Copyright © 2000, 2001 by Richard I. Schwartz

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CHAPTER 3

Cornetists from all walks of life performed on the instrument in a variety of venues. Opportunities arose in theater orchestras, community bands, military bands, church functions, weddings, funerals, concerts of all kinds, road shows, dance orchestras (dance bands), recreational activities, concert companies, brass bands, minstrel shows, circuses, rodeos, professional bands, dance jobs, and any kind of celebration or gathering. It is frequently at these type of functions that the lesser-known cornet soloist played an important role in popularizing the instrument.

Cornetists performed in bands in hospitals, prisons, sanitariums, homes for the disabled veterans, and were employed by individual businesses. There were bands in Malaysia, Alaska, Canada and Mexico. There were bands of various ethnic communities, women bands, and even children’s bands (Hazen and Hazen 1987, 43-68).

At times, amateur bands advertised for cornetists who could perform duties other than play their instrument, e.g., an advertisement for "A cornet, clarinet, or slide trombone player. Must be good coat maker. Address J. W. Strouse, Fostoria, Ohio," is only one of many such ads. These ads may seem somewhat odd today, but reflect the need of the time to secure gainfully employed individuals in trades that were similar to the basic trade of the group, or a trade that could be used as barter for "services in the band." These performers would often take off of work and travel together as a performing organization, so employment homogeneity was a desirable ingredient for many of these groups. Players would not only perform themselves, but would frequently populate the audiences of many other performing groups (Schwartz 1957, 174-177).

Below is listed the names of a few of the lesser-known (and many unsung, until this document) soloists and short entries for them. These names are by no means of lesser significance than those which appear in Chapter 2. They are listed here only because the author of this document could not gather enough specific biographical information about them to warrant an entry in the previous chapter. No intention is made here to take away from any of these virtuoso artists on the cornet. A reference to a published work is listed to the right of each name for further research in parenthetical format. Any accessible information about the soloist will be listed as well. The many sources for names of African American cornetists below include The [Indianapolis] Freeman, Music and Some Highly Musical People (Trotter 1968), The Music of Black Americans (Southern 1997), [BDAAM] Biographical Dictionary of Afro-American and African Musicians (Southern 1983), Old Slack’s Reminiscence and Pocket History of the Colored Profession from 1865 to 1891 (Simond 1974), Black Women in American Bands and Orchestras (Handy 1981), Negro Musicians and Their Music (Cuney-Hare 1974), and the many documents of the Virginia Normal and Collegiate Institute (today called Virginia State University).

Adamov, Michael        (Selianin 1983, 40-43)

Adamov was the successor to Wurm as the cornet virtuoso of Czarist Russia. He was solo cornet with the Bolshoi Theater in Moscow and Professor of Cornet at the Moscow Conservatory for forty-three years.

Allen, Henry Sr.(1877-1952)(Southern 1997, 344)

He was a cornetist and pioneer of the Dance Orchestra.

Allen, Viola (Handy 1981, 122)

She was a cornetist featured with the Colored Female Brass Band of East Saginaw, Michigan during the 1880's.

Anderson, R. J.             (The Freeman [Indianapolis], 4 November 1899; 17 April 1909)

This cornetist performed with G. B. Rhone’s Orchestra at the Solo Theater in Houston, Texas and later, was bandmaster and cornetist with A Rabbit’s Foot Company.

Appleford, Charles        (Rose [1995], 187)

He was one of the finest cornetists in London at the end of the nineteenth century. He transposed trumpet parts on the cornet at a "recent State-Ball" conducted by Herr Gottlieb. On one instance, a set of Strauss waltzes were to be played from Db to F, but Herr Gottlieb wished them to be ½ step higher than written. The part was therefore to be played on the Bb cornet from the keys Db to F#, which was done at sight!

Armant, Alexander         (The Freeman , 13 September 1902)

A virtuoso cornetist, Armant conducted an orchestra of forty and a band of sixty at the M. S. and M. V. Exposition in 1902. The organizations were comprised of some of the finest African American talent of the period, according to The Freeman. Armant was thirty-five years old at the time and was a musician since he was seven years old, playing piano at that time.

