FROM THE BENCH – introduction to our featured article/interview
Retrospective with John Gillam

Young flutemaker John Gillam at Powell Flutes, 1939

As 2005 commences, it’s common to reflect not only upon the past year 2004, but also on the former century still fresh in our memories. In an industry that nourishes music making and facilitating the experience of harmony to the masses, there are countless remembrances among makers, technicians, and others working in our industry. If one reflects upon the state of the flute industry in 1905 and compares it with 2005 – there are continuing themes not very dissimilar from our own that concern manufacturing as well as other economical factors and social events that continue to carry considerable influence. This article is the first in a series of 2005 writings that will focus on our history as an industry that has flourished and benefited from the contributions of many creative and dedicated individuals.

In 1905, with little more than half a century since the introduction of the Boehm flute, there began in America not only the standardization of the Boehm flute, but in the manufacturing sector a drive to enhance and perfect the subtleties of mechanism and sound in the instrument. As historian Nancy Toff states in her book “The Development of the Modern Flute” – “they were forced to consider more economical production. Consequently, they began to draw increasingly on modern science and technology in their research and craft.”

Today, this theme continues but with the difference that there are several approaches towards the instrument with regards to methods of manufacturing. There still exists the artisan maker who handcrafts and explores materials, mechanism, and individual preference. This, in contrast with the larger manufacturers working side by side with robotics and computers to meet the demand of volume today. And then there are those companies that fall into the middle – using a little of both approaches. In combination with these methods consist the foreign markets overseas offering competitive quality along with opportunities for outsourcing and reverse outsourcing. The increasing global economy has created new opportunities and challenges for the entire music industry. The flute industry in North America will likely be impacted in several ways.

In the last one hundred years the flute community has grown large, with the study of flute being one of the more common woodwinds of choice amongst students. With the many resources from which to choose an instrument, the educators and the flute business, unlike many other woodwinds, have become a well–organized musical entity when compared with other woodwind families. One need only see the volumes of Cds available from varied genres of flutists, flute clubs, flute choirs, flute websites, Flute Talk Magazine, a National Association international in scope, along with numerous brands of flutes as proof of the popularity and thriving nature of the flute in the musical psyche.This is largely due to the results of a few significant factors. Particularly in the last half of the 20th century, the instrument became legitimized and accepted as a solo instrument in the mainstream community with popular performing flutists and the increasing availability of recordings of classical (Jean-Pierre Rampal, William Bennett, James Galway) and jazz flutists (Herbie Mann, Yusef Lateef, Eric Dolphy, and Hubert Laws). That in combination with the school music programs spurring the growth of manufacturers one has to also recognize the work of the National Flute Association which has brought flutists, educators, performing artists, and flute makers together for more than 30 years now, helping to raise the standard of pedagogy and to promote the identity of flutists and educators. These main factors have supported the growth of flute making and retailing in North America. In 1905 there were a handful of makers, and today in North America alone there are more than 50 companies manufacturing the Boehm style flutes and even more resources for flutes of ethnic origin. As an example, there are literally hundreds of makers of Native American style flutes at present.

It may be wise and insightful to review and reflect on the history of 1905. The climate of business and politics that our relatively young American flute industry existed in is not that different from our own. Like today there was civil unrest in the world with the tragic and bloody Russian Revolution of 1905, major labor issues and the memory fresh of hundreds of thousands of deaths as a result of guerilla warfare in the Phillipines. In 1905 though we were not yet at war overseas – we had already begun further expansion of U.S. interests with President Roosevelt’s Pan-Americanism and the Roosevelt Corollary inspired from the Monroe Doctrine. There was the similar thread of imperialism in our own territory with the final expansion of the west and Northwest Territories becoming more and more populated and the further venture into the Alaskan Territory. These events along with the conflicts over our recent involvement in the Spanish American War continued our conflicting relationship with Cuba, the Phillipines and Puerto Rico, all setting the climate for the 20th century ahead. All these events were endured, but with a burgeoning social and economic optimism. The century began laying to rest the legends of the Wild West in paradox with the lingering effects and results of the Civil War and Reconstruction, not to mention the total dislodging of our surviving Native Tribes sentenced to reservations. Though there appeared to be considerable social and economic difficulties it was a time of intellectual evolution with the introduction of Albert Einstein’s theory of relativity in his paper “On the Electrodynamics of Moving Bodies”. Similar concerns today over drug abuse are not that dissimilar from the Temperance Movement promoting the prohibition of alcohol. Like the present time, there was much political unrest and tension between political parties. Readers of newspapers eagerly read the accounts of exposed corruption in business and politics published by newspaper tycoons - Joseph Pulitzer, William Randolph Hearst, and Edward Scripps.

The 1900s was the beginning of the age of inventions - the influence of the industrial revolution and the search for inventive approaches to industry is not unlike the impact we are experiencing with the use and dependence on computers in business and manufacturing. Marketing, communications, and business management now use computers and internet as a major component in the daily affairs of business. The optimism of the early 20th century persisted into the 1920s regardless of the social and world conflicts, a stark contrast to our present situation of parallel innovative progress coupled with the daily reports of human suffering from natural disasters and mass starvation present in many countries. Ideological terrorist activities that now plague the entire world remind us daily of the fragility of social harmony.

