By Paul Hobe

Music teachers are amazing. From elementary school to the most professional orchestral conductors, they are teaching. Most school district’s music departments will have some sort of concert or “band in the round” by which various band levels beginning say, at “fifth grade band” and each additional grade level band through high school concert or symphonic band gets to show their stuff. A director of a community or church choir hands out a new piece for performance. Through the hands or baton of a talented director the rough assemblage of voices, instruments, notes, words, rhythms, accompanists all come together to produce something good.

Born in Germany, Emil Rinkendorf, age nine, came to America with his family to Buffalo and then to Milwaukee where he studied music. An early career in performance and directing eventually led Rinkendorf in 1883 to Canton, Ohio, to conduct the Grand Army of the Republic band and orchestra. This association with the Grand Army of the Republic Band made him a close friend with William McKinley, that band eventually becoming called “McKinley’s Own.” Rinkendorf took the Grand Army Band to both nomination conventions and to both of McKinley’s inaugurations. He also took the band to the Industrial Exposition in Tacoma, Washington in 1891. That trip inspired the march “Across the Rockies.” “Across the Rockies” will be on the program of the reenactment concert on July 4, 2026 at Silver Park. Other trips included to New Orleans, Boston, and the Chicago World’s Fair. As president, McKinley offered Reinkendorf appointment as director of the United States Marine Corps Band (previously led by John Phillips Sousa) but he refused preferring to stay with the Grand Army Band in Canton Ohio. In his obituary it states that he did get to direct the Marine Band in his own march “Across the Rockies” about 1938.

Rinkendorf then appears as a director of the Modern Woodman Band, 1909-1910, which combines with the Alliance City Band about 1911.

While war raged in Europe Emil Rinkendorf became director of the Alliance City Band in 1917, beginning an association that would last until 1940. His reputation as a “builder of bands” must have justified his salary of $2,000 for 2018. Concerts were well attended with over 2,500 attending at the new bandstand at Kiwanis Park. Concerts in Alliance and many other area sites were “packed” by crowds. Weekly concerts were available for area band concert players.

The reader may get an idea of the Alliance City Band’s activities by looking at the eight pages of band activities during the Reinkendorf era in a “Band of Music.” Of note for this blog is that he directed the first concert by the Alliance City Band in Silver Park in June 1926 and then another concert a week after on July 4, 1926, exactly one-hundred years before the reenactment concert this coming Fourth of July.

“Rinkie” as he was known was well-liked and respected by his “boys.” Ed Trott who appears in the 1923 photo of the band with the cape uniforms was my math teacher and just a few years later as a colleague and friend very often would bring up his memories of the Rinkendorf years. An obituary story remembers that Mr. Rinkendorf was no “task master” as a director. “He had an especial faculty for conveying his desires at practice sessions and it seldom that the band was stopped for verbal instructions.”

The 1938 record describes a very active year for the Alliance City Band. It describes new uniforms, parades, concerts at various venues such as the high school lawn and Silver Park. The band includes old timers as well as youth in the band. It is not indicated who conducts the band in 1938 but is probably Dr. W. H. Hodgson of Mount Union college who “has been conducting in his (Rinkendorf’s) absence.”

In 1939 Rinkendorf “has come back from Florida to conduct the band.” 1939 concerts include Silver Park, South Liberty School, Earley’s Hill Park, Memorial Hall, and Public Square.

Interestingly, in 1939, an article in The Review states that John C. Haines, one of the founders of the Alliance City Band, is alive and well in Detroit at the age of 97. He still has “keen eyesight that allows him to read music as he plays his favorite cello.”

On February 25 the band had a concert to honor Rinkendorf, “the first concert he has not planned altogether or partially.” Some of the men have played in the band for forty years. Emil Rinkendorf died early the next morning at his son Paul’s home in Massillon, thus ending twenty-three years of leading quality music in Alliance.

By Ralph Holibaugh

The history of America is dotted with examples of “family bands” made up of spouses, their children, and relatives who made music together in vocal and instrumental groups or a combination thereof. Each band had a focus. Following the Civil War, the Alliance City Band was started by Charles, Columbus, and Foster Haines, an early family band in Alliance. But the original members of the ACB also included the Barniby brothers, Joshua and William.

While more research is needed because sources are sometimes incorrect or incomplete, many families have contributed a cavalcade of more than one musician in the 20th century to the ACB, eg., Baughman, Best, Beutler, Bowers, Calladine, Daniels, Davis, Donaldson, Ellis, Fites, Forbes or Forbs, Gehret, Howenstine, Hubbard, Johnson, Jones, Kropf, Marini, McDonal(d), Mil(l)ner, Parks, Rogers, Smallwood, Stevens, and Trott.

