Music & Musical Instruments

This snare drum was made by Firth, Pond & Co. in New York, around 1847-1864. It has a light brown shell, two red-painted hoops, two skin heads, 10 metal hooks laced with rope through leather ears used to tighten the hoops, and a gut snare. The paper label inside the shell is inscribed:

[FIRTH] POND & CO.,
[ ]ers, Manufacturers and Dealers in
[Instru]ments, Publishers of Music
&c. &c.
[B]ROADWAY, NEW Y[ORK]

This drum was made by an unknown maker in Europe, around 1808-1817. It has a brass shell with a cast coat of arms with a crown and the initials “FWR,” and skin heads. The wood hoops are painted red and white and drilled with 10 holes each for rope which is laced through leather ears, used to tighten the hoops. The shell is stamped below the vent hole:

GABLER
IN
BERLIN

(And on what appears to be a snare mechanism):

2A
2B 14 LR4

The attribution date for the drum is subject to study.

This snare drum was made by Rose, Morris & Co. in London, England, around 1968-1970. It is a Clansman model with a black lacquer wood shell, chrome-plated metal flange hoops, a white vinyl top head and a clear vinyl bottom head, and a metal snare. There are 6 chrome-plated metal ribs attached to the shell covering the metal tensioning rods. The maker’s medallion around the vent hole is inscribed:

CLANSMAN
ROSE, MORRIS & CO.
MADE IN ENGLAND

This drum was used by a member of the United States Air Force Pipe Band. In 1950, the band was formed as part of the United States Air Force Drum and Bugle Corps. A separate Air Force Pipe Band was formed in 1960, and by 1970, the pipe band was disbanded.

This snare drum was manufactured for the firm of J. Howard Foote in New York, from 1878-1882. It has a brass shell, two inlaid wood hoops, two skin heads, and a gut snare. The tensioning mechanism is missing. The top hoop features a brass medallion inscribed with the J. Howard Foote logo.

J. Howard Foote (1833-1896) originally trained as a clockmaker and machine worker, began his employment at the firm of Rohé & Leavitt at No. 31 Maiden Lane in New York around 1853 and acquired the company after Rohé and Leavitt retired in 1863. Foote established a branch store in Chicago in 1868, remaining in business until his death in 1896. This instrument listed in an 1880 J. Howard Foote catalog, sold as a Prussian model Tenor or Snare drum (#7039), for $11.00.

This snare drum was manufactured for the firm of J. Howard Foote in New York, from 1865 to 1880. It has a mahogany-veneer wood shell, two wood hoops, two skin heads, and a gut snare. There are eight sets of nickel-plated hooks laced with rope, through leather ears, used to tighten the hoops. The top hoop features a brass medallion inscribed with the J. Howard Foote logo.

J. Howard Foote (1833-1896) originally trained as a clockmaker and machine worker, began his employment at the firm of Rohé & Leavitt at No. 31 Maiden Lane in New York around 1853 and acquired the company after Rohé and Leavitt retired in 1863. Foote established a branch store in Chicago in 1868, remaining in business until his death in 1896.

This drum was made by Abner Stevens in Pittsfield, Massachusetts, in 1812. The wood drum shell has been cut down approximately 3 inches from each end and features an image of the American bald eagle on a flag shield with a banner inscribed “LIBERTY OR DEATH.” It has black painted hoops and metal hooks laced with rope through leather ears, used to tighten the hoops. The drum is currently disassembled. The paper label inside the shell is inscribed:

AMERICAN DRUMS
ABNE[R] [S]TEVENS,
HA[S] FOR SALE
TAMBOREANS, BASS & COM[ ]
DRUMS,
MADE IN THE BEST MANNER
At his Factory in the center of the town of
PITTSFIELD, (Ms.) 1812.

”This drum was carried during five years of the Civil War by Henry K. Bevier, father of donor, who was drum major of the 72d New York Zuaves. He carried the drum through many engagements of the Civil War including the Battle of Gettysburg and also in the Victory Parade held in Washington, D. C. at the close of the War. The family tradition is that this drum was originally purchased by his grandfather who carried it during the war of 1812.”

”Henry K. Bevier was born on December 1, 1843 at Jerusalem in Erie County/New York, the son of Samuel and Rhoda Taylor. On August 5, 1869, he married Mary M. Taylor and in 1873 settled in Elisabethtown, Bartholemew County, Indiana. He later moved to Nebraska and was at the time of his death in his 90's the oldest surviving Civil War veteran in Nebraska."

”Some time after the Civil War, Bevier cut three inches off the top of the drum body and three inches off its bottom and made a new drum which he gave to one son. The remaining center portion, was made into another drum and given to another son, which is the drum donated to the museum.”

