) , ,

I THE AMICA NEWS BULLETIN AMICA SUBSCRIPTION RATES: - Continuing Members: $15.00 Dues - Published by the Automatic Musical Instrument Collectors' Association. a non-profit club devoted to the restoration, New & Lapsed Members: 15.00 Dues 5 distribution and enjoyment of musical instruments using perforated plus 5.00 Application Fee I paper music rolls. 20.00 Contributions: All subjects of interest to readers of the bulletin are encouraged and invited by the publisher. All articles must be received by the 15th of the preceding month. Every attempt will be made to publish all articles of general interest to AMICA members OFFICERS at the earliest possible time and at the discretion of the publisher.

Advertisements: Personal ads by members are accepted and inserted in the Bulletin Board section at a rate of 5¢ per word. $1.00 minimum. Businesses and persons wishing more space may use the following guidelines: PRESIDENT - Advertising rate is $10 per quarter page or multiple thereof. Frank Loob

- Camera-ready copy must reach the publisher by the 15th of the preceding month. VICE-PRESIDENT BiI! Mintz - All ads will appear on the last pages of the Bulletin, at the discretion of the publisher. SECRETARY Publication of business advertising in no w.., implies AMICA's endorsement of any commercial operltion. However. AMICA Isadora Koff reserves the right to refuse any ad that is not in keeping with AMICA's general standards or if complaints are received indicating that said business does not serve the best interests of the members BULLETIN of AMI CA. according to its goals and by·laws. Ginny Billings 1428 Liberty Street EI Cerrito, California 94530

NEW MEMBERSHIP AND MAILING PROBLEMS Anita Nickels Johnson P.O Box A66 Grand Junction, Colorado 81501

TREASURER Cliff Burrous

AUCTION Gar Britten

BOARD REPRESENTATIVES Alf Werolin. Northern California Cecil Dover, Southern California Steve Chapman, Texas James Weisenbome, Midwest

Please direct all general correspondence to: AMICA INTERNATIONAL HEADQUARTERS P. O. Box 1169 EI Cerrito, CA 94530 Telephone: 415-237-3813 THE AMICA BULLETIN MAY~ 1974 PAGE I

MINUTES OF MAIL BOARD MEETING by Isadora Koff~ Secretary :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::~

The Mail Board Meeting of March 18, 1974 closed on April 10, 1974. In attendance were: Bill Mintz, Vice President Cl iff Burrous, Treasurer Anita Nickels Johnson, Membership Secretary Ginny Bill ings, Publisher Gar Britten, Auctioneer Alf Werolin, Representative, Northern Calif. I IN MEMORIAM: PETE AND ANNE WENDLING I Cecil Dover, Representative, Southern Calif. Steve Chapman, Representative, Texas Isadora Koff, Secretary MOTIONS PASSED Mr. Louis Alter was enthusiastically approved as a new Honorary Member. .. The purchase of a replacement copy of the film, :~:::::::::::::::: IIThey Laughed When •..etc. 1I was approved. : ::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

1973 BALANCE SHEET AUTOMATIC MUSICAL INSTRUMENT COLLECTORS' ASSOCIATION (as of December 31 ~ 1973) by Cliff Burrous, Treasurer

Receipts Disbursa1s Profit (Loss)

Membership 12,578.76 1,236.90 11,341.86

Auctions (#17, 18, 19) 7,147.02 6,767.67 379.35

Bulletin (ads) 251.75 8,518.53 (8,266.78)

Bound Bulletins & Tech. 612.00 1,242.37 (630.37)

Leaders 96.21 0 96.21

Pins, Stationary 41.90 0 41.90

Convention Fund 425.00 425.00 0

MBS Program 448.80 386.80 62.00 Executive Secretary 0 1,779.79 (1,779.79)

Operating Expenses 0 1,253.80 (1,253.80)

Carryover from last Treas. 310.73 0 310.73

Other (Misc. ) 38.67 0 38.67

TOTALS 21,950.84 21,610.86 339.98 PAGE 2 MAY~ 1974 THE AMICA BULLETIN

NEW AMICA HONORARY MEMBER: LOUIS ALTER-A POPULAR AMERICAN COMPOSER AND DUO-ART ARTIST by AlfWerolin

AMICA's Board of Directors recently unanimously voted Metropolitan Nocturne (1935), and Side Street in ~otham to confer honorary membership to Louis Alter in recogni­ (1938). Manhattan Moonlight received hi?h hon~rs ln a tion of his contribution as a Duo-Art recording artist. national competition conducted by RCA Vlctor.ln ~930: Bill Burkhardt of Grand Rapids, Michigan, proposed him Metropolitan Nocturne was the source of and lnsplratl0n for membership. The following is an excerpt from David of an RKO movie short which won a bronze medal at the Ewen's Book, "Popular American Composers". International Film Festival in Venice in 1936. In 1953 Alter wrote another ambitious orchestral work, a suite Louis Alter has been as successful in writing of entitled Jewels from Cartier, in ten movements, each ~or orche~tra popular instrumental compositions as in movement a musical representation of a different gem. the writing of songs. He was born ln Haverhlll, Massa­ In 1929 Alter went to Hollywood. His first songs for chusetts on June 18, 1902. In his ninth year, while the screen were "Love Ain't Nothin' but the Blues" attending public school, he began to study the piano: (lyrics by Joe Goodwin) in Lord Byron of Broa~way, and At thirteen, he worked as a pianist in the local mOVle "Got a Feelin' for You" (lyrics by Jo Trent) ln Holly­ theatre, providing accompaniment to silent films; but wood Revue. He has since written songs for about twenty­ instead of using the usual stereotyped repertory he five motion pictures. Two of his screen songs were would improvise his own mood music. As a student at nominated for Academy awards: "A Melody from the Sky" Haverhill High School he led a jazz band that performed (lyrics by Sidney D. Mitchell), written for Trail of the at school dances. After his graduation from high school, Lonesome Pine (1936) and "Dolores" (lyrics by Frank his family moved to Boston. There he attended the New Loesser), written for Las Vegas Nights (1941). England Conservatory, where he acquired a well-rounded Other successful screen songs were "Rainbow on the background in the classics as a piano student of Stuart River" (lyrics by Paul Francis Webster), written for the Mason. film of the same name; "Twilight on the Trail" for Tra':­ Alter went to New York in 1924. The vaudeville star of the Lonesome Pine, and "You Turned the Tables on Me '--/ Nora Bayes hired him as her accompanist (a job previ­ for Sing, Baby, Sing (lyrics by Sidney Mitchell); "A ously held by George Gershwin), and for five years Alter Thousand Dreams of You" (lyrics by Webster) for You Live toured with Bayes in America and Europe. During this Only Once; and "Do You Know What It Means to Miss New time he occasionally wrote material and played the piano Orleans?" (lyrics by Eddie de Lange) for New Orleans. for other famous performers, including Irene Bordoni, "Twilight on the Trail" was a great favorite with Presi­ Helen Morgan, and Beatrice Lillie. When occasion~ll~ at dent Franklin D. Roosevelt; the manuscript and a copy of liberty, he worked as song-arranger for the publlshlng the Bing Crosby recording can be found in the Roosevelt houses of Shapiro Bernstein and Irving Berlin; this experience, he feels, served him well when he entered Memorial Library in Hyde Park, New York. the songwriting field. Louis Alter has also written songs for the Broadway stage: "My Kinda Love" (lyrics by Trent) for Americana Between 1925 and 1927 Alter had several songs pub­ (1928), a song soon made famous by Bing Crosby; '.'1 'm lished, including "To Be Loved," "I'm in Love with You," One of God's Children Who Hasn't Got Wings" (lyrlcs by and his first hit, "Blue Shadows" (lyrics by Ray Oscar Hammerstein II) for Ballyhoo (1930); and "The Key Klages), the last heard originally in the Earl Carroll to My Heart" (lyrics by Ira Gershwin) for The Social Vanities of 1927. In 1928, inspired by the sights, Register. Among other productions in which Alter songs sounds, and moods of New York City he wrote a work that were heard were Sweet and Low (1930), Hold Your Horses, made him famous, Manhattan Serenade. It was originally which starred Joe Cook (1931), and Casino Varieties published as a piano solo but was immediately adapted (1934) . for orchestra and recorded by Paul Whiteman and his Several other Alter songs deserve mention: "Sand in orchestra, whose rendition was largely responsible for My Shoes," "Stranger in the City," "Overnight," "Nina the world-wide popularity of the composition. It has Never Knew" and "Circus." The last, with lyrics by Bob since become a standard in the repertory of symphonic Russell, w~s written in 1949 in honor of Alter's friend ~he jazz. In 1942 one of themes became the basis for a John Ringling North of the Ringling Brothers Circus. vocal version with lyrics by Harold Adamson. In 1943 Alter appeared twice as soloist with the Los It was in 1925 that Alter's music publisher, the Angeles Philhannonic at the Hollywood Bowl in perform­ legendary Jack Robbins, introduced him to Frank Milne, ances of his compositions. Du!ing World War II he served recording manager for Duo-Art. He then recorded several in the Air Force and was assigned to provide musical popular numbers for Duo-Art of which "Dolly Dimples" entertainment for cadets in training at twenty-six air was the first. This was followed by "Bye Bye Blackbird" bases of the -Western Conunand. For his contributions he and "We'll Have A Kingdom". (Editor's Note: Will AMICAns was honored with a special citation. please a.dvise of any other recordings with numbers.) Mr. Alter resides in Manhattan where he follows the However, Alter's ambition was in the direction of song continued public use of his many songs, and enjoys his~ writing and his career as a Duo-Art recording artist was a~­ relatively short. piano! He has graciously said he would be happy to tend an AMICA get-together sometime and tell about h1s Alter wrote four other highly impressive and fre­ interesting career in the world of music. We welcome quently played orchestral impressions of New York: Man­ Louis Alter to ~fICA! hattan Moonlight (1930), Manhattan Masquerade (1932), ~C===- THE AMICA BULLETIN MAY, 1974 PAGE 3

LOOIS ALTER: PARTIAL LIST OF "WHAT A LIFE" (1932--Written for and popularized by HOLLYWOOD AND BROADWAY SONGS Helen Morgan.)

"MANHATTAN SERENADE" (POp Vocal & orig. Instrumental)-­ "COME UP AND SEE ME SOMETIME" for Mae West theme and Written 1928 as tribute to Paul Whiteman and the many recording. rooods of New York. "STRANGER IN THE CITY" 1952--Fran Warren--Ink Spots and "MANHATTAN MOONLIGHT" (Theme excerpt & Instrumenta1)-­ others. Written 1930--A nostalgic roood.