Austin, Horace                (The Freeman, 18 June 1898)

He was Solo Cornet with the Superb Concert Band with the Cannon Brothers Dog and Pony Show.

Baquet, Theogene(1858-1920) (Southern 1997, 342-4)

A cornetist and pioneer of the Dance Orchestra, his own cornet band was active in the 1890’s.

Bartelle, Elmore (Cuney-Hare 1974, 209; Trotter 1968, 305)

He performed cornet as a "senior" in the Philharmonic Society of New York City, conducted by the president, Mr. P. H. Loveridge. The society had about twenty members, all "of intelligence and moral character" (Trotter 1968, 305). It had an excellent music library and funds with which to operate.

Batchelder, L. S.             (Bridges [1972], 4)

He was a cornet teacher in Boston, Massachusetts. One of his most famous students was Ezra Bagley.

Bedford, Louis(The Freeman 1 Jan 1910; 10 September 1910)

He was an Eb cornetist with Rockwell’s Sunny South Company Band.

Bell, Son (The Freeman, 28 July 1906; 4 August 1906)

He was a cornetist with the VanAmburg Shows Concert Company and Eb cornetist with Clarke’s Concert Company.

Belt, Frank (The Freeman, 29 January 1910; 26 February 1910)

He was a cornetist with Roy Pope’s Band for Ringling Brothers and Barnum & Bailey Circus and also with the Independent Band at the Bedford Roller Rink. He was also a cornet soloist with the First Brigade Knights of Pythias Concert Band at the Brown Chapel A. M. E Church on the northside of Pittsburgh.

Berger, Anna (IWBC 1993, 3; Bridges [1972], 48c)

(b c 1850)

She was an early prominent lady cornetist. In 1862, she toured as a child with the Carter Zouave Troupe (perhaps the first female brass band). She toured Europe in 1889, performing at Covent Garden, and London’s Promenade concerts. She dazzled her audiences with spectacular performances. She performed successively for fifty nights and accepted offers from France, Germany, and Russia. It is most unique that Russian offers were made, since most of the imported musicians in Russia at this time were of German descent. In 1875, she studied with Matthew Arbuckle.

Blackwell, F. H. (Rose [1995], 187)

He was one of the finest cornet players in London at the end of the nineteenth century. He performed at the Royal Italian Opera House and the Promenade Concerts.

Bledsoe, Lily (C. G. Conn n.d., 27)

She was a cornet soloist from Toronto, Canada and enjoyed the Levy mouthpiece. In 1899, she endorsed the CONN Wonder Cornet.

Bode, Albert (Bridges [1972], 54, 79; C. G. Conn n.d., [i]; Bierley 2003)

He was cornetist with Gilmore’s Band and the original soloist with Sousa’s Band in 1892, not leaving that organization until September 1897. Albert played on a CONN cornet.

Bowman, Edw. (The Freeman, 15 April 1899)

He was a cornetist with the Students Orchestra at a reception given for Earnest Hogan, formerly with the Black Patti Troubadours.

Brannes, Charles (Historical Records Survey Projects 1956, 48)

He was a cornetist active in the middle of the nineteenth century.

Braun, W. (Historical Records Survey Projects 1956, 49)

[He] was a cornetist active at the end of the nineteenth century.

Bridgewater, Preston (The Freeman, 1 September 1900; 25 July 1908; 12 September 1908; 30 January 1909)

In 1900, he was a cornetist with the Sells & Gray Circus Band. In 1908, he was a cornetist with Dunore’s Modern Minstrels Band , and in 1909, he was a cornetist with the William Reid Band and Concert Company for Barnum & Bailey’s Circus.

Brister, W. (The Freeman, 18 November 1899)

This performer was First Cornet with Harry Prampin’s Concert Band for the Nashville Students and L. E. Gideon’s Minstrels.

