AN INTERVIEW WITH

On the occasion of his 80th birthday, a few months before his death.

Transcribed by Don Thompson

INTERVIEWER: I believe you first years old then. Then I had a period and work in a steelworks I suppose, to visited Tower in 1912, when I wasn't too well and I gave up be a steelworker. when you were seven years old. for a while, then started again - I RD: He was a steel file cutter. When I : Oh yes, I re­ think I would be about 11. I had an­ say that to people (' 'What did your member that! I remember going on other teacher and then I took it quite father do?") they look rather blank at the sands with my sister. My younger seriously, and I was teaching music me. I've seen him take an ordinary file sister wasn't born yet (that was the when I was about 13. I took some let­ without any teeth in it, and with a year afterwards). We used to watch ters [a diploma] at a college which I hammer and chisel make a perfect the Punch and Judy show on the shall not name, which now don't file. Of course, eventually the ma­ sands every day there. Yes, that was mean very much, and I started to chines took over and that type of where I used to hear the roundabouts teach . I always think it was money by work became redundant. But he had in those days as we went, when the sea false pretences! I was keen on the pi­ little shops around where he receded. That was when I heard "I ano, I still love it, my listening is the employed women to cut files. Do Like To Be Beside the Seaside," piano, piano concertos, I enjoy it all those years ago. We went into the somehow. There's something about it I: What made you want to be a con­ Tower, like a lot of people, on a very -there are so many ways you can at­ cert pianist; what sparked you off? wet day and it was very, very crowd­ tack a piano. I used to think that, any­ RD: I can always remember, when I ed. I remember some of the machines how, but I was never intended to be a was five years old, crying to my moth­ where you put a penny in the slot. concert pianist, as we all realize now. er because I wanted to play my piece Some of them were still there when I I sometimes think your life is gov­ on the piano, and she used to lock the went all those years later. They were erned for you. But I did enjoy those piano because she said I would dam­ so intriguing. (These automatic in­ early days and I worked very hard. age it. But eventually she gave way. struments - orchestrions, phonolist Then, of course, I went to Sheffield What it must have sounded like I violinas and the like - were STILL University for a while, studying har­ don't know! It must have been terri­ there a couple of generations later. mony and counterpoint. I should ble! I've always loved music. But in D1) have taken the Master of Music exam, those days, you know, you had noth­ I always wanted to be a concert pi­ but unfortunately we landed right in ing else; we'd no radio, po television. anist. I used to struggle very, very the middle of a slump, a "recession" Palace was where I hard rehearsing. I used to do six hours as it's known now, and I had to go to started. I remember my audition. I a day of ''practice,'' as we called it, work in a cinema. played two of Debussy's Arabesques on the piano when I was in Sheffield. I on the piano, and the manager (a must have driven people mad, playing I: Your father, of course, in Shef­ grand fellow, a little cockney) came scales for two hours. I'd be about nine field, would have expected you to go down, went through a trap door in the

