El Boletín AMICA Asociación de Coleccionistas de Instrumentos Musicales Automáticos MAYO/JUNIO 2006 TOMO 43, NúMBERO 3

ISSN #1533-9726 THE AMICA BULLETIN AUTOMATIC MUSICAL INSTRUMENT COLLECTORS' ASSOCIATION Published by the Automatic Musical Instrument Collectors’ Association, a non-profit, tax exempt group devoted to the restoration, distribution and enjoyment of musical instruments using perforated paper music rolls and perforated music books. AMICA was founded in San Francisco, California in 1963. PROFESSOR MICHAEL A. KUKRAL, PUBLISHER, 216 MADISON BLVD., TERRE HAUTE, IN 47803-1912 -- Phone 812-238-9656, E-mail: [email protected] Visit the AMICA Web page at: http://www.amica.org Associate Editor: Mr. Larry Givens • Editor Emeritus: Robin Pratt

VOLUME 43, Number 3 May/June 2006 AMICA BULLETIN FEATURES Display and Classified Ads Articles for Publication Carty Piano ...... From the Web . . . .129 Letters to the Publisher An Interesting Parallel ...... Jeffrey Morgan . . . .144 Chapter News UPCOMING PUBLICATION Electric Piano Not As It Was ...... From The Ohio State Journal . . . . 146 DEADLINES Organ Grinders ...... From The St. Louis Post-Dispatch . . . .146 The ads and articles must be received by the Publisher on the 1st of the Organs in Oktober ...... Cynthia Craig . . . .147 Odd number months: January July How to Sell Player Pianos Profitably ...... Kenneth Curtis . . . .150 March September May November Charles Rudolf Friml ...... Christine H. Robinson . . . .165 Bulletins will be mailed on the 2nd week A Look At Rent, Parties, Ragtime of the even months. & Stride Piano ...... From the Boogie Beat . . . .167 Dr. Michael A. Kukral, Publisher 216 Madison Blvd. Sidney Silber ...... Ralph & Elaine Obenchain . . . .171 Terre Haute, Indiana 47803-1912 Adopt-A-Piano Progress Report . .Art Reblitz & Richard Reutlinger . . . . Phone: 812-238-9656 172 e-mail: [email protected] Wagner - New York ...... Anthony L. Engels . . . .174 Where Did All the Harps Go? ...... John Motto-Ros . . . .176 What Your Player Piano Thinks About ...... Christine H. Robinson . . . .180 MEMBERSHIP SERVICES

New Memberships ...... $47.00 DEPARTMENTS Renewals ...... $47.00 AMICA International ...... Additional $5.00 due if renewed 126 past the Jan. 31 deadline President’s Message ...... 127 Address changes and corrections Publisher’s Message ...... 127 Directory information updates New Piano Rolls & Recuts ...... 186 Additional copies of Member Directory . . . . $25.00 Chapter News ...... 187 Single copies of back issues ($10.00 per issue - based Classified Ads ...... 195 upon availability) Front Cover: From a rare 1919 Kimball piano brochure distributed by Carlos Toledo William Chapman (Bill) Aviles, Kimball representative for the Province of Santa Clara, Cuba. Submitted by 53685 Avenida Bermudas Mike Kukral. La Quinta, CA 92253-3586 (760) 564-2951 Inside Front: Uncle Sam “I Want You for AMICA” e-mail: [email protected] Back Cover: Pianoforte Selection from Broadway “Queen High” sheet music. To ensure timely delivery of your Submitted by Robin Pratt BULLETIN, please allow 6-weeks advance notice of address changes. Inside Back Cover: Same as Front Cover

AMICA Publications reserves the right to accept, reject, or edit any and all submitted articles and advertising.

Entire contents © 2006 AMICA International Printed by Engler Printing Co., Fremont, OH ¥ [email protected] 125 AMICA INTERNATIONAL INTERNATIONAL OFFICERS CHAPTER OFFICERS PRESIDENT Mike Walter BOSTON AREA NORTHERN LIGHTS 65 Running Brook Dr. Pres: Bill Kownigsberg Pres: Phillip Baird Lancaster, NY 14086-3314 Vice Pres: Bob Hunt Vice Pres: Paul Watkins 716-656-9583 Sec: Ken Volk Sec: Jason E. Beyer - 507-454-3124 e-mail: [email protected] Treas: Dorothy Bromage Treas: Barbara Watkins Board Rep: Bob Hunt Reporter: Dorothy Olds PAST PRESIDENT Dan C. Brown Board Rep: Dorothy Olds N. 4828 Monroe Street CHICAGO AREA Spokane, WA 99205-5354 Pres: Mel Septon - 847-679-3455 PACIFIC CAN-AM 509-325-2626 Sec: Carol Veome Pres: Halie Dodrill [email protected] e-mail: [email protected] Vice Pres: Troy Taylor Treas: Joe Pekarek Sec: Brian Tate VICE PRESIDENT John Motto-Ros Reporter: Curt Clifford Treas: Jack & Mary Lou Becvar P.O. Box 908 Board Rep: George Wilder Reporter: Ron Babb Sutter Creek, CA 95685-0908 FOUNDING CHAPTER Bd. Rep: Carl Dodrill - 206-236-0067 209-267-9252 e-mail: [email protected] Pres: John Ulrich - 510-223-9587 ROCKY MOUNTAIN Vice Pres: Bing Gibbs & Karen Simons Pres: Larry Kerecman - 303-377-7729 SECRETARY Florie Hirsch Sec: Jack and Dianne Edwards Vice Pres: Jere DeBacker 8917 Wooden Bridge Rd., Potomac, MD 20854-2448 [email protected] Sec: Louise Lucero 301-340-6664 Treas/Bd Rep: Richard Reutlinger Treas: Fred Wilson e-mail: [email protected] Reporter: Bonnie and Bob Gonzalez Reporter: Jere DeBacker TREASURER Wesley Neff SIERRA NEVADA 128 Church Hill Drive, Findlay, Ohio 45840 GATEWAY CHAPTER Pres: Yousuf Wilson - 636-665-5187 Pres: John Motto-Ros - 209-267-9252 419-423-4827 Vice Pres: Alex Thompson e-mail: [email protected] Vice Pres: Gary Craig - 314-771-1244 Sec: Mary Wilson Sec: Sonja Lemon PUBLISHER Dr. Michael A. Kukral Treas: Cynthia Craig Treas: Doug & Vicki Mahr 216 Madison Blvd., Terre Haute, IN 47803-1912 Reporter/Bd.Rep: Gary Craig Reporter: Nadine Motto-Ros 812-238-9656 Board Rep: John Motto-Ros [email protected] e-mail: [email protected] SOWNY (Southern Ontario, MEMBERSHIP SECRETARY William Chapman (Bill) HEART OF AMERICA Western New York) 53685 Avenida Bermudas, La Quinta, CA 92253-3586 Pres: Tom McAuley Pres: Mike Walter - 716-656-9583 Phone & Fax: 760-564-2951 Vice Pres: Robbie Tubbs Vice Pres: Daniel Tenerowicz e-mail: [email protected] Sec: Rick McDowell - 816-781-1965 Sec: Garry Lemon Treas: Mike Schoeppner - 816-767-9766 Treas: Holly Walter — COMMITTEES — Board Rep: Ron Connor [email protected] AMICA ARCHIVES Tom Hutchinson LADY LIBERTY Reporter: Garry & Anne Lemon 15361 Hopper Rd., Sturgeon, MO 65284 Board Rep: Audrey Cannizzaro [email protected] Pres: Bill Maguire Vice Pres: Aris John Dousmanis Photographer: Nancy Group & Anne AMICA MEMORIAL FUND Halie Dodrill Recording Sec: Bill Maguire Lemmon 4488 W. Mercer Way, Mercer Island, WA 98040-3934 Corresponding Sec: Richard Karlsson SOUTHERN CALIFORNIA 206-236-0067, e-mail: [email protected] Reporter:Buzz Rosa Pres: Jerry Pell - 760-249-6380 AUDIO-VISUAL & TECHNICAL Harold Malakinian Board Reps: Marvin & Dianne Polan Vice Pres: Frank Nix 2345 Forest Trail Dr., Troy, MI 48098 631-673-0388 Sec./Reporter: Shirley Nix Newsletter Editor: Bill Maguire Treas: Lloyd A. Osmundson CONVENTION COORDINATOR Frank Nix Board Rep: Frank Nix 6030 Oakdale Ave., Woodland Hills, CA 91367, 818-884-6849 MIDWEST (OH, MI, IN, KY) TEXAS Pres: Don Johnson - 248-650-1840 HONORARY MEMBERS Jay Albert Pres: Jerry Bacon - 214-328-9369 904-A West Victoria Street, Santa Barbara, CA 93101-4745 Vice Pres: Liz Barnhart Vice Pres: Bill Boruff 805-966-9602 - e-mail: [email protected] Sec: Sharon Neff Treas: Vicki Brady Treas: Alvin Wulfekuhl WEBMASTER MANAGER Karl B. Ellison Sec./Reporter:Maureen Barisonek Reporter: Christy Counterman Board Rep: John McCall 6 Lions Lane, Salem, MA 01970-1784 Board Rep: Liz Barnhart e-mail: [email protected] AFFILIATED SOCIETIES AND ORGANIZATIONS ATOS FRIENDS OF SCOTT JOPLIN MUSICAL BOX SOCIETY PLAYER PIANO GROUP President - Fr. Gus Franklin 1217 St. Croix Ct. INTERNATIONAL Julian Dyer, Bulletin Editor 6508 Willow Springs Road Kirkwood, MO 63122-2326 Rosanna Harris, Editor 5 Richmond Rise, Workingham, Springfield, IL 62707-9500 website: http//stlouis.missouri.org/fsjoplin 5815 West 52nd Avenue Berkshire RG41 3XH, United Kingdom Phone: 217-585-1770 Fax: 217-585-0835 [email protected] Denver, CO 80212 Phone: 0118 977 1057 E-Mail: [email protected] INTERNATIONAL PIANO Phone: 303-431-9033 Fax: 303-431-6978 Email: [email protected] Editor - Dale Baker ARCHIVES AT MARYLAND E-Mail: [email protected] P. O. Box 51450 SMITHSONIAN INSTITUTION Performing Arts Library,University of Maryland NETHERLANDS MECHANICAL Division of Musical History Indianapolis, IN 46251-0450 2511 Clarice Smith Performing Arts Center Phone: 317-838-9345 ORGAN SOCIETY - KDV Washington, D.C. 20560 College Park, MD 20742 A. T. Meijer E-Mail: [email protected] SOCIETY FOR SELF-PLAYING Phone: 301-405-9224 Wilgenstraat 24 MUSICAL INSTRUMENTS ASSOCIATION ITALIANA MUSICA Fax: 301-314-7170 NL-4462 VS Goes, Netherlands MECCANICA E-Mail: [email protected] Gesellschaft für Selbstspielende Musikinstrumente (GSM) E.V. Via Comte le Monticino No. 485 INT. VINTAGE PHONO & MECH. NORTHWEST PLAYER PIANO Ralf Smolne 47020 Cesena, Italy MUSIC SOCIETY ASSOCIATION Emmastr. 56 Phone: 39-547-346-046 C.G. Nijsen, Secretaire General Everson Whittle, Secretary D-45130 Essen, Germany AUSTRALIAN COLLECTORS OF 19 Mackaylaan 11 Smiths Road, Darcy Lever, Phone:**49-201-784927 MECHANICAL MUSICAL INSTRUMENTS 5631 NM Eindhoven, Netherlands Bolton BL3 2PP, Gt. Manchester, England Fax:**49-201-7266240 19 Waipori Street Home Phone: 01204 529939 MUSICAL BOX SOCIETY OF GREAT Business Phone: 01772 208003 Email: [email protected] St. Ives NSW 2075, Australia BRITAIN DUTCH PIANOLA ASSOC. Alan Pratt, Editor PIANOLA INSTITUTE Nederlandse Pianola Vereniging P. O. Box 299 Clair Cavanagh, Secretary Eikendreef 24 Waterbeach, Cambridge CB4 4PJ 43 Great Percy St., London WC1X 9RA 5342 HR Oss, Netherlands England England 126 President’s Message AMICA Needs You!!! At the present time AMICA International is in need of some strong support from its members. There are a number of positions that need to be filled in our organization. They are: Secretary of AMICA International – Mainly keeps a record of the minutes of all meetings of the Association and the Board of Directors (usually just the annual meeting). See also page 108 of June 2003 AMICA Directory for additional duties. Treasurer of AMICA International - Receives all moneys due to or receivable by AMICA International, and other duties as outlined on page 108 of the June 2003 AMICA Directory. Keeper of the Technicalities – Individual whose task is to go through currently received issues of the Bulletin and “clip” articles of a technical nature for inclusion in the AMICA “Technicalities”. The Technicalities are to be saved in a digital format for easy retrieval and indexing. Currently the Technicalities are captured in a PDF format that is not easily editable. A small team of members should be established to convert and edit existing articles from the PDF format into a more friendly format, such as MS Word. Chapter Web Page Advisors – Individual(s) is/are needed to assist some Chapters in making their presence more visible on the AMICA web site. This would include helping chapters establish a web page of their own and assisting them place minutes, pictures, meeting dates and times on the web page in a tasteful and exciting manner, and working with the AMICA webmaster to establish the proper links. DVD Expert – Videos taken during past conventions have been successfully converted from their original u-Matic format into a digital format. They are now stored on individual DVDs. The content of these DVDs is very intriguing, but they are in need of art work, digital chapters and some T.L.C. A person(s) who has some experience in editing, production and duplication of DVDs is needed for this task. If you have any questions about, or are interested in the Secretary or Treasurer positions, please contact Dan Brown at: [email protected] or by phone at: 509-325-2626. If you have any questions about, or are interested in any other position, please contact me (Mike Walter) at [email protected] or by phone at: 716-656-9583. PS I’ll be looking forward to seeing you in Chicago soon! AMICAbly yours, Mike Walter From the Publisher’s Desk ¡Hola!

Greetings from sunny Spain! For the past month I have been in charge of taking 18 college students to the Iberian Peninsula and educating them in the rich history, culture and geography found in this part of the world. I was inspired by this adventure to publish our Bulletin cover in Spanish and feature a rare advertisement from Cuba of a piano style that I actually own. As most collectors of automatic musical instruments know, there is a large amount of Spanish and Latino music and pianist recordings found on music rolls. Many nickelodeon owners cherish their Mexican rolls and the condition of any original rolls reveals their popularity. Spanish piano music, composers and performers were and continue to be very popular among reproducing piano owners. Granados, Albeniz, Moszkowski, Giron, Frank Marshall, Carreno, Ganz, A.Rubinstein, and others composed, performed, and popularized the music of Iberia and Latin America in the 1920s and before. The success of the tango, rhumba, and other styles of music with Latin roots goes without saying and is fantastic to hear on music rolls. Enjoy the summer as much as I do. Mike Kukral, Publisher Barcelona, Spain

127 AMICA Ð CONVENTION DATES Ð 2006 Chicago, IllinoisSOLD OUT July 25 - July 30 2007 Germany/Holland July 5 - July 20

“The inevitability of gradualness cannot fail to be appreciated.” – Sidney Webb

Ad from the ENCYCLOPEDIA OF AUTOMATIC MUSICAL INSTRUMENTS, Pg. 430, by Q. David Bowers

Submitted by Mike Kukral - Postcard (below)

128 ARTY PIANO CO. DAYS

May 20, 2003 I was thinking maybe I should add some of the old photos from the piano shop days. Not many pictures were taken in those days but I've got a few. .-----:~==;~""'!!!"""=:-=-:...."...""F;;:_-=---=.____._____,

Here is some really early stuff, taken in our first year of operation (1958) from left to right in the first photo are: ( Wurlitzer the dog, Dick, Carol Frost, Claudia Beaty with me in front of her and Ramsey Carter. The shop was on an alley behind a house in Inglewood.

That's me in that first shop in Inglewood. Dick and Pat in the earliest photo I could find.

Nothing lasts forever, this is in the alley behind our first store, 1958. That's my MG just to the left of the truck. 129 continued. ..

~

Some more early photos, we're still in Inglewood but this is the third store, or mostly the third store. There's Dave Hartman and John Patton, who both worked on the nickelodeons, and rver Becklund who did mostly custom work from manufacturing missing parts to making entire nickelodeons.

Ray Becklund did a lot of our outside service work, Vel Becklund did in-shop rebuilding. Dale Woodward worked for us during the summer and part time, while going to school.

Iver in an early Sept. 1969 photo and Dave taken about the same time.

John Patton in a grumpy mood, (Mike tells me that John always looked this way) and Iver with Vel in the background.

130 continued...