Henry K. Bevier (1843-1938 ) [recorded in roster as Brevier] enlisted on May 28, 1861. He was a musician with the 72nd New York Infantry, Company D. He was mustered in June 20, 1861. Bevier was mustered out June 19, 1864.

This snare drum was made by William H. Horstmann & Sons, In Philadelphia, Pennsylvania, around 1830-1857. It has a dark-brown stained wood shell with a pattern of 64 brass tacks around the sound hole, and two skin heads. There are two black-painted wood hoops drilled with 10 holes each for rope which is laced through leather ears, used to tighten the hoops. The printed label is inscribed:

WM.H.HORSTMANN & SONS,
MILITARY FURNISHERS
No. 51 North Third Street
PHILADELPHIA

Hortsmann, born in Germany, emigrated to the United States and established himself as a maker of fringe, laces, and trimmings in Philadelphia, in 1815. William Horstmann & Sons were located at North Third Street between 1830 and 1857, manufacturing and importing everything from textiles and trimmings to military goods including drums, pistols, and swords. As the company expanded, Horstmann & Sons moved the factory to 5th and Cherry Streets and their storefront to 2223 Chestnut Street. Later the company would grow to two stores in New York and an agency in Paris. William Horstmann retired from the company in 1845, and his sons, William and Sigmund continued the family business until 1872.

According to the donor, this drum was picked up by a soldier by the name of Dunlevy from the Battle of the Wilderness, fought on May 5-6, near Fredericksburg, Virginia, in 1864.

This snare drum was made by John Webster, near Spencertown, New York, around 1790-1820. It has a painted shell with a painted eagle with its characteristic “frog-legged” design that appears during the period of the 1790s to about 1820 on U.S. militia canteens, belt plates, cap insignia and knapsacks. Also this basic design, with a shield on the eagle‘s breast, was used on the U.S. Peace medals of 1792 and 1793. There are 13 stars painted on the drum shell in a circular pattern around the eagle motif. Also, there are 4 additional stars painted vertically to the right side of the eagle motif.

The drum has two wood hoops drilled with 9 holes each for rope, which at one time, was laced through leather ears, used to tighten the hoops. There are 2 skin heads in poor condition and remnants of a gut snare. The drum is disassembled and would require conservation to bring it back to its original condition. It is accessioned with a pair of hardwood drum sticks. There is a label inside the shell that is inscribed:

“I was made by John Webster 3 miles north of Spencertown Meeting House Sept 1779”

As indicated in correspondence with the previous owner, this drum was brought back from the War of 1812 by Captain John George Snyder. Further research is needed to determine details of Snyder’s military career.

This tambourine was made by an unknown maker in the United States, from 1878 to 1882, and sold by the J. Howard Foote Company in New York and Chicago. It has a metal covered wood hoop, 6 sets of brass jingles, and a calf-skin head attached with brass tacks.

John Howard Foote (1833-1896) was a musical instrument dealer with shops in New York City and Chicago. This item was sold as a tambourine (#7231½).

This snare drum was manufactured for the firm of J. Howard Foote in New York, from 1878-1882. It has a nickel-plated brass shell, two inlaid wood hoops, two skin heads, and a gut snare. There are eight sets of nickel-plated hooks with tensioning rods used to tighten the hoops. The top hoop features a brass medallion inscribed with the J. Howard Foote logo.

J. Howard Foote (1833-1896) originally trained as a clockmaker and machine worker, began his employment at the firm of Rohé & Leavitt at No. 31 Maiden Lane in New York around 1853 and acquired the company after Rohé and Leavitt retired in 1863. Foote established a branch store in Chicago in 1868, remaining in business until his death in 1896. This instrument listed in an 1880 J. Howard Foote catalog, sold as a Prussian model Tenor or Snare drum (#7044), for $14.00.

This timbale set was made by Latin Percussion Inc. in Garfield, New Jersey, in 1999. They are “Tito Puente Thunder Tims,” with two brass drums (15” and 16” diameters), a metal stand for drums, and metal bracket with two metal cow bells and one blue “Jam Block,” and a brass cymbal with a stand.

