CHAPTER 1

THE BIRTH OF EXCELSIOR AND ITS EARLY YEARS, 1912-1930  

The roots of banding in Queensland and the Brisbane Excelsior Brass Band can be traced back to "Professor" Andreas Seal's arrival in the colony in 1854. For his enormous contribution to music, he has been accorded the distinction of "Father of Brass Bands in Queensland". Born in Wiesbaden on the Rhine, "Professor" Seal almost immediately made his mark on music in his adopted country, as a young musician of note. In 1857, Sir Robert Mackenzie engaged him to play for a season in the Brisbane Botanical Gardens in his capacity as Bandmaster with the Colonial Defence Force. Later, as Bandmaster of the Queensland Police Band, he continued to exert potent influence on music in all its forms. It is fascinating to note that in August 1859, the year of Separation, Seal was one of the musicians who took part in a six-day festival in Sydney to mark the opening of Sydney University. Another musician also invited was the young W.H.Paling whose Brisbane music-house was later to have an important connection with Brisbane Excelsior as supplier of sheet-music and brass instruments. W.H.Paling Pty. Ltd. (Brisbane) under the management first of Harry Clarke, then his son, Marshall Clarke, was also the place of employment for some of its members, including Cornetist, Don Murray, and Tenor Horn, Helen Lashmar (nee Dempsey).

Another important root was the very first Queensland Band Championships, held in Brisbane's Botanic Gardens in 1877, four decades before the birth of Excelsior. The winning band was the Gympie Oddfellows Brass Band which had been formed only a short time before. Its players were mostly miners recruited from the ranks of the Manchester Unity Independent Order and the Grand United Order of Lodges. Its first conductor was John Snell who immediately set about elevating standards by tossing out simple marches and quadrilles and supplanting them with selections from "Rigoletto", "Grand Duchess", "Ernani" and other operatic selections. By its victory against all comers, Gympie Oddfellows Brass Band set a pattern for the future of banding in Queensland: to be a successful Contest Band, it was imperative that only bandmasters of top quality, with proven expertise, either as performer or conductor, should be appointed to the critical role of lifting a band's competitive standard. Gympie was fortunate in its first choice and the Brisbane Excelsior Brass Band was to be similarly blessed over the years in its choices.

One other enduring lesson can be learnt from Gympie's 1877 experience, as relevant today as it was then, over a century ago. It concerns the level of commitment by players to both the band and to music-making. Bandsmen had to make enormous sacrifices in the cause of their huge love. Witness the Brisbane Courier report of the Gympie experience at that first Queensland Championship:

"When one thinks of those far-back days and the difficulties of getting a band to Brisbane with no railway, it speaks much for the enthusiasm of its members, but friends came to our assistance with horses and vehicles, and after a few breakdowns we were able to reach Tewantin, where we spent the night, which was the night of Scott's fire in Gympie, with its frightful explosion of dynamite, the force of which might be gauged from the fact that next morning bars of soap, tins of jam, and axes, were found on the neighbouring high hills."

When Brisbane Excelsior was formed in 1912, some of its members actually were from Gympie's celebrated band. Rich memories of the historic event have been preserved by Allan Napier (son of a Founding Father, J.D.Napier, who became the very first Bandmaster or Conductor), by Colin J. Thomas (whose Uncle Frank de Hayr was also one of the original members), and by W.D.(Billy) Veal, the first Secretary and subsequently long-serving President. Billy Veal's history of the Band for the occasion of its fiftieth birthday in 1962 formally documents the events which saw Excelsior formed during the Tramways Strike of 1912. Some bandsmen caught upon the dispute used to meet daily, their talk being of a new band of A Grade standard. Billy Veal and Jim Napier were two of these. In Mr. Veal's words:

"Mr. Badger, the general manager of the Tramways, decided to dissolve the Tramways Band. He stated that he did not associate the players in any way with the strike and indicated his regret at having to take this action. He also expressed a desire that the band should carry on, and as a gesture of goodwill, presented the members with their instrument and uniform... Coincidental with the dissolving of the Tramways Band, Mr. Bloomfield [eminent Conductor of the Tramways and other Bands at the time] became very ill, and decided to return to England."

