THE AMICA NEWS BULLETIN
Published by the Automatic Mu.icel Instrument Colleeto"' Associetion, I non-proflt club dll\/Oted to the restoration, distribution and enjoyment of musicel in.truments u.ing perforated peper mu.ic roll••
Contributions: All subjects of intlrast to rude" of the bulletin ere encouraged and invited by the publi.her. All articles must be received by the 15th of the preceding month. Every Ittempt will be made to publish all articles of general interest to AMICA membe" OFFICERS It the earliest pOssible time and et the discretion of the publisher.
Advertisements: Pe"onel lid. by membe" ere accepted Ind inserted in the Bulletin Board section It a rIte of 6t per word, $1.20 INTERNATIONAL CHAPTER minimum. Bu.inesses and p8"Ons wl.hing more space may use the OFFICERS OFFICERS following guidelines: PRESIDENT NO. CALIFORNIA - Advertising rate is$12.50per quarter page or multiple thereof. Bill Mintz Pres.: Maury Willyard - Camera-reedy copy must reach the publisher by the 15th of VICE-PRESIDENT Vice Pres.: Nick Jarrett the preceding month. Bob Rosencrans Sec.: Tom Hawthorne Treas.: Bob Bartlett - All ads wilt appear on the last pages of the Bulletin, It the SECRETARY Reporter: Dick Reutlinger discretion of the publisher, Isadora Koff SO. CALIFORNIA Publication of busi.- lIdvertislnll in no WIlY impl. AMICA'. BULLETIN Pres.: Richard Rigg ....do,.,....t of eny commereW operetlon. However, AMICA Ginny Billings reserves the right to refull Iny lid that is not in keeping with Vice Pres.: Bobby Mintz AMICA's genera' standards or if complaints are received indiceting 661 Chapman Drive Sec.: Julia Riley that said business does not IIrve the best interests of the membe" Campbell CA 95008 Treas.: Jim Christopher of AMICA, according to its goals and by..faws. MEMBERSHIP SECRETARY Reporter: Evelyn Meeder (New Memberships and TEXAs Mailing Problems) Pres.: Tom & Carol Beckett Anita Nickels Johnson Vice Pres.: Wade & Becky Newton P.O. Box 666 Sec.fTreas.: Jim Meadows Grand Junction, Reporter: James Guinn Colorado 81501 TREASURER MIDWEST Jack and Mary Riffle Pres.: Bill Ackman Vice Pres.: Bob Fortier AUCTION Treas.: Molly Yeckley Sec.: Al Theil BOARD REPRESENTATIVES PHILADELPHIA AREA Bill Johnson, N. California Pres.: Bob Rosencrans Sally Lawrence, Alternate Vice Pres.: Jesse Macartney Cecil Dover, S. California Sec.: Mrs. Lawreie Cornell Jim HoUinsworth, Texas Charlie Johnson, Alternate SOWNY (So. Ontario, Jim Weisenborne, Midwest West N.Y.) Alfred C. BUsse, Philadelphia Pres.: Rick Simpson SOWNY Pending Vice Pres.: Al/m Mueller Acting Sec.: Mary Lou BOSTON Pending Mattioli Treas.: Richard Drewniak Reporter: Edith Aldridge
BOSTON CHAPTER Pending THE AMICA BULLETIN MAY, 1975 PAGE 69
NIAGARA FALLS TOUR ::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: CONVENTIOi~ SCHEDULED FOR JUNE PLAN TO ATIEND BY FELIX KLEMPKA THE FOURTH INTERNATIONAL EVENT! BE PREPARED! =_=a::=_====-== AMICA COf~VENTION As part of the shuttle bus arrangements for the Convention I have scheduled a Niagara Fal Is tour which LAST WEEK IN JUNE Involves entering Canada. (The only way to really see the Falls properly is from the Canadian side.) We must 1975 be sure that all AMICAns taking this tour carry proper DETAILS IN COMING BULLETINS Identification and some proof of U.S. residence. Almost anything bearing a name and address is acceptable. A SEE YOU THERE--SHUFFLE OFF TO BUFFALO! voter registration card is ideal. Aliens, and other non~resldents must show a passport or visitor's visa. ::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: Also, because of the shortness of the visit, those returning w'lll only be allowed $6.00 in purchases. More complete details will be provided at the time of the tour. GSA\~ PLEASE PREPARE FOR THIS TRIP BEFORE YOU REACH MUS ICAL JI BUFFALOI BY RUTH BINGAMAN SMITH Convention arrangements are almost complete and all AMICA HONORARY MEMBER looks great. You'll be proud of usl The answer to the March Musical Jigsaw is Tschaikowski's SYMPHONY NO.4, OPUS 36, First Movement. Did you guess it?
* contr. by IT'S HERE! Edgar Purdy .,,,,;-,/\(7 ,,;/" \\', "c?)":""/ -77 '\""./ AMICA TECHNICALITIES VOLUME II . ~ !I./ \ . t~<,~~~---:c--\\= \ 1972-1974 ='''=~'~'=;'j : Ii I $7.50 post paid :-~~.,:if·· ._ ~ technicalities vol I (1969-1971) is still available $5.50 post paid ;:"1:( ORDER BOTH FOR $12.50 POST PAID . I'; howard koff 214i deodara drive ~~ los altos, calif. 94022 J ..
AIIJ QtA .Jttms AMICA Stationery, 52.00 (letter size), 51.75 )Tnr &alt (note size), including mailing charges. Fine AMICA TECHNICALITIES BOOKS: Volume I quality stationery with ornate AMICA borders.' AMICA BULLETINS, BOUND ISSUES: 1969, (1969-1971), 55.50 postpaid; VONme II Each packet contains 25 letters and matching $9; 1971, $15; 1972, $15; 1973, $15. 1974 un (1972-1974), $7.50 postpaid; or order both envelopes. Send orders to Robert Lemon, bound sets, $15; 1974 bound sets. $18. sets for $12.50 postpaid. Reprints of inter 4560 Green Tree Drive, Sacramento, CA 94823 PRICES INCLUDE POSTAGE AND esting technicalities articles which have HANDLING. Spiral bound to lie flat. send to appeared In the AMICA Bulletin, arranged and "They All Laughed When I Sat Down At The Mary Lllien, 4260 Olympiad Drive, Los indexed Into appropriate categories, spiral Plano, But When IT Began To Play ..." Angeles, CA 90043. bound to lie flat. Send orders to Howard Koff, This sound and color super-8 movie, 2141 Deodara Drive, Los Altos, CA 94022. produced by AMICA members, Is again ROLL LEADERS: DUO-ART, Authentic. For available for loan to AMICA members and order sheet, see the April, 1973 Bulletin. Nick AMICA Sterling Sliver Pins, 54.25, including chapters. For more information write to Jarrett, 3622 - 21 st Street, San Francisco, CA mailing charges. Lapel pin or lie tack with Howard Koff, 2141 Deodara Drive, Los Altos, 94114. ~MICA design. CA 94022. PAGE 70 MAY, 1975 THE AMICA BULLETIN
FROM THE PUBLISHER BY GINNY BILLINGS
I hope you are all planning to go to the Buffalo con This Bulletin (in case you hadn't noticed) is late vention. I've been in touch with the planners, and agaifro Please bear with us, AMICAns. This publication they have everything planned perfectly. You will really is a volunteer effort, and requires the cooperation of enjoy it! Be sure to let them know you are coming, several Board Members in addition to the Publisher. If just as soon as you can, so they can be prepared for anyone of them falls behind, the rest of us can do the right number of attendees. nothing but wait, albeit impatiently.
Cant. by Bob & Ginny Billings, SF Chronicle, 13 April, 1975
HADDORFF RlCH :TONED
•~ •
AValuable Piano for Music Teachers
The music teacher will find her in terests best served by a rich-toned piano becau~~ of the grc.1tcT expression that it yields. For not only is such a piano an inspiration to hcr!'C'lf, but also it produces a finer appreciation of musical expression in .the pupil. The HAD DORff Piano i, pre eminent for its tone richness. Owing to its special sounding board - the "Homo" Vibrating Sounding Board it possesses a great wealth of tonality. equally bCMutiful in loud and in 80ft passages of music.
