetist and Conductor William Ryder who travelled to Australia in 1910 with the renowned Besses O’ Th’ Barn Band (de Korte, 2018). Just eight years later, after stints with bands in Victoria and New South Wales, he arrived in Maryborough, Queensland to take the reins of the Maryborough Naval Band and we found that an enterprising contributor, under the pseudonym of ‘Bannerman’, had penned a poem to welcome him to town. No doubt this would have been perceived as a very friendly gesture, and it gave the town some insight into the prowess and reputation of Ryder as a musician. This poem was published in the Maryborough Chronicle, Wide Bay and Burnett Advertiser on Wednesday, 8^thMay, 1918.

A WELCOME
Here’s a hearty welcome “Billy”,
To our pleasant country town,
And may Fortune every lead you,
And misfortune never frown.
We are pleased to have you with us,
And we hope you long may stay
To encourage local talent
In the latest style and way.
When you played the “solo cornet”
With the finest in the land,
You were classed as England’s champion
In the famous “Besses Band.”
And here in fair Australia
You can show us all the way
As the Champion of the Champions
From the South to old Wide Bay.
“Because” we all remember
When you played it at New Year,
When the silvery notes were finished
How the crowd did clap and cheer.
May our town and climate suit you,
May your notes prove ever true.
Here’s good-luck to wife and kiddies,
And long life and health to you.
(Bannerman, 1918, p. 6)

“Back to South Street” by Cecil Clarence Mullen (1951):

There is one brass band musician and writer among many who is significant to early Victorian brass band history, Cecil Clarence Mullen (C. C. Mullen). His writing might be rare and hard to find now, however, being a band journal representative he had a unique insight into the workings of brass bands and was associated with many famous bands, conductors and administrators (Mullen, 1951).

It is in his little book, Mullen’s Bandsmen of South Street (1900 – 1951) that we find his poem, “Back to South Street”. In this piece of writing Mullen has cleverly highlighted the nostalgia of the South Street event while noting many of the famous names of bands and bandsmen. It is a worthwhile poem to read for the sake of history.

19510000_Mullen — Front Cover *Mullen’s Bandsmen of South Street (1900-1951)* (Source: Jeremy de Korte Personal Collection)

BACK TO SOUTH STREET
Just let me go back to South Street
For a week with the famous bands,
And take with me others who would compete
In Australia’s Golden City of renown.
Just let me alight at the station
With cornet, trombone and drum,
And meet bandsmen from all over the Nation,
To whom South Street once more come.
Just let me line up in the station yard
And play through Handel’s “Hallelujah Chorus,”
Or “The Heavens Are Telling” by Haydn – just as hard,
As bands played in the days before us.
Just let me march along Sturt Street
With gay crowds lining the way,
With step by step and beat by beat,
Is South Street just the same to-day?
Just let me see who is judging again,
Is it Stead or Bentley with ears for tune?
Short, Beswick, Sutton or Morgan – men of fame,
Or King of them all – J. Ord Hume.
Just let me go through Inspection
As we did when we dressed with much care;
With the gayest uniform in our section,
That made all our rivals stare.
Just let me compete in the solos again
From the grand old Coliseum stage,
With “Adelaide” or “Gipsy’s Warning” – or “Pretty Jane,”
“Zelda” and “Miranda” of a later age.
Just let me mount he platform
And play through “Beethoven’s Works.”
Or any Alexander Owen’s selections
That South Street bands would not shirk.
Just let me play through the Test piece,
Be it “Mercandante.” “Mozart” or “Liszt,”
“Wagner,” “Chopin” of “Meyerbeer,”
The tests that were tests on our lips.
Just let me march in the Quickstep
With Ord Hume’s “B.B. and C.F.”
“The Challenge,” “Cossack” or “Ravenswood”
Or was the “Twentieth Century” the best?
Just let me see the others swing past,
Code’s, Prout’s, Rozelle and Boulder.
Wanganui, Newcastle and Bathurst Brass,
Great names that come dear to the older.
Just let me see those fine Geelong bands,
St. Augustine’s, Municipal and Harbour Trust.
Also Collingwood, Malvern, Richmond, Prahran,
Perth City – all great power among us.
Just let me see Geelong Town again
With Sharpe Brearley at the head of affairs.
They ranked with Prout’s in quickstep fame,
First in marching honours was often theirs.
Just let me see the giants of the baton,
Riley, Code, Bulch and Prout,
McMahon, Barkel, Jones and Hoffman.
Many, alas, have gone out.
Just let me see others again,
Partington, Shugg, Johnston, Bowden.
Men who kept time in South Street’s fame;
Wade and Baile must be among them.
Just let me think if I missed any,
Yes, there was Davison, Niven, Lewins – any more!
Hopkins, Ryder, Billy May among many,
Not forgetting Frank Wright and J. Booth Gore.
Just let me see the best of officials
And critics like Davey, Gartrell and Hellings,
Humphreys and Boyce – Kings of staff and whistle,
May march us again – well, there’s no telling.
So to-day just let me go back to South Street,
Most famous contest in the land,
Where many old timers I will heartily greet,
And yarn over years that were so grand.
(Mullen, 1951, pp. 2-3)

