Entrance of the Gladiators

When we needed to demonstrate new software features for our management or customers (i.e., mucky-mucks), we would stage dog-and-pony shows that were custom-made for the precisely-targeted edification of the particular recipient. Because of the highly-staged nature of our demonstrations, I often caught myself peevishly whistling a little of what I then thought was a familiar circus-tune called “Entrance of the Clowns.” Later research confirmed to me that the piece was often used in the circus to introduce incoming clowns and that the piece is the military march,  Entrance of the Gladiators (henceforth, EOTG) by Julius Fučík. The piece was also published under the name, “Thunder and Blazes.” Fučík was a citizen of what was then the Austrian-Hungarian Empire during the pre-World-War I timeframe. Fučík composed pieces in multiple styles and genres that included other marches, waltzes and polkas. During his 44-year lifespan he composed more than 400 pieces. “The Florentiner March” and “The Entrance Of The Gladiators” remain his two most-frequently-performed works. I originally began this project in May, 2018. Over nearly a year I have been working on this. Too often I wandered away from the project and didn’t return for weeks and sometimes months. Like many other compositions that are now in the public domain because of their age, I was able to find the conductor’s score for EOTG on the International Music Score Library Project (IMSLP) site.  I have found other scores on IMSLP that I used to produce previous projects (Satie Gymnopedies, Adagio for Strings, Pachelbel’s Canon, and Funeral March for a Marionette). The IMSLP score for EOTG is the original score for concert band, not orchestra. I also note that there is no cymbal part included with the other percussion parts. My version of Entrance Of The Gladiators was recorded and edited one instrument part at a time, note by note — listening to the other parts I already recorded, while I record each new part. The Concert Band that I used is a computer virtual-instrument, Garritan Concert and Marching Band 2. This software allows construction of concert and marching bands of different sizes and numbers of performers. For the animation to accompany EOTG, in true circus-animal fashion, I originally planned to film my cat, Buddy, jumping on command from cat-tree to cat-tree for treats to be provided by me. We were making great progress on Buddy’s ability and willingness to perform for me, usually on demand. Unfortunately, last year was a hard one for Buddy. Health problems, surgery and his advancing age left him with diminished strength and desire for treats and jumping, I was forced to abandon my idea for our lucrative future in the circus. Needing to find a replacement video-topic to accompany EOTG, I focused (pun intended) on a group of photos I took earlier last year when I was regrettably forced to remove my massive magnolia tree, “Maggie.” The tree had grown so large that her roots had broken the concrete of my driveway in several places. It had become difficult for me to regularly trim Maggie’s limbs above the road to ensure safe passage by cars, trucks and other utility-vehicles including boats and planes. Mike Berryman and his crew from Berryman Tree Service are featured in the accompanying video as they, in one mesmerizing moment, remove Maggie, my Melbourne magnolia. I hope that you enjoy this presentation.

Happy Birthday, Jesus

Happy Birthday, Jesus


Happy Birthday, Jesus


I originally arranged and recorded five Christmas songs over the period of the three Christmases (1995-1997) I lived in St. Louis, MO. I arranged two verses of each piece to accompany singing at the annual “Happy Birthday, Jesus” celebration at the National Defense Mapping Agency, where I then worked as an Intergraph contractor. After I returned to Huntsville, AL in 1998, I used those arrangements as the basis of my 1998 Christmas Project, “O, Come Let Us Adore Him,” which was my first Christmas CD.

For my 2017 project, I intended to re-record the entire “O, Come Let Us Adore Him” CD using my current instruments. Unfortunately, computer-hardware problems in my studio interfered with my 2017 plans and I saved the project until this year. This year, my plans again changed after I realized that time constraints would prevent me from finishing the re-do in time for Christmas. At the excellent suggestion of a trusted friend, I decided to construct a medley from selected (my selection) verses from the the five pieces I had used as singing accompaniments while in St. Louis.

The pictured Nativity scene is a photograph of the one my parents purchased in Israel and that was displayed in their library on the 1998 Christmas that I took the picture.

Because I had never previously recorded one of my synthesizers that I have owned for years, I used it — my neglected and henceforth unrecorded Kurzweil KME61 for every electric and acoustic bass part and the first medley melody, “The First Noel.” The orchestral strings are Synful Orchestra. I used both my Kurzweil PC3K8 and Yamaha Montage8 for selected parts.

I hope will enjoy listening.

Recorded Reflections

LiveAtSheraton1978

These nine songs were recorded live at the Sheraton Wooden-Nickel in Huntsville, AL sometime around 1978. At that time, the Huntsville Sheraton Motor Inn was owned by the famous New-York Helmsley (Leona and Harry) family. The period during which I played there (1977-1979) was during the heyday of the club. The Refections featured female-vocalist Roberta Silva and all band members, Barry Billings (guitar and vocals), Billy Lee (bass-guitar and vocals), Rusty Reeves (drums and vocals), and Stan Owen, Jr. (keyboards and vocals) sing both solo and backup vocals.

Click on the mp3 player to play
Title mp3 Audio Lead Vocal
This Is My Life
Billy Lee
New Orleans Ladies
Billy Lee
Fun Time
Barry (Baldoff) Billings
Break Tune
Freak Out
Roberta Silva
Everybody Dance
Roberta Silva
Soul Man
Rusty Reeves
Boogie Oogie Oogie
Roberta Silva
Kissin’ Cousins