"MANHATTAN MASQUERADE" 1932--Introduced by Paul Whiteman at Carnegie Hall. "TWILIGHT ON THE TRAIL" (Both from "Trai1 of the Lone­ FILM BUFFS FIND A FRIEND IN FLICKBACK some Pine".) "MEWDY FROM THE SKY" Became favorite songs of President ltDRRISTOWN, N.J.--Habitues of the Late, Late, Late, Roosevelt. Late, Late, Late Show need not replenish their supply "YOU TURNED THE TABLES ON ME" (1936 originally intro­ of "No-Doz" to enjoy the fine motion picture classics duced by Alice Faye in film "Sing Baby Sing." Later of Yesteryear••• they're found right here in Morris indentified with Benny Goodman and others. County (N.J.) at Yesteryear Museum, the nonprofit "Shrine to Nostalgia". Those suffering incurable nos­ "IXJ YOU KNOW WHAT IT MEANS\ TO MISS NEW ORLEANS" & talgia will find food for their memories in everything "BREWIN' THE BLUES" (1947 from the film "New Orleans" from Music Boxes, Edisonia and Gramophones to Flash featured in the film by Louis Armstrong and Billie Gordon, Laurel & Hardy and Boris Karloff! Upcoming Holliday.) Thursday night programs at Yesteryear Museum's "Flick­ "OOWRES" Featured in film "Las Vegas" by Torrmy Dorsey back" include: and Frank Sinatra March 28--A salute to a forgotten funnyman. Charlie "NINA NEVER KNEW" (Pop hit song of 1952) Records by Vic Chase, who for many years rocked theatres Daroone, J. Jones and others. and the Hal Roach Studios with mirth. April 4---Clark Gable and Susan Hayward star in "CIRCUS" (1949 written for the Circus. Made popular by "Soldier of Fortune". Sammy Davis, Jr. and many others.) April ll--A salute to the D.W. Griffith of Tele­ "RAINBOW ON THE RIVER" (1937--Theme song, hit from film vision: Ernie Kovacs. Accompanied by a of same name.) special short subject starring Rudolph Valentino. "WHAT'VE WE GOT TO WSE?" (1933--depression roonths-­ April l8--"The Sound of the Silents" with piano ac­ banks closed.) companiment by Stuart Oderman, direct "MY KINDA roVE" (1929--initia1 Bing Crosby hit. Bing from New York's Museum of Modern Art film selected this for his first record.) showings. The films are part of our SALUTE TO HAL ROACH series: The Early "BLUE SHADOWS" (1928--Hit of the Earl Carroll Vanities Days of Harold Lloyd. of that year.) Yesteryear Museum is located at 300 Mendham Road, "ONE OF GOD'S CHILDREN" from "Ba11y Hoo" (Lyric by Oscar in the Morris County Cultural Center. It's 3-1/2 miles Hammerstein) W.C. Fields Show. west of Morristown on N.J. Route 24. Flickbacks begin " OVERNIGHT" (1930--"Sweet and Low." Featured in show by at 8:00 p.m. every Thursday. Parking is free, and Fanny Brice.) admission is by contribution.

"STEAK AND POTATOES" (Pop hit of 1934.) for Harry Rich­ man.

AMICA Technicalities Book, $5.50 including "They All Laughed When I Sat Down At The mailing charges. Reprints of interesting Piano, But When IT Began To Play ... " A.JatA .-Jtrms technicalities articles which have appeared in the AMICA Bulletin, spiral bound with )ror &a1r cover. Send orders to: Howard Koff, 2141 Deodara Drive, Los AMICA Bulletins, Bound Issues: 1969-1970 Altos, CA 94022 combined, $15. 1971,$15.1972,$15.1973, $15. Spiral bound, with mylar cover. Send AMICA Sterling Silver Pins, $4.25, including to: mailing charges. Lapel pin or tie tack with Mrs. Gladys Jones, 21 Mercedes Way, San AMICA design. Francisco, CA 94127 AMICA Stationery, $2.00 (letter size), $1.75 • (note size), including mailing charges. Fine ROLL LEADERS: AMP lCD, DUO-ART, quality stationery with ornate AM ICA bor­ WE LTE. Many designs, all authentic. For ders. Each packet contains 25 letters and order sheet, see the April, 1973 Bulletin. matching envelopes. Send orders to: Nick Jarrett, 3622 - 21st Street, San Francis­ Robert Lemon, 4560 Green Tree Drive, co, CA 94114. Sacramento, CA 94823 PAGE 4 MAY" 1974 THE AMICA BULLETIN

IIIIIIIIIIIIIIIII•••JIIIIIIIIII·:·:III IIIIIIIIIIIIIIII•••JIIIIIIIIIIIIIIIII

RESPONSES TO PREVIOUS LETTERS RAGTIME RENEWED by Mark Novak by Tony Marsico I enjoyed very much Bill Flynt's suggestions on "The Sting," as mostly everyone must know by now, paper skidding, and will give them a try. This problem contains "The Entertainer Rag" and other classic rags by has always been irritating, and especially so since a Scott Joplin and arranged by Marvin Hamlish. I thought roll usually starts skidding when there is a particu­ it was terrific to see the entire nation's eyes and lary sharp pull of suction, and this invariably coin­ ears focused once again on ragtime music. I wonder how cides with the most climactic moments in the music. One the official "Sting" album will do in record stores so easily thinks of the reproducing roll as something around the country. almost sacred; any change amounts to tampering, but I For those of you who have seen "The Sting" and who have found that I get a thrill watching rolls that have might possibly buy that album, I think a better value needed editing for one reason or another--the thrill of would be to buy the album "Max Morath plays The Best of a difficult job done in the past, and the memory of Scott Joplin," available from Harvey Roehl and the what the roll was like before~ So, in making rolls Vestal Press. operate palatably, the result will be very nice to I've collected ragtime record albums years before I watch as well as to hear, I'm sure. got my first player piano (H.C. Bay, may it rest in Regarding Jim Williamson's request for comments on peace). I have many record albums played by a dozen cracked piano plates, the Perkins Institute for the different pianists, but there are three albums that I Blind in Watertown, Massachusetts, has a department for like the most, and all three are played by Max Morath. training piano tuners, and they work on innumerable Two of those three LPs are from the two-record set, pianos there. Over the years, pianos have been donated liThe Best of Scott Joplin." The "Entertainer Rag" is to the Institute in various states of repair, and among featured, and other great rags by Scott Joplin, Joseph them have been a number of instruments with cracked Lamb, Joseph Scott, and Tom Turpin, as well as a couple plates. The School has sent them for welding many of rags composed by Max Morath himself. This album is times--even the same plate more than once--unfortunately not an ordinary run of the mill ragtime album. The to no avail. They always open up again. I would sugges~ piano used is in tune and sounds good, not as if the rather than to spend any time at all on the present hammers are made of metal. plate, that it be taken out, and given to a firm that can copy it. This can be successfully done by the pre­ sent day methods using sand, I believe. Naturally, it depends on just how vauable the piano is, as it seems to me that it would be involved, to say the least; but it seems that it is not impossible. IIIIII~ illll••111111

HERE~S A PL~NO TO SCOUT OUT NORTHERN CALIFORNIA SCHEDULE OF EVENTS by Wm. Miller JUNE 23: SUNDAY, 2-5 p.m. AT THE VITEKS'. COOL OFF IN THEIR POOL. TECH SESSION ON AMPICO REGULATION. 19541 Tweed I recently made a 7000 mile trip by single engine Ct., Saratoga. 867-4533. airplane throughout Mexico. When I stayed at the Haya­ JULY 27: SATURDAY, 8 p.m. AT THE MAlMANS'. TECHNICAL land Hotel at Chi-Chinitza I discovered a Steck Duo­ SESSION ON DUO-ART REGULATION. Art Parlor grand. The piano is in exceptionally good 1833 Sebastian Drive, Burlingame. condition and the case is excellent. Pneumatic system 697-7092. needs complete rebuilding. I don1t think the owners know what they have. I didn1t have time to check, but AUGUST 24: SATURDAY, 7:30 p.m. AT THE BARTLETTSI. I wonder who has the rolls. The family that owns the IT'S 88-NOTE PUMPER NIGHT! BRING hotel is in Merida, Yucatan. Anyone want to try get­ YOUR FAVORITE 88-NOTE ROLL TO ting it to the USA? - SHOW OFF (OR YOUR 58-NOTE WILCOX & WHITE ORGAN/PIANO ROLLS).\ 300 Lennox, Menlo Park. 325-3653. SEPTEMBER 28: SATURDAY, 8 p.m. AT GAR BRITTEN'S. THE ADDITIONS TO THE OLGA STEEB ROLL LIST AGENDA IS STILL ON THE AGENDA. by Jerry Sullivan 642 Diamond Street, San Francisco 826-1677. OCTOBER 26: SATURDAY, 2 p.m. AT THE ED HAYDENS'. LISZT: Etude in 0 Flat--Ampico #S9753H; TECHNICAL SESSION ON THE ANGELUS­ MOZART: Pastorale Variee with cadenza--Ampico #57867H; ARTRIO (OR IS IT THE ARTRIO­ ANGELUS?). A GARDEN MEETING WITH PUCCINI: One Fine Day, from Madama Butterfly (Accom- SWIMMING FOR THOSE INCLINED. panyment recording, key of G Flat)--Ampico #63793G. 1369 Milton Avenue, Walnut Creek. 937-5406. THE AMICA BULLETIN MAY, 1974 PAGES

IMPORTANT NOTICE: MEETING DATE CHANGED! The 1973 Arnica oonvention, held in Texas. Wally Pitt and his Rhythm OUtlaws, real "cow­ IT BEING EASIER TO MOVE MOHAMMED THAN THE town" enterta.i.nm=nt for Friday night. MOUNTAIN, WE HAVE CHANGED THE NORTHERN CALIFORNIA MAY MEETING DATE TO JUNE FIRST. THE OLD DATE OF MAY 19TH CONFLICTED WITH SEVERAL OTHER PREVIOUSLY SCHEDULED EVENTS. FRAN WILLYARD IS CO-ORDINATING THE POTLUCK PART OF THE PICNIC, SO IF YOU ARE COMING, BE SURE TO CONTACT HER AT (408)252-3603.

KEYBOARD NOTES by Charlie Johnson, President, Texas Chapter

Robert Armbruster, Ruth Bingaman Smith, Fred Rydeen The June meeting will be co-hosted by Richard & and the late Charles Cooper, AMICA Honorary Members, Janet Tonnesen and Wade & Becky Newton at the home of Tom & Carol Beckett, 6817 Cl iffbrook, in north Dallas. being honored at the First AMICA Convention, held in The June meeting will begin promptly at 3:00 p.m., San Francisco in 1970. Sunday, June 9. Information on the Beckett Collection will be included in the June meeting notice.

Clare Spencer with his beautiful Steinway OR (6'6") Duo-Art, Southern California. PAGE6 MAY, 1974 THE AMICA BULLETIN 1:1111111 III~II:L By Charlet HUlinger his plush suite in the 15th-floor pent­ w• .4.....1... Tim... house of a bank building on Kalakaua HODIsh Kabibble "Once, at the Insistence of my boss, I was a household phrase. ran an ad in the Honolulu papers with Each week, 21 million Americans my picture and a caption that read: 'Ish tuned in Kay Kyser's Kollege af Musical Kabibble says this property is a good Knowledg~ on the radio. buy.' Ish was the sad-eyed comic on the "To show how fleeting his flame; the, show. picture didn't mean beans. Those inter­ "I sang all those songs that wauld ested 'in buying property were either too young to remember Ish Kabibble or too leave people asking - 'Huh?,''' he re­ old to care. . called. "They wondered what the Iyries' \ were. You know, they'd do a double take "We haven't used the picture since." and say - 'Now, what the hell is that?'" * * * Ka:bibble, whose real name Is Merwyn OGUE JOINED Kay Kyser in 1930, A. Bogu~, sang songs like "Foodle Racky B "One night in 1935, I combed my hair Sacky," "Ml/lrzy Doats and Dozey Doats goofy with the bangs while singing a and Little La.mbs Edlvy" and "Three song' called 'Ish Kabibble,''' Bogue said. Little Fishes In an Itty Bitty PooL" "It was a song I found on a music sheet in He wore his hair in bangs when men an old piano stool. A guy named George of all ages wore their hail' short, neat Meyer wrote it in 1908. Ish Kabibble is an old German expression meaning 'I and trim around the ears. shoWd worry,' or 'Oh, the hell with it.' " Bogue was the perennial college stu­ The song caught on. Ish caught on. dent in Kay Kyser's band. He played a mean trumpet. The Kollege of Musical Knowledge ­ ISH KABIBBLE IN THE THIRTIES with Kay as the old professor- was one People all over the country named pet of the top ten radio shows in the nation He should worry? canaries and eats Ish. He was a featured' during the 30's.and 40's. star in 18 movies. "It was a great life, and, frankly, I've miSsed it," Bogue said: *** "Our band was the victim of cady TV. Merwyn Looks HE KAY KYSER band broke up In We signed a ten-year contract to do a T 1951. Bogue worked around the' weekly TV show in 1948. But TV was in country at night spots for the next nine. its infancy. We recorded the show on years. At one time he had his own combo. kinescope of very poor quality. Finally, In 1960, he went Into real es­ "People in Los Angeles preferred Back at tate. He's been at it ever since, the last watching Gorgeous George.' They could two years here in Honolulu. see Gorgeous George. On kinescope we "I'm selling the Arizona desert sight were hardly more than a distorted blur. unseen to Hawaiians," said Bogue, now' "We threw In the sponge after a Ish Kabibble 65, as he gazed out toward the sea from couple of years." .

