Sidney Torch

All photos in this article are from the Sidney Torch collection - Courtesy of Frank Killinger.

EDITOR'S NOTE: Whenever theatre organ buffs con­ THEATRE ORGAN magazine is gregate and the subject of who con­ indebted to Judd Walton and Frank tributed the most in the art of theatre Killinger for their efforts in obtaining organ playing with originality and the interview. It was during a visit to understanding of the instrument, two England in May 19 72 that Walton names always stand out. One is JESSE arranged a luncheon meeting with CRAWFORD and the other is SIDNEY Sidney Torch. He was accompanied TORCH. by Frank Killinger who has just re­ Crawford's originality and registra­ leased the two record album of the tions have never been surpassed in the now famous Columbia. series organ execution of ballads. The same applies recordings made during the 1930's. to Torch in up-beat jazz playing. (See ad on page 43). The entire con­ Although Mr. Torch stopped play­ versation was recorded and in present­ pounds a week. In those days, ing and recording in 1940, his re­ ing this interview no attempt has been that was a lot of money. cordings of that time still sound asfresh made to alter or soften Mr. Torch's (K) Did they have any sort of a and new as if played yesterday. It can opinions. Judd describes Mr. Torch as musicians union at that time? be honestly stated that his style and an absolutely delightful gentleman of (T) Not as effective as they are to­ approach was 30 years ahead of time. the old school; thoughtful, witty and day. Today , of course , it's 100% He is renowned for his musicia.nship, thoroughly conversant on musicianship closed shop as it is in the States. but prior to this meeting had not been and artistry, both classicaland fJOpular. In other words, if you're not a available to anyone to discuss the We are pleased to have Mr. Torch's member you don't play. But in theatre organ or any aspect of his permission to print this interesting those days there were two career on this instrument. feature. unions. There was one which was called the Normal Average Player and there was another one called the Association which was only (K) You started playing profession­ was about twelve or fifteen intended for the better players, ally at 14? strong. It was a pretty large em­ the top players who commanded (T) I got myself a job when I was 14 ployment of musicians. Mind all the best work. If you be­ by attending an audition for you, the pay was very, very poor longed to the Normal Union , the orchestras in a very large com­ in those days. I gave an audition musicians union , you were less of plex of London trappies (restau­ as a pianist in one of these a performer. It was a sort of rants) run by the well known things. I had a black jacket, snob value of course. If you were firm (Lyons, you know) and in striped trousers, a bowler hat and a member of the Association you those days we used to have what an umbrella. I was 14. I thought could get five shillings extra , you they called corner houses. They myself quite a guy because I know, this sort of thing. But, of must have built lots of restau­ looked older. There were about course, that's all done away with rants; 3, 4, 5 floors of restau­ 300 musicians applying for jobs now, there's no such thing. rants, always on the corner and and the audition piece was Everyone belongs to the same they were called corner houses. Tschaikowsky's 1812. I played union. Of course, we used to have non­ rather well as a child, so I rattled I did all sorts of things. I stop music for nine hours a day off everybody's cues. I played went on tour with a musical on every floor. Therefore, we the violin part, the bassoon part, comedy to play the piano and used to have three bands on the tuba part, all on the piano. I this is where I first got my every floor and if there were wasn't popular but I got the job. appetite for conducting. One four floors, they employed That's how I started. I was one evening the manager of the twelve orchestras. Each orchestra week out of school and I got five company came to me and said

