had picked up from attending the the atre, and which they sang at home. ''The natural talent in my family came from my father's side. My old est sister sang beautifully, and my oldest brother 'played' the piano. Though his right hand played the me lody, his left hand incorrectly played the harmony, because of a lit cigarette between his first and second fingers. We had a table piano and I wish I had Chicago Organist it today. It was fun playing it. "I played it correctly, and they couldn't believe I could pick out all the popular tunes. One of my sister's compiled by Lloyd E. Klos friends came by one day, and was sur (June 1979) prised to hear my playing, not having had a lesson. She suggested taking me over to the Leinster School of Music, Upon the suggestion of John Muri, land, buying ornamental brass from and that's where I got my start in mu the writer called Basel Cristo!, former the churches. Eventually, the family sical education. They had contests, as theatre organist and still a very active moved to Dublin where I was born. they did in this country, and I won a musician, in the hope she would share "When a child, I had bronchitis bronze medal in 1909, playing a clas the story of her musical career with very badly, but being the youngest, sical number. Had a wonderful teach THEATRE ORGAN readers. Russell was treated as a pet, being showered er, Miss McCarran. B. Joseph recorded the interview. His with toys while in bed. One day, I was "About then, my brothers decided wife, Florence, and Edna and Barba given a toy piano. I immediately start to go to America. The oldest had been ra Sellers share the credit for asking ed to play operatic melodies and show to Africa and had enough of that. pertinent questions. tunes which my sisters and brothers There were five girls and three boys in Russ says, "I can tell you that Flor ence and I were deeply impressed with Basel Cristol at the left console in the Chicago Theatre. Photo taken at about 2 a.m. during a rehearsal. Basel as a person - intelligent, of ( Cristo! collection) high principle, gracious. In short, a person anyone would consider it a privilege to know. Our only regret is that we didn't have the opportunity earlier to know her better and enjoy her company. She still enjoys enter taining people at Math Igler's Restau rant when most people her age would be content to sit at home and medi tate." Now to the story. ''My father, Michael Cristo I, and his younger brother, David, had in tended to emigrate to England from Lithuania, but they got lost and wound up in Cork, Ireland. My mother remained for a time in Lithua nia with a child. "My parents were of the Jewish faith, and as there were practically no Jews in Ireland, they wrote the chief rabbi in London to find a few more Jewish immigrants to make a minion (gathering of ten for prayer). "My father then sent for mother, who didn't want to leave her parents and friends, but he told her that he'd move to Douglas (two blocks outside Cork) if she didn't! So, she embarked for Ireland. My brothers and sisters, save one, were born in Cork. My fa ther used to travel throughout Ire-
MARCH/ APRIL 1985 the family, and eventually we came to Mo ther used to say, 'If you could play did leave, marrying Roscoe Major the United States around 1912, and in a theatre like this, I wouldn't mind who developed the enormous switch settled in Chicago. it.' Originally, I had an idea to go on boards used backstage for lighting all "I learned about the Chicago Mu concert tours. the B & K theatres. sical College, and entered on a scho "I asked around where one could "The Balabans used to come in and larship. I studied on scholarships al learn to play for silent pictures, and see Freddie quite frequently, and they most the entire time there, though I someone suggested I try a little theatre liked what I was doing. They said to had to pay for harmony, ear-training on Clark Street. At this time, I got to him, 'We ought to put her into the and extra courses. A teacher, Muriel know Helen Anderson, the future Central Park.' Freddie replied, 'Oh, Moore, selected me as her student, Mrs. Jesse Crawford. She was playing no you don't! If she has to stay on the and when she left to marry, I cried on a Barton in one of the Clark Street street, she stays here. If you want to the trolley car all the way home. theatres. put her elsewhere, I'll let her go.' I ''Then I studied with Alma Ander "Located on West Roosevelt was wound up