EX-WIFE, 100, REMEMBERS VERY WELL BILL BAILEY WHO DIDN'T COME HOME by Robert, Demming, contributed by Art Sanders "Won't you come home, Bill Bailey? Won't you come earned the nickname, 'Little Chicago'. It was in home? She moans the whole day long." 'Little Chicago' that Sarah met Bill and forg0t her These are familiar words to a lOO-year-old Jackson, mother's warnings about city fellows. ' Mich., woman named Sarah. She was Bill's wife. Willard (Bill) Bailey worked as a music teacher by day and a dance hall musician by night. He loved Bill Bailey, the most popular ragtime tune ever to hang around the noisy, brawling saloons that\ written, has brought fame and fortune to many. Only catered to Jackson's railroad men. one song in American history, Stardust, has been "Bill was my sweetheart, but he was everybody recorded more often. else's too," says Sarah. "Bill was a nice guy. He For Sarah though, the song is a sad one. It lied to me all the time, but I was too young to brings back too many painful memories. understand much then. I was a country girl." Sarah, who celebra.ted her 100th birthday last Bill's favorite saloon was a place called spring, grew up in Jackson County, Mich. Her most Deidrich's. Over the years he developed a close vivid recollections of her youth include her mother's friendship with Hughie Cannon, the piano player at frequent warnings that she should behave like a Deidrich's. lady and stay away from smart-alec city fellows. Hughie was an alcoholic and a drug addict. He When she was 18, Sarah moved into Jackson, and would frequently go off on long bouts of boozing and got a job as a hotel maid. At the turn of the cen­ eventually died in 1912 of cirrhosis of the liver. tury, Jackson was a bustling railroad center and In between the drinking and drugs, however, Hughie riddled with sufficient crime and violence to have managed to write some of America's best-loved songs THE AMICA BULLETIN MAY, 1974 PAGE 7

including, 'Goo-Goo Eyes' and 'Ain't That a Shame'. Sarah believes that Bill and Hughie must have gotten together one night and started talking about women. Hughie had never met Sarah and he took Bill at his word when he described their marriage. The song Hughie wrote as a result depicts a pretty dis­ mal relationship between Bill Bailey and his wife. "I liked the music," Sarah says of the song, "but the words were cruel. It's not true what the song says. Bill was always late corning horne, but I never did ask him, 'What did you do?' or 'Where have you been?'" Sarah eventually divorced Bill but she knows she'll never forget him.

FEATURING AN AMICAn: We Proudly Present Dick Kroeckel "THE RAG TIME MAN"

To hear rag time piano played by a young man from Georgetown, Colorado, is a happy experience. His name is Dick Kroeckel and he has been playing piano professionally since he turned 16. He started in Ever­ green, Colorado, and then became a part of the Central City Colorado Summer Fun, playing at the Toll Gate and the Glory Hole Bar. Then into the service where he worked with entertainment tours and played church organ for army chapels. After the service, back to Colorado where he chose Georgetown as home and worked there at the Silver Queen. John Maddox (Crazy Otto) and Max Morath are favorites of Dick's and thanks to Crazy Otto's suggestion Dick plays at the Red Slip­ per in Denver several times a year as does Crazy Otto.

This young man has become a sort of pipe organ plumber-he rebuilds old theatre organs and pianos and has a collection of 1,500 piano rolls, some dating back to the late 1800's. He has the Mason-Hamlin Ampico Player Grand which belonged to Helen Sowle, the actress. An electric Steinway Duo-Art and a Peerless Nickelodeon dating back to the turn of the century of which there are only two in existence. He sometimes plays the Mighty Wurlitzer Theatre Organ at the Three Coins Res­ taurant in Louisville, Colorado, where he gets a real thrill from doing the music and sound effects for silent movies.

If you weren't watching Dick you would believe that a player piano was doing all the intricate keyboard antics. He has the ambition to be a record­ ing artist, and I am sure that you will agree that his hopes will come true when you hear him play such numbers as 12th Street Rag, Yellow Dog Blues, Tiger Rag, and, of course, Maple Leaf Rag. These are just a few of the great tunes you will hear and you will be another Kroeckel fan, knowing that Rag Time is here to stay. PAGE 8 MAY, 1974 THE AMICA BULLETIN

Harold 1. Powell of Los Angeles, vice formances or taken off the air. president, and Mrs. Anderson, treas­ HiMorical rarities on 78-rpm discs urer. The library foundation is char­ make up a large sect ion. Every great tered by the state as a non-profit edu­ singer who was ever recorded is said A New Music Library cational corporation. to be represented on the shelves. The On a Honolulu Hill Mrs. Anderson said of her mother, directors are negotiating to acquire who died in 1965 at the age of 84: musical films. "Towards the end of her life she ex­ An equally imposing pan of the pressed the wish that no large amount collection cunsists of book~ on musical HIGH ON THE mountain slopes of of money be spent on her funeral. subjects, du: performIng arts, visual Oahu the dream of an opera star who 'If you want to remember me: she arts, science, philosophy and nature, once sang for Queen LiIiuokalani has said, 'help students: as well as assorted musiL publications, come true. "That has been our watchword: photos and 35-mm. slides. As a result, at that Valhallan sum­ 'Help students.' It took us three years With such materials and equipment, mit you will hear Rachmaninoff, Te­ to find out how to do it but when including advance stereo reproducing resa Carrenno, Greig and the like we discovered this spot we knew we instruments, the library plans to pres­ (their ghosts, anyway) play the piano. had the answer. The grandeur of the ent concens both recorded and live, You will immerse yourself in a music view, the quiet and calm, the inspira­ lectures and other events. Also, ta­ library of tapes, records, piano rolls, tional qualities made this the ideal lo­ lented young musicians will be fea­ books and scores that puts many other cation for a center· for musical study tured. collections in the shade. In an atmos­ and scholarly research." Mrs. Anderson followed in her phere of natural beauty and peaceful When the Andersons acquired the mother's footsteps bur on the stage isolation, you will pass quiet hours property in 1968, it was a small tract rather than the opera house. She has with your favorite Muse house. They enlarged and transformed had a career in the theater and films, The place is the new Mariska Al­ it into a combination library and mu­ beginning as a (hild star. When her drich Memorial Library, perched on sic room and it is an astonishment. nlother played the abbess in Rein­ a verdant ridge at the upper limits of The high-ceilinged music room is hardt's production of The Miracle she Pacific Palisades, 900 feet high, com­ of chamber concert proportions: 44 was understudy besides playing a part manding a sweeping view to the Wai­ by 46 feet. It's enclosed on two sides of her own. During the war she put anaes. The official opening is planned by transparent walls of louvered glass, other talents to work by becoming an for March. revealing an unimpaired panorama of industrial design engineer and tool Mariska Aldrich, born in Boston, mountains and valleys. J(>'iigner "(0 do my bit." Her father was a dramatic soprano with the Met­ Along the opposite wall is the heart was an engineer. ropolitan, Manhattan and Berlin States of the library, the storage center for She .lnd Anderson met and married Operas during the early 1900s. She the huge collection of recorded and in Lo~ Angeles. Hc, too, is a design sang Italian, French, American and printd materials. They are shelved in enginn r and had formerly been in Wagnerian roles and was an outstand­ an ingenious system called a Full bUSUH:~s in Honoiulu. For a while ing Bruennhilde. Space Power Gli'de unit, a pruduct thev lived in Denver, but the extreme After a long career, she settled in represented by Anderson in his busi­ alt~'LUJt: affected Mrs. Anderson's Los Angeles as a teacher and coach. ness, Landmark Contract Interiors, health .tOd lhat was lhe deciding factor She dedicated herself to hel ping young Ltd. The shelves are contained in mod­ that bft night lht:1l1 here. musicians and in that regard the li­ ules set at right angles to the wall Peck, rhe library.., curator, arrived brary fulfills her wish. Her music, and on cables at the base. The touch from Los Angeles last tvlay. Baricone, scores, books and records are an im­ of an electric switch moves the units musiculogist, aGor and stage director, portant part of it. apart, one aisle at a time, for walk-in he has sung in opera in Los Angeles, Ironically, there will be no record­ access. Portland Seattle and Omaha and ings of her voice in the Mariska Within them are the piano rolls played ;hree roles in the Honolulu Aldrich Library. She never made any. labelled with magical names: Rach­ Opera Theater's r('cenr Alilli-Hoffmann In 1916 .Madame Aldrich visited maninoff, Paderewski, Saint-Saens, productiun. He and Anderson are old Hawai i and, at the request of the Granados, Leschetizky, Schnabel, Ga­ friends anJ lO(orrigible collectors. former queen, gave a recital "in a red brilowitsch... Make your cholCe, take The foundatIon"s main source of in­ schoolhouse at the foot of the volcano it into the music room and play it come will be from contributions and out~ide Hilo." Liliuokalani showed her on a Knabe grand with Ampico re­ grants, ticket sales and nOlninal mem­ appreciation by making the singer a producing mechanism, watching the bership dues, to be determined. Mem­ gift of land on Hawaii but neither keys move under the unseen fingers of bers will be entitled to use library the location nor any record of the site long-departed virtuosi. materials on the premises, taking is to be found. Virtually everything from plainsong scores with them to headphone listen­ The incident was related to me by to Stockhausen, from lieder to opera, ing stations. Because of their value, Madame Aldrich's daughter, Mrs. is to be found among the neatly nu materials will be lent. However, Richards G. W. Anderson who, with stacked and classified albums and members will be permitted to make her.-busband and their friend, Charles tapes. There are rows of those special tape dubbings and photo copies. The Peck, are the founders and builders items eager tape cullectors trade with library hopes to acquire a photo-copy of the library. Trustees at present are each other, super-rare treasures re­ machine before long. Anderson, chairman; Peck, president; corded on the spot at choice per- -BEN HYAMS THE AMICA BULLETIN 1974 PAGE 9

In Preparation... For This Fall Recuts On Clarke and Seeburg Rolls W.lek r.leleue

F.Oll NO. GS:55 ROLL. NO. G-R 7 ROLl. NO. G-R 8 REct,;T RECUT RECUT 1. Beauttfl:1 1 It Goes l.ike This ChuberUn And Lindy 2. Persian Rug 2. I lIust Have That Moon You Should See lIy Tootsie 3. Ra.ona 3. Blue Shadows 3 Nobody But My Baby 4. Mary Ann 4. You're My Old FQhioned Sweetheart 4 Hawaiian 1I0ther Of lIine 5. Cee I '. Clad I'm HOlr.e 5. F'lower Of Love 5 Dear Eyes Ttlat Haunt aN 6. Little Log Cabin Of Drea&!! 6. H:)w Long. H:>w Lonl Blues 6 The Sue Old Moon 7. If I Can't Have You 7. There's ARair.bow 'RoundllyShoulder 7 lIy Connecticut Gal 8. Togetber B. F'orever B Can't You Hear lie Ssy I Lo.... You 9. So Tired 9. I'. Sorry Sally 9 Ailing Papa 10 V,hat Do You Say 10 MJ 81a:::{!:lirjs An Bbe~irjs Now 10 I'. Gonna Meet My ~weet1e Now

ROLL HO. C-R 6 ROll. NO. (;$97 ROLl. NO. G931 RECUT RECUT RECUT 1. Chloe 1. Afreciol:sLittleThinl Called !:)ve 1. When Is My Meyer 2. Al[org My SOl,;Verir5 2 I'd Rathel' Be Blue Cover You 2. Sing Me A SOnr; Of Araby J. Cook wwre_ :'i let's:"i t .... nd Talk :5 The Sweetheart Of SiC_ Cbi CuttUlo aN