Dick and Iver Becklund in an early photo, before Iver let his hair go long. The older gentleman on the right is Frank Rudolph, he was employed in the early years (1920's) by some of the top Player Piano Manufacturing Companies of the day like Weber, Cunningham, and Lester. An early photo of Iver, L,arry Givens and Dick, I think this was taken in Larry Givens's home in Pennsylvania. Larry Givens wrote the book, "Rebuilding the Player Piano" which became a very successful publication. And Nancy Jahn our Inglewood secretary for many years.

Our first store that wasn't behind somebodys house, this was out on a (wow) main street (LaBrea Ave in Inglewood) 1959. Then we moved a block or two south on LaBrea to this much larger store, where we stayed for several years. Most of the photos above and on the next page were taken while we were at this store.

After we left Inglewood.

The store Front in EI Segundo, located on Imperial Hwy. across from the airport, next door was Inflight Motion Pictures. That's Dick, Curtis and Mel standing in the doorway. Next Joe and Mel in our Manhattan Ave. building in Manhattan Beach.

131 continued. ..

~

In the EI Segundo Store Wayne Stanke was using a portion of the store to develop a recording piano and Eubie Blake was nice enough to come around and do recordings for him. On one or more occasions he brought his wife with him.

Roger Morrison, a frequent visitor to the shop and a top notch reproducer technician, ended up working for The Nethercutt Collection. Keith Hardesty, who came by for a visit, was "THE" Steinway technician. Clare Spencer who did occasional free lance work on player pianos. And of course everyone wants to see the QRS music roll factory in Buffalo NY.

There's Dick and me in our Manhattan Ave. store. In the background you can see our parrot mascot "Dickie Bird". The parrot chewed up one of the pianos one day so we had to get rid of him.

Tedd Gwin another frequent visitor to the shop in Manhattan. Next is Hans Grassl he did all of the fancy cabinet work and then there's Joe Sacki a frequent visitor to our Redondo Beach Store.

,i·'

132 continued. ..

Some pianos were more of a challenge than others.

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Cory Keifer was a helping hand. Mike Bensusen was our piano tuner while going to schoo!.

Gail worked for us mostly This is Silvia (who had an doing secretarial work in Irish last name that I can't our EI Segundo store. remember) was working on her masters degree at UCLA and chose our piano shop as her subject, so she hung around our Curtis stripping a piano. shop taking pictures and interviewing us for the whole semester.

133 continued...

Bill Coffman a _,rt regular visitor to the & store always on the look out for things for his theater.

Mike and Mike's dog, Bufus and Wayne Stanke our electronics expert.

From the left; Curtis Andrews, Iver Becklund, John Patton, Vel Becklund, Mel Shores, Joe Feenstra, Claire Spencer, and Mike Bensusen, early 1970's. Photo taken in the Manhattan Beach store.

Dick and Joe in the first photo, the second photo was taken about the same time about 1980. Artesia Blvd. store, Redondo Beach.

Manhattan Beach store.

134 continued. ..

Luther Joy was our Gulbransen man. John Lockwood was our photographer.

Pat Carty Mel Shores

Irv Seiler Margie Seiler Bob Magenheimer . Larry Norman (Youngblood)

Dick Carty our famous boss, Curtis Andrews our refinisher, and Walt Cockran our in shop tuner. Dale Woodward.

135 continued. ..

-==---

Bob Chapman mostly did summer work. Next is our outside tuner, John Murera and Mel Shores our reproducer technician.

John Murera, our outside tuner, a former big band clarinetist, Dave Hartman, who now works for Rinaudo Reproductions, Ramsey Carter, Jim Braun and Dick. Photo taken somewhere around 1962.

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I '" lAte_W iD ,...r &tYi.. ~ ... tlw _ ''\k1J:11_'. I. _ ,f e.- lUi ill _ lint t:t- _,1 _,~ of _u...... 1_~_""'lurppOQ4to ....., _. ~ I - At _ ft<7 Ill..·..d Do "t. cMn , •• ace, Dick's dog Wurlitzer. This photo was used in an ad, and gave ~... wl.t1t I., UIld~ ... ~;. " rise to this letter from the president of the Wurlitzer Co., Farney : '.~ ... 't_ '-. -...-" .. " Wurlitzer, the son of Rudolph Wurlitzer the founder the Wurlitzer 1~rJli;i~17. 0';" Company. I'd just be opening myself up to a law suit if! told you . ,~ ~ J1II',Uf: '::"·~~'I,(~;-·'~~~;:. why this "inexpensive dog" was named Wurlitzer. 1965 ,

136 continued...

And who can ever forget Dick's dad who came in every Saturday to help out with the flood of customers. And then there was our piano wholesaler Mike Nadler, this is a later picture I don't have a picture from the 60's, he supplied us with many, many pianos. And I think he's still in the piano business. The next photo Ramsi P. Tick owner of the QRS Music Roll Company at that time. He had recently purchased the business from Max Kortlander, and was visiting some of his customers. Again around 1965 or so.

Jim Braun our rapid fast technician, circa 1966. Second photo July 63.

Dave Hartman our nickelodeon and orchestrion technician. Second photo The Popper from the Nethercutt Collection.

137 continued...

The group in June 1969 Iver, Vel, Mel, Mike and Luther Joy

Next is Morrie Silver who did our grand work Mary Bensusen. in the early Inglewood days.

And Richard Ton, our local machinist who made mostly sling shots and from time to time made piano parts when needed.

A couple of pictures of Earl Bowen, this old gentleman had a player piano repair shop in Lynwood, California. He moved to Lynwood in the early 50's from the Athens district of Los Angeles. He began the repair business way back when they were still making players new. He was in business all through the 2nd World War and lasted until the middle 60's. Most of the knowledge and encouragement that Dick and I needed to open the first piano shop came from Earl Bowen. March, 1975.

138 continued...

Dick in our early Inglewood store. Duffy of Duffy Pianos in New Jersey.

I think all of the photos above are from the three stores we had in Inglewood. The photos on the next page came later or after we left Inglewood.

Early photo of Dick and I on a snow trip with our Model A's. With Bob Karmer, the fellow on the far left. Photo taken around 1955

The El Segundo store started out as the other stores, restoring and selling player pianos, then we got the bright idea to manufacture a new player and see if we could make a go of it. We bought 50 pianos built to our specifications, they had to be a little wider, a little higher and have some doors cut into the panels to accommodate the player mechanism. Then we had to make and install players in these pianos. We became "The American Player Action Co. Inc." We of course weren't able to sell the pianos for what they cost us to make, and we didn't do very well. But we had to try. One of the original investors, Don Barr, took the design, the business and with a few changes, for the better I might add, came out with "The Universal Piano Co." and made pianos for many years after that. The first picture shows Curtis getting ready to deliver one of the new players. Kory Kiefer on the left, Vel and Iver.

139 continued...

A brass plaque that was mounted inside the spool box. I think Lisa Barr was responsible for the design. Here we are putting the new players together. That's Vel and myself sitting at the bench.

Mike testing one of the new players.

Then Eubie Blake talking to Dick

Otis was our cabinet maker, he made all the roll cabinets, work benches and any other carpentry items we needed built. And of course Walt Cochran, our in house piano tuner.

We had this large store on Manhattan Ave. in Manhattan Beach. We stayed there for several years before moving to this smaller store on Sepulveda, also in Manhattan Beach. We only stayed there a short while before moving to our next store in Redondo Beach on Artesia Blvd. cor­ ner of MaCay (no picture available). We stayed there for several years before moving to our final store back on Manhattan Ave. but this time we were on the South end of Manhattan Ave. comer ofLongfellow, near Hermosa Beach (no picture available).

140 continued... o

Picture of Gail. Jim Brogdon Player Piano enthusiast from Florida

r Dick in our Artesia Blvd. Redondo Beach store. Gene Autry accepting one of the nickelodeons that we built.

Working on one of the Nethercutt Collection grands. Luther said this was going to be his last Gulbrensen ever, that's what the note says on the piano roll, 6-18-81.

Stan Feher of Stan Feher Music in Inglewood

Another photo of Larry Norman (photo courtesy Skip Feher)

141 continued. ..

_~tBOLlAN ·.. 33 W= 51 SlllUT, Ntw YORK, N. Y. 10019 • PI. Hm }()~~1' ~.:~ .. October 7. 1%8

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I a~ ~on~ertne if youroi~ht be interested in h~ndli~e Aeolian rolls. This Is roy sixth ,ear

And finally some pictures that don't seem to fit anywhere now u~~d by Q.R.S. OV~r .a~ ~ else. A letter from J. Lawrence Cook with his picture. A ~~J:f'~ ·~·d'" _ k

A picture of Sam Zimmerin in his Chicago store probably taken in the mid 20's, notice the radio speaker horn.

Milt and Arlene Larsen. We worked on some of the props in the early days of the Magic Castle back in the '60's. Dick and I, Pat and Shirley spent a very delightful day at their home recently, fixing a player piano. Thanks Arlene for all the wonderful food, I really enjoyed myself. Photo taken June 18,2005

Jim Miller Ifyou wanted some player piano part made, no matter how complicated, this is the man that could do it, fantastic workmanship. And finally here we are today January 5,2006. Thanks for sending the photo Jim, much appreciated.

142 continued. . .

Now comes the big challange I’ve got a little list here of people that I need photos of. Some of the people I even need names as well as photos, these are people that were associated with the piano shop through the years and I would like to include them on this page. So help me out here, I need all the help I can get. E-mail: [email protected]

Bob Collins, The fellow that supplied us with electric pumps, he moved up to Oregon a while back. Frank Palotta, he lived in New Jersey, supplied us with pianos from all accross the country. Perry Pugh, dealt in used piano rolls. Jim Miller, an expert in making missing parts. Larry Broadmore, Player technician, always trying new things. Bill Fields, from The Old Towne Music Thearter in El Segundo. Nancy Jahn, our secretary in the Inglewood Store for many years. Mike Nadler, supplied us with pianos locally. Joe Rinado, player piano enthusiast. Katy Carty (Mills), summertime help. Beverly Bigbee, summertime help. Ottis Rowlette, our cabinet maker and carpenter. Raleigh Kennard, machinist. Terry Hathaway, Dave Bowers, Jerry and Sylvia Cohen, collector Sy Riman the candy man, he traded in piano rolls went into the sarsaparilla business. Doug Noble, young piano technician who commited suicide while we were in the Redondo Beach store. Bernard Comsky, of Artist Grand Pianos gave us a lot of work in the early days. Randy Cox, piano technician lived in Lakewood. Lenny Marvin, collector and musican. Ray Smith of Smith Music Store. He came in the store one day and I said “Smith” loudly, and I’ll never forget when he said “MISTER Smith” it’s funny how some things stick in your mind. Jerry Bleeker, from Reeds Music Store. Stan Feher of Stan Feher Music Inglewood. Vern Schafer of Colton Piano who also gave us a lot of work in the early days. Don Barr. We also have another list of famous clientele, but that’s a whole other story.

Submitted by Anthony L. Engels

143 By Jeffrey Morgan N INTERESTING PARALLEL

By my estimation, production of a result of this January 1922 transaction, It’s difficult not to get the feeling “Original” Welte-Mignon instruments Amphion became a division of, and that the authors of recent WALL was very low indeed: somewhat higher Wade became a vice president of, APC. STREET JOURNAL editorials and than that of Artrio-Angelus instruments, Just what role Wade might have played in articles used my earlier AMICA but considerably lower than that of facilitating (leveraging?) APC’s earlier articles as research! While involving a ArtEcho. Also, after 1921, no attempts settlement with Gittens also remains a different cast of characters, dissimilar were made to add new recordings to tantalizing enigma. Did Wade similarly technologies, and playing out in eras the Purple Seal catalogue. For a leverage his sale of Amphion to APC? far removed from one another, the subsidiary of a holding company Another primary signatory was the Welte-Mignon Corporation vs. American (especially one taking in huge amounts Auto Pneumatic Action Company (APA). Piano Company (APC), and Research of capital from licensing fees on patents Signing for APA was its CEO William In Motion Ltd. (RIM) vs. NTP Inc. as valuable as those held by its J. Keeley. APA had been a subcontractor (NTP) cases share a number of uncanny underling) to pursue such a halfhearted to APC through 1917. On January 30, similarities. marketing strategy does seem quite 1920, APA was manufacturing and As reported in a March 4, 2006 questionable…like window-dressing. marketing “Welte-Mignon (Licensee)” WALL STREET JOURNAL article1 by By his January 30, 1920 licensing reproducing pianos under a prior 1916 Mark Heinzl and Amol Sharma, agreement, Gittens managed to subjugate licensing agreement with M. Welte RIM, developer and marketer of the the entire reproducing piano industry & Sons, Inc., the predecessor of “…widely-used BlackBerry wireless with the 1911 (Edwin) Welte/(Karl) Gittens’ Welte-Mignon Corp. Within email device, agreed to pay $612.5 Bockisch basic patent (# 1,008,291) until the framework of his 1920 agreement, million to settle a long-running legal its expiration on November 7, 1928. Gittens further extended the obligation battle with NTP Inc.” In an op-ed piece This 1911 Welte/Bockisch patent was of APA via an additional Edwin Welte titled “Troll Call” by Bruce Sewell unassailable! As the Selden patent patent (# 1,225,902) of May 15, 1917. (general counsel for Intel Corp.) constituted the basic patent for all motor Thus, APA’s license obligation could run appearing in the March 6th, 2006 WALL vehicles, the 1911 Welte/Bockisch patent beyond 1928. STREET JOURNAL, NTP (located in was the basic patent for the reproducing By a penciled-in and initialed McLean, VA.) is characterized as “…a piano. There was no way around it. This amendment in the same 1920 agreement, small patent holding company reputedly patent had only one shortcoming: by the Gittens also left a door open for further comprised of just one inventor and one time someone had figured out a way to obligation of APC in the future. The patent lawyer…” In 2002, a Virginia jury capitalize on it, the patent had less than purpose of Gittens’ last-minute sleight- found RIM guilty of infringing on NTP’s nine years to run. of-hand was not immediately apparent to patents. APC (manufacturer of Ampico the other licensees, especially APC. By caving in to the exorbitant reproducing pianos) had no choice but to In 1923, Gittens attempted to extend demands of NTP in civil court (even sign on to Gittens’ licensing agreement APC’s license obligation by intimidation. after the Patent Office found major with the rest of the industry. By This was accomplished by the issuance NTP patents invalid), the RIM settlement September of 1921, the lone holdout of a September 11, 1923 “E(dwin). is reminiscent of most major players of (Aeolian, manufacturer of the Duo-Art) Welte” (Cheek) phony patent the reproducing piano industry kowtow- settled out of court as a result of a lawsuit (# 1,467,889) depicting a Cheek clone of ing to George Gittens’ January 30, 1920 brought by Gittens’ Welte-Mignon Corp. an Ampico Type 1B vacuum regulator. By licensing agreement. George W. Gittens One of the initial signatories to ambiguous legal maneuvers, this bogus was CEO of M. Welte & Sons, Inc. from Gittens’ licensing agreement was patent was assigned to Gittens’ Welte- 1919. Shortly thereafter he renamed this the Amphion Piano Player Company Mignon Corp. And, it stemmed from the entity the “Welte-Mignon Corporation.” (manufacturer of ArtEcho reproducing very same application that had lost to a And later, in July of 1922, Gittens pianos). Signing for Amphion was its C. F. Stoddard (an APC employee and would organize and head the Estey-Welte CEO, Frank E. Wade. On January 30, inventor of the Ampico) blocking-patent Corporation, a holding company. 1920, Amphion was also a major application in a protracted, costly In the more genteel era of the subcontractor (since 1918) to, but not Interference proceeding (# 40,391), which 1920s, even a holding company such yet a division of, APC. APC settled ended on January 18, 1921. as Estey-Welte Corp. felt the need separately with Gittens by “agreements As planned, the emergence in 1923 of for some degree of window-dressing to annexed” to his 1920 agreement as this highly dubious patent proved very cover their primary activity of “Exhibit “D”.” All known surviving intimidating to APC. This dubious patent exploitation. This was achieved copies of Gittens’ January 30, 1920 patent’s issuance was probably the result neatly by the limited marketing licensing agreement are missing “Exhibit of inadequate research on the part of an of American-scaled, nine-per-inch “D”.” Until a copy of “Exhibit “D”.”sur- inept patent examiner. But, unethical “Original” Welte-Mignon Reperforming faces, the details of APC’s settlement shenanigans by patent attorneys, Patent (reproducing) Pianos and Purple with Gittens will remain a mystery. Office personnel, or Gittens’ employees Seal Rolls, circa 1921-28, by Estey- Two years later, almost to the day, may also have played a part. Welte’s subsidiary, the Welte-Mignon Wade would sell Amphion to APC for a If successfully enforced, this bogus Corp. larger chunk of preferred APC stock. As 1923 patent could specifically obligate 144 continued. . .