DECEMBER, 1972 THEATRE ORGAN 5 that Jack (that was the conduc­ do their bit. Of course, you can't cinema in London, what we call tor) is sick, you're conducting to­ always get the same degree of over here a super cinema, the night, and vanished, you know, good performance. To get a good first in London. Most of the like that! That's how I became a performance not only must you people who played in this orches­ conductor. I don't remember be feeling well and up to per­ tra in those days, if they are still much about it. I just remember forming yourself, but every indi­ alive, are stars in their own right. going there and the entire orches­ vidual member of the orchestra We've all got a feeling toward tra saying to me, go on, you can must be feeling fit as well. Then stars. We had one of the first do it. I was about 16. But I just you may get a good perform­ Wurlitzer organs in England or in had to do it. Everything was red. ance. But if there are 100 people Britain in that cinema. I remember there was a red stage in the orchestra, the chances are (W) What cinema was that? with red people on it and red against you getting this thing. (T) A cinema named the Broad was music in front of it and a red But it does happen and you in a suburb of London called orchestra to the left and right of operate that anything over 50% Stratford, in East London. It had it. Sounds like the charge of the is good. If you go below 5 0%, something like about 3,000 seats Light Brigade, doesn't it. But we this is when you've got a dud in in the days when most cinemas must have all finished together. front of you. And of course, we were 400 or 500 seats. The first To this day I couldn't tell you are all human, we can all make one of the very, very large cine­ what happened. I was uncon­ mistakes, and sometime if you're mas. Anyway, we had an Ameri­ scious then, I still am. But that's feeling exceptionally well and on can organist named Archie Park­ how I became a conductor. top of the performance you house, who was a demonstrator (K) A conductor has special frustra­ become rash. This is when you for the Wurlitzer Organ Company tions. When you get a large do make mistakes. and had been sent over by orchestra and everybody's not After I had this taste of con­ Wurlitzer to England for the doing their bit because maybe ducting, I had an off er to play installation of this organ and to they're not feeling up to it, you the piano in the cinema in the demonstrate how it should be suffer accordingly. Right? days of silent films. It was a very played and to teach English (T) Part of your job is to make them large orchestra in the largest people how to play it. He said to me, "Why don't you learn to play the cinema organs." So I At the Compton Organ installed in EM I Studio No. 1, Abbey Road, London. said, ''Well, I don't know how." He said, "Well, you ought to be­ cause I've seen talkies come in the states and I'm sure they are coming over here and you'll be out of a job." I said, "Well, I don't want to be out of a job. How do you do it?" He said, "Sit down here, put your hands on there, put your feet on there and I'll be back in 10 minutes, I'm going for a smoke." The film was running and there I was stuck with an organ which I didn't know how to play. Sure enough, the orchestra did get the sack, and I was kept on as assistant organist. I used to stay there night after night, hours and hours of practice and experiment - that's how I learned the organ. No one taught me, I learned it by necessity. In those days we used to have two organists because we used to sit there waiting for the film to break down, so that you could jump in quickly and play something. But there was a snag to it. You know, Wurlitzer organs or in fact any cinema organ has to have an electric motor to give the necessary power to the keyboard and the

DECEMBER, 1972 pipes. If this motor is allowed to pianist and assistant organist. So succeed. If you want to succeed run for an unlimited amount of I wasn't out of work again. Mind you can. That's how I became an time, it burns out like any elec­ you, I don't think this is talent, I organist. trical motor. So you have to don't think it is luck. It's a com­ (W) How long were you there? switch it off. Of course, in the bination of talent and luck but (T) 1928 to 1933 or 1934. About 6 way of the world, every time the other thing was that I was years. I was assistant to Quentin you switch it off the film broke prepared to sit there all night Maclean then I was assistant to down. Every time you let the and practice until I had mastered his successor who was Reginald motor run the film didn't break it. Foort. When Reggie Foort left I down, so in the end the manage­ (K) You had tremendous self disci­ was given the job. In those days, ment decided it was a waste of pline on that. I used to do organ broadcasts time having a second organist be­ (T) Not only self discipline. It was twice a week, three quarters of cause sure enough as soon as he my main chance. I wanted to an hour each one. Twice a week, switched off the motor the film broke down. By the time it was running again the film had re­ Sidney Torch at the Wurlitzer checking an arrangement started. So they said to me, "You 're finishing the end of the month." Archie Parkhouse, this Ameri­ can-very kind to me, said "Don't worry, I'll give you an introduc­ tion to some of my friends." He sent me to see them and the or­ ganist at what was then the Regal Marble Arch which today is the Odeon Marble Arch. A very fam­ ous cinema in the old days, it was so elegant that all the linkmen and the reception men inside wore powdered wigs and white stock­ ings, in the manner of footmen. He sent me to see the organist there, a very famous man, the late Quentin Maclean. He gave me a letter of introduction to Maclean. I went to the stage door and said I wanted to see Maclean. The stagedoor keeper said, "You can't. He doesn't see anybody without an appointment." I left the letter and when I went back, the receptionist called me over and said, "You're wanted on the phone." It was Quentin Maclean who said to me, "Why didn't you wait and see me." I said, "The stagedoor keeper told me to go away." He said, "I badly want to see you. Can you come back?" I went back and he said to me, "Look, I've got to go to Dublin to open a new cinema and I badly need someone to fill my place while I'm away. Can you do it?" I said, "Yes." He said, "Come back at 11 :00 to­ night and I'll show you how this organ works." It was the biggest organ in England. Five manuals. Frightened the life out of me. He showed me how to play it and I stayed there all night. The next day they offered me the job as