Out of this pool of players, supplemented by some unattached Gympie bandsmen in Brisbane, Excelsior was formed. A meeting was held at the Napier home (Jim's parents) in Spring Hill at which Billy Veal boarded. Because of his professional expertise (he worked at the Lyceum Theatre as in-house musician at the time), Jim Napier was elected Conductor, with authority to select the players from the pool of available talent, and Billy Veal became inaugural Secretary responsible for setting up the administration and overseeing the first Rules and Regulations. They were admirable choices for they set the standard and established that enduring spirit which is embodied in the Band's logo of a man ascending a mountain clutching a banner with the Australian flag, and proclaiming "EXCELSIOR": onwards, ever onwards; high, higher, highest.

Colin J.Thomas has furnished the Band with an explanation of its historic name. When band members puzzled over what to call their fledgling group, the next-door lady watching the intriguing proceedings over her backyard fence called out, "Why not call yourselves Excelsior?" It was the title of a poem her child had been learning at school. In his own special way, with that disciplined intensity CJ always reserved for matters dear to his heart, Excelsior's distinguished Conductor explained the meaning of "excelsior" as higher and higher, onwards and upwards, forever excelling. In his words, all translations meant the same: "improving yourself". It was a judicious choice, epitomising a special spirit amongst players drawn from all walks of life united by a common love. Allan Napier has a slightly different recollection, attributing the origin of the name to his father's sister, Gladys Napier (later Thorpe). Both versions (perhaps identical) deserve recording as part of Excelsior's rich past.

It is instructive to reflect on the life and times of Brisbane in pre-and-post World War 1 days. As a professional musician, Jim Napier provides one insight into the recreational and cultural life of the city. For six days per week, he played in the Lyceum Theatre orchestra on the 2-5 p.m. and 8-11 p.m shifts to bring the silent movies alive. He was also required to man the pianola on morning shifts on a regular basis. Monday and Wednesday mornings each week were earmarked for mandatory rehearsals to learn the new musical scores which came with each week's movie. It was the local, live musicians who controlled the rise and fall of emotions according to the silent actions on the screen, and it was their live music which conveyed the pathos and humour, the laughter and tragedy, so vital to "lift" the voiceless images on celluloid. At the neighbouring Tivoli Theatre (now long defunct), the orchestra numbered some twenty or twenty-five players. For these professional musicians, the highlight of each session was not the musicalscore accompanying the film but the Overture, the Orchestra's own special selection to entertain the patrons and "show off their wares". Allan Napier cites two of these richly talented musicians in the theatre orchestras who subsequently joined Brisbane Excelsior: Charlie Groves (who was Conductor at the Tivoli Theatre) and Frank de Hayr. Competent on brass intruments, both were percussionists extraordinaire. During the still-acclaimed visit of Britain's Old Vic Company under Sir Lawrence Olivier and Vivien Leigh in 1949, Frank de Hayr succumbed to pleas to journey to New Zealand with the Company as Principal Percussionist.

When Talkies came these men of music in Brisbane largely became redundant, and Jim Napier was compelled to uproot family and head for Dalby as Bandmaster. Later, in response to a request from Mr. Grice (of the celebrated Music House), Jim Napier went to Toogoolawah to establish a Brass Band where he trained every single player, brass-player and percussionist, on his instrument. Jim Napier's own skill as player was amply demonstrated with his Open Championship on Flugel Horn at a Ballarat Contest in 1920.

Today, faces in that historic photo of 1912 in Allan Napier's grandfather's backyard in Spring Hill are difficult to identify with certainty, but some facts are indisputable. There was no uniform. That was to be resolved. Over twenty young enthusiasts attended the historic meeting, a Committee was elected, and Brisbane Excelsior Brass was formally established. Billy Veal cited twenty-five foundation members, their names deserving of note:

W.D.Veal, J.D.Napier, W.Pitter, F.de Hayr, G.Napier, H.Kingston, G.Jones, H.Cross, J.Foley, W.Duhig, W.Sorrensen, E.Byers, A.A.Klaas, R.Pitter, A.Dunn, A.Bell, J.Oakes, F.Parker, C.Rasey, G.Knott, W.Burgomeister, P.Anders, R.Nairn, G.Parker and S.Molloy.