J. J!~ (JtKJk RoiU CoIl

1. Ballin' The Jack ROLl. NO. I-TR ROLL NO. A-R 1 ROLL NO. G-R 2 2. Hot Ti.. In 1he Old Town*Tonilht 2. In The Good Old Su_er Ti.e FOR TANGUY CAWPHONE ONLY RECUT RECUr 4. I Wender JJho's Kissin'J, Her Now REcur 1. Furni ture Ian Blues 1. lickey Mouse's B1rtbday Part,. 5, Unde r The Baaboo Tree :~hK:::anO~l':e:e 2. On A Cocoanut Island 6. In Tne Shade Of The Old Apple Tree 1. Barnu. aud Bailey Fnorite(lIarehj ;.' 3. Bye, Bye. Babl 7. Tishollingo Blues 2. ne Bill Board 4. The Duck Yas, Yaa, Yae 4. Close To ... 8. Parade Of The Woade:! S:)ldiers 4. So.basto 5. Buffalo Rhyth& 5. I'. An Old Cowhand 9. The Peanut Vendor 5. Repasy Band 6. Get l.'p Off Your Kne.. 6. Lone Aco And P'ar Away 10 In The l.i t tle Red School House 5. The Chariot Race 7. Bitter Sweet Blues 7. Macnoliaa In The Moonl1cht ~p~~ ~:yB~~~:s B. Why Do I L1e To Myself 6. The RO](y lfarch :: When It Raine 9. 'l'tlru 'I'tIe Courte., of Lo.... {ONLY SIX, BtJT All.. ARE LOfiGERI 10 Deep Night 10 Ibo.Loyes You Telt Itlb $.2.50 10. TRACKER BAR G ROLL NO.2 ROLL NO. Co-R 3 Co- SPECIAL ROLL NO. lA PUMPS COIlSULT us 1. Do.n Yonder RECUT Roll On You lisa 1!1111ppl 2. Oh. You Beautiful 0<'>11 1. REd Hot Henry B~ 3. Tick Tock Polka 2. \":ur Ti_ Noe (Blolesl ....t ... In St. Loula, Louis 4. Mockirll Bird Hill 3. Cecelia Waiting P'or The Robert I. lAe 5. Darde,riella 4. Just A Bundle Of SUnshioe By. Bye Black B1rd ROLL NO.7 - A eR G ROLL NO.9 - A OR C NO. ROLl. G-R 1 6. Darkto.n Strutters Ball 5. You Gatta KnOll Hoe Alsbua 80Wld 7. Alexander's Ragti&e Band 6 Footlcose NEW ROLL OF OLD 't'LN':::S 6 Baby F'ace MARCH AND "AlTZ FAVORITES RECVl' a. S.l1e The Whllfl I Bid You Sad Adieu 7 .'ust An Old Love Sonl ~:IIiles 9, Tico, Tico 8. Nola 67 Birtb_ .... or The Blues I. Anniversary Waltz Re:l River Valley 1 The House Is Haunted 10 S!':in. On H:!.r· est Moon 9. I'" t,nee Oe~p tn Dalai•• 8,uutlful Ot.iQ (Waltz) Bil•.,nlhaa Jail 2 Cocktails For Teo .'0 Span1B~ 1I00n 9 Carolina In The IIombl 3. Blue Danube ("altz) She'll Be COiling 'Rcund The 3 Little lIan You've Had A Busy Day 10 Can't You Hear Ie C&llinlC&rol1ne 4. lIissouri "altz 1I0untain 4 Waiting At The Cate Por Katy 11 Down ....onl The Shelterine Pin•• 5. The Skaters (Les PaUneurs-"altzj5 HOllO On The Range 5 True 12 Cruising Down The River 6. American PatrOl 6 Clarinet Polka 6 Carioca (Tangol 7. Lights 7 Tell Me 7 I'll String Along With You 13 Louisiana Hayride 8. lIidnilbt Fire Alarm a Dill Pickle Rag B Why OJ I Drealll These Dreus 9. Selrper F'idelis 9 F'l'ankie and Johnn)' 9 Leve Thy Neighbor 10 Stars And Stripes F'orever 10 Hand Me Down lIy Walkin' Can~ 10 All I 00 lSI Ore.. Of You

A ROLl. HJ. 2 A ROl.l. NO.3 G ROLL NO.1 1. »Usic. Kusic. Muaic (Fox Trot) 1. Anchors Aweigh 1 Darklown Strutters B~ll 2. The Old Piano Roll Blues 2. A Tisket, A Tasket 2. Goodnight Irene ("altzl 3. Frank Jahn, The Ice Creu Man w.lcIIr.~ 3. When I Crow Too Old To Dream 3, The Old Piano Roll Blues 4. The Tennessee Waltz .... 4. Stars Fell On AlabUla 4. Music. ItJsic. lIusic 5, t..only To l.ook At 1...... ~. Alexander's Ralttl.me Band 5. TenneSiSlee "altz 6. Nickelodeon Waltz 1eI_. 6. Ro-Ro-Rolinl Alonl 6. Oh. You Beautiful DJll 7. You're A Heavenly Thing (Fox Trotl 7 June In January 7. Dark Eyes B. ~~~~ii~' Lookie, Lookie Here COMS IIiUs Vit"" Virtulo 8. The Debutente IWaltz) 8. Dardanella 9. You Go To My Head 9. 1I0ckin' Bild Pill 9. 1'111 Drealling Of You "Wotber 1tI1I. 10 Lost In A F'oC 10 11co. Tico 10 The 0011 Dance Plica Tangley Rolla . $12.50 J. LA.rene) Cook ptmc:.b.izIo ARol1o . · $15.00 Collector's Sp.:cialitt .. s.t of Rolla On P.dor.kII' GI/olla . · $20.00 Teet Rolla . · $2.50 PAGE 10 MAY, 1974 THE AMICA BULLETIN

J. L. COOK'S AUTOBIOGRAPHY Part 6

••• 50 actually there was no shooting, but this guy had fire in the creeping in of a strange feeling toward females. I was ashamed his eyes. and embarrassed to say the least. I was greatly impressed by the When I went to Snowhill, as I said, it was about midterm and I interest of elders at this point. For example, there was an anti­ was in the sixth grade. I had a few problems being assigned to smoking society that supplied youths with ample literature to read classes, because after all they had their curriculum and their against smoking. They also supplied buttons that read something system and the school I went to had had a different one; but af­ like this: "I do not smoke." For those who had already acquired ter taking a test, I made the sixth grade. Fortunately, before I the habit, the society composed a song, which was entitled "No started this first summer I had passed to seventh grade. More Tobacco for Me." There was even IlDre literature, books and Now, I would like to speak about a centenarian, the first all on what to look out for on entering the crucial age of pubert~ centenarian I ever met. He used to come over to the school to They warned you that masturbation was the personal sin of which chat with the boys. He was over 100, somewhere between 104 and God did not approve; and as against style changes these days, 106. If there had ever been any chance of my losing my interest they assured the maturing youths that long hair, mustaches, in languages, he reversed it, because (I don't know what dialect; beards, sideburns, were a sign of real manhood, and if you had I would suppose it would be some African dialect) he spoke some­ hairs on your chest and legs, you were sent with greatness inso­ thing and I cannot forget it and, my goodness, this is about 60 far as manhood was concerned. years ago, and he said "•••••• •••.....Well, I thought, oh, my I had intended passing up a lot of personal experiences and God~ That thing thrilled me so, and he had taught it to some of observations. I considered rushing through seventh grade, so to the other students. I had someone carefully break it down, and I speak, as to academics and trade, but after some consideration, thought, man, let me learn that: The same fellow taught us a song I reasoned that it might be in order to record some of the more which was supposed to be African. Well, I am no singer, but per­ outstanding things in which I had either taken part or observed. haps, if my book gets published, I will write it out and write So, here goes. out the lyrics as near as I can do the spelling on this peculiar Each year the school gave a picnic, sometime in April, I language. think. It took place a good distance from the school area. The Oh, there must be many things that I could recall. One might chosen spot was a wooded area with ample pitfalls, gullies, and wonder, aside from my capability of drawing some scrip from time ditches so deep that they seemed that they were prepared for to time, just how I made out, particularly when I got so hungry graves. so many times. I would like to tell you that my family, none of The tall white beautiful daughter of one of our white county them affluent, helped. I could get a dollar or two now and then doctors was a boarding student at the Institute. Because her ~ from one of my uncles. He would give me a quarter or fifty cents mother was a Negro, such facts were generally known and accepted, once in a while, and my Uncle Herman in Chicago would send me a not only in this case, but perhaps in hundreds of thousands of little. My Uncle Limar in Pittsburg would send a little, but it cases. Now, there was no such thing as a marriage, even despite was never much, and of all people, above all, Grandpa would send love between the people. As a matter of fact, such couples could a little money order--so I wasn't always that broke. Let's not not even live together in the same house. leave out my dear sister Emelia. She corresponded with me regu­ The mixed daughter who attended the first picnic, let's call larly. I kept her up to date on how I looked, what I weighed. her Mary, and the Negro boyfriend, Joe, both fictitious names, Well, she always included a coin of some type, and once in a of course, at the first picnic in which I took part, found them­ while a money order, in every letter she wrote. She was a wonder­ selves a deep ditch and petted and became intimate. Some days ful person. Also, I don't want to leave out Aunt Gertie. She after the picnic she told me that Joe made her do something she sent a little something once in a while. did not want to do. It so happened that I was not the only one Well, now, this is September of 1912, and I reached the age in whom she confided, so word got around all the way up to the of 13 as of July 14th of the same year. I am now in the seventh office. Both she and Joe were promptly expelled. I suspect that grade and have completed a segment in theory and practice of "my she did not become pregnant and was sent actually to another carpentry course. This included cabinet making, coffins and all, Negro school the following term. I reasoned this way because tables, benches, fancy table legs made by diagram on the turning the father must never have become bitter, for he subsequently lathe, and the use of all types of saws, including jigsaws, with responded to all of our sick calls as though nothing had ever which one could, by diagram, cut all sorts of curlicues with ply­ happened. I think I should skip the details of this and many wood. In addition to all this, I was now an official bandsman similar incidents, but I do think that one incident of which I and one of the 29 clarinetists in the school orchestra. I had the should take note would be that of a very beautiful and competent feeling that I was really growing up. I was growing strong piano teacher, who in midterm suddenly went home, and the next through the rigors of rough living and military training and thing we knew she had committed suicide because of pregnancy by radiant outdoor life in the instance of being qualified to do our school chaplain. carpentry work on construction or buildings. I think I should also mention the instance of an advanced stu­ Aside from rare work on various buildings, I took part in the dent, two or three grades ahead of me, who was beaten to a pulp construction of a new four-story brick dormitory for boys. It was and expelled because of his habit of sneaking into the home of fun. I became accustomed xo walking around the 12- to 14-inch my carpentry instructor and indulging in intimacies with the ledge overlooking a cliff. This was something that one had to instructor's sister; also, the instance of a pregnant student become accustomed to while nailing the shingles on the roof. whose father combed every inch of the boys' main dormitory, shot­ Otherwise, everything went along quite normally in academic gun in hand, looking for the responsible one and questioning studies and trades. everybody, including me. The culprit had been tipped off and had Now comes the serious part of my life, as occurs in the life of taken to the woods. There was a back door, and I don't think the boys. This would be the instance of entering the age of puberty. father ever found him. Frighteningly to say the least, from the age of about three and a Well, let's·skip some more. I am really getting to a turning half I had always considered everyone and everything female as point, and that is where I was approaching the possibility of the greatest of anything that God ever created. At age 72 I still getting away from Snowhill. maintained this attitude: What disturbed me then was, oh, my God, THE AMICA BULLETIN MAY, 1974 PAGE 11