APC beyond 1928 until the bogus judicial system against an infringer is hoped to extend APC’s subjugation to patent’s expiration on September 11, nearly impossible to undo should the 1940 by intimidation! For a number of 1940! Because this 1923 patent was patent ever be invalidated in the future.2 reasons, he was ultimately unsuccessful exceedingly flimsy (i.e., weak), it most The possibility of losing in civil court in this maneuver. The stock market crash certainly would not withstand the (as did RIM) provides a mighty and the subsequent demise of the repro- scrutiny of an Interference hearing based persuasive incentive to settle, thereby ducing piano industry rendered the plans on fact, to say the least. Therefore, inducing compliance by way of and schemes of many of its key partici- enforcement by way of the U.S. Patent intimidation. And, Gittens would not pants futile. Office was not likely to be a fruitful have hesitated to threaten APC with civil option. But civil courts were another action. In light of the dubious validity FOOTNOTES matter. A jury of 12 laymen could very of his 1923 patent, such threats were 1. “RIM to Pay NTP $612.5 Million To well find for a plaintiff bearing such a probably delivered verbally (possibly Settle BlackBerry Patent Suit” patent, the technology involved being too veiled). However, this time around, APC arcane for them to make an equitable would have no part in any settlement. 2. See “BlackBerry Case Could Spur judgment. Rather than sink more money into yet Patent-Revision Efforts” by Mark Moreover, because of its deliberateness, another costly Interference proceeding Heinzl, WALL STREET JOURNAL, the Patent Office (a regulatory body) (unlike RIM which knuckled under and March 6, 2006, especially the last tends to move slower than the judicial settled), APC chose circumvention and paragraph. system, especially when rigorously re- embarked on the development of the examining a patent during an Interference Ampico Model B. The Model B was 3. I use the word “essentially” because proceeding or as a result of a challenge. ready to market just around the time that the 1923 “Welte” (Cheek) patent Usually, patent exploiters slyly opt for the APC’s subjugation to Gittens might never got tested (i.e., challenged) after (relatively) quicker courts as their venue to transfer from the purview of the 1911 it was issued. NTP’s patents, on the shake down potential licensees. The faster Welte/Bockisch basic patent to the 1923 other hand, were tested and actually pace of the judicial system permits “Welte” (Cheek) phony patent. invalidated. exploiters to extract large settlements from By abandoning (at considerable cost) their victims before their dubious patents key design elements of previous Ampico ADDITIONAL REFERENCES are invalidated by the Patent office. models, the Model B was immune to AMICA Bulletin, January/February 2004, This actually happened to RIM. By litigation threats stemming from the p. 16, “To B Or Not To B?” by Jeffrey the time the Patent Office found major 1923 phony patent. Ironically, by the Morgan. Ibid., May/June 2004, p.145, NTP patents invalid, a Virginia jury had time the Model B appeared in the “Ampico History In A Nutshell” by already found RIM guilty of infringing marketplace (early 1929), the 1911 Jeffrey Morgan. Ibid., July/August 2004, on them. To hasten settlement, a federal Welte/Bockisch basic patent had expired, p. 219, “Ampico History In A judge of the U.S. District Court for the and Gittens’ empire was in the process of Nutshell-Addenda” by Jeffrey Morgan. Eastern District of Virginia (located in collapsing, which practically nullified WALL STREET JOURNAL, December Richmond, VA) threatened to issue an any threat from the 1923 patent by way 19, 2005, “Patent Abuse” by Jim injunction ordering RIM (a Canadian of George Gittens. Balsillie. Ibid., February 2, 2006, company) to cease operations in the APC probably forged ahead with the “Patent Office Sides With BlackBerry” USA. Pressured with the threat of an Model B Ampico because of all the time, by Ann Marie Squeo & Mark Heinzl. injunction leading to certain loss of effort, and money (to say nothing of Ibid., February 24, 2006, “Facing Shut- business and revenue, and faced with the subterfuge) it had invested before 1929 in down Threat, Maker of Blackberry Digs high probability of a NTP appeal to the its development. An additional impetus to In for Battle” by Mark Heinzl & Amol Patent Office, RIM had no choice but to proceeding with the Model B was the Sharma. Ibid., February 25, 2006, settle. murky disposition of the 1923 phony “Judge Scolds RIM, NTP for Not This bizarre situation was brought patent after the collapse of Gittens’ Reaching Deal” by Mark Heinzl & Amol about by a “Catch 22” in our legal empire. Better to be safe than sorry. Sharma. Ibid., February 28, 2006, “NTP system. Once issued, patents are Better to market a reproducing action that and RIM Fire Fresh Salvos, This Time presumed by the courts to be legitimate would be immune to threats from the Over Settlement Plan” by Mark Heinzl. (valid) unless proven otherwise. 1923 bogus “Welte” (Cheek) patent lest it Ibid., March 1, 2006, “Patently Absurd” Additionally, any holder of a valid patent somehow land in yet another set of - unsigned editorial. Ibid., March 21, is entitled to protection (e.g., injunctive unprincipled hands. 2006, “Innovation and Its Discontents” relief) from infringers without regard to The future events of 1929 (and by Adam Jaffe & Josh Lerner. Ibid., the intrinsic value of his patent. Thus, the beyond) could not have been foreseen March 25, 2006, “The Gravity of the U.S. holder of a patent for a minor tweak to by anyone in 1923 when Ampico was Patent Swindle” – Letters to the Editor, work that went before it is entitled to the clearly perceived as the industry’s especially the letter submitted by Robert same protection as the holder of a patent sales leader and, therefore, a prime, Stewart. Ibid., March 29, 2006, “The for a fundamental invention. Under such deep-pockets target for further patent Problem With Patents” – unsigned rules, even the holder of a patent for a exploitation. Hence the raison d’etre of editorial. THE WELTE-MIGNON: Its bogus invention is entitled to protection a dubious patent emerging in 1923 after Music and Musicians by Charles Davis by the courts until his patent is officially its application had been invalidated in Smith and Richard James Howe, declared invalid. The rub is: protection early 1921. AMICA/Vestal Press, 1994, Historical (be it in the form of awards, injunctive By employing a bogus (like NTP’s) Overview. relief, or settlements) obtained via the and essentially3 invalid patent, Gittens

145 Submitted by David P. Graber

LECTRIC PIANO NOT AS From The Ohio State Journal, IT WAS IN OTHER DAYS Columbus, April 11, 1915 Instrument at Heaton Store sufficient to operate the piano. Special by hand is anyone desires, or if installed Reproduces Notes and Likewise the rolls designed for it not only reproduce in a home without electricity it may be Variations. the notes but reproduce all the shadings operated, as other mechanical pianos, by In the line of labor-saving devices and variations. If, however, the operator use of pedals. that have been introduced into the home wishes to inject his own interpretation he Key Movement Uncanny. even the piano has not escaped, and can at the same time hasten or retard the The body of the piano is so arranged the last word in the electrically-played action, diminish or increase the volume that the pedals, the music rolls, even the piano is so far in advance of what and accent certain notes or skip whole controlling devices, all fold out of sight has been understood by that term that measures and take up at what point he and by simply pushing a lever under the it would seem that a new designation will the continuation of the melody. keyboard the motion of the keys is ought to be invented. A new use for these pianos has been stopped. The spectacle of piano keys During the week the first instrument found in dancing schools and other moving up and down without human of this sort has been received by Otto places where a continuous performance intervention is, in the estimation of some B. Heaton. It is a Milton electric and is is desired over any given length of time. folks, uncanny. fitted with such invisible devices that By a special device the piano, when With the use of special rolls which even when in operation no one can see it has finished an air, immediately have been devised such a player piano that it is in any way different from an old repeats it. If this is not desired it will produce a given selection exactly as type piano. will rewind the roll and stop when a certain performer has played it and it is this has been accomplished. Little Current Needed. possible, by owning several rolls, to have All this is with the electrical device. The current that would illuminate a the several interpretations of a great work But the same piano also may be played single 16-candle power incandescent is by as many master artists.

By Joel Currier St. Louis Post-Dispatch-October 2, 2005 RGAN GRINDERS CRANK OUT HAPPY MUSIC AT OKTOBERFEST

Organ grinders will tell you their celebrates German culture and the from Old Monroe, has built more than a hobby requires a strong arm, a rhythmic partnership between St. Charles and its dozen crank organs for his wife, Mary, ear and a sharp nose for German history. sister city, Ludwigsburg, Germany, with 74, and seven children in his 25 years as A dying breed among street dancing, music, food and drink. a member of AMICA. entertainers in the United States, more Oktoberfest is one of several annual “I like the history. I like the than a dozen organ grinders from a local festivals this weekend in the St. Louis mechanical parts. And then you get the musical chapter cranked their way to a area, including a chili cook-off in music,” Wilson said. “Nobody does it first-place trophy for German heritage Belleville, the downtown Taste of St. here anymore, but in Europe, people still Saturday in the 19th annual Oktoberfest Louis and the Shaw Art Fair in St. Louis, make a living at it.” parade in St. Charles. the St. Louis Working Women’s Survival Mary Wilson said the local chapter of “We call it the happiest music on Show, the Best of Missouri Market and AMICA had about 10 members and was Earth, because you can’t listen to it and the St. Louis Ragtime Festival. struggling because most younger people not smile and feel good,” said Cynthia Organ grinders at Oktoberfest spoke aren’t interested in the musical genre. Craig of St. Louis, a member of the proudly of their European heritage, even “They don’t get it,” said Kathy Cavitt, Gateway Chapter of the Automatic though historical accounts of grinders in 52, who played her two crank organs Musical Instruments Collectors the United States portray “hurdy-gurdy” with her husband, Carl, 55, along Main Association. men as unpopular noisemakers who Street on Saturday. The organization’s mission, Craig would crank their instruments incessantly “The young kids want to know where says, is to preserve the history and music and use monkeys to collect coins from the CDs are.” of automatic musical instruments, which spectators. But for the Cavitts, both of Manteno, include crank organs widely used by In 1935, New York’s Mayor Fiorello Ill., the lively tunes of their crank organs street performers before the turn of the LaGuardia responded to public outrage still gets their feet tapping. 20th century. against organ grinders by banning them “It’s happy music,” Carl Cavitt said. The group joined hundreds of partici- from the streets. “I don’t care what you play, it’s happy.” pants in the weekend-long festival that Yousuf Wilson, 75, a retired carpenter

146 By Cynthia Craig Pictures by Len Railsback RGANS IN OKTOBER At the 19th Annual St. Charles, Missouri, Oktoberfest, AMICA organ grinders serenaded the crowds of 10,000 gathered to celebrate the German heritage of St. Charles and its sister city of Ludwigsburg, near Stuttgart, Germany. Gateway Chapter hosted this event in conjunction with the St. Charles German Club, the city of St. Charles, and the Sister Cities Foundation. Thirty-four participants brought 21 organs, 2 player accordions, and 2 band organs The Wilson’s orchestrion is made from to charm the crowds for which they Len Railsback Stinson Dutch Street Organ set up theater organ and player piano parts. performed and the organizers. at the South entrance to Riverside Park. In a rebuilding effort by Gateway signs “All donations given to to attract new members, the organ Sister Cities Foundation” festival participants who came were to organ grinders at the made official Gateway Chapter members meeting as a gesture of for the weekend with special badges. goodwill to a sponsoring non- Honorary members Lynn and Karen profit organization. Herche and Bob and Bonnie Kindred Members returning to the were first time ever AMICA event Travelodge, the host hotel, were participants. treated to a jam session The weekend started with a hotel of acoustical country music check-in and large organ placement. Len instruments and musicians at Railsback with his Stinson Dutch Street the hotel. Gerald Koehler joined Organ Model 572 and Ron Connors with in with his player accordion on his North Tonawanda Artisan Band several of the last numbers Ron Connor poses with his North Tonawanda Organ placed their organs in specially before the group dispersed at 10 Artisan Organ “Big Cindy”. located spots on the Riverside Park pm. grounds in the afternoon before joining Parade participants who the rest the AMICAns at the home of included Galen Bird, Tom and Mary and Yousuf Wilson for dinner, Kay Bode, Cynthia Craig, Hal chapter meeting, festival prep and open and Donna Estry, Jerry and house. Betty Golmanavich, Tom A buffet dinner provided by the Hutchinson, Gerold Koehler, chapter and prepared by Mary Wilson Mary and Yousuf Wilson, was served in an informal atmosphere Charles Tyler, and Robbie of camaraderie where newcomers to Tubbs boarded the float AMICA and the chapter were introduced provided by the Lion’s Club and welcomed to Gateway chapter for AMICA. The Parade which AMICA. Before and after dinner and the kicked off the Oktoberfest chapter meeting, AMICAns enjoyed the festivities for Saturday Wilson’s collection: an Ampico Fischer wandered through Old Towne Yousuf and Mary Wilson’s Fischer Ampico “resting” in Grand, a Weber Duo-Art Grand; and the St. Charles Main Street and their music room between workouts by open house visitors. orchestrion, nickelodeon, and player Front Street to crowds gathered Cities Foundation, a not-for-profit banjo, all designed and built by Yousuf along the route with AMICAns providing sponsoring Oktoberfest organization, to Wilson. Yousuf built the orchestrion continuous mechanical music all the way. help defray costs of the Oktoberfest and from player piano parts and theater organ Much to the surprise of all, AMICA Gateway’s participation. pipes which plays on a MIDI system of won first place in the float parade Organ grinders had choices of playing Weber Maestro rolls. competition and received a trophy and along the shop and tree-lined Main Street Souvenir beer mugs for the Oktoberfest $100 prize money. The Gateway Chapter or on the Oktoberfest grounds in were passed out as donation cups with turned the prize money over to the Sister

147 continued. . .

Kathy Cavitt and Betty Golmanavich watching Carl Cavitt‘s inspection of the Wilson’s homemade nickelodeon. AMICA organ grinders on parade. Hal and Donna Estry, Mary Wilson, Jerry Golmanavich, Betty Golmanavich, Gerold Koehler, Galen Bird, and Tom Hutchinson manned the six organs and accordions on the float.

AMICA parade group receiving first place trophy on the Jaycee Stage. Pictured left to right are Joe Daues (German Gerold Koehler (on the left) Gerold Koehler plays country music on his Club president and trophy and prize presenter), Jerry and Galen Bird (on the right) player accordion accompanied by other Golmanavich, Betty Golmanavich, Tom Hutchinson, Cynthia paraded behind the AMICA country western musicians. Craig, Mary Wilson, Yousuf Wilson, and Gerold Koehler. float with continuous Standing behind Mary Wilson is Hal Estry. accordion music. Later they took the Jaycee Stage Riverfront Park along the Missouri River. for two hours when several Charles Tyler and Daughter Robbie Tubbs Sunshine and weather cooperated for a performing groups had exhibit his OGM organ and collection of perfect day of music. The grinders were cancelled. AMICA saves phonographs and music boxes for the treated to lunch and dinner by the St. the day! public along the Missouri River. Charles Lions and the First Capitol Lions. ing on stage were Charles Tyler AMICA was scheduled for crowd and his OGM organ, Gary Craig entertainment both Saturday and Sunday. and his 31 note Stüber, Kay and On Saturday at 2:30 organ grinders led a Tom Bode and their 20 note sing-a-long and organ and accordion Yager Brommer organ, Yousuf demonstration to the midday crowd and Mary Wilson and their under the 1500 person Oktoberfest tent. Smith organ, Hal Estry and Afterwards, Galen Bird and Gerold Donna and their 31 Raffin, Bob Koehler entertained with traditional Kindred (new member) and his German music on their player accordions 20 note Pell organ. for 2 hours on the Jaycee Stage much to The grinders did get a rest the delight of the crowds sitting on bails on Saturday night as they their feet clapping, singing, dancing, and of hay in front of the stage. enjoyed the other entertainment at the participating. The DKV Schuhplattler On Sunday at noon, various organs Oktoberfest. AMICAns sat down to Dancers performed German folk dances were demonstrated and explained on a German meal provided by the Lions both serious and funny inviting audience the Jaycee stage to early arrivers. The in front of center stage to hear the participation. presentation ended in a sing-a-long of Ludwigburg’s German band. A more After the band, Kerry Christensen, “Meet Me in St. Louis, Louis” lead by stellar band few had heard as the band world champion yodeler and Kay Bode and Cynthia Craig who performed both rousing German and accomplished musician, took the stage cranked the song on her 20 note Stüber American traditional and popular music. and wowed everyone with his versatility. organ. Those organ grinders demonstrat- The band had the 1000 plus crowd on 148 continued. . .

AMICAns came away awed and thoroughly impressed with the night’s festivities. “This was like a vacation,” voiced Gerold Koehler after the evening wound down, “I would have come for this even if it wasn’t an organ festival. This whole weekend has been the most fun I have had in a long time.” Tom Hutchinson said “I didn’t think an organ rally could be this much fun. Anyone who missed this one missed something very special. What a great time!”

One man band Kerry Christenson demonstrates his versatility as a world champion yodeler and musician by singing and performing traditional American and German musical favorites in various styles.