Broadwell, J. S. (Eileen Southern, "Johnson, Lew," in BDAAM)

He was a cornetist with the Plantation Minstrels in the early 1870’s. This group was directed by Lew Johnson (b Chicago ; d Grand Forks BC, Canada 27 Feb 1910), leader of probably the most African American minstrel troupes of the era.

Brooks, G. B. (The Freeman, 19 January 1901; 3 August 1901; 4 July 1908; 3 April 1909; 26 March 1910)

In 1901, this cornetist played with Allen, Quain & Oakes’ New Orleans Minstrels, and between 1908 and 1910, played Eb cornet with A. G. Allen’s United Minstrels Band.

Brown, Charley (The Freeman, 5 February 1910, 19 February 1910)

He was the bandleader and cornetist with Lacy Brothers’ Minstrels.

Brown, H. C. (The Freeman, 2 December 1898)

This cornetist played with the band for P. G. Lowery’s Nashville Students.

Bryant, George (The Freeman, 5 August 1899; 13 January 1900; 29 December 1900)

Born in Osceola, Iowa, he was solo cornet with the Reizenstein’s Concert Band of Osceola. He studied cornet with A. A. Covalt, Solo Cornet with the Iowa State Band. He played with Gideon’s Minstrel Carnival, P. T. Wright’s Nashville Students Band, and Richards and Pringle’s Georgia Minstrels. He played under such artists as Perry G. Lowery, Harry Prampin, and Saint Elmore Dodd. He was praised by P. G. Lowery as being one of the finest young cornetists in the business (The Freeman, 13 January 1900).

Burke, J. J. (C. G. Conn n.d., 21)

He was a cornet soloist and the director of the Wilber (Nebraska) Military Band. In 1899, he endorsed the CONN Wonder Cornet.

Canham, Thomas (Bridges [1972], 68)

Canham was an Eb Cornetist and director of the Dan Rice Circus Band. David Wallace Reeves followed the circus for three years to take lessons with Canham.

Carlton, Carl (C. G. Conn n.d. [i])

In 1899, he played on a CONN New York Wonder Cornet and was a Cornet Soloist and bandmaster of the Primrose & Dockstader’s American Minstrels.

Carne[y], Belle (C. G. Conn n.d., 27)

She was a cornet soloist from Quitman, Arkansas and in 1899 she endorsed the CONN Wonder Cornet.

Cary, W. T. (The Freeman, 24 October 1896; 3 February 1900)

A cornetist with William Carter’s Orchestra for the Canadian Jubilee Singers.

Childs, Walter (The Freeman, 2 November 1907; 2 May 1908; 24 April 1909; 20 November 1909)

He was a cornetist with the Funny Folks Comedy Company, Solo Cornet with the band at Ocmulgee Park in Macon, Georgia, and a cornetist with the Florida Blossoms.

Clair, Carl (C. G. Conn n.d., [i])

In 1899, he was a cornet soloist and bandmaster of Barnum & Bailey’s show band. He played on a CONN Wonder Cornet.

Clark, H. (The Freeman, 6 May 1899)

This Eb cornetist was visiting friends in Waco, Texas.

Clark, C. W. (C. G. Conn n.d., 15)

He was Cornet Soloist and Director of the Solon Cornet Band, and performed on the CONN "Wonder Cornet."

Clarke, Ida (IWBC 1993, 7)

(b 1872)

She was a child prodigy, who began her career in Chicago at age thirteen.

Clinton, T. (Rose [1995], 186-187)

He was one of the finest cornet players in London at the end of the nineteenth century. He performed at the Prince of Wales’ Theatre.

Colby, Cricket (C. G. Conn n.d., 15)

She was a lady Cornet Soloist with Colby’s Will and Cricket Vaudeville Show. She performed on a CONN "Wonder Cornet."

Conkling, Charles D. (C. G. Conn n.d., 11)

He was the Manager of the Tri-States Band of New York, a left-handed cornetist and performed on a CONN "Wonder Cornet."

Cooper, W. (The Freeman, 3 August 1901; 3 November 1906)

This cornetist played with the New Orleans Minstrels and Rusco and Holland’s Georgia Minstrels.