THE NEW YORK TIMES, FRIDA Yo APRIL lZ, 1974

!PETE WENDUNG, 85, SONG WRITER, DEAD Pete Wendlinc, composer of "Oh! What a Pal Was Mary" and other popular lIOnc.s, died Sunday at his home here. He THE S PUR September IS, 192.~ was 85 years old. As a youth, Mr. Wendlinc CO\TRI BlfrED BY J;:FFREY FINN was a devotee of the ragtime piano players who appeared at Tony Pastor's 14th Street Thea­ ter. In 1908 he won a national ragtime plaY,jng contest, and,' after graduating from high school, played the piano at the Dewey Theater, a 14th Street nickelodeon. Later he worked at the music publishing house of Watterson, Berlin " Snyder­ the Berlin being Irving Berlin. He left this job for a vaude­ ville career, but returned to Mr. Berlin's own publishin. house after World War 1. His first hit song was in­ troduced by AI Jolson in the musical, "Sinbad," in 1916. This song, "Yaaka Hula Hickey Dula," laId more than a mil· lion copies. In 1918 he scored with "Oh How 1 Wish I Could Sleep Tili My Daddy Comes Home," and In 1919, with "Oh! What a Pal Was Mary." His songs in­ cluded "Take Me to the Land II ,of Jazz." "There's Danger in 'Your Eyes, Cherie," and "I, Believe in Miracles." i I. Survivors include his widow,! jthe fonner Anna Frances GilIerf.1

MORE ON PETE WENDLING NEXT MONTH

The lUatrnent of tillS ro:slJence organ is unique- in that the keyboard Console is separated (rom its uproducing future. In this sch"me, th... artiSts rccord...d rolls are inserted in a concealed panel in the wall, co\'cred by an antique velvet hana:inR. The Main Organ is loc:lteJ in a basement chamber with tone outlets through a concul~d grill~. Orchestral and Echo DTians ar~ built in th~ cxrr~m~ twO ~nds of th~ auic with ton~ outl~t5 through silk c~i1ing pan~ls. Th~ organ is playabl~ both man~ ually upon its hybo;lrJs and by Record~d Rolls which r~produc~, with photograrhic accuracy, th~ personal playina: of the JiStinlZuish~'J organists of ElIfOr~' :md Am~rica. THE WELTE PHILHARMONIC RESIDENCE PIPE ORGAN ~AY BE HEARD INFORMALLY, AT ANY TIME. AT THE WELTE·MIGNON STUDIOS. 661 FIFTH AVENUE. AT IJrd STREET. NEW YORK

ALSO OWNER OF THE WORLD·FAMOUS ORIGINAL WELTE·MIGNON PAGE 12 MAY, 1974 THE AMICA BULLETIN

IMPERIAL RECORDINGS A ROLL FOR AN 84-NOTE AMPICO? by Bill Flynt X 5266 I Want You--Waltz (words by Newton; mU$ic by Ursula D. Hollinshead). .I recently noticed a curious anomaly at the end of She also appeared on QRS Art Echo--Apollo (red X) "Hungarian Rhapsody #6", p/b M. Levitzky, Ampico 57437. ~pollo Concert RoIls) 15-1/4" Solo Art Apollo. The final two notes are played "forte" (246 coding), and the notes are all A#'s, including low A#, which is non­ SANDMAN'S FROLIC--Just coming off the assembly line-- existent on Ampico. The tracker bar hole which would (Ho 11 inshead) have been low A# is actually the bass expression cancel The AMPICO &DUO-ART lists are complete as far as is on the Ampico format. This means that the 246 (forte) known. The QRS Autograph &Recorda lists are probably pressure level will get cancelled as soon as the mav­ not complete. erick A# is played. Apparently the only reason that this error escaped the attention of the editors at Ampico is that there is a fast crescendo just prior to this expression cancel, and there is not time for a slow de-crescendo to take place. The crescendo mechanism on my piano is somewhat PIANO FANS' BOOKSHELF out of the ordinary (Art-Echo Ampico hybrid), and that by Art Faner is why I noticed it. All this seems to imply that the full 88 note com­ THE DECLINE OF THE POPULAR SONG pass was recorded on the original master roll sheet, and the editors simply forgot to delete this one. How do you count the popularity of a song? Before, say, 1935, the total number of sheet music sales, total number of record sales, number of times played on the radio--these were a measure of popularity. Since then PIANO ROLLS RECORDED BY URSULA DIETRICH HOLLINSHEAD sheet music sales have dropped enormously. Instead, LP compiled by Alan H. Mueller record sales run into millions. In counting popularity how much measure do you give to those songs you hear QRS AUTOGRAPH &CONCERT SERIES on the Muzak when you stand in an elevator or wait in 80479 Berceuse from Jocelyn (Godard) the checkout line at a supermarket? What about those 80729 Cantilene Nuptiale--Bridal Song (Dubois) songs we sing after birthday parties at home or a 80467 Elegie (Nollet) Rotary banquet, songs like "Way down upon the Swanee 300001 Face to Face (Sacred Song) (Herbert Johnson) River," "Happy Birthday to You," "Reuben, Reuben, I've 100064 Floreine (Syncopated Waltz) (E.J. Schuster) Been Thinking." Does a song have more real popularity 80468 Ghost Dance (Salisbury) if everyone sings it instead of just listening to it? 80465 Good Night, from A Day in Venice (Nevin) These are the questions that must be answered by 80728 La Fontaine (Lysberg) anyone trying to make a list of "100 Most Popular 80256 Meditation, from Thais (Massenet) Songs." David Ewen did it for his book The Life and 80469 Moonlight on the Hudson (Wilson) Death of Tin Pan Alley. Julius Mattfield did it for 80472 Nocturne in A Flat (Gronow) Variety Music Cavalcade. Both men tried to choose 100 80476 Simple Aveu (Thome) most popular songs. Yet only 29 songs are found on 80471 Trot du Cavalier (Spindler) both lists. Even experts do not have clear standards 80787 Venetian Barcarolle (Godard) of judging. 81118 Echo d'Amour-¥alse (Hollinshead) Before giving their uncertain lists, let's check 100032 Midnight Express--March (Hollinshead) with an authority for what is certain. The Guiness 80948 Tints of Spring (Leon Trick) Book of Records states that the most frequently sung 81028 Venetian Barcarolle (Godard) songs in English are: 80901 Intermezzo on Octaves (Theo. Leschetizky) "Happy Birthday to You," based upon the original QRS DUET RECORDING "Good Morning to All." Even Irving Berlin didn't know this song was owned by someone, so he was sued for 90094 Song of the Soul, from The Climax (Briel) using it in As Thousands Cheer. It was written in 1893 U. Hollinshead &Lee Roberts by a New York schoolteacher named Mildred J. Hill. She AMPICO RECORDINGS shared the ownership or copyright with her sister, Patty S. Hill. It was not published'until 1936, so the 57744 Valcik (Mokrejs) copyright runs until 1996. 57334 Venetian Barcarolle Fourth (Godard) "For He's a Jolly Good Fellow," which is from a 70203 Ecstacy (Hollinshead) French tWle called "Malbrouck" traced to 1781 and maybe QRS RECOROO from the time of the Crusades. Beethoven put it in his Battle Symphony. M-6ll030 Intermezzo on Octaves (T. Leschetizky) ~ld Lang Syne," originally the Scottish dance "1."-,, M-6l5720 MOonlight on the Hudson (Wilson) Fee'd a Lad at Michmass," which might have had some DUO-ART RECORDINGS words written by Robert Burns. S-3l3l7 Ecstacy--Valse (Hollinshead) Add these songs which sold more than 20,000,000 copies in sheet music form. They are too old to have S-32258 Echo d'Amour--Valse (Hollinshead) THE AMICA BULLETIN MAY, 1974 PAGE 13

copyrights: "The Man I Love," Ira and George Gershwin. 1924. "Wait 'Til the Sun Shines, Nellie," Andrew Sterling "The Old Folks at Home" which Stephen Foster wrote and Harry von Tilzer. 1905. in 1851 for E.P. Christy Minstrels and was such a hit. "Waiting for the Robert E. Lee," L.W. Gilbert and it was sung by milkmen, chamber maids, and butcher boys, R.F. Muir. 1912. according to the Albany State Register. "With a Song in My Heart," Hart and Rodgers. 1929. "Listen to the Mocking Bird" written by Septimus "Without a Song," Billy Rose and Edward Eliscu wrote Winner, although he signed it Alice Hawthorne. It was the lyrics; Vincent Youmans wrote the music. 1929. the favorite song of Abraham Lincoln. When you hear the words about "Sweet Halley, sleeping in the valley, with One wonders how Mr. Ewen missed such hits as: the mocking bird singing o'er her grave" remember in "Easter Parade," "My Melancholy Baby," "Rudolph the 1855 cholera, typhus, tuberculosis caused frequent Red-Nosed Reindeer," "Take Me out to the Ballgame," teenage deaths. Winner also wrote words to a German "White Christmas." folk tune and we sing "Where, Oh Where Has My Little Dog Gone?" And how come Mattfield passed over: "Blue Danube," 1867. "Bill Bailey, Won't You Please Come Home," "By the Of songs under copyright. these sold 6 million copies Light of the Silvery Moon," "Hot Time in the Old Town of sheet music up to 1967: Tonight," "In the Good Old Summertime," "On the Banks of the Wabash," "Put on Your Old Grey Bonnet," "Side­ "Let Me Call You Sweetheart" with words by Beth walks of New York," "When Irish Eyes Are Smiling." Slater Whitson and music by Leo Friedman, 1910. The same duo wrote "Meet Me Tonight in Dreamland." Both of them omitted: '''Til We Meet Again" by Raymond Egan and Richard "America the Beautiful," "Annie Laurie," "The Whiting, 1918. Bowery," "Casey Jones," "Frankie and Johnny," "Mother Machree," "Oh Susannah," "Praise God from Whom All What would Christmas be without music? There is no Blessings Flow," "Reuben, Reuben, I've Been Thinking," record of how many times "Silent Night" has been re­ "Row, Row Your Boat," "Silent 'Night." corded but "White Christmas" has sold 34,000,000 re­ cords and 20,000,000 of those were sung by Bing Crosby. In 1964 ASCAP had a fiftieth anniversary. It listed "Rudolph the Red-Nosed Reindeer" had already moved as the all-time hit parade: 33,000,.000 records across the counter by 1962. The most popular songs agreed upon by Ewen and Alexander's Ragtime Band Over the Rainbow Mattfield are: April Showers Rudolph the Red-Nosed Begin the Beguine Reindeer "Alexander's Ragtime Band," Irving Berlin. 1911. Darktown Strutters' Ball September Song "All Alone," Irving Berlin. 1924. God Bless America Stardust "Body and Soul," Heyman, Sour, and Eyton on the Happy Days Are Here Again Tea for Two lyrics; Johnny Green for the music. 1930. I Wonder Who's Kissing Her Now The Birth of the Blues "Darktown Strutters' Ball," Shelton Brooks. 1917. Night and Day White Christmas "For Me and My Gal," lyrics by Leslie and Goetz; You Made Me Love You music by George W. Meyer. 1917. "Happy Days Are Here Again," Jack Yellen and Milton Incidentally, at that time IrVing Berlin, Richard Ager. 1929. Rodgers, and Cole Porter received annual royalties of "I Can't Give You Anything but Love, Baby," Dorothy over $75,000. Between $50,000 and $75,000 was paid an­ Fields and Jimmy McHugh. 1928. nually to Harold Arlen, Johnny Mercer, Harry Warren, "I Wonder Who's Kissing Her Now," lyrics by Hough Oscar Hammerstein II, George Gershwin, Ira Gershwin, and Adams; music by Joe Howard and Harold Orleb. 1909. and Jerome Kern. That was when a Ford cost less than "Kiss Me Again," by Blossom and Victor Herbert. 1905. $3,000 and bread was 22 cents,a loaf. "Let Me Call You Sweetheart," mentioned before 1910. Looking at the Ewen and Mattfield lists one notices "Love Me or Leave Me," Gus Kahn and Walter Donaldson. that few songs written since 1930 are among the most 1928. popular. Why? Mr. Ewen believes the movie and recording "My Heart Stood Still," Lorenz Hart and Richard industries are to blame. Musical comedy producers would Rodgers. 1927. find a spot for a good song in their shows. Movie pro­ "01' Man River," Oscar Hammerstein II, music by ducers don't care how good a song is; they want one to Jerome Kern. 1927. fit a particular star, who is the real profit-maker, or "Peg 0' My Heart," Alfred Bryan and Fred Fisher. one that pleases a movie producer who has no musical 1913. background or standards whatsoever. The recording in­ "School Days," Will D. Cobb and Gus Edwards. 1907. dustry has been blamed for promoting poor songs for "Saint Louis Blues," W.C. Handy. 1914. payola--which is wrong, because stage and vaudeville "Shine on, Harvest Moon," Jack Norworth and Nora stars also accepted gratuities to sing songs. But the Bayes. 1907. difference is that these people who appeared before "Somebody Loves Me," words by MacDonald and DeSylvaj live audiences quickly developed a sense of audience ~music by George Gershwin. 1924. reaction: they knew almost word for word what was "Some of These Days," Shelton Brooks. 1910 catching on. Disc jocks don't know their audience's "Stardust," Milton Parrish and Hoagy Carmichael. reaction: all they can do is play and play and play 1929. the record they are payed to play until listeners buy "Swanee," Irving Caesar and George Gershwin. 1919. from psycho compulsion, through feeling they are get­ "Tea for Two," Caesar and Youmans. 1924. ting in on what's right and popular instead of wishing PAGE 14 MAY, 1974 THE AMICA BULLETIN

