Earl Williams Trombone

ttf_anonymous · Post by **ttf_anonymous** » Fri Dec 13, 2013 6:22 pm

I bought the Williams from Noah. Some questions about it's age because of the TIS.

A few have guessed that it was a special order.

I'm not tapping its potential, it's tapping mine.

basie

ttf_dj kennedy · Post by **ttf_dj kennedy** » Sat Dec 14, 2013 12:13 am

Quote from: dj kennedy on Nov 21, 2013, 01:20AMCLARK GAYTON bought two williams recently -an la 6 @ 2600 -very solid great projection //and a bob 34 @ 3500
i got the 6 from chris anemia and brokered the 8 out of portland

ttf_dj kennedy · Post by **ttf_dj kennedy** » Sat Dec 14, 2013 12:14 am

mistake //BOB 8 /// TO BE CONNFUSED WITH A BACH 34

Quote from: dj kennedy on Nov 21, 2013, 01:20AMCLARK GAYTON bought two williams recently -an la 6 @ 2600 -very solid great projection //and a bob 34 @ 3500
i got the 6 from chris anemia and brokered the 34 out of portland

ttf_anonymous · Post by **ttf_anonymous** » Sat Feb 01, 2014 6:00 am

Hello to everybody
Friend of mine would like to buy WILLIAMS 6 trombone-is there any available perhaps?
THANKS

ttf_TromboneMonkey · Post by **ttf_TromboneMonkey** » Sat Feb 01, 2014 10:06 am

Quote from: dj kennedy on Dec 14, 2013, 12:14AMmistake //BOB 8 /// TO BE CONNFUSED WITH A BACH 34

I'm interested in trying a Model 8.

I have recently played a Bach 34 and LOVED it. Fav medium bore I've played by far.

I've heard people really like the 8 or don't like it so much. I'm really just interested to try one because I love my W4 and I loved the 34 .

ttf_dj kennedy · Post by **ttf_dj kennedy** » Sun Feb 02, 2014 11:02 pm

this one is in consideration for about 4000-4500
---------------------------------------------------------
also an extremely rare BASS BONE @ ABOUT 10,000

Quote from: dj kennedy on Dec 10, 2013, 11:00AMROBERT MARSTELLAR---SPEC MODEL 8 -in mint-with documentation

ttf_dj kennedy · Post by **ttf_dj kennedy** » Tue Mar 11, 2014 10:20 pm

there is a historic 8 on the market currently
4000
with provenance

Quote from: TromboneMonkey on Feb 01, 2014, 10:06AMI'm interested in trying a Model 8.

I have recently played a Bach 34 and LOVED it. Fav medium bore I've played by far.

I've heard people really like the 8 or don't like it so much. I'm really just interested to try one because I love my W4 and I loved the 34 .

ttf_dj kennedy · Post by **ttf_dj kennedy** » Tue Mar 11, 2014 10:22 pm

other news
CLARK GAYTON [bruce springstein]
LA MODEL 6 damaged by TSA in airport
==============================================

ttf_SilverBone · Post by **ttf_SilverBone** » Wed Mar 12, 2014 1:07 am

Quote from: dj kennedy on Mar 11, 2014, 10:22PM
LA MODEL 6 damaged by TSA in airport

Why doesn't the TSA practice on Bundys?

How bad is the damage?

ttf_TromboneMonkey · Post by **ttf_TromboneMonkey** » Wed Mar 12, 2014 8:54 am

Quote from: dj kennedy on Mar 11, 2014, 10:22PMother news
CLARK GAYTON [bruce springstein]
LA MODEL 6 damaged by TSA in airport
==============================================

I'm not sure to what lengths I would go to avoid checking my Williams, but I might forego a flight over it.

ttf_chris.amemiya · Post by **ttf_chris.amemiya** » Mon Jun 02, 2014 1:11 am

Quote from: dj kennedy on Mar 11, 2014, 10:22PMother news
CLARK GAYTON [bruce springstein]
LA MODEL 6 damaged by TSA in airport
==============================================

Yikes, that is terrible. I loved that horn... had it for 20 years before selling it to you. Hope the damage isn't too bad.

ttf_Alex McMahon · Post by **ttf_Alex McMahon** » Sat Jun 07, 2014 7:40 am

Check this out. Looks like a mash up of Williams/Conn (possibly Minick?)