The Smallwood family whom I performed with in the latter 1950’s had the distinction of contributing family members from three generations to the ACB with their brass players, Harry M. “Bud,” H. M., Jr., and Todd playing Alto Horn, Sousaphone, and Baritone.

All of the names above are part of an entire constellation of musicians who were directors, soloists, and the ensemble players who were the visible fabric and structure of the ACB. But a volunteer band always has some of its members also serving behind the scenes in a wide variety of roles. I’m thinking of those who serve on the organization’s elected board like trumpeter-President, Bob Snodgrass, or its committee members, and librarians who keep the conductor’s score and all the individual parts in order, sometimes acquiring replacements for those that are lost. There are people who serve as band secretaries such as Eb Alto Horn player Charlie Moushey who feed minutes to archivists and those, in turn, can form the stuff of band histories. There are those who communicate band events and activities to the public. We see newspaper clippings based on their work, and program notes about sponsors, and the results of tireless fundraisers that provide the infrastructure to a band’s organization, to its sociology.

So as one sits back to listen to the music and admire the skills of the conductor, the musicians present and past of varying abilities, and the volunteers we don’t see, we should recognize this entire constellation that has brought a band performance for our enjoyment.

[Pictured above: Family members Daniel Braid, James Braid, and Richard Howenstine, all members of the Alliance City Band pose with their instruments and relative Edward, shown in his WWI uniform. Photo courtesy of Alan Howenstine]

By Paul Hobe

Early in its existence the City Band was reported by a variety of names. In early years it was often published in The Alliance Review as the “Silver Cornet Band,” or just as the “Alliance Band.” Brothers Columbus and Floy Haines are mentioned as associated with the band as leader. “Alliance City Band” became the moniker in 1885. References regarding the activity of the band vary from very active with lots of parades and concerts listed to years with less activity recorded. 1889 and 1890 show lots of activity. An interesting story in The Review in June 1890 records: “The Executive Committee of the Youngstown Mannerchor (a male singing society) has secured the Alliance City Band for their German celebration of the July 4.” There are thirty members in the band.

Suddenly the band stories disappear. Some activity in 1893 mentions concerts and solos by Rosco Sharer (trombone) and trumpet duet by John Sharer and Charles Houston. That year even produced a “band festival” where folks had a good time and assisted the band financially. Other than leading the Memorial Day Parade in 1895, there is no mention of the “City” band until 1906. So why might that be?

Full articles in The Review now describe the Mannerchor Band. It was formed in October 1899, played concerts in 1899, and became affiliated with the Modern Woodmen (an American fraternal benefit society) in early 1901. An article describes that they “are determined to give the city of Alliance a good band. An agreement has been framed and signed by every member, in which the signer pledges himself to work faithfully to give Alliance a band of which the citizens may feel proud” (italics added). The article describes the Mannerchor Band and its goals, rules, policies, and other information. The organization will “offer all opportunities for beginners to study music as well to give older musicians a chance to improve their musical education.” The band obtains new uniforms and practice two times per week. A picture shows the band with tall boots, white britches and plumbed helmet hats but also displays the Alliance City Band bass drum.

In 1905 Frank P. Atherton is listed as director of the Mannerchor band and then in April 1906, an article tells of a concert and the new Alliance City formerly the Mannerchor Band will present a program. The program is listed with Mr. (Prof.) Atherton as director. So, the band seems to falter during the 1890s with a couple good years in mid-decade and then disappears until 1906.

Atherton’s tenure in Alliance was just one stop for this iterant music educator. Coming to Alliance he conducted the Craven Opera House orchestra and for two years the Alliance City Band. Atherton researcher Ralph Holibaugh writes that Atherton’s previous experience performing violin and piano, composing for vaudeville troupes, conducting, teaching, and writing educational articles for music magazines, and his service in the Spanish-American War influenced the methods he used as the band’s leader. What emerges is a unique portrait of a talented, determined traveling musician who spent a significant year in Alliance. Band historian Gray Ellis states that under Atherton the band “blossomed into state recognition.”

The appearance of new rules and procedures suggest that band discipline may have faltered. Perhaps the members would not practice or attend rehearsals. Leadership may have been lacking or in some sort of turmoil or turnover. Also, the American Federation of Musicians was formed in 1901. As we can see above in 1890 the band became associated with the Mannerchor choir. Possibly some members observed the Mannerchor and its procedures and thought their example could help the city band and some perceived shortcomings.