to repeat the pleasure a song has given them. Also, before 1930 songs were published by men who judged them on the basis of possible popularity or novelty THE AMPICO GRAND LABELS and then promoted them by means of their song pluggers. by Dick Howe Today, songs are published by a company owned by the singer, so he is not giving exposure to good songs he does not own. Alec Wilder in American Popular Song claims the quality of songs was the consequence of their being written by craftsmen. Why were craftsmen attracted to the song writing business 40 years ago and not now? There are other reasons for the decline in song quality and lasting popularity (which is another way of measuring quality). For example: most of us have moved ten times since birth, so we feel no identity or longing for a particular spot on the map. Hence, no one writes songs about "Carolina in the Morning," "On the Banks of the Wabash," "Beautiful Ohio," "Chicago--My Home Town." Then, many of the most popu­ lar songs had a national or racial .idea or even a dialect that was poetic or funny but would be verboten now. "Japanese Sandman," "Darktown Strutters' Ball," "My Wild Irish Rose," "Chinatown, My Chinatown," "Rus­ Several years ago Sam Thompson sent me a photograph sian Lullaby." None of these are offensive, but we just of an Ampico label (see photo) which has a half-tone don't think that way anymore. Love is no longer "Moon­ image of a grand piano superimposed on it. This roll, light and Roses" or "I'll See You in My Dreams." which is owned by Roger Johnson, is 2653-F, I LOVE TO References are now--shall we say--more direct. HEAR YOU SINGING, Glanville-Wood Played by Edgar Fair­ But the biggest reason why hit songs aren't being chi Id. written any more is the same reason for the decline Since I had never seen one of these labels before, of classical music. Musical amateurs, people who made did some checking with several other collectors. To music in the home, disappeared. Music was written for date, two other "grand labels" have been located. One use in the home: school children played a clarinet or is owned by Jim Cotesworth--63233-H, BLUE DANUBE (Con­ violin (no matter how squeakily); father played trumpet cert Arabesques on Waltz by Strauss), Schulz-Evler, or trombone in the local firehouse or Shriners' band; Played by Mischa Levitzki. This label not only has the mother helped hold it all together at the piano. And grand piano in the background, but it is also. tinted everybody sang--no one thought he was doing his thing blue. I have seen one other Ampico roll with a blue or fought for his civil rights--but we were happy label. It was one of the MELODIES IN BLUE roll. singing...all races ...all nationalities. Songs were The third "grand label" is owned by Bill Knorp, who meant to be played and sung. Now the singing, the play­ has 2893, INDIAN LOVE LYRICS: LESS THAN THE DUST; ing, even the feeling, is done by professionals. It KASHMIRI SONG, Woodforde-Finden, Played by Milton makes a big difference if the sound of music is for fun Suskind. All of the labels located to date are Type II or for profit. Like baseball, basketball, football, (see Vernon Brown's article entitled "Ampico Black Box music is a spectator sport. When was the last time you Labels, Leaders, and Roll Numbers," AMICA Bulletin played or sang a song? Volume 8, Number 5, May, 1971, pages 15-19). """"----~ ~ The origin of these special labels remains a mys­ rv:IV\1\1\1\1\1V1t\J\\1\/U'\1\I\I\I\ tery. If anyone has additional information on these unusual labels, please send it to the author. .;Q-R~ ·5 ac::::::::;)I WORD ftOll . ~ 3049 ~ LAND OF HOPE [~!~~]80 ~ AND GLORY . 5 Bluebird B"n..d ~~~Jkr ~\I\J'\I\l\l\J'l~V \u~ -{'k ~ :iuJ~\ \tJ~~ .i\.'OT TO BE TAKEN AWAY FROM ___ THE BRITISH PIANO MUSEUM ~ '368, High St., Brentford. 01·560 8~08 r: jJ r A Trust RegisterQd as a Charity ~\)\U.y The9R:SMu THE AMICA BULLETIN MAY, 1974 PAGElS

THE BRUNSWICK PANATROPE

The AMPLIFIER

l'h 1..' Bnlll:-;wkk Tonc Amplifier is a DFCDlBER, 1922 99 furtlH'r illlllrO\·cmcnt in sound wa\"c r- --=C-"-O:..:.NT.:..:R.:..:I:..:B~lJf:..::._::ED=___::B:..:l~'.:..:HA~DE=·N--=V.:..:A1:..:'~~D~IV:..:·E::.R~ ...... plojcction. It supplants thc old way. It applies acoustic laws in a scicntilic manner. It is O\·al. It is of moulded wood. 1t It

TheULTONA The Ultona is one of the units of the Brunswick Method "f Reproduction and an exclusive Dctkrmcnt obtaina1)Jt: only on The Brunswick. At a tllrn of the halld. the Ultoll? plays each type of recortl, exactly as intended. It oti.eesscnts 10 each make of recortl :the ·JIlnect needle, the proper dia­ phragm anti the exact weight. This does away with makeshift at­ tadullcnt", and a,l,.:kward rhang(·s. [t is the only all-in-olle reprodul'4..·r of its kmd, a Brunswick patent. The Brunswick Tone Arm is cuun­ ter-balanced. This diminishes old-timc surface noises. The necdl(~ and record contact perfectly at all times. There i.~ no unduc pressure, no faint spots. The Ultona plays each type of rec­ ord at its best, reproducing those ddi­ cate shadings of ,·oice or instrument in which a 'll11sic lover finds such great delight.

,,", /" __ J The BTlInsuick PI,,:,'s All ReClJTJs BTunsu'j~'k Rc:cords Play On Any Phonoj,(Tl.Jph THE FUR NIT UR E, THE MUS I C, THE ROOM 5 a r(frt.~shing contrast to tht: dJ}'s when olleOs tht.: supreme mUSil;i,ll 4ualtties whi,h have maJ.: Bruns­ problem was an inconspicuous corner in which wick conspicuously th..: c.hOI'e of foremost composers, to place the e\'cr-necessary phonograph. comes critics and artists, internationally. Nuw cxhlhltcd by th~ stately BrunswICk "G~orgian." illustratcJ Brunswick dcalcrs cv.:rywhcrc. along with many other abovc-a happy blending of CJrly Georgian artistry with c4ually effectIve d-:si~ns; pcnuJ, cunsule and cabinet.

THE BRUNSWICK-BALKE·COLLENDER CO. Manu'a"",.,,-£"ahli.h

BRUNSWICK PANATROPE Collecti,n of E~mett N. Ford contributed by Emmett M. Ford

Scientific research, a little over a year ago, suc­ ceeded in perfecting a new music reproducing instrument which experts immediately declared would be the means of revolutionizing this form of the art. It was called the PANATROPE (a name which indicates that it reproduces all octaves) and is a combination of radio and the phonograph developed to the highest possible degree. This invention was brought about by the Brunswick-Balke­ Collender Company, the Radio Corporation of America, the General Electric Company, and the Westinghouse Electric Company. The PANATROPE is manufactured and distributed by the ••_1 Ohe.ULTONA __•••_ Brunswick-Balke-Collender Company. It has long since • 1'L.IWING A BRUNSWICK RECORD" demonstrated its superiority to the ordinary type of phonograph. While it is played with a needle--ordinary The new method of these electrical recordings pro­ phonograph discs may be used--the PANATROPE has neither vides for a faithfulness in the reproduction of the diaphragm nor horn. It is electrical in its nature, and music sounds--voice or any other instrument--to a in the reproducing of sound waves of every character is degree hitherto unattained. Experts explain that by of infinite delicacy. this method it is possible to reproduce 90% of the The needle which runs in the grooves of the disc (or frequencies or sound waves originally given forth by the film, the nature of which presently will be ex­ the human voice, or a piano, violin or cello, and by plained) transforms the vibrations into an electrical any instruments in combination. Thus are reproduced current. This current is then stepped up by vacuum the fundamentals and overtones as they never were cells, as in radio, to the volume required and repro­ before. The characteristics of the sound which is duced by a vibrating disc which takes the place of a transformed electrically upon a disc are accordingly horn. preserved intact. It is veritably, when such records ~ are played upon the PANATROPE, like hearing the artist play or sing, or whatever organization of singers or instruments are co-operatinq musically. And in the matter of volume--which is a considerable factor with certain records--the PANATROPE offers none of the limitations present in the old type of phono­ graph.••even tho it seems to bear a resemblance to that instrument. The perfection of acoustics and sound transmission now make possible music as it is actually performed. Thus a new music reproducing instrument came into being•..it is the BRUNSWICK PANATROPE and the BRUNSWICK PANATROPE with RADIOLA. (Photos and material from the collection of Emmett M. Ford)

Inc. Designed by E. Hill Turnock, a stu­ dent of Frank Lloyd Wright, the house is built of mostly local or American materials. Indiana limestone and brick from Dayton, Ohio, were used on the exterior; the interior is paneled in black walnut. Cherokee marble from Georgia also was used extensively. The house boasts a .~}2.:!~I).~_'pip'e _?rg~.~ w!.th..a.. p.'-~~~__ El~!,() ..att~c.~rn.e~~· 'It was installed in 1915 and has Deen restored. Elsewhere on the property there is a large greenhouse-connected to the main house by a tunnel, the walls of which are decorated with scenes from BY BOB ROSENCRANS RobenB.Beacd'ley the Italian Lake District-and a garage RUlhmere, a 1910 period house museum in Elkhart, Ind., was opened in September. with a turntable to turn the cars around. THE AMICA BULLETIN MAY, 1974 PAGE 17

