November the 6th not only marks the birth of John Philip Sousa but also the saxophone’s inventor, Antoine-Joseph ‘Adolphe’ Sax (1814-1894) as the shared birthday also denotes National Saxophone Day in honor of the Belgian musician and inventor.
While Hector Berlioz, considered the ‘father’ of modern orchestration, approved of the new ‘saxophone’ in 1842 which was patented in 1846, it did not find a permanent home in the enlarged symphony orchestra and seemed better suited for European military bands as they could play technically challenging passages easily like other woodwinds while projecting loudly like brass instruments.
The first saxophones were built in the United States in mid 1880s and according to a letter dated February 10th, 1885, the always progressive Mr. Sousa responds to an unnamed composer with the current instrumentation of the Marine Band including one alto and one baritone saxophone! [Fig. 1]
An undated, handwritten Marine Band program, ca. 1888-90, features a quartette of saxophones performing “Annie Laurie.” Musicians Charles Kruger and Stanley Lawton would later join Sousa’s civilian band. [Fig. 2]
By May of 1890, John Philip Sousa now writes for alto, tenor, and baritone saxophone in his manuscript full band score of the Brazilian Hymn from his National, Patriotic And Typical Airs of All Lands published in the same year. [Fig. 3]
With the evolution of Sousa’s new civilian band in 1892 and the fortuitous passing of Patrick Gilmore, nineteen former star musicians from Gilmore’s Band would find their way into Sousa’s organization including saxophone great, E.A. Lefebre, whom Gilmore himself advertised as “the greatest artist of all time.” Mr. Sousa wasted no time in showcasing this artist in 1893 as a featured soloist at important engagements including the Chicago World’s Fair, Manhattan Beach, and the St. Louis Exposition.
By 1894, and for the next eleven seasons, the solo saxophone chair was filled by virtuoso, Jean H.B. Moeremans who was featured soloist at the return engagements at Manhattan Beach and the St. Louis Exposition as well as Madison Square Garden (formerly Gilmore’s Garden), Sousa’s 1903 European Tour, and the 1904 St. Louis World’s Fair. This incredibly rare, imperial cabinet photo of the Sousa Band saxophone section of Moeremans, Charles Kruger, and Stanley Lawton from 1894 is inscribed on the verso and dedicated to band manager, David Blakely. [Fig. 4]
This J.W. Pepper Musical Times And Band Journal ca. 1895 not only features images and testimonials from numerous Sousa Band musicians but also a half-page ad for a quartet of Evette & Schaeffer ‘Buffet’ saxophones. [Fig. 5]
After Moeremans’ departure, the saxophone was featured very little and in fact, only appears in the 1906 season with a large void until the 1913 Pittsburgh Exposition filled by artist, William F. Schensley. Speaking of Mr. Schensley, around 1904, he organized The American Saxophone Quartette made up of Sousa Band saxophonists Albert Knecht, Samuel Schaich, Rudolph Becker, and himself. Augmented by a soprano soloist and harpist, this ensemble was represented by The Antrim Entertainment Bureau of Philadelphia and toured extensively both here and abroad. [Figs. 6, 7]]
While the saxophone as a solo instrument does not take center stage at the 63-day engagement of the 1915 Panama-Pacific International Exposition, the Sousa Band saxophone section takes time to pose for the camera in front of the C.G. Conn booth at the fair. [Fig. 8]
Sousa Band alto saxophonist Benjamin Vereecken also arranged and was music copyist for the Band. In this letter from Mr. Sousa to Vereecken, Sousa seems irritated that a piano score was prepared rather than using the piano copy provided. Vereecken was author of several method books for the instrument as well as composer/arranger for saxophone bands and also played in Arthur Pryor’s and Herbert Clarke’s Long Beach Municipal Band. [Fig. 9]
By the 1919-20 season, Sousa’s Band carried a saxophone sextette of two altos, two tenors, one baritone, and one bass. Seated l. to r.: Charles Weber, Jr; Arthur Rosander; standing l. to r.: Al Knecht; Andrew Jacobson; H. Benne Henton; and Howard Bertrand. [Fig. 10]