with the 9-12 morning shift son. This was when Dr. Florenz Zieg the 707-seat Circle Theatre, the very at the 1535-seat Roosevelt on North field, Sr. was headmaster. He had a first decent house which Balaban & State, and took the elevated train to gift for detecting talent in a child. Be Katz owned. It showed movies, had a the 1943-seat Riviera on North Racine sides my Bachelor of Music degree, I Kimball organ, and featured many for the afternoon shift there. The won the Ziegfeld Diamond Medal song pluggers, including Sophie former house had a Kimball, the lat award at commencement exercises Tucker. I was still in McKinley High ter a Wurlitzer. This occurred in the which were held in June 1917 at the School when one Saturday, I went to early '20s; the Tivoli and Chicago had Auditorium Theatre. I played the sec the Circle. been built, but not the Uptown. ond and third movements of Men "Having patronized the house, I "I progressed very well. Later, I delssohn's G Minor Concerto, ac knew who the manager was, an Irish had the second shift at the Tivoli companied by 60 members of the Chi man, Freddie Cleveland, though I when Milton Charles had the main. cago Symphony Orchestra, conduct didn't know him personally. After an When Jesse Crawford left for New ed by Carl Reckzy. usher referred me to him, he kindly York in November 1926, they trans "I had gone through all facets of a listened to me. I told him I was study ferred Milton to the Chicago, to be musical education at CMC: ear-train ing the organ, had no place to prac succeeded by Albert Hay Mallotte at ing with Edward C. Moore; harmony tice, and would he allow one to come the Tivoli. I served as his assistant, with a Mrs. Harris; and wound up in and practice? and he was magnificent. What an or with study of music forms with Felix ''He looked at me woefully and re ganist! An absolute dream. Berof sky, who wrote the program plied, 'Girlie, I have a very fine organ "Amusingly, he had his eye on our notes for the Chicago Symphony. I ist here, the organ is taken care of the little chorus girls! They had started studied with Rudolph Reuter for two way it should be, and I wouldn't want with Publix in New York, went to De years, and got a medal from him, anything to happen to it.' I told him troit, then to Chicago, and the whole also. of my musical background, that I circuit. One day he said to me, 'Lis "I then entered the scholarship would certainly not do any harm to ten, can you play the movie until I get competition but learned that Dr. the instrument, but I had to learn to back? I'll be in for the solo.' I was al Ziegfeld was retiring, replaced by play a theatre organ. ready warned: 'Don't you dare play Carl D. Kinsey. Reuter and other top "Being a very kind and considerate for him. It isn't allowed.' So, I told teachers were also leaving. Kinsey had gentleman, evidently he took pity on him I couldn't do it. made us pay $10 to enter the 'free' me and said, 'Girlie, what do you do "But he was tremendous. When I competition, and when I found that on Saturday and Sunday afternoons found out about his putting the Reuter was gone, who would take between five and six-thirty?' When I Lord's Prayer to music, I just me? The people at the office said they replied, 'nothing,' he said, 'I'll pay couldn't believe it! It is such a gor did not refund scholarship money, you $1.50 each day to substitute for geous thing - so beautiful. And an but my $10 could be used for five les the regular organist when she goes to other one which he did, 'Song of the sons. dinner.' Open Road,' was also great. "I applied the fee to organ lessons "I didn't walk home; 'Girlie' flew "I remember we had two units under C. Gordon Wedretz, a very home! then. I worked with Benny Kreuger nice gentleman, who had a four-stop who had his band on stage, playing Kimball in his teaching studio. I don't "I went in and played everything: popular things. Milton Charles know what he taught me, but I loved overtures, mood music, selections, worked with Ulderico Marchelli (who it! It seemed so easy. After my five you name it. When I finished the first followed Leopold Spitalny), and the lessons, I wasn't sure what I'd do. day, Freddie said, 'Girlie, you're units alternated, a week at the Up "In 1917, the 1780-seat Central good! I want you to come in and listen town, a week at the Tivoli. That was Park Theatre on West Roosevelt to our regular organist because she is an interesting experience. I also Road