“Dungog Brass Band” by ‘Mad Mick” (1954):

19120000_Dungog-BB_phot16862 — Dungog Brass Band, 1912 (Source: IBEW)

Above is a picture of the Dungog Brass Band from around 1912 and unfortunately, this is one of the only pictures I could find of them. However, some thirty years later this prose was published in the Dungog Chronicle : Dungog and Gloucester Advertiser newspaper by a member of the band writing under the pseudonym of ‘Mad Mick”. One may wince at some of the language, but this was the 1950s.

From reading the poem it appears that ‘Mick’ is a third cornet player. This poem is quite good in describing who the band is, what it does and where it goes, but the prose hints at some problems like attendance issues. We can appreciate that this was a local town band, and this was the way they did things. I think every band has a ‘Mick’ in their midst and we can thank him for highlighting the Dungog Brass Band in the way that he did.

DUNGOG BRASS BAND
I’ve heard it said that Old King Cole was happy, gay and free,
And he liked music sweet and low, played by his fiddlers three,
But in Dungog we’re luckier than King Cole in his day,
We have a band of 25 with band-master, Bob Gray;
And of this band we all feel proud, a mighty job they do,
They play in aid of charities, and spastic kiddies too.
Some Saturdays they entertain at each and every pub,
They finish off the evening playing at the Bowling Club.
Now I would like to tell you all the names of those who play,
And how old Bob the baton waves, and gets them on their way;
Soprano cornet heads the list and that’s I. Kennedy.
That solo cornet it is played by little Johnny Lee;
Keith Kennedy is downstairs for he is baritone,
And forwards, backwards, goes Stan Leayr upon the old trombone;
Now solo tenor horn Barry Schofield plays alone,
Toot! Toot! Toot! Toot! Don Redman goes upon his saxophone.
First tenor horn’s Wal Arnold, third cornet Mick Neilson,
Johnny Schofield’s second cornet, Hector Robson the side drum;
Ken Wade with his euphonium, gets down to bottom D,
While second solo tenor horn is little Barry Lee;
Then there’s E bass Freddy Schofield and Ted Mathews is the same,
And there’s one more solo cornet, Artie Redman is his name;
The secretary is Jack Kerr, he’s also big bass drum,
While tenor horn number three is played by “Butch” Neilson.
There’s only six more instruments and players for to pen,
For to conclude the roll call of Bob and his merry men;
And Bob calls them “some-timers,” they don’t attend a lot,
Sometimes they’re there for practice and sometimes they are not.
There’s the E bass and the B bass, and repiano cornet too,
And they’re played by Tommy Ferris and Keith Lean and Shelton, Blue,
Well now I’ve two trombonists whose attendances are poor
And they are “Sambo” Neilson and offsider Dennis Moore.
Well, those are all the players who go to make this band,
But there are two more people who lend a helping hand;
First of them the Drum Major, he makes them look so fine,
And that of course is Perry, Bill, he sees they march in line.
Then last of all is Paddy with collection box in hand,
You’ll always find him snooping round somewhere behind the band,
He sticks his box beneath your nose and thinks he’s doing right.
No wonder folks have christened him the “great Australian bite!”
P.S. – Sorry folks I missed one out, it’s Ray Monaghan I’m sure,
He plays quite well, but still in all, attendances are poor.
(Mad Mick, 1954, p. 3)

…and something from me:

In concluding this next blog post in Band Blasts From the Past,
Some tales of bands and bands people, but they won’t be the last.
For as we know from history, stories wait until they’re found,
Of the many tales of bands people who were there to make a sound.