Thc HADDORfF tonc is aloo notably pure, S\\o'Cct and of good 5U$ taining quality. The I IADDORff is excellently made, of the best piano materials, and mar be had in a ,num. ber of charming case designs. .y I:) / '7~- Valuable catalog on = application Bottled Music Haddorff Piano Co. I115 Ethel Street, Rockford, III. Comes now Justin Kromer of Los an organ that uses 88 water-filled GRANDS· UPRIGHTS· PLAYERS Angeles, who is by profession 0 bottles, which he did. Above is a = builder of pipe organs. A few years spinoff of that effort, the eight ago, his eye falling upon a pile of bottle mouth organ. BIP.photo empty bottles, he decid~ to build THE AMICA BULLETIN MAY, 1975 PAGE 71
!!!!!!!!!!!!!!illtr••J!!!!!·····!·llli:
To sum it all up we here are attempting to salvage NOTES FROM ANEW MEMBER a 11 the old players we can find and though a lot of them BY RICHARD PARKER can never be like new, if they can look decent and hold a tune for a reasonable length of time, someone will ! I! Take note, AMICAns. I agree wholeheartedly with get a lot of fun out of them. And we need advice; LOTS this member, and I hope some of you will come forth of advice. Perhaps my feelings stem from memories and with fun-oriented articlesll! --Ginny regrets about a Melvi 11e Clark IIApollo" we had years It has been just one year since I became a member ago. It appeared unfixable and was dismantled. The' of AMICA, having like many others I suppose first read spring wind mechanism somehow or other was converted to about it in the QRS Bulletin and being delighted to a system to rotate our new TV antenna. I have sinned. discover there were others who enjoyed this world of I repent! mouse nests .and decayed leather dust. An appl ication [*1 had the same feelings when I joined AM1CA, with my went in immediately. "inferior" li"'::tle Recordo, and that's why I tackled the If the application form itself was not sobering, Bulletin--in order to try to stimulate the idea that the first issue of the AHICA Bulletin was! Having never our hobby is fun. We've had roll lists, Pete Wendling owned a reproducer, band organ, orchestrion OR swimming lists (I still have a few for you new members who want pool it came as quite a shock to learn that there might one), the Cook autobiography, and whatever else I have be pianos in the world that were NOT full of mouse had time to cook up. But the Bulletin is too big a job nests and leather dust. Here I was, in the middle of my for me to provide the articles, too--for that, we need fifth or sixth player piano rebuilding, figuring I had volunteer writers from the membership. For the most the market about cornered and now I find them referred part, the Bulletin is limited to the articles received, to as IIpumpers" with names such as "Variousll and so please send in your experiences and share your fun IIAssorted." Even my old Cable IIEuphona ll expression rolls and instruments with us. Actually, very few of piano took on a Ctnderella-after-midnight look. us have the sorts of instruments that are written up in Well, a year has passed and the shock has mostly the Bulletin, and that is precisely why they ARE worn off. I still do not have a reproducer etc., nor am written up in such detail••• so that we more restricted I likely to, due to finances and a less than 'acre-size col:ectors ~an also share in the rarer and very inter iving room. The Norris-Hyde pumper will continue to est1ng mach1nes that we aren't likely to come across in ~'get its workout with the 600-700 rolls stored in vari our local endeavors to dig up instruments. Richard I'm ous closets while I sit here and drool over the W1°th you--Iet' s relax a little, AM1CA, and enjoy the' pictures and descriptions in liTHE ENCYCLOPAEDIA" and doing instead of just the having. --Ginny] the MHH Review from Denmark.' And AMICA? Yes, I am continuing with it for now with good wishes for our future. The autobiography of J. Lawrence Cook in 'the Bulletin alone was worth the membership dues and makes the several dozen rolls I h~ve of his all the more enjoyable. And it is always nice to know how an AMPICO works, even if you don't AEOLIA~ DUO-ART PIPE ORGAN HELP NEEDED have one. But, I don't suppose I will ever get to one BY TOM BECKETT ' of the informal or business meetings as they seem to be always IIgoing to be heldll approximately one month before To members owning, or wIth knowledge of, Aeol Ian I get the Bullettn. Duo-Art Pipe Organ unIts, I need some help. I have As for IIfeedbackll--at this point ANYTHING is of recently acquired both a Concertola plus latching interest and eagerly digested whether it be Durrell relay assembly, and an organ player console plus Armstrong's "NO" to sealing pouches with rubber cement combination-capture assembly. Unfortunately, the rest to someone else1s IIWhat else but?lI. We pumper paupers of the system--plpes, wIrIng cable and rol Is--has been out here of course would like to see more how-to-do-it parted from the Instruments in years past. I would right-the-first-time articles, but realize that AHICA I ike to make restoration (on the hopes that someday I is primarily interested in the sophisticated machines may turn up some rol Is> but am having dIfficulty makIng and the techniques are the same.* For myself I am a proper determinatIon of the wirIng In these four less interested in how to sort rolls by compu~er than units. I am having particular trouble with the wIrIng to know if they really made more than one copy of and workings of the combInatIon-capture (memory> unit. IIDixie" by IIBl ind Boone,1I or if any collection ever An attempt to locate Nelson Barden, who at one time had less than three copies of IIMoonlight on the Hudson." had copies available of original Aeol ian Duo-Art In other words, what are the really oddball rolls in instal latIons, has proved fruItless. case we stumble over them. I recently discovered 40 Could any members supply me with a xerox copy of excellent QRS ArtEcho rolls I had passed up before be their wiring diagrams? I realIze they might not exactly match my own system but I feel they would probably be cause they play the end notes of an SS-note piano. It dlfferences~ ~ould.be helpful to know when looking through a musty close enough for me to reason ouf the 1elling box of rolls at the local antique shop that Also, any leads toward some rol Is would be most apprecIated. I Rea 11 y Mus t Be I n Love", wh I 1elis ted as a wa 1tz Is in.fact a bouncy little tune with side-splitting ly~ics. Tom Beckett, 6817 Cliffbrook, Dal las, TX 75240. While QRS, bless their hearts, continue ·to supply us newcomers with rolls to play, the new tunes and new arrangements of old tunes just don't have lilT' and seem to be a concession to aging players. PAGE 72 MAY, 1975 THE AMICA BULLETIN
I ~ !~-- I ------_.!. A PIANO MAKE RESEARCH REQUEST "AFTER THE BALL" FROM CRAIG BROUGHER BY JERRY SlLLIVAN It seems like I am continually getting unusual Though this is not in the field of automata, I'm players into my shop. Often, I cannot name the action sure members will want to hear "After the Ball" and it bothers me. Is anyone interested in compiling a (Nonesuch H7l304), a collection of turn-of-the-century list of player actions and identification features of songs sung by Joan Morris and accompanied by William each one? It would be great to have such information Balcom, a pianist soon to record for Q.R.S. Celebrity at our'fingertips. Series. This re,cording beautifully evokes the spirit Several ways to initiate this project would be: and flavor of the '90s, without condescending to the Type up a list comprehensive of most of the known age of the music. As with many of the original roll player actions and leave a space at the end of each for recordings, it allows us to hear the music of the time perhaps three solid identification points. Send this played as written on the sheet music. list to members to fill out at their leisure. Clubs could get quite a lot of interesting conversations started if someone just brought their lists to a meeting. Report on the receipt of these lists as they trickle in and become sorted and compiled. Keeping the interest by mentioning the project is important if any are to benefit. After several years, we should have AMICANALYSIS a fine and complete list. However, partial lists should BY BOB BAKER --) appear in the Bulletin to inspire additions and correc tions. Even .though action companies changed their [Bob sent in a copy of "Born a Century Too Late," with actions over the years, there were always notable the accompanying note. --ed] features which would distinguish each one. The nice thing about this md1dly disturbing article Another method of course would