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THE LIFE AND LEGACY OF FRANK TERRY GREER AND HIS INFLUENCES ON HISTORICALLY BLACK COLLEGE AND UNIVERSITY BANDS

BY MICHAEL LLOYD

SUPERVISORY COMMITTEE DR. MEGAN M. SHERIDAN, CHAIR DR. MATTHEW D. SCHATT, MEMBER

A CAPSTONE PROJECT PRESENTED TO THE COLLEGE OF THE ARTS OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC IN MUSIC EDUCATION UNIVERSITY OF FLORIDA 2016

Running head: FRANK T. GREER 2

Abstract

Frank Terry Greer was the second Director of Bands at Tennessee State University from 1951-

1972. During his tenure, he developed the marching band to become the nationally known

Aristocrat of Bands. The purpose of this historical study was to preserve the history and accomplishments Greer garnered in his illustrious career. Through the research of historical documents and interviews of a former student of Greer’s and the current Tennessee State band staff, this historical study examined who Frank Greer was, how he challenged the norms of the

Historically Black College and University (HBCU) music programs, and how his work at

Tennessee State contributed to the history of the school and the evolution of the Aristocrat of

Bands. The findings of this study revealed that Greer not only prepared his school, music department, and band to compete with other HBCUs, but also took Tennessee State’s music program to the national stage, placing them in the same realm as the bigger flagship institutions in America.

Keywords: Historically Black College and University, HBCU, Tennessee State University, marching band, Aristocrat of Bands FRANK T. GREER 3

The Life and Legacy of Frank Terry Greer and His Influences on Historically Black College and

University Bands

The band programs, especially the marching bands, are the cornerstones of many

Historically Black Colleges and Universities (HBCU). According to the U. S. Department of

Education:

The Higher Education Act of 1965, as amended, defines an HBCU as: “…any historically

black college or university that was established prior to 1964, whose principal mission

was, and is, the education of black Americans, and that is accredited by a nationally

recognized accrediting agency or association determined by the Secretary [of Education]

to be a reliable authority as to the quality of training offered or is, according to such an

agency or association, making reasonable progress toward accreditation.”

(http://sites.ed.gov/whhbcu/)

The prestige, traditions, and history of these music programs remains primarily within the HBCU community and many “outsiders” see these performers as regular bandsmen. Despite there being hours and hours of audio and video recordings online, you can only find small portions of the bands’ histories on their schools’ websites. It is even harder to find concise records of any

HBCU band’s history as most of the artifacts were not recorded and/or were left unpublished.

Therefore, to find the history of most HBCU bands and their directors, you have to visit archives or speak to individuals that were in the band, if they are still living.

Need for the Study

The majority of HBCU bands where established in the segregated South. There were several adversaries, and even a few laws, that prevented the performances of these Black bands

(Watkins, 1976, p. 24). As a result, there was a damper on the publishing and archiving of FRANK T. GREER 4 potential historical artifacts. Most of the history of the HBCU bands has been passed down through the many generations of members within the bands. We understand that through this oral tradition, many facts could be misinterpreted or even fabricated, which could eventually lead to a loss of reliability. At many of these institutions, the founding director and their immediate successor have passed away leaving us with only their students’ memories and their personal artifacts from their experiences in the band as the band’s history. At the same time, many of those former members are getting older and the oral and physical histories of the bands are beginning to disappear. Therefore, it is imperative that we preserve as much information about these historic programs before it is lost forever.

In an effort to preserve the history of bands at one HBCU, Tennessee State University

(TSU), an investigation of former band director Frank Terry Greer is needed. Greer solidified

TSU’s marching band, developed the instrumental music program, and provided an influence on other HBCU bands. As TSU’s second Director of Bands (1951-1972), Greer led the band to many firsts, not just for HBCU bands, but also for collegiate bands nationwide. Greer’s development and success with the TSU band program was accomplished by his focus on two ensembles: the marching, Aristocrat of Bands, and the jazz band, “The Jazz Collegians”.

I have a personal stake in the research of Greer, as I am a former member and head drum major of the Aristocrat of Bands. I thought that I was very knowledgeable about the history of the band, so I began to learn about other HBCU bands. Since I have graduated from TSU, I have noticed that in my research of HBCU bands, Greer’s name appears several times as a mentor, teacher, or close friend to many other band directors. I came to realize that the information that was presented to me was just a summary of Greer’s impact on TSU and other HBCU band programs. As a former member of the TSU Band, I believe that the members of the Aristocrat of FRANK T. GREER 5

Bands should be exposed to Greer’s impact to get a better understanding of the history and traditions of the band and university.

This investigation on Frank T. Greer’s influence is a continuation of the work present in several published dissertations: Lamar Smith’s (1976) A Study of the Historical Development of

Selected Black College and University Bands as a Curricular and Aesthetic Entity 1867-1975,

Clifford E. Watkins’ (1976) The Works of Three Selected Band Directors in Predominantly

Black American Colleges and Universities, that contains direct quotes from interviews of Greer, and Reginald A. McDonald’s (2009) The Aristocrat of Bands: A Historical Investigation of the

Tennessee State University Instrumental Music Program and Its Directors. It is also interesting that two of these dissertations were written by Greer’s successors at TSU, Watkins (1972 – 1979) and McDonald (2001 – now), thus displaying the impact of Greer’s work at TSU. With these three documents serving as the foundation of the investigation, this document will serve as the concise history of Greer’s career and influences on TSU and other HBCU bands.

Purpose of the Study

The purpose of this historical study is to demonstrate how the work of Greer not only had an impact at TSU, but also spawned the development of other HBCU bands and music programs throughout the country. Greer’s work with the TSU Music Department were first not only for

TSU, but for HBCU’s as well as for Predominantly White Institutions (PWI), which are described as colleges and universities that are not deemed HBCUs and/or the institution’s student enrollment is primarily White. This document will also demonstrate the interconnectedness of and increases the awareness of the rich traditions of many HBCU bands.

FRANK T. GREER 6

The following questions guided the research:

1. Who is Frank T. Greer and what was his impact on challenging the norms of HBCUs’

music education?

2. How did Greer’s work at TSU contribute to the history of the school as well as the

evolution of the Aristocrat of Bands?

Methodology

To complete the historical research, a dual-structure approach was used in order to examine both the personal life as well as the career of Greer. For the first component of the research, I searched printed and published documents such as books, journals, theses, and dissertations. I visited the campus of TSU for one week to search the archives of the music department, including the Aristocrat of Bands archives, as well as the archives located in the

University Library for documentation on Greer.

The second component of the research utilized semi-structured interviews. After getting

IRB approval, I interviewed the current band directors at TSU: Dr. Reginald McDonald, James

Sexton, and Larry Jenkins. I also had an opportunity to interview one of Greer’s former students,

Edward L. Graves, Director of Bands Emeritus at TSU (1979-2014). I wanted to interview

Clifford E. Watkins, Director of Band at TSU after Greer (1971-1979) and before Graves; unfortunately, Dr. Watkins passed while I was in the IRB approval process. Dr. Watkins death is an example why it is so important to investigate the history of the HBCU bands because Dr.

Watkins’ dissertation included Greer’s first-hand experiences and is the main source of this historical document.

The interview questions were developed based on the data gathered from the archival research and was approved by my committee members before initiating the interviews. Using FRANK T. GREER 7 the semi-structured interview approach, I had prewritten interview protocols for the interview sessions (Burke Johnson & Christensen, 2014, p. 233). I created two sets of questions: one set for the current band staff and Tennessee State and the other set was for Greer’s former student,

Mr. Graves. By applying the interview guide approach, the interview questions lead to more questions, which helped to clear any voids that I found in the documented research. As I interviewed my former teachers as well as a former classmate, Mr. Jenkins, the interview guide approach switched to an informal conversational interview, in which the interviewee and I were loosely conversing about Greer (Burke Johnson & Christensen, 2014, p. 233). In most cases, the casual conversations occurred after the interview protocol; however, there were several responses by the interviewees that lead to some interesting conversations about Greer and the history of Tennessee State. Additionally, the interviews shed light on how Greer made an impact on the interviewees’ musical careers and personal lives. All of the interviews were recorded and transcribed afterwards and are used as personal accounts of Greer.

After transcribing the interviews, the interviews were analyzed and coded for themes.

The themes were repeated ideas found in one or more interviews, also known as open coding

(Burke Johnson & Christensen, 2014, p. 460), in which I found key terms or themes in each interview as well as the document research to find commonalities. Some of the themes reinforced the data collected in the research of published documents and/or documents found in the Tennessee State Special Collections. You will find the themes from the all data are intertwined with the information presented in the historical document and are divided by the section headings. These headings are: Changes to the Marching Band, The Big Ten’s Influence on the Aristocrats, A Big Stage for the Big Sound, The Music, Surrounded by Other Great FRANK T. GREER 8

Musicians, Greer, the Politician, Most Influential Performance, and The Nationally Known

Aristocrat of Bands.

In writing this historical document, I have chosen to use a chronological narrative structure. Using this structure will demonstrate how Frank T. Greer’s life had an impact on his professional career as well as display his achievements and accomplishments he earned while teaching and working at Tennessee State. Most of these achievements and accomplishments overlap and were divided into the various themes stated above.

Throughout my research, I have found many holes and disparities of information. In these cases, I have developed my own deductions based on the information I gathered through the research of published and unpublished sources as well as the interviews.

Frank Terry Greer

The Early Years

Frank Terry Greer and his twin brother, Fred, were born to Frank and Fannie Greer on

June 21, 1914 in Columbia, South Carolina. Later on, his family moved to Birmingham,

Alabama. Frank and Fred began their musical instruction at Industrial High in the Smithfield

Community in 1928 under the direction of renowned bandmaster and former circus band trumpeter, John Tuggle “Fess” Whatley. “Fess”, short for “Professor” was a strict disciplinarian who required his students to read music fluently regardless of the style of music (Price, 2013, para. 4). Frank began playing the clarinet while Fred played trumpet. Later on in their high school enrollment, they switched instruments, so that Frank played the trumpet, and Fred began to play both clarinet and trumpet. Greer tells Clifford Watkins in a 1975 interview how his participation in the Industrial Band as a way to gain respect from his peers: FRANK T. GREER 9

The Industrial High School… had one of the largest and finest high school bands in the

South, and to be in that band was a mark of prestige… it was the thing to do. Either you

were on the basketball or football team or you were in the band, if you were ‘anybody’

(Watkins, 1975, p. 35).

Industrial High School opened its doors in 1900 and was originally named Negro High

School, as it was the only high school for African Americans in Birmingham. In 1910 the school was moved to three-story building and began industrial training, thus the name was changed to

Industrial High School. Seven years later, Whatley joined the faculty to organize the printing shop and band. In 1939, Arthur Harold Parker, the school’s first principle retired after fifty years of service in education and Industrial High was renamed A.H. Parker. (Camp, Cargill, & Sims,

2009). The prestige of the school was not only associated with the athletic and band program, but Parker’s academic program was very strong as well. Ebony Magazine (1950) published an article that described Industrial High as “The World’s Biggest Negro High School”. Ebony mentioned not only the accomplishments of the academic programs, but also the band: “The

Parker High School… is a consistent first place winner in local and state competitive drills, and is always a featured attraction in Birmingham Parades” (Ebony, 1950, p. 20). With the extensive lineage of superior band performance, this is the reason why Dr. Reginald A. McDonald (2009) states, “Arguably, that program was one of the top African American high school band programs in our country in the early to mid 1900s” (p. 40).

While at Industrial, Greer credits many of his accomplishments to his family and community. With many of the children in the Smithfield Community being members of the

Industrial band, the neighborhood was frequently kept awake as the children practiced individually and together at night and in the early morning. Most of the time, the parents in his FRANK T. GREER 10 neighborhood allowed them to practice, “[I] was forever grateful them for not trying to inhibit what we…kids were doing” (Watkins, 1976, p. 36).

Greer also praises “Fess” Whatley for his achievements in music. Whatley understood the financial and cultural dynamic of the families at Industrial High. Most of the families could not afford instruments. “Whatley’s belief was that if his students bought and paid for their instruments, they would respect and care for them” (Whatley, 1976, p. 37). Therefore, he assisted many of the students in getting instruments. In Frank Greer’s case, not only did Whatley help him get an instrument, he also got him two jobs – delivering newspapers and a busboy at a local restaurant – to help pay for the instrument.

Greer attributed his sense of direction and self-discipline to Whatley. Dr. Watkins (1976) noted that Greer remembered Whatley’s philosophy of education as:

His caring and interest in what would subsequently become of Black children in his

charge; the belief that one needed a thorough learning of ‘fundamentals’ of music and

life; and the part of his personality which always provided a word of encouragement”

(Watkins, 1976, p. 37).