Which brings up the question: How do we… people in the business of musical instruments, making instruments based on the chord of nature … how do we enhance or undermine the harmony we promote? Isn’t it time that we reflect on the past successes and the past mistakes and do what is necessary to ensure that we continue to thrive as an industry in an already artistically threatened environment? Music education programs thrive in some areas of the United States and yet there are many areas where there is little to no music education. If it were not for the flute clubs and the good work of the National Flute Association, many would not be in business. Yet, these clubs and the National Flute Association are not capable to address, nor be forums for the business and journalistic needs of flute makers. It is not their purpose. It is up to the flute business community to participate in its own forum and with its own voice. The American Flute Guild on-line Newsletter/Magazine offers companies and individuals to share their history, their product reviews, their concerns with the purpose not only of free and significant documentation, but also to the long-term benefit of the organizations of flute clubs and the National Flute Association. We invite makers, technicians, business owners, and marketing/sales individuals to share their concerns and experience to preserve our history and to increase communication that enhances our relationship with the flute community at large.

Our first feature describes the experience of a flutist, former maker, and still practicing flute technician, John Gillam. Now 85 years old, he is likely one of the most senior-age former employees of the original Powell Flutes, Inc. He was trained in the Boston tradition by maker Verne Powell and also had a friendly relationship with employees and the owner of the William S. Haynes Company. His story shares the details of the early years at the Powell factory on Huntington Avenue in Boston as well as the challenges his career and life would encounter. During his tenure with Verne Powell he lived during a similar tumultuous time – the Great Depression and the environmental crisis of the Dust Bowl. In 1939 the national unemployment in the United States was still 15%. People in Boston were switching from direct current electricity to alternating current… an adjustment Powell had to make much like today’s movement to DSL and Broadband communications, reliance on cellphones, and web-based business. There was President Roosevelt’s New Deal and the Social Security Act of 1935. It is ironic that we are currently witnessing the developing Social Security crisis and the loss of influence of Labor Unions with growing unemployment as a result of outsourcing and other economic/political concerns. These were programs that were innovative and hard-won. His story reflects a person of integrity in adverse times and circumstances, following his sense of duty with a gift of impressive flexibility and a sense of gratitude for what is important in life. Included in the documentation summarizing several interviews with John Gillam are excerpts from (former maker and partner owner) - Ed Machon’s book High F’lutin’. We hope that readers will enjoy the first of our series of interviews with flute makers past and present.

Welcome to the American Guild Volume I – 2005, -Catherine Thompson, Editor

The following is an interview between AFG Editor Catherine Thompson and former flutemaker from the early years of Powell Flutes, John Gillam

A RETROSPECTIVE with JOHN GILLAM
American Flute Guild (AFG): Let’s talk about your life and your relationships and experiences with the flute. I will include excerpts from Ed Machon’s book “High F’lutin” throughout the interview. Even though Ed Machon started his tenure with Powell later in the 1940s I think it would be nice to include some excerpts from his book. Is that OK with you?

John Gillam: I knew Ed Machon. His Father used to do the castings for the Powell flutes and later he (Ed) came to work at Powell Flutes and ended up being one of the owners after Verne Powell sold the company. I liked him.

AFG: You worked at Powell during what would be considered early years. According to Ed Machon’s book we know that it was a small shop and it was not an easy time for Verne Powell.

John Gillam: That’s true. He was fully separated with no support or carry over from his former position where he previously worked at Haynes. He set himself up with his own tools and was totally on his own doing everything himself in the beginning.

“Mr. Powell worked alone with two small lathes and a polisher, and in making the ten flutes previously referred to, paved the way for the fine little factory… this location is right in the heart of all that is cultural in Boston.” – Ed Machon

“ Verne Powell played flute with the Boston Philharmonic and the Walter Smith Concert Band. In addition he did a lot of small church and commemorative gatherings, leading me to wonder where he found the time to produce flutes.”- Ed Machon

“Powell said that were it not for his night time work (playing) he would have folded completely… looking back at the production records for 1927-1933 there were only 197 flutes made, 53 of which were made in 1929 the year of the start of the Great Depression… The shop produced only about twenty flutes per year in 1934-1935” – Ed Machon

AFG: John, if you could… summarize in one word the main difference from the time you were working with Verne Powell compared with the manner in which the flute business in general is conducted today?

John Gillam: The difference between then and now when I worked for Powell was everything, I mean everything was done by hand. I think people today have lost touch about the way things were done. There was the human factor totally involved in the creation of the flute. We even used to put the pads in our mouth using our saliva to moisten them to help them expand! I think the more invested one is, the better the quality sometimes. We were very focused on the quality and final results of our work.

AFG: What years did you work at the Powell factory?

John Gillam: Well, I started in 1939, but I had to leave during 1941 because of the war (WWII). Powell Flutes had already been in business ten years or so – you know of course that he did start making flutes on his own before 1927…

“Many give the year of the starting of Powell as 1927, this is inaccurate. This confusion probably stems from the fact that the business wasn’t incorporated until 1927, excerpt from 1926 brochure… ‘in July 1926, Mr. Powell fitted up a little combination workshop and studio at 295 Huntington Avenue Boston, and there, dividing his time between teaching and experimenting, produced ten flutes after the style of Louis Lot, entirely by hand from the first one produced – which Mr. Powell keeps for his professional use.’” -Ed Machon

AFG: Were you already experienced as a flute maker?