be for the Bulletin is that it is germane to the interests of AMICAns. to simply publish a short list of its own in each Now, I'm not suggesting that Dave Bowers (as the arche issue, which could be compiled by individuals needing 1ik~ such information. typal automatic musical enthusiast) would secretly to change 1975 to 1920. Rather, here's a chance to see The last such "weirdo" I have received has a trape what can happen when nickelodeons come to symbolize zoidal cross-section tracker bar (square holes), severe alienation (to use the words of the neighborhood tracking ears mounted behind and protruding above the shrink-witchdoctor). Who would've ever thought it? tracker bar, and a tracking mechanism similar to Auto until I read about Laurence G. Broadmoore, I thought pianos but upside down. The most notable feature is that automatic music enthusiasts merely liked to hear the motor, which is mounted on top of its tempo box and instruments play by themselves without human interven regulator. The motor is a standard design but metal tion. Now, we see elements of personality disintegra covered one with pallets in front. The pneumatics are tion, regression, and infantile scoptophilia behind reverse throw, and although the pumps are conventional, every Steinway 6'6N Duo-Art; primary-process thinking the reser~oir is mounted on the left side of the piano lurks inside of each Recordo; and morbid necrophilia case. The piano is manufactured by Krell. Any takers? clanks inside each Link suction pump. Craig Brougher I supposedthat AMICAns better gird themselves for 5105 W. 71, a psychiatrically-hyped media on-s1aught. The first Prairie Village, KS 66208 omen will be a few dark Ingmar Bergman films with such titles as "Through the Art-Glass Darkly," "Wi1d Spool 4 - IN - 1 frames," "Scenes from a Concertrola(sic)" with Liv BY ROBERT D. FERGUSON Ullman as a Wurlitzer unit-valve. Next, Dave Bowers will sell his memoirs to Mike Wallace for $25,000. The For a number of years my pride and joy has been a plague will descend for real when the Mekanisk Musik 1929 Ampico A upright, mainly because of Its tonal Museum appears in Police Gazette as a haven for kinky quality and mechanical condition. In the meantime I had crypto-nazis masquerading as Weber Maesto freaks. always cherished the thought of obtaining an IIAII roll No fair selling any of the above to Hollywood Nickelodeon; however-because of limited space, this scriptwriter friends. We've seen enough "disaster" presented a problem. films to want to avoid "Towering Seeburg Inferno" as After nearly giving up, I finally considered in well as "The Hunchback of San Sylmar" where Lon Chaney, stalling an A-roll frame in my Ampico. This too was Jr. pours hot PVC-E on the gathered crowds below as problematic; could it be done without destroying the they try to swipe the "choice unrestored" Welte Style reproducing ability of the piano? Needless to say it 6 Cottage Orchestrion. was finally accomplished. It now plays four ways: by Oh, I could go on like this forever. I dare you to hand, regu Ia r 88-note, Amp ico reproducIng ro11 s, and IIAII reprint this letter in the Bulletin. Also, consider a roll Nickelodeon. What a thrill it was to be able to new section of the Bulletin. In addition to "Biograph drop a nickel in the slot and listen to tunes that once ical Sketches," and "Technicalities," you'll have filled the business places in this country. AMICAnalysis. By the way, the IIA II roll frame was purchased from Mechanical Systems, Inc., of Lubbock, Texas, and is really an engineering masterpiece. @) THE AMICA BULLETIN MAY, 1975 PAGE 73
-Young Man Who Lives Out the Past------...... Born a Century Too Late contributed by Bob &GInny Bi II'ings, S.F. Chronicle, Aprll 13, 1975 By Li8II Hammel the ltth grade," he recalled~ "I came Nt'''' for" nmt'll back to school the t9110wing autumn New York wearing a cheap but suitable black siilt and II wing collar, For a couple TIME machine would have been of weeks the school administration Athe more appropriate vehicle in apparently thought it was publicity which to have traveled on that recent for the school .play. But then 1 was wet afternoon. Or"at the very least, spoken to by them. a covered victoria for this journey into the past - a charade created "I went through absurd machina and lived by an unsmiling young man tions to accomplish my end. 1 Invent named Laurence G. Br.oadmoore. ed a type of coUar that could be turned into a win.g collar' when the Broadmoore, enshrined in his principal was not looking, and own 'anachronism, lives in another sneaked a cane into my·l9Cker. But 1 century and repairs player.pianos for was threatened· with suspension. So, a living in the small Hudson river it was decided that'.I would go to a town of Tivoli, N.Y., about 100 miles private schooi and after S!'lme search from New York City, where he was ing, we foiindonethat did not care found that day in an old livery stable how 1 dressed. rio~ converted to a shelter for ,iling -,elodeons. "Later, J was able to find an Eastern 'college' that' 'als(l did not Within, the shop was warmed by object to' my, manntl.r~~f dressing, a coal stove and lined with dusty which, as you can see, Ihaye contin shelves laden with player piano rolls, ued to affect, with increasing· difficul beneath which stoOd a few florid ty. During work reces!'es, I served an autoinatic musical instruments, some 'apprenticeship in a player piano shop ancient gramophones' - and Broad and in 1971, captivated by the beauty moore. of -the area, I opened. this shop, and In his antique costume, hair part rented a farmhouse some few miles ed in the middle, and holding himself ffom here." rather stiffly - as one might in an "Somewhatagainst my will, the old-fashioned photograph - he blend house ha~' :electricity. j~ut 1 bu.rn ed with curious fitness into the fusty candles in the.. evenlJ1g.. I have a background. wooden icebox,. :and' 'store large blocks of. ice In' an illjtQ~atic refrig He greeted his visitors, then erator ~ whleh Is we.ll ~\ltof sight in treated them to his virtuosity upon a. thebaeem.ent.. It's the.,omy appliance recentlyrepai11!d player'piano, which 1 own, besides a quite oW'toaster." be pumped with great vigor. That performance over, he beck *-* .. oned his guest to some wooden chairs NA tour of his. house, Broadmore and seated himself before his rolltop Opointed out the 1000. gravity -wash desk, whereupon, adjusting his pince er in the.' kitchen where he does his nez and giving a final pull to his stiff laundry, ~rawing water frpm a pump wing collar, he gravely began the in the kitchen '(drinkirig water is til1e of how he had moved, bag and obtained from an outdoor well; the baggage, body and 'spirit, about a toilet facilities are in a small shed century.back into the past. about 100 yards in back of the house). Cooking (no convenience foods are WAS born***in Cleveland 24 years used) is done on a coal stove that "I provides heat. as does the parlor ago, and raised in Cincinnati," he ,~f>W said. "Even .as a little child, 1 was lorl Times photo by 8nI ..4Her stove. interested in .thepast. 1 don't know Player piano repairman Laurence Broadmoore at his rolltop desk The chilly upstairs bedrooms (two where the interest came from. My are for chance guests) .are sparsely parents were fine peol?le, but my "I was dissatisfied with the way replete with a set of standards, relia furnished with old-fashioned bed family was quite ordinary and did. things were in society, and ultimately ble' and complete, that did not seek to steads and oak dressers - their not share my interest. I, remember I developed a philosophy that ren justify itself. And the idea became surfaces. crammed with obscure 19th· . "ng fascinated every time 1 saw a dered totally insipid all accepted very appea1ing to me to simply take century novels, their drawers full of ;ure of an old telephone or talkirig standards. I decided nothing mat all of those standards of the past and old newspapers and photographs. -«chine, and 1 was quite infatuated 'tered, I questioned existence itself use them,. since 1 had already proved with Thomas Edison. I thought I and this put me into a depression, to myself that all Ilf living was an "I thought of constructing a, s.e.t.of wanted to become a scieritist, but when lwas about 13 or 14. artifice anyway. memories and began to coHeet l'ld later d·iscovered that What I really photographs, but 1 have not been able wanted was to be a 19th-century "But then. 1 began to see unfold "The change came about during to complete the project because of a scientist. before my e~es a system of society the summer of 1966, wl)en 1 was in lack of time," he said.