JULY/AUGUST 1985 5 orchestra pit and as he came out he I: You were only 13 when you were said "You'll do, mate!" and that was playing the organ there? how I got the job. I used to go by mo­ RD: Yes, just 13. tor bike out to Stocksbridge. I: But I think you saw the talking I: I understand you were inventive in coming in and were starting to think those days and you added sound ef­ about other things. fects. RD: Oh yes, yes. Often I didn't get RD: Oh yes, I took the bottom on the home till one o'clock in the morning. piano out and when there were bangs You see, in those days we had an op­ coming on the screen I used to put the erator who, as we used to say in Shef­ loud pedal down and kick the strings field, loved his ''bevvy,'' he liked his and do all sorts of things like that. The piano didn't like it very much and drop of "biddy," and in those days eventually suffered. They bought a there was no control over the speed of new piano on the night I left! a machine. These days it has got to be so many frames per second in order to I: And then you went on to a second keep in with the speed of the sound. cinema in Chesterfield, I think? By the end of the night I think he must RD: Yes, I went to Chesterfield and I have been leaning on the machine. It used to deputise for the musical direc­ went slower and slower and slower tor, who was rather an invalid. That and we'd be coming out of the cinema gave me good experience. I used to go at one o'clock in the morning! For­ down to the Wicker cinema for two tunately, where I lived there was a hours. There was a big pile of music tram depot and I used to catch the last on the piano. I had to read that, fol­ tram. Next morning I was down at the Reginald Dixon (Thompson collection) low a violinist, and every time there Regent Cinema rehearsing on the was a tap with the bow - ''next num­ at eight o'clock, in order to visor). I said, "Oh yes." I'd played ber'' - that had to be read and get onto the organ. for one dance, at the Cutlers' Hall in played to silent films. That was an Sheffield. I'd been sent home halfway education absolutely and an exper­ I: That was the first Wurlitzer you through! There again, I'd had no ex­ ience. It was an entire job on its own played, wasn't it? perience of playing for dancing, but I and it was essential that you read and RD: That was the first Wurlitzer I was desperate! So I got the metro­ could at the same time look up at the played, yes, yes. nome going. The very first night, the picture and not lose your place in the pianist said to me, "What was that?" music. In later years I got quite a big I: But I think you moved down to I said, "It was a Quickstep." library together, there was special for your first job on a He said, "You're telling me!" music written for it. I got rid of it Wurlitzer? The musical advisor, Jepson, said eventually because it wasn't very RD: My first job was at the West End to me, "HA VE you played for danc­ good. Later, when I went to Healey Cinema in Birmingham. That would ing?" Palace in Sheffield, we had a good or­ be about 19 ... was it 27? 28? ... I said, "Oh yes." chestra and we used to play some 28, yes, because I went up to Preston He said to me, "If you don't make very, very good music. As they used in 1929 and got married. a success of it, you '11go, and the**** to say, we used to "fit the picture." organ as well! '' But in those days they had big trade I: And that again was to take your And of course, there was no ampli­ shows with full orchestras. I remem­ first job in Blackpool? fication, and when you'd get a crowd­ ber playing for the film The Four Men RD: I had an audition in 1930, yes. It ed ballroom you couldn't hear the or­ of the Apocalypse. And Intolerance, was a very wild February day, we gan at the end of the ballroom, so in that was another very big film, you came on the Promenade, and I was '33 or '34 we started to make a sugges­ probably remember mention of that. frightened to death because I was out tion for another organ. I played for the trade shows. The of a job then. I was told afterwards trade show, as you know, was for the there were quite a number of entrants I: You, of course, then got a new one, exhibitors, and they used to go there for it, but I didn't know, I thought I with three manuals, and grand piano, to see for the booking of the film. was the only one. I'd had a chance to xylophone, and ... go before, but my mother thought RD: Yes, and I'm responsible for that I: You were playing the organ then, Blackpool was too wicked for me! specification. I say that, whether they weren't you, at Birley Carr United They were Methodists, you know, shoot me for it or not, but I wanted to Methodist Church? That was the first very narrow people. have those biting reeds for dance organ you played, wasn't it? work. Now, of course, they've got RD: I learned to play in Cemetery I: The organ you were playing there, it marvellous amplification and they Road Congregational Church, which was for dancing, wasn't it? It wasn't can make it fill the place, can't they, has gone now. I had another music for the cinema anymore. What did without distortion? Things are so teacher who taught me to play. I had that mean to you? much easier than they were in the days only nine months' lessons on the or­ RD: They asked me if I'd played for gone by. I keep quoting what there gan, but I worked very hard. dancing (Mr. Jepson, our musical ad- wasn't in those days, but it's perfectly