\'\\ l The Final Proof HOW TO BE EFFICIENT WITH FEWER VIOLINS of a Player Piano Thanks to Harper's Magazine for the following re­ port of a Management Engineer after a visit to a symphony concert: is in its human-ness-its ability to reach the heart. "For considerable periods of time the four oboe players had nothing to do. The number should be re­ udJ:!ed by this standard, the Emerson Electric duced and the work spread more evenly over the whole J of the concert, thus eliminating peaks of activity. Player-with the exclusive AccompanO attach­ All 12 violins were playing identical notes; this ment, the newest and most modern of Player seems unnecessary duplication. The staff of this section should be drastically cut. If a larger volume devices-is the logical choice in a Player Piano of sound is required, it could be obtained by means for your home. of electronic apparatus. Much effort was absorbed in the playing of demi­ semi quavers; this seems to be an unnecessary refine­ ~'I'.lJ~.1 •. ·~~:.J·~"tI.!l!a.~!.: ment. It is recommended that all notes be rounded up .~ut;),lt:.1 JI';"'~ . to the nearest semi-quaver. If this were done, it would be possible to use trainees and lower grade operatives more extensively. It is remarkable that methods engineering princi­ ples have been adhered to as well as they have. For example, it was noted that the pianist was carrying out most of his work by two-handed operations. Never­ theless, there were excessive reaches for some notes on the piano, and it is probable that redesign of the keyboard to bring all notes within the normal working area would be of advantage to this operator. In many cases, the operators were using one hand for holding the instrument whereas the use of a fix­ ture would have rendered the idle hand available for other work. It was noted that excessive effort was being used occasionally by the players of wind instruments, whereas one air compressor could supply adequate air for all instruments under more accurately controlled conditions. Obsolescence of equipment is another matter into which further investigation could be made, as it was reputed in the program that the leading violinist's instrument was already several hundred years old. If normal depreciation schedules had been appl ied, the value of this instrument should have been re­ duced to zero. There seems to be too much repetition of some musical passages. Scores should be drastically pruned. No useful purpose is served by repeating on the horns a passage which has already been handled by the strings. It is estimated that if ail redundant passages were el iminated, the whole concert time of two hours could be reduced to 20 minutes, and there ___lIUKKIlInJIIINIIIIIIUUlnllUilllltiliftUIIIII'I\I'll\l!INlllllftIQl/!III1IIIMIl_";::;;;" would be no need for an intermission. The conductor agrees generally with these recom­ mendations, but expresses the opinion that there Dealers in principal cities and towns might be some falling off in the box-office receipts. In that unlikely event, it should be possible to close Send for Catalog sections of the auditorium entirely, with consequent ~ml~tt saving of overhead expenses, lighting, etc. If the Collection of M. Ford worst came to worst, the whole thing could be aban­ doned, and the publ ic could go to the movies instead." EMERSON PIANO COMPANY ESTABLISHED 1849 BOSTON MASS. PAGE 18 MAY, 1974 THE AMICA BULLETIN

Nick Jarrett's 1924 Knabe 5' 8" Arrpico A, louis }N. Try to get a spot upwind "Plano Burning" and two related new music experiences will be presented by the Music Music Ensemble on Ocean Beach (off Ful· ton St. md the Great Highway) today (FrIday) at dusk. "Piano Burning," by New York composer Anna Lockwood, III. volves torching an amplified upright plano. Since the piece calls for additional activity to suit the mood of the performance, two other works will occur simultaneously. "FirewlDd" by Jack Brke will eon· sist of electronic manipulation of the sound created by "Plano Bum· Ing." Meanwhile, composer Jim Nollmao will perform "Asthma Rem· edy," in which he will self-Induce an asthma attack and thea cure It with deep-breathing exercises, which arme In turn translated Into music tbrough a flute. Brice and Nollman recently formed the Music Music Ensemble In order to publicly perform works In new music that have previously been cloistered in university and college concert balls. They Intend to present compositions by new music creators seldom sensed by the public. The event Is presented free with the assistance of the Art Com­ mlsslon's Net,hborhood Arti ProifaJD. Contributed by Ed Hayden, from the San Francisco Progress, Friday, February 2, 1973.

A restored piano roll cabinet. When John and Hazel Inzer found it, it looked as though it had fallen off a truck--the left front toe was missing and most of the plain carving around the bottom was gone.

Bill Knorp's 1926 Fisher 5'3" Arrpico A, Spanish Renai­ sanee. THE AMICA BULLETIN MAY, 1974 PAGEJ9

coding to the perforating machine. In this case, I A NEW PROJECT worked out a IIprogramll, then implemented it by hand, one hole at a time, in an unthinking sort of way-­ by Bob Billings just as though I were the computer. I was working on an lIexpressionless" duplicate of the original Duo-Art Angelus-Artio, Apollo, ApOllO-X, Artecho, foot­ roll; I.e., an ordinary recut sans expression coding, pumped Duo-Art, Hupfeld DEA, Marque Ampico, 5010­ but with soft pedal perforations appropriately relo­ Carola, Solo-Elle, Tel-electric, Telektra, Welte (Red, ll cated. Sustaining pedal was cut "as is • Green, Original, Licensee). Recognize these names? I'll The resulting conversion contains manf redundant bet you've heard of most of these, but how much do you coding perforations, due to the major di ferences know about them? The Ampico and Duo-Art mainline between the two systems. An unthinking computer could systems have been pored over with such great diligence not, of course, have the benefit of advance planning (though sometimes with imperfect understanding)- that that a human recoder would have, since he would be there seems to be little to add. The others are hardly able to "look aheadll and know that a certain coding more than names to most of us. Even the Welte, which could simply be left locked in. But after about the most of us technical types like to think we understand, fi rst 20% of the roll, it began to look as though I is not all that clearly defined to me, for instance. had proved my point, and I ceased cutting the redun­ And what do you plan to do with those Solo-Elle rolls dant coding. However, throughout the roll I followed tucked away in the odd-ball section of your roll col-. the same IIprogrammingll philosophy, and the results lection? Or say to the guy who asks you how to tube h1s seem to be satisfactory, judging from comments that I Apollo with that funny looking extra wide tracker bar have received from those who have heard the roll. that has all those extra holes? Ampico Model B coding (OB and OT perforations) had to Within the membership of AMICA, or at least within be put in lIafter the fact", wherein the crescendos easy researching distance, must be information to an­ were used principally for the benefit of the Hodel Bls swer most of these questions. So I propose a NEW PROJECT: amplifier mechanism. Let's research and collect information on the lesser­ One major hitch in such a computer scheme would be known devices and publish it in the AMICA Bulletin. I the differing division points in the pneumatic stacks; will happily co-ordinate the initial effort. At first middle IIEII is in the bass section on Ampico, and in the data will be incomplete and imperfect, but it must the treble section on Duo-Art. It would seem virtually start somewhere. There's nothing like a goof to bring a impossible to program a computer to account for this, response from Someone Who Knows. Let us begin, intrepid since it would probably be necessary to change the AMICAns. timing of many such E's, depending on how they are In the next Bulletin I will present a summary of used in the musical selection. The alternative would several taped discussions on the early Apollo (Melville be to let the perforator transpose the entire compo­ Clark era) made at an AMICA meeting and at my home. sition up one semi-tone. Just the opposite was done This tape is the first of many I hope to make, a~~_l in the »uo-Art version of Warsaw Concerto, but for an hope some of you will be moved to undertake similar altogether different reason. projects. Anything could be useful - literat~re~ ad~, Inctdentally, I recently tried my hand at Ampico­ half-remembered facts, opinions. How about d1gg1ng 1n to-Duo-Art recoding on the Warsaw Concerto, although I the archives of long-established libraries for arcane really started "afreshll with the Duo-Art coding, tomes relating to our hobby? Got an old Solo-Carola rather than to try to duplicate the Ampico expression. stack in your attic? Or rolls with expression coding The Duo-Art IIWarsaw Concertoll is expected to be re- you can't identify? leased on the next Duo-Art list. Issued by Klavier LET'S HAVE SOME FEEDBACK FEEDBACK Feedback feedback... Music Rolls (the Powells). Although I feel that an automatic Duo-Art-to-Ampico conversion computer could be built, I doubt that it would be worthwhile, except as a hobby project. Even DUO-ART-TO-AMPICO RECORDING: AN EXPERIMENT at that, I believe I could manually recode several by Bill Flint large rolls in the time that it would take to design, build, and de-bug such a device. And manual recoding For some time now live had some thoughts about requires no capital outlay. But if there are any computerized recoding from Duo-Art to Ampico, during electronically inclined AMICAns who'd like to discuss the course of a duplication. Through the cooperation it further, let1s do so. of Harold Powell and- John Malone, I have done my first such conversion, with apparent success. The selection is Bach's IIToccata and Fugue in D-Minorll , a famous and spectacular composition written origi­ HIGH ALTITUDE PROBLEMS nally, of course, for organ. The Ampico version is by Steve Johnson to be released soon on Klavier Music Rolls (the Powells) A large majority of AMICAns live at lower eleva­ next list, but due to a clerical error, the recoding tions, and those who do may stop reading now. However, was credited to Larry Givens. However, the box label is we few who live in Colorado, Wyoming, Montana and other correct. mountainous locations have a peculiar problem which This particular roll coding conversion was done should be discussed. as an experiment, to try some ideas that could ulti­ We have a tendency to think of the vacuum or suc­ mately programmed into a special-purpose digital tion doing all the work in a pneumatic system. Actually, computer, which would ingest Duo-Art coding (during all the vacuum does is to allow the atmospheric air the cutting of a duplicate roll) and send Ampico pressure to accomplish our goals. At higher elevations PAGE 20 MAY, 1974 THE AMICA BULLETIN

there just is not as much atmospheric pressure, so we a "U" shape and placed water in the bottom of the "U." must compensate with more suction. I then set my piano to pull exactly 10" C?f water suc­ After rebuilding my Ampico B, I tested with a tion on the dial-type gauge. This same suction pulled dial-type suction gauge and the test roll. I was an honest pressure differential of 8~" of water on the pleased to find that all pressures were just where wet gauge. In this way I learned that at my altitude they should be, with a smooth curve from 6" to about (4,500'), actual suction is only 85% of the figure in­ 38" of water vacuum. However, the sub-intensity pres­ dicated on the dial-type gauge. sure would not cause all notes to speak properly. I The following table may be of value. For the ele­ tried to adjust the throw of the striker pneumatics vation shown, multiply the indicated percentage by the while using the note compensation test roll without dial reading to get actual inches of water vacuum:* complete success. I finally set the minimum intensity with a bit more suction and all sounded fine, but I SEA LEVEL 100% felt guilty and didn't sleep well because I knew I had 1,000' 96.6% cheated. 2,000' 92.5 3,000' 89.1 Then at a recent get-together with Denver AMICAns it was pointed out that mile-high atmosphere is about 4,000' 86.4 83.0 20% less powerful than sea-level atmosphere. A nickel­ 5,000' 80.3 odeon at Aspen (elevation 8,000')required two suction 6,000' 77.5 pumps instead of one to achieve effective pressure 7,000' differential. 8,000' 74.8 71.4 Anita's Steinway Duo-Art, after being IOOved from 9,000' California to Grand Junction last fall, also missed a 10,000' 68.7 few notes on the softest passages. Minimum intensity Perhaps it should be noted that although Colorado adjustment has cured that fault. does have certain peculiarities with regard to baking My dial-type vacuum gauge is not calibrated pro- cakes, adjusting carburetors, and working with pneuma- perly for this altitude. If you live at a higher eleva- tic systems, an inch of water still weighs as much here tion or if you wish to check the calibration of your as it does at sea level: gauge, you might wish to build a simple suction test *Source of information: u.s. Weather Bureau and device as described on page 73 of "Rebui1ding the Physics Handbook. Player Piano." I formed a clear plastic tubing into ~--""'--'~