DECEMBER, 1972 52 weeks a year , broadcast all (K) You did some fantastic records over the world. Today everything on that Regal Edmonton is recorded in advance. In those (Christie organ). days we used to broadcast on (T) You think so. I look back on what is now called the BBC them now and I think they're Wurlitzer. I used to get up at pretty corny compared to what 2: 00 in the morning, go down to could have been done. the theatre, broadcast , come (K) You may think so, sir, but we in home again. You didn't go by the States think differently. your time, you went by the time There isn't anyone in the States, of the country of reception. If past or present, that has equaled you were broadcasting to a the records you made on the country which was eight hours Edmonton or the Kilburn. behind, that was just too bad. (T) That sounds very nice. I wish I (Yv) Was it during this period you thought that too. I listen to made your first cinema organ them very occasionally. About record? once every 5 years I take one (T) The first cinema organ record I out and play it and then I blush made, two records, I think or and put them back again - three, I'm not certain were quickly. I don't think they are labeled Regal Zonaphone. nearly as good as they should (W) How did this come about? have been. They may have been (T) Columbia used to record the advanced for those days. orchestra of the Regal Marble (K) They were. Well advanced. But Arch. I had to do an arrange­ they still stand up today. ment for a record and the (T) Yes, but technically, I think they arrangement was a selection from sort of fell between lack of ideas the music of the King of Jazz and too many ideas. In other which had never been known in words , they came halfway be­ this country - brand new. Shows tween that . In some instances you how far back that is. I was when I look back on them I given the sheet music, the Ameri­ think to myself , why didn't I can copies of the sheet music, to think of doing so and so. And make a selection. Anyway, I did, then I look back and I say why and we recorded it. The Colum­ did I attempt to do so. It was a bia manager, A and R man said, dangerous life you know. "That's a good arrangement. Who (K) Like the "Flying Scotsman". did that?" Somebody said, "He (T) It was made up on the spur of did." So he came up to me and the moment. said, "I'm going to do things for (K) That was a fantastic record. you. You're playing the organ (T) Yes, but you see, there is no Sidney Torch as he appeared September too, eh? Would you like to make tune there at all. It's just a 1940. records?" I said, "Of course." couple of traditional Scottish That's how I got a record. From tunes put together. And the very dear cat that became fright­ there I graduated to Columbia whole thing is a fix. ened and knocked it off the and then I graduated to Decca (K) Right, but it just flows like table. after that. water. (T) The cat shows remarkable taste. (W) What was your next organ post (T) Well, it's made up. It's improvi­ (K) I have a complete collection of after the Regal Marble Arch from sation. Every time I played it, it your records , except the Zona­ which I understand the organ is was different, because it simply phones. now removed, unfortunately. had the tune of Loch Lomond or (T) They are not good. These were (T) A very famous cinema in North Annie Laurie, then I improvised very early days when I was London called the Regal Edmon­ on that. This was not difficult. experimenting and when the ton. They opened that and they (Yv) Weren't most of these recordings recording companies were exper­ offered me the job so I went your arrangements? imenting. You know , the ulti­ t.here. Then after that I went on (T) Oh, everyone of them were my mate recording of a cinema organ tours opening up new cinemas arrangements but they were not has never been mastered to the along the way. I went finally to written down. They were prac­ extent of recording an orchestra. the State Kilburn which was the ticed until they were in my head. I believe that Jesse Crawford biggest Wurlitzer in the country. (Yv) The only record, sir, that I have finally made records in a sound I opened that and stayed there broken in my collection , and I proof chamber with no sound • until the war came. Then I went have several thousand records, except what he got through the into the RAF and stopped play­ was your recording on Columbia, can. He couldn't hear the pipes ing the organ. "Teddy Bear's Picnic". I had a because they were outside. ls this