As indicated in an LP brochure from the period, “When LP Music Group was founded in the 1960's, timbales were only heard in Latin music. Today, more than three decades later, all genres of music have embraced this versatile percussion instrument. LP's experience in building timbales has resulted in a distinctive, modern shell, that uses a ribbed design with both top and bottom edges turned in, to create a livelier, more cutting "cascara" (the sound produced when striking the side of the shell). LP's timbale construction has been tested on world tours from Japan to South America to ensure it withstands the rigors of the road. All LP Tito Puente Timbales, Thunder Timbs, and Timbalitos are sold complete with a chrome plated, heavy duty, steel Timbale Stand. The stand has a die cast, geared tilter that locks in tight for either straight or tilted playing. The height adjustment mechanism ensures absolute, non-slip, positive positioning, with only hand tightening needed, and also has an anti-rattle sleeve. It comes complete with an adjustable cowbell holder made from welded steel and features LP's superior eye-bolt assembly. LP Timbale Shells are available in either genuine stainless steel or solid brass; each possessing its own distinct sound. The genuine stainless-steel shells produce very bright and crisp loud sounds, while the solid brass shells produce warmer, sounds. LP offers three different styles. They are standard Timbales, deeper Thunder Timbs, and small diameter Timbalitos.”

This snare drum was made by Walberg & Auge in Worcester, Massachusetts, around 1903-1910. It has a stained wood shell and skin heads. The hoops are made of wood and have 14 sets of metal hooks for rope which is laced through leather ears, used to tighten the hoops. The drum has a metal screw device to activate the gut snares.

WALBERG & AUGE
W AND A
WORCESTER, MASS. USA

This drum was used by William T. Armstrong (1879-1965), orchestra leader and musician in vaudeville and silent film theaters. Armstrong grew up in South River, New Jersey and began playing drums at the age of 14. He continued his musical career through the mid-1910s, after which, Armstrong began work in banking and finance. This artifact is part of a collection of drums, sound effect instruments, and other percussion instruments used by Armstrong.

This bass drum foot pedal was made by Ludwig Drum Company in Chicago, Illinois, 1960s. It is a Bass Drum Beater, Speed King model, made of metal, with a red painted wood beater. The pedal is cast:

SPEED KING
BALL BEARING
TWIN SPRING
PATENTED
Ludwig
CHICAGO

This drum pedal features U.S. Patent #2132211 dated October 4, 1938 by Walter Hueckstead, for a bass drum beater.

This base drum beater is from a drumset used by American jazz drummer, singer, and bandleader Ray McKinley around 1969-1980. Ray McKinley (1910-1995) made his first recordings with Red Nichols, where he worked with Glenn Miller and Jimmy Dorsey, in 1931. McKinley continued to work mostly with Miller and the Dorsey Brothers (Jimmy and Tommy) through 1939. He then was a member of Will Bradley’s band through 1942. After enlisting in the Army in 1942, McKinley joined Glenn Miller’s American Band of The Allied Expeditionary Forces (AEF). After Miller’s disappearance in 1944, McKinley co-led the band with Jerry Gray.

After the war, McKinley formed his own band and worked as a freelance musician. In 1956 he was commissioned by the widow of Glenn Miller to organize a new band under Miller’s name using the original library and style. This band made a successful tour of Iron Curtain countries in 1957 and continued to tour the United States until 1966. McKinley played drums while Buddy DeFranco fronted the band from 1966-1974. McKinley continued to perform through the 1980s.

This snare drum was made by Duplex Manufacturing Co. in St. Louis, Missouri, around 1897-1910. It has a stained wood shell with skin heads. The hoops are made of wood and have 20 sets of tensioning rods attached with screws on the inside of the hoops. The drum has a metal screw device to active the gut snares. There is a cast metal label on the top hoop that is inscribed:

DUPLEX DRUM
MADE BY
THE DUPLEX
MFG. CO.

(and a metal badge around the vent hole that is cast):

DUPLEX
PAT. 83-87-97

There are three United States patents associated with this drum:

U.S. Patent #274900 – “New and Improved Tension-Rod for Drum Heads,” Emile Boulanger, April 3, 1883

U.S. Patent #371415 – “Drum,” Emile Boulanger, October 11, 1887

U.S. Patent #578198 – “Drum Construction,” Emile Boulanger, March 2, 1897

This drum was used by William T. Armstrong (1879-1965), orchestra leader and musician in vaudeville and silent film theaters. Armstrong grew up in South River, New Jersey and began playing drums at the age of 14. He continued his musical career through the mid-1910s, after which, Armstrong began work in banking and finance. This artifact is part of a collection of drums, sound effect instruments, and other percussion instruments used by Armstrong.

This glockenspiel, also known as school bells, was made in the United States, around 1900 to 1910. It is made of 30 metal bells, two and a half octaves, with a wood frame.

his set of school bells was used by William T. Armstrong (1879-1965), orchestra leader and musician in vaudeville and silent film theaters. Armstrong grew up in South River, New Jersey and began playing drums at the age of 14. He continued his musical career through the mid-1910s, after which, Armstrong began work in banking and finance. This artifact is part of a collection of drums, sound effect instruments, and other percussion instruments used by Armstrong.