Whatley’s overall goal was to teach the total student in both life and music skills so that they could be prepared for the world. This philosophy would later become an element of Greer’s own philosophy of education.

Whatley spent a limited amount of time teaching the band because his other duties at school were teaching the printing class. Whatley was also the director of a Birmingham dance band, the “Society Syncopators”. The members of the “Society Syncopators” included several internationally known musicians: Leroy Sims, Theodore and Cassell McCord, Erskine Hawkins and the majority of the Hawkins Dance Orchestra, New York conductor and arranger Sam Lowe, FRANK T. GREER 11 several “Alabama State (known as University of Montgomery at the time) Collegians”, Paul and

Dub Bascomb, and many members of the “Swing Era” of music that performed at the Apollo in

New York and other early jazz halls.

With the “Society Syncopators”, Whatley used his dance band as an incentive for the more polished musicians in the Industrial band. Only the best student-musicians were selected to perform with the traveling, professional dance band; unfortunately, Greer was not selected, but it pushed him to be better because it provided opportunities for those selected. Greer stated:

Not only did [Whatley]…play for the biggest club dances among the Black people of

Birmingham, he played for the big social affairs among the rich whites there, the steel

magnates and so forth. When a high school boy worked up to Fess' group, and I never

did…he had pretty good employment, and made good money. I understand that he paid

his boys very well (Watkins, 1976, p. 39).

While at Industrial, Greer began arranging music for the band as Whatley encouraged them to write their own arrangements. These early experiences in arranging music provided the students with the fundamental skills in music theory, harmony, and counterpoint. Greer told Dr.

Watkins (1976) that his first arrangements were “horrible…but I learned way back then by the trail-and-error school” (p. 39). No matter how bad or good the arrangements were, Greer continued to write more arrangements. As a part of Whatley’s “concept of musical discipline”

(Watkins, 1976, p. 40), Greer received positive feedback from his directors and peers, and he would continue to improve his arrangements making them better at each attempt while learning a more and more about composing and arranging.

Greer’s other early influences. As Greer developed his skills at Industrial High School, he was amazed by the quality of music being performed by the band at the Tuskegee Institute, FRANK T. GREER 12 now Tuskegee University. Tuskegee’s band was established in 1894 and it was the first HBCU to have a marching band (Marching Crimson Pipers). Captain Frank L. Drye was hired as the seventh Director of Bands between 1915-1917 and again in 1919. He was a veteran of 369th

Infantry Regiment also known as the “Harlem Hellfighters” and was led by Lieutenant James

Reese Europe during World War I. While at Tuskegee, Drye “mentored Phillmore Mallard

“Shorty” Hall, who eventually taught Dizzy Gillespie in North Carolina (Malone 1996: 145). So begins the cultivation of a formal process for training young musicians in America’s predominately black educational institutions” (MRSB RAM, 2010, para. 2).

Drye also directed to the Woodmen of the World Band, a Birmingham community band sponsored by the Woodmen. Greer was fortunate enough to participate in the band while he was in high school. Greer tells Dr. Watkins (1976):

Captain Drye…was perhaps the most famous Black musician in the South, other than W.

C. Handy, so that to have played in an organization that he was connected with,

influenced me [Greer] too. Tuskegee, at that time, had the . . . [most reputable] name in

the South... other than Fisk. It certainly was one of the better-known schools when it

came to . . . band music and so forth (p.40).

While performing with the Woodmen of the World Band, Greer was exposed to more jazz musicians and instruction, which in turn developed his arranging skills.

Lamar Smith (1976) states how Captain Drye impacted several musicians that would later become Director of Bands at several HBCUs:

Drye is well-remembered and respected by outstanding directors today – directors such as

William Davis of Jackson State University, Conrad Hutchinson Jr. of Grambling State

University, Frank T. Greer of Tennessee State University, T. LeRoy Davis of Southern FRANK T. GREER 13

University, F. Nathaniel Gatlin of Virginia State College and others who have personally

known and worked with Captain Frank Drye (p. 277).

Calvin Ivory, the assistant band director at Industrial High School was also a major contributor to Greer’s musical development. Like Whatley, Ivory was a former member of the circus bands. It is said that Ivory and Whatley were former members of the Black band associated with the Ringling Brothers Circus, which was under the direction of Perry George

Lowery. Dr. Watkins (1976) mentions that Greer quickly stated that the music performed by the circus band was not mediocre or “cheap”, as he described, and that a high quality of musicianship and ability was present.

Greer was astounded that his teacher could play with the top jazz and circus bands in his area and then be able to teach classical music.

You see, when a man can teach a high school band, Black kids, in Birmingham, in 1928,

to play [compositions like] 'Poet and Peasant,' the music of Von Suppe, 'The Planets,' and

all that kind of thing – when a high school band in that era could play that – then you had

to realize that the teacher himself was a fine musician. He had to conduct it…interpret it,

teach the parts, and…stylize it. Now these men had good backgrounds even though they

were circus backgrounds (Watkins, 1976, p. 41).

The connection between Ivory and Perry George Lowery’s band is really strong as Dr.

Watkins discovered in while working on his dissertation, The Works Of Three Selected Band

Directors In Predominantly-Black Colleges And Universities (1976). In this dissertation Watkins interviews three of the founding fathers of HBCU bands: Frank Terry Greer, William Patrick

Foster at Florida Agriculture & Mechanical University, and Reginald Robert Thomasson at

South Carolina State University. In these interviews all three directors mention Lowery or FRANK T. GREER 14 musicians in Lowery’s minstrel and circus bands. This connection led Dr. Watkins to study

Lowery and found out that Lowery was considered as the “World’s Greatest Colored Cornet

Soloist” (Watkins, 2003) and he subsequently published, Showman: The Life and Music of Perry

George Lowery in 2003. The Lowery connection further demonstrates the rich jazz pedigree and background Greer developed throughout high school would become a foundation for his collegiate and professional careers.

The College Years

In 1931, Frank Greer graduated from Industrial High School with the intention of attending medical school. As this was in the middle of the Great Depression, Greer’s family was poor and the thought of attending medical school was unimaginable; therefore, he decided to use his musical skills to create income for himself and his family. Greer played in a jazz band that toured Alabama, Louisiana, and Mississippi. Greer told Dr. Watkins (1976) that he called the period between 1931-1935 “floundering around” and he continued:

All I knew was to play a horn a little bit, so I would go with one group and then another,

and try to get a weekend 'gig' [performance date] or something. I also worked as a busboy

in restaurants and that sort of thing, trying to make an honest living… always dreaming

of the day that I would go to college (p. 42).

During this “floundering around” period, Greer had many “starvation trips” in which he hoped to make enough money to pay for expenses and to make a little extra money on the side.

One trip to Kansas City, Missouri left Greer and his group stranded for about a month with little support. His pride was so strong that he did not even call his family in Birmingham for help; yet

Greer’s experiences developed his sense of obligation to the professional music. Oran “hot-lips” FRANK T. GREER 15

Page, a trumpeter and former member Walter Page’s Blue Devils, gave Greer and his group some support in their time in need.

Greer’s time in Kansas City was during the rise of the Jazz Era as many of the up-and- coming jazz greats made their headquarters in Kansas City well before they became famous.

These performers included: “Andy Kirk and his “Twelve Clouds of Joy”; the Count Basie Band;

Dee Johnson, who played out of the Dallas (Texas), and a group called “The Texans”; “Hot Lips”

Page; Lester “Prez” Young; and Coleman Hawkins” (Watkins, 1976, p. 43)

The Jazz Era was shaping into prominence while he was in Kansas Cit; Greer used this time to gain some experience and began to visit the after-hours spots where the musicians would hold “jam sessions.”

[I would] sit there until four o’clock in the morning, listening to these great musicians

taking 'Body and Soul,' for example, or some tune and 'going around the keyboard' until

one man just couldn't go any farther, and had gotten into keys that he couldn't handle. I

saw them tie-up into jam sessions that I would not dare...play a horn in, not with those

guys (Watkins, 1976, p. 43).

Knowing that the he could not play as well as the trumpet soloists in those groups, Greer decided to become a good first trumpeter and an arranger. Greer decided that being an arranger had a different status within the group and he did not have to compete as much as the soloists. After finding enough work, Greer saved enough money to leave Kansas City to return to Birmingham as a wiser man and better musician.

The Great Depression and Greer’s “starvation trips” came to an end with the implementation of the New Deal. One of the New Deal programs provided Greer the financial assistance needed to attend college. His friend and former Birmingham and Tuscaloosa band FRANK T. GREER 16 mate, Val O’Rouke, encouraged Greer to attend Tennessee Agricultural and Industrial State

Normal College (Tennessee A&I is now Tennessee State University) in Nashville, Tennessee.

The rise of the TSU Band. Tennessee A&I (“Ayeni”) opened its doors on June 19, 1912 as one of three normal schools created from a Tennessee State General Assembly Act in 1909.

A&I was dropped from the school name in 1968, changing the name to Tennessee State

University (TSU) (Our History: Rich and Olympian, 2014). “The administration knowing full well that Blacks have inborn rhythm, and needed an opportunity to develop their talents, made music an integral part of the school’s program from the beginning, both in the classroom and as extracurricular activities” (Unknown, 1985, para. 1). When classes began in 1912, piano lessons, harmony, and vocal exercises were a part of the curriculum, with instrumental music courses being added in 1919.

There are not a lot of records of the band program from 1919-1930s, but the Bulletin proved a great source of missing information.

This catalog recorded a variety of information such as faculty appointments, faculty

credentials, course descriptions, current class offerings, enrollment statistics, institutional

news, and current events. Notably, though the Bulletin contained important information

for students and faculty, for unknown reasons publications appeared to be sporadic

(McDonald, 2009 pp 5-6).

The 1923 Bulletin shows record of a band with a small instrumentation: one trombone, one baritone, three trumpets, one violin, and one drum. The band was under the direction of Harold

Brown, a graduate of Fisk University, a few miles away from the TSU, from 1923-1926.

After Brown left, Class of 1923 alumnus Clarence H. Wilson took over the band program.

During his tenure, Wilson co-wrote the second Alma Mater, which is still being used today. FRANK T. GREER 17

Wilson also furthered the development of the instrumental music program by increasing the exposure and performances of the band and orchestra. One notable performance during Wilson’s four-year tenure was on Friday, February 28, 1930 in which the Orchestra, and Chorus held a combined concert, performing several pieces together (McDonald, 2009, p. 18). McDonald

(2009) also stated an interesting fact about that performance, Jordan D. “Chick” Davis, who would later become the documented first Director of Bands at TSU was a trumpeter in Wilson’s bands (p.18).

After Wilson’s departure, McDonald (2009) mentions the lack of records between 1930 and 1937, and then Jesse Hayes directing the band (1937-1943). With the Great Depression considerably inhibiting student activities at TSU, the instrumental music program “continued through the efforts of volunteer faculty, or more significantly, through numerous ad hoc Student

Directors” (p. 19). During this period, most of the instrumental music ensemble performances came from the student-organized jazz band, the Tennessee State Collegians. It is unsure that the students in the ensemble received credit, but the Bulletin (1937) provides documentation that a course description for an orchestra remained in the curriculum guide from 1930-1937.

Greer and the Tennessee State Collegians. Val O’Rouke convinced Frank Greer to attend TSU to help organize the student-led Tennessee State Collegians jazz band. The members of the group included Fred and his twin, Frank, Val O’Rouke, Sam Lowe, Maurice King, and the future bassist of the Duke Ellington Orchestra, Jimmy Blanton. Dr. McDonald (2009) mentions the insight of the early days of the Collegians presented to him by TSU Associate Professor and

Head Reference Librarian, Fletcher Moon:

“I [Fletcher Moon, TSU Head Reference Librarian] was told by Charles Dungey [TSU

Jazz Ensemble Director, 1997 - 2003] that the documentation [Dr. Andrew Goodrich] has FRANK T. GREER 18

indicates that Don Q. Pullen was the first Director of the Jazz Collegians, according to

Frank T. Greer, who was a member of the group with Blanton. However, he is talking

about the middle to late 1930s when he and Blanton were students; Edward Hale could

still have proceeded [sic] or followed Pullen, as well as Bill Mears, whose name appears

in a 1935 Pittsburgh Courier article. The Director of the Tennessee State (Jazz)

Collegians during Blanton's time may have been Edward Hale, one of the sons of

Tennessee State's first president, William Jasper Hale. We have yearbooks from 1931 and

1939, but none for the years in between. Hale is listed in the 1939 yearbook as Director,

but the Collegians are not mentioned in the 1931 yearbook (Steiner, 2002)” (McDonald,

2009, p. 20).