By Ralph Holibaugh

Mr. Best was the most extraordinary musician and teacher I’ve known. I first met this former coal miner from County Durham, England in 1954. He was thin, tall, bald, and had huge hands. I had heard that he was a euphonium soloist in the Alliance City Band (ACB), and that he was also the best trumpet teacher in northeastern Ohio. It was rumored that after a spectacularly dismal lesson with a student who repeatedly did not practice, Mr. Best gave back his fee to the student with the understanding that he and his pupil no longer had a musical relationship.

That rumor quickly became more personal. In my earliest lessons I had a very much used trumpet. After my several failed attempts to execute a passage, Mr. Best grabbed the horn from me and said, “Like this!” He couldn’t get a sound. I soon had a new trumpet. William Booth Best was, indeed, a serious musician and demanding teacher.

I was in 5th grade when Mr. Best accompanied me to my first rehearsal with the ACB. I learned from band members that after he left the colliery brass bands of England and immigrated to the U.S., he had settled in Beloit, Ohio to work in potteries for a living, but he also continued to play in bands throughout his life. In keeping with English musical tradition, he taught trumpet to his son, “Charlie,” who became a professional performer, a musically gifted five-year old, Clyde Hunt, and other outstanding pupils such as Roger Tayler, Ralph Kropf ( later a director of the ACB), Kropf’s brother, Eldon, and others.

Mr. Best had ‘rescued’ the Band twice when he became director twice as documented masterfully by Paul Hobe. When the demands of WWII depleted its ranks, he took over its leadership in order to keep the Band functioning.

There is an argument to be made that Mr. Best was the most broadly influential figure in the history of the ACB. Like Emil Rinkendorf, his standards of precision and overall excellence were very high; he had assisted “Rinky.” But after more than 45 years of unbroken service to the ACB, and in light of the heritage of superior students that he left in his wake, a revised assessment of ACB’s history is overdue.

By Paul Hobe

Often when one imagines a small town in the late 19^th and early 20^th century in popular culture a shady park or town square with a gazebo or band stand comes to mind. It is estimated that there were ten thousand bands in 1889, a significant number were community based. Area local media mention at least a dozen such bands. They could be family bands (Haines), military (GAR and Marine), ethnic (Italian), and bands supported by major businesses (Morgan Engineering). Audiences would enjoy marches by Sousa, Gilmore, Goldman, and locally King and Rinkendorf. This era also spawned the school band movement.

Civil War units of both Union and Confederate armies were accompanied by brass bands. They led regiments on the march, entertained in camp and communities through which they passed and served as medical assistants during battle. They could be professional musicians or trained in the field.  They were financed by their government or by officers of the units.

Now let’s see how the Alliance area was involved in Civil War music. We have already considered how the Haines Silver Cornet Band was involved with the Underground Railroad and Lincoln’s short visit to Alliance.

In September 1861, the Three-Year 19^th Ohio Regiment was being organized in Alliance at Camp Ford, recently Rockhill Park. The federal government provided funds for a band for each regiment being mustered which consisted of one-thousand men. The Roster of Ohio Soldiers shows that on October 10, 1861, twenty men, most likely from around Stark County, on the roles as “musicians” with Thomas Woodford and George D. Myers as leaders. The only names of note to the reader are John C. (Columbus, “Tump”) Haynes, Augustus Vignos, and Dwight Kimmel. Kimmel is buried in the southeast area of Alliance City Cemetery and has a specific reference to his membership in the 19^th Ohio Regimental Band on his grave monument.

Thirteen band members in band uniforms are posed in a photo available. Haines can be seen as the tallest musician in the back row standing. Vignos of Louisville has a moustache and his right arm is leaning on the person to his right. (He has his own interesting story.) In the summer 1862 the federal government considered regimental bands too expensive and sent most of them back home.  The Ohio Roster shows them as mustered out September 4, 1862.

In March 1864 John Columbus Haines brought his musical talents back to the war when he joined the 104^th Regiment Band. A picture of the 104^th Band shows Haines as the fifth person from the left. The dog at the left is the noted “Harvey, the War Dog.” A letter from Haines is on display at the Haines House in Alliance, Ohio. It was written in the summer of 1864 during the siege of Atlanta.