The Ludwigburg German Band traveled from Ludwigburg, Germany, a smaller town near Stuttgart, Germany, just to entertain at the Oktoberfest in St. Charles, its sister city.

Etzold & Popitz advertisement showing two barrel-operated instruments, the Eldorado Piano I (left) and the Eldorado Orchestrion XXVIII (right)

Both Ads from the ENCYCLOPEDIA OF 1909 advertisement illustrating an automatic piano with AUTOMATIC MUSICAL INSTRUMENTS, xylophone. The advertisement notes that at a forthcoming Pg. 419, by Q. David Bowers trade show three new barrel-operated Eldorado orchestrians and four new elecctric [roll-operated] pianos will be shown 149 . . .Continued from March/April 2006 Issue Submitted by Anthony L. Engels How to sell Player Pianos Profitably

150 151 152 153 154 155 156 157 158 159 160 161 162 163 164 By Christine H. Robinson

HARLES RUDOLF FRIML From Player Piano Group Bulletin 178-March 2006

Marietta, and refused to honour his Come with me to early 20th century. commitment to compose a second There were no radios, record players, operetta for the singer. Friml was called televisions or computers. Yes there was upon to take Herbert’s place and wrote the phonograph, but most music you The Firefly which became his first Broad- wanted to hear in the home you had to way success. make it yourself. In America the chosen Operettas were often called “comic instrument of home music-making was operas”. They were among the most the piano with parlour uprights bought by popular of theatrical attractions with the thousands. Many playing hits of the companies and theatres devoted day printed as musical score, or (the principally to their presentation all over lucky ones!) having player pianos. A the world. The death of the operetta is scene is set. thought to have occurred during the In1900 twenty one year old Rudolf 1930s as at the onset of the Depression Friml arrived in New York City. He was tastes in musical styles changed sharply. born in 1879 in Czechoslovakia. His In 1917 Friml composed the operetta father a baker, loved music, and played Some Time staged at the Shubert Theatre, the accordion and zither. His family went Rudolf Friml in 1900 New York. This was produced by Arthur without fuel to purchase an old piano, Friml began composing light concert Hammerstein, and stage managed by the and soon Rudolf was able to pick out pieces as soon as he graduated. He was then unknown Oscar Hammerstein, melodies he had heard from passing piano accompanist for the great violin Arthur’s nephew. It starred Ed Wynn street organs. This story, as told by Friml virtuoso Jan Kubelik touring Europe and and Mae West and its name presumably in 1926 at a music critic’s office in New the USA. They traveled extensively by came from “come up and see me…”. York City’s Aeolian Hall, was that his train, Kubelik practicing silently upon Hammerstein at the time observed “here mother was dead against all that musical his violin’s fingerboard, and Friml is a musical show with a melodramatic nonsense. She wanted him to become a tapping finger patterns on his suitcase. plot and a cast of players who were business man, and make some money. In 1906 Friml decided to stay in America, called upon to actually sing the music— With the family’s hard saved cash Friml’s and performed at Carnegie Hall his sing, mind you, not just talk through the father went off (wheelbarrow in hand) to First Piano Concerto with the New York lyrics and then go into their dance.” buy the winter’s wood. On the way to the Symphony Orchestra conducted by Friml composed 33 operettas—Irving wood yard he passed by a pawnshop, and Walter Damrosch. Berlin said that he could ‘shake music traded the wood money for a small He lived in the USA for the rest of out of his sleeve.’ Rose Marie (1924), melodeon for Rudolf, arriving home with his life giving recitals throughout the The Vagabond King (1925), and The melodeon in the wheelbarrow, and not country. He continued to compose both Three Musketeers (1928) are his most the wood. Friml had not forgotten concert pieces and lighter music often famous. Rose Marie played all over the the rumpus that ensued. His mother under the pseudonym Roderick Freeman. world to great acclaim. In fact it was threatened to chop up the melodeon for He referred to his piano as his “first King George V’s favourite show. He saw the firewood. She obviously didn’t inspiration”. He said “To me everything it no less than three times during its as at four Friml was playing polkas translates into music. Any idea, any original Drury Lane run, and again on in dance halls utilizing his ability poem, any beautiful picture seems to its revival. Lyrics were written by Otto for improvisation. At ten his first affect my whole being, and I am at once Harbach (famed for such songs as Indian published piece, a barcarolle, was issued. conscious of melodies surging up within Love Call). Neighbours, relatives, and the owner of me. The ocean moves me immensely. I I’m sure most of us can find amongst the bakery where Friml’s father worked feel its power at once. It is not a question our collection of piano rolls Rudolf contributed funds to send him to the of wanting to compose. I can’t help it.” Friml. For Ampico he recorded six rolls, Prague conservatory where his talents He never considered anything but a life all his own compositions. I have been were instantly recognised, and he was in music. in touch with Mr. Bill Knorp (retired awarded a scholarship. Friml studied In 1912 Victor Herbert (who recorded concert manager, and founding member composition with Antonin Dvorak who for Ampico and Duo-Art and was a of AMICA—the Automatic Musical told him to stick to his melodies “Take a personal friend of Friml), had quarreled Instrument Collectors’ Association). He theme and develop it. Don’t jump around with the prima donna Emma Trentini, was a friend of Rudolf Friml, and also like a goat.” His piano study was with the leading lady of Herbert’s Naughty knew Mr. Osteck, Friml’s manager, who Josef Jiranek. told him that the Ampico roll 69233-G 165 continued. . .

Sascha Baronoff. He recorded for Friml Ampico both classical and popular addresses AMICA, music, but I wonder why he needed so 1969 many names! One Ampico rolls that is a curious one is Chanson Dansante played by The Original Piano Trio (Edgar Fairchild, Herbert Clair and George Dilworth). It’s quite different from Friml’s original gentle composition of the same piece called Chanson and I feel it’s maybe a case of just too many cooks…with their penchant for tremolo. But then they did include the word Bill Knorp, Kay and Rudolf Friml Concert Waltz played and composed by dansante so perhaps it’s just for dancing! Friml is thought to be an unpublished In my collection I have an LP of There is a large collection composition. Indeed, in 1923 Friml was Longines Symphonette “Rudolf Friml of his compositions at the University of interviewed for Etude magazine, and said selects his personal favourites.” There is California, Los Angeles, and the music “Melodies also come to me incessantly no date on it, but probably was in the librarian there told me another huge during improvisation. One melody makes 1960s. Friml (with a strong Czech. donation of his work has arrived from another. Indeed, I have often gone so far accent) talks about how he came to write Friml’s widow, but yet to be processed. as to improvise upon a recording piano the melody The Donkey Serenade. He On going through their database I notice and have some of my compositions tells us melodies come to him at the they hold some Ampico rolls too! transcribed in musical notation from the piano, bathtub, and shower, but this time Friml said, “I want to be remembered roll. This really reverses the usual he had fallen asleep at a motion picture for more serious music. I have written process, but it is a possibility for the theatre and woke up dreaming of a lulla- much classical material.” He had after all composer of the future who is gifted in by for himself. This was the Chanson, been a concert pianist for seven years in improvisation.” Friml’s love of traveling which then became the Chansonette America before his fame arrived. He took him round the entire world, and he with lyrics. In 1936 a motion picture was remained musically active all his life, took a miniature piano and recording made of The Firefly, Chansonette becom- playing on nationwide television in device, put the music he composed on a ing the highly-successful The Donkey America at the age of 91. Until his final sound tape, and then sent it back to his Serenade. illness he spent four to six hours a day at copyist in Hollywood, thus escaping the This success has faded in recent years, the piano. Maybe it was a case of Friml drudgery of manual transcription. and it appears that only four films in the producing what the public demanded and A real favourite Friml Ampico roll of last 50 years have used Friml’s music. expected rather than him pursuing his mine is 57135-G Concert Waltz No. 12, One of these was Woody Allen’s 1987 natural talent in the direction that led played by Marguerite Volavy, quite Radio Days, but then Allen always has him. Friml died at the age of 92 in 1972. different from the previously mentioned great taste in music. His widow Kay is still alive and well. concert waltz. Marguerite Volavy was a The story of Friml now arrives in A collector of piano rolls is fortunate great friend of Friml’s. It would also be 2003 with a CD by a Julliard-trained with the knowledge he has piano nice to hear, at one of our PPG meetings, pianist, Sara David Buechner. In a music compositions that essentially have been the Duo-Art version of the same piece, shop she found a treasure trove of lost forever, and to have a piano roll played by Robert Armbruster. Then original Friml scores “at 1930 prices, in played by the composer, some their only there’s Veil Dance, Ampico 61903-F, 1930 cabinets, and covered with 1930 recording, is a rare treasure indeed. We O Mitake San, from Friml’s 1905 ballet dust!” Following this she recorded 22 are lucky fellows! played by Edgar Fairchild. This has of Friml’s piano compositions, a wonderful melody—melodies being and how lovely they are. Friml’s claim to fame. Another fine roll Unfortunately many of these is Song of the Vagabonds, Ampico classical compositions are not 206901-E, played by J. Milton Delcamp. recorded for the reproducing Indeed a great song, and took Friml 15 piano, about five for Duo- minutes to compose! Art and three for Ampico. Many rolls were made of Friml’s work Beuchner’s CD is classical for Ampico by another famous pianists. Friml at his best. One was Edgar Fairchild, nicknamed Cookie, whose pseudonyms for Ampico included Milton Suskind, Corrine de Ampico roll played by Friml, Bert, Enrico Lavarro, Harry Shipman, composed by Friml and Henri Lefevre, Herbert Cooke, and watched by Friml too.

166 Written by Independent Music Historian Michael Montgomery

LOOK AT RENT From The Boogie Beat PARTIES, RAGTIME AND STRIDE PIANO Summer 2004

We’ve all been to parties and dances a measure) and they played the which were free. As kids it was probably corresponding chords (on two and four) birthday parties. As we got older we went up high. The tunes were up-tempo, of to more elaborate socials—proms, course, and the speed at which the left J-Hops, even balls. Of course these cost hand would “stride” back and forth (in money to attend. And at some fancy long leaps) was fascinating for onlookers affairs in people’s homes, there may even to watch and to hear (and hence the label have been paid musicians. But the classic stride). Harlem “rent parties” were different. The left hand single-note bass notes Cities where large numbers of people would keep moving around on the low were packed into apartment buildings end of the keyboard, and that added were the places where rent parties were to the auditory tension. If the number common. As the name implies, these being played was a published pop song were given—literally—to help the tenant everyone knew, the pianist would play pay, not only the cost of the party, but the melody straight the first time through also the monthly rent. From the accounts so the audience would recognize the I have read, the rent parties in New tune. From then on, however, the player York’s Harlem district had the most to would merely approximate the melody or offer, musically, because it was almost use a series of dramatic fills or riffs to essential to have hot piano players to Photo by: Wally Lubzik execute subsequent choruses. Eubie encourage attendance and to entertain. Blake explained that he devised his own And there were plenty of players. the most exciting form of ragtime: stride “tricks” for these occasions. Eubie’s It worked like this. Someone with an piano (aside from boogie-woogie!) “Charleston Rag” which he composed in upright piano needed to raise the rent Stride (and I don’t know who coined 1899 (at age 16) is in D flat and full of money for the coming month. By word of this term) has always been difficult to walking bass figures common only 25 mouth and perhaps a hand-written poster describe. It was developed by Luckey years later in the first “boogie woogie” in the lobby or in the elevator, the party Roberts, we believe, before and during recordings. Eubie learned to play hymns date was announced. One paid to get in, the World War I period. The left hand in ragtime, too. Jerusalem (or The Holy and if the admission was high enough, it plays the traditional “oom pah” found in City) is one he remembered. And his covered all your costs as a guest. There most ragtime numbers, but the stride mother was always hollering “Take that was, of course, plenty of food. Certainly players often played single bass notes ragtime out of my house!” there was booze and beer, and if it was down low (where usually octaves would Listen to enough of the recordings and during Prohibition (1920-1933) the booze be sounded on the one and three beats of you’ll hear the vast variety of syncopated was an important ingredient. There could “tricks”, figures and riffs that these men have been some amount of gambling invented and used. As a stride pianist, (cards, dice, craps) which could produce once you master the tricks in the right a profit if handled right. But for music hand and enter them into your brain, historians, the most fascinating feature ready to call on instantly as you play, and was the piano players and the way they after you develop a self-sufficient played. left hand and enter them into your brain, The great rent party pianists in ready to call on instantly as you play, New York included Willie “The Lion” and after you develop a self-sufficient Smith, Luckey Roberts, James P. left hand that can play tenths and Johnson, Fats Waller (whom Willie walking bass sequences, you can throw “The Lion” calls “Filthy” in his stride piano figures into anything, as memoir “Music on My Mind”), Don appropriate. And many of them did. And Lambert, Cliff Jackson and Steven a few still can. The word rag has many “The Beetle” Henderson. Even Duke interesting meanings. When we dress up Ellington! Eubie Blake also worked and put on fine clothing we call it putting rent parties. Since we have recordings on our “glad rags”. (Remember the tune of these men (in most cases, player In late 1919, the Rythmodik roll company from 1929 “Glad Rag Doll?”) And when printed this wonderful photo of Eubie Blake in piano rolls) we know their rags and its advertisement of new rolls for December. clothes wear out, rag usually means a how they played them. They played used shirt (even an old tea towel), and we

167 continued. . .

Rag as applied to piano music or throw people out! has always meant (to us experts) an Cakewalks were even earlier forms of organized piece of syncopated music that entertainment in the black community, has at least three (and often four) themes. and we can trace their origins to slavery By organized I mean, as Max Morath times (1860’s). These were couple dances explains, “consistent syncopation.” One at which people dressed up and strutted syncopated measure in an entire piece (the best couple striving for the prize of doesn’t make it a “rag.” All the themes the cake), and one paid to attend. But have to have some syncopation. while these were designed to make Historians have never agreed where money they were not exactly fundraisers the term “ragtime” came from, first for someone’s specific benefit. But the printed as Rag-Time. Most simply guess music played at early cake walks and it’s because the rhythm is “ragged.” But later rags was most assuredly syncopated as we dig deeper into history, we know music by small bands or piano players. now that rag seems to have been A“coon” song from 1898, “Missus QRS had this studio portrait made when first used to describe a social event in Johnson’s Rag-Rent Ball” (composed by James P. Johnson joined their staff in 1921. the black community. In 1889 Rupert D. A. Lews, a black composer) describes Hughes reported that “Negros called their a situation as follows: Mrs. Johnson’s use these rags to wipe up spills or clog dancing ‘ragging’ and the dance a husband, a policeman, gets killed in the to clean windows. Rag also refers to ‘rag.’” And in a masterpiece of research, line of duty; Mrs. Johnson’s response newspapers, perhaps because of the rag Lynn Abbott and Doug Seroff wrote a to this calamity is “I’ll have to give a content in the newsprint itself. Its short book “Out of Sight-The Rise of African rag”—obviously to raise some money, for bullyrag meaning to harass or nag. American Popular Music-1889-1895” now that her husband and his salary George Cohan first titled his patriotic hit (University of Mississippi Press, 2002). are gone. Another piece, “My Ragtime “You’re a Grand Old Rag” referring The authors, after countless hours Baby” song, with lyrics by the African- to the American flag. After this was of scouring early black newspapers, American Charles Stone, (brother of Fred published and rag began to appear on establish that rags were first used to Stone from Detroit) also describes rag as recordings and rolls, a reviewer for one describe special Afro-American social a fund-raising social. So, if the earliest of the New York newspapers, miffed events which could be rowdy, lively, use of rag meant a grassroots social because he didn’t received free tickets to noisy, and sometimes even dangerous to or back-country hop, and if the one of Cohan’s stage shows, disparaged the patrons. music played at a “rag” was informal, Cohan’s use of rag to mean the flag as Why these were called “rags” we’re improvisational, syncopated music unpatriotic. Later sheet music editions of still unsure. But Abbott and Seroff have appropriate to the “rag” dancing, maybe the song then came out as “You’re a proven that rags, as early as 1891 in it was natural to say the type of music Grand Old Flag”. Topeka, Kansas, were parties at which played at a “rag” was “ragtime”. indigenous music was played, either by By 1897, music publishers were string bands or piano players. Ten or so turning out printed “cakewalks” and rags. years later the use of rag meaning a As tune titles, “rags” probably soon paid event appears on an early 7-inch defined the piece itself rather than one-sided Victor record (No. 1144) an imaginary event (e.g. At A Georgia titled “The Bouncer at the Blazing Rag.” Camp Meeting). Still, I can’t help It’s a comic duet by “Spencer & thinking the “Louisiana Rag” in 1897 Girard”—two white comedians who may have commemorated the kind of rag recorded it in 1901. In this record, one dance held in Louisiana, and that of the voices is that of the “bouncer,” a “Harlem Rag” by St. Louis composer kind of early security guard at bars Tom Turpin (also 1897) referred to the and saloons, ready to keep order if things sort of rag rent party common to New get out of hand. The blazing rag York’s Harlem, even at that early date. was either an event (a “rag”) or a saloon Not surprisingly, there are no known called the Blazing Rag. The record photos or snapshots of any Harlem rent contains vocal duets and some dialogue party. All we know is what we get from with incidental piano music (but it’s oral history and printed memoirs. But not ragtime). At the end of the record just imagine a normal sized apartment the “bouncer” says that he hopes you jammed with people, and in one room “got your money’s worth.” Hence, one where the piano was, the guy sitting at paid to get into a “rag” and if things got the keyboard probably wore a derby hat, rowdy there was a bouncer to keep order played with his suit coat on, smoked a cigar and took the front off the piano 168 continued. . .