References:

Bannerman. (1918, 08 May). A WELCOME. Maryborough Chronicle, Wide Bay and Burnett Advertiser (Qld. : 1860 – 1947), 6. http://nla.gov.au/nla.news-article151083205

de Korte, J. D. (2018, 02 March). William Ryder: The first conductor of the Prahran & Malvern Tramways Employees Band. Band Blasts from the Past : Anecdotes, Stories and Personalities. https://bandblastsfromthepast.blog/2018/03/02/william-ryder-the-first-conductor-of-the-prahran-malvern-tramways-employees-band/

Dungog Brass Band. (1912). [Photograph]. [phot16862]. The Internet Bandsman Everything Within, Vintage Brass Band Pictures : Australia. http://www.ibew.org.uk/vbbp-oz.html

Mad Mick. (1954, 29 September). DUNGOG BRASS BAND (By ‘Mad Mick). Dungog Chronicle : Durham and Gloucester Advertiser (NSW : 1894 – 1954), 3. http://nla.gov.au/nla.news-article140539879

Mullen, C. C. (1951). Mullen’s Bandsmen of South Street (1900-1951). Horticultural Press.

Quickstep. (1920, 23 October). Bandsmen’s Gossip : Celebrated Conductor. Herald (Melbourne, Vic. : 1861 – 1954), 4. http://nla.gov.au/nla.news-article242245731

Former brass bands of the City of Yarra: A brief history.

March 3, 2018September 2, 2021 Jeremy de Korte1 Comment

This post was originally written as a local history project for Yarra Libraries, October 2017.

Introduction:

Around the City of Yarra are dotted many reminders of bygone days. Given the history of the area, this is perhaps not surprising. However, when looking at some buildings sets the mind to wondering if they were ever used and by whom. This is the case with the many bandstands in public gardens in the City of Yarra. Logic would dictate that if a bandstand had been built, then there must have been a band to play on it. Delving into various histories and newspaper articles of the area would indicate that this was the case; that there were once brass bands located in the various suburbs. Yet they are not here now and there is little physical evidence to indicate they existed aside from written articles and other histories.

For just over fifty years the brass bands served the suburbs of the City of Yarra and this post will provide a brief history of bands located in Collingwood, Fitzroy and Richmond. They existed in a time when there was little recorded or broadcast music and the local population went and saw their bands play on a regular basis. As one Collingwood resident remembers,

They used to have a bandstand there in the Darling Gardens. They’ve since built a new one of the same design. They used to have bands there every Sunday and we would sit in the Gardens. Sometimes the Salvos, sometimes the municipal band.
(Collingwood History Committee, Carringbush Regional Library, & Collingwood Council, 1994, p. 38)

The bands were engaged with their communities and were always out and about performing, marching and competing. They were also at the behest of their Local Councils who at times supported the bands, but at other times tried to influence other outcomes. As will be seen, other external factors also had affected the running of the bands. However, the fact the bands existed is exciting enough and their stories deserve to be heard.

00000000_Ballarat_Band-Contest-Oval — Marching contest in Ballarat. Date and bands unknown. (Source: IBEW)

The Collingwood Citizens’ Band:

Out of the three main bands that once existed in the City of Yarra area the Collingwood Citizens’ Band is the most renowned due to its many successes in Australian and local band championships (Royal South Street Society, 2017). This success was mainly due to the prowess of the band under their famous conductor, Mr. Francis Charles Johnston who was known as “Massa” Johnston for most of his conducting career (Rasmussen, 2005).

We first hear of a band in Collingwood with an article from 1901 which outlined the professions of bandsmen outside of the banding lives (this article also included a band that had Fitzroy in its name) (“SIM’S FITZROY MILITARY BAND.,” 1901). The band mentioned in the article is the Collingwood Imperial Band and it is not until 1904 where a series of public meetings were held with the aim of forming a new citizens band. From the articles of the time, the Collingwood Imperial Band agreed to merge with the new Citizens’ Band and thus the Collingwood Citizens’ Band was officially born (“COLLINGWOOD CITIZENS BAND,” 1904). The Collingwood Council, which facilitated the meetings, also wanted to form a juvenile band however it is not clear whether this band was ever started.