John Gillam: No! I was a flutist. Mr. Powell liked people who worked for him who could play. How many makers today make it a requirement? I went to Eastman School of Music for 2 years (1937-1939) where I was a student of Joseph Mariano. I lucked into it. It was through Mariano that I met Verne Q. Powell. I needed a summer job and that’s how I ended up working across from the New England Conservatory there on Huntington. Originally, I was from Kansas. I am from the same hometown as Albert Weatherly. Weatherly’s Dad was the Band Director after I left High School – my sister studied with him! Powell was from Kansas, too.

AFG: There’s a bit of history right there! Growing up in the same town as Al Weatherly and sharing the same home state. What a small world. And that must have been wonderful to study with Joseph Mariano. I met him the last year he taught at Eastman. He made a definite impression on me.

AFG: Do you know much about how he (Powell) got interested in flutes? Did he ever mention how he learned his craft or with whom he studied the flute?

John Gillam - military portrait

John Gillam: When he was 13 years old, he became an apprentice to a Jewish businessman who was a jeweler. Verne Powell was trained as an engraver and used to engrave patriotic themes of American history on spoons. He engraved pictures of the Washington Monument, things of that nature in the bowl part of the spoon. With time he became a beautiful engraver. He showed me how the contour of the object determined the direction of the engraving… that sometimes you had to make a crooked line so it would look like a straight line on a curved contour. I noticed when I came to work with him that his finger was actually very crooked from years of pressure from engraving. All of his work had a consistent depth to it. As far as the flute… I don’t remember who he studied the flute with, but he was very good.

AFG: How did you get interested in the flute as a young man?

John Gillam: I had a good exposure to music. My Mother played piano and my Mother’s Uncle played the flute. He had a Meyer system flute. As a child I had lung problems and it was suggested that I study the flute to develop my lungs. I had a closed hole model Haynes flute. I studied with a man at the Pittsburgh Kansas Teachers College and later with Brown(Braun) Schoenheitt. He was a student of one of the old French masters – but I cannot remember which one at this moment. I had a friend in school whose Father worked for the railroad at the time. He would give us passes and we would take the train to Kansas City and go to our lessons. Later, as I progressed my Mother and I would play a half hour every week on the radio station WKVO.

AFG: So how did you go to study music at Eastman School of Music?

John Gillam: Well, friends of my parents had 2 sons that went there. And I had family connections in Syracuse, NY. So our family was very familiar with the school. My parents wanted me to study something with credits that could be converted to ‘a living’…become an undertaker or a physician…so I went to the University of Rochester – Eastman School of Music. While attending Eastman School of Music I got to play piccolo in the orchestra. Normally, one had to wait two years – but I got to play right away because no one wanted to play the piccolo and also because I was a good sightreader. Freddie Fennel was at Eastman at the time and Howard Hansen was conducting the orchestra. At my first rehearsal with him I made a good impression sightreading the piccolo part of Tchiakovsky’s Fourth Symphony! From that point on I played a lot of piccolo.

AFG: Did you enjoy studying with Joseph Mariano?

John Gillam: Yes. He had a gorgeous sound. One big difference between then and now is teachers back then didn’t really articulate ‘how to play’ like they do now. Back then you observed how to play without being told. People now try to explain everything. When I was a student I had to copy and learn myself. But I think today the manner in which they teach is making better flute players. Powell was a social man, very friendly, and very friendly with Mariano and all the big players of the time. That’s the way business was then. Powell, himself was an accomplished player. I think I learned more from him than Mariano. Powell had such great ears!

“During these years we were always treated to ‘grade A’ music as visiting musicians used to gather and play duos, trios, and quartets with Verne Powell. These were members of major symphonies and it was quite a treat to the average person such as myself. I swear, the old man knew every note on every part for every flute in about 30 or 40 numbers for which he had the sheet music…” Ed Machon

John Gillam: While I was working for Mr. Powell, we had all kinds of flutists visit the shop. I got to meet a lot of very prominent flutists and interesting people there. I met Arthur Lora. He had a thing about the headjoint corks – he wanted it with the same thing as like what we would call an “O” ring today. Later James Pellerite thought along those same lines. I often got to play duets and trios with John Wummer, a wonderful player and very nice man. I was friends with Doriot Dwyer, and I did make the acquaintance of William Kincaid and Claude Monteaux, and I also met James Pappatsoukis and Harold Bennett – Powell considered him to be a character, but necessary because of his ideas about the flute… the idea of homogenizing was interesting. Dayton C. Miller used to visit our shop, too. He had all kinds of things to show us. Powell took care of everyone who visited. Georges Laurent was always very cordial to me. There were many times someone would stop by. In fact we were required to wear long sleeves and a tie even though we were polishing, working, etc. and have a suit jacket handy just in case visitors came. Powell would invite me to join in and play – which was nice for me, because I would get a break. It was a good time.

AFG: That must have been a nice break to play with those people.