From existing Minute Books, it is known that by 21 March 1913, twenty-five members all paid the sum of ten shillings into a Cap Fund to purchase the very first item of apparel worn by Brisbane's latest Brass Band. Their names, together with that sizable donation (one dollar in today's currency), are listed:

W.Perry, C.Racey, R.Ritter, W. Ritter, P.Anders, A.Dunn, J.Liddy, G.Parker, E.Byers, W.Abell, A.Walker, H.Cross, H.Kingston, W.Ricketts, A.A.Klaas, G.Jones, S.Molloy, A.Bell, F. de Hayr, T.Harris, W.J.Sorensen, J.Foley, G.Napier, W.D.Veal and W. Dewick.

It is not quite the same list, and there are minor variations in spelling. There are other names from that formative period which also belong to the record: T.Jarves, T.Plastow and G.Bizzell were on the Excelsior Committee by March 1914. That month, W.T.Lawson resigned and the Band was but two years old. Already, it was establishing a pattern of engagements, with public performances and special outings for members and families. In June 1914, plans were made for a trip to Dunwich on a Saturday afternoon, and vigorous discussion ensued over a special cap for the Conductor. In July that year, P.Anders became the Band's first Life Member as a result of initiatives by W.D.Veal. Throughout its life, Excelsior has accorded this special award, its highest honour, to those who have made exceptional contributions to the Band. In 1915, Billy Veal himself became the second Life Member. Within a year, the Band similarly honoured H.Kingston and Frank de Hayr. In January 1915, Billy Veal felt constrained to resign as Secretary "on account of his transfer up-country", later returning to Brisbane and becoming long-serving President. When Jim Napier resigned, W.H.Davis became Conductor in his stead.

Already, the ugly days of war were savagely disrupting every aspect of daily life. Excelsior made its own contributions to the national cause. When the call to arms came in 1914, seven members of the Band responded swiftly: Andy Bell, Bluey Dunn, Ray Pitter, Christy Veal, Sid Abell, George Knott and Jack Pitter. All were posted to Gallipoli. Andy Bell died "in foreign fields". In the Minutes of 29 August 1915 - four months after the very first Anzac Day - there is a poignant reference to the death of the gallant young Anzac from Excelsior. Mr. Davis moved that the tenor horn held by Paling and Company on account of Andy Bell be purchased outright by the Band and suitably inscribed for "their brave young comrade". He further moved that a cheque equal to the deposit paid by Andy be dispatched to Mrs. Bell "as soon as finances would allow". It is a revealing glimpse at the human faces behind these makers of music.

Other intriguing threads of a continuing story appear in these first years: the beginning of a long association with the annual Corpus Christi procession, the warm association with beautiful and historic St. Brigid's, fund-raising recitals at the Elite Skating Rink and the Brisbane Roller Rink (both long gone), and the link with the St. Patrick's Day procession and sports. There were also bread-and-butter issues affecting bandsmen which Frank de Hayr put in words at one meeting in August 1915 when explaining his inability to attend a forthcoming Contest. As a professional musician at Brisbane's Theatre Royal, he simply could not obtain leave from his employer and he "could get no other work". Secretary Ball (the Band's trombonist), had identical problems. As the Minutes note, "At present his daily occupation was not paying too well in time for him to register for the Contest, and he would stick tohis professional work." The commitment of both to Brisbane Excelsior was beyond dispute. Colin J. Thomas recalls that his Uncle Frank's devotion to the Band instilled in him "an awe" of its very name.