19110000_Collingwood_Citizens-Band — The Collingwood Citizens’ Contest Band. Possibly in 1911 (source: IBEW)

From an article published in 1915 by the Bendigo Independent newspaper, we can finally see list of the Collingwood Citizens’ Band competition successes up until this date (“THE COLLINGWOOD BAND.,” 1915). Here we see a band that has been crowned champion band many times over, mainly from participating in the Royal South Street events. The cups and shield evident in the photo certainly reflect this. This competition success continued for many years and decades, no doubt helped by the influence of conductor Massa Johnston, who also conducted many other bands at the time to competition success (Rasmussen, 2005).

Collingwood Citizens’ Band had a fine reputation. They used to practice every Sunday morning at Collingwood Football ground. We could hear them quite clearly. They had tremendous volume. They sometimes used to march. (Collingwood History Committee et al., 1994, p. 38)
(Collingwood History Committee et al, 1994, p. 38)

There are numerous articles dating from the 1930s and 1940s which shows the band performing in many concerts, parades, and other events. They also competed in competitions interstate and around Victoria, and because of their reputation, they were invited guests at other band events. The Royal South Street Society did not run a band contest every year so Collingwood participated in other events. In the early 1950s their conductor Francis “Massa” Johnston passed away and the band played at his funeral (“Tribute to Bandsman,” 1954). This perhaps sounded a death knell for the Collingwood Citizens’ Band and it is not long after this date that we see no more articles about their activities. It is unclear as to which year the band officially ended.

Collingwood Citizens’ Band were a remarkably stable ensemble for their time, especially when compared to neighboring bands. They had an enviable contesting record and were the pride of the municipality. Their history is well noted, and it is hoped that we might see some of the physical artifacts come to light.

The Fitzroy Bands:

18850408_Sportsman_CityFitzBrassBand — *Sportsman*, 8/04/1885, pg. 4

Of the three bands that were located in the City of Yarra area, the Fitzroy bands were probably the most unstable and it is sometimes hard to tell where one ensemble ended and another one began! We first see mention of a band in Fitzroy in 1885 where there is an article detailing the results of an intra-band sports day (“CITY OF FITZROY BRASS BAND.,” 1885). As mentioned in the history of the Collingwood band, another article details the professions of bandsmen although this article makes mention of the Sim’s Fitzroy Military Band – perhaps this was a private ensemble, but this is the first and only mention of this particular band. In 1906 a letter is written to the editor of the Fitzroy City Press advocating a new ensemble that is hoped will emulate the success of the neighboring Collingwood brass band (“FITZROY CITIZENS’ CONTEST BAND,” 1906). Certainly, in the coming years, the Fitzroy Citizens’ Band did taste competition success, and in 1915 competed against the bands of Collingwood and Richmond in several sections (Royal South Street Society, 1915).

00000000_North-Fitzroy_Band — The North Fitzroy Brass Band, date unknown (Source: IBEW)

Other bands were evident in Fitzroy such as the North Fitzroy Band however it is unclear as to their fate. Of interest is that in 1911 a public meeting was held where it was decided to ‘help’ form the current Fitzroy City Band into the Fitzroy City Citizens’ Band (“FITZROY CITIZENS’ BAND,” 1911). Hence the confusion over timelines and history when bands reportedly kept changing their names. In 1925 the Fitzroy City Council, in all its wisdom, accepts the services of the ‘Turners’ Brunswick Band’ and this ensemble become the new ‘Fitzroy Municipal Band’ (“SUBURBAN ACTIVITIES.,” 1925). Why the council would accept the services of a neighboring private brass band is unknown, however the consequences are that the existing Fitzroy Citizens’ Band and the new ensemble agree to absorb the members of the rival band, depending on the council decision – the council agreed to the Turner proposal (“SUBURBAN ACTIVITIES.,” 1925).