(when the piano stool was vacant) and give a ripping, blistering rendition of one of his own rags. This said, in effect, “The Master is here—get out of the way!” It is amazing that James P.’s early rags were almost all recorded on piano rolls in 1917. None were formally copyrighted and none were published as sheet music. When I pumped my original James P. rolls in 1972 to Eubie Blake (left) and Rudi Blesh (right) in the create an LP for Biograph Montgomery back yard in 1967. Records, I saw that Johnson for maximum loudness and there was was playing in just about every key probably no place for guests to sit register on the piano—another way to or dance. The pianist relied on the keep would-be copiers from learning enthusiasm of the audience to get these pieces by slowing down their warmed up, and he went through all player pianos. James P. became an the hot tunes he knew. It’s possible the official QRS roll artist in 1921 and his piano players played pop tunes of the photo appeared in QRS ads promoting At both Detroit Rent Parties, Mother’s Boys day, perhaps even tunes they themselves rolls played traditional jazz band and Kerry Price performed composed. (But it was unlikely this by black artists in three black while the piano players took breaks. was any kind of what we today call a newspapers. The company’s business win contests so they began to rag the sing-along). This was show-off piano. mission was to produce and sell song classics, then publish these instrumental And if there were two or three stride rolls (with the words of the song desecrations. The amateurs bought this players present, the fireworks really printed along the right edge). Often QRS same sheet music so they could rag the started. One would play for a while, then left in the tricks and special effects classics too, but not everyone loved it! the second one would sit down and try to entered into the master rolls during the Ragtime songs were often disrespectful out-do the first. They’d show each other recording process. On “Loveless Love”, to good taste, too, and these songs were new piano tricks, and some of these in QRS 1340 (1921), James P. Johnson widely performed on the stage, in saloons one form or another are preserved on plays an entire chorus by trilling the and “under canvas” in outdoor tent piano rolls. melody. On “Your Time Now”, QRS shows. This helped divide music lovers The difference between Midwestern 2245 (1923) by Thomas “Fats” Waller in to two camps—the pros and the cons. ragtime and Eastern (New York-New (who joined the QRS staff that year), Let’s fast forward to 1951. I was a Jersey) ragtime can be summed up fairly there’s a hot 16-bar coda that has nothing budding piano player with five years of easily. The John Stark catalog of classic to do with the song just played, but it formal lessons. I worked on the simple ragtime compositions (Joplin, James captures a moment of glorious stride rag pieces I could buy in downtown Scott, Joseph Lamb, etc) were three or piano. Ya gotta hear it to believe it! Chicago, and I soon learned that there four-theme instrumental works that had The working piano players could play was a lot of ragtime to be found and melodic appeal. They were published anything in ragtime, whether it was heard on piano rolls. In Chicago and and meant to be played by the music written down or not. The thousands of surrounding areas, rag rolls were buying public (those trained note-readers amateur pianists around the country relatively plentiful, and I began picking with the ability to sight read). But who longed to be able to play “ragtime” them up. I started working for Michigan the Eastern ragtime numbers were needed printed scores. Invariably these Bell in 1955 and in 1959 I made contact private material. They were not note-readers wanted to be up-to-date with Max Morath. When I was published and not intended to be copied and play ragtime for their friends. The transferred to New York in 1964 (where by other players. James P. Johnson, who availability of sheet music in which the I spent two years at AT & T) I was able had had formal training, developed syncopation was already spelled out for to meet Max, Rudi Blesh (who with his own rags for his own use. To hear them made this a fait accompli. Harriet Janis had written he first ragtime Carolina Shout or Caprice Rag you had The burgeoning ragtime music history—“They All Played Ragtime”, to hear James P. himself play it, and publishing industry soon went too far (1950)), Eubie Blake, Luckey Robert, that’s how he wanted it. He also wanted for some critics. The pro players were Cliff Jackson, and so on. In 1966 my to be able to go into a saloon or competitive and needed their own edge to family and I moved back to Michigan, speakeasy and sit down at the piano master any musical situation and 169 continued. . . to northwest Detroit to perform for were shown to an appreciative silent film such as Mike Lipskin, Dick Hyman, the Detroit Auto Show at Cobo Hall. I audience complete with theater organ Judy Carmichael, Brian Holland, Jeff figured we just had to host a party for accompaniment.) Emboldened by the Barnhart, Terry Parrish, Bob Seeley, Max! He agreed to come to our house, success of the first party, I held “Detroit Charlie Rasch, Neville Dickie (England), and with a lot of help from friends like Rent Party No. 2.” Again Bob Wright and Reide Kaiser (Toronto) and Louis Walt Gower who laid out the poster we John Arpin came, as well as the local Mazetier (France) are alive and well and mailed to many guests, we had what I ticklers, and this time Ron Harwood keeping the flame alive. Jim Dapogny called “Detroit Rent Party No. 1”. The brought Sippie Wallace, who played and and Butch Thompson are also stride number of great ragtime musicians who sang. Brown came and sang as well. players and will be featured at the attended astounds me even now. In Even Otis Spann and Mojo Buford drove American Music Research Foundation’s attendance were Bob Wright from over from Chicago! I taped all this and 6th Annual Motor City Boogie Woogie Chicago, John Arpin from Toronto and so did Ron Harwood. (We really ought to and Blues Festival in October. It seems to local piano players Charlie Rasch, Tom listen to that stuff soon and decide how to me that the great stride players, whether Shea, and Bob Seeley (who lived best preserve it.) playing solo or with a band, get into a just across the street). My friend Harry Let me close by saying this about sort of musical state of grace where the Garrison even came up from Cincinnati Stride piano playing. Only a few pianists stride simply flows out effortlessly and to perform professional feats of magic! master this elusive style. Many of the spontaneously. But ya gotta have a stride Much of the party was inside (where I greats are gone now, players like Mary left hand and know the right-hand tricks had two upright pianos in a room off the Lou Williams, Count Basie, Johnny to make it work! porch). But the doors were open, the Guarnieri, Don Lambert, Don Ewell, weather was great, and the neighbors Dick Wellstood, Ralph Sutton. Others –who could simply enjoy the whole thing out on the sidewalk—were really impressed. Dozens of strangers who were “friends of friends” we’d never seen before came through our house for hours. The late Chuck Muer (of restaurant fame) let me borrow a professional refrigerated beer tap (capacity: one full keg!) from the Hotel Pontchartrain to keep the amber flowing and to minimize the need for bottles or cans. We put out a “kitty” for people to make cash contributions to defray the expenses, but we weren’t trying to raise rent money. We didn’t break even either but we didn’t care! The following year, I learned that Eubie Blake would be in town to visit an old friend in Detroit. Also Rudi Blesh Dozens of string bands, like this unknown group, sprang up to play came at that same time to give a talk on for country “rag” dances in barns and “under canvas.” Buster Keaton at the Redford Theatre (his book on Keaton had been recently published). (After his talk, Keaton films

“The music business is a cruel and shallow money trench, a long plastic hallway where thieves and pimps run free, and good men die like dogs. There’s also a negative side.” – Hunter S. Thompson

170 By Ralph and Elaine Obenchain IDNEY SILBER

Ampico artist Sidney Silber follows: those which, like the In spite of what I have just said, these received his early training in phonograph and the Welte-Mignon piano machines, to my way of thinking, fulfill Milwaukee, Wisconsin. At 19 he are purely automatic, and others, like a great and beneficent mission. They went to Berlin to study with Jedliczka and the Pianola, which require motive power bring much instruction and inspiration to Barth, and then was a student under furnished by pedals and the manipulation thousands of music lovers who never Leschetizky for 3 years. Fellow students at the time were Frank La Forge and Ignaz of tempo and expression levers. have an opportunity of hearing great Friedman, later to become Ampico artists. The latter are often advertised as artists or orchestras. They enable them to Friedman and Silber remained lifelong being easy of operation and mastery. become acquainted with orchestral works friends. After concertizing in Europe, Silber Such claims are without foundation in which even advanced pianists do returned to the states to teach. Beginning in fact. It was as futile to attempt to master not essay because of their polyphony 1907 he was director of the piano department them on short order as it were to master and inadaptability to the keyboard at the University School of Music at Lincoln, photography after merely learning manipulated by hand. Nebraska for 14 years. He joined the faculty the functions of the various elements. Those who feel the desire for self- of Sherwood Music School in Chicago in Essential in both cases are adaptability expression – and this desire is innate in 1922 and served as Dean of the school until his retirement in 1940. During this period and experience, and I have found that it music-loving persons – will never be he made frequent concert appearances, takes a real musician to get the best discouraged, even tho they realize their particularly in the Midwest, which were results from the Pianola. inability to acquire such technical always well-received by critics and I will concede that perhaps a small perfection as the machine possesses. audiences. class of young people are diverted or Those who do possess technical The following articles are most interesting discouraged from entering the profession proficiency, as before mentioned, must because they were not a written “paid by these devices, but then, I believe inevitably awaken to the consciousness commercial” but reflect the real enthusiasm that such discouragement was for their of the futility of aspiring solely along of a highly trained and successful musician benefit. Those who can thus be diverted these lines. and concert pianist. The following articles, written by Ampico by the “wonders” of the Pianola can only The piano-player puts a premium artist Sidney Silber, originally appeared in have the ideal of technical perfection in upon artistic excellence. Pianists who separate editions of The Folio, a publication mind. Why pray, aspire to become have little else than technical facility of The University School of Music in Lincoln, automation? Surely serious music study do not nowadays startle even average Nebraska where Dr. Silber was head of the aims higher than this. audiences. Only he with an individual piano department. It was reprinted as a single The Pianola, clever and astounding as artistic message can strike at the core of article in May 1913 in The Music News. This it is, eventually leads intelligent owners human sensibility – that soul-experience, material has been contributed by the late Dr. and listeners to a higher consciousness which even in these advanced times, is Silber’s daughter, Mrs. Samuel Kling, and of musical art and of the utter inadequacy none too common. submitted by Ralph and Elaine Obenchain. of such a machine to express soul and The value of the phonographic records CONCERNING MECHANICAL personality of a higher order. Try as of piano playing is only relative. DEVICES FOR THE makers will, they cannot reproduce the Heretofore, many interesting experiments REPRODUCTION OF singing tone made by human hands. Soft have been made. I feel, however, that the PIANO PLAYING as the hammers are, they do not possess phonographic records have reached their the sensitiveness of tactile nerves. The limit of attainment. The piano tone is of a By Sidney Silber difference, finally, between machine-made remarkably elusive and evanescent The Folio Ð November 29, 1912 music and hand-made music is precisely nature. Only the percussive elements of I have frequently been asked what my the same as that between machine-made piano playing can be adequately recorded attitude was toward mechanical devices lace and hand-made lace (the latter so well by the phonograph. Sustained music is which reproduce piano playing, and my called “real”). And yet, we must agree unsatisfactory except when performed by questioners have often wondered at my that the machine-made article is in an organ, stringed instruments, or by the decidedly favorable and optimistic views. both instances perfect from a technical orchestra. These latter are the acme of It was often argued that the hearing of standpoint. This cruel regularity and perfection. The voice can likewise be masterworks done in such impeccable literalness, this uninspiring non-deviation remarkably recorded by the phonograph. technical manner must discourage many from a set style, is the very hindrance In this connection I wish to record my who might otherwise feel the call to enter which makes “canned” music eventually profound admiration of the phonograph the music profession. pale upon a finer sensibility. Rain or as an artistic instrument. First let me classify these devices. shine, the player-piano is there to give The Welte-Nignon piano has not been There are two classes which reproduce forth its unrelentingly set voice. Where is heard in this country, except in our large piano playing or compositions written the human being, with soul so dead, who cities. It is a piano which reproduces, originally for piano or orchestra, as is not subject to external stimuli? as well as a machine can possibly

171 continued. . . reproduce, hand-made music. Here, we predict that it will not be long before Mignon are as follows: 1. It is very much have, to my mind, the only plausibly many instructors and schools of music cheaper and just as good as regards the means of recording piano playing. First will see the necessity of adopting it as a true reproduction of artistic playing. 2. It of all, the records are made via the piano valuable adjunct in teaching. is attached to a piano which (unlike the – not, as in the case with other devices on Welte-Mignon) may be manipulated by the order of the Pianola, by skilled CONCERNING MECHANICAL hand. 3. It is automatic, or may also be mechanics who make the rolls from the DEVICES FOR THE manipulated by expression levers. printed copies of compositions. REPRODUCTION OF Each roll is set to a certain temp mark. I first marveled at the wonders of the PIANO PLAYING The tempo lever does not need to Welte-Mignon in Milwaukee where I By Sidney Silber be shifted during the playing as all heard many interpretations of standard The Folio Ð January 24, 1913 deviations are recorded automatically. It piano works by such artists as d’Albert, is truly remarkable how plastically a Leschetizky, Busoni, Lhevinne, Bauer, Some time ago I submitted to readers melody may be played on this device, Carreno, Bloomfield-Zeisler and others – of the Folio a discussion of the relative and how well accents are given. all of whom I had heard in concert. The and absolute merits of mechanical Here at last we have in America a Welte-Mignon reproduces the exact devices for the reproduction of piano device which is within the reach of all dynamics, all pedal effects, all the playing. Those who read this article music lovers, be they pianists or entirely deviations of movement – yes even will remember my praise of the Welte- ignorant of how to play. Mr. Crancer was plasticity. The resemblance to the Mignon Piano, which, at that time of the opinion that this player-piano original is in many cases, truly uncanny. seemed to me the only legitimate and would soon be sold for $1,500 or even One thing, however, is lacking, it is the artistic solution of this means of making less. I do not remember whether I made “Atmospheres”, and if I may call it, music by machine. it clear that one can not manipulate which invariably emanates from a great Today I wish to record some of my the Welte-Mignon by hand. But in the personality sitting at the keyboard, Here, views concerning a new device which Stoddard-Ampico we have a real piano – for the first time, did I fully realize how has recently been put upon the market, which is a decided advance. This device many of our aural impressions are and which appeals even more strongly is so cleverly concealed when not in use, strengthened by our visual impressions. to me than the Welte-Mignon. I had one would not know of its existence. Nevertheless, the Welte-Mignon is occasion recently to inspect, on the floors I would strongly recommend all who really and truly artistic and legitimate. of Mr. Crancer’s store, a device called the are interested to inspect the Stoddard- From it even artists may learn and gain Stoddard-Ampico, which is now being Ampico. inspiration along interpretative lines. I made by the American Piano Company. The superior features over the Welte-

DOPT-A-PIANO PROGRESS REPORT - MARCH 16, 2006

coin pianos, orchestrions and band The DX was delivered to our shop on organs on display, it impressed me as January 17th, 2006. When I removed the When I worked for Charley and Sue being a clean unrestored piano but I Bovey in the 1970s, tuning and servicing never examined it closely. When the the large collection of coin pianos, AMICA Adopt-a-Piano project for an orchestrions and band organs, Charley instrument in the Nevada City Music told me that his Wurlitzer DX coin piano Hall began, I recommended the DX as and Automatic Harp had come from the a possible candidate because it would Five Mile Inn near Butte, Montana. The make an attractive and interesting Five Mile Inn was not only a historic display with its two ranks of pipes, road house on one of the main roads into roll changer, pretty stained glass Butte, but the owner had also been a and lamps, it hadn’t been used for Wurlitzer distributor. Two supposedly many decades, and it had seen less “new old stock” DX pianos and two wear during its life than the typical Automatic Harps remained unsold, and orchestrion. were still there when Charley acquired The Wurlitzer DX, Amica’s Adopt-A-Piano, one of each in the 1950s. on location in the Nevada City Music Hall, By the 1970s, the DX didn’t play, and Montana, in 2001, where it has been part of I never tried to repair it. Among the 45+ a large display of instruments that have entertained the public for over 40 years. 172 continued. . .

Interior of the DX, showing the roll changer above the keyboard, and the pumps and motor below. The pipe chest and two ranks of pipes are in a chamber behind the soundboard. When this was taken in the summer of 2001, the mice had not yet taken over.