.. .. 'b CUi .. PAGE 74 MAY, 1975 THE AMICA BULLETIN
ABRAf1 CHASINS DELIGHTS FOUNDING CHAPTER BY nICK REUTLINGER The outstanding program of the year for the Founding Chapter was provided by Dr. Abram Chasins, composer, pianist, critic, teacher, author and raconteur, at Alf &Marjorie Werolin's on Saturday afternoon, April 12. Honorary Member Chasins began delighting those present NORTHERN CALIFOR;~IA SCHEDULE OF EVE~'·jTS by thanking AMlCA for voting him an Honorary Member- JUNE 7: The "May" Meeting will be held June 7 at 8:00 then commenting that perhaps .he was appearing under p.m. at the home of Mel Luchetti, 3449 false pretenses as he freely admitted that many times Mauricia Avenue, Santa Clara 296-5518. in person and in print he had had less than complimen tary remarks to make about reproducing pianos, rolls, NO JUNE MEETING BECAUSE OF THE INTERNATIONAL CONVENTION. and artists' performances on the rolls. He quickly JULY 26: Isadora Koff will host the July meeting at remarked that he was as critical of his own rolls cut Howie and Isadora's home, 2141 Daodara Drive, for Duo-Art as he was and is of other artists' efforts. Los Altos. Phone 964-3330. He remarked that he was involved in editing his own ~ performances and realizes that he did not totally understand the mechanical capabilities and needs of the FEBRUARY/MARCH MEETING AT PORTCULLIS system and therefore was unable to draw out what he BY nICK REUTLINGER considered a true "life-like" performance on the roll. He compared the oft-voiced criticism of "editing" rolls On the even i ng of March I, Jarod CIark opened his to the modern "doctoring" of tape recorded performances spectacular "Portcul lis" once again to Founding Chapter for records, stating in his opinion the editing done to AMICAns. Scene of the banquet for AMICA's First Inter piano roll masters was done to attempt a more life-like national Convention, Portcul lis is an attractive brick or human performance whereas tape editing today is done warehouse that has been converted by Jarod into a most to wipe out human errors or changes of tempo, etc., to unusual living space, office, and completely equipped achieve musical "perfection." gymnasium. It has been some time since we had held a Knowing personally many of the keyboard giants of . meeting there, and great changes have taken place. The the 20's, 30's, and up to the present, he is able to main room--approximately 50 feet square with ceilings authoritatively evaluate what roll performances measure 20 feet high, equipped with a raised stage above a up to a pianist's top personal performance. One roll parquet dance floor--has been luxuriously furnished played during the meeting, Rachmaninoff's recording of with groupings of sofas, comfortable chairs, and "Polka de W.R.," effectively portrayed the nuances of antique pieces from Jarod's family home. Members wan expression, phrasing and rhythm of the pianist's actu dered about through the central palm garden, through al p1aying--one of the very few rolls Dr. Chasins felt the more intimate sitting room, library, game room, measured up. and dining room down the spiral staircase to the base With his merry, impish wit, Dr. Chasins went on to ment gym and studio (the studio was set up for tap share with us many anecdotes about his friends and dancing lessons with parquet floor and mirrored wal Is fellow artists, including Rachmaninoff, Levitzki, and equipped with a Franklin upright Ampico to provide Busoni, Godowsky, Hoffman and Horowitz. He discussed authentic music for the dancers). There is an impres very frankly several of the modern concert pianists. and sive roof garden and sundeck up on the third (roof) the prevailing economic philosophy in this country level of the bui Iding. today, which forces many young artists on to the concert Jarod prov ided "I ive" enterta inment by engag i ng Bob stage before they are sufficiently mature to develop the Vaughn and Jack Risso to play piano and organ music finesse and technique that characterizes the older singly and in duet. Bob Vaughn is one of the staff lions of the keyboard. He commented that there are no organists at the Avenue Theater here in San Francisco, music critics today who are capable of analysing and which special izes in programs of silent fi Ims with criticising artistic performances "from the inside," Wurl itzer Pipe Organ accompaniment. For our meeting 'since none of them are composers or pianists themselves. he played J arod' s AI Ien Electron ic Theatre Organ. Dr. Chasins m~ntioned that he composed "Flirtation Jack is currently appearing at the Petaluma Inn, north in a Chinese Garden" and "Rush Hour in Hong Kong" in of San Francisco, playing a Thomas organ. He held forth 1926, long before he had ever visited the Orient. Last at our meeting on Jarod's 6'4" Knabe Ampico A. The two summer, to celebrate their 25th wedding anniversary, he men provided delightful music for listening, singing took his wife to the Orient and when they arrived in along, or for some couples dancing around the shining Hong Kong they were besieged by reporters and photo floor. graphers. He thought they had mistaken him for someone Th ree f i Ims were shown dur I ng the even ing: (I) "They else until the next day the headline read,""50 Years AI I Laughed," the mech?ln ica I mus ica I instrument f i 1m Late for Hong Kong Rush Hour" -- apparently the compo produced and photographed by AMI CAns Howard and Isadora sitions had been introduced in Hong Kong immediately Koff and narrated by Mel Luchetti (and available to al I after publication, had become very popular, and had AMICA chapters); (2) "The Cat Concerto;" and (3) remained so for the fifty intervening years. "Hollywood Bowl." The latter two are Tom and Jerry The afternoon slipped by quickly under the warm cartoons based on musical themes. After much searching, charm of Abram Chasins--one wondered, "Could not some meeting coordinator Nick Jarrett was able to locate of the celebrated musical salons of another era have prints of the cartoons through Films, Inc. in Los been much like this afternoon?" -- and we all hated to Angeles. Fol lowing the films a lavish wine and cheese see the session draw to a close. layout featuring an unusual centerpiece of fresh vege Alf and Marjorie were, as always, gracious hosts,' tables was served. setting out a delightful tea table with punch and many Jarod's easy, friendly hospitality set the tone for goodies available. This is a meeting th~t will long a relaxed evening of chatting, dancing, I istening and be remembered in the Bay Area. I hope Dr. Chasins will renewing old friendships. Thank you, Jarod! consent to pay us a return visit another time. THE AMICA BULLETIN MAY, 1975 PAGE 75
Mildred Powell enjoys listening to the Ampico. SOUTHERN CALI FORN IA SCHEDULE OF EVENTS JUNE 5: Mr. & Mrs. J. Cohen Studio City Aug. 16/17: Mr. & Mrs. J. Tushinsky Encino
Oct. 18: Mr. & Mrs. Lou Troffer La Crescenta Nov.?: Mr. & Mrs. Phil Hill Santa Monica
Dec.?: Mr. & Mrs. Richard Riley Camarillo ~III, SOUTHERN CALIF. AMICA--FEBRUARY~ 1975 BY EVELYN MEEDER AMICA Southern California Chapter got together for its first meeting of 1975 on February 15th at the home of Ben and Mary Lilien in Los Angeles. As you walked through the front door a Popper Orchestrion hit you smack in the e1e. It was the Lilien's newest purchase and had been intended for one of the rear rooms of the house. But it turned out to be too large, even when broken down. So there it stands, inside the front door, until a new resting spot is found for It. The orchestrion was only an introduction to all the rest of the fabulous collection spread out very taste know after seeing these pictures, everyone is going to fully throughout every room in the house. In addition try to stop In to see this point of interest. to the Knabe grand Ampico "A," there were several very All who attended the meeting here want to thank you, large and beautiful music boxes, an Orchestrelle Player Mel, for taking time out of your busy schedul~ to share Organ, Military Band Organ, a Violano, several phono with us your knowledge, interest and time that you and graphs, and many, many more interesting memorabilia. others have spent on this tremendously worthwhile pro The Li I iens served a lovely buffet dinner between ject! 5 & 7 o'clock, with plenty of good food, drinks, and We were also happy to have Dick Reutlinger from San delicious dessert. Eating, browsing, and good conversa Francisco with us that evening. tion took over until around 8 p.m., when we really had It was an evening to remember, and my only regret a treat. was that more Southern California AMICA members were Mel Luchetti of the San Francisco Chapter, a Found not there to share with us this memorable time. ing Member of AMICA, was our guest and lecturer for the Thanks from all of us to Ben and Mary for all their evening. Mel showed us sl ides of the tremendous and wonderful ~ospitality. extensive restoration of the Link Orchestrion belonging See you all at the Cohen's in April. to the famed Winchester House in San Jose, California. He also told us about the history of the house and ~'b showed us many slides of this very unusual place. I THE AM I CA SOUTHERN CALI FORN IA CHR I STMAS PARTY, DECEMBER 7, 1974 AT THE HOME OF DICK RIGG. PAGE 76 MAY, 1975 THE AMICA BULLETIN rr- j~~~~~- ~ ~~l~ll [m__ ;~mn~wm mJ] Py","Pya. __a • • • •• --Th;'1973 Arnica co-;';vention, held 1{Texas. • •• Friday night happening - the Texas barbecue with all the trimnin s.