Through the Collegians, Greer was given the opportunity to perform on a regular basis, enhance his arranging skills, continue his education, and get paid for it all as the Collegians were paid through the National Youth Administration, which was set up as one of the several programs established by The New Deal (Watkins, 1976, p. 46). Greer continued to tell Dr.

Watkins (1976) that performing with the Collegians afforded him the opportunity to hear and to

“hob-nob with musicians” such as the Duke Ellington Orchestra, Chick Webb, Jimmie

Lunceford and his band, and the Sunset Royal Serenaders at the old Silver Streak Ballroom near the campus on Heiman Street.

Although the Collegians were successful, Greer considered this time as “tough” (Watkins

1976, p. 47) because he still could not afford to continue his studies at TSU. Even with all of the employment and performances Greer had with the Collegians, he left TSU in 1938 when he received notice that the Walter Barnes Band out of Chicago had a vacancy in the trumpet section.

Greer met and became friends with Lynn “The Old Fox” Rowden while working with the Barnes FRANK T. GREER 19

Band. Lynn completed school ahead of Greer and was a great arranger. This friendship helped to develop Greer’s arranging skills even more. The Walter Barnes Band being a smaller traveling band fell into several problems with the group’s performances such as wrong bookings or no paying customers at the venue just to name a few.

Greer’s work with the Barnes’ Band lasted for only a year and a half, ending up being one day before a tragedy.

After completing a series of performances in New Orleans (Louisiana) during the Mardi

Gras, Greer and Barnes had a disagreement over back wages owed, which ended with

Greer and another musician, "Stump" Whitlock leaving the band to return to Chicago.

Barnes and the remaining musicians went on to their next destination, Natchez,

Mississippi. The following night, all but two of the remaining members of the Barnes

Band were burned to death, along with approximately three-hundred persons who were

attending a large social dance, in a disastrous fire that completely destroyed the dance

hall (Watkins, 1976, p. 48).

Upon returning back to Chicago, Nat Towles contacted Greer to join an Omaha, Nebraska based band. Greer was hired as the arranger and first trumpeter and worked with the group from 1940-

1941. Greer considered this group one of the finest bands he has ever played with and he considered his experience “one of the most thrilling…and instructive experiences. I did a lot of arranging…got paid good money, but I still wanted to go back to school” (Watkins, 1976, p. 49).

In The Army Now. While Frank T. Greer was in Omaha, the United States entered

World War II and he sought employment at Martin Aircraft Corporation while taking evening classes on his own time. Through his hard work at Martin and in the classroom, Greer was promoted several times and became leader of the crew that built the B-26 Bomber. With Martin FRANK T. GREER 20 being a Department of Defense contractor, Greer was surprised to be drafted into the United

States Army as he thought his job at Martin was a safe-haven from being personally involved with the war.

Greer went to the Army Air Corps at Eagles Pass, Texas after completing basic training.

Hoping to continue his musical training, he applied for admission to the Army School of Music, but was denied because “the quota for Black directors had been filled” (Watkins, 1976, p. 49).

Keeping his pursuits alive, Greer took some of his arrangements to Lieutenant Bobby Byrne.

Byrne was the director of “The Skyliners”, the official Post Stage Band. “The Skyliners” were attached to Platoon A, Squadron A while Greer was attached to the all-Black Squadron F. Lt.

Byrne liked Greer’s arrangements so much that Byrne sent a request to Post Commander,

Colonel Bundy, to have Greer unofficially transferred to the Post Band’s arranger.

Greer was able to transcribe and arrange the music of the great African-American musicians such as Fats Waller’s “Honeysuckle Rose”, which was featured in one of The

Skyliners’ concerts. Greer was given a chance to be the only Black instrumentalist in the group when he replaced one of the trumpet players who became ill before a performance. His performance skills were so outstanding that Lt. Byrne made Greer a permanent member of The

Skyliners.

When transferred to Scott Field, Illinois in 1944, Greer was immediately given the

Officers Candidate School Exam and passed; he was then commissioned as a Second Lieutenant in Field Artillery and reassigned to Fort Knox, Kentucky for Tank-to-Tank Destroy School.

After completing training, Greer was transferred three times: Fort McClellan, Alabama; Camp

Lee, Virginia; and Fort Bragg, North Carolina. FRANK T. GREER 21

At Fort Bragg, Greer was assigned to the all-Black 555th Parachute Infantry, which consisted of 175 men. This unit was in a state of limbo as it peaked at 405 men and was going to be upgraded, integrated with the 82nd Division, or deactivated. During this time, Greer met one of his friends from Nashville, Fisk University alumnus and Post Band Director, Warrant Officer

Rutherford Strider. Strider allowed Greer to sit in on the trumpet section during rehearsals as well as allowed his ensemble to play some of Greer’s arrangements. This was Greer’s last assignment in the Army before he was discharged.

Becoming a Band Director

On December 22, 1946 (Greer Resume), Greer married a faculty member at West

Virginia State College, Mary Lee Hasty. After his discharge, he began classes at West Virginia where he befriended his teacher and mentor, Dr. Edward C. Lewis, Director of Bands at West

Virginia State College. “While completing the requirements for the Baccalaureate degree, he was hired as band Director at Douglass High School in Huntington, West Virginia” (McDonald,

2009, p. 41). In the three years between 1948-1951, Greer developed the Douglass High School band into an exceptional band program while attending Marshall University to work on his

Master of Arts degree.

Douglas High School’s location was relatively close to Columbus, Ohio and Greer used this to his advantage by visiting The Ohio State University’s band, which was under direction of

Manley Whitcomb, the William D. Revelli-directed University of Michigan band, and Massillon

High School to gain more insight into his craft. Watkins (1976) found in a letter Greer wrote to

Lamar K. McCarrell about the Massillon High School band: FRANK T. GREER 22

… one of the best in the nation. I was near enough to Ohio State University to attend

football games there regularly and became oriented toward that style of

organization…The [University of] Michigan Band . . . also served as a model (p.52).

Greer visited the schools’ rehearsals and performances “in order to observe the techniques and methodologies of the band directors in those schools” (Watkins, 1976, p. 52). Greer learned how to diagram or chart drills for the marching routines and the language used to teach the band.

With the knowledge gained from Greer’s observations, the Douglass marching band began to win several honors within the all-Black West Virginia Band Association and even participated in the “previously all-White West Virginia Band Festival” (Watkins, 1976, p. 53).

Greer and the Douglass band gained so much publicity that they caught the eye of Dr. Walter S.

Davis, the second President of Tennessee State, as he was looking for replacement to Jordan

Douglas “Chick” Chavis, TSU’s documented first Director of Bands who officially established the marching band in 1946.

Dr. W. S. Davis, President of Tennessee State University during that time, happened to

read an article in Color magazine which discussed Douglass High School, its outstanding

band program, and the director, Frank T. Greer. Davis requested that Dr. H. F. Mells,

Head of the Department of Music, locate Greer, and explore with him the possibility of

employment as Band Director at the University (Watkins, 1976, p. 53).

Greer told Watkins (1976) about his relationship with Dr. Davis in an interview:

When I was a student…at Tennessee State, Dr. Davis was an Agriculture teacher…1

didn't really know him…but he remembered me from the days when I played with the N.

Y. A. group in the cafeteria (p. 53). FRANK T. GREER 23

Greer, being surprised with the opportunity to teach at the school in which he attended for a few years, asked Dr. Lewis at West Virginia State College for advice. Lewis advice was simple, as he reminded Greer of his experiences he gained through jazz performances, the military, and teaching high school. With Lewis’ urging, Greer interviewed for the position in

June of 1951 and began a new career as the second Director of Bands at TSU in August of the same year.

Greer at TSU

The beginnings TSU’s marching band could be dated as early as the 1930s, as Dr.

McDonald (2009) found in the Bulletin; however, as said before most of school’s activities were hurt by WWII. Many of the students kept the music alive on the TSU campus, but the core foundation of the marching band, and some considered the band program, was established under

J. D. “Chick” Chavis.

During his five-year tenure, Professor Chavis established a 100-piece Marching Band, a

nationally acclaimed Jazz Ensemble, and an annually performing 60-piece concert Band.

The credit later given to Professor Chavis as the first architect of the TSU Band program,

while not supported by the evidence discussed in earlier chapters, serves as an indication

of the well-deserved high level of regard granted him by his many colleagues, students,

and admirers (McDonald, 2009,p. 31).

Before 1958, early documents called the band the Tennessee A. & I. Marching 100. The

Marching 100 is a “name often given to early African American bands because of their desire to field a 100-piece marching band” (McDonald, 2009, p. 46). Other institutions have used and still use names similar to this are the FAMU Marching 100 and the South Carolina State University

Marching 101. Although the TSU historians consider Chavis to be the father of the TSU band FRANK T. GREER 24 program and the eleventh HBCU Band (according to Smith, 1976, p. 73), Frank T. Greer developed the band and the music program into a nationally known program.

Greer’s first year at TSU was very tough as he was trying to build a comprehensive music program that would be more advanced, especially for the students of the likes of the Douglass

High School band he developed. Greer expressed his disappointment in the status of the band program in which he was a former member of the “Tennessee State Collegians” to Watkins

(1976) in an interview:

You have to realize what a disappointing thing it, was…I had left a high school that had a

pretty good reputation, to come…here and find that all they had…was one old, rusted,

greasy bass horn in the middle of the floor – no music, no library; no uniforms, no

nothing – the only attractive thing was the salary (as cited in Smith, 1976, p. 157)

With the TSU football team becoming an HBCU powerhouse under Coach Henry A.

Kean, halftime entertainment was needed; therefore, Dr. Walter S. Davis chose Chavis to start a marching band program. Greer thought that Chavis did a great job with the Collegians, which included a performance at Carnegie Hall, but Greer could tell that the Chavis did not concentrate his energy with the marching band (Watkins, 1976, p. 55).

Greer’s first task was to increase the recruitment of the band. He searched every admission application for students that previously had instrumental music experience, communicated with them by advertising the new band, and inviting those students to audition.

The Dean of Instruction and the department head, Dr. Mells, aided the recruitment efforts of

Greer by creating a “policy that all wind instrument majors in the Department of Music were to enroll in the band for academic credit as a part of their degree requirements” (Watkins, 1976, p.

55). FRANK T. GREER 25

The band room was limited and uncomfortable as it was located in the basement under the cafeteria – this building is currently known as Elliot Hall or the “Women’s Building” and the basement currently houses the band’s instrument shop. Director of Bands, emeritus, Edward L.

Graves told our band stories of the conditions in the basement when we rehearsed in the

Women’s Building my first two years of marching with band in 2001 and 2002. It was ironic that my interview with Graves was in the Women’s Building and he mentioned the wet floor and rats running amuck during rehearsals.

Even with the lack of a decent rehearsal hall, inferior musical equipment, and no uniforms, Greer, Dr. Davis, and Coach Kean planned to have the band perform in the home stands for the Morris Brown College football game in 1951. Greer told Watkins (1976), “The enthusiasm shown by the musicians, the student body, the faculty, and the public, made us all realize the value of the band to a successful athletic program and as a recruiting agent for the

Music Department” (p. 56). The band continued to play at other home football games and local performances; unfortunately, the band was unable to travel to off-campus performances due to a lack of equipment necessary for travel.

Greer’s first year ended with the admiration from his supervisors of the work he had completed. Dr. Mells wrote a letter to Greer:

We wish to congratulate you for the progress the university band is making and naturally,

we will continue to give you the utmost cooperation in the development of our musical

organization (Smith, 1976, p. 158).

Greer’s second year with the band started with a stronger recruitment campaign that began in January 1952. Watkins (1976) found a copy of the 1952 recruitment letter in which

Greer wrote: FRANK T. GREER 26

The Tennessee State University Band of 72 pieces will be expanded to 110 by next fall…

The Band Department has is fully equipped. Any student desiring to study any band

instrument may do so whether he has [owns] an instrument or not. We recently purchased

approximately $11,000 worth of new equipment… also new uniforms. The concert band

is now planning its spring tour (p. 57).

Greer also mentioned other HBCU bands in his recruiting letters, including Ball State University,

Grambling State University, and Florida Agricultural and Mechanical University (Florida A&M or FAMU) that the TSU Marching 100 (newly named under Greer because of the 100 members) would face in upcoming competitions.

Changes to the marching band. One of Frank Greer’s biggest changes to the band in his second year was changing the band’s sound. As Greer was already a polished arranger, he began to cultivate a unique sound quality that would later become the trademark of the TSU band.