In 1937 the local council provides money to the Fitzroy Municipal Band for the purchase of new uniforms with the tender for manufacture passed opened to local traders (“New Uniforms for Band.,” 1937). Over the coming years, it is unclear what happens to the Fitzroy Municipal Band although it can be assumed that the Second World War intervened and the band went into recess. Of interest is that in 1941 there was a meeting held about establishing a boys’ band in Fitzroy, and perhaps a junior choir (“BOYS’ BAND FOR FITZROY,” 1941). There is no evidence to suggest this ensemble was ever started. Progressing to 1945 we see that a new Fitzroy Brass Band has been formed and is already doing performances – this new band was formed at the insistence of the local council (“NEWS FROM THE SUBURBS,” 1945). Four years later in 1949, we see possibly the last mention of the Fitzroy Brass band with a photo of their conductor playing the trombone at an event in Elsternwick (“Two Kinds of Band Music,” 1949). There is no indication of when the Fitzroy Brass Band ceased to be active.

The Richmond Bands:

The story of the Richmond City Band is well-known due to the excellent research undertaken by the Richmond & Burnley Historical Society. Like the Collingwood Citizens’ Band, the Richmond Band also competed on a regular basis and won many prizes. While Richmond didn’t last as long as the Collingwood or the Fitzroy bands, the Richmond Band earned a reputation for being a fine ensemble (Langdon, 2014).

19060000_Richmond_City-Band — The Richmond City Band. The photo was taken at the 1906 South Street Ballarat Competition. (source: State Library Victoria: a04257)

As with most municipalities, there were often many brass bands that were formed, but not many survived. In 1905, we see the Richmond City Band in “conflict” with the neighboring, and newly formed South Richmond Band over some event; this required council mediation to resolve (“RIVAL BRASS BANDS.,” 1905). Coming to 1916 we see the Richmond City Band gaining the use of a new band room which was located behind the Richmond Town Hall (“Richmond City Band,” 1916). Unlike other neighbouring areas, Richmond was lucky enough to have a boys’ band formed and this band gained success at the South Street competitions (“Richmond Boys’ Band.,” 1918; “Richmond Boys’ Band Making Fine Progress.,” 1918; Royal South Street Society, 2017). This Richmond Boys’ Band also traveled and are noted as having marched in an Armistice Day parade in Nar Nar Goon in 1918 (Heather, 2016).

Sadly, the Richmond City Band fell victim to events outside their control. In 1926 a fire destroyed their band hall and they lost instruments, uniforms and sheet music (“FIRE AT RICHMOND.,” 1926; Langdon, 2014). This, and the fact that many band members were being employed in other musical endeavors plus a council wanting four local bands to merge meant that the Richmond City Band days were numbered. In the 1930s the band ceased running in its current form (Langdon, 2014).

Conclusion:

If we are to take anything from the stories of these three bands it is that history is fickle and fragmented. There is much that we don’t know. The bands were very much part of the society of their time and while the local populace displayed pride in their bands, this often did not extend to local government. I’m sure that if the bands had survived to this day, as quite a number of Melbourne’s brass bands have done, then they would be thriving with new musical energy.

References:

Allan Studio. (1911?). Collingwood Citizens’ Contest Band [Photograph]. [phot15975]. The Internet Bandsman Everything Within, Vintage Brass Band Pictures : Australia. http://www.ibew.org.uk/vbbp-oz.html

Band contest, City Oval, Ballarat. (n.d.). [Photograph]. [phot7343]. The Internet Bandsman Everything Within, Vintage Brass Band Pictures : Australia. http://www.ibew.org.uk/vbbp-oz.html

BOYS’ BAND FOR FITZROY. (1941, 18 February). Age (Melbourne, Vic. : 1854 – 1954), 10. http://nla.gov.au/nla.news-article205297038

CITY OF FITZROY BRASS BAND. (1885, 08 April). Sportsman (Melbourne, Vic. : 1882 – 1904), 4. http://nla.gov.au/nla.news-article229822096

THE COLLINGWOOD BAND. (1915, 04 January). Bendigo Independent (Vic. : 1891 – 1918), 2. http://nla.gov.au/nla.news-article219867088

COLLINGWOOD CITIZENS’ BAND. (1904, 13 February). Age (Melbourne, Vic. : 1854 – 1954), 10. http://nla.gov.au/nla.news-article197229077

Collingwood History Committee, Carringbush Regional Library, & Collingwood Council. (1994). In those days : Collingwood remembered : memories of Collingwood residents / interviewed by the Collingwood History Committee (3rd ed.). Carringbush Regional Library in association with the City of Collingwood.

