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Pag« 12 Portland Observer Section II February 26.1961
bers of free Blacks between 1790 and 1860, with roughly
50 per cent or about 244,035 residing in the North.
Freedom guaranteed little for the Black musicians for
competition was keen between Blacks and whites, and
the latter had established themselves as professional
musicians in theaters, ensembles, and the like.
However, after the War o f 1812, the form ation o f
Black brass bands in mayor cities by returning veterans
created an area which they could basically monopolize.
FRANK JOHNSON (1792-1846) o f Philadelphia was
a fiddler, horn player, bugler, bandmaster and orches
tra leader and composer who began his career with the
organization o f the T hird Company o f Washington
Guards (Philadelphia). As player/leader o f this Black
group, his reputation as ‘ ‘ ...one o f the best performers
on the bugle and French horn in the United States” led
him to join Matt Black’s Marching Band in 1818.
During the third and fourth decades o f the 19th cen
tury, his band (which was formed in the 1820s) known
as Frank Johnson’ s Colored Band, became in te r
nationally known. It was also regularly employed by
white fraternal organizations in his hometown. The
band played at dances, in parades, and in concerts.
Johnson's group consisted o f woodwinds (flutes,
clarinets and basoon), one or two French horns and per
cussion instrum ents (bells, triangles, cymbols etc.)
during parades, a drum and fife were added to give the
regulars a rest, and strings were added when he was
commissioned to perform at dances. He was booked
well in advance o f the social season, at all o f the
fashionable resorts along the Eastern Seaboard.
In Richmond, Virginia, he played at the Great Balls
for the aristocracy, and no fete was declared a success
w ithout his services. A t these dances, according to
Robert Wain, a w riter o f the period, no better music
was ever heard. Johnson’ s duties at these dances in
cluded being ‘ ‘ ...sole director o f all seranades...inven
tor-general o f cotillions; to which add, a remarkable
taste in distorting a sentimental, simple and beautiful
song, in to a reel, jig or country dance.” This im
provisational a bility relfects Johnson’ s heritage, and
added to his popularity.
His published compositions included a collection o f
c o tillio n s and marches; two being the Recognition
M arch on the Independence o f H ayti, and a march
w ritten expressly fo r a Great Ball given in General
LaFayette's honor.
Johnson and his band toured Europe in 1838. The
highlight o f his trip was when he was presented a silver
cornet by Queen V icto ria after a Command P e rfo r
mance. Another memorable moment came in 1841 when
he led a fifty piece orchestra that accompanied the 150
member Colored Choral Society in Philadelphia in an
oratoio at the African Presbyterian Church on Seventh
Street, and at a white church on C allow hill and New
Market Streets.
Johnson’s Band continued after his death with a suc
cession o f leaders, the first o f whom was Joseph Ander
son. Several o f his bandsmen went on to achieve some
distinction. They were:
PETER O’FAKE (1820- ?) was a flutist and violinist
who was born in Newark, New Jersey and played with
various ensembles; most notably the Jullien Society, a
well recognized white group.
Two years before joining the Johnson Band in 1850,
he achieved distinction by being the first Black guest
conductor o f the Newark Theatre Orchestra.
After leaving the Band in the 50s he formed his own
group to perform at society events in and around
Newark. His best known composition was The Sleigh
Ride, a quadrille. In addition, the talented musician
directed an Episcopal Church Choir in his home town.
W IL L IA M APPO, a violinist from Baltimore, was
considered by white musicians to be one o f “ ...the most
learned musicians o f his race.” During his career, he
played with Johnson’ s Band, conducted a small string
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