Greer believed that the only way to gain distinction from other bands is to create a unique style and quality of sound. He also wanted the big symphonic sound.

Greer achieved this sound by arranging single parts for members of the band, arranging

brass parts in the upper tessitura, and frequently utilizing Scotch bass and tenor drums to

enhance musical textures. These same performance concepts are still found in many

contemporary Historically Black College and University band programs throughout the

country (Rowley, 2013 p. 27).

Greer described the sound to McCarrell, “I have tried to develop a bright, brilliant sound in our high brasses rather than the beautiful, dark, rich sound of the middle brasses which the FAMU

[Florida Agriculture & Mechanical University] Band has employed so successfully” (Watkins, FRANK T. GREER 27

1976, p. 58). This “new sound” was also known as the “big sound” in many of the articles found in the TSU Special Collections.

Originally, Frank Greer wanted an all-male band, as he was familiar with all-male troupes with his stint in the Army. However, President Dr. Walter S. Davis thought the band need females in the form of majorettes/dancers. In a locally produced PBS special (1995) Greer states that he really did not want any females in the band because of the amount of work needed to participate, but Dr. Davis “convinced” Greer to use females in the band. Greer selected the prettiest girls on campus because once the music started all of the eyes of the audience would be on the majorettes.

The Big Ten’s influence on the Aristocrats. Greer continued to model the TSU

Marching 100 band after The Ohio State University band, which he observed while directing the

Douglass High School band, as well as the University of Michigan band. Greer’s respect for

Revelli and the Michigan Marching Band was so strong, that Greer suggested some of his students attend the Big Ten schools like the University of Michigan and the University of Illinois for graduate school (Graves interview). He hired four Michigan graduates as Assistant Directors.

Those assistants and their years of service at TSU are: Anceo Fransico (1954-1960), Edward

Smith (1960-1964), Benjamin Butler (1960-1969), and Marcus Rowland (1969-1972).

Greer’s influences from the Michigan Marching Band can still be seen today. McDonald

(2009) read in a 1961 newspaper article by E. S. Clanton:

Greer incorporated a marching and drill style that featured quick steps, high leg lifts, bent

knees, and toes pointed down toward the ground. Second, Greer's sound was a result of

his belief that a big symphonic sound should be present on the field regardless of the

ensemble's movements (p. 44). FRANK T. GREER 28

With the guidance of assistant director, jazz musician, and arranger, Anceo Fransico enhanced the big symphonic sound Greer sought after in the early days of the band.

A big stage for the big sound. With the new “big sound” and uniforms similar to the uniforms of The Ohio State University’s marching band, the Marching 100 was given the opportunity of a lifetime: performing a halftime show for a televised National Football League

(NFL) game. On November 13, 1955 the Tennessee State University Marching 100 performed for the Chicago Bears and Los Angeles Rams football game in Chicago’s Wrigley Field. It is said to be the first nationally televised collegiate marching band halftime performance for an

NFL game, but it was certainly the first time an all-Black marching band was televised. In an interview, Edward Graves (2016) mentioned watching this game with his father, and as a 10th grader he knew he wanted to go with to TSU and play in the band because the band looked so polished and professional.

Not only did TSU have the first televised halftime performance for a NFL game, but they were also the first band to repeat that feat. On October 14, 1956 the band performed for the

Cleveland Browns and New York Giants game in Cleveland, Ohio. TSU’s Special Collection has a record of the documents from this trip including the packing list, travel itinerary, meal stops and allowances, band roster/rooming list, rules and regulations for women, and performance schedule and schematics. The roster includes names of students who would later graduate and become band directors themselves including Benjamin Butler, who became

Assistant Band Director at TSU. It is amazing to see how the band operated in the times of segregation. Graves (2016) mentioned that traveling with the band was very different in that meal stops and housing were at Black establishments or cafeterias and gyms of Black high schools or other HBCUs. FRANK T. GREER 29

The development of the band under Greer’s leadership ushered in a new identity for the music department and school.

In 1956, it had become apparent that the Tennessee State University Marching and

Concert Bands had become an important entity of the institution and its progress had

been perceived by Greer as indicated in a letter to President W. S. Davis, The letter

alluded to the fact that the bands were achieving recognition nationally and the scope of

the band program was providing a quality of training for its students that made them

sought after for the best band directing position in the South (Smith 1976, pp.159-160).

The two NFL performances were the first of several televised performances of the band.

These performances also opened the doors for other bands, both White and Black, to perform for televised football games. The band performed in twelve televised football games during Greer’s tenure at TSU:

1955 – NBC: Chicago Bears versus Los Angeles Rams at Chicago, Illinois

1956 – CBS: Cleveland Browns versus New York Giants at Cleveland, Ohio.

1960 – NBC – CBS: Baltimore Colts versus Green Bay Packers at Baltimore, Maryland.

1963 – NBC: Chicago Bears versus New York Giants NFL Championship game at

Chicago, Illinois.

1968 – ABC: Grantland Rice Bowl Murfreesboro, Tennessee

1968 – NBC: Cincinnati Bengals versus Oakland Raiders at Cincinnati, Ohio.

1969 – NBC: Cincinnati Bengals versus New York Jets at Cincinnati, Ohio.

1970 – ABC: Grantland Rice Bowl Baton Rouge, Louisiana

1970 – NBC: Cincinnati Bengals versus Cleveland Browns at Cincinnati, Ohio.

1971 – NBC: Cincinnati Bengals versus Cleveland Browns at Cincinnati, Ohio, FRANK T. GREER 30

1971 – ABC: Grantland Rice Bowl at Baton Rouge, Louisiana

During one of the performances in the late 1950s or early 1960s, a broadcaster stated, “This is truly an ‘aristocratic’ band” (Watkins, 1976, p. 58) because of the cleanliness and professionalism of their performances. After that the band changed its name to the “Aristocrat of

Bands”. The name stuck with the band and forever changed the personality of the band program.

With all of the publicity the band was receiving, the media began to mention the quality performance of the band, as evidenced in 1964 article from Afro/America, “The Tennessee band is rated third best in the nation behind Michigan State and Florida A&M [University] troupes”

(para. 5). The irony of this statement is that the two bands ranked ahead of TSU were the

Predominantly White Institution (PWI) Greer modeled his band after and another HBCU that is still one of TSU’s biggest rivals.

The new persona was not met with kind hearts at first; many of the critics of the

Aristocrats thought that the band was too “old-fashioned”, yet Greer was held strong to his belief and lived up to the Aristocratic way. Frank Greer thought that the collegiate “band should be a dignified organization, providing tasteful performances” (Watkins, 1976, p. 58). In reference to the majorettes, Greer stated:

The majorettes… were never permitted to do some of the overly suggestive things. We

found out that there are some things that you can live with in terms of appearance…

There are some things that you wouldn't let your daughter do, and you shouldn't ask

anyone else to do – in other words, our watchwords were: 'let's make it all high-classed

(Watkins, 1976, p. 59).

The music. The musical selections of the performances were also a major factor of the high-class performances of the Aristocrats. “In those days we always played pop music at half FRANK T. GREER 31 time football games, but I always included a classical number” (Prof Frank T. Greer, 2016).

Greer states:

Now you tell the average… person sitting in the audience [at a football game] that you

are playing something by Tchaikovsky, he may not know who Tchaikovsky is, or…

Rimsky-Korsakov… but it must sound… good to him (Watkins 1976, p. 60).

Edward Graves (2016) mentioned talking to Dr. William P. Foster, Director of Bands a FAMU

(1946-1998) about preparing to play against the TSU band. Graves said that Foster would prepare the most current popular music for their football games against each other and competitions thinking he could best Greer’s song selections, but then Greer would have the TSU band play something like an excerpt of J. S. Bach or Beethoven. This was just a simple reminder of one of Greer’s philosophy about performance he taught Graves: “the best music to play is the best sounding music”.

Dr. McDonald (2009) quotes an article from the April 11, 1958 Nashville Globe written by Agnes Carmichael that explains Greer’s strong use of classical music within the Tennessee

State band program:

The town's music lovers never failed to turn out for the annual concert by the Tennessee

State University Concert Band, and the '58 affair, rendered this past Tuesday night in the

University Auditorium, was no exception. This year's concert, however, was marked by

the presence of a good number of out-of-town music-lovers. The highly trained Band was

directed by that master musician Frank T. Greer, who was ably assisted by Anceo M.

Fransico. The colorful renditions by the group certainly showed that all concerned had

put in many, many hard and long hours of intensive rehearsing. The Band got off to a fine

start with "Toccata" by Girolamo Frescobaldi, but really came into its own [with] its FRANK T. GREER 32

second rendition, "Overture to William Tell" by Giachino Rossini. We liked especially

the oboe passages by Joseph Haywood in this excellent rendered number. Next were

"Largo From The New World," Antonin Dvorak; "Royce Hall Suite" by Healey Willan

and "Fanfare and Allegro" by Clifton Williams. The fine performance continued

following a brief intermission, with "A Gypsy's Fireside Dream" by Johann Fulton, a

selection, which was featured by the Ail-American Bandmasters Band at the Midwest

Band Clinic in Chicago, 1955. With Private Richard Morris the featured soloist, and

James Hamilton conducting, the Band turned in another splendid job on "ODE for

Trumpet" by Alfred Reed. Hamilton, a senior and an outstanding performer on both the

saxophone and piano, also conducted "Barade [Ballad] For Alto Saxophone" also by

Alfred Reed. Concluding this splendid program, the Band went out in a blaze of glory on

"Tulsa," a symphonic poem in four sections by Don Gillis. Perhaps the crowning feature

of the concert was a tribute to the late and lamented William Christopher Handy, "Father

of the Blues." Prof. Greer, who shared the conducting chores with his able Assistant Prof.

Fransico, [Greer] played the "St. Louis Blues" on the trumpet to bring a hush over the

vast audience. It was a "blues," but somehow it seemed much more than that. It had a

different meaning than the one it has conveyed on dance floors down through the years.

Apparently Prof. Greer and the Band had this feeling as they captivated the audience with

this rendition. Maybe Handy was listening in from the Great Beyond. If so, we can

imagine that he smiled and whispered to himself. "Well done, Greer … well done …" (p.

47).

The musical knowledge that Greer possessed in all genres (Sexton interview, 2016), which was demonstrated in the concert and jazz bands, allowed him the freedom to be creative with the FRANK T. GREER 33 music performances of the Aristocrat of Bands. Greer’s unorthodox mixture of genres in the performances of the band is still present today. Dr. McDonald (2016) mentioned in his interview:

TSU has always had a reputation of... you know might hear us play an R&B song like

most of the HBCUs and then we'll turn around and play a classical tune or we'll turn

around and play a country tune, but that's something Greer did. In reading some of Dr.

Isaac Greggs statements about specific HBCU and the ones he respected, he constantly

talked about the band program under Greer's direction and how he respected what Mr.

Greer did whenever they played Southern [University] because you never knew what

they was going to play. He would concentrate on the latest Top 10 hit and Mr. Greer

would come out there and that's when I think he really shook things up when had Bach's

Toccata and Fugue arranged for the band. And instead of playing a traditional R&B tune

as the "concert tune" Dr. Greggs talks about when Mr. Greer played Bach and the people

we in Awe because they never heard anything like that from an HBCU band. That’s

something we continuously strive and do today. Even with the arrangers for the band, I

never really get into what to write. I try my best to give them the freedom to be creative

and think out of the box.

Dr. McDonald continued by describing the reaction the band received when the band performed an arrangement by Larry Jenkins, current Assistant Band Director, written for the band in 2015.

The arrangement he wrote was the theme song to the movie Star Trek. In my interview with him,

I asked Jenkins about why he chose the arrange that theme from Star Trek:

It goes kind of two fold. One, on the simplest form, I heard it and I thought that's got to

be done...that simple. And two, you know the band is 99% African-American and I used FRANK T. GREER 34

to be in a brass band in D.C. called DuPont Brass. We would play in the street, and one

day, this Caucasian woman came by and we were playing a classical tune at the time; I

think Trumpet Voluntary, it was one of those pieces along that line. And wen she came

by she said, "Oh wow, they're black", when she saw us. It one of those things, you know

you're not out to prove to anybody, …its really "who you have to prove to"… but it one

of those things like we play too. We're not locked into one genre. We're not locked into

Hip-Hop and R&B; it's so much more. Just like you wouldn't type-cast anybody else by

saying "You're lock in to playing marches, you're locked into playing..." No, no, no. We

can do it all. I thought that that would really fit the old. And the kids blew it out the box.

They learned it in literally like a day and that's because they were excited about it. I just

thought it fit us.