http://www.ebay.com/itm/201103683086?_trksid=p2055119.m1438.l2649&ssPageName=STRK%3AMEBIDX%3AIT

ttf_Manexbi · Post by **ttf_Manexbi** » Sat Jun 07, 2014 8:11 am

I wish todo need a new horn

Quote from: Alex McMahon on Jun 07, 2014, 07:40AMCheck this out. Looks like a mash up of Williams/Conn (possibly Minick?)

http://www.ebay.com/itm/201103683086?_trksid=p2055119.m1438.l2649&ssPageName=STRK%3AMEBIDX%3AIT

ttf_lingon · Post by **ttf_lingon** » Sat Jun 07, 2014 8:29 am

Quote from: Alex McMahon on Jun 07, 2014, 07:40AM...Check this out. Looks like a mash up of Williams/Conn (possibly Minick?)...
Interesting combination but a bit strange to find it at a garage sale... I hope somebody here buy it so we can get a little first hand information

Wonder why the sellers of these very special horns always says 'only ships in the USA'?!

ttf_anonymous · Post by **ttf_anonymous** » Sat Jun 07, 2014 9:09 pm

Quote from: lingon on Jun 07, 2014, 08:29AMInteresting combination but a bit strange to find it at a garage sale... I hope somebody here buy it so we can get a little first hand information

Wonder why the sellers of these very special horns always says 'only ships in the USA'?!

I'm not the seller... but my take is:
As a "use to be seller" from the USA, shipping outside the states was a hunch of hassel.
After selling 3 horns outside the US, I decided it wasn't worth it - and stopped.
Buying from overseas was no problem, but shipping was aggevating (price, customs, delays, and buyers upset with slow service, because they chose the cheapest/slowest method).
It was too big of a headache for me.

T.

ttf_jnoxon · Post by **ttf_jnoxon** » Mon Jun 09, 2014 6:27 pm

It is not a Williams Bell. It only measures 9 inches, not 9.5 inches. The slide and part of the valve sections is definately Williams.

ttf_dj kennedy · Post by **ttf_dj kennedy** » Mon Jun 09, 2014 7:45 pm

minor dent
back in action

Quote from: chris.amemiya on Jun 02, 2014, 01:11AMYikes, that is terrible. I loved that horn... had it for 20 years before selling it to you. Hope the damage isn't too bad.

ttf_dj kennedy · Post by **ttf_dj kennedy** » Tue Jun 10, 2014 6:34 am

model 4 available --jay built

ttf_chris.amemiya · Post by **ttf_chris.amemiya** » Thu Jun 19, 2014 5:04 pm

Quote from: dj kennedy on Jun 09, 2014, 07:45PMminor dent
back in action

Oh, good to know!

ttf_watermailonman · Post by **ttf_watermailonman** » Thu Jul 03, 2014 6:36 pm

I have joined the club

A Wallace & Williams model No 2 with a strange
reversed dual bore from about 1933.

I have no tool to measure the bore, but the first
tube, with the mouthpiece is definately larger
than the second. It could be something like
[s].530/.525[/s] .523/.521

Anybody know the spec of the model 2?

Here are some pictures

ttf_JohnL · Post by **ttf_JohnL** » Thu Jul 03, 2014 9:09 pm

Quote from: watermailonman on Jul 03, 2014, 06:36PMI have no tool to measure the bore, but the first
tube, with the mouthpiece is definately larger than the second.Ah, but you do possess an excellent implement for gaging relative size. Grab a standard large-shank mouthpiece and carefully (zero force) insert it in the stocking end of each tube. Note how far it goes in. Obviously, it will go into the larger bore tube somewhat farther.

A standard Bach large-shank mouthpiece is .496" at the very end and tapers up to .546" at 1". Note that there is often a slight "lip" at the very end of the tube that can throw off the measurement a bit. A .005" difference in bore should translate into roughly .1" difference in insertion depth.

ttf_anonymous · Post by **ttf_anonymous** » Fri Jul 04, 2014 5:50 am

Quote from: watermailonman on Jul 03, 2014, 06:36PM
.530/.525

Anybody know the spec of the model 2?

Model designations by a number, did not come into play until after WWII .
It should have a letter, near the serial number, probably an L or M.
Does it have a letter?

Congrats.