The piano in Reblitz’ shop in March, 2006. The stained glass and center door were removed for safekeeping prior to shipping. In this picture, the roll changer, pneumatic stack and keys have been removed, but the case has not yet been disassembled for restringing. fronts from the cabinet, two things took Several AMICA members me by surprise: the amount of mouse have supplied specific parts. Joe damage, and the amount of wear to the Hilferty of York, Pennsylvania, piano. Unfortunately, since I last seen it provided an original tracker bar at a very collection in the Music Hall in Nevada in 2001, it had become the habitat for a reasonable price, and Richard Reutlinger City, Montana asking chapters of AMICA large family of mice, and now housed an contributed the money to cover its cost. to contribute toward a fund to do so. To accumulation of nest material, skeletons, Don Teach of Shreveport, Louisiana, has date, five chapters, Founding, Mid-west, droppings, and rat poison that filled two provided a set of 6 beautifully-made Lady Liberty, Sierra Nevada, and Rocky large trash bags. reproduction roll spools at a discounted Mountain, have contributed amounts from Despite the fact that we’re not doing price, and has discussed providing $250 to $3,000 making a total of $5,200. a fancy cosmetic restoration, the enough recut rolls to fill the roll changer. Wes Neff is administering this separate repairs will take much more work than We will clean the rest of the piano and fund within the general AMICA treasury. anticipated due to the wood stains and send the bass strings and hammers in for He will pay the restorers directly as the metal corrosion. The tuning pins are so duplication soon, with the goal of having work progresses. The fund was set up this loose that the piano will have to be the piano restrung and the piano action way to minimize any of the money being restrung, and the hammers and action repairs in progress by the end of April. dissipated by bureaucracy as the State are quite worn, a factor that belies the The automatic roll changer is the early of Montana now owns the site and the tale that Charley Bovey bought it in new cast iron style; although it needs collection. condition in the 1950s. thorough cleaning, it does not have the I approached Art Reblitz as the As of mid-March, restoration is well pot metal problems associated with later proposed restorationist as he has worked under way. AMICA member Don Hein roll changers. I’ll submit another with this collection since the 1970’s and (Arvada, Colorado), who works progress report when the piano work is has the confidence of the current Curator for Reblitz Restorations, has finished finished, the stack is installed, and the of Collections. Art agreed from the first restoring the piano stack, in which the pumps are under way. to minimize the cost of restoration as valves and seats were caked with a large Art Reblitz much as possible since we are interested amount of coal soot. He has also cleaned Colorado Springs in good mechanical restoration v.s. a the mouse residue from the keys and pristine cosmetic type. This collection is key frame and is almost ready to begin Extra, Extra...Update on the housed in the Nevada City Music Hall, restoring the pumps and reservoirs. (Don Adopt-a-Piano Project which is right on U.S. Highway 287 also restored the Nelson-Wiggen style 8 in southwestern Montana near the by Richard Reutlinger coin piano for the Nevada City Music extremely popular Yellowstone National Hall in 2002.) Dick Kroeckel (Arvada, Almost three years ago I proposed this Park, and draws thousands of visitors Colorado) is currently restoring pedal “Adopt-a-Piano” project to promote the from all over the country each year. It and control pneumatics and mechanisms. restoration of instruments in the public is one of the last public displays of

Rear view of pneumatic stack. The pneumatics have been recovered and the valves releathered and adjusted. In this picture, the nipples where the tracker bar tubing will connect are plugged with short pieces of tubing tied in knots, to facilitate testing the stack with a test pump.

173 continued. . . automatic instruments in the United has a nice case with stained glass States, a type of display that historically and lamps for adornment. Art and has been responsible for stimulating I chose this instrument thinking it many new enthusiasts and collectors. was a pretty clean prospect. It has Today, with most instruments located turned out to be in worse shape in private collections away from the requiring much more work than public, many AMICA members are anticipated. However the work is wondering how we might help to create in progress as you can read from new enthusiasts and attract new Art’s accompanying report. members. The Adopt-a-Piano project is a I am appealing once again for good step in that direction. Our project, additional chapter or individuals while limited in scale, has prompted the to contribute toward this effort. In the gear standard, the old lubricant had leaked out through a defective inspection port and the shafts Curator of Collections to embark upon Art has donated his time in were frozen in place. It is now clean and ready additional work on instruments beyond managing this project and is for reassembly. the one we chose for AMICA’s effort. willing to donate incidental parts AMICA will receive recognition for and materials. We estimate at this point is one of the goals of AMICA to promote the restoration of this Wurlitzer Model that even with discounted labor costs, the public exposure and appreciation of DX which is an impressive instrument the total may run from $7,000 to these automatic instruments. Won’t you playing piano, mandolin, two sets $10,000. While this project was slow consider lending a hand? of pipes, and showing an interesting getting started due mainly to State automatic roll changing mechanism. It bureaucracy, it is now in full swing. This

Submitted by Anthony L. Engels

174 175 By John Motto-Ros HERE DID ALL THE HARPS GO? While reading the book THE Sometimes, besides taking most of the automatic harp are very close to the dates BARBARY COAST by Herbert Ashbury, coins which had been dropped into the of the Barbary Coast. The author wrote first edition 1933, I came across an machine, the greedy grafters levied a the book in the early 1930’s and used interesting section about automatic special unofficial tax upon each musical material furnished by a number of people musical instruments and particularly the instrument or ordered all music stopped. from the period, so dates could have Wurlitzer Harp. The Barbary Coast is They permitted resumption of music clipped a few years either way. I believe about San Francisco beginning with the upon payment of another so-called tax or the story to be true. Wurlitzer did have a California gold rush in 1849 to about license fee. San Francisco distributor—Leathurby or 1910. The foundation upon which the In late spring of 1911, the police Bacigalupi. The Cincinnati piano house Barbary Coast reared its fantastic forbade all music in houses of was Wurlitzer for sure. One can only structure of crime and debauchery was a prostitution and ordered the removal and wonder if some politician had stock in system of commercialized prostitution destruction of every musical instrument Wurlitzer, and harps were not selling. that occupied a semi-lawful status in San in the red-light district. In July, the Now the big question: Where did all the Francisco for more than sixty years. proprietors of the houses were told that harps go in San Francisco? In addition to prostitution, the parlor they might provide music for the I lived in the San Francisco Bay Area houses also derived a considerable entertainment of their guests, but that many years and have visited many income from the sale of beer in bottles, it must be the music of the automatic collections. Few, if any, contained a harp. hard liquor by the half pint, and from harp. There were no such instruments Charlie Smallwood from San Francisco music. Practically every “resort” was in the Barbary Coast, but the lack was was a good friend of mine. He had a equipped with some sort of automatic soon remedied. A few days after the large collection of musical instruments, musical instrument which played only bagnio-keepers had been notified, but I don’t ever remember seeing a when fed with nickels or later quarters. A a salesman for a Cincinnati piano house Wurlitzer harp. great deal of the revenue from the music appeared in the district and offered The Wurlitzer Automatic Harp from and sale of liquor went to the police and automatic harps for sale at $750 each, the ENCYCLOPEDIA OF AUTOMATIC politicians as graft in addition to the about four times what they could have MUSICAL INSTRUMENTS, Pgs. 666, regular payments, which were usually been bought for in the open market. 667, & 668, by Q. David Bowers based on the number of girls in a house. The dates of the introduction of the

176 177 178 179 Submitted by Christine Robinson

Life’s not what it used to be. When I first came here, the family worshipped me like a new baby. Now, they treat me like a piece of old furniture.

“What do they think I’m made of? It’s over a year since anyone has even thought of my health. I’m breaking down under the strain.

“If the folks have no consideration for me, why don’t they think of all the money I cost? They’ll be sorry when I have a complete ‘break down’ and it costs a lot of money to get me back into shape again.

“Oh well—complaining doesn’t get one I can’t play as I should. But a good tuner anywhere. But I would be a whole lot could fix me in a few minutes. happier, and I could save the family a whole lot of money if they would only “It’s strange that the family doesn’t notice treat me right. the change in me. Other folks do. I’m ashamed to have people talk about me “When the sunny, warm, weather comes, when I’m trying to do my best. I relax just like other folks. My parts expand—my strings stretch. Then, “Why don’t folks understand that I should be tuned twice a year? Once

180 in the Spring or Summer—again in the “Yesterday, I nearly choked, there was so Fall or Winter. It would cost so little, and much dust in the air. Of course, mother I would last so many years longer. keeps me bright and shiny outside, but she doesn’t seem to realize that the dust “B-r-r-r-! The sharp, cold Winter days gets inside of me. Week after week, it make me shiver. To keep warm, I gradually sifts in, until after several draw myself together. Of course, the months, it starts to grind away my player contraction causes leaks in my player parts. Then, it’s real serious. mechanism and again I can’t play as I should. I need a tuner badly, then. “Life’s just one hardship after another. Last week, a mouse got into me, and started to nibble away the felt from several of my hammers—‘till the notes wouldn’t play at all.

“I tried to let the folks know when they played me that night, but they didn’t seem to notice the change. Oh, well—what’s the use. I’ve done the best I can, to tell them that I shouldn’t be played in this condition. But if they won’t listen, they’ll have to learn by experience—even if it is expensive.”

1903 advertisement featuring a wide variety of products including the Polygraph, a typewriter made by the Polyphon Musikwerke.

Ad from the ENCYCLOPEDIA OF AUTOMATIC MUSICAL INSTRUMENTS, Pg. 419, by Q. David Bowers

181 00 IV

'Jl 1;1'= 3 Berlin. 2. Auplt 1906. ~ Co Ob....Hoftn....oh.n·Amt 1;1' ...... --.laetit '< d..K...... und Ken••• :: ~ •• 812 ~

Auf du ~n d.u Konigliehe Geheime ZivihKabinett ge­ i riehtete. an mich geschaftss o::r mi6ig gelangte Schreiben er$ 3 widc:re ieh ergc:benst. daB ~ das Rc:produktions. Klavier ~ ltWelte.Mignon« Seiner Maje. ~ stat dem Kaiser und Konige sehr zugesagt hat. ~ ;- gez. A. Ealenb~. ~ <§. § B E i6

..Welte-Vorseher" im Musi1esaloD des Herm W. M ....., Aachen.

o o· KONSTLER

KONRAD ANSORGE

~ ....-~

No. Mark

ANSOROE, K-

G 286 Ballade ftir Klavier · 24.- K. Ansorge

287 Impromptu, C-moll, Ope 90, No. 1 · · 20.- Fr. Schubert

288 Toccata (Bach), C-dUf · · · 15.- Bnch-K. Ansorge

289 Traumbilder, Op.8 · · · . · 12.- K. Ansorgc

291 Fruhlingsglaube . 12.- Schubert-Liszt

292 Du bist die Ruh . . · . · · . · 17.- Schubert-liszt

0-

13

183 Q! KONSTLER ~

ALfRED HOEHN l fOR WELTE-MIGNON SPIELEND. ~ ~ ~

No. Mark HOEHN, ALFRED 3289 Chromatische Fantasie und fuge 24.- J. S. Bach 3290 Sonate, Es-dur, Op.7, Allegro, Largo. . 24.- L. van Beethoven

3291 Sonate, Es-our, Op.7, Allegro, Rondo . 24.- L. van Beethoven 3292 Sonate, Op. 106 (Hammerklavier) Allegro und Scherzo ...... 24.- L. van Beethoven 3293 Sonate, Op. 106 (Hammerklavier) Adagio 24.- L. V3n Beethoven 3294 Sonate, Op. 106 (Hammerklavier) Intro- duktion und Fuge ...... 24.- L. V3n Beetl1o\'cn 15 Variationen (Eroica) I. Teil 24.- L. van Beethoven

87

184 KONSTLER

CLOTILDE KLEEBERG

No. Mark KLEEBERO, CLOTILDE t 448 Romance sans paroles, Op. 17 . 10.- o Prof. Gabriel Faure 449 Liebeswalzer, Op. 57, No.5 14.- M. Moszkowski

451 Valse mignonne, Op.l04 15.- Camille Saint-Sat!ns

452 Le rappel des oiseaux . 10.- J. P. Rameau

453 Les abeilles, Poe~e virgilien, No.4 16.- Th. Dubois

454 Etude, F-dur, Op. 10, No.8 (Die QueUe) 12.- F. Chopin

455 Impromptu, A&dur, Op. 29 14.- F. Chopin

t1~6 Sonate, O~ur, Op. 14, Andante 16.- L. van Beethoven

I' • ~ 101

185 EW PIANO ROLLS & RECUTS

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186 Ye Olde Hoosier Inn for lunch. Established in 1946, the Hoosier Inn has been a Stockton dining tradition for over 50 years. The Hoosier Inn is brimming with antiques and collectibles, many from the romantic past of early California. News Some have graced the homes of such notables as Mark Twain and Leland Stanford and include antique lamps, glassware, dolls and paintings. From #3. We concluded our afternoon at Harmony Wynelands in Lodi, Calfironia. Nestled among acres of lush wine grapes, Harmony Wynelands provides a picture perfect setting. There The Chapters is a Robert Morton 3 manual/15 rank organ in the tasting room and Dave Moreno provided music to accompany wine tasting. Our thanks to Dave for arranging an interesting day.

SIERRA-NEVADA CHAPTER Reporter: Nadine Motto-Ros President: John Motto-Ros – (209) 267-9252

Chapter member Dave Moreno organized a great three-for- one meeting in Stockton, California, on Saturday, April 15.

#1: At 10:00 AM, we met at the recently renovated Bob Hope Theatre (formerly the Stockton Fox) for a personalized tour. In 2002, the Bob Hope/Fox California $8.5 million dollar restoration began. After seventy-five years and three- plus years in renovation activities, one is struck when approaching the theatre by the vision of an ornate tower rising like a large wedding cake above Main Street. The tower soars to a blue and yellow-clad cupola capped by an iron cruciform The exterior of the Bob Hope Fox Theatre in Stockton. weather vane. It alludes to a Spanish colonial church without the requisite bell. The auditorium seats 2048 and the theatre needed a powerful instrument for the size of the auditorium. The original Seattle Fox Theatre Robert Morton pipe organ was found stored in Southern California. Under the direction of master organ technician Dave Moreno, twenty eight volunteers spent the next four and one half years restoring the organ, fondly dubbed the “Mighty Morton.” After touring the lobby, rotunda and mezzanine foyer, Chapter member Wendell Jacob, who owns a movie theatre in Colfax, California, gave an informative tour of the restored movie projection room. Dave Moreno followed up with a behind the scenes tour of the stage, dressing rooms and “green room” with catering facilities. Dave concluded the tour playing a variety of music, which demonstrated the capabilities of the organ. #2. Following the theatre tour, we journeyed to the nearby Dave Moreno greeting the group outside the Bob Hope Fox Theatre.

187 The rotunda ceiling. Members checking out the exquisite rotunda made up of twelve carved plaster columns that rise to an ornate capital supporting the rotunda ceiling.

Dave Moreno at the Fox “Mighty Morton.” Bing Gibbs, Terry Casebeer, Bob & Bonnie Gonzales, and Ray Fairfield in the tasting room of Harmony Wynelands.

TEXAS CHAPTER Reporter: Suzanne & John McCall President: Jerry Bacon - (214) 328-9369

October Meeting 2005 The Texas Chapter had a fine meeting at the home of Doug Mahr and John & Dianne Field in the tasting Gordon Kelly in Dallas. Mr. Kelly has been a member of room of Harmony Wynelands. AMICA since the early 70’s. He is a restorer and authority on the Ampico System. He learned his expertise as a student of 188 E. L. Parry, a well known Dallas authority on piano actions and finishes. Gordon owns a beautiful Mason & Hamlin Ampico Grand and a Hammond Organ. Member Bill Flynt used his talent to entertain us on the beautiful Mason & Hamlin. The members also enjoyed the antics of Gordon’s Chihuahua Dogs. A wonderful afternoon was had by all.