Part of Ben & Mary Lilien's lovely collection. Put A Nickel in The Nickleodeon •• •
AndThePastPlays on .(v.'" '11tf ~\tH AIl'P5e'IJ Tl Me'S" 1"l"'fttH "' I ,.,,$ By FLORENCE MASON restores and refinishes the Tom has restored, Carole's How many people do you I:onsoles or cases. favorite is the impressive know who have nickel Beckett's personal favor player grand in their living odeons in their homes? Or ite is a large mortuary room. "Let us play player pianos? player organ which once Rachmaninoff for' you," Maybi severaL belonged to.a Fort Worth the Becketts offered, prod But are you often enter funeral parlor and was ucing a cylinder of "Elude tained by old-fashioned used for a while in a church Tableaux" dated 1922. So, music boxes that play from before Beckett acquired it. with the strains of Sergei rolls or discs? The organ contains three Rachmaninoff in the back There's one area home ranks of pipes plus chimes ground, the three of us that contains a total of 26 which the preacher could dr'lnk coffee and coke and such automatic musical operate from his pulpit discussed this grand piano instruments, all in working during services. which Tom estimates he condition. Before Beckett, the old spend some 200 hours The collection started less ,'rgan belonged to serveral overhauling and restoring. than five yars ago when other collectors, each of Carole Beckett took home a whom planned to restore it Carole relayed a story small seven-inch Sym and then gave up when he they've read to the effect phonion music box which couldn't find a manual for thaI Rachmaninoff resisted she had purchased in an it. Beckett didn't have a having his music put on antique shop. it needed re manual either, but with his rolls although three com newing and repairing, and determination and mech panies had asked him to do although he'd never seen anical 'know-how he set so. Finally he agreed to the inside of such a box about the tedious job of play on an automatic piano before, Carole's husband, restoring the instrument. which would record every Tom, decided to tackle the Then, he wrote ao article, nuance and ~en listen to job himself. complete with drawings, the playbaQit~After listen Successful with that ven which has been reproduced ing, he saia;;:!'1 have just ture, he has gone on to in several publications. heard myself play," and acquire 25 more automatic His current project is agreed to let American instruments -- some so adding seven more ranks of Piano Co. System (AMP large it has required six pipes, which he was able to 'ICO) reproduce his music men to move them. obtain from a church in on its reproducing piano. And some of the instru Oall Cliff, plus a xylophone. It is because they e' ments were taken home in His instrument then will be good music that pieces. Beckett carefully equivalent to that us«;d in Becketts have beco....:· rebuilt each instrument, many churches. There is involved in such an unusual and on a "musical tour" a only one original song roll and time-eonsuming hob visitor can hear each one with the organ, but Beckett by. Neither Tom nor his play. In addition to lias made adaptations so ~ife plays a musical , . providing melodies, each that four styles of rolls can instrument. Carole has •.•.. :1; ...", .• instrument complements .' if;,. be used, enabling him to taken some lessons on the -the decor of their home playa variety of music. grand player .. its key! Beckett and Mortuary Player Organ because Beckett carefully Of the many instruments board can be played ".wr;] THE AMICA BULLETIN MAY, 1975 PAGE 77 ------, 1~~I·li·I·II~·· ..I·I·I··III·IIIIIIIIIII·lilllllllllllll11111111.11111111111111111111111111111111111111111111111111111111111111:
TEXAS AMICA MEETS IN OAK CLIFF without using a roll - but matching disc sets. foUnd it took too much time The instruments are loc- from her other interests, , ated throughout the home- On April 13, 1975, by morning's grey light, it was ~owing Afr:iean violets, blending with the fumish evident that a long-standing ~~CA-Texas tradition was ings of the living room, doing needlepoint and family room. entry way, once again to be observed--it was going to rain on the participating in activities and upstairs playroom. day of the April meeting. Long-time members of the of the Richardson branch Side by 'side in the living chapter informed this reporter that all previous April of the American Aasocla room are the collections's tion of Univenity Women. meetings have met the same wet fate. oldest and newest boxes. In spite of the day-long drizzle, 45 members and both the smaller types with Currently abe is devoting lids that open re~ealing guests enjoyed an afternoon of visual and culinary many' boon to helpinl cylinders with tiny PegS delights at the home of James Guinn at 721 W. Ninth prepare' an AAUW which pluck the teeth of in the Oak Cliff section of Dallas. From the very activities book which 1s to metal combs. The oldest go on sale in May. beginning, it was evident that host Guinn and co-host was made in Switzerland Dora Henslee had put a great deal of time and effort Tom's mecbaniCalabillty over 100 years ago and has he describes as "natural" a cylinder that plays eight in making the meeting one to remember. At the front .hmes. The newest, also since he majored in door, members and guests were greeted with an elaborate political science at Stan- made in Switzerland, was "Welcome AMICA--Texas Chapter" sign. Once inside the made especially for the ford University. As a 25th anniversary of the spacious, high-ceilinged entry hall of James I 1913 custom builder. he works Musical Box Society Inter home, one immediately noticed the impressive 2-manual- out of his Nortb DaDas national in 1974. 30-pedal Estey organ with its upper facade of gilded home so his bobby boon and 'work hours· often are display pipes. Next to the Estey is a Packard upright intertwined. . Tom currently is presi piano with a Pratt-Read player action. The case of the dent of the Texas chapter On one nickelodeon, which of 1be Automatic Musical Packard is in excellent condition and the playing con he calls is "experimental Instrument Collectors Ass dition and operation were given high marks by Jerry mo4el". he kept a count of ociation
Francisco on February 23, detailing several items, in cluding decisions covering the roll auction, membership renewals, and International By-Law revision. It was also reported that the special trip to Noble Stidham's "Mechanical Systems" shop in Lubbock was still in the workings but rescheduled for early fall and that Noble had some of his latest (and very im pressive) new electric self-contained spoolboxes and percussion units on display in the kitchen. Finally, Tom asked for a show of hands from conven tion goers that would like to take advantage of the savings available if ten members fly to Buffalo in a group. We are still a bit short of the necessary number to qualify for the savings, and interested members in the area are requested to call Tom for more information. The business meeting was then adjourned and the floor turned over to Bill Flynt for a technical session. Bill's subject was the comparison of Ampico A, Art Echo, and Ampico B reproducing systems, and he had brought an expression mechanism of each type as well as a chalk board for some cross-sectional drawings. It was an in formative talk, of not only the actual operation of the expression units, but of the physical theory behind the operation. Bill has always been on hand to render tech nical assistance and advice to those who request it, and AMICA-Texas members are fortunate to be able to THE MIDWEST AMICA "ROLL CALL" draw on his expertise. DOUBLE HEADER Again, we extend our appreciation and congratula BY AL THEIL tions to James, Dora, and Bill for providing us with a \.