John Gillam

John Gillam: Don’t get me wrong. Powell was strict, not mean, but I never got a break until I got in the army – I never knew what “Take 5” meant until I got in the army. We worked – we worked hard. Jobs were hard to come by back then, because of the Depression. When you got one you did whatever you had to do to keep it, even though the pay was so low. We worked hard with Powell, but we loved it. And there was none of the safety equipment used today… no masks or anything like that. We just worked. Mr. Powell, the man himself was marvelous, I never heard him curse. He never used bad words. We’d be way behind and he’d never say anything, never pressured, he’d just checked everything you did. We were 8-10 years behind when I worked for him. I learned everything from him. I always felt appreciated. Powell was like a Father figure to me - he was from Kansas, too – his sons weren’t interested in the business. He was a great man. I think that the creative part and personality of the maker was part of the allure of the flute.

“Mr. Powell, a jewelry maker and engraver by trade, possesses unusual mechanical ability, and has long been recognized as one of the best solo flutists. The fine attainment of the new Powell flute is a gratifying result of his combination of talents.” – Ed Machon

AFG: Yes, he seems to have had that combination of being a flutist first and then using his other interests and skills towards enhancing that experience with others. Do you know how he got started as a flute maker?

John Gillam: Mr. Powell was from Fort Scott, Kansas. I am from Coffeyville, Kansas. You know the story of the Dalton Gang? The outlaws came to Coffeyville and the citizens banded together to prevent them from succeeding in the robbing of the banks. The Dalton Brothers were captured. Well, Powell played in a band at Coffeyville that commemorated the citizens for coming together to stop the crime. Before coming to Boston he worked as a jeweler/engraver. He was a beautiful engraver and a marvelous jeweler. He made a flute from spoons in 1915 and sent it to the W. S. Haynes Co. and got a job! In the beginning he made wooden flutes and piccolos at Haynes. He was such a good player… people tried to get him into the Boston Symphony, but he didn’t want it. He wanted to make flutes.

AFG: Please tell us what it was like for you… what did you learn to do with flutes and who else was working there at the time?

John Gillam: There were three of us making flutes – myself, John Schwelm, and Mr. Powell. His daughter Alice Powell… we used to call her “Yaddie”… helped out with bookkeeping, correspondence and other office related tasks after Mrs. Ord left that job to go to work at the hospital in Cambridge. Mr. Powell was a very friendly person and stayed friends with Mrs. Ord for many years after she left.

I did a variety of work. I made parts and polished flutes by hand. I also did overhauls, some of the machine work along with some work on headjoints – like running the press by hand. Mr. Powell only let us do mechanical work on the headjoints. Powell always cut the headjoints himself. I suspect that he did it when no one was watching. He did not want anyone touching the headjoints. He never showed anybody how to cut them – the head was all his. He also did not let anyone polish them. Powell did all of the finishing work on the new flutes. He’d check everything. Sometimes he’d let a flute sit a week or two before he would send it out. He used to say – “I don’t want anything going out that anyone can criticize when I am gone.” Powell was very strict about the quality of the work to be done.

I was involved with the making of pads. Mr. Powell felt strongly that if the pads were made well it saved a lot of time later. Our pads at the time were quite durable. Many people have told me how years after playing their flutes the pads were still holding up. I’m not surprised either… I’d go on an errand to the drug store. I’d get a bunch of those condoms with no silicon on them. We’d stamp them out and use them for pad skins. They were really great, airtight, no shrinkage unlike fish skins, and there were no creases! I’d do all sorts of errands because I had a driver’s license.

Mr. Powell taught me how to pad a flute. I did it the way he did it… with light – where there is light there is a leak. I never used a feeler gauge then like many people use today. And I still don’t use a feeler gauge. We did not use anything like a leak light… we used just our own eyes and the natural light from the windows. Mr. Powell… I never saw him use a feeler gauge either. He would hold it up to the light and check for variations of the light making it quite visible to identify a leak. We were located on the north side of the street on Huntington Ave. The shop had really good natural lighting because we were on the north side of the building with windows that provided light from the north and the east directions. This made it very easy to see. Nor did we use fluorescent lights – because it had a strange effect and would make the lathe look like it was going backwards. We would also check for leaks by corking the foot-joint or body-joint by checking for air leakage after padding. If you could suck air then it was necessary to make further adjustments to the pads.

When padding the flute I seldom, if ever used a pad iron or anything of that nature either. First we’d moisten the pads in our mouth, then we would install the pads while they were still warm. After having heated it up on a Bunsen burner – it sort of puffs up, then we’d put it down (close the key) and seat it down and hold it until the air got out. There existed little balloon-like things that when we held it down the creases would get worked out and the pads expanded out. I could manipulate the pad easily. You could tell a lot by the contour of the seat of the pad.

John Schwelm was ‘ the stringer’. I learned a lot from John. I thought that he was a great guy. His instruments had beautiful workmanship. John luckily worked a five-day week because he lived in Gloucester – it was a tough commute at that time. John also would do a lot of work himself on the flutes.

Prior to working with Mr. Powell, John Schwelm had worked at the Wm. S. Haynes factory. He was at Haynes around 1914 or thereabouts. He helped make some of the things that were used to draw tone holes. The Haynes Company developed the technique to draw tone holes. He really was very good. At Powell Flutes, John set the machine for making posts, rods, etc. He so was talented. Originally, he spoke German. You know one day he was picked up by the police because he was walking with a Boston subway map written out in German so he could understand where he was going. That was around the time of WWI and I guess someone saw his map and became paranoid. He was very upset about that. I don’t think he was arrested, just taken and questioned… of course it was an obvious misunderstanding on someone’s part.