T.

ttf_watermailonman · Post by **ttf_watermailonman** » Mon Jul 07, 2014 4:54 am

Quote from: tsmart on Jul 04, 2014, 05:50AMModel designations by a number, did not come into play until after WWII .
It should have a letter, near the serial number, probably an L or M.
Does it have a letter?

Congrats.

T.

No letter on reciever or slide to give information about bore size.

Quote from: JohnL on Jul 03, 2014, 09:09PMAh, but you do possess an excellent implement for gaging relative size. Grab a standard large-shank mouthpiece and carefully (zero force) insert it in the stocking end of each tube. Note how far it goes in. Obviously, it will go into the larger bore tube somewhat farther.

A standard Bach large-shank mouthpiece is .496" at the very end and tapers up to .546" at 1". Note that there is often a slight "lip" at the very end of the tube that can throw off the measurement a bit. A .005" difference in bore should translate into roughly .1" difference in insertion depth.

I have measured using a standard Bach large-shank mouthpiece, a calculator and a ruler and my Benge 175 trombone that has a bore of 0.525 according to specification. I took in consideration that a .005" difference in bore should translate into roughly .1" difference in insertion depth.

The ruler only shows mm, so 1" = 25,40 mm which means 0.1" = 2.54 mm
The mouthpiece goes in about 1 mm deeper in the Benge-slide compared to the first tube of the Williams. The 1 mm difference would be about 0.005/2.54 which is approximately 0.001968" this gives 0.523"= (0.525" - 0.005/2.54).

In the second tube the mouthpiece goes in about 2 mm further compared to the Benge-slide, which gives 0.521" = 0.525" - (2 * 0.005/2.54).

Now when I have counted the bore size the trombone is more likely to be .523/.521, but considering any fault due to my inaccurate tools it could need a little adjustment. The simple ruler I use is insufficient because it can not show accurate enough and my Bach mouthpiece is maybe not an average one either.

The biggest problem is to read the ruler. Let say I do an error of 0.3 mm when I read the ruler which is about as big an error I can imagine I would do.

I'm also a bit uncertain about the math so if the math is completely wrong then you are very welcome to assist.

Based on the uncertain methods I better guess the bore size is .523/.521 +-.001 on each tube.

/Tom

ttf_anonymous · Post by **ttf_anonymous** » Mon Jul 07, 2014 5:10 am

Quote from: watermailonman on Jul 07, 2014, 04:54AMNo letter on reciever or slide to give information about bore size.
That's odd.

Maybe John Noxon will chime in.

Quote from: watermailonman on Jul 07, 2014, 04:54AMBased on the uncertain methods I better guess the bore size is .523/.521 +-.001 on each tube.
Sounds like an "L" (.522) Pre-model # 8.
Here's a bore size chart John Noxon sent me a couple years ago

Model Small Bore
2 .465
3 .480
4 .491
5 .491 with F attachment
6 .500
7 .500 With F attachment

Model Medium Bore
8 .522
9 .522 With F attachment

Model Large Bore
10 .565 Bass Trombone Single Trigger

T.

ttf_watermailonman · Post by **ttf_watermailonman** » Mon Jul 07, 2014 10:30 am

Quote from: tsmart on Jul 07, 2014, 05:10AMThat's odd.

Maybe John Noxon will chime in.

Sounds like an "L" (.522) Pre-model # 8.
Here's a bore size chart John Noxon sent me a couple years ago

Model Small Bore
2 .465
3 .480
4 .491
5 .491 with F attachment
6 .500
7 .500 With F attachment

Model Medium Bore
8 .522
9 .522 With F attachment

Model Large Bore
10 .565 Bass Trombone Single Trigger

T.

Thank you for this

Yes the model 8 is the closest in the list but there is a difference in the bore size between the two tubes. I'm sure of the first tube being slightly larger than the second.

The mouthpiece I used to measure did go in about 1 mm deeper in the first tube which give a difference of about 0.002".

It is a very interesting trombone. After the information you gave I do think the bore size is more likely to be .522/.520.

If he/they used .522 tubes at that time there is no logic he would use a .523 and a .521 tube which I have never heard about anyhow.

On the other hand he might have ordered and used a .520 because I think that was also a common size. It could have been a special order for a dual bore, but why build a reversed dual bore? Maybe it was just an odd one and therfore he did not use any of the letters "M" or "L".