Graves mentioned almost the same thing regarding why Greer may have chosen to play classical music in his interview. Graves stated that the high quality of musical performance was the overall factor. Current Chief Arranger and Assistant Band Director, James Sexton, was a member of the Aristocrat of Bands after Greer retired; he remembered several rehearsals Greer actually rehearsed the band. Sexton said:

He was a no-nonsense kind of guy, but when it came to music, so that kind of attention to

details and he had quite a bit of musical knowledge too, he had a good ear too. His work

ethic, and you just had to respect him; because you knew he had the knowledge what he

was talking about. So he could afford to be stern. He wasn’t just being stern and firm just

to be doing it, he was trying to get stuff done. He was going to get it done.

Greer mentioned the importance of presenting music of various styles to Dr. Watkins (1976) in an interview: FRANK T. GREER 35

A good musician… should have an acquaintance with classical and popular music…and

he should have a well-rounded experience at college… He also has to learn about

competition… how rapidly he has to assimilate ideas and translate these… into action

patterns so that he responds rapidly, grasps the idea, and then plays with beauty and

understanding. This doesn't come automatically for a boy… if he doesn't have a

tremendous [musical] background. It seems mandatory that we spend some time [in these

areas] (pp. 63-64).

To summarize Greer’s influence of the musical performance selections and the eventual traditions it created, Sexton continued by saying, “The foundation to any music program is the music. Making sure it on the quality level.”

Surrounded by other great musicians. Although Greer is known to be the most significant person to develop the Tennessee State band program into what we know of today,

Greer did not do it all by himself. As stated before, Greer had five assistant directors during his tenure to help carry the duties of evolving the band program. Greer told Dr. Watkins (1976):

Anceo Francisco, who is now teaching… in Oklahoma; Ben Butler, who is presently

Band Director at Texas Southern University [Houston, Texas]; Marcus Rowland, a

teacher in the Atlanta [Georgia] Public Schools; Edward Louis Smith [who] is very well

known in the field of jazz, and is now teaching at the University of Michigan in Ann

Arbor; Daniel Owens… our chief arranger… who is [now] in charge of WTSU Radio

[the Tennessee State University AMRadio Station]; and… Mrs. Carrie Gentry, who was

in charge of the Majorettes… for fifteen years…I would like to have it clearly understood

that these assistants were largely responsible for some of the successes that we had… (p.

65). FRANK T. GREER 36

During Greer’s tenure, the chief arrangers had a strong background in jazz. I conjectured that this could have been because of Greer’s love for performing and arranging of jazz before he came to TSU, but Sexton had a simpler reason:

… you know in their time well early in the 50s and 60s jazz was the popular form of

music. So when I got here at TSU, we got a lot of charts that are jazz charts written for

marching. You got your “Ebb Tide”, stuff like that “When I Fall in Love” and all that

stuff.

Sexton also added that Greer did not do all of the arranging of to establish the band’s new “big sound”:

I don’t know if he did it with his arranging skills because when I said Ebb Tide and all

that stuff, he had two people here with him maybe three, I know two for sure. They were

Danny Owens and Lewis Smith. So I don’t know if he set it in his arrangements, but it

was in the way he rehearsed the band and his music knowledge. He did do some

arrangements, but I’m not sure they set the platform for the style.

Therefore, it wasn’t only Greer’s musical knowledge that produced TSU’s distinctive sound; it was a combination of assistants that worked with Greer that helped him.

This pedigree of jazz influence arrangers has been a staple of the Aristocrat of Bands since Greer’s leadership. The band has had six Chief Arrangers that have all had an extensive background in jazz, with most of them gaining their experience from TSU. These arrangers are:

Anceo Francisco, Danny Owens, Lewis Smith, Marcus Rowland, Benjamin Kirk, and James

Sexton.

Greer, the politician. With the publicity gained through the nationally televised performances, Greer maintained several performances in the state of Tennessee, which included FRANK T. GREER 37 parades and other performances in the hometowns of Governor and State Senators (Graves, personal communication 2016). Dr. McDonald and Graves both said in their interviews that

Greer developed professional relationships with both Governor Buford Ellington and Senator

Albert Gore, Sr.. Graves and Dr. McDonald said in their interviews that Greer would even call the Governor for monetary assistance to help the band travel to several of the televised performances.

One trip for the band almost did not happen were it not for the Governor’s assistance. Dr.

McDonald mentioned in his interview:

[Greer] could pick up the phone and call him and mention to him that the band was

lacking something and they get the resources. There's a story that TSU was invited to

play Los Angeles, California. I forget who the opponent was; this had to be around 1965-

68 or something like that. The University did not have the resources to send the band and

Mr. Greer was the specifically told not to reach out to the Governor because it didn't have

the good appearance, the University was in financial crisis and the Governor gave money

to the band to go California fort his one event, when there were some many pressing

needs [for the entire school]. And Mr. Greer's exact response as was told me was he told

the President of the University at the time "Well I’m going to talk to the Governor as the

Director of Bands and Tennessee State, I'm going to call the Governor as a citizen of state

of Tennessee.

As the band prepared for the trip, TSU folklore states that the Governor was at the airport with the TSU band to send them off. Graves even said that the Governor escorted Greer through the airport to meet Louis Armstrong who had just arrived in Nashville. There is even a picture of both Armstrong and Greer that many people thought was a picture at a performance venue, but FRANK T. GREER 38 was actually at the airport and was arranged by the Governor. I assume that Governor Ellington wanted to meet Louis Armstrong and used Greer to help meet the jazz legend. Unfortunately, I could not find the original photo, but a copy can be found in Dr. McDonald’s dissertation (2009).

This is just one example of Frank T. Greer’s influences not only on bands, but also as a representative of the state. Originally, the band was ambassadors of Tennessee State University, but after the publicity from several outstanding nationally televised performances, the “Aristocrat of Bands” became the third nationally ranked band and helped put the HBCU bands in the same realm as PWIs. With this exposure under Greer’s direction, the band became ambassadors for the state of Tennessee.

Most influential performance. TSU’s televised performance at a NFL game stood out; however, one performance is likely more significant: the 1961 Inauguration Parade of President

John F. Kennedy. This performance solidified Greer’s overall concept of being an outstanding educator, mentor, and role model for the Black Community.

Greer’s association with Governor Ellington and a performance in Hartsville, Tennessee, which Senator Gore attended, was the cornerstone to TSU’s invitation to participate in the

Inaugural Parade. This performance was the first time an all-Black band participated in a

Presidential Inaugural Parade. Dr. Watkins (1976) retrieved a letter that Senator Gore sent to the

Inaugural Committee on November 17, 1980:

Tennessee… State University… has recently achieved international acclaim. Miss

Wilma Rudolph, one of its students was the individual star of the United States

contingent at the Olympic Games in Rome… She was awarded three gold medals. In

addition to her accomplishments, this institution is [renowned] for its fine 132-piece

marching band… I have personally witnessed its performance and unhesitatingly FRANK T. GREER 39

recommend it as one of the finest I have seen. I believe that participation by the

Tennessee . . . Band would contribute materially to the Inaugural Parade (p. 61).

After the official invitation to participate, the Aristocrat of Bands accepted, but did not represent the state Tennessee in the parade. Instead, the band performed with a group from the Virgin

Islands.

A letter from John Miller to Senator Walter Hodges on January 9, 1965 explains the situation:

The band had originally been scheduled to represent Tennessee, and during a conference

with the Governor of Tennessee, the Committee at Washington called saying [that] they

had the problem of getting bands for everyone. Some would not be able to send bands

due to distance, expense, etc., [including the]… Virgin Islands. Governor Ellington told

them that this [Tennessee State University] Band was set to represent our state, however,

Mr. Greer very graciously agreed to represent the Virgin Islands in this parade (Watkins,

1976, p. 62).

To the dismay of all of the parties associated with TSU’s original invitation, Greer based his decision on one thing: “My feeling was that Black people needed to stick together… and assist each other whenever possible” as he said in his interview with Dr. Watkins (1976, pp. 62-63).

This was mainly because the Virgin Islands unit only had one float and was placed toward the end of the parade due to its status a U.S. Protectorate. In any case, the Tennessee State

University Aristocrat of Bands made history as the first Black band to march in a Presidential

Inaugural Parade. I assume that the state of Tennessee had two bands in the parade, although I could not find any records of the participating bands in the parade. FRANK T. GREER 40

It is safe to say that the Black community in the country was ecstatic to see the

Aristocrats march through Washington D. C. An interesting fact about the Kennedy

Inauguration is that Edward L. Graves was in that band and while he was Director of Bands at

TSU, the Aristocrats participated in President Bill Clinton’s Inaugural Parade. And who was

Clinton’s Vice-President? None other than Albert “Al” Gore, Jr., the son of the Senator Gore Sr., who helped the band in 1961 for Kennedy’s Parade. Graves said in his interview (2016) that he remembered it was very cold the morning of the parade and with them being at the end of the parade, they were waiting for a long time outside. He even said that in the neighborhood in which they were waiting, many of the homeowners allowed the band members into their homes and served them coffee and hot cocoa.

The nationally known Aristocrat of Bands. As the band began to become a staple on television and one of the biggest names in the state of Tennessee and among HBCUs, TSU was honored to become the first HBCU band to perform for the 1964 NFL Championship game in

Chicago, Illinois; and the coldest performance for the band to date. This performance was three years before the first ever Super Bowl. This unprecedented performance was very emotional for

Greer.

As explained earlier, Greer was a known for his all-male band and vowed not to have females in his band until TSU President, Dr. Davis “persuaded” Greer to add majorettes/dancers.

In the 1995 documentary, “Rain Doesn’t Fall on the Aristocrat of Bands”, Greer tells the story that it was so cold, he did not know if he could motivate a group of freezing men to march the halftime field show. Then he said something miraculous happened: the majorettes dressed in their “skimpy” outfits with their legs and arms exposed to the elements took their capes off and prepared to get ready to perform. It was then that the men of the band realized that if the ladies FRANK T. GREER 41 could bear to cold weather, they could too. The band went on to perform one the best shows of the year.

The majorettes’ performance was so memorable that many of the newspapers cited their performance:

THE BRAVEST of the marchers with the big “T” on the back of their uniforms were the

majorettes, whose shapely legs were bared against numbing wind. The attractive girls

marched briskly in several delicate patterns and high-lighted their performance with a

high-kicking, improvised “Can-Can” act. The crowd loved it (Afro/American, 1964,

January, para. 4).

Greer’s Work Outside of the Aristocrat of Bands

Frank T. Greer achieved many things as the Director of Bands of the Aristocrat of Bands and helped the band to become a household name in the HBCU community. Although the

Aristocrat of Bands became a staple name in the band world, he also accomplished many acts away from the Aristocrat of Bands. Most of Greer’s accomplishments for the band were achieved within the first few years, but Greer’s return to Tennessee State brought new beginnings for the institution. With the change in conditions of the band program from the time

Frank Greer was a student to the time he became Director of Bands, he felt as if a creation of a comprehensive program was needed.

To continue to develop not only a comprehensive band program, but also a well-round music department, Greer played a major role in selecting the new music department chair, Dr.

Mells. When Dr. Mells was leaving TSU, Greer thought about the one individual that encouraged him to take the Director of Bands position at TSU, Dr. Edward C. Lewis, Greer’s teacher, mentor, and friend from West Virginia State University. After Greer’s encouragement, FRANK T. GREER 42

Lewis took the position as TSU’s Music Department Chair in 1953. This dynamic duo developed the music program to establish many of the firsts for both the state of Tennessee and the nation.

One of the first accomplishments for Greer and the music department was to organize the

Band Festival for the Tennessee Association of Band Directors (TABD). The Tennessee

Association of Band Directors was similar to the Tennessee Bandmasters’ Association, but was for African-American directors due to segregation. The main purpose for the TABD Band

Festival was to provide a platform for the predominantly African-American bands to perform and be adjudicated on the same level as their White counterparts. Greer organized and supervised the Band Festival on the campus of TSU from 1954 to 1959 (Greer’s resume,

Appendix B).

Other functions of the TABD was to establish an avenue for band directors to stay current with the latest trends in instrumental music education by way of clinics and an honor band featuring some of the most talented African-American students in Tennessee. Greer was fortunate enough to be a guest conductor and clinician from 1955 to 1958 (Greer’s resume,

Appendix B). Greer’s accomplishments with the TABD occurred in the first ten years of service at TSU. Bringing high school students to the campus of TSU within Greer’s first few years as

Director of Bands helped with recruiting the best musicians for the music department.