Other develoments in these formative years merit noting: W.H.Davis resigned as Conductor in February 1916. As with other bands, Brisbane Excelsior was experiencing difficulties in raising funds to meet his modest salary. Some bands such as Toowong actually went into recess, though Excelsior struggled on. An attempt was made to coax celebrated Conductor Schugg from the famous Malvern Tramways Band, but when it was clear that he could not leave for another year, W.H.Davis was ultimately replaced by J.McKelvie. Brisbane Excelsior's life revolved around public performances in the Botanical Gardens and at New Farm Park, at monthly dances, and recruiting drives. By mid-1917, under President A.H.Burgess, the Band appeared to have survived the worst of the wartime ordeal, the Minutes noting that "after informal discussions on the good and welfare of the Band, the Meeting closed in love, peace and harmony."

With war's end and the return to normalcy, J.McKelvie was replaced by S.Martin as Bandmaster. A.H.Burgess remained President, his Secretary being G. Alderdice. At one meeting in July 1919, the Band was introduced to Brisbane's colourful Captain Dash, whose organizing skill and military bearing were to be utilized in the coming years. His plans for fund-raising brought about immediate promises of twenty "chooks" to be sold and raffled at a proposed fund-raising fete. In 1921, Mr. Burgess moved interstate and W. Dobinson became President. S. Martin was replaced as Bandmaster by R.H.(Bob) Elliott, and Brisbane Excelsior added to its growing collection of trophies by winning the Oval March athel Toowoomba Easter Contest, along with the prized A.N.A. Cup, and coming second in the Test Selection. Bob Elliott won the Bb Cornet Championship in 1920. There were always questions of finance to be addressed, the annual Shows held by the local towns which were to become amalgamated in a Greater Brisbane in 1925 offering regular pickings. Brisbane Excelsior was given the concession to run the Ice-Cream Stall at the 1922 Enoggera Show, along with permission to sell "any other little items that would not clash with other Stall Holders". Accordingly, bandsmen and their wives and supporters sold not only ice-cream but jellies, fruit-and-salad, strawberries-and-cream, plus raffles for a cushion, a sunshine bag, and a crochetted handbag.

During this first phase, A.J.Longson joined the Band. He became a member in 1918, auditor, librarian and committeeman in 1921, treasurer in 1923, and secretary in December 1924. It was the beginning of a long and valued association with the Band, his office and headquarters in Adelaide Street (where he conducted his tailoring business) serving as meeting place for decades. Tom Roache, who was Excelsior's brilliant First Cornetist for forty years, recalls Arthur Longson's skill in renovating and revitalising worn and faded uniforms by turning them inside out. Thanks to Arthur Longson, the Band's sparse funds were saved for more important matters such as Annual Contests while the members continued to look spruce and sharp.

It was also in this period that Excelsior experienced the first of its temporary name changes. In 1921, it became known as "A.N.A. Excelsior", an acknowledgement of its role as official band at the A.N.A. Association's annual Exhibition in Brisbane. That connection was severed in 1923, and the Band reverted to its original name. When the A.N.A. Association demanded that the letters "A.N.A." be removed from the Band's logo, President Dobinson feistily announced at a meeting in October 1923:

"that the Band have long since decided that the title A.N.A. was neither use nor ornament to the Band, consequently we dispensed with it some months back. At the same time we do not admit that the A.N.A. Association have the right to dictate to our or any other Band what name they shall exist under."

By August 1924, Brisbane Excelsior was "at last out of the red". All rolled-over debts on instruments and uniforms had been paid, and in his Annual Report, President Dobinson described 1924 as a "fairly good year" despite the disappointment of not winning at the Toowoomba Easter Championships. The next year, Excelsior did win under the baton of Goldie Holmes, defeating all-comers in the C Grade Championships held in Brisbane, and being elevated to B Grade. Goldie Holmes himself won the Bb Cornet Championship in 1926. At the time, A.J.Longson, then Secretary after G.Alderdice, expressed the hope that with a committed effort the Band could easily attain A Grade standing. It was disappointing, he said, to see only nine or ten players at practices, the public performances in the Parks, and at official engagements such as Albion Park Races and Saturday football matches all requiring regular and conscientious rehearsals. Within a handful of years, Excelsior fulfilled his prediction, scooping the pool in 1929 at the Mackay Contest, and being elevated to A Grade standing. At that landmark Contest, F.G.W.McLeod was Conductor. Brisbane Excelsior has remained an A Grade Band ever since.