FIRE AT RICHMOND. (1926, 27 February). Argus (Melbourne, Vic. : 1848 – 1957), 29. http://nla.gov.au/nla.news-article3736962

FITZROY CITIZENS’ BAND. (1911, 17 July). Age (Melbourne, Vic. : 1854 – 1954), 9. http://nla.gov.au/nla.news-article196208248

FITZROY CITIZENS’ CONTEST BAND. (1906, 17 August). Fitzroy City Press (Vic. : 1881 – 1920), 3. http://nla.gov.au/nla.news-article65662507

Heather. (2016, 08 November). Celebrating the Armistice at Nar Nar Goon in 1918. Casey-Cardinia: Commemorating the Great War: 1914-1918. http://caseycardinia1914-1918.blogspot.com/2016/11/celebrating-armistice-at-nar-nar-goon.html

Langdon, D. (2014). Brass bands. Richmond & Burnley Historical Society Newsletter, 31(5), 2 & 4-6.

New Uniforms for Band. (1937, 10 March). Age (Melbourne, Vic. : 1854 – 1954), 16. http://nla.gov.au/nla.news-article205600050

NEWS FROM THE SUBURBS. (1945, 15 February). Age (Melbourne, Vic. : 1854 – 1954), 5. http://nla.gov.au/nla.news-article206859489

North Fitzroy Band, Melbourne. (n.d.). [Photograph]. [phot2121]. The Internet Bandsman Everything Within, Vintage Brass Band Pictures : Australia. http://www.ibew.org.uk/vbbp-oz.html

Rasmussen, C. (2005). Johnston, Francis Charles (Massa) (1880-1953). In Australian Dictionary of Biography. Retrieved 12 October 2017, from https://adb.anu.edu.au/biography/johnston-francis-charles-massa-13009

Richmond Boys’ Band. (1918, 23 February). Richmond Guardian (Vic. : 1917 – 1918), 3. http://nla.gov.au/nla.news-article93810988

Richmond Boys’ Band Making Fine Progress—May Develop into Military Brass Band with over 100 Performers. (1918, 06 July). Richmond Guardian (Vic. : 1917 – 1918), 2. http://nla.gov.au/nla.news-article93811606

Richmond City Band. (1916, 07 October). Richmond Australian (Vic. : 1914 – 1916), 2. http://nla.gov.au/nla.news-article119691234

Richmond City Band. Ballarat Compts 1906. (1906). [postcard : printed, b&w]. [a04257]. State Library Victoria, J. D. Meade postcard collection. https://www.slv.vic.gov.au/pictoria/gid/slv-pic-aab44040

RIVAL BRASS BANDS. (1905, 24 October). Age (Melbourne, Vic. : 1854 – 1954), 6. http://nla.gov.au/nla.news-article199417022

Royal South Street Society. (1915, 23 October). 1915-10-23 Brass Band Contests. Royal South Street Society. Retrieved 13 October 2017 from https://results.royalsouthstreet.com.au/results/1915-10-23-brass-band-contests

Royal South Street Society. (2017). Results. Royal South Street Society (1891-2016). Retrieved 13 October 2017 from https://results.royalsouthstreet.com.au

SIM’S FITZROY MILITARY BAND. (1901, 18 April). Tocsin (Melbourne, Vic. : 1897 – 1906), 5. http://nla.gov.au/nla.news-article197522624

SUBURBAN ACTIVITIES. (1925, 30 June). Argus (Melbourne, Vic. : 1848 – 1957), 17. http://nla.gov.au/nla.news-article2132043

Tribute to Bandsman. (1954, 18 January). Age (Melbourne, Vic. : 1854 – 1954),4. http://nla.gov.au/nla.news-article206089857

Two Kinds of Band Music. (1949, 14 November). Age (Melbourne, Vic. : 1854 – 1954), 4. http://nla.gov.au/nla.news-article189488717