~' thoroughly enjoyable afternoon. A peak attendance for Midwest AMICA was achieved on Saturday, December 14 when forty members and guests were treated to a tour of Vince and Elaine Aveni's private musical museum. Automatic music filled the air both in the Aveni's large living room where the late Model Chickering "B" entertained Ampico fans and the enormous basement recreation room which housed the balance of the collection. The program started off with the playing of a "Bill Ackman" special "0" roll conversion player piano. Bill has managed to squeeze just about every instrument imaginable into a highly compact case and further re Members chat in Bill's kitchen. duced the size by making the unit keyboardless. Then for a change of pace we were pleased to hear the sounds of a Seeburg MO Player Pipe Organ, followed by a unique Weltham upright which featured a harpsichord attachment. Vince looked as if he were really playing the accordian but it turned out to be a rare model roll-operated Hohner! Next on the agenda we heard a Peerless Nickel odeon and a Wurlitzer CX Orchestrion; these last two instruments sounded terrific and were complete with the original colorful art glass. The next instrument we heard was a 1924 Delux Double Mills Violano Virtuoso and what a beauty this was, both in appearance and sound; after hearing it one could understand why the Patent Office thought so highly of it. Last but not least we heard a magnificent Steinway XR Duo-Art. Vince and Elaine have arranged their "museum" so that their many rolls are stored in a neat and orderly manner adjacent to the machines they play on. While we were enjoying the evening we were treated to drinks from the open bar and ate delicious canapes ~. and hors d'oeuvres. After each item in the collection was initially demonstrated members and guests alternat- ed playing the various machines. Those that braved the snowy, cold Cleveland weather were amply rewarded by hearing these scarce and beautifully-restored THE AMICA BULLETIN MAY, 1975 PAGE 79
instruments. A sincere thank you to the Avenis for sharing their instruments with us. Early Sunday afternoon, December 15, Midwest AMICAns were at the home of Bill Ackman in Cleveland Heights. After a very brief business meeting we enjoyed hearing Bill's very quiet and ultra-expressive Marshall & Wendell Model B Ampico. Bill has done the restoration on this instrument and he's got it as finely tuned as a ,racer in the Indy "500." Bill took us on a tour of his large Tudor-style home and we were particularly impres sed by his "Nostalgia" rbom--two walls are completely papered with colorful old sheet music covers. Also stored in the room are many, many Ampico rolls and Roaring Twenties lamps, phonographs and collectables. Bill's roommate, Neal Khein, provided the delicious buffet consisting of au gratin potatoes and onions, baked corn, turkey and stuffing, ham and cheese rolls, sauerkraut salad and a delicious "English Triffle" la type of strawberry dessert). We also sampled the holi day punch which was served in hollowed-out oranges. While we were enjoying these treats the Ampico was playing the rolls selected from Bill's library and also Bill Ackman's Marshall & Wendell "B," the Ampico rolls members had received in the Christmas at the Christmas party. gift exchange. Bill has his workshop in the heated garage and showed us where he does his expert rebuild ing. Many thanks to Bill and Neal for hosting the punch as they arrived. After a brief business meeting December meeting and Christmas party. we adjourned to the Leiks' Music Room. The more than 25 AMICA members in Ohio, Michigan, Indiana and Ken AMI CAns attending were duly impressed with the out tucky, don't delay! Contact any Chapter officer about standing job Don did in rebuilding the Duo-Art mechan our group and we'll be pleased to send you information ism in his art case Weber--a quieter Duo-Art we have about dues and meeting dates. never heard! The piano action was refurbished by James Reeder, who also attended the meeting and was justifi Left to right, at Bill Ackman's ably proud of his craftsmanship. home: Carl Blair, Al Theil, Bill Also displayed in the Leik's Music Room is a 5'9" Ackman, and Molly Yeckley. Chickering Ampico "A" which Don is currently rebuilding. The large, panelled Music Room is replete with thick blue shag carpeting and has built-in shelves behind louvered doors for neat roll storage. After playing the rolls which Don had selected, we played various numbers from the Leik's collection as well as those that members had brought with them. While all this music filled the air we heaped our plates from the superb buffet table which Leilani Leik had prepared. Her centerpiece featured a greatly-de tailed cake in the shape of a grand piano, complete
Midwest AMICAns in Michigan.
THE MIDWEST AMICA "ROLL CALL"
MULLIKEN J MICHIGAN MEETING BY AL THEIL The Midwest AMICA Spring Meeting was hosted by Don and Leilani Leik, Sunday, April 20 in Mul I iken, Michi gan. Members and guests were treated to a delicious PAGE 80 MAY, 1975 THE AMICA BULLETIN
with twin candelabra. After much roll playing and technical discussion among members, the meeting had to come to an end. All Midwest AMI CAns appreciated hearing the Leiks' piano and enjoying their warm hospitality. The next meeting is scheduled to be held in Dayton, Ohio; the time and date will be announced later.
PHILADELPHIA AREA CHAPTER MEETING BY BOB ROSENCRANS Sunday, March 16th, found the Philadelphians driv ing out of their usual meeting area, over to Flemington New Jersey as guest of Ed Fryer and his wife. The drive proved to be longer than some of us real ized, and yours truly and Maryann Cornell, our Secretary and her hus band, arrived almost 15 minutes late. Attendance-wise, and in every other way, It was a great success. Of the approximately fifty people pre sent, eighteen were guests, and a number of the latter
left to right: Al Theil & Bob Fortier.
Don Leik's Weber Duo-Art.
requested application forms to become members of AMICA, Two Amicans who drove from Baltimore, Md., Allen Ford and Dick Merritt, joined our Chapter. We're glad to have you with us, Allen and Dick. We get inquiries from time to time from Amicans in the East, wishing to know If they may join our group. All Amicans may join any local Chapter, whether they reside within the geograph ic limits or not. For information, contact the Chapter President or Secretary. \ Our host, Ed Fryer, is nationally known primarily for his excellent recutting of A, G, and Li~k XR nickelodeon rolls, as well as for his fine, varied collection of instruments, all of which were in his shop back of his house. There we met to see and hear all. Ed started the afternoon by playing a selection '- or two on each one, giving a brief history of each, starting with a 1913 Regina Mandolin Orchestro, for which he had a copy of the original sales brochure. Following, in succession, we heard his 1920 Weber up right Duo-Art, 1920 Seeburg G, Armstrong Keyboard THE AMICA BULLETIN MAY, 1975 PAGE 81
attachment hand operated on regular plano, 1926 Mills Double Violano Virtuoso, 1927 Seeburg KT, 1927 Seeburg L, 1926 Seeburg KT Special, 1927 Link 2E, and last but not least his Haines Ampico uprightl What an afternoon! And for those non-Reproducer buffs, proof that we do have and enjoy other forms of musical automata I During the brief business meeting that followed, the guests were introduced, and Bob Rosencrans reviewed details of the Buffalo Convention. Plans were also Philadelphia meeting at Ed Fryer's. finalized for the following meetings: From left to right: Barbara Macartney, Doris May 18, '75---Home of Mr. & Mrs. Rodebaugh Pughtown, PA Bevvy, Bill Pilgermayer, John A. Ianeiri July 22------Plcnic, Lenape Park (back to camera), and host Ed Fryer. Sept. 21------Leroy & Claire Lambert Collegeville, Pa. Nov. 16------Bob & Barbara Molesworth New Britain, Pa. As is often the case, antique cars also are one of Dec. 14------Jesse & Barbara Macartney our host's interests, and sitting in the garage along Narberth, Pa. side Ed's shop was a handsome 1933 Bu ick black convert Jan. 18, '76--John & Doris Berry ible coupe, complete with sidemounts, and all original Newtown Square, Pa. except for the top and upholstery. So there was talk of March 21------Blll & Sigrid Pilgermayer our picnic next summer being a combined AMICA/old car Harleysville, Pa. get-together for those interested in doing so. May 16------Mlke & Beverly Naddeo Ed kindly consented to having the meeting at his Prospect Park, Pa. place only ten days before, when the Hrehas, for the second time, couldn't have the meeting at their place Ed and his wife were excellent hosts. All during the as scheduled. We are Indeed Indebted to the Freyers afternoon we enjoyed many varieties of home-made cookies for hosting a great meeting on such short notice. and coffee, lime punch and something "harder." We are also Indebted to the Cornells for co-hosting this affair. We asked Ed to tell us about his rec~tting venture. I'm afraid Ed was too modest in describing this activi ty, but anyone who has purchased his rolls knows how excellent they are.