A 1918 Review article tells that the Band (known as “Silver Cornet Band”) was organized by twelve men, mostly soldiers who had returned home with honorable discharges from the ranks of the Union Army. These men were Columbus Haines (director), Foster Haines, Charles Haines, Charles Hester, Thomas Hester, Martin Seacrist, Sly Seacrist, Morgan Anderson, Holland Vick, John Sharer and Mark M. Southworth. Three were still living when the article was published.

Haines had a family band that was popular in the 1880s. He moved his family to Detroit in 1893 where he passed away in 1942 at the age of 100 being the oldest Civil War veteran in the Detroit area.

More information and experiences of the 19^th Ohio and the 104th Ohio, and Augustus Vignos can be found in And Other National Airs, Some Stories About Stark County . . . and Dixie Odyssey, the Trail and Tales of the Nineteenth Ohio Regiment by Paul Hobe.

By Ralph Holibaugh

When it came time for me to choose a musical instrument, the ‘final step’ recommended by Mr. Nash, I remember immediately thinking about the trumpet and two of its players. One was Clyde McCoy, who was famous for recording “Sugar Blues” on Columbia records. It was the first time I ever heard a trumpet with a mute in its bell. The other trumpet player was Wilbur Fites, my uncle.

In the ‘40s I only knew Uncle Wilbur from family celebrations and holidays at my Grandma Fites’ extensive feasts. He would occasionally mention “playing jobs,” then smile slightly and say that he was paying for his house with the money he earned from those jobs. I learned that Wilbur’s “jobs’ were playing trumpet at dances.’

Much later I learned that “Shorty,” as he was affectionately called in childhood, had been an Eb alto horn player in the historically important Reed’s Boys Band of Alliance since the age of 9. He was in Reed’s Band when it joined the Alliance City Band in marching on May 29, 1923, three years before Alliance had a High School Band! In 1929, he played in a combined extravaganza featuring the Reed Band, the new AHS Band, and the Alliance City Band directed by Emil Rinkendorf. Wilbur, along with Ray Shank, Forest “Woody” Barth, Donald Stump and several others personified the links among these three bands. From a historical perspective, the first two bands had been “feeders” into the Alliance City Band.

 My studies with Al Nash were musically foundational and significant. As he had earlier with the Flutophone, he taught me the rudiments of playing the trumpet, as well as playing in small music groups. I still recall vividly taking individual lessons with him, as well as practicing with small groups he directed in a caged space in the basement of Stanton Junior High School. The space served as a locked area for sports equipment!

At the end of sixth grade and graduating from elementary school, my caring, patient Flutophone teacher and first trumpet mentor told me that I would need to find another teacher. I was shocked. It was unexpected. “Who?” I asked. He replied immediately. “Go to the Band-Orch and ask for Mr. Best. That’s who you want to see.”

There was a time when a small pipe with holes became very important to me. It didn’t just drop down from the heavens into my lap, but it was presented to me as part of a system that combined science and art which I knew nothing about. Very slowly I learned, not on my own, but through a teacher who was a master of this system.

In 1948, when I began attending South Lincoln Elementary School, Mr. Nash, or more informally, Alexander or Al, was one of its teachers. He was an accomplished, practicing musician whose love of music led him to study music and education at Mount Union College. His education led him to adopt the Flutophone, a widely available, inexpensive plastic wind instrument, as a primary tool in his music instruction. For the first time, he brought the possibility of testing for music aptitude to all elementary schools.  

After these basic steps had been taken, each of his individual students, brimming with the enthusiasm that only new students seem to have, took the next step of playing together in their first ensemble of Flutophones. Mr. Nash did his best to patiently reign in those students who were looking around in any direction other than the “conductor,” making faces at one another, and those clueless deemed “tone deaf” by someone along the way. Somewhere in his studies he learned to patiently accept the general cacophony that often raged around him.   

With a graduation ensemble performance behind them, the proud graduates each had their names announced and received individual certificates indicating the achievement of their new status. Bravo!  Armed with training, practice, experience, and the confidence of learning how to ‘play together,’ the final step was to be taken.  

In consultation with Mr. Nash and their parents, a choice needed to be made of a musical instrument that was appropriate to their goals, including keyboard (in many cases untried), an instrument in the brass or woodwind families, or perhaps that most intimate of instruments, their voice. To have constantly pursued these steps in all his schools for so many years, with warmth, patience, and caring, Mr. Nash’s presence not only offered core music instruction to all students throughout the Alliance school system, but it was a significant element in the character and growth of the entire city.