Mason & Hamlin Ampico piano at Gordon Kelly’s home. John Harvey at the Hammond Organ and Mike Barisonek “investigating” the Mason Hamlin Piano

December Meeting 2005 Ah! Christmas—what a great time to have a meeting/party. The Texas Chapter celebrated at the beautiful lakeside home of Michael and Maureen Barisonek in Arlington, Texas. The beautiful holiday decorations and the acquisition of new instruments provided beautiful atmosphere and Christmas spirit. A wonderful buffet dinner with scrumptious dessert prepared by the members was followed by a gift exchange. New officers were elected for 2006. They are: Jerry Bacon-President; Bill Boruff-VP; Maureen Barisonek-Sec- retary; Vicki Brady-Treasurer; Maureen Barisonek- Reporter; and John & Suzanne McCall-Board Rep. Maureen & Mike graciously gave the attendees a tour of their lovely home and demonstrations of their instruments. Maureen has a beautifully displayed doll collection with acquisitions from their many domestic and international travels. Their latest musical acquisition is The Aeolian Orchestrelle, Model W, circa 1912 with the addition of a Gordon Kelly, Dallas TX MIDI system. Mike shared the brilliant history and his search for it with our group. The following is in Mikes own words: The Orchestrelle has an interesting history; here is what I know about it. Collector and restorer Richard Vance of Pittsburgh PA had a long interest in player organs. Before becoming interested in the Orchestrelle, he spent about 10 years restoring and installing in his home a Duo-Art Reproducing Pipe organ. As many collectors of these instruments know, it is not for the faint hearted. Restoring and reconfiguring such an organ to its new surroundings is time consuming and expensive. Sadly as with the Orchestrelle, it is a task that he would never complete. Five years after his retirement, working full time on both the Pipe organ and Orchestrelle, his health failed and he passed away, having just gotten both instruments to play in a limited fashion, however not nearly reaching their ultimate potential, or completion of the casework. Janet Tonnesen talking to David Spigel and Dr. Tony Palmer The Orchestrelle became his focus in 2000, on retirement, and he decided that he would find an affordable instrument, complete a ground-up restoration and while progressing, 189 publish his work chapter by chapter on the Internet, posting “…I have been collecting automatic music since I was in them on the Mechanical Music Digest. high school…I fondly remember the old catalogues from the I first became aware of Richard’s work about three years Darien Music Center-from there I saw my first picture of an ago, when I began looking for an Orchestrelle, with the Orchestrelle, but I wasn’t ready to want one until Richard intention of adding a MIDI player to one, in order to expand Vance started to write the e-Book on his restoration. I was the repertoire of music available, beyond the original 58 note suddenly enthralled. Finally what I considered to be the most rolls. beautiful of automatic musical instruments was explained. I Completely restored Orchestrelles are difficult to find, so I saw the chalice before me. I decided that I too wanted one began to follow Richard’s postings on the MMD in order when I retired. Then came the unfortunate loss of Mr. Vance. I to learn more about what needed to be accomplished for a had never met him, yet I followed every word that he had complete restoration. written. Things progressed and I felt that I was ready to buy The work that went into both the restoration and his my own Orchestrelle. I also felt that I could handle the project documentation on the Internet is incredible! because of the work that I had before me. As fate would have Starting with a “basket case” acquired in England, he it, the beautiful Orchestrelle that I bought in the end was proceeded to as thy say in the UK “Take it completely to bits” owned by a close friend of Mr. Vance’s and they worked and use his engineering and technical skills to document together on figuring out how it was supposed to work…In every step taken, and actually construct technical drawings short, I feel that I owe a lot to Mr. Vance’s memory and his to show the construction and theory of operation of this work, and seeing his Orchestrelle finished has really moved wonderful instrument. me.” Even if you are not technically inclined, it’s worth a look. The history of this instrument is fascinating, as it was As such I now have a “before” condition to the ultimate almost lost due to the poor condition before Richard Vance completion of the instrument, as well as a detailed record of acquired it, through completion of the work in Canada, where everything that was done during the five years he owned it. Ron Schmuck observed that when he first turned it on, the During Richard’s early restoration work, I e-mailed him room filled with the smell of Richard’s cigars, like he still with my thoughts on adding a MIDI system to one similar to remained with it! his and asked him for his thoughts on it. As long as I own it, Richard’s work will be appreciated, Not only did he reply with positive thoughts on it, he sent and I hope to pass it into the future with all the documentation his idea for installation of electronically controlled valves to I have available. operate the instrument in parallel to the tracker bar for the Attached find photos of the Orchestrelle now, the “before paper rolls. pictures” are posted on the MMD. I thanked him for his input, and continued on my quest for They also have a Weber, Duo-Art Upright Piano and an a similar Orchestrelle, and followed his subsequent postings Olympia Disk music box. with great interest. This was a wonderful meeting. Fast forward to 2005, I learned that Richard passed away, so I contacted his family and made arrangements to purchase his Orchestrelle. I was surprised to learn that it was not completed, the casework was missing, and had not been seen by his family in all the years he worked on it, and no records existed of where it was sent! Taking a few months to locate all the components, they were shipped to Canada to the restoration shop of Ron Schmuck of the Great Canadian Nickelodeon Company for completion of the internal work, addition of the MIDI system, and refinishing and assembly of the case. So the completion instrument is the result of efforts of many, including Kevin McElhone, who originally located the instrument for Richard, of course the years that were lovingly invested by him, and the talents of Ron Schmuck in engineering the MIDI player, and completing the casework. The Model W now is at home playing 58 note paper rolls, MIDI scanned piano and organ rolls, from Terry Smythe of Winnepeg Canada, and lately, MIDI files recorded by a prominent local Organist, who has made suggestions as to music that might sound good on it. (I guess that it would probably be the first new music recorded for the Orchestrelle in about 75 years or so!) I have also read postings of others who have been Olympia Disc Music Box following Richard’s work over the years. Eli Shahar wrote on the Orchestrelle discussion group: 190 Maureen Barisonek in her “glorious” room of dolls Maureen & Mike Barisonek with their Orchestrelle

The Aeolian Orchestrelle Model W, circa 1912 Weber Duo-Art Upright Piano

Sunday, March 12, 2006 York where he had auditioned for Juilliard. With him were The March meeting of the Texas Chapter was quite several friends from the Austin and DFW area. With the an event. The business meeting was short and sweet, but the ambiance and enthusiasm just right, Flint played a program luncheon, the music during the luncheon, and the concert that included Simon Preston’s Alleluyas, Louis Vierne’s afterward were something very special. Carrolon de Westminster and, in homage to Virgil Fox, a Hosted by member Roger Smith and held at the Benbrook performance of Bach’s Toccata in Fugue. It was wonderful! Antique Mall in Benbrook, Texas, over twenty five members Flint will know sometime in April whether Juilliard is in enjoyed bar-b-que provided by Karen Gore, the new owner of his future. He credits the Dean of Music and Fine Arts at The Tea. What a wonderful afternoon to talk with friends, Howard Payne, Professor Allen Reed, with setting him on enjoy the music provided by John Harvey –an organ in a tea his current path. Originally a piano major, Flint was inspired room, it should be standard—conduct a little business, and to change to the organ and church music because of the anticipate the program to come. amazing undergraduate program and inspiration of Reed. After the luncheon and meeting, the group was directed to He encourages anyone who has the interest in becoming the “Off Limits” part of the mall, where one section of storage a church music major to find out about Howard Payne was rolled back to reveal the treasure within. And a treasure University. As quickly as it began, Flint’s music ended and he it was, complete with sarcophagus, pharaoh, mummy, disco was on his way back to Austin. ball and beautiful musical instruments. Center stage was a We often wonder about the future of our music and our Baldwin Wurlitzer organ. Roger welcomed the group. He instruments. When we have the opportunity to listen to such acknowledged the efforts of so many who helped to put the a young man play, and then, speak about it all with such meeting together, especially John Harvey and David Spigel. passion, we should feel optimistic and hopeful for the future. He then introduced a young man who had flown in just for the Maureen Barisonek our meeting. Flint Dollar is a twenty-three year old church Texas Chapter AMICA music major graduate from Howard Payne University. Bulletin Reporter Currently living in Austin, Flint had just returned from New

191 Sunday, April 23, 2006 The April meeting of the Texas Chapter was at the home of Bill Flynt in Dallas. Bill designed his lovely home with a large music room for his 9’ Knabe piano and for entertaining. This magnificent piano was originally used at the Metropolitan Opera. In 1975 Bill installed an Ampico A reproducing system in it – finishing it in 1980. He invited members to crawl under and take a look – as he said “there’s a lot of real estate under there”. In the 70’s and early 80’s Bill arranged and hand punched a number of piano roll masters and put Ampico coding on them. He had set up his roll frame for demonstration along with tools and grid that showed where the holes were to be cut. What Bill didn’t tell us was how popular these rolls are at the present time. A limited number of copies were punched 25-30 years ago and are now quite popular on E-bay. As a result Dave Caldwell has started to recut many of them to sell to eager roll collectors.

192 One of these rolls is Variations on a Theme of Chopsticks the area every year in full costume. The next one will be composed by Robert Armbruster. “Chopsticks” was a a 4th of July parade (probably in Plano). At our meeting concerto-like composition with orchestral accompaniment, Bill demonstrated the calliope which is housed in his garage. organized in “theme-and-variations” fashion. At the 1979 (Better played outdoors in parades – a bit loud in the garage.) AMICA Convention Robert Armbruster approached Bill Besides all this, Bill plays the organ at church every looking for a pianist to play the reduced orchestral score of Sunday. Where does he find the time! He is really enjoying “Chopsticks” on a second piano for the 1980 convention. Bill his “retirement”. jumped at the chance, and shortly thereafter Armbruster sent him a copy of the score reduced to a two-piano arrangement. At the time Bill was very involved in arranging Ampico piano rolls so he arranged the roll and had Play-Rite Music Rolls produce 40 rolls. The rolls were signed by Robert Armbruster and Bill Flynt - then at the 1980 AMICA Convention in Pasadena they played this duet on two nested 9-foot grand pianos at the banquet. The rolls sold out quickly and orders for more were taken. Bill no longer arranges music rolls, but he is very active in live performance. He arranges music for various community bands as well as for the other groups he works with. We were treated to a short program by one of these groups – the Sorta Sisters - Linda Young, Karen Fruzia and Jenny Wennerberg (not really sisters, but sorta sisters). They sing in the style of Jenny Wennerberg, Bill Flynt, Linda Young, and Karen Fruzia the Andrews Sisters. The Sorta Sisters, accompanied by Bill on the piano, sang “I’ll Be With You In Apple Blossom Time,” “Don’t Sit Under the Apple Tree” and “Boogie Woogie Bugle Boy”. As Gordon Kelly said, they sounded even better than the Andrews Sisters. Bill’s Blue Diamond Trio consists of keyboard (Bill), saxophone, and drums. Linda Young is vocalist. This group plays music of the 30’s & 40’s and is especially popular at retirement homes and church parties. Bill also works with a Dixieland Band called “The Survivors” – so named because they are all retired and “survived” the working world. The Survivors have the traditional instrumentation with clarinet, trumpet, saxophone, trombone, drums banjo, tuba and piano (Bill). Music is arranged by Bill. Bill also works with Jeannie Clark Fisher, a soprano soloist, who will be performing with the Richardson Commu- nity Band in their upcoming “Pops Showcase” concert at the Eisemann Center in Richardson, Sunday May 7 at 2 PM. Jeannie will be performing several Gershwin tunes arranged Bill’s T43 Tangley Air Calliope by Bill. Everyone loves a parade, right? Well, if you attend parades in the Dallas area you’re likely to see Bill with his T43 Tangley Air Calliope. He plays at least 6 or 7 parades in

Bill accompanies the “Sorta Sisters” on his 9’ Knabe Joe Morris & Bill Boruff enjoy a chat