Generally, Mr. Powell and I worked 6 days a week. The three of us in the shop worked well together. Both Mr. Powell and John Schwelm smoked cigarettes in the shop while working. I did not smoke and Mr. Powell used to say “You’re going to have to learn to blow smoke.” So I bought a pipe.

My job at Powell Flutes paid me $8 to $12 dollars a week. I was living in Mr. Powell’s house with the rest of his family. My room was the attic room. We woke up at 5:00 a.m. and I used to drive to work with him. Mr. Powell had a very strict curfew rule that you had to be in bed at 9:00 p.m.- otherwise the door was locked and one might have to sleep on the porch! He had rules like that. That was not always so easy for a young man. So when Alice Powell got married I moved out and obtained her fiancé - Clyde’s room on Sheppard Street. Mr. Powell gave me a $4 raise and I paid $5 for my room on Sheppard Street. Of course, when I moved I started to take the subway to work. I no longer had to deal with Mr. Powell’s curfew anymore!

AFG: Where were you living with him? What was it like working and living around him so much?

John Gillam: He lived at 55 Claremont Street in Arlington Heights. He had four children. Ed, Martha, Alice and I am sorry but I don’t remember the other son’s name. I got to meet his son Ed Powell several times. At the time he (Ed) was living in Scarsdale, NY. He was a teacher and played a lot with big bands, too. He played saxophone and the flute very well. I went in 1939 on a trip to New York with Mr. Powell to pick up the Powell Platinum Flute #365 that had been displayed at the New York World’s Fair. We went to the Wellington Hotel. We met Ed Powell and Benny Goodman there. His son Ed was an excellent player and knew a lot of musicians at the time.

AFG: So the Platinum Flute #365 was already made when you started working for. Powell Flutes?

John Gillam: Yes, I did get to see it. From what I knew, it was very difficult to make. A lot of the tools were ruined and Powell did mention how hard it was to engrave. It was on display at the World’s Fair as a jewelry item because musical instruments were not a feature.

AFG: You know it was auctioned for $186,000 in 1986 – the highest bid ever for a wind instrument. That must have been a special feeling to go on that trip… and to have such a nice relationship with Powell that he would bring you along.

John Gillam: He was always nice to me. I looked at him like I would a Father. Very personal… and he told lots of jokes. And he acted as a Father to me. When I was living with the Powell family there was only one bathroom in the house for everyone. So when he would shower I would shave and when I would shower he would shave. It was ‘close’ conditions. He had a hernia and I would help him sometimes put on his support. We ate breakfast together… I remember he would often have dry toast with a poached egg and tea. I was treated like family. I enjoyed meeting his family and his son Ed really was quite a wonderful musician. Mr. Powell tried to get both of his sons interested in the business but it didn’t work out. As I mentioned before, the war interrupted everything.

AFG: Is that why you left Powell Flutes in 1941?

John Gillam: Yes, I served in the military from June 27, 1941. I was on active duty in the Army serving in Italy and North Africa – Morocco. I later served in the reserves for 32 years after that. I kept getting called up again and again. My Father and Mr. Powell both were unhappy that I could not get totally out of the military. When I returned from the war, when I was being discharged I got in the shorter line – which was the line for the reserves. I completed another three tours in occupied Japan and two active duty tours in Korea. I was also in Hawaii for a couple of years. Though I volunteered to go to Viet Nam I did not get sent I think because I was getting closer to the time where I could retire. Originally, when I joined, if I enlisted by July 1st I could not get kicked out. The phrase “Buck Private” was not something I wanted. I joined the Air Corps Reserves. All in all, I did 30 different duty assignments. For years I was moving all the time.

AFG: Were you in the military band?

John Gillam: No. I tried, but I could not get into the band. Maybe that was a good thing… because during WWII all the bandsmen got killed carrying the wounded and the killed. The bandsmen had to help the medical people and the Red Cross. The military really disrupted life. Because I did not go to Band School I was not accepted in the military band – even though I was a good flutist. I felt bad about it at the time, but in retrospect I was lucky – so many were killed helping others. I got placed in Aircraft Maintenance, later in Supply, and after that I became a cost accountant. I did not get to carry flutes with me so I did not get to play. But one time, when I was stationed with the French group in Morocco I got to play. The French Liberation Day was celebrated at an earlier date when the war ended there in North Africa. I got to play that time.

AFG: You must have missed playing. Did you start playing again when you got out?

John Gillam: When I got out, I didn’t care anymore. All my tools were in Kansas. I picked it up again for fun. When I returned from WWII, Mr. Powell set me up to service flutes and do some work for him long distance while I was living in Kansas City. I worked 2 more years independently for Mr. Powell. After the war, I remember that Elmer Waterhouse, who trained under John Schwelm was working at Powell Flutes and Hans Hagaard was leaving Haynes to come work for Mr. Powell. And of course towards the end of the 1940s Ed Machon and Ed Almeida began their tenure at Powell Flutes… and also Cohegan who started helping with the headjoints. Ed Almeida and Elmer Waterhouse, were both trained as stringers by John Schwelm. Verne Powell was still experimenting with tapers. I was glad to be working with the flutes again, but I got called up again for military service.