This award was presented to Ramon "Mongo" Santamaría by the Recording Industry Association of America (RIAA), in 1980. It is comprised of a gold toned record, miniature album cover, and engraved metal plate in a gold frame with plexiglass. The metal plate is engraved:

PRESENTED TO
MONGO SANTAMARIA
TO COMMEMORATE THE SALES OF MORE THAN
500,000 COPIES OF THE
COLUMBIA / TAPPAN ZEE RECORDS
LONG PLAYING RECORD ALBUM
”TOUCHDOWN”
CERTIFIED RIAA SALES AWARD

This RIAA gold record was presented to Mongo Santamaría for his work on the album by Bob James, Touchdown, released in 1978.

Ramón "Mongo" Santamaría Rodríguez (1917–2003) was a Cuban percussionist and bandleader who spent most of his career in the United States. Primarily a conga drummer, Santamaría was a leading figure in the pachanga and boogaloo dance crazes of the 1960s. From the 1970s, he recorded mainly salsa and Latin jazz, before retiring in the late 1990s. Santamaria made several recordings as a leader of his own group, as well as a sideman with Fania All-Stars, Tito Puente, Dizzy Gillespie, and Ray Charles.

This bag was made by Andantini in Italy, undetermined date. It is made of brown stained leather, with a metal zipper, and fittings. It was previously used by Mongo Santamaría as his “traveling” bag.

Ramón "Mongo" Santamaría Rodríguez (1917–2003) was a Cuban percussionist and bandleader who spent most of his career in the United States. Primarily a conga drummer, Santamaría was a leading figure in the pachanga and boogaloo dance crazes of the 1960s. From the 1970s, he recorded mainly salsa and Latin jazz, before retiring in the late 1990s. Santamaria made several recordings as a leader of his own group, as well as a sideman with Fania All-Stars, Tito Puente, Dizzy Gillespie, and Ray Charles.

This pair of drum sticks were made by Ludwig Drum Company in Chicago, Illinois, 1970s. They are Pencil Model 6A drum sticks, made of hickory. The sticks are stamped:

6A LUDWIG U.S.A.

This pair of drum sticks are from a drumset used by American jazz drummer, singer, and bandleader Ray McKinley around 1969-1980. Ray McKinley (1910-1995) made his first recordings with Red Nichols, where he worked with Glenn Miller and Jimmy Dorsey, in 1931. McKinley continued to work mostly with Miller and the Dorsey Brothers (Jimmy and Tommy) through 1939. He then was a member of Will Bradley’s band through 1942. After enlisting in the Army in 1942, McKinley joined Glenn Miller’s American Band of The Allied Expeditionary Forces (AEF). After Miller’s disappearance in 1944, McKinley co-led the band with Jerry Gray.

After the war, McKinley formed his own band and worked as a freelance musician. In 1956 he was commissioned by the widow of Glenn Miller to organize a new band under Miller’s name using the original library and style. This band made a successful tour of Iron Curtain countries in 1957 and continued to tour the United States until 1966. McKinley played drums while Buddy DeFranco fronted the band from 1966-1974. McKinley continued to perform through the 1980s.

This handbell was made by Schulmerich Carillons, inc. in Sellersville, Pennsylvania, in 1962. It is made of cast bronze with a leather handle. This handbell is part of a 25-note set of English-type handbells (G4 – G6).

This set of handbells was made for Trinity Baptist Church in Norfolk, Virginia and used in the church’s music programs. The bells continued in use by the choir until 1983, when Schulmerich replaced them with a new set.

The bells feature U. S. Patent #3139855, filed on January 15, 1963 and granted on July 7, 1964 to Jacob G. Kunz, deceased, and Montgomery County Bank and Trust Company and Bertha L. Kuntz, executors, assignors to Schulmerich Electronics, Inc. for improvements in handbells.

This business card is for “Santamarias” Cuban Style Congas. It is made of white paper with black ink. It was in the Mongo Santamaría Collection (2005.0030). Printed on the card:

”SANTAMARIAS”
Cuban Style Congas
CSC
2700 W. Evans #20
Denver, CO 80219
Joe A. Garcia
(303)934-3045

Ramón "Mongo" Santamaría Rodríguez (1917–2003) was a Cuban percussionist and bandleader who spent most of his career in the United States. Primarily a conga drummer, Santamaría was a leading figure in the pachanga and boogaloo dance crazes of the 1960s. From the 1970s, he recorded mainly salsa and Latin jazz, before retiring in the late 1990s. Santamaria made several recordings as a leader of his own group, as well as a sideman with Fania All-Stars, Tito Puente, Dizzy Gillespie, and Ray Charles.