6 THEATRE ORGAN JULY/AUGUST 1985 true. It was pretty hard work. You'd were records you started to make in be only a fraction of a second, but it's no microphones to speak to the peo­ the '30s too, weren't there? there. So therefore, your feet have got ple! And I never had a heavy voice, a RD: Yes, yes. to be in front and the lower the longer big voice. it takes. That comes automatically. Before the war, I never got home I: And you were selling millions. Yes, I consider that playing the pi­ when the season started! I'd be there These were 78s, of course. What was ano, practicing on the piano, was re­ in the morning and the afternoon, your favorite? sponsible for my technique on the or­ and then they decided to introduce me RD: Well, I don't ... do you know, gan. I'm afraid I couldn't do it now. playing in the ballet, the Children's I can't really remember. Ballet, which a lot of the older people I: The war years. You went into the will remember. So there were two I: "Tiger Rag" was one I think that R.A.F., I think. Went in as an Air­ shows in the summer, with the ballet, had a big sale. craftsman and came out as a Squad­ 2:30 and (or was it 3:30? It doesn't RD: That was the highest selling rec­ ron Leader? really matter.) and 7 o'clock at one ord (in about 1934 I think it was) in RD: Acting Squadron Leader, yes. time, varied. Then we had the country, wasn't it, that "Tiger What happened, I tried to join up two sessions and late dances, too. We Rag?" I used to listen to the dance quietly, going to Gloucester, as a ra­ had all the bands like Joe Loss, Ken bands and I must have copied what dio operator, but someone found out Mackintosh, Jack Hylton, Ambrose. they did. Of course, "Tiger Rag" was and sent me to Uxbridge as a musi­ They used to do a week at the Palace a favorite amongst all the bands. cian. I had a five-piece band eventual­ in the Varieties, then come across and I consider my technique was be­ ly, arriving at Northolt, with 900/oPo­ play for a late dance, and / was in for cause I had rehearsed so much on the lish personnel. Very brave men, too. the interval again! They used to bring piano and done all types of scale prac­ I've always had very great admiration me a nice steak and chips at teatime! tice. Minor scales, major scales, dou­ for the Polish people. It was, as you ble thirds, all that, which gave me a know, just after the Battle of Britain I: How much were you getting a week good technique. You see, now take when I joined up, and we used to try for this then? the modern electronic organ. Your to play Chopin; they loved Chopin. RD: Well, I started off in the winter­ hands don't get strong playing one of There was a Polish Sergeant Pilot time at six pounds a week, and in the those because there's no resistance in there. I was Acting Sergeant at that summer, nine pounds a week! them is there? On a Wurlitzer you've time, in the Sergeant's Mess, and he got the time lag to fight, too. One fel­ always used to ask me to play I: Well, of course, even before the low once said to me, "Do you realize "Poeme" by Fibisch. war, in the mid-1930s you were al­ that your feet are in front of your I felt it wasn't a war, it wasn't what ready broadcasting, weren't you? hands?" I said, "No, I don't realize I joined up for. So I went in for a RD: Yes, one August before the war I it, but I know why, 'cause it takes commission and eventually got one. did eight broadcasts in one week, and longer for the sound to go through They put me into movement control, they were all live! In those days, you that big pipe than it does through the which was connected with R TOs and see, you hadn't the recordings, they shorter ones." Which is true, isn't it? Air Ministry movements. In fact, I were live, and they were sent out to You see, you've got to wait until the went on all the D-Day exercises and places like Canada. I often wonder if wind travels round. It can probably finally finished up at Air Ministry anybody ever heard them! We did get Console of the "Dancing Queen," the 3/14 Wurlitzer Opus 2187 in the famous Tower Ballroom Blackpool, Eng­ occasional letters. Sometimes these land. Designed by Reginald Dixon, it was opened by him April 10, 1935, and played by him until he retired in 1970. were 3 o'clock and 4 o'clock in the (John Sharp photo) morning. Then later I started with Ra­ dio Luxemburg. I did three nights a month starting at midnight. They wouldn't close the ballroom till 4 o'clock in the morning. I remember struggling with the melody from "Rhapsody in Blue," the middle part you know. I had to announce at the end of it and I kept stumbling over the announcement. And of course, there again, you know, they were wax rec­ ords, you hadn't tape. I had just done a successful one, and leaning back, I heard a slow handclap up on the bal­ cony! It was one of my keen fans, the fireman! He thought he was giving me a bit of applause. I said, "I could kill you! You just ruined my record." I had to go through the whole lot again after that.