Greer also was a regionally known guest conductor for honor bands and an adjudicator for concert band festivals and competitions. According to his resume, he adjudicated thirteen band festivals and was guest conductor for six honor bands. Although the last date on Greer’s resume is in 1979, he continued to be a guest clinician even after he retired. Dr. McDonald FRANK T. GREER 43 remembered, an honor band that was hosted at Alabama State University in late 1980s, that featured Greer as a guest clinician.

One of the more unique and unknown accomplishments for the department chair, Dr.

Edward C. Lewis, Greer and entire music department at Tennessee State is that they were the first university in the state of Tennessee to be accredited by the National Association of Schools of Music (NASM) in 1962. Dr. McDonald found the documentation while working on his dissertation, but I was unable to find it. However, while searching the NASM database, http://nasm.arts-accredit.org, for the initial year of accreditation of institutions in Tennessee, I found that the University of Tennessee, Chattanooga (UT-Chatt) and Fisk University had the earliest initial year in 1933 and 1952, respectfully. But through further investigation, I found that

UT-Chatt was named Chattanooga College at the time and Fisk University became a private university in 1867. It is safe to say that Tennessee State’s music department was the first “state university” to be accredited by NASM. This is still an accomplishment in itself as you compare it to the more established and PWI’s music departments in Tennessee.

In addition to all of the marching and jazz band arrangements Greer wrote in his career, he also spent time composing and arranging classical music. Greer wrote three band transcriptions: “Colas Breugnon Overture” by Kablevsky, “Symphonie Espagnole (Violine and

Wind Ensemble)” by Lalo, and “Concerto in B Minor” by Tchaikowsky (Greer’s resume,

Appendix B). He also composed original works for concert band. Greer’s last composition was

“Songs of Black Folk: Three Negro Spirituals” (Obituary, August 1997). Greer was also a strong promoter of performing music by African-American composers. In the spring of 1967, the

Tennessee State University Concert Band, under the baton of Frank Greer, premiered

“Projections”, written by Henry A. Heard (Horne, 1996, p. 128). FRANK T. GREER 44

Greer also had other special projects such as academic writings: A History of Black Band

Directors from 1912 and A Study of Embouchure Problems of Brass Players at Tennessee State

University (Greer’s resume, Appendix B). Unfortunately, these documents were not found in my search in TSU’s Special Collection and Music Library. However, Dr. McDonald stated he was very curious about founding those documents and believes that they could be a personal collection of items given to him by Graves upon his retirement from Tennessee State.

Greer’s students continued his legacy of excellence. One of the biggest influences

Frank Greer had on HBCU bands and music education was the number of graduates he produced that became music educators. Many of these TSU graduates went on to teach middle and high school bands that spread Greer’s “Aristocratic” philosophy to other cities in the South like

“…Atlanta, Georgia; Memphis, Tennessee; and Birmingham; Alabama” (McDonald’s interview) and even cities up North like “…Chicago, Illinois; Detroit, Michigan; and Portsmouth, Virginia”

(Jenkins interview).

While interviewing Larry Jenkins, current Assistant Band Director and former band member of the Aristocrat of Bands, – we were in the band together at the same – he mentions

Greer’s biggest impact on music education:

“[It] is probably in the spreading out of his philosophies and his educational principle

through some many people. Producing, like that many educators means that your

umbrella is extremely wide. Your principles and educational philosophies are just

tricking down and down. Even through the different people. You know, we were taught

by the same people; we may have some things that are different, but we have a lot of our

foundation in the same place. And that comes from Mac [McDonald] or Graves, who was

under Greer, so we still have Greer too.” FRANK T. GREER 45

There are a vast number of instrumental music education majors who graduated from

Tennessee State. At one point, Greer was considered by many to have produced the most

African-American music educators during the time period he was at TSU (Graves interview,

2016). Graves even sad that Greer may have produced the most African-American collegiate band directors during his time.

His former students are directing bands at Alabama State College [sic], Montgomery,

Alabama; Auburn University, Montgomery, Alabama; Morris Brown College, Atlanta

[Georgia]; Kentucky State College [sic], Frankfort; Compton College, California; Texas

Southern University, Houston, and Michigan State University at Lansing (Watkins, 1976,

pp. 65-66).

In fact, Graves’ graduating class produced six collegiate band directors alone (Graves interview,

2016). In most cases, the Tennessee State graduates that became Director of Bands at previously established HCBU band programs; however, during their tenure at these institutions, the band programs developed and became as noticed as the TSU Aristocrat of Bands.

Other than Graves, who took over the Aristocrat of Bands, the second most known alumnus from this era is Benjamin Butler. Butler, who was also Greer’s assistant from 1960 to

1969, left Tennessee State to establish the new marching band at Texas Southern University

(also TSU) in Houston, Texas. Butler introduced the band at its conception as the “Ocean of

Soul”.

Appendix A is a document listing the “TSU Band and Music Department Alumni

Accomplishments” that Dr. McDonald found in a stack of paper given to him by Graves after he retired. This list of alumni accomplishments includes:

• 40 graduates with earned Masters degrees from TSU FRANK T. GREER 46

• 18 Graduates with earned Masters degrees from other schools

• 13 graduates that matriculated or completed in doctoral degree programs

• 5 graduates matriculated in Masters degree programs

• 32 graduates with college teaching experience

• 4 graduates that are supervisors of music

• 16 graduates that are performing or writing professionally

• 3 graduates that are Heads of Music Departments at the collegiate level

As this list was compiled in the early 1970s, several names may have been left off the list.

Graves added in his interview that many of the professional musicians that came out TSU probably did not graduate because they gained membership in traveling jazz groups. As an example, Graves told me that when Ray Charles and his band visited TSU one year, Charles was filling in on Tenor Sax in his own band and needed a replacement and auditioned several students and added several TSU students to his band. Graves continued to say; “At the time of

James Brown and B. B. King’s death, members of both of those bands included TSU graduates that were here under Greer.” This is a great example of how Greer’s impact has its influences not only in the classroom, but also on the performance stage.

Greer’s Last Years at TSU

Although Greer was having a successful career at Tennessee State, he had a continuous problem providing equal opportunities for African-Americans to gain an education. Dr. Watkins

(1976) noted in his interview with Greer that Greer observed, “that fewer Black students are participating in high school bands, and the larger schools (colleges and universities) are recruiting” (p. 66). Greer continued: FRANK T. GREER 47

You see, in the great bands- that I had at Tennessee State… [were] when we had

segregation [racially]… but as soon as the University of Tennessee, Memphis State, and

others, started… really going after these Black musicians, we were in trouble (Watkins,

1976, p. 66).

Do not mistake Greer as being jealous of those institutions; he just knew that the only way to get those better student-musicians was to have a strong and outstanding program and “offering scholarships, opportunities, and experiences with the most up-to-date equipment” (Watkins,

1976, p. 66). Greer even knew that this would become a problem when he addressed the alumni back in 1963:

Our greatest shortcoming is the lack of scholarships for talented music students… The

really good boys are going where they can get a full or partial scholarship. This is a hard

fact of life. We are headed for real trouble down the line. We need instructors who are

specialists in critical areas… At present we cannot give adequate instruction to our

overflowing student population who are majoring in wind instruments (Watkins, 1976, pp.

66-67).

In May of 1972, Greer resigned as the Director of Bands due to both “personal and professional”

(Watkins, 1976, p. 67) reasons. In an interview with newspaper writer, Churchwell, Greer maintains that his resignation was simply:

…an attempt to have citizens understand that we are not get- ting equal access to

education when we are not getting equipment and scholarships. It's not that I was

rebelling against the system, the present administration [at Tennessee State University]

inherited this kind of thing (Watkins, 1976, p. 67). FRANK T. GREER 48

Before Greer officially stepped down, he asked Clifford E. Watkins to apply and become his successor as Director of Bands. Johnny Lee Lane, an Assistant Band Director at TSU, hired by

Watkins, told McDonald:

…in the summer of 1972, Dr. Watkins was driving through Nashville on his way home to

South Carolina after completing a term towards his Doctoral degree at Southern Illinois

University. Greer, also traveling on the highway, beckoned to Watkins to pull over. Once

they both pulled off to the side of the interstate, Greer told him that he had stepped down

to become coordinator of university recruitment and suggested that Watkins apply for the

position. At the time Watkins was the Assistant Band Director at South Carolina State

University (McDonald, 2009, pp. 48-49).

Watkins became TSU’s third Director of Bands in 1972. He stepped down as director in 1979 and continued to serves as Associate Professor of Music until 1982 (McDonald, 2009, p.54).

Greer did not leave Tennessee State, he continued as a professor in the music department while being the Director of Student Recruiting from 1972-1975 and Assistant Director of

Admissions and Records from 1975 until he officially retired in 1979. A retirement statement

(unknown author) that was found in the Tennessee State Library’s Special Collections mentions

Greer’s statement about recruiting:

“Recruiting is taking TSU’s story to the student,” he explained. “They see the

University through us (the recruiters). Students have a fear of the unknown. We try to

clear doubts as possible.

Often his job is combatting negative opinions about TSU, Greer said. He and

other recruiters spend most of their time talking to black students because; “there is still a

bearer in the white mind against black institutions…”(p. 2). FRANK T. GREER 49

Even after 28 years of service to Tennessee State University, Greer would continued to visit TSU to rehearse the bands. Sexton stated in his interview that Greer really never changed:

…Even when he retired they always brought up his name. And again his work ethic,

attention to detail, his musical knowledge, his firmness, his sternness I think that

impacted a lot of folks...

Under the direction of Edward Graves, the Aristocrat of Bands even featured Greer as the band’s guest conductor. There are two notable performances Greer guest conducted: the 1987 TSU

Homecoming Game, in which the band performed Greer’s arrangement of the jazz tune, “Ebb

Tide” and 1995 Homecoming game (several recordings of these performances can be found on

YouTube). These recordings may be the last public recordings of Greer conducting the band. A picture of Frank T. Greer on the conductor’s ladder with his hands in the air is one of the lasting and iconic images of Greer and is featured on several Aristocrat of Band Associated websites.

In 1975, Frank Greer served as the Music Director and Conductor of many Theater

Nashville Productions including “Purlie” and “Sweet Charity” (Greer’s resume, Appendix B).

He was even awarded Music Director of the Year Award for his work on “Purlie” (Greer’s resume, Appendix B). Four years later, Greer was given a “plaque and proclamation that was presented by Tennessee State University at Commencement, 1979, for meritorious service as band director, educator and humanitarian, this is the highest award the university can give to a faculty or staff member” (Greer’s resume, Appendix B). More of Greer’s accomplishments can be found on his resume, Appendix B.

Greer was also featured in the 1995 locally produced WCTE-TV (PBS affiliate) special,

“Rain Doesn’t Fall on The Aristocrat of Bands”. Two years later, the Aristocrats experienced two tragedies, the death of Assistant Band Director, Benjamin Kirk, and the death of Frank Terry FRANK T. GREER 50

Greer, who passed away on August 23, 1997. At the memorial service for Greer, the program featured classical music “Suite in D Major” by J. S. Bach and “Ode to Joy” by Ludwig von

Beethoven as well as the Negro Spiritual, “Deep River” as a testament to Greer’s love for all genres of music.

Continuing the legacy. As stated throughout this document, beginning with the Frank T.

Greer era, there have been many members of the TSU band staff who have been graduates of

TSU and have even marched in the band. In fact, the all of the current band staff (from the office staff to the instrument repairmen) at TSU except for Director of Bands, Dr. McDonald have graduated from TSU. One could conclude that the best way to keep the traditions alive throughout the generations is to hire leaders from within the program. In his interview, Jenkins spoke about the importance of keeping traditions going:

I think that all of that [hiring having staff members that are from TSU] goes into that

making it more narrow with the way we play, our style and everything. I think it makes it

easier because your comfortable, you're familiar the style, the culture of the band outside

the culture of the school; so I do think that is important. But I think there is room for

"outsiders" like Dr. McDonald, who is definitely [a part of the TSU] family. He didn’t

graduate from here, but Dr. McDonald has done some wonderful things with the band.

He's taking in the TSU culture and start to expound upon it even though he wasn’t a

graduate if Tennessee State. But here goes again, how Greer influences trickle down

because he had Dr. Lyle [who graduated from TSU]. So, all of those things... I think Dr.

McDonald is part TSU even though he didn't march AOB. FRANK T. GREER 51

Several institutions, especially HBCU bands, have used the practice of keeping the traditions of the band intact, by hiring alums of the band to its staff. It is only at two institutions where this practice might be stronger: Florida A&M and Southern Universities.