8 THEATRE ORGAN DECEMBER, 1972 so? I have been told this. the British ones always remind this backwards and forwards roll. (K) I don't know. He did a lot of me of a bison getting out of the You know I haven't talked about recording in North Tonawanda. swamp. You said what a marvel­ cinema organs in 25 years. (W) No. Not the recordings. ous bass it had. Now this is (K) This is why we are so thrilled (K) He did the player rolls in North indicative of most cinema organs. because you are talking about it Tonawanda. They all had a terrific rolling to us. (W) He recorded basically on five sound from the bottom register. (T) I very rarely talk about anything organs. The Paramount studio, There wasn't enough personality to do with that side of my the earlier style F in the Wur­ on top, registration, you know. career. I have as my orchestral litzer hall in New York, the All tended to be voiced - every­ pianist a very famous organist , Special style 260 in Chicago and thing was voiced for the Tibia William Davis. He is probably the a style E on which he made sound. best player in this country today. Valencia with 7 ranks. (W) This is right. We sometimes talk about it and (T) You're much more learned about (T) This is why I liked playing the he imitates me sometimes. We cinema organs than I am. I had Regal Marble Arch. Because this have an electric organ which we forgotten all this. was limited to legitimate organ in use in the orchestra and when (W) I have one in my home, 2 its voicing. It had nothing to do I'm least expecting it, he'll play manual, 14 ranks. Two Tibias, a with the action or unit system. my old signature tune. But that's Wurlitzer Musette. In other words, you could get the nearest I ever get to it. (T) I wouldn't have thought, judging staccato authority, not only in (W) I heard it yesterday - Douglas by your appearances, you live as the actual key performance but Reeve at the State Kilburn dangerously as all that. And you the staccato of the sound. The program. play it yourself? pipe would go eep, like that. (T) They don't play it like I used to. (W) Strictly for my own amazement. (W) Was that your favorite organ? I used to do 1 or 2 glissandos. (T) Well, that's the only way to do (T) No, but I think there was a lot They try and do a glissando it. It's a very dangerous instru­ to be said for it. It, of course , every time. ment because it is the easiest had this straight side to its We all copy Jesse Crawford thing on the cinema organ to be nature. Most cinema organs tend who invented the glissando as far vulgar. It's also terribly simple to to have the same sort of loud as I know. be loud. The difficulty of playing rolling noise throughout the (W) He said that he did. the cinema organ is to restrain entire arrangement of the instru­ (T) I believe this because I never yourself and show good taste. ment right from the 2' down to heard it before he did it. But (W) Mr. Torch, you have just reiterat­ the 32' and it had this. I think then like everything else in a ed what I've been trying to say although it's a necessary part of cinema organ, it is the discretion for so many years. the cinema organ, it is a trap for with which you use it which is (T) Well, I'm honored that we think the unwary performer. It's like important. The trouble is this, alike, but I am sure it's true. having an orchestra composed of they finally can play loud , they (K) Crawford has this feeling. players, all of whom have a very play loud all the time. By the (W) Precisely right! large vibrato. Imagine all those time they can do glissandos, they (T) Have you ever played any of the strings vibrating together. This do them all the time. All these British organs, Compton or isn't very good. I think that the things are very valuable. These Christie? voicing over here has tended in are the points that make up a (W) Yes, it has been my pleasure to this country to be much too cinema organ - the ability to do have done that this visit, about sticky sentimental. At least what these special tricks which only a 24 of them. we care to think of as being cinema organist can do. If you (T) Wild horses wouldn't make me sentimental in those days. use them all the time , they are play a cinema organ and on 24! (K) The Regal Edmonton, on the no longer tricks. You're a brave man. Christie, had a lot of brilliance (K) This is where the taste comes (W) I have been down to Sou th­ and snap to it. from. This is what you had and hampton which I disliked with (T) That was my voicing. In the were very advanced when you great intensity, it's a Compton. "Bugle Call Rag", that organ did it. Yesterday I heard the State goes daddle daddle dup. You try (W) If you will permit me to say so, Kilburn which is as near our and do that on most of the you were so far ahead of any large American organs as I've Compton organs or most of the other artist on this instrument. heard even though it is only 16 Wurlitzers in this country and it (T) I think this only proves how bad ranks. I had a great night at the goes buooh buooh go buooh. the others were. It doesn't prove 8 rank out at Clapham. I loved (W) Without tremolos, still? that I was good. the Gaumont in Manchester. The (T) Makes no difference. It's the (W) On the contrary , I believe it does Odeon or former Paramount is a voicing of the stops and the prove how good you were be­ typical Publix No. 1. location of the chambers. You cause to this day in our opinion (T) I like the Odeon in Manchester. know, in sound, I don't have to and those of us in America who It's very good. Henry Croudson tell you in some cinemas the site have listened , it hasn't been used to play that. Great little of the chambers is very detri­ touched. □ organ. Most of these including mental to the sound. You get - TO BE CONTINUED -

DECEMBER , 1972 THEATRE ORGAN 9