was opened. We lived a block excellent and you will learn just what worked with violinist Victor Young west of it on Millard Avenue. My par to do.' At $3.00 a week, I nearly went who did all the arrangements for Ben ents and I (my brothers and sisters nuts over that! ny Kreuger.'' were all married) used to attend the "After a few weeks, Freddie said, When Basel had a week at the Up movies there. The place was beauti 'I think my organist is lovesick. So, if town in 1927, Exhibitors' Herald had M. They h~ s~~ ~~octioru, m she leaves, I want you to be ready to this to say: "Basel Cristo! offered orchestra and a 3/9 Barton organ. take over.' I went nuts altogether! She 'Under the Leaves' and Drigo's 'Sere-
14 THEATRE ORGAN MARCH/ APRIL 1985 nade' for the musical theme of the in his twenties, he asked me to go out working at the Chicago because you Castle Scenic called 'Men of Yosem with him. I refused, telling him I had a played the acts with the orchestra. It ite.' These numbers were well fitted steady boy friend. You see, 'Girlie' wasn't always necessary for me to be for the artistic backgrounds and the was getting smart! The result was he in the pit, such as when I worked with plot of the film." wouldn't look at me the rest of the Benny Kreuger for vaudeville. At that ''Once Paul Whiteman had a one week. But when he danced, he was time, we had silent movies. In the Chi week engagement at the Tivoli. Pian magnificent. Still is! cago, there was always something to ist Roy Bargy played 'Rhapsody in "Another fellow who came in, but do - rehearsals, overtures, cueing Blue.' Mr. Whiteman, using his 30- who didn't ask me out or even talk to music for silent films, etc. However, I piece orchestra on stage, the 25-man me, was Victor Borge. Talk about believe there was a lot of hooey about band in the pit, and me at the 4/32 teeth; his were so black you couldn't some organists' playing the Chicago. Wurlitzer, closed the stage program see them. When I first saw him, he I'm sure some of them never did. with the '1812 Overture.' My part in had on a hat and an overcoat. In the ''The organs were always kept in cluded playing the Russian National side pocket was a bulky, folded news good condition. I was a great one, Hymn. The percussionists worked the paper. I wondered who in the name of however, for climbing ladders to the bells, gongs, guns, etc. The walls God was that! But when he touched chambers to silence ciphers. One New shook, it was so tremendous! the keyboard, what a talent! He first Year's Eve, with a packed house, I ''But, I must tell you what a dum came to the United States in 1940, not was playing the Chicago and the Ritz dum I was! Just a kid and so ridicu knowing a word of English, and I saw Brothers were on. Up in a top cham lous. Paul Whiteman was as nice a him at the Chicago. ber, there developed a cipher. The gentleman as I ever met. He was so brothers started talking in Yiddish, appreciative of everything done for which I didn't understand. They got him, and he complimented me, which one of the ushers to remove the pipe. made me feel good. One evening, he BALABAN&. I
MARCH/ APRIL 1985 THEATRE ORGAN 15 she inserts occasionally a popular had to look for a regular organist as I played which earned me the greatest classic, which meets with their hearty refused a longer tenure, and Herb satisfaction is ''Kamennoi Ostrow.'' I approval. Foote wasn't coming back. Mr. Web played it in one of the Chicago The ''On the whole, Miss Cristol be er liked what I was doing, but Mr. atre concerts and the organ's chimes lieves the field for solo organists is still Dewey, the owner, said that under no came through, clear as bells. unlimited, for the organ is the only in circumstances would Herb Foote be RJ: The Uptown certainly had differ strument left for sound houses. brought back. He had been carried ent acoustics than the Chicago. The "She says, 'I love this work. It is thro ugh the depression when jobs former's chambers were narrow and work - long hours of actual work, were scarce, and his going to WBBN deep, whereas the latter's are wide planning organ novelties or solo ap was the last straw for Dewey. and shallow. pearances. But when the audience ap "After that, I worked occasionally BC: If you had an idea of interpreta plauds, even if just a little, I feel re at the Chicago when they needed an tion, you did the best you could. It's paid." extra organist. I had last performed so easy to say, 'I like this