CONTRIBUTED BY MAURICE WETZEL. "I played a roll for Q.R.S. in 1915, and introduced Max Kort1ander to Lee S. Roberts at the Q.R.S. recording studio in Chicago. JURe 28, 1965 I believe you know the rest of the story." IIll1lllllUllJI New model of 'dancing colors' available
Color-TV engineering buffs who the cost of the earlier more complex patiently paced the exhibit halls of models, the new unit is like the small the National Association of Broad color effects machine that be has casters' conventions during the FCC been marketing to the dental profes WITZEJ... MAURICE SWABY, Chicago ager In Chicago in 1933; In 1935 he be freeze years of the early 1950's may sion for audio-video analgesia. It will Manager, National Broadca.sting Co. Ra came Chicago Manager of the NBC recall one pioneer color product ex synchronize to any music source a,ld dio Rc<:ording DIvision, Chicago, Ill. Transcription Service (now known as Born Grand Rapids, Mich., March 6, the NBC Radio Recording Division). hibitor who shared their anguished function in stereo too. Some 300 1895; son of Helen Swaby (teacher) and Invented and developed synchronization expectations-Maurice Wetzel, own units have been sold to dentists. Albert C. Wctzel
THE WALL STREET JOURNAL · ·IeB1k a e aC aI'm 91 Tuesday, October 23, 1973 E. U.'b. . .. I ....I Contributed by Daniel Schacher VOL. CLXXXII NO. 80 · ets It on Tape The Comeback Kid G· At Age 90, Eubie Blake CONTRIBUTED BY CLIFF BURROUS ' By BorIi Weintraub He began playing piano at an early Blake played a medley of sonas from Is Wowing Them Again Star-Newl Staff WriW age, first sending his rolling bass lines ."Shuffle Along," "Bandana Days.:'. • A gaggle'of television technicians over the ivories for pay in a Baltilmre, "Love Will Find a Way" (which he WIth RagtIme Sound ~l1ddled around the piano, feverishly whorehouse. He soon Imved on to better sang in a passablE; but unquavering and animatedly discussing their lighting jobs and achieved his greatest fame in voice), "Gypsy Blues" and his classic problems.' . VPaaurtdneevilt:shile·PteamwithoNfPSblS.lseleS~~eB'wbenlakewtheas "I'm Just Wild About Harry." . To Fans of Old-Time Music "We've BOt to get rid of the shadows auu "That's the song that, along wIth ' tJI1 the left band," one twisted. on of the top acts on the Keith's circuit. 'Metmries of You,' means we'U never He & His Piano PlayingAre rln the midst of all, a 91-year-old man "You don't know how great a colored have to be out in the street working," he sat peacefully on the piano bench rip act had to be to get on the Keith's cir- said. Authentic Link With Past pling off the solo piaao'Part oof Gersh He continued to work as a writer, conductor and as a performer all the win's ':Rbapsody in Blue. U Eubie Blake, monument of musical history whose way through the Depression-"We 'But My Best Year Was 1907' musical skills·belie his' age, was the made ends meet," he said succinctly- :almest man in the place. . through World War II" when he played 'Most people USO shows, until retiring in 1949. But By PAMELA HOLLIE the recent revival of ragtime music Staff Reporter of THE 'VALL STREET JOURNAL BLAKE WAS AT Rockville's Glen brought him:back to popularity, and he Hands above his head like a prize fighter, .is wowing kids at colleges throughout the elderly little man scampers out to a big view Mansion to taPe a one-bour "Bar .the country. grand plano at midstage. Behind him are the ambee" special/to be shown on wroP-9 think '. musicians' 'Ibere is a twinkle in Eubie Blake's lOG-piece Boston PQps Orchestra and it '11- at 7:30 p.m. on March 29. Remarkably, eye as he talks. He looks'as if he sees ductor, Arthur Fiedler. Out front are h\ s this is the firsr time a full-hour televi right through all that television foolish- of music lovers and a massive televisiol~i- sion special has been devoted to this are drunkards. I ness. ence. remarkable man. When he wasn't sure what he was Without a quaver in his booming voice, the Eubie B.lake bas ItrOnI rmaers, a rum , fi~st nu~~r. voice, .a steady body.. When be entered . supposed to do at the taping session, he pianist announces his "I'm going never drink. I would simply look over at,a floor direc- to play a piece I wrote In 1899, he says, paus for the taping session, be bnlShed off a tor and say "put up your card what fng to let the date sink in. "'Charleston Rag,' proffered helping hand; he clearly you want me: to play?" 'ladles and gentlemen." Then he plunges into a didn't need any belP. He was immaculately dressed in a fast, polyrhythmic piece, slidi~g back and forth "Most people think musicians are never touch a brown velvet suit, a cream-colored on the piano bench, tapping hiS feet and reach drunkards," he sai'd later. "I never shirt, a bow tie with solid brown on one ing for theHextr~me ends of"the keyboard..His drink. I never touch a drop." side and a 'print on the other and green hands fly. Get em, Eubie, he says, smihng. What be does tou~is the piano play . ..' The audience applauds wildly. ing rags, ballads show tunes. Tbe open drop.' , suspe~ders. His halr IS long gone, but he Eubie Blake looks old, but not as old as he ing piece he played at the taping ses S4f..·~s has a ltttle moustache. really is. He was 90 last February. Yet he sion, for example, was "Charleston 'II' ,...,... · throu plays with the energy of someone a half-cen- Rag," which he wrote in 1899..He has P "7 "7. Blake was totally at ease ghout tury younger beep around so long that, as be noted, . the ~sssion. When he likes what De. is HSometim~s I think the people are kidding when Worl~ War I started, "I was too old cuit," he recalled. "We never got over plaYIng, he punctates t~e song WIth me," says the former bordello piano player, to go in the war, thank the Lord." S300 (a,week)." . grunts of approval and smiles b~dly. vaudevillian, Broadway musical writer and He talked with "Harambee's" hosts As he moved through James P. John- conductor. HI can't play that good." But no Carol Randolph and Claude Matthews' IN THE' EARLY 1920s, Sissie and son's "If I Could Be With You," h~ sud- body is kidding. At 90, Eubie Blake is making a about his early days. Blake teamed with Miller and Lyles, denly shifted into a diftlcu1t doubletune comeback. \ "I was bom in BaltiJnore in 1883 " be another top.black vaudeville team, to p~ssage and came through without a Holding the Key said. "My parents were slaves in'Vir bring black music to Broadway With hitch. , HI'm having a ball," he says. This year he ginia, but I don't hold no malice toward "Shuffle Along," which won raves from "That's tricky,". he commented, and has performed at the Newport-New York Jazz no one for that. 1bat's the way·I was white reViewers, ran fOI' years and went on playing. Festival at Carnegie Hall, at New York's Lin- taught." made a whole bevy of stars. He may just go on playing foreven coIn Center, at the Molde Jazz Festival in Nor way and with the Boston Pops for Old Timers, Night. Last year he appeared at the Berlin! Jazz Festival. He does several performances E>. I sometimes. He has a e s. mos exc us ve y e wor 0 appeared on the Johnny Carson show three blacks, "ragtime is the real soul music," Eubie times, on the Mike Douglas show and on says. of retirement four years ago, his audiences "Black Omnibus" with Janles Earl Jones. He A Link With a·n Era were small indeed, consisting of inquisitive has had theaters named in his honor, and hon But in its revival, ragtime has emerged as I music students, his cat, his wife and friends. orary degrees presented to him and had a concert music. liThe revival is among young, Then John Hammond, vice president for talent "Eubie Blake Day" proclaimed by his home white, conservatory-trained pianists," says acquisition for Columbia Records, suggested to town, Baltimore. "I've got the key to