JSU Bands

The JSU band story began with Kermit Holly Sr., who was an outstanding educator and concert violinist, singer, organist, and pianist. He graduated from Jackson College Grade School in 1926. During his tenure at Jackson College Grade School, he studied violin with Frederick D. Hall, chair of the department of music of Jackson College. Hall was instrumental in organizing the oldest known HBCU orchestra while at Jackson College.

Kermit Holly with the college orchestra.

Holly reorganized the orchestra and formed the College Quartet that regularly performed/traveled throughout the south garnering notoriety for Jackson College department of music. In 1936, Holly worked at Alcorn State University in Lorman, MS where he organized the first 72-piece marching band, orchestra, dance band, and The Purple and Gold Serenaders. Holly returned to Jackson in 1941 and taught at Lanier High School and part-time at Jackson College from 1941-1952. During this time, he organized the Jackson College Marching Band by bringing his students from Lanier High School to play with the current college students. In 1948, William W. Davis became the first full-time band director at Jackson College. He was an outstanding trumpeter having played with Cab Calloway’s orchestra and his arrangements were revered as the best in the nation having a unique Big Band sound on the marching band field which earned the band the name “The Small Band with the Big Band Sound.”

Band at 1965 World’s Fair.

During Davis’ tenure, he developed the Jackson College Symphonic Wind Ensemble. The pinnacle of the Symphonic Wind Ensemble was in 1965 when they performed at the New York’s World Fair, becoming the first historically African American college to perform at a World’s Fair.

Over the years, the Symphonic Wind Ensemble has continued to gain prominence under the tutelage of former director of bands Dowell Taylor, Dr. Lewis Liddell, and O’Neil Sanford. In 2015, Lowell Hollinger became director of the wind ensemble. The group performed at the 2016 HBCU National Band Director and Orchestra Directors Consortium and the 85^th Mississippi Bandmasters Association Conference, in which the wind ensemble was the first ensemble (on any level) of color to perform.

When most people think of music at Jackson State University, it’s common to think about the Sonic Boom of the South with their impressive resume of national performances, including a recent performance at the LVIII Super Bowl halftime with national recording artist Usher.

The JSU Wind Ensemble.

Unfortunately, there has been a stereotype that HBCU bands cannot play with a characteristic symphonic sound, however, this is far from the truth. One thing almost always mentioned by marching band adjudicators is the high quality of sound of the Sonic Boom. Our superb wind ensemble as well as our symphonic band form the core of that sound. Additionally, every member of the marching band not already enrolled in the wind ensemble, or the symphonic band are required to enroll in our concert band during the spring. While the Sonic Boom may win awards on the marching field, their sound is developed in the rehearsals and performances of concert band literature.

Historically, HBCUs have been charged with providing an education to students of color because they were not able to attend predominately white institutions. Decades later, we are still charged with the same privilege. HBCUs accomplish wonders, often doing more with less while being expected to perform at the same lofty standards and expectations of better funded peer institutions.

In the past, the musical genres of jazz, R&B, and later, hip-hop were misunderstood and shunned by society because they did not fit within the traditional confines of Western European music. As those genres developed artistically and were able to penetrate different venues and markets, it became apparent that they were just as “musical” as more traditional styles. In the future, the groups performing these genres deserve the same opportunities within the mainstream venues and stages. Our students, many from low-socioeconomic backgrounds, should have the opportunity to play on the finest stages. Having these types of experiences will broaden their horizons on what they can achieve that will ultimately enable them to provide the highest of educational opportunities for their students, forming a cycle of musical excellence.