Conclusion

Frank T. Greer had an outstanding career as the Director of Bands at Tennessee State

University, especially in developing and progressing the marching band into the Aristocrat of

Bands, as we know it today. His influences on instrumental music education not only have had an impact on TSU, but through his hard work, enthusiasm, and energy, he influenced the state of

Tennessee, other HBCUs, and to an extent, the nation. Greer’s main goal was to produce excellent performances through a well-rounded music program while simultaneously providing opportunities for African-Americans to receive a collegiate education.

Greer learned the meaning of hard work and dedication to his craft due to the ups and downs of his professional music performance career. With his hard work and dedication, he developed a high-powered high school band by observing some of the better PWI bands of the

Big Ten Conference. And when Frank Greer returned back to TSU, its music program was in worse conditions than when he left. Greer’s work ethic and experience as a high school band director helped him to make TSU a nationally known music program and school by working with a sense of urgency and pride in the institution. In the end, Greer’s work at TSU allowed him to give his students all of the knowledge, skills, and opportunities that he may or may not have had when he was their age.

Greer influenced other marching band programs to think creatively and break norms of the bands of their time by playing numerous genres throughout their performances. Greer simultaneously influenced his students to become major contributors to music education while FRANK T. GREER 52 preparing his bands to achieve high levels of performance. Greer believed that anyone could play any style of music and as long as the music was performed with high quality. During the peak of Greer’s career at Tennessee State, there may have been several bands and music departments across the country that attempted to figure out the formula of success that he developed. Most bands developed their own sense of creativity that broke the conventions of marching band performances after seeing the Aristocrat of Bands in person, at football games, and other competitions.

Quite possibly, Frank T. Greer’s biggest influence on music education was the quantity and quality of music educators he produced at TSU. Not only did the students of Greer teach the next generations of musicians who entered the collegiate bands, but he also taught students who became band directors at colleges and universities across the country. As stated before, Greer’s philosophies and ideals of music performance have impacted many students and musicians for several generations.

Hopefully, both new and veteran band directors can find something to take way from this document and apply it to their lives. For collegiate students and young band directors who are struggling in getting a handle of their new profession, Greer’s life and legacy can demonstrate how working toward a goal through many obstacles can provide positive outcomes. Even as

Greer was not allowed admittance into the Army School of Music, he continued to arrange music; and even when he was a paratrooper, Greer continued to perform and play on the side.

Veteran directors can use Greer’s use of role models as a guide in his own instruction.

While at Douglass High School, Greer understood that Ohio State and Michigan’s bands were great and he tried to find out what those bands were doing to get better. While at TSU, he suggested his graduates to attend the Big Ten schools to learn their instructional methods. Greer FRANK T. GREER 53 even hired four Michigan graduates to come back to TSU. The combination of the Greer’s knowledge and the knowledge from outside institutions shows that continuous professional development will enhance instruction.

As a graduate of TSU and a former member of the Aristocrat of Bands, I have gained a better understanding of the importance and impact Greer had on my band. I also developed a deeper understanding of the relationship between TSU and the bands of the Big Ten Conference.

And finally, I can see how the relationships between the various HBCU bands were created from ongoing competitions or bands being developed by graduates of another schools.

Implications for Further Study

Originally, this study’s purpose was to continue works of Dr. Lamar Smith (1976), Dr.

Clifford Watkins (1976), and Dr. Reginald McDonald, but my study has shown that there is still a need for research into Greer’s influences and HBCU bands as a whole. The continuous search to find historical documents and data on HBCUs and their bands will bring a lot of closure to the formation and evolution of these institutions.

I have developed the following questions for further study through my research on Frank

T. Greer:

• What is the relationship between the Big Ten Conference bands and HBCU

bands?

• How many TSU graduates became collegiate band directors after Greer’s tenure?

• Dr. Watkins discusses the work of three selected HBCU band directors (Frank T.

Greer, William P. Foster, and Reginald R. Thomasson) as the founding fathers of

HBCU bands. Could we trace origins or lineage of all HBCU directors to those

three? FRANK T. GREER 54

• As the prestige of the HBCU bands increased due to more exposure, did the

Predominantly White Institutions use that as stepping stone to increase their

music programs?

Many of the questions above could have easily been sub-themes of the data I found within my research and interviews; however, they are outside of the scope of this project. It would be more beneficial to stakeholders to investigate the above questions thoroughly to find the answers for their institutions and/or bands. FRANK T. GREER 55

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historically-black-colleges-and-universities/

World’s Biggest Negro High School. (1950, June), Ebony Magazine, 5(8), p. 20.

FRANK T. GREER 59

Appendix A

TSU Band and Music Department Alumni Accomplishments Prepared by Dr. Edward Lewis and Professor Greer in the early 1970s

A. Tennessee State University Music Graduates with earned Masters from TSU: 1. Abernathy, William (‘56) 21. Lathon, William Carl (’69) 2. Able, Emerson (’59) 22. Mells, Loretta (Perry) (’62) 3. Baker, Irma Jean (Stewart) (’69) 23. Mitchell, Paul B. (’62) 4. Braden, Robert Lee (’69) 24. Montgomery, Dillard B. (’69) 5. Brady, Leon A. ('61) 25. Moore, Willie A., Jr. ('69) 6. Brooks, Thomas J. (’60) 26. Morton, Leonard H. (’60) 7. Carter, Andreal (’61) 27. McKissack, Shirley J. (’66) 8. Cotton, Wilma (Tarkington) (’67) 28. Preer, Richard P. (’70) 9. Crowder, Russeltaze (’68) 29. Prince, Leon Curtis 10. Daniels, Joseph A. (’60) 30. Sanders, Henry F. (’66) 11. Dotson, James H. (’63) 31. Shute, Ollie (Pearson)(’65) 12. Gayle, William Criss (’61) 32. Spence, Dolphus L. (’59) 13. Goodrich, Andrew L. (’57) 33. Steele, Pem (’62) 14. Green, Harold, Alvin (’62) 34. Turner, E rl W. (Sonny) (’61) 15. Green, John Lucius (’65) 35. Walker, Jessie Palmer (’61) 16. Griffin, Robert Edward (’65) 36. Ward, Daniel (’60) 17. Grisham, Anathia (Beneby) (’61) 37. Watkins, James P. (’61) 18. Jackson, Myrtis E. (Fields) (’69) 38. Watson, Harold Justine (’61) 19. Johnson, Cleopas R. (’61) 39. Watters, Rynie Sherry (’69) 20. Kimbrell, David M. (’54) 40. Young, Dorothy L. (Martin) (’65)

B. Tennessee State University Music Graduates with earned Masters degrees from other schools: 1. Adams, Leon L. – University of Illinois 2. Boyer, Joe L. – University of Illinois 3. Butler, Benjamin J. – University of Michigan 4. Carter, Warrick L. – 5. Cato, J. Alvin – University of Illinois 6. Cobb, David – University of Michigan 7. Cotton, Don W. – University of Illinois 8. Graves, Edward L. – University of Illinois 9. Haygood, Joseph W. – University of Iowa 10. Houston, Clark – Catholic University of America 11. Jones, Calvin J. – 12. Jordan, Raymond – University of Illinois 13. Meacham, Paul – University of Oklahoma 14. Meadows, Eddie S. – University of Illinois 15. Lyle, Thomas E. – University of Michigan 16. McTerry, Harry J. – University of Cincinnati College Conservatory of Music

Retyped from Dr. Reginald A. McDonald’s Dissertation (2009) pp. 116-121 FRANK T. GREER 60

17. Scott, Charlotte (Rhodes) – University of Cincinnati College Conservatory of Music 18. Smith, Edward Louis – University of Michigan

C. Tennessee State Music alumni matriculating in doctoral degree programs, or having completed such programs: (year will indicate program completed) 1. Adams, Leon L. – University of Indiana 2. Boyer, Joe L. – Ohio State University 3. Butler, Benjamin J. – University of Oklahoma 4. Carter, Warrick L. – Michigan State University (1970) 5. Cato, J. Alvin – Michigan State University 6. Goodrich, Andrew L. – Michigan State University (1969) 7. Green, Harold A. – Southern Illinois University 8. Houston, Clark – Catholic University of America 9. Meacham, Paul – 10. Meadows, Eddie – Michigan State University (1970) 11. Mitchell, Paul B. – Northwestern University 12. McTerry, Harry J. – University of Cincinnati College Conservatory of Music 13. Spence, Dolphus L. – University of Tennessee

D. Tennessee State Music alumni matriculating in masters degree programs at other universities: 1. Albritton, Robert Lee – University of Michigan 2. Craighead, Sally Y. – Cleveland Institute of Music 3. Ewell, Henry A. – University of Houston (Texas) 4. Kirk, Benjamin J. – Texas Southern University, Houston, Texas 5. Love, Eddie Lee – University of Illinois

E. College Teaching experiences of Tenn. State U. Music Alumni: 1. Boyer, Joe L. – Head, Department of Music, Stillman College, Tuscaloosa, Ala. Formerly, Director of Bands, same school 2. Brooks, Thomas J. – Instructor, Tennessee State University, School of Engineering 3. Butler, Benjamin J. – Director of Bands, Texas Southern University, Houston, Texas Formerly Assistant Director of Bands, Tennessee State University, Nashville 4. Carter, Warrick L. Director of Bands, Maryland State College, Princess Ann, Maryland 5. Cato, J. Alvin – Instructor of French horn, Michigan State University Formerly Instructor of Music, Norfolk State University, Norfolk, Virginia Formerly Assistant Director of Bands, Florida A & M University, Tallahassee, Florida Formerly Assistant Director of Bands, Southern University, Baton Rouge, LA 6. Cobb, Davis S. – Director of Bands at a California College Formerly Director of Bands, Prairie View A & M College, Prairie View, Texas

Retyped from Dr. Reginald A. McDonald’s Dissertation (2009) pp. 116-121 FRANK T. GREER 61

Formerly Assistant Director of Bands, Prairie View A & M College 7. Daniels, Joseph A. Formerly Organist, Elizabeth City State College Formerly Director of Bands, Prairie View A & M College, Prairie View, Texas 8. Ewell, Henry A. Assistant Director of Bands, Morris Brown College, Atlanta, Georgia 9. Flournoy, Robert E. Assistant Director of Bands, Morris Brown College, Atlanta, Georgia 10. Goodrich, Andrew L. American Association of Junior Colleges, Dupont Circle, Washington D. C. 11. Graves, Edward L. Director of Bands, Shaw University, Raleigh N. C. Formerly Instructor of Music, A. And T. College, Greensboro, N. C. 12. Green, Harold A. Head, Department of Music, Edward Waters College, Jacksonville, Florida 13. Hewitt, Oliver Chairman, Music Education, Lane College, Jackson, Tennessee 14. Holmes, Lassye Van Head, Department of Music, Rust College, Holy Springs, Buren Mississippi 15. Holmes, Robert Assistant Director, Black Studies in Music, Fisk University, Nashville, Tennessee 16. Horne, Aaron Assistant Director of Bands, Florida A and M University, Tallahassee, Florida 17. Johnson, Cleopas R. Director of Bands, Morris Brown College, Atlanta, Georgia 18. Jordan, Raymond Director of Bands, Kentucky State College, Frankfort, Kentucky Formerly Assistant Director of Bands, Savannah State College, Savannah, Georgia 19. Judge, Martha L. Therapist, Meharry Medical College, Nashville, Tennessee 20. Kirk, Benjamin Band Assistant, Texas Southern University, Houston, Texas 21. Lathon, William Carl Assistant Dean, School of Music, University of Louisville, Louisville, Kentucky 22. Lyle, Thomas E. Director of Bands, Alabama State University, Montgomery Alabama Formerly Assistant Director of Bands, Florida A and M University, Tallahassee, Florida 23. Meacham, Paul E. Formerly Director of Bands, Stillman College, Tuscaloosa, Alabama 24. Meadows, Eddie S. Assistant Professor of Music, Michigan State University Formerly Director of Bands, Kentucky State College Formerly Director of Bands, Wylie College, Tyler Texas 25. Mells, Loretta (Perry) Formerly Instructor of Music, Tennessee State University, Nashville, Tennessee Currently Supervisor of Music, Public Schools of E. St. Louis, Illinois

Retyped from Dr. Reginald A. McDonald’s Dissertation (2009) pp. 116-121 FRANK T. GREER 62