or that organ "From the theatre," Basel says, "I there in 1945 for a Jack Benny stage better.' But you have to work with went into broadcasting. I worked at show. what you have. You do it, not the in WMAQ, Chicago, doing a couple of '' A friend next suggested I play at strument. commercials for a sister of Milton the Meyer Kaplan Senior Citizens RJ: That's why each organ sounds Ager. He wrote such songs as 'I'm Center. Later, they met at Temple differently when different organists Nobody's Baby,' 'I Wonder What Sholom, which had a Wurlitzer but I play it. Became of Sally' and 'Happy Days used a Hammond. I was with this Are Here Again.' group for a year and a half when I got BC: Right. The organ isn't going to "In 1954 I did an audition at a call regarding playing at lgler's Res tell you to turn the pages or press this WCFL for Marty Hogan and Bill taurant. tab or button. You gave Crawford Lee, and was hired. I was pleased "It is a place with a very musical credit for this. I'm no organ techni about that, except that they wouldn't background on the north end of Chi cian, but I do know tone registration use my name. The pianist at the sta cago and has something you don't see - you are the interpreter. If I can get tion was Don Artiste. The organist in restaurants anymore - singing that, I don't care what organ it was - was yours truly and was given the waiters. The place is over 53 years old the Circle, where you pulled out the pseudonym, 'Alan Whitney.' I went in the tradition of an old German res stops, or the Tivoli. You can put some to Mr. Lee for an explanation . taurant. I've played there for 16 people at a magnificent Steinway, and "WCFL was on the 20th floor of years. When I had a heart attack in what do you get? Junk! Mashed pota the Furniture Mart on Erie Street, 1973, Edna Sellers subbed for me. toes! across the street from WBBN. The ' ' A most embarrassing thing hap RJ: It's like what they say about com back of the floor were the studios. pened to me there in 1977. One Satur puters: garbage in and garbage out. The front had the union offices. Mr. day evening, I turned to wave to The computers don't make the mis Lee explained, 'We cannot stand it somebody and missed my step. Down takes. It's the humans who program when they come in, asking, 'Who's I went on my knee, causing a double or feed them. playing the organ? I told you my son fracture. On top of that, I broke my BC: That's true. (or brother) plays, and you never give wrist at home, which is also bad for an him a chance.' We are avoiding argu organist. RJ: There is another aspect of regis ments. We have to keep peace so we "I lost my husband, a lawyer, who tration: use of tremulants. Hector cannot use your name.' I worked was a very young 45, and never re Olivera, for one, uses them very judi there from 1954 to 1959, playing a married. My son is a CPA and an at ciously. He doesn't have them on Hammond. torney, living in Chicago. After my constantly. An important technique is '' I was let go in 1959, at the time of husband's death, I had a second ten involved in where in the selection he my son Mike's return from the ser ure at the Edgewater, where I played turns them on and off. It adds a lot to vice. There were three outside persons the Moller in the Marine Dining the effectiveness of the program. I released: a fellow who did on-the-spot Room. I enjoyed working with the heard a church service on television news; the all-night man, Lex Barker bands there.'' recently where the Hammond organ (former husband of Susan Hayward); At the completion of Basel's disser ist kept the deepest tremulant going and I. tation on her varied career, Russ Jo for the full service, choral and post "I've had restaurant experience in seph and Barbara Sellers wound up lude. several places. I went into the Marine the evening with some questions and BS: I'd like to say something about Dining Room of the Edgewater Beach comments: Basel's ability. I can't think of anyone Hotel for Herb Foote who was sched RJ: Did you have a favorite theatre who plays as well on both instru uled for a month's vacation. He went organ? I'm sure every organist did. ments, organ and piano. In our busi to WBBN instead. I hadn't been BC: No, but I believe we had more va ness, it is very difficult to find some working; my husband didn't want me riety on the Uptown organ when it one of that nature. She plays the legs to. But, it was across the street from had a Tuba Mirabilis. Later, they off both instruments. Some people us, so I took it. I had to be in at noon took the rank down to the Chicago. can play the right pedals all the time, for lunch, back at six for a half-hour When you're preparing a concert, all but they still bore me to death. broadcast, and stay for the evening to you are doing is working on special BC: One thing which is very predomi relieve the band. numbers and doing the best you can nant is the way some fairly good or ''The job lasted two months. They with registration. The one number I ganists handle the pedals, and they