I have sacrificed a lot of life for the military. Those things happen. When I was discharged and it was attractive to re-enlist with the reserves. The financial compensation was helpful because I was financially backed – up at the time. I could get $360 a year if which was a lot of money at the time. People today don’t know any better so they don’t know what to do. People tend to downplay the seriousness of what war can do to a person. Look at the war in Iraq and all the reservists called to service. I was in a similar situation. Back when I was in the military they drafted everyone. Enlisted people got paid before draftees, I don’t know if it is still that way.

I stayed in touch with Mr.Powell as much as I could while I was in the military. He did not like it that I left. He wanted me to go to work again making flutes.

AFG: Before we continue with the events of your life can you speak of what you recollect inspired and motivated Verne Powell?

John Gillam: Well, he attempted to copy the Louis Lot flutes. He expressed his desire to move away from the stoic sound that seemed to be standard at the time. He loved the finesse and exotic color of the flutes made by Louis Lot, He also loved jewelry and always admired good work with metal when he saw it. I recall he liked the symmetry of appearance of the in-line flute… how nice it looked, but that he favored the offset G.

“ He has for years been an admirer of the world famous Louis Lot flutes and does not hesitate to say that these fine old masterpieces were a great inspiration to him in his endeavors. He has however, created a scale which is better adapted for the pitch used in America today. “
– Ed Machon

John Gillam: I have worked on a lot of Louis Lot flutes. Silver back then was harder and this affects the resonance. Flutes have to be broken in. There is the idea that the silver gets better with age – it becomes harder – the molecular structure changes… - at least those are the ideas I have heard. Like a wooden instrument, when a flute is broken in – it plays better. I had #39 and it played better. But everyone plays different – a lot of it is the person themselves and what they bring to it. It’s hard to define something so intangible as tone. Piccolos especially, are difficult to play until they are broken in. There is some truth into what some people have been doing to make flutes better.

AFG: Yes, there has been some experimentation and study of how to treat the metal and the implications for the overall sound.

John Gillam: American companies in general don’t seem to be as experimental as they used to be… because money is such an issue. Unlike the USA, Japan has a thing for quality work. During their wealthy economic years they spent money for quality. Here everything is cheap, done cheaply. Look at my wife – where she has worked for so many years – no benefits. Workers today are really pinched hard. How can anyone do anything extra when you are competing with companies overseas with less cost? But I believe that people will pay for quality.

AFG: You are still doing some work as a flute technician?

John Gillam: Now, I do repair more as a hobby. I do flutes and only flutes. The school brings the flute, but I cannot charge anything because of the contract the school has with the local vendor, others pay me. I work now for therapy. I rather do something for nothing than work on a flute cheaply repaired that I have to re-fix. I have never advertised all my life for any of my work. People seem to find their way to me. I don’t really want to look for work. I will be 86 years old in April. I do everything to keep alive – doing repairs is a way of living. It extends longevity. Sometimes I buy a new flute and I like to see what I would have to do to make it play better. The tubing is different now from then. I prefer the denser .900 coin silver we used to use and I like Nickel Silver. But the British wanted Sterling which is softer and that’s what people are used to today. We used to get our tubing from providence Rhode Island.

AFG: Do you regret that you did not work always in the flute business?

John Gillam: I wasn’t intended to be a flute player. My career started but never ended as a flute player. I had to adjust to circumstances.

AFG: Well, it appears that you have come full circle. Here you are still interested and working occasionally on flutes. You attend conventions and maintain relationships with people in the industry. You survived the best way you could with the times and circumstances of your life. There is a gap here. When you weren’t in the military – 32 years, and you weren’t working for Powell or independently for Powell what did you do?

John Gillam: It’s true I have managed to stay somehow connected off and on. Over the years I also knew Elmer Waterhouse – who trained under Schwelm. I’ve met Jim Phelan, Steve Wasser and I also like Steve Finley. I’ve watched the company grow and change with the times.

As for other events in my life - I also played piccolo with the Kansas City Symphony. When I was living again in Kansas City, my friend Claude Monteaux was the Principal Flutist and Lib Nolan played 2nd flute. The orchestra was allowed to import one chair and Claude asked me if I would be interested. I hadn’t played for 4-5 years after being in the army so long in WWII. I went and joined the Musician’s Union – paid the fee and auditioned. I also overhauled Claude’s flute for $20. As friends, we used to play together when I was working at Powell Flutes before the war. When I had moved to the room on Sheppard Street I noticed that I could hear someone playing the piano. It was Claude Monteaux. We became friends. We would get together and I would sightread music with him. I’d play flute and he played the piano. Then he went and studied flute with Georges Laurent. It was an interesting coincidence that he was living in Kansas City when I came back from the war. He asked me if I wanted to play – so I did! Kostelanetz was the guest conductor and our regular conductor was Ehpraim Kurtz. After I left Kansas City Symphony, Lois Schaefer replaced me as piccolo – coincidentally she later received Kincaid’s Platinum flute (that I had gone to New York City to pick up from the World’s Fair with Mr. Powell) in his will when he died.

And I also did more work for Mr. Powell, here and there. I used to do some work for Albert Tipton. I recall that he requested his flutes with the embouchure uncut. His Mother was a teacher and prominent player in Tulsa, OK. And I did a lot of work for her. But I often was recalled into the service and I also had family obligations that prevented me from returning to Boston.