I: As well as the broadcasting, there

JULY/AUGUST 1985 when they were preparing for the in­ graphs made that tore off like postage want a cinema organ in our church." vasion of Japan. Then they dropped stamps, perforated like postage Now, of course, you more or less have the atom bomb there and eventually I stamps. to play a computer, haven't you? I was demobbed. I don't want to go in­ RD: Oh, yes, mmm. A firm in Dun­ could get on any Wurlitzer or a to a lot of details over the war, but I dee did them for me. They had glue Compton and within a short while felt I was a small cog in a very impor­ on the back and they used to stick produce some sounds - a few set­ tant job, that's all, and I look back them on the corner of the autograph tings here and there - but I could and felt that I did something worth­ book page, inside. Yes. I'd almost hesitate with an electronic organ while. I used to occasionally go up to forgotten about those! I had some of because they are not the same, they Bangor (where the BBC theatre organ them at one time, but they've disap­ are not alike, are they? They're all dif­ was housed) on my leave and do a peared like other things. ferent, they all have different posi­ broadcast. I remember on one exer­ tions for this, that and the other . I cise I was at Old Sarum where they I: You were judging the beauty con­ think they've been a good thing were all congregating for the inva­ tests, of course. because they do produce some bril­ sion, and I heard an organ as I went RD: Yes, yes. You make a few friends liant young organists, don't they? past the Nissen huts . It was Charlie there and I always think a lot of ene­ You might say, "Well, YOU haven't Smart doing a broadcast that I should mies, too! I rethember walking past, got an electronic organ." I haven't have done! I was "somewhere in Eng­ and there was a girl from Sheffield. It for the simple reason that they keep land" and nobody knew where I was. was a terrific walk round that stadium improving them! I think there's a bit That was prior to D-Day. Looking - like walking to the scaffold I of Yorkshire still left in me; I won't back, I wouldn't have missed that thought sometimes. As I was walking get one till they get the ultimate. But now, but there were times I used to past the Sheffield girl (she didn't get a it's probably going to be too late then. worry, wondering if I ever would get prize), a voice said "Th'art not a very I was looking the other day, and I back to playing. good picker, Reggie!" could see the Tower. Whenever we used to drive back home when we'd I: In spite of all that, you became a na­ I: 1969 was your Ruby Wedding, and been away during our holiday, I used tional broadcasting figure in the real­ retirement too, after 40 years at the to say to my wife, ''There's the office! ly big days of radio just after the war. Tower. Back again tomorrow!'' I still regard RD: Yes, it was hard work. I felt it RD: Actually, it was '70, I thought. it as "the office," although it's now was hard work to come back again 14 years since I left there. Actually, somehow, because, in five years an­ I: 1970 you actually finished? there's a certain amount of luck in other generation had sprung up, see? RD: Yes, '69 was the starting of it. In life. Well, call it luck, if you like, I mean now, after 14 years away from many ways I didn't want to leave, but maybe I'm wrong there. As I said be­ Blackpool, a number of people say I just felt that the strain was beginning fore, I sometimes think your life is "Who's Reginald Dixon?" Which is to prove too much. You see, I started planned out for you. I have regrets, true. People say, "Oh, people will re­ in. May, I used to supposedly have a but I've got a lot of very happy me­ member YOU forever." No, it day off, but the last two years I did a mories, VERY happy memories. D doesn't happen, does it? BBC program with Vince Hill on my The morning broadcasts . . . it as­ day off, and then I did two series with tounded me that, you know. Ten Moira Anderson, and that was sup­ o'clock in the morning. They were posedly my day off. I used to get coming in at 9 o'clock and the ball­ home at half past five! My wife would CLOSING CHORD room would be packed with people! It have a lovely meal for me, but that "The flag on is was really remarkable. I couldn't un­ was my day off. Then there was the flying at half-mast today." Thus the derstand it ... just for half an weekend, and of course, as you BBC announced to the world on its hour's broadcast! One of the things know, I did three shows on Sundays. I Overseas Service on May 9 that the which they loved was to sing. I re­ didn't play as much as I did before the world's most popular theatre pipe or­ member the producer saying, "Try to war because I couldn't. So then I real­ ganist, Reginald Dixon, had passed get them singing." I said "Try! I can't ized that possibly I could move from the scene. Popular as many oth­ stop them!" They'd sing anything. So around a bit. I was able to go over to er organists were, in the UK and that was the idea of the last five min­ Holland with my Dutch friends. USA, none were truly beloved of the utes being a sing-along. And if it I played the very first electronic or­ general public as was Dixon. Gen­ wasn't in I'd get letters complaining gan in 1934, in the cellar in the Plaza, uinely a household name in the UK, about it. Stockport. It was a sack of potatoes, Holland and throughout the British supposedly! It had been brought over Commonwealth, he will be mourned I: You were awarded the MBE, but against an em bar go. The man that by countless people to whom his one of the big honors was to be al­ told me has gone now so it won't real­ name was synonymous with organ lowed to switch on Blackpool Illumi­ ly matter. That was the first Ham­ music; in fact, many of them could nations in 1956. mond. They called it a Lafleur, in probably not name another organist. RD: Yes, it was a wonderful year. those days, to differentiate between Millions danced to his music in the the church and the cinema. The Ham­ famed Tower Ballroom over the 40 I: You were such a tremendously mond was the church model, and the years of his residency there and count­ glamorous figure then. I think, to same model was the Lafleur because less others listened to his many broad­ cope with the fans, you had photo- some people would say, "We don't casts or bought his recordings. At one