Crean, Steve (C. G. Conn n.d. [i]; Galloway 1985, 77-78)

(1879-1910)

Based in Chicago, he was a cornet soloist that endorsed Holton cornets and had an incredible range which went from Pedal Great C up to g⁴. (five and ½ octaves!) His abilities included lip trills from a² to g⁴ and well controlled pedal tones. He was hired to be soloist with Arbuckle’s band in 1883, shortly after the latter’s death. In 1899, he played on and endorsed the CONN New York Wonder Cornet.

Crosby, Alonzo (The Freeman, 22 October 1898)

He was First Bb Cornet with H. G. Brown’s Band for L. W. Washburn’s Minstrels.

Crump, G. E. (The Freeman, [5] December 1908; 2 November 1909; 9 July 1910)

This cornetist performed with J. C. Harris’ Brass Band of Denver Colorado and Solo Cornet with the Florida Blossoms Concert Band.

Daniels, Nellie (Woodbury 1995, 2)

She was a cornet soloist with Spaulding’s Concert Company in 1873.

Davison, A. Ethel (C. G. Conn n.d., 29)

A cornetist from Mt. Pleasant, Iowa, in 1899, she was a student of the mail-order Conn Cornet Lessons, designed by Jules Levy.

Dietz, F. (Historical Records Survey Projects 1956, 99)

[He] was a cornetist active at the end of the nineteenth century.

Dobbins, Joseph (The Freeman, 13 January 1900; 23 February 1901)

(d 27 Jan 1889)

He started his career at age fifteen and by 1886, he was the bandleader of the Young Men’s Brass Band of Memphis, Tennessee. He departed that organization on 3 January 1889 to play cornet with McCabe & Young’s Minstrels. In 1897, he performed with Taylor’s Big Black Boom, Stetson’s Uncle Tom’s Cabin, and led the Ninth Battalion Band of Chicago. In 1898, he played with Oliver Scott’s Minstrels and in 1899, he performed with the Georgia Minstrels. Hailing from Chicago, he was praised by P. G. Lowery as being one of the finest cornetists in the business (The Freeman, 13 January 1900).

Donaldson, S. O. (C. G. Conn n.d., 11)

An Eb cornetist and leader of the band for the Hans Hansen Company. In 1899, he endorsed the CONN Wonder Cornet.

Dornes, Prof. Wm. (Simond 1974, 24)

He was a violinist and cornetist during the nineteenth century.

Dottery, Robert T. (C. G. Conn n.d., 21)

He was the director of and cornetist with the Classic City Band. In 1899, he endorsed the CONN Wonder Cornet.

Downey, Mable (IWBC 1993, 10)

From Wisconsin, she was active on vaudeville and performed with many ladies’ bands and orchestras.

Dudley, E. B. (The Freeman, 24 April 1909; 20 November 1909)

This cornetist played with and directed the Florida Blossoms Concert Band.

Dufrène (Dufresne), [L.] (Baines 1976, 227; Anthony C. Baines, "Cornet (i)," in The New Groves Dictionary of Music and Musicians)

Originally a horn player, he began playing the cornet in 1830 at light concerts and balls. He also played cornet with the Musard Promenade Concerts beginning in 1833.

Eberhardt, Otto (C. G. Conn n.d., 13)

He was a German born Solo Cornet with the U. S. Marine Band. Having studied at a music school in Marienberg with Professor Kossleck of the Royal Court Theatre of Berlin, he arrived in America in 1893 and in the same year played with the German band at the Columbian Exposition in Chicago. In 1894, he played at an exposition (The Mid-winter Exposition) in San Francisco. He was also the bandmaster of the First Territory Infantry Regiment Band before playing with the Marine Band.

Elam, Claude M. (C. G. Conn n.d., 15)

He was a cornet soloist and taught the instrument in Greensboro, N. C.. He performed on a CONN "Wonder Cornet."

Ellis, W. (Rose [1995], 187)

He was "of the Philharmonic, Richter, and Royal Italian Opera" and one of London’s finest cornet players at the end of the nineteenth century.