Later, I worked for several years helping Pearl West with his business. He invited me to move to Coralville, IA and work with him. But, because of family obligations I did not accept his offer. I made the decision to stay in Kansas and I became an accountant for the school board doing finance work for the school system. But I have always loved music. To me when I played in the symphony or with other people – there was a real high that one gets spiritually… the sense of cooperation, the thrill of making sound together. It’s an emotional thing. They say that people live longer who play music.

It’s interesting when one looks back and sees all the people they meet and sometimes reconnect with at various points in their life. Like Claude Monteaux, one of my oldest friends is Arthur Ephross. When I was working for Powell Flutes, I’d see him across the street at New England Conservatory where he was a student. And we are still friends today. I met many interesting people while living in Boston. I played in orchestra groups with Francis Snow – she studied with Georges Laurent. Her Father was the organist at Trinity Church and her Mother taught cello at the conservatory. We played private things, engagements and such with Arthur Fiedler, too. I also was friends with Hans Hagaard – who lived in Somerville – we played duets a lot. He worked for Haynes and I worked for Powell. He also owned stock in Powell. I also knew Mr. Deveau over at the Haynes Company. He was a really nice man. Some say that the Powell Company was is an offshoot of the Haynes Company. In my opinion this is not true in the real sense because he was not continuing their work. He had left on his own without any help and was very independent about his approach. He was not dependent on his prior employer in any way… but because he had worked there the connection is established.

Speaking of interesting people, at the conventions I’ve met so many people. I really enjoyed speaking with William Bennett at the NFA Dallas Convention. We have in common the fact that we both have wives that are from Japan. When I met him in Dallas, I had just had back surgery and he was nice enough to autograph his CD of Japanese Melodies for me. It was very amusing to us both that we ran into each other several times in the men’s room and would have great conversations there. (Laugh) I really like his beautiful sound. When I die I want his music played at my funeral. There have been so many interesting people and it’s a small world with many coincidences. Take your own life with the contacts and the things you have done – you will be amazed how people come in and out of your life.

AFG: That’s very true. Looking at today’s industry of flute making – what do you think would be of interest or what do you think would be beneficial to flute makers? You might also comment on anything you feel would be of interest or beneficial to flutists looking to purchase an instrument. How can flutists develop a greater understanding of flutes today?

John Gillam: I think flutists should go back to the source. If a person could still go to a factory and order what they wanted it would be better. They could depend more on their purchase. I think there are too many dealers. It seems that the integrity gets compromised and I disagree with the playing around of prices. Too many times I see dealers sell what they want to get rid of – not what they think is good or what the player really needs. They’ll say ‘it’ is good when they are selling it, but afterwards did they really love it? Does the player love it?

AFG: Is that realistic to think that we could all get flutes from the source? The larger factories, especially the companies that offer less expensive instruments, they would certainly need to alter their business model to do that. It could increase their profits, but the man-power necessary to do it effectively could be challenging. The smaller high-end companies still provide that personal service for the most part. It is the concern and responsibility of the factory to choose and support dealers that practice ethical business and good customer service. Factories can set an example and provide product training to dealers to enhance their selling skills. But with larger companies relying in most cases solely on dealer distribution it is not feasible… unless of course they start selling direct through the internet or some other way.

John Gillam: The quality control suffers when there is so much growth that the volume of production warrants a high degree of technology that erases the human element.

AFG: Well, like many things today that are generic, any mass production risks the loss of the identity that initially brought it success. The work sometimes can be very poor. The way some instruments are manufactured today there is virtually little to no key-fitting in mass production. The mechanisms are loose and they don’t last. But there are some companies that do good work and have good intention to provide the best for the cheapest price and investment of resources – and maybe that is the issue. Where does the balance exist between the needs of the business and the needs of the instrument to meet the criteria of quality and reputation?

John Gillam: We’ve also lost a generation of people that could make things… we need to bring that back. There is also too much fixation on money and costs. I think that quality should be the over-riding factor for everyone.

AFG: And that would help educate flutists also to think long-term about their investment? One gets what they pay for. I do believe that people do want quality. And there are flute makers that are motivated to provide that… there are also some that are motivated simply for short-term gain to survive and meet quotas. Again, there is a balancing act with supply and demand.

John Gillam: In the United States I find they are very influenced and manipulated by trends. When I was in Japan I visited music stores in Shinjuku. I did not see a single B Foot or open hole flute anywhere.

AFG: That’s true, most of the world still uses C Foot and Closed hole flutes.

John Gillam: It is my opinion that the closed hole flute has a beautiful sound in person. The open hole flute I think stifles the sound a bit because the vibrations one feels is really the absorption of sound – the loss of sound. Also I think there is a lot of unnecessary hype around the switching of headjoints. When I worked at Powell Flutes, the player took the headjoint that came with the flute and worked with it. Usually, Mr. Powell knew for whom he was making the flute. There was no switching. Mr. Powell fitted the headjoints to the flutes. Once the headjoint was fitted it stayed with the body throughout production. Everything was one on one – take it or leave it. Mr. Powell also made sure that the entire tube that included the headjoint was absolutely straight. John Schwelm also was one for making sure that the tube was straight.”