16 THEATRE ORGAN MARCH / APRIL 1985 should know better. Instead of play her after 1929 when I left for the coast count 2. Strike the alternate pedal on ing a tonic pedal where it belongs, and for the first time (before my Philadel count 3 and again strike the chord on a dominant where it belongs, they re phia engagement at the Mastbaum count 4. This may be diagrammed as verse them! That drives the buttons Theatre). follows: off of me! I can't stand it! John Muri has this to say: ''Basel 1 2 3 4 BS: Good, precise pedaling, all the Cristo I is one of the very few theatre C C way up the range, separates the men organists who have been able to main p p tain a career through the years. She from the boys. R 5 RJ: All your professional career was plays regularly at Igler's fine restau rant, and at lunch time recently (1979), As this basic 4/ 4 pattern is very re spent in Chicago? she brought in some biographical ma petitive, you may wish to consider BC: Yes, I never left. Never wanted to terial at my request. Several of the res studying the following variations, leave home. Even after my husband taurant personnel became excited suitable for up-tempo or swing type died, I went down to Lyon & Healy's over the photos and newspaper clips songs. In the example, R = root and 5 and got introduced to the Hammond. which we were examining. Where = fifth of chord (alternate pedal). This led me into the Svithoid Club, a upon there was a hasty conference by rich organization, and you always employees who vied to come to our & 2 & 3 & 4 & were assured of a good tip there. Has table and meet the distinguished good food, too, the best. C C C guest. It reminded me of the old days p p Milton Charles remembers Basel when the theatre organist was a local R 5 quite well. "She was one of the young celebrity, recognized by almost every organists on the scene in Chicago one on the streets and in the shops. & 2 & 3 & 4 & when Jesse Crawford and I arrived "Basel today is a beautiful, poised C C C C from California in the early '20s. I and elegant lady. She doesn't bear an p p was impressed with Basel as being iota of the vulgar temperament which R 5 most eager to learn, and I found her some of our other women organists to be an excellent musician and a love display. Basel is gentle and kind, 1 2 3 4 2 3 4 ly person. She went on to do real well modest and unassuming . . . and a C C C C C C p p p in the Chicago area, but I lost track of fine musician.'' □ p p p R 5 R R 5 5
Try this rhythm on a 4/ 4 ballad which - requires a more subtle accompani KEYBOARDTECHNIQUES ment: 1 2 3 4 C C---- p p R 5 For more current tunes where a sim ple "rock" feel is appropriate try: 1 &2 & 3 & 4& C------p p p p R R 5 5 by Cheryl Seppala or
& 2 & 3 & 4 & C C p p p p 4/4RHYTHMS R R 5 5 In the last issue we began a study of tomatic rhythm device to help you The above is a representative sam rhythm patterns with emphasis on the maintain a constant speed. pling of 4/ 4 rhythms - by no means basic waltz (3/ 4) rhythm and some 3) Vary the rhythm pattern every 8 the definitive source. Remember any suggested variations. As we continue to 16 measures for added interest. alternation or combination of chords now with 4/ 4 rhythms, please keep in 4) Spend adequate time rehearsing and pedals that represent four beats mind these preliminary suggestions: the left hand and pedal before at per measure is a4/4rhythm. Use your 1) Except where otherwise indicat tempting to add the melody. imagination - invent your own ed, pedals and chords should be Now let's study the basic fox-trot rhythms! struck staccato Oightly). 4/4 rhythm. Strike the root of the giv Next time, we will finish our study 2) Tempo should be kept steady. If en chord in the pedal on count 1 of of rhythms with a summary of Latin necessary, use a metronome or au- each measure. Strike the chord on rhythms. □
MARCH/ APRIL 1985 THEATRE ORGAN 17