A few more questions for anyone to answer:

1) What about other common sizes near .523 of tubes from that period (1933). Is the dual bore more likely to be .522/.520 than .523/.521 if you take in consideration the availability of tubing and also the confirmed difference of 0.002?

2) Did he build any dual bores later that you know of?

3) Have you ever heard of any other reversed dual bore (where the first tube is larger)?

/Tom

ttf_anonymous · Post by **ttf_anonymous** » Mon Jul 07, 2014 10:38 am

Honestly, I've never heard of a dual bore Williams (unless it was modified later), but ya never know.

Can you take the outer slide off, flip it over, and put it back on the inner tubes (upside down)?

.520 tubes were used by Conn (78H & 79H). I think Bach may have used some .520 tubes also (don't quote me on that, not 100% sure).
Some of the Conn Dual Bores (30H Burkle maybe), used a .520 tube on one side..

Close tubes are .525 King tubes (still available).
Maybe a tube was damaged & replaced with a .525 tube?
Maybe .522/.525 dual bore now (due to .522 inner tubes no longer being produced)

Interested to see if you can flip the slide....

T.

ttf_anonymous · Post by **ttf_anonymous** » Mon Jul 07, 2014 12:25 pm

Elkhart Conn 78 and 79 have .522 tubes. Elkhart Conn 32 has dual bore .500/.522. Modern Conns in that size go .525.

ttf_watermailonman · Post by **ttf_watermailonman** » Mon Jul 07, 2014 3:54 pm

Quote from: tsmart on Jul 07, 2014, 10:38AM
Interested to see if you can flip the slide....

T.

Yes, it is possible to flip the slide but I don't think 0.002" is much of a difference.

You could be right that the second tube was damaged and replaced with the closest match. At the time a .520 might have been the closest match. This theory is good, but what talks against it is that the second tube does not look newer compared to the first tube because the wear on both tubes are about the same and the stockings look exactly the same.

This is a strange one, but it plays fine.

/Tom

ttf_salsabone · Post by **ttf_salsabone** » Mon Jul 07, 2014 5:17 pm

A number of older Reynolds trombones are listed at a .520 bore, so the tubes have been around for a while. Just saying....

ttf_Doug Elliott · Post by **ttf_Doug Elliott** » Mon Jul 07, 2014 10:44 pm

That seems to me to be a completely normal measuring discrepancy which could be from the end of the tube being slightly closed down, or out of round, or chrome plating thickness. I don't think they're really different sizes.

ttf_anonymous · Post by **ttf_anonymous** » Tue Jul 08, 2014 6:03 am

Quote from: Doug Elliott on Jul 07, 2014, 10:44PMThat seems to me to be a completely normal measuring discrepancy which could be from the end of the tube being slightly closed down, or out of round, or chrome plating thickness. I don't think they're really different sizes.
^this.

T.

ttf_jnoxon · Post by **ttf_jnoxon** » Tue Jul 08, 2014 4:43 pm

.520 to .522 the difference is part of the manufacturing precess. The mandrel is .520 it will come out slightly larger than the mandrel size. All of the model 8 and 9 Williams were made on a .520 mandrel and the actual size when you measure it come in around .522. So to get a tube that is actually .520 you would need to start with maybe a .517 or .518 mandrel. And that is if you keep the tolerance very close. I have seen .520 mandrels turn out .525 or larger sizes because of the condition of the mandrel, speed with which it was done, and all of the human variables. So it is not quit and exact process.

ttf_watermailonman · Post by **ttf_watermailonman** » Tue Jul 08, 2014 10:38 pm

Thank you all!

I do appreciate the good information you have given me.

Dougs information about the measuring discrepancy is from a lot of experience and that the cause can be the end of the tube being slightly closed down, or out of round, or chrome plating thickness sound very probable.

Johns information really convince me that the tubes were at least intended to be the same size.

A strange idea with a reversed dual bore when no one ever heard of a Williams being dual bore plus the possibility to flip the slide also points in the same direction.

I do think the best information to give now about the bore size is .522 considering knowledge about the process. The small difference of 0.002 between the tubes is just natural in the process if a .520 mandrel can produce a .525 tube. The 0.002 difference might be located to just the end part of the tube like Doug said. This really convince me of what has happened here.

I have learned something.