Boston,'.' music historian Robert Kimball, co-author of Eubie that he cut a record. Eubie agreed. ·jThe he says. "Reminiscing with SissIe & Blake," a book re-I 86 Years of Eubie Blake," a two-record album, Eubie gets up to $2,500 per performance leased this year about Eubie's early Broadway was his first in 50 years. these days, and his royalties from some 31~ career with his partner. Noble SissIe (who, at One thing led to another. and Eubie's CP~'~er pieces bring in over $15,000 a year. "I'm back 84, is now retired and living in Florida). "What rematerialized. ·'Ragtime is back,'" on top," he says. "This is the best year yet." makes Eubie important is he's a link with says. Eubie's come.back is linked to a growing in those that went before him," Mr. Kimball says. Although Eubie is currently known as'?t-r(g terest in early American music, part of the "Eubie is the only one left to talk about and time piano player, ragtime actually represents nostalgia craze that t,~~ hyoought back jazz, the play music from the turn of the century with the earliest phase of his professional career, ~cat singing of th~ 19·iOS and rock 'n roll. the authenticity of a man who was there at the when "eating was the main consideration." In "', .,' :me \':hirh is characterized by elabo beginning.', later years he was better known as a com ".:J! ')pah\(i rhythms in the melody, is But Eubie isn't concerned with the reasons poser, conductor and writer of .. Shuffle ""J~',shiered "l.-::~ of the first of the uniquely for his recent success. All he really cares about Along," the pioneer of black Broadway shows, American forms, having become popUlar in the is writing and performing. Before he came out for which "I'm Just Wild About Harry" was I THE AMICA BULLETIN MAY, 1975 PAGE 83
originally written. Flash)' and ComIlllcated But ragtime is his torte. It's flashy, compll cated and as old as he is. "Ragtime is difficult to play. particularly tor people who haven't heard it," says Max Morath, an entertainer and writer, who specializes in music trom the turn of the century. "Piano players can play the notes, but the style is another matter," he says. "Eubie's got the kind of style that tew can duplicate." Ragtime syncopation calls tor complex mel odies played by the right hand to be accented and contrasted with the steady bass of the left. It's Eubie's lett hand particularly that makes his playing distinctive. He plays a reverse boo· gie bass, sometimes called a wobbling bass. With his long fingers he can play with a mas. tery tew can dupllcate. "See, my tingers are 80 long I play tenths," he'says. He can, in tact, span up to 12 keys, or 80me 11 inches. Most pi. anists settle for nine or 10 keys at best. Eubie has always been sensitive about his hands. "My mother made me that way," he says. "As a kid she would always say, 'dOUble up your hands, Euble. You look like a pick pocket.' I never did anything to !lurt my hands," he says. "It anything ever happened to my hands, I'm tinished." But there's more to Eubie's comeback than his playing. "I'm good, but my best year was 1907," he says. Nowadays, he says, he otten forgets passages and makes up something to tlll in as he goes along. He says other musi· clans and critics are kind to him. "It's prob· ably because ot my age," he says. Along with his playing, it's Eubie's v1tallty ,nd his stories, which he has worked into a .licely paced routine that keep people coming back to see him. IlOnce you've seen Eubte work, you're a tan torever," says one jazz and ragtime enthur-iast. "When I'm on stage, I'm another person al together. I don't get tired," Eubie says. Indeed, Eubie is noticeably dlfterent on and ott stage. Before going on for a performance, he usually sits ott stage with his wite and man· ager, Marion, and some triends. He keeps his hands tolded in his lap, like his mother would have wanted, and he talks slowly and quietly. To hear what's going on, he turns his head to favor his right ear because he's lost some hear' ing In his left ear. When It's time tor his en· trance, he walks to the edge of the stage wlth the help of a trlend. He straightens up and steadies himself. Then the change occurs. Sud· denly the doddering James Hubert Blake be· comes the sprIghtly Eubie, and he llterally sprints to the piano with his hands clasped above his head. "When I walk on stage, they have the piano close, see, because tt they don't people will think I'm drunk," he explatns. Arthritis settled In his back some years ago, so Eubie isn't a1. ways sure·tooted. Unles§ he walks swiftly, he Slar-News F'hocogrllipher Wellner Streets says, he staggers. He also knows that his audi ences love to see him dash on stage. Eubie Blake: "what do you want me to play?" A Notable Show There were other Broadway shows for It was during this time that he decided t9 go "A pertormer lives off applause," he says. EUbie, and he wrote many big hits sung by back to school. He had dropped out at age 15. "He won't make a dime unless he can get ap such pertormers as Gertrude Lawrence, Sophie He enrolled at New York University.to study plause." Tucker, Noel Coward and Ethel Waters. A sec· the Schil1lnger system of composition, a diffi Eubie actually has had several careers, be ond production of "Shuttle Along" in 1923 cult mathematical system of composing, and ginning at 17 as a piano player in a Baltimore marked the beginning ot careers tor Josephine graduated at age 66. He spent most ot his reo bordello. He never made the transition to jazz Baker and Paul Robeson. tirement writing down in the Schlllinger sys when it preempted ragtime about 1917. Instead, When the Depression came, Eubie contin tem old songs he had committed to memory Eubie joined the vaudeville circuit and atter ued to wrlte, producing the musical score for but never written down in detail. meeting his partner, Noble Sissie, in 1915 pro the Broadway show "Blackbirds" and songs Eubie spends most of his day at the piano, duced an act that was the rave ot polite soci Ilke "Memories ot You." Usually he wrote just practicing three hours, often writing more. ety. People like the Wanamakers and the As· the music, but tor some of his songs he wrote "Sometimes I write so long, the lines on the tors Joved it. the words as well. Meantime, the team ot Sis paper commence to move on me," he says. 'P'enln1921, Eubie and Noble Sissie, wlth sie & -Blake performed in tive tllms. EVe>! Eubie's latest music sounds dated. It's another team, wrote "Shuftle Along," a show The Leanest Year highly unlikely to make the charts even as far notable on severai counts. For one thing, it was In the early 1940s, Eubie was the musical as pleasing contemporary taste is concerned, the first ettort by blacks to write, direct, pro· conductor tor a usa hospital unit. But by the though it is new. Unfortunately, Eubie's first duce and perform in a Broadway show. And, in mid·1940s jobs were scarce tor Eubie. Ragtime love in music is the waltz. He wrote six last an era when the typical show was based on the had died long ago. In 1945, Eubie's leanest year. European operetta torm, "Shu((Je Along" pi year, he made only $700 in royalties. He retired In his old age, Eubie sleeps very little, oneered in melding jazz and blues into a from performing in 1946 to spend the next 23 sometimes less than fOUf hours. He rises late Broadway review. years writing at his home in Brooklyn. and breakfasts on a couple of pancakes, but lit- PAGE 84 ~1AY, 1975 THE AMICA BULLE;IN
THE MILWAUKEE· JOURNAL tle else. He lives on 7·Up, tea, clgarets and ci gars. He weighs 125 pounds. "I've no stom ach," he says, standing up tall and patting himself. He also has no hair. "I've been getting bald since I was 17," he says with a chuckle. GreenSheet The only hair on his head is a neatly clipped but bhin mustache and sparse salt-and-pepper