193 Thank you Bill - and thanks to the “Sorta Sisters” for a Piano death hits wonderful afternoon of music and the chance to visit again with our AMICA friends. sour note Janet Tonnesen By D. L. Stewart Reporting for the Texas Chapter Akron Beacon Journal ¥ Tuesday, June 28, 1983 I killed a piano the other day. The victim was an enormous old upright that has been lurking in our basement for the last two years, ever since the woman who promised to love, honor and tickle my ivories got it “for free.” “It’s for the 13-year-old, she says, pointing out that she just read somewhere that statistics prove that girls who grow up with a piano in the home never turn out to be unwed mothers, members of cults or contestants on the $1.98 Beauty Contest. SO WE PAY $45 to have two guys deliver our free piano. Which is when we discover that the only place big enough to hold it is in the basement. Which is reached by a stairway narrow enough to give Twiggy claustrophobia. With the aid of a hammer, two neighbors, three wrenches, four screwdrivers and 127 dirty words, I disassemble the piano and take it downstairs. Piece by piece. Key by key. Eventually the piano is back together in the basement, although there are a few spare parts. But 79 keys are more than enough for most songs. For two years the piano sits in the basement. The 13-year- old becomes a 14-year-old, then a 15-year-old. What she does not become, however, is a piano player. This is partly because of minimal audio-tonal dysfunction and arrested outer digital UPCOMING small muscle development. But mostly it is because, in two years, she practices a total of 17 minutes. Ð AMICA EVENTS Ð Meanwhile, I have been busy converting the basement into a rec room, the focal point of which will be the pool table S.O.W.N.Y. CHAPTER with which my loved ones are going to surprise me on my Tuesday birthday. To make room for the pool table, the unused piano August 29 ...... We will be gathering at the with the 79 keys has got to go. Canadian Science and Technology Museum I mentioned this to the woman who promised to love, (www.nmstc.ca) in the morning. The meeting and buffet honor and chalk my cue. dinner will follow, in the afternoon. The meeting will “Maybe we can sell it,” she says. be at the home of John and Janet Johns 149 St. Laurent “It’s going to be pretty tough selling a 79-key piano that’s Blvd., Ottawa, Ontario at 3:00 p.m. Please RSVP no roughly the size of the World Trade Center.” later than August 21st. (613) 749-0614 “Then maybe we can give it away. I’m sure there are plenty of churches that would like to have a piano that size.” TEXAS CHAPTER “There probably are plenty of churches that would like to BE that size. Anyway, there’s no way to get that piano out of Saturday, the basement in one piece. I’m afraid I’m going to have to May 27 ...... Keep this date open for a meeting break it apart and junk it.” to be hosted by our President, Jerry Bacon. The meeting THE NEWS that I am planning to terminate the piano will be held at his church at 2:30 P.M. where he will causes an uproar. The 15-year-old argues that I have no right demonstrate the church organ which is a 3 manual 40 to destroy her piano, but I point out that I have spent 10 times rank Aeolian-Skinner combined with a Reuter. Others as much effort moving that piano as she has playing it. The who wish to play it will be invited to do so. The Skinner 12-year-old accuses me of being a music hater, which is a came from the Manhattan School of Music. St. Johns pretty remarkable charge from a charter member of the KISS Episcopal Church, 848 Harter Road, Dallas Harter fan club. Road is located off of E. Lake Highlands Dr. just North I borrow a sledge hammer and, for more than than four N. Buchner. hours, I beat on the piano, causing it considerable pain, but little measurable damage. I don’t know who put this piano together, but I sure wish he had built the Titanic. But eventually the piano is reduced to pieces that fit through the door. I’m not happy that I had to destroy that piano. I’m sure that some would call it murder. I prefer to call it self-defense. 194 ADVERTISING FOR SALE WEBER UNIKA, COINOLA “X” with Bells Oak Cabinet; Seeburg GENERAL INFORMATION ABOUT “E” with xylophone “A”roll piano with art glass scene; Wurlitzer 1015 ALL ADVERTISING IN THE AMICA BULLETIN Jukebox; Encore Banjo “Ramey” replica, some original Encore items 1 All advertising should be directed to: used in assembly, many rolls; Cylinder music box 10 tune; cylinder 14 ⁄4 inches long inlaid mosaic top $3,500.00; cylinder music box 20 tune, 2 Mike Kukral 1 216 Madison Blvd. tunes per turn, cylinder 7 ⁄2 inches long, lid with tune sheet $3,000.00. Terre Haute, Indiana 47803 All items professionally restored and refinished. J. Uhler – Box 126 – Phone: 812-238-9656 Ingomar, PA 15127 – 724-940-4331 (3-06) e-mail: [email protected] One of our employees was searching around in our attic the other day Ad copy must contain text directly related to the product/service and came across a number of new rolls that have been forgotten for a being offered. Extraneous text will be deleted at the Publisher’s number of years. These are mostly overruns from the days of our discretion. All advertising must be accompanied by payment in “Auction Recuts”. The vast majority of them are very good rags, fox U.S. funds. No telephone ads or written ads without payment will trots or blues rolls. We are offering them to members of AMICA for be accepted. This policy was established by a unanimous vote of the price of $6.00 per roll. Regular QRS shipping rates apply. If you the AMICA Board at the 1991 Board Meeting and reaffirmed at wish to order any of these rolls, please call Annette at QRS, the 1992 meeting. AMICA reserves the right to edit or to 800-247-6557, Extension 300. Quantities are very limited. reject any ad deemed inappropriate or not in keeping with CU-466 Der Fuhrer’s Face CU-597 Chatterbox Rag AMICA’s objectives. CU-500 AMICA Convention CU-598 Golden Spider Rag The BULLETIN accepts advertising without endorsement, Roll 1987 CU-599 Profiteering Blues implied or otherwise, of the products or services being offered. CU-526 The Thriller CU-600 Wha’cha Gonna Do Publication of business advertising in no way implies AMICA’s CU-529 Chimes of Liberty When There Ain’t endorsement of any commercial operation. CU-545 Lucy’s Sextet CU-601 Bedelia CU-547 Bow-wow CU-602 Louisiana Rag AMICA PUBLICATIONS RESERVES THE RIGHT TO CU-550 When the Morning CU-603 Search Light Rag ACCEPT, REJECT, OR EDIT ANY AND ALL Glories Wake Up In CU-604 Live Wires Rag SUBMITTED ARTICLES AND ADVERTISING. The Morning CU-605 Pickles and Peppers Rag CU-551 Down Among the Sleepy CU-615 Whispering All items for publication must be submitted directly to the Hills of Tennessee CU-616 States Rag Medley #13 Publisher for consideration. CU-553 Saskatoon Rag CU-617 Oh That Classic Rag CLASSIFIED AD RATES FOR AMICA MEMBERS: CU-554 Hard to Get Gertie CU-618 Auf Wiedersehen, My CU-555 Rebecca Came Back Dear $10.00 1-50 Words ...... from Mecca CU-619 On the Merry-Go-Round 51-100 Words ...... $20.00 CU-566 On Easy Street CU-620 Harmony Rag 101-150 Words ...... $30.00 CU-573 Silver Bells CU-621 That College Rag Non-member rates are double for all advertising. CU-576 Jazz Dance Repertoire; CU-622 Felicity’s Rag CU-578 Deuces Wild CU-623 My Lovin’ Honey DISPLAY ADVERTISING CU-580 Swanee Blues Man Rag Full Page — 71/2 " x 10" ...... $150.00 CU-581 Wabash Blues CU-624 Arkansas Blues Half Page — 71/2 " x 43/4" ...... $ 80.00 CU-582 Barn-Yard Rag CU-625 Black Bottom Blues Quarter Page —35/8 " x 43/4" ...... $ 45.00 CU-583 That Chicken Glide CU-626 Movie Rag Business Card — 31/2 " x 2" ...... $ 30.00 CU-584 The Mississippi Flood; CU-627 Intermission Rag CU-585 On the Mississippi CU-628 A Thousand Good Nights Special 6 for 5 Ad Offer - Place any ad, with no changes, for a CU-586 Take Your Girlie to CU-629 In the Chapel in the full year (6 issues), and pay for only 5 issues. Payable in advance. the Movie Moonlight Photographs or halftones $15.00 each CU-588 AMICA Convention CU-630 Black Diamond Rag Loose Sheet or Insert Advertising: Inquire Roll 1994 CU-631 Rubies and Pearls We recommend that display advertisers supply camera-ready CU-591 He Knows His Groc’ries CU-633 Bunch of Blackberries copy. Copy that is oversized or undersized will be changed to CU-592 She Knows Her Onions CU-634 Radetzky March correct size at your cost. We can prepare advertisements from CU-595 Dancing Shadows CU-635 Your Feet’s Too Big your suggested layout at cost. CU-596 Where Did Robinson CU-636 No Swingin’ in Here Crusoe Go (3-06) PAYMENT: U.S. funds must accompany ad order. Make check payable to AMICA INTERNATIONAL. Typesetting and THE GOLDEN AGE OF AUTOMATIC MUSICAL layout size alterations charges will be billed. INSTRUMENTS. Art Reblitz’ Award-winning reference that brings DEADLINES: Submissions must be received no later than the history, musical and technical information to life with hundreds of first of the odd months (January, March, May, July, September, spectacular color photos. 448 oversize pages. Get your copy today! November). The Bulletin will be mailed the second week of the $120 plus $5 S/H (single copy USA ground shipment). MECHANICAL even months. MUSIC PRESS-A, Wild Ammonoosuc Rd., Woodsville, NH 03785. (Rev. 5-05) 603-747-2636. http://www.mechanicalmusicpress.com (2-07) 1923 KIMBALL WELTE-MIGNON Licensee Reproducing Player Grand piano, 5’2”, serial #350911. Restrung, new hammers, action regulated, refinished, includes original matching bench and 20 rolls. “The problem with people who have no Welte-Mignon mechanism completely rebuilt. Bodine motor/Minarik speed control for accurate tempo. Incredible expression! $9,000. Call vices is that generally you can be pretty Ron Olsen 763-535-6662 or write 4155 Quail Ave. N., Robbinsdale, sure they’re going to have some pretty MN 55422 (2-07) CHICKERING AMPICO A GRAND (1929) 5’4” in a scarce annoying virtues.” Spanish-Mediterranean harpsichord style artcase, with 9 legs, spreaders - Elizabeth Taylor and wrought-iron furniture. Older restoration, plays well. A bench, roll cabinet and numerous rolls included. $9995.00 OBO. Charlie Poulton Tampa, FL 813-973-7030. [email protected] (3-06) 195 NEEDED: A sincere Piano/Player Technician to buy my Piano Shop & STEINWAY RED WELTE GRAND (T-100), Hamburg Model O, Business and serve a large area of the country by keeping it in operation. with original rolls. Please contact [email protected] for additional My piano shop was featured on CBS News “Sunday Morning” and is information. Alejandro Radchik, Av. Mexico 37-507, Condesa 06100, located a few hours north of Denver in western Nebraska. It includes a Mexico, DF. [Mexico City] Tel.: 011- 52-555-419-5374 (6-06) nice building in a small town of 500 people with I-80 nearby, with good schools, hospitals, lakes- a great escape from the problems of the big WANTED city. The shop comes will all equipment, supplies, parts, more than a WELTE-MIGNON LICENSEE AND DELUXE REPRODUCING dozen players, a few square grands, and other pianos. Please call me and piano rolls. Mike Kukral 812-238-9656, email let’s talk about it; Klint Schlake, 308-889-3522. P. O. Box 88, 409 Pine [email protected] (1-09) St., Big Springs, NE 69122.(5-06) FILMUSIC, PICTUROLLS, AND SUPERTONE PIANO ROLLS 1924 WURLITZER BABY GRAND 4’10” professionally refinished wanted. Call Alex at 209-478-0099. (6-06) walnut plain case with bench. Serial #61388. Restored ART ECHO/ RED WELTE MIGNON piano rolls (T-100). Paying top dollar. Mike APOLLO with 20 original rolls. $5000.00 OBO. More rolls available. Kukral 812-238-9656 or [email protected] (6-06) Ina Spady 425-746-7182, Seattle area or [email protected] (6-06) ARTRIO ANGELUS rolls and literature/catalogs/brochures/bulletins. CONN STROBO TUNER Model ST 8, a collector’s find! $100 OBO. Also want combination motor/generator set for Tel-Electric/Telektra piano Good condition with instructions. Call Stan at 623-875-2742. (3-06) player system. Motor 110 volts A.C., 1/4 h.p., generator 15 volts, D.C. 10 UNRESTORED 1933 STROUD DUO-ART WITH BENCH, amps. Various makes ok such as Westinghouse, GE, Robbins & Meyers. $3,000. Serial number 104176. The case is mahogany in excellent David Krall, phone 219-932-2322, email [email protected]. (6-06) original condition with nice detailing and minor checking. The tubing is BOOK: WELTE-MIGNON — ITS MUSIC AND MUSICIANS by around the ends of the action. A small collection of Duo-Art rolls will Charles Davis Smith printed for AMICA by Vestal Press. Do you have be included with the piano. This piano is from the estate of Sandy a copy you are not using that is sitting on the shelf or in a box? Let me Libman. Proceeds of this sale will go directly to the AMICA Memorial know. Robin Pratt, [email protected] 419-626-1903 (3-06) Fund. For more information and photos, please contact Dorothy NEEDED: A sincere Piano/Player Technician to buy my Piano Shop & Bromage, 8 Skyline Drive - Billerica, MA 01821 978-670-1269 or Business and serve a large area of the country by keeping it in operation. e-mail: [email protected] (5-06) My piano shop was featured on CBS News “Sunday Morning” and is 1925 STEINWAY DUO-ART XR, professionally rebuilt and located a few hours north of Denver in western Nebraska. It includes a refinished to museum quality in 1996. Original ivories, walnut case, nice building in a small town of 500 people with I-80 nearby, with good bench and many rolls included. Excellent, like new condition. Asking schools, hospitals, lakes- a great escape from the problems of the big $24,000. Call 727-867-3231, Gilbert Fortune, 652 Mina Dr., city. The shop comes will all equipment, supplies, parts, more than a St. Petersburg, FL 33715. (3-06) dozen players, a few square grands, and other pianos. Please call me and 1923 KIMBALL-WELTE-MIGNON LICENSEE Reproducing let’s talk about it; Klint Schlake, 308-889-3522. P. O. Box 88, 409 Pine Player Grand piano, 5’2”, serial #350911. Restrung, new hammers, St., Big Springs, NE 69122.(5-06) action regulated, refinished, includes original matching bench and 20 rolls. Welte-Mignon mechanism completely rebuilt. Bodine motor/Minarik speed control for accurate tempo. Incredible expression! $9,000. Call Ron Olsen, 763-535-6662 or write 4155 Quail Ave. N., Robbinsdale, MN 55422. (1-07) 1920 HAINES BROS. AMPICO REPRODUCING UPRIGHT PLAYER PIANO with Bench. The Ivories are Near Perfect, and Original. The Player Action was rebuilt about 30 Years ago (I was told) and still sounds Great! The Case is Mahogany, and does not have the original Finish. It has a Dampp-Chaser Humidifier/De-Humidifier System installed. 30 Ampico Rolls are Included. $3,000 Please email [email protected] for Photos. (6-06) NEW PIANO ROLL BOXES - Duo-Art Audiographic series - Exactly like the originals! Marroon with Gold Printing, all 3 sizes available! (small & medium are “Top Hat” style) $7.00 ea. Quantities are limited, so get them before they are all gone! AMPICO “Top Hat” boxes- Black Leather with Gold Printing and False Bottom, Exactly like the originals, $5.00 ea. 88 note roll boxes in two sizes- Large (fits 2 3/4 flange) covered with Black Alligator paper (Top), Black Leather (Bottom). or Brown Leather Paper (Top & Bottom) $3.00 ea. Small (fits 2” flange) Covered with Black or Tan Leather Paper (Top), White Litho (Bottom) $1.80 ea. Other repair supplies available- Parchment Leaders, Tabs, Tubes, Flanges, Repair Tissue. Quantity Discounts available. Rich Ingram [email protected] (760) 244-ROLL (7655) (6-06) AMPICO, DUO-ART, WELTE, AND 88 NOTE PIANO ROLLS. New Recuts and Originals, including “Jumbo” and Program Rolls. Also N.O.S. QRS 88 Note rolls. Dave Caldwell, 400 Lincoln Lake Ave. N.E. Lowell, MI 49331; Check out my website: www.revealer.com/caldwell email: [email protected]; phone: 616-897-5609. (1-07) 1924 STEINWAY OR Duo-Art walnut Art case w/veneer damage from fire on one side, rebuilt player, in crates, w/new Ivory keys $11,500 Condition: D; 1995 BALDWIN 4’7” red polish Mah. W/Pianodisc $8,900 Cond.: A; 1987 YAMAHA G2 Ivory polish s/Pianomation $8,900 Cond.: A; 1920 FRANKLIN 56” Ampico Mah. $3,500 Cond.: B+; MARIONETTE AMPICO GRAND original complete w/matching bench $2,500 Cond.: C-; 1995 STORY & CLARK 42” Wal. $2,500; AMERICAN PLAYER PIANO 48” (1-08) Studio, $2,900. Contact: Schroeder’s Pianos 562-923-2311 (2-06) 196 JOHN WRASSE PIANO MOVING Specializing in: Player Grands, Nickelodeons & Orchestrions Anywhere in Continental US ¥ ¥ ¥ ¥ ¥ ¥ 25 years experience Knowledgeable Rebuilder Well-known - References Available Insured ¥ ¥ ¥ ¥ ¥ ¥ Your instrument is wrapped, padded and secured for transport in an insulated, clean custom-built heavy-duty trailer. Professional and personal service.

John P. Wrasse, Piano Pro 31449 216th St., Bellevue, IA 52031 Cell (John): 563-580-2472 E-mail: [email protected]

(6-06) (3-06)

WANTED TO BUY MUSIC BOXES MUSICAL CLOCKS MECHANICAL ORGANS Always in the market for better quality disc and cylinder music boxes, musical clocks, singing birds, band organs, player organs, monkey organs, Wurlitzer 78 rpm jukeboxes, slot machines. Any condition. MARTIN ROENIGK 75 Prospect Avenue Eureka Springs, AR 72632 (800) 671-6333 • (479) 253-0405 www.mechantiques.com • [email protected]

(3-06)

197 ’s Player Piano Ser vi Ben A Complete Restoration Service ce For The Pneumatic Piano Complete pianos and player systems restored using factory original techniques by an experienced professional. Complete or partial systems can be sent to my shop for restorations. I supply special UPS cartons for this unique service. Ben Gottfried 464 Dugan Rd. • Richfield Springs, NY 13439 315-858-2164 (6-06)

http://www.revealer.com/caldwell/

[email protected] (3-06)

(2-06)

198 STEINWAY DUO-ART Motivated Seller-Buyers, please make an offer!

Richard S. Comras Post Office Box 1826 Rancho Mirage, CA 92270

Potential Buyers,

For the past thirty-five years we have lived in Tarzana and have recently moved to Rancho Mirage. We have no room in our new desert home for our wonderful upright Steinway Duo-Art Player Piano. We’ve had this instrument for the last thirty years. It is in excellent condition, has rinky-tink, electric playing, and also has foot pumps. The piano was manufactured in 1925 and carries the serial number 230525. It comes with a beautiful bench and many player rolls.

We are motivated sellers and have placed a reasonable price of $18,500.00 on this wonderful instrument. A friend of ours who owns the Ivy Antiques Shop at 12318 Ventura Blvd, Studio City, CA 91604, has allowed us to leave it with her for viewing and sales. Ms. Dio, the owner, has full authorization to handle the transaction.

While looking at the piano be sure to look through the shop. It is large, beautiful, and has many unusual and fantastic items.

Sincerely, Richard S. Comras (4-06)

199 TEST ROLL PROJECT A number of months ago it became evident that a source of Test Rolls for AMICA members should be made. I contacted a number of roll manufacturers about the proposed project and all were enthusiastic about it. Bob Billings was selected to do the perforating. I am very pleased with the rolls he has produced and I am sure you will be too. Since this is the first offering of test rolls made for AMICA members, quantities are limited. This current offering includes:

Ampico 55743 Installation Test Roll – This roll was used in the factory and in the field to make certain that the instrument was performing to specification. The end of the roll includes a run up the scale in thirds. The roll includes printing as found on the roll.

Ampico 58434 Special Amphion Tester – This roll was used in the factory only to test the capabilities of the Amphion stack. The end of the roll includes a part of Ampico roll #50977K Poet & Peasant Overture played by Volavy & Brockway. Since this roll was used only in the factory, there are no instructions to accompany the roll.

Ampico 201873 Special Staccato Tester – This early test roll was used to check playing and repetition capabilities at low intensities. Included on this roll is a portion of #52315 Caprice Burlesque, played by Olga Samaroff. This roll does not include instructions, only a keen ear by the technician is needed.

QRS Recordo 6910 Test Roll – Originally produced by QRS, this is a very thorough test roll identifying the different functions of the Recordo system. An enclosed instruction sheet as well as printing on the roll makes this roll extremely easy to use. An added bonus of the “Sphynx Waltz” at the end rounds out an extremely useful roll.

The cost of each roll is $10.00 U.S. plus $2.00 shipping for U.S. orders. Outside of the U.S. shipping costs will depend on overseas rates. Since only a limited number of rolls are available at present, backorders may be necessary. Please be patient if this occurs. I will try to fill orders as quickly as possible.

Additional test rolls are planned for the future. These would include test rolls for the Welte and Duo-Art systems.

To order a roll(s), please make out a check to AMICA International and send it to:

Mike Walter 65 Running Brook Drive Lancaster, New York 14086

Make certain that you specify which roll(s) you are ordering. If you have any questions, you may send an e-mail to [email protected] or call me at 716-656-9583.

200 REPLACEMENT LEADERS These 11 1/4” x 17” reprints, not trimmed and without tabs, are excellent replicas of the more popular types of reproducing piano roll leaders. While intended for roll repairs, they may also be used for decorative purposes. To splice, overlay new leader on old roll, lay a straightedge on an angle, cut through both papers with a sharp knife, discard scrap, and butt-join with magic mending tape on top surface.

A. Brown on buff B. Black on ivory C. Black on ivory D. Black on ivory (For early red label boxes) (Area for reusable (Most common) (Very late rolls by combined artist photo) Aeolian/American)

Note: Early Welte’s with blue leaders may be repaired with this brown leader. Many of these when reissued had brown leaders.

E. Green on ivory F. Green on ivory G. Welte (Most common) (Favorite Fifty & Brown on buff Selected Roll Service) (Most common)

Please make checks payable to Checks or money Price: $ 1.00 each Style Quantity AMICA INTERNATIONAL, orders from foreign Minimum Order: $10.00 A ______And send to: countries must B ______be drawn on C ______BRIAN K. MEEDER U.S. bank. D ______904A West Victoria Street Postage and Handling $ 5.50 Santa Barbara, CA 93101-4745 E ______Roll Order $ ______F ______e-mail address for orders: G [email protected] Total Amount (U.S. $) $ ______Total Quantity ______

201