26. Morris, Richard A. Formerly Director of Bands, Allen University, Columbia, South Carolina 27. McDonald, Blondell Head Librarian, Meharry Medical College, Nashville, (Strong Tennessee 28. McTerry, Harry J. Conductor, Symphonic Band, University of Cincinnati College Conservatory of Music Assistant Director Marching Band, same school Formerly Assistant Director of Bands, Alabama State College, Montgomery, Alabama 29. Sanders, Henry F. Director of Bands, Maryland State College, Princess Ann, Maryland (1968-1970) Former Director of Bands, Rust College, Holly Spring, Mississippi 30. Scott, Charlotte A. Instructor of Music, Tennessee State University, Nashville, Tennessee 31. Smith, Edward Louis Formerly Director of Bands, Kentucky State, Frankfort, Kentucky Formerly Assistant Director of Bands, Tennessee State University, Nashville, Tennessee 32. Vestal, Danny Director of Bands, Saints Junior College, Lexington, Mississippi

Retyped from Dr. Reginald A. McDonald’s Dissertation (2009) pp. 116-121 FRANK T. GREER 63

F. Tennessee State Music Alumni currently supervisors of Music: 1. Adams, Leon State Supervisor of Music, State Department of Education, Little Rock, Arkansas 2. Mells, Loretta N. (perry) Supervisor of Music, Public School System E. St. Louis, Illinois 3. Morton, Leonard H. Supervisor of Music, Metropolitan School System, Nashville, Tennessee 4. Russell, Carl R. Music Supervisor, Inkster, Michigan

G. Tennessee State Music Alumni playing or writing professionally: 1. Brady, Leon G. Kansas City, Kansas, Jazz groups 2. Cain, Thomas, G. Nashville, Tennessee Jazz Combo 3. Cato, J, Alvin Michigan State University, French horn recitals 4. Craighead, Sally French horn with Chattanooga Symphony (Tennessee) 5. Davis, Maurice Arranger for Mo-Town Recording Co., Detroit, Michigan 6. Eaton, Cleveland Bass player with Ramsey Lewis Trio 7. Goodrich, Andrew Former Jazz Combo member 8. Hall, James E. Former flute player with Nashville Symphony (Tennessee) 9. Hamilton, James L. Artist and Repertoir (A&R) Representative for Los Angeles Recording Co. 10. Haygood, Joseph W. Oboist with Honolulu Symphony Orchestra 11. Holmes, Robert Lee Song writer and Publisher, Nashville, Tennessee 12. Jones, Calvin J. Director, House Band, Howard Theater, Washington, D. C. 13. Nicholson, Edward L. Director of Jazz Quartet, St. Louis, Missouri 14. Smith Edward Louis Recording artist, Blue Note Label; Performer on Mo-Town Review 15. Spann, Leslie L. Playing flute and guitar professionally in New York area and for recordings 16. Turner, Earl W. Playing trumpet professionally in Chicago 17. Walton, Frank Playing trumpet professionally in Chicago area

H. Tenn. State music graduates who are Heads of Music Dept. at College level: 1. Joe L. Boyer, Head Department of Music Stillman College Tuscaloosa, Alabama

2. H. Alvin Green, Head Department of Music Edward Waters College Jacksonville, Florida

3. Lassye Van Buren Holmes, Head Department of Music Rust College Holley Springs, Mississippi

Retyped from Dr. Reginald A. McDonald’s Dissertation (2009) pp. 116-121 FRANK T. GREER 64

Appendix B

Resume

FRANK TERR GREER 4025 Hydes Ferry Pike Nashville, Tennessee 37218

Place of Birth: Columbia, South Carolina

Marital Status: Married December 22, 1964 to Mary Lee Hasty, D. Ed.; One daughter, Linda Greer Spooner, a graduate of Cornell University, Ithaca, New York, Colleges of Arts & Sciences & School of Law.

Religious Affiliation: Holy Trinity Episcopal Church, Nashville, Tennessee

Education: Bachelor of Music Degree, West Virginia State College, Institute, West Virginia: graduated Cum Laude

Master of Arts Degree, Marshall State University, Huntington, West Virginia

Graduated, the Armored School and Commissioned a Second Lieutenant (FA) Fort Knox, Kentucky, (1945). Further study at Fort Bragg, North Carolina, and Camp Lee, Virginia. Member of 555th Parachute Infantry Battalian, Fort Bragg, North Carolina, Glider Rating.

Further study at George Peabody College for Teachers, Nashville, Tennessee

Teaching Experience: Professor of Music, Director of Student Recruiting, Tennessee State University, 1972 – 1975. 1975 – 1979, Assistant Director of Admissions & Records, Chief Recruitment Officer

Director of Bands, Tennessee State University, Nashville, Tennessee, 1951 – 1972

Acting Head of Music Department, Tennessee State University, Nashville, Tennessee, 1967 – 1968

Band Director, Douglass High School, Huntington, West Virginia, 1947 – 1950

Achievement: Adjudicator, Fifth District Music Education Festival, GMEA, Atlanta, Georgia, 1972

Adjudicator, [District] Four Band Festival, Gardendale High School, Birmingham, Alabama, 1972

Retyped from Frank T. Greer’s Resume found in the Tennessee State University’s Special Collection

FRANK T. GREER 65

Achievement (Continued): Adjudicator, City Band Festival, Wooddale High School, Memphis, Tennessee, 1972

Guest Conductor, Chattanooga All-City Band, Chattanooga, Tennessee, 1971

Guest Conductor, Intercollegiate Music Association, Elizabeth City State College, Elizabeth City, North Carolina, 1971

Guest Conductor, Kentucky State College Marching Band, Frankfort, Kentucky, 1971

Adjudicator, Fifth District Instrumental Festival of Georgia Music Education Association, Atlanta, Georgia, 1971

Adjudicator, Christmas Parade, City of Nashville (Tennessee), 1971

Adjudicator, North Florida State Festival, Douglas High School, Jacksonville, Florida, 1964

Guest Conductor, Intercollegiate Music Association, Livingstone College, Salisbury, North Carolina, 1970

Adjudicator, District Festival Lincoln High School, Tallahassee, Florida, 1959

Guest Conductor and Clinician, Tri-City Band Festival, Langston High School, Johnson City, Tennessee

Guest Conductor and Clinician, Tennessee Association of Band Directors, 1955, 1956, 1957, 1958

Adjudicator, South Florida State Festival, Middleton High School, Tampa Florida, 1955

Organized and Supervised the Band Festivals for the Tennessee Association of Band Directors, 1954 – 1959

Adjudicator, 47th Annual High School Band Festival, Chicago, Illinois, April 8th and April 15th, 1972 at Chicago

Adjudicator, Braniff international Battle of the Bands, Texas Stadium, Dallas, Texas, May 13, 1972

Adjudicator, 15th Annual International Band Festival, Abbotsford, British Columbia, 1974

Adjudicator, South Carolina Band Director’s Association, Columbia, South Carolina, November 2, 1974

Retyped from Frank T. Greer’s Resume found in the Tennessee State University’s Special Collection

FRANK T. GREER 66

Achievement (Continued): For 1975, March, Adjudicator, North Carolina State Band Festival, Salisbury, North Carolina

For March, 1975, Music Director and Conductor for Theatre Nashville’s Production of “Sweet Charity”

Awards and Citations: Citation for excellence of band performance and parade at Disneyland, Anahiem, California, 1970

Citation from Senator Gore for band’s appearance and musicianship at John F. Kennedy Inaugural Parade, Washington, D. C., 1961

Plaque from Cincinnati Alumni of Cincinnati Alumni of Tennessee State University for outstanding performances on television

Plaque from Civitan Bowl for Meritorious Service in the field of band music

Citations for excellence in two Inaugural Parades of Governors of Tennessee

Parade Awards from Memphis (Blues Bowl), from Gallatin and from Murfreesboro, Tennessee for excellence in parades

Citation for excellence of program for President Lyndon Johnson, Nashville, Tennessee

Citation for band music at the Hermitage during visit of Mrs. Lydon Johnson, Nashville, Tennessee

Citation for music rendered for Vice-President Hubert Humphrey, War Memorial Square, Nashville, Tennessee

Citation to Symphonic Band at Inauguration of Dr. Stephen Wright, President of Fisk University, Nashville, Tennessee

Plaque from Morris Brown College Marching Band for Meritorious Service as band director at Tennessee State University, 1951 – 1972

Plaque from Florida A & M University Marching Band for outstanding leadership and meritorious service as director of the Tennessee State University bands, 1951-1972

Trophy from the Tennessee State University Marching Band for outstanding service in the cause of music from 1951 – 1972 at Tennessee State University

Plaque for serving as Music Director of Theatre Nashville’s production of “Purlie”

Retyped from Frank T. Greer’s Resume found in the Tennessee State University’s Special Collection

FRANK T. GREER 67

Awards and Citations (Continued): One of three Black band directors chosen as subject matter material (historical) for a Doctoral Dissertation at Southern Illinois University, 1974 – 1975

Silver Trophy – Music Director of the Year Award for Theatre Nashville’s production of “Purlie”, 1975

Adjudicator, South Carolina Band Directors Association, Marching Band Contest at Columbia, South Carolina, 1975

Music Director Plaque for Theatre Nashville’s production of “Sweet Charity”, 1975

Plaque from Jackson State University band for outstanding contribution to the field of band music, November, 1975

Plaque from Texas Southern University band leadership, teaching, and meritorious service as band director at Tennessee State University, 1951 – 1972

Plaque from Shaw University for outstanding service as musician, teacher, and humanitarian. Given at Raleigh, N. C., 1979

Plaque from the Department of Music, Tennessee State University for meritorious service as professor of music, band director and educator, 1979

Plaque and Proclamation presented by Tennessee State University at Commencement, 1979, for meritorious service as band director, educator and humanitarian, this is the highest award the university can give to a faculty or staff member

Television Appearances by the Tennessee State University Marching Band: 1955 – NBC – Chicago Bears vs. Los Angeles Rams, at Chicago 1956 – CBS – Cleveland Browns vs. New York Giants, at Cleveland 1960 – NBC – CBS Baltimore Colts vs. Green Bay Packers at Baltimore 1961 – NBC – John F. Kennedy Inaugural Parade, Washington, D. C. 1963 – NBC – Chicago Bears vs. New York Giants, NFL Championship Game, at Chicago 1967 – ABC – Grantland Rice Bowl, Murfreesboro, Tennessee 1968 – ABC – Grantland Rice Bowl, Murfreesboro, Tennessee 1968 – NBC – Cincinnati Bengals vs. Oakland Raiders, at Cincinnati 1969 – NBC – Cincinnati Bengals vs. New York Jets, at Cincinnati

Television Appearances by the Tennessee State University Marching Band (Continued): 1970 – ABC – Grantland Rice Bowl, Baton Rouge, Louisiana 1970 – NBC – Cincinnati Bengals vs. Cleveland Browns, at Cincinnati 1971 – NBC – Cincinnati Bengals vs. Cleveland Browns, at Cincinnati 1971 – ABC – Grantland Rice Bowl, Baton Rouge, Louisiana

Retyped from Frank T. Greer’s Resume found in the Tennessee State University’s Special Collection

FRANK T. GREER 68

Professional Organizations and Learned Societies: College Band Directors National Association Tennessee Band and Orchestra Association Music Educators National Conference Kappa Kappa Psi National Honarary Band Fraternity Phi Mu Alpha Sinfonia Kappa Delta Pi Education Fraternity Kappa Alpha Psi Fraternity Alpha Lambda Delta

Special Projects: -A History of Black Band Directors from 1912 -Band Transcriptions of Orchestral Literature: Colas Breugnon Overture – Kablevsky Symphonie Espagnole (Violine and Wind Ensemble) – Lalo Concerto in B Minor – Tchaikowsky -Advisor to Stage Band Director -A Study of Embouchure Problems of Brass Players at Tennessee State University

University Committees: Member of Athletic Advisory Board, 1970-71 Member of Curriculum Committee, 1972 Member of Recruiting Committee, 1972 Member of Freshman Advisory Committee

Other Committees: Member of Advisory Board on Hiring Women and Blacks, the University of Illinois, Champaign, Illinios, 1971

Member of Optimist International Club

Professional Music Experiences: Trumpet Player, USAF Central Flying Training Band at Eagle Pass, Texas, 1944 Music Arranger, Central Flying Training Band, Eagle Pass, Texas (USAF), Bobby Byrne, Director, 1943 – 1944 Chief Music Arranger, Nat Towles Orchestra, Omaha, Nebraska, 1940-41 First Trumpet Player, Nat Towles Orchestra, Omaha, Nebraska, 1940 Chief Arranger, Walter Barnes Orchestra, Chicago, Illinois, 1938-40 Music Arranger, Lee Hite Orchestra, Los Angeles, California, 1937-39 ______

Tennessee State University is fully accredited by the Southern Association of Colleges and Secondary Schools, and is a member of the National Association of School of Music, (NASM).

Retyped from Frank T. Greer’s Resume found in the Tennessee State University’s Special Collection