Throughout the 1920s, the saxophone was featured regularly as a solo instrument perhaps due to changing tastes in music and the popularity of radio. Featured soloists during this period included H. Benne Henton, Jascha Gurewich, Anthony d’Ortenzo, Edward J. Heney, Robert Gooding and Harold B. Stephens. Englishman Robert Gooding apparently had the reputation of being one of the Sousa Band comedians as seen here in two images from a band member’s scrapbook as he strikes a silly pose in one while doing his best “Chaplin” impression in the other on the Willow Grove Park baseball field. [Fig. 11]
On some occasions, the saxophone sextette or octette would be featured as an encore following the soloist; however, audiences seemed to demand the larger ensembles and Mr. Sousa obliged. From 1923 and onward, the saxophone ensemble became a regular fixture on most Sousa concerts combining musical virtuosity with some comedic elements which delighted audiences. Such was the case when Sousa’s Band visited Kohler’s Nature Theatre in July, 1925. The writeup in the following month’s company magazine said of the saxophone octette: “Several selections strikingly different from the others were the “Indian Love Call” as played by the saxophone octette, consisting of Messrs. Stephens, Heney, Johnson, Page, Weir, Machner, Conkin and Monroe . . . . . As an encore to the “Indian Love Call” the saxophone group played several popular numbers including “Combination Salad” and “Why Did I Kiss That Girl.” Because of their unexpectedness and novelty the pieces won enthusiastic applause.” Here’s are the day’s programs featuring both solo and ensemble performances. [Fig. 12]
Photographs from cornetist and librarian Clarence Russell’s scrapbook capture the 1927 saxophone octette in two poses at an impromptu concert at the Veterans Hospital in Saskatoon, Canada on September 17th or 18th. As this concert was not on the Sousa Band itinerary, only a portion of band appeared. [Fig. 13]
From clarinetist Howard Bronson’s scrapbook is this image of the 1928 Sousa Band octette creating a saxophone sculpture. Date and location are unknown. [Fig. 14]
Finally, this heavily annotated Sousa Band program from the 1930 season featured Edward Heney performing Sousa euphonium alumni Joseph DeLuca’s “Beautiful Colorado.” His encore this day was Nevin’s “Mighty Lak’ a Rose.” [Fig. 15] The greatly abbreviated and final 1931 season lasting only eleven days did not feature any saxophone solos although Mr. Owen D. Kincaid is listed as a “principal” of the Sousa organization on the verso of this advertising pamphlet. [Fig. 16]
Fig. 1
Handwritten note by John Philip Sousa listing the 1885 instrumentation of the U.S. Marine Band, including an alto and baritone saxophone
Fig. 2
Undated Marine Band program (ca. 1888) features a saxophone quartette. Kruger and Lawton would later join Sousa’s civilian band
Fig. 3
Sousa’s holograph score to the “Brazilian Hymn” features a saxophone trio
Fig. 4
The back of this rare cabinet photo is inscribed: “With compliments and best wishes to our manager Mr. D. Blakely from the Saxophone Trio of Sousa’s Concert Band.” Signed l. to r. Charles Kruger, Jean Moeremans, Stanley Lawton / St. Louis Mo. 1894
Fig. 5
Ad for Buffet saxophones from an early J.W. Pepper catalog
Fig. 6
Brochure cover, ca. 1904-05 for the American Saxophone Quartette comprised of Sousa Band members William Schensley, Albert Knecht, Samuel Schaich, and Rudolph Becker
Fig. 7
Interior page of the American Saxophone Quartette brochure
Fig. 8
The 1915 Sousa Band saxophone section posed in front of the C.G. Conn display at the Panama-Pacific International Exposition
Fig. 9
Alto saxophonist Benjamin Vereecken who also served as one of the band’s copyists receives this rather terse reply from The March King for services rendered
Fig. 10
Sousa Band saxophone sextette, ca. 1919-20
Fig. 11
Robert Gooding provided the comic relief when not on stage with Sousa’s Band in 1924. At Willow Grove Park, he does his best Charlie Chaplin impression during one of the band’s baseball games
Fig. 12
In the 1920s, the saxophone section was expanded to an octette and proved to be a hit with audiences
Fig. 13
From clarinet Howard Bronson’s scrapbook, images of the saxophone octette
Fig. 14
Saxophone sculpture courtesy of the Sousa Band saxophone section
Fig. 15
Saxophone soloist Edward Heney performs “Beautiful Colorado,” previously a euphonium feature when Joseph DeLuca was soloist
Fig. 16
The final Sousa Band appearances in 1931 featured saxophone soloist Owen D. Kincaid on this promotional flyer for the Atlantic City engagement
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