s THEATRE ORGAN JULY/AUGUST 1985 sent from Blackpool until 1945, dur­ touring his own electronic organ. The ing which time "Squadron Leader BBC installed a 3/13 Wurlitzer (for­ Dixon and his melody sextet" enter­ merly in the , tained the troops from "somewhere Blackpool, whose nucleus was the in " until he put his foot original Tower 2/ 10) in the Playhouse down and insisted on active service. Theatre, Manchester, so that he could In 1945 he returned to Blackpool, continue to broadcast regularly. His nervously wondering if his public final concert performance took place would still want him. He need not in the City Hall of his home town in have worried. His popularity was as 1978 and he then returned to his great as before, so much so that bungalow on the outskirts of Black­ Queen Elizabeth awarded him the pool. M.B.E. He continued broadcasting, He will be fondly remembered, not recording and playing for dancing un­ only for his music and recordings, but til his retirement from the Tower in also for the profound effect he had on 1970. His final performance was the lives of quite a few young musi­ broadcast in its entirety on the BBC cians, many of whom became profes­ and at its conclusion he received a sional organists solely as a result of ReginaldDixon 20-minute standing ovation, with his example and inspiration. He al­ many people openly weeping. It was ways had time to reply to fan letters or time he was broadcasting on the BBC described in the press as ''the end of spend time with his fans, and contin­ up to eight half-hour programs a an era." ued to correspond with the writer and week (what a wealth of material he Dixon continued playing, however, off er encouragement right up to this must have covered) and he remains and toured England giving concerts year. He leaves a void which can never the world's most prolific recording wherever there were pipe organs, or be filled. organist. DON THOMPSON 0 He was born in Sheffield, York­ shire, in 1904 and took piano lessons quite early in life. He taught himself to play the organ at Birley Carr Meth­ odist Church in his home town, but his first job was as a pianist for the si­ lent movies in an industrial town in England's midlands. While appearing at Preston he met Vera, his future wife, and popped the question to her while sitting in the balcony of the Tower Ballroom, long before he had any thoughts of playing there. While at the Preston theatre he heard that the Tower company was looking for an organist to play for dancing, and even though he had no experience in this kind of playing, he applied. To his surprise he was ap­ pointed and commenced his duties in 1930. By 1932 he was already record­ ing and broadcasting with, some regu­ COUNTER MELODY larity, and by 1934 it was decided to replace the 2/ IO Wurlitzer with an in­ After you have become acquainted counter-melody is to develop the abil­ strument more suited to Reg's ability with the vast variety of rhythm pat­ ity to sustain one finger while tapping and fame, so the 3/ 13 Wurlitzer was terns available to complement your the other fingers around it. We will installed, which became world fa­ favorite melodies, you may wish to call this finger independence. As a mous as Dixon captured the hearts of add a left-hand counter-melody to preparatory independence exercise, the English with his infectious rhythm further enhance your arrangement. play a four-note chord with the left playing. Let us simply define a left-hand hand in this manner: Press the lowest His white suit, two-tone shoes and counter-melody as holding down any note of the chord down firmly, then pencil-slim moustache were copied by note of a chord while playing a rhyth­ tap the remaining keys in the chord countless young men of the day. In a mic accompaniment around it. A lightly and staccato. If you are per­ much publicized newspaper poll he counter-melody improves the sound forming this correctly, the counter­ supplanted Gracie Fields as Eng­ of a rhythmic accompaniment by melody note predominates the others. land's most popular entertainer. At eliminating the choppy, monotonous Repeat this procedure using the top the peak of his popularity in 1939 he effect, while adding pretty harmony. note of the chord as the counter-melo­ volunteered for the RAF and was ab- The first step in learning to play a dy. Finally, try this exercise using one

JULY/AUGUST 1985 THEATRE ORGAN 9