Chapter 1

The Beginnings of the CWF&D 1953-1958

Today it is impossible to imagine Colonial Williamsburg without a fife and drum corps. For 60 years the Colonial Williamsburg Fifes and Drums have entertained visitors, performed for national and world leaders and become an icon of Williamsburg itself.

The success of the Corps is due to the combination of its dedicated and respected leaders and the talented young men and women in the Corps. Each Junior and Senior Corps over the years has considered itself to be the best, and rightfully so. Each Corps has built on the Corps that preceded it, in an unbroken line that goes back to the original four members in 1958.

The origins of the Corps actually began in the early 1950’s when Colonial Williamsburg began plans for a “Military Drill Company.” Early suggestions included the use of soldiers from Ft. Eustis, U.S. Park Rangers, or cast members from the “Common Glory”, but these ideas were not feasible. The need was recognized for a militia composed of Colonial Williamsburg employees that could learn the colonial commands and drills and be available for regular performances. William D. (Bill) Geiger, Director of Craft Shops, was assigned responsibility to prepare detailed plans for a militia that included fifers and drummers. Geiger’s background in military history started in high school and continued through the College of William and Mary where he received a degree in history, and the University of Chicago, where he received his Masters in British Military History. Under Geiger’s direction, the Craft Shops would grow to become a significant part of Colonial Williamsburg’s presentation to visitors, and they remain so to this day. He also was an avid military historian and determined to create a colonial militia and fife and drum corps for Colonial Williamsburg. 

In a series of 1953 memoranda, Geiger developed plans for the Militia. Each memorandum included six drummers and three fifers. The need for military music for the Militia was recognized from the beginning. 

Colonial Williamsburg officials also sought advice from experts in the fife and drum community, including Ed Olsen, historian and secretary of the N.Y. State Fife and Drum Corps Association. Olsen was recognized by the Company of Fifers and Drummers as one of the foremost historians on the development of traditional fifing and drumming in the United States. In a July 19, 1953, letter to John Goodbody, Vice President and Director of Presentation of Colonial Williamsburg, Olsen advised “the Ancient Fife and Drum Corps is indeed one of the most unique specimens of ‘Early Americana’ extant. I would say there are no more than seventy-five of these units in the country today, however, the movement is currently experiencing a resurgence of interest and new units are springing up all over.” In a subsequent letter Olsen refers Goodbody to Charles (“Buck”) Soistman, the legendary drum maker and owner of “The Rolling Drum Shop” in Baltimore, Maryland. Following the lead of the famous drummer and drum maker Sanford “Gus” Moeller, Soistman had begun to make authentic wood rope-tensioned drums that were longer and wider than modern drums – 21” deep and 17” across the head. In 1960 Colonial Williamsburg ordered several “Colonial” snare drums from Soistman. These drums were painted with a gold “GR” on a deep red background.

Advice was received from other persons including an amusing letter in May of 1953, to Goodbody that read, in part: 

Enclosed is a copy of a letter about the dozen or so fife and drum corps still existing in various small New England towns that specialize in playing colonial and revolutionary music in the 18^th century style. These bands, some of which are organizations dating directly back to colonial time without a break, are bitterly competitive and put on a series of musical battles in which they demonstrate their repertoire of ancient tunes, marching up and down in authentic colonial costumes. Clearly if Colonial Williamsburg was interested in providing a dramatic and genuine touch to such celebrations as May 15 or the Fourth of July, these fife and drum corps offer such an opportunity. So far as I know, there are none specializing in ancient music closer than Baltimore. Nevertheless, because these groups are so fanatical I don’t feel it would be too difficult to get one or two of them to come all the way down from New England. And certainly if you publicize some sort of prize, particularly if you called it “the National Championship” for ancient fife and drum corps, I have a feeling that they would swarm like bees into Williamsburg and fife and drum you to death.

Portion of a 1953 letter to John Goodbody, Vice President and Director of Presentation of Colonial Williamsburg

By December of 1953, Geiger’s proposal was submitted to the Board of Directors of Colonial Williamsburg where it received approval to move ahead. During 1954, Geiger and others worked on the details for organizing and operations of the “Virginia Regiment”, to be modeled after the original Virginia Regiment during the French and Indian War. The Militia required a group of men and Geiger had at his immediate disposal the Colonial Williamsburg craftsmen. They already were in costume and working in the Historic Area. The craftsmen ideally recreated the citizen-soldiers of the original militias. The Militia would be composed of bootmakers, blacksmiths, silversmiths, bakers, wigmakers, guardsmen from the Powder Magazine, gaolers from the Public Gaol, and other fulltime employees of Colonial Williamsburg.

The Militia wore their regular costumes, but officers and NCO’s received uniforms similar to those specified by Colonel George Washington for the Virginia Regiment. During 1955 and 1956, the Militia was paid in silver dollars. Geiger would place a board over two sawhorses on pay day and the Militia would line up to be paid.

Lloyd (Nick) Payne was chosen as the commanding officer of the Militia. Payne was a blacksmith but also, and more importantly, a former Marine Corps drill instructor. He had served in World War II and the Korean War. In a short time, he earned the title “Captain Payne” and held the position of Captain of the Militia until 1978. Captain Payne also recognized the need for military music to support the Militia. Over the years Captain Payne would be a strong supporter of the Corps and he assisted with the early implementation of the Corps into the Militia.

In 1955, the Militia was ready for practices and a “demonstration”. To add music and a drum beat to the demonstration, two drummers and two trumpet players from Matthew Whaley High School were paid $3.00 each to play Yankee Doodle and The British Grenadiers. The musicians also were put into costume for the performance. Thus, music was present at the earliest “demonstration” of the Militia. The “demonstration” was a success and the Militia began performing for special events. 

It was then decided to add a single drummer to Militia performances. A single drummer could be put into costume and beat out a basic cadence to aid the Militia in marching. In the summer of 1955, the first such drummer was Lou LeCompte, who was then a rising high school senior. A modern drum was borrowed from the Matthew Whaley High School Band. The drum beats were not authentic, but these were small concessions because the presence of the drummer was authentic and added to the overall presentation. One of LeCompte’s duties was to beat the drum at the stables so the horses would get accustomed to loud noises. LeCompte continued to work for Colonial Williamsburg and he served in the Militia for over thirty years, and in 1978 he became Captain of the Militia. His signature tan tricorn hat is easily recognizable in hundreds of photos of the Militia over the years.

Also during 1955, Colonial Williamsburg officials continued to communicate with New England fife and drum corps, including the Deep River Drum Corps, about their programs. Colonial Williamsburg was learning about New England fifing and drumming. The association with the Deep River Corps continues to this day. 

During 1956-58, two more high school band drummers, Alan Lindsey and James (Jimmy) Teal, were recruited to serve as the Militia’s single drummer. A July 5, 1957, payroll memorandum for the July 4^th, 1957, ceremony includes “James Teal…. 3 hours.” No rate was given. In 1958, Lindsey and Teal would become the first two drummers in the Corps.

The single drummer experiment worked out well. The cost of the single drummer was minimal. Their costumes and pay could easily come out of Geiger’s Craft Shops budget. However, there was no music and the goal was to create a fife and drum corps.

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