MORE ON BUYING A PLAYER PIANO by Nathan F. Woodhull Bravo, Bravo, Encore, etc. to Mr. David Dupree. The experience when picking an unrestored player piano and article on "Buying An Unrestored Upright Player Piano" I would personally urge all potential buyers to hire is indeed superb! My hat goes off to David for his ef- and pay 'a qualified piano technician to inspect and fort in writing this article. ~ appraise any piano one is contemplating on buying. Play Being in the player rebuilding business myself, I it safe AMICAns. From my experience in the past, I am have had many heartbreaking experiences with customers forced to disagree with a few of the conclusions drawn who have bought pianos at auctions, etc., and really as far as types of player mechanisms are concerned. The got stung. If this article will keep just one person comments which follow are intended to be directed from buying a "bad" piano then David's efforts will primarily toward people who will not rebuild their own have been worth the time. pianos, but will have this service performed by a Without distracting at all from the beauty of the qualified rebuilder. However I will be glad to cor­ article, I would like at this time to add additional respond with anyone about any of the comments I will information. make and offer all assistance I can to those who would Generally speaking, all player-piano and indeed like to rebuild their own piano. piano rebuilding itself, must be handled on an esti­ David has done a good job on the description of mated basis only. The rebuilder cannot possibily know player actions. The Aeolian, Standard, and Auto Pneu­ the whole picture until he has the instrument completely matic (not Autopiano) mechanisms are well described. torn down. The player mechanism part of the piano can However, the two main points of difference between the usually be figured to need everything as far as re­ Standard and Auto Pneumatic action are the tracker and building and is therefore fairly easy to figure as far the valve seats (secondary). Auto Pneumatic actions as cost. The additional expenses almost invariably re­ have a black painted valve seat which almost always sult from deterioration in the piano itself. The buyer needs to be sanded and sealed wi th clear acrylic due to the of an unrestored instrument should be aware of the two paint peeling and oxidation of the metal surface. main enemies of the piano. These being insect damage Standard action secondary valves are nickel plated and and excessive dampness or lack of proper moisture. All usually need cleaning only. of the items mentioned in David's article reflect upon Pratt Reed player actions came in different styles these two areas. The signs he has given to look for are and many pianos. They are good actions but can be all good indications of the damage caused by those two troublesome at times. Usually they have Zephyr Leather items. pouches which must be replaced. '~ Remember that the player cannot possibily do a good Be careful with AMPHION actions! .1 have worked on job if it has not been installed properly in a piano many Amphion players in a variety of different pianos that has also been brought up to par. The piano must be and the ones that are glued together are rough to say restored as well as the player action if good results the least. These types are cheaply made and can be are to be expected. There is really no substitute for easily recognized by the absence of unit block valves THE AMICA BULLETIN MAY, 1974 PAGE 21

and screws. The shelves have cardboard dividers and During the early years of player manufacture, many these are destroyed when the action is taken apart. pianos used different versions of the Aeolian action. They are hard to rebuild but very tight and responsive Some were screwed together as was Aeolian and others /when finished~ A real no-no for the beginner. You must were glued. Be aware of this as these actions are all ~ look deeper than the spool box on Amphion player ac­ good and well worth rebuilding. Two names which come tions in order to make this determination. to me at this time are Clarendon and Artola. Both were Simplex player actions are very good but trouble­ terrific pianos. some when screws begin to strip. This information is by no means complete but perhaps I have no information on the Lester. it will help someone. Cable players are excellent. Look for the name EUPHONA. This is a very good player action and easy to rebuild. Some had Zephyr pouches which must be - a N replaced. Pneumatics (striker) are glued on with paper in between and are very easy to remove. Only the very late Cable players had tracking devices. Manuelo CROSSWORD PUZZLE #2 players can give one headaches as far as valves and pouches are concerned but generally are decent. ACROSS DOWN Pianos with the M. Schultz action are excellent players. They rank very high in this writers opinion. The pouch pneumatics are tricky but when properly 1. Reproducer system 1. morning (abbrev) rebuilt, these are one of the easiest pumping players 7. gemstone 2. brand of roll that were ever made. The ten point air motor rWlS 9. modern composer 3. seaport, Israel beautifully smooth. The late Schultz action is quite 11. stretched out 4. "- ---- You Calling" good and very easy to rebuild as the pouch pneumatics 12. German article (2 wds) were done away with and a more conventional approach 13. soundboard part 5. abnormal growth was adapted. Forgive me David, but I am a real M. 15. printer's measure 6. Glen -----, orchestra leader Schultz lover. 16. compass direction 8. pronoun (Fr.) I have never rebuilt a King piano but have seen 17. perfect 10. Ampico artist them and would tend to agree with David completely. 19. measure (musical) 11. ----- Jeu (organ stop) Gulbransen pianos are great. The pianos themselves 20. Neon (chem.) 14. worthless seem to hold up quite well with the exception of the 21. philosopher 18. trial car bass bridge coming unglued. The player action that is 22. projectiles 19. ,,---- Hai" glued together is definitely not for the beginner, but 24. organ roll type 21. Showboat minor character the later model with the screwed on unit pneumatics is 25. musical syllable 23. part of "be" not that tough. The main thing to remember about contributed by Bill Flynt _~ Gulbransen players is that they are very time consum­ ing and have very little valve clearence. There is no substitute for experience with these actions. I have rebuilt many and they have all turned out to be very easy pumpers and a delight to play. Don't write them off. WurliTzer pianos were built with several different types of stacks. I have a Recordo upright with an Amphion unit block stack. The troublesome stack is the one that is glued together. However they can be rebuilt and play quite well. The main problem with Kimball pianos is the bra~s rail piano action. Have a competent piano technican check this out thouroughly. Story and Clark actions are difficult but work quite well. Kranich and Bach made excellent pianos but the player action is very, very tough to rebuild. This action is sometimes called the Kissing Valve action, which in no way implies any kind of love to this re­ builder. Waldorf pianos I have worked on contained Simplex player actions. ORIGINAL AMPICO HARD-BOUND CATALOG FOR SALE: 1925 EDI­ Angelus player actions are different but are very TION, PRINTED BY THE JOHN C. RANKIN Co., N.Y. 351 PRINTED good players. PAGES, MANY PHOTOGRAPHS. IN EXCELLENT CONDITION. BEST H.C. Bay actions are about the same as the glued OFFER OVER $40.00. Ginny Billings, 1428 Liberty Street, EI Cerrito, California 94530. Phone (415) 237-3813. together WurliTzer except that H.C. Bay used adjustable bleeds. Again difficult but good players when properly restored. Unfortunatly the pianos themselves were WANTED TO BUY - Complete drawer for Model A Ampico Grand. Write or Call: David Swanger, Rt. 5, Box 104, Hickory, N.C. 28601, Phone: cheaply made so let the buyer beware! 704-327-2181 I have no experience with Price and Teeple players. One player action that David has not mentioned that FOR SALE - Set of eight original Vocalstyle Minstrel Rolls, plus four is one of the best is the Straube. These are very well Gulbransen Instruction Rolls, $100 takes all. Larry Givens, Wexford, Pa. made pianos and player actions. 15090 Another bad action to work on is the type used by Steger. These are TOUGH due to the manner in which the WANTED 58-note Aeolian Grand Rolls or 116-note Aeolian Pipe Organ Rolls. valve clearences are set and the way the striker pneu­ Alan H. Mueller, 144 Campbell Park, Rochester, New York 14606. 328-0651, matics are attached. Not for the beginner. 467-1676. · .. : :.: :: . ·...... ·.. . · ·. ·. ·. ·.. DAVID T. DUPREE ·.. ··.. PLAYER PIANOS AND ROLLS ·. ··..· 2940 D Grace Lane ··.. Costa Mesa, California 92626 ·. Telephone (714) 5454650 ··.. ·... ··.. ··.... ··.. ·.. QRS Rolls on the shelf or by mail. ·.·. ·. ··.. ·.. Send for free catalog and ordering kit. ·.·.· ··... ·. ·..... Dealer for new Aeolian and old rebuilt ··.. ·.··... player pianos. We will rebuild yours. ·.. ··... ·. ·. ·. ··.. ·. .':-:-..... ·. · . ·...· .. .·...... :.:.:· .. . :...... :

BUSINESSES. BUYERS AND SELLERS--TAKE NOTE Are you involved in a business that provides a service to AMICA members? Parts suppl iers, arrangers, tuners, wood finishers, roll repairers, piano action special­ ists, player action special ists, researchers, roll auctioneers, new or used roll sellers, recutters -­ all of you can benefit from taking advantage of the inexpensive ad rates in the AMICA Bulletin. There are presently well over 700 people who receive the AMICA Bulletin monthly, although its exposure is considerably greater than that. (Friends of AMICAns read it, and several libraries carry it.) Each of these people is a prime potential customer for your business or sale item. Our rates are more than reasonable: a quarter-page ad in the Bulletin, camera-ready, costs only $10.00 an issue. (For a small extra fee we'll make up your ad for you.) If you don't require that much space, $1.00 buys you a few 1ines. Compare a full-page ad at $40.00 to the equivalent space in other publ ications ... it's a steal! AMICAns aren't only interested in musical automata-­ most of them 1ike other period items: antiques, old books, vintage cars, just to name a few. Try us. Your business will help the Bulletin, and the Bulle---.,..-' tin will help your business! For further details, refer to the inside page of the front cover of this Bulletin. 1-.. • •••••••••••••••••••• T. • ••• :-1 ··...... ·····················...... ::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::J I l·...... ·..·.... .-·..... , :::...... ::. ·.. ·...... ·...., :::::::::::=:::::::::::::::::=::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: -:-:' ~ ·.... ·...... ·...., ·:.:...... , :.:-:. ONLY YESTERDAY .:-:- :.:.: ' (Jan Schoondergang) -:.:. ·. Jan Hendrikstraat 72, THE HAGUE, HOLLAND ·.... ·.. Thousands of nostalgical and historical LP phonograph ·. ·. records from all over the world. From Jazz to : -:.: 4 ::::' ·. Classical, from Blues to Opera. Also records with .... , ·.. mech. musical instr. from MUSIC BOXES to DRAAI­ .:.:. ··,... ORGELS (many of course). I have a good selection Ia· • •• ··... of MUSICAL BOXES, BIRD BOXES, BIRD CAGES Ie·.·· ·. and STREET PIANOS. ~::: : When in Holland come and visit my unique shop. ··... :-:.: ' ··... Closed on Monday and from 1 to 15th July. ·. .·... ·.. ..· .. . . :-:-: :::::::::::::::::::::::::::::::::::::::::=:::::::::::::::::::::::::::::::::::::=:::===:::::::...... ··... .·... · ..... , ·. :-:-:- ../...... ':1 .·...... ·-.·-.· .--.-...... ' ' . I 1. ' '.' .

ITEM #1 From an article last year on building up an orchestrion: I was very much interested as I had a similar idea from my Shonenger Send for the latest Welte Mignon several years ago and' have been accumulating parts to incorporate organ fea­ QRS BULLETIN & tures. I have done so well I am next to a 1973 QRS CATALOG! divorce. Now I don't have the room to house 3000 Hits - Old & New! the chest and pipes. I have 88 Artisan Organ leaf switches to be mounted on a bar actuated NEWS YOU'VE BEEN WAITING TO HEAR! by the whippens or hammer action or even the keys (without piano action), 2 organ chests, AVAILABLE NOW! one direct electric 8' long for a set of 73 Oboe (metal) pipes, and one a 10' pneumatic electric DUJO~AIl\T valve for 84 Flute (wood) pipes. 88 Flute stop­ *DA-I002 TEST ROLL ped pipes, largest about 4', and 80 Oboe pipes, 4 ttDA-I005 & ttDA-I006 RHAPSODY IN BLUE relay racks, pressure equalizer, new % HP Peer­ Played by the Composer George Gershwin *DA-I007 SWANEE less 5" pump, 100 extra pneumatic electric Played by the Composer George Gershwin valves (new), electric cable. All you need is *DA·I008 CLAIR DE LA LUNE room, time, imagination and a divorce. I want Played by George Copeland to sell all or none. Do I hear an offer? Start at *DA·I009 (Keep Your) SUNNY SIDE UP $500 (I have $750 in itD. r\l\1PICO ITEM #2 AMP-IOOI YAAKA HULA HICKEY DULA I noticed (P13 AMICA Jan. '74) that Bob Played by the Composer Pete Wendling Conant bought a gutless Chickering. Well I *AMp·I002 TEST ROLL have the guts of an Ampico Knabe sans one tttAMP·I003 NO NO NANETTE MEDLEY drawer. I have pictures of the Knabe on its Played by the Composer Vincent Youmans side prior to de-gutting and see no reason he or *AMp·I004 CHARLESTON RAG Played by the Composer Eubie Blake someone else couldn't use it. It is an IIA" chest, pump, motor, the works, unrestored of AT POPULAR PRICES! course. Any more offers so I can clear my attic? Q·R·S MUSIC ROLLS, Inc. Wm. Miller, 29075 Clevis Road, San Pedro, CA Tel. 716 885 4600 90732 (213) 831-1568 - 624-7881 1026 NIAGARA ST.-BUFFALO, N.Y. 14213 BULLETIN Ginny Billings AMleA Pu blisher AUTOMATIC MUSICAL INSTRUMENT COLLECTORS' ASSOCIAliON P. O. Box 1169 EI Cerrito, California 94530 DATED MATERIAL

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