/Tom

ttf_Doug Elliott · Post by **ttf_Doug Elliott** » Wed Jul 09, 2014 5:28 pm

I know someone who has a horn very much like that one - I borrowed it for a while. It's been a lot of years and I don't remember the details, but I think it had a relatively small bell, like 7-1/2 inches.

ttf_watermailonman · Post by **ttf_watermailonman** » Thu Jul 10, 2014 6:14 am

Quote from: Doug Elliott on Jul 09, 2014, 05:28PMI know someone who has a horn very much like that one - I borrowed it for a while. It's been a lot of years and I don't remember the details, but I think it had a relatively small bell, like 7-1/2 inches.

Yes Doug that is the bell size of this trombone. A .522 with a small bell.

It plays big and I can get a rather raw forceful but not nasty sound which is very good when I sub in a particularly loud rock/pop big-band with loud drums,guitar, keyboard and bass.

Most wind-players use ear-plugs in that band but I just cant. I wish I could.

I use a stand with a plastic shield that I bought on Thomann. Some trumpeters don't like when I mount that in front of them, but it is my insurance.

That's the band where this trombone fits perfect. The band is very appreciated, something that make young people want to dance all night.

Unfortunately not the same when I play in most other situations with my favorite music

/Tom

ttf_Doug Elliott · Post by **ttf_Doug Elliott** » Thu Jul 10, 2014 2:29 pm

Earl's rolling in his grave...

ttf_watermailonman · Post by **ttf_watermailonman** » Thu Jul 10, 2014 3:48 pm

Quote from: Doug Elliott on Jul 10, 2014, 02:29PMEarl's rolling in his grave...

ttf_JohnL · Post by **ttf_JohnL** » Thu Jul 10, 2014 7:35 pm

Quote from: Doug Elliott on Jul 10, 2014, 02:29PMEarl's rolling in his grave...Sometimes you have to wonder what Earl, or either Frank (Olds or Holton), or any of the other significant figures in trombone building, would say about the kind of music we play on their babies.

ttf_anonymous · Post by **ttf_anonymous** » Fri Jul 11, 2014 7:20 am

May he rest in peace...

T.

ttf_Doug Elliott · Post by **ttf_Doug Elliott** » Fri Jul 11, 2014 10:47 am

Wow... where is that?

ttf_JohnL · Post by **ttf_JohnL** » Fri Jul 11, 2014 1:19 pm

Quote from: Doug Elliott on Jul 11, 2014, 10:47AMWow... where is that?Pretty sure he's interred at Forest Lawn Hollywood Hills.

ttf_anonymous · Post by **ttf_anonymous** » Fri Jul 11, 2014 1:24 pm

Quote from: Doug Elliott on Jul 11, 2014, 10:47AMWow... where is that?

Forest Lawn Memorial Park (Hollywood Hills)
Los Angeles, Los Angeles County, California, USA
Plot: Churchyard, Map B30, Lot 1443, Space 2

I'm big into Genealogy.

Did you know Spike Wallace was John Kipper Wallace (Spike was nick name).
He passed away Sept 35, 1950.
He was cremated.
(In his obituary, it noted that after the receiving: The casket was then removed to a local crematory).

Wild, eh?

T.

ttf_JohnL · Post by **ttf_JohnL** » Fri Jul 11, 2014 4:51 pm

Quote from: tsmart on Jul 11, 2014, 01:24PMDid you know Spike Wallace was John Kipper Wallace (Spike was nick name).
He passed away Sept 35, 1950.
He was cremated.
(In his obituary, it noted that after the receiving: The casket was then removed to a local crematory).

Wild, eh?Spike led what some might consider an eventful life.

He came west from Missouri in 1906 to play in band in Avalon (on Santa Catalina Island).
He was principal trombone with the old Los Angeles Symphony, then won the bass trombone chair when the LA Phil was formed (much like Leroy Kenfield, he was the lone US-born member of the section). He was with the Phil for almost 20 years.
He was the (string) bass player in Paul Whiteman's orchestra during their engagement at the Alexandria Hotel in Los Angeles in late 1919/early 1920 - a pivotal moment at the dawn of the Jazz Age.
He was president of Local 47 from 1940-1950 (his death), dealing the impact of both WWII and the recording strike on the local. Local 47 still uses the hall that was constructed during his tenure.
As president of Local 47, he was involved in setting up the Hollywood Canteen, and was one of the original board members when the Hollywood Canteen Foundation was established to managed the money left over when the Canteen closed in 1945 (the foundation still exists today).