AFG: I was wondering if Verne Powell had anything he recommended as far as play-testing a flute. Did he ask for anything specific… scales, excerpts, etc?

John Gillum: Most people were very accomplished and knew what they wanted so he did not really have to advise them in that way. But as far as playing anything in particular…Ha-Ha.. When someone unassuming would come to try a flute he’d say to that person:

“Play a tune for me.” Often they’d say, “Which tune?” and Powell would answer “Play ‘Come to Jesus’ for me… you know how to play ‘Come to Jesus’ don’t you? People would think he was serious and try to remember, but there was no such hymn! He’d tease them about not knowing it.

AFG: So he liked a good joke!

John Gillum: Oh yes. He always had jokes. He was very likeable. If anyone had trouble getting a high C on the flute or complained about it being difficult he would bring out his special cork. He’d say:

“I have a special cork to help you get that High C.” They’d often reply, “Where does it go?” And he’d say “Up your pants… for pressure!” Everyone would laugh. I still have that cork with the words High C written in glue. Ha-Ha.

AFG: That’s very funny. Here are some quotes from Ed Machon about the headjoint and quote attributed to Verne Powell. Powell was on record as saying:

“ The headjoint is 90% of the flute.” Ed-Machon

“ When I went to work for Powell in 1949, … if VQP made a head for you, you took it and did not complain. The only complaining was done out of earshot. “ – Ed Machon

John Gillam: That’s right. You took the head you got and worked with it. All the switching sometimes enables players to avoid making necessary corrections to their embouchure. I think people are so confused about flutes and headjoints that it makes it hard to buy a flute. I think flutists should go to flute fairs and listen to people play and see what kind of flute they are using. Flutists are too hung up on materials and the price and not focused enough on the quality. It’s true that the tone comes from the player and not just the flute… but I think it would help flutists to know not just what piece they are listening to and the name of the performer, but also what kind of flute they are listening to… how else are they going to learn what they like or what kind of sound they like? All the rules and regulations in the current advertising and educational forums have destroyed part of the educational process of letting the people learn from the industry. There is a point of fairness that has been made with the rules and regulations that discourages the naming of a brand, but in the meantime an entire process of learning has been destroyed due to heavy restrictions against the industry. In combination with that, I think flutists and flute makers worry too much about materials. We get so tripped up with gold risers and platinum lips - flute players are confused. I don’t think they know what makes a good flute or a good head joint. There is too much emphasis on price and discounting – distracting a person from the issue of quality. In my opinion this is the fault of retailers.

AFG: It’s like buying a car or a stringed instrument, or even a piano. You see the marketing – you can test drive or play-test – and as you mentioned at a car race it’s very apparent ‘what car’ is being driven. There’s no switching around of parts that compromise the integrity of the brand either. Violinists and cellists are not continually switching the bridge on their instrument or their necks – you wouldn’t do it. Nor are the pianists changing the case that the piano is in at a whim. Excessive switching is insulting to the flute makers who know so much. Sometimes though, flutists may find some headjoint for which they are better suited – the issue is really if they have enough awareness to know the difference between real compatibility or just enabling themselves to avoid an inevitable fact that they need to practice. Too many times I have seen play-testers blaming all their performance problems on a flute. I think that the situation has developed over some years because there has been no real free forum for the voice of the industry. How can flutists learn from people in the industry about their instrument if the industry is virtually locked out of various venues of expression? It has only been very recently that some people in the industry and some flutemakers get opportunities to share their knowledge. Many makers have a lot of advice and insight into the instrument with valid experience to share. I think it is valuable for players to have a better understanding of how the instrument works and few understand at all acoustics and harmonics.

John Gillam: I also think that teachers should not limit their students to trying something different from what they play or recommend. Why shouldn’t players learn what is out there? Every maker has a good idea. For instance, Ed Almeida told me that he had experimented with 43 different tapers on headjoints. Every single flutemaker has their particular vision and approach. That needs to be appreciated and respected.

AFG: Certainly, respect is due. It’s hard work to make a flute. Makers respect players and are inspired to assist them with their music making. Players could at least be open to the different approaches and brands of flutes, not to mention more polite about their comments and treatment of merchandise at exhibits. Not everyone will like the same thing – but that is why our industry is so rich in variety of resources. Flutists are lucky today to have so much to choose from. You mentioned earlier that you tried to stay in contact with Verne Powell. Were you able to communicate with him before he died?

John Gillam: No. I was overseas when he died. He had fallen down and broken his wrist I think. He was quite elderly by that time and I think he was just worn out and tired. He had worked so very hard in his life. He never really recovered from that fall. It was tragic when he couldn’t work anymore. Flute making to him was a labor of love.

AFG: That’s very apparent. And we are so fortunate to have you to share some of your personal memories that are rich with details that enhance the history of our industry. Thank you John for sharing your story. We are honored that you are our first featured interview. I really appreciate your support for the American Flute Guild and our mission.

John Gillam: I’m glad to do it. I think it’s a good idea. You’ll be the flux that makes the solder flow.

AFG: Thank you.

We invite your comments. Letters of reply to John Gillam or The American Flute Guild may be emailed to American Flute Guild at editor@americanfluteguild.com.

Opinions expressed in all interviews are strictly for the purpose of dialogue. They do not necessarily reflect the policy or philosophy of American Flute Guild and its members.