ttf_anonymous · Post by **ttf_anonymous** » Mon Jul 14, 2014 5:12 am

Obituary:

JOHN KIPPER (SPIKE) WALLACE was born in Sedalia, Pettis County, Missouri, March 4, 1879. Very few persons except his intimates knew him by any other name than "Spike." As a boy he studied violin and brass and was a member of the home town band. Come 1898 and at the age of 19 he enlisted as a bandsman in a regiment of Missouri Volunteer Infantry for the Spanish-American War, seeing service in camp at Chickamauga, Tennessee. When the war was over he went to Colorado and was employed as a "vaquero" or cowboy. In that occupation he had some very interesting experiences. Soon after he was well known as a musician in Denver and later left for California. January 12, 1906, he became a member of Local No. 47-this episode marked the beginning of his major career. In Los Angeles and vicinity, his engagements included the Orpheum Theatre, Boos Brothers Cafeterias, Los Angeles Symphony Orchestra, many summer seasons at Avalon with the celebrated Santa Catalina Island Marine Band, he was in the Philharmonic Orchestra a long time, was a member of Paul Whiteman's original ensemble which began at the Hotel Alexandria during December of 1919, and finished his playing days as a tuba player in moving picture studios over a decade ago. During a part of the period mentioned and about 1918 he lived in San Francisco for a few months and was well known there. Spike was a member of the Board of Directors in Local No. 47 during 1916. He was President of the Local continuously from January, 1940, until the time of his passing September 25, 1950. No other president served the Local that long-no other president died in office. He was several times a delegate to conventions of the American Federation of Musicians and had friends throughout the length and breadth of its jurisdiction. Most of the members after ward knew him as an excellent performer on string bass, trombone, baritone and tuba.
To be the head of an organization as large as Local No. 47 is a task not fully realized by the uninitiated . .The daily routine of the office with its attendant turmoil, the necessary exercise of power and authority conferred on the chief executive officer, brings major difficulties and many heartaches. Close thought must be given to the problems dealt with and there is very little leisure in such an employment. This burden our brother carried for more than ten years. Spike was a strong man and in youth physical strength was combined with mental fortitude. And while these two qualities persisted through the years, when age came there was no falling off of indomitable courage and will. Spike confidently expected to conquer his illness and go back to work within a short time. This was his life and he looked forward to it. But the Creator had other plans. Whatever the poet, orator or sage may say, old age is still old age and the strong must inevitably bow to it. And so in this wise the Great Calm came to Spike. He had no fear. He knew that time had run its course and he slept-now to be forever free from the toils and troubles of this transitory life. The last scene of all was appropriately in the auditorium of the new building at 817 North Vine Street, Friday, September 29th. There at 9 a.m. the American Legion posted a guard at the casket from 9 a.m. to the conclusion of the service, and our decease? brother lay in state for two hours. The stage was literally buried in beautiful floral pieces, there were so many some could not be brought into the hall. At 10:40 a.m. a string combination, assembled by Philip Kahgan and directed by Harry A. Hyams began playing behind the floral screen on the stage, continuing until 10:55 a.m. Robert L. Marsteller L' 0 appeared with a quartet of trombones. The music was superb.
At II a.m. Silver Trowel Lodge No. 415, F. & A.M., began the exemplification of the Masonic ritual. There were approximately 100 apron-clad Masons present and many others in the audience who could not be identified. During the ritual the stringed orchestra rendered "Come Sweet Death" (Bach), "Largo" (Handel) and "Trauma" (Wag¬ner). Member Tommy Jones intoned "Taps." The casket was then removed to a local crematory.

ttf_watermailonman · Post by **ttf_watermailonman** » Mon Jul 14, 2014 6:26 am

Quote from: tsmart on Jul 14, 2014, 05:12AMObituary:

JOHN KIPPER (SPIKE) WALLACE was born in Sedalia, Pettis County, Missouri, March 4, 1879. Very few persons except his intimates knew him by any other name than "Spike." As a boy he studied violin and brass and was a member of the home town band. Come 1898 and at the age of 19 he enlisted as a bandsman in a regiment of Missouri Volunteer Infantry for the Spanish-American War, seeing service in camp at Chickamauga, Tennessee. When the war was over he went to Colorado and was employed as a "vaquero" or cowboy. In that occupation he had some very interesting experiences. Soon after he was well known as a musician in Denver and later left for California. January 12, 1906, he became a member of Local No. 47-this episode marked the beginning of his major career. In Los Angeles and vicinity, his engagements included the Orpheum Theatre, Boos Brothers Cafeterias, Los Angeles Symphony Orchestra, many summer seasons at Avalon with the celebrated Santa Catalina Island Marine Band, he was in the Philharmonic Orchestra a long time, was a member of Paul Whiteman's original ensemble which began at the Hotel Alexandria during December of 1919, and finished his playing days as a tuba player in moving picture studios over a decade ago. During a part of the period mentioned and about 1918 he lived in San Francisco for a few months and was well known there. Spike was a member of the Board of Directors in Local No. 47 during 1916. He was President of the Local continuously from January, 1940, until the time of his passing September 25, 1950. No other president served the Local that long-no other president died in office. He was several times a delegate to conventions of the American Federation of Musicians and had friends throughout the length and breadth of its jurisdiction. Most of the members after ward knew him as an excellent performer on string bass, trombone, baritone and tuba.
To be the head of an organization as large as Local No. 47 is a task not fully realized by the uninitiated . .The daily routine of the office with its attendant turmoil, the necessary exercise of power and authority conferred on the chief executive officer, brings major difficulties and many heartaches. Close thought must be given to the problems dealt with and there is very little leisure in such an employment. This burden our brother carried for more than ten years. Spike was a strong man and in youth physical strength was combined with mental fortitude. And while these two qualities persisted through the years, when age came there was no falling off of indomitable courage and will. Spike confidently expected to conquer his illness and go back to work within a short time. This was his life and he looked forward to it. But the Creator had other plans. Whatever the poet, orator or sage may say, old age is still old age and the strong must inevitably bow to it. And so in this wise the Great Calm came to Spike. He had no fear. He knew that time had run its course and he slept-now to be forever free from the toils and troubles of this transitory life. The last scene of all was appropriately in the auditorium of the new building at 817 North Vine Street, Friday, September 29th. There at 9 a.m. the American Legion posted a guard at the casket from 9 a.m. to the conclusion of the service, and our decease? brother lay in state for two hours. The stage was literally buried in beautiful floral pieces, there were so many some could not be brought into the hall. At 10:40 a.m. a string combination, assembled by Philip Kahgan and directed by Harry A. Hyams began playing behind the floral screen on the stage, continuing until 10:55 a.m. Robert L. Marsteller L' 0 appeared with a quartet of trombones. The music was superb.
At II a.m. Silver Trowel Lodge No. 415, F. & A.M., began the exemplification of the Masonic ritual. There were approximately 100 apron-clad Masons present and many others in the audience who could not be identified. During the ritual the stringed orchestra rendered "Come Sweet Death" (Bach), "Largo" (Handel) and "Trauma" (Wag¬ner). Member Tommy Jones intoned "Taps." The casket was then removed to a local crematory.

Seems like he was a very popular guy that had a very varied life. A man that showed great passion for very different things.

We all probably have met that kind of energetic people. Great ideas, always much to do and to little time.

Very beloved for their work.

/Tom

ttf_Slipmo · Post by **ttf_Slipmo** » Wed Sep 24, 2014 1:12 am

This very early Los Angeles Earl model 4 came into the shop this week. Wow, what a player! Enjoy the pics

ttf_TromboneMonkey · Post by **ttf_TromboneMonkey** » Wed Sep 24, 2014 8:02 am

Wow.

ttf_vegasbound · Post by **ttf_vegasbound** » Wed Sep 24, 2014 8:07 am

Porn !!!!!

ttf_anonymous · Post by **ttf_anonymous** » Wed Sep 24, 2014 11:08 am

Quote from: TromboneMonkey on Sep 24, 2014, 08:02AMWow.
X2 !

T.

ttf_Mike Corrigan · Post by **ttf_Mike Corrigan** » Fri Oct 10, 2014 8:01 pm

Okay guys!! I could use some insight on this one!! I was excited to find such an early Williams, but this horn plays incredibly well! It seems to be a King 2b(ish) style, or perhaps I should say, what inspired the 2b!! Does anyone have any experience with a Model 1?? It is a Wallace made by Williams and Wallace. .491" bore, with a 7.5" bell. Mr. Noxen, what are your thoughts on the Model 1? Serial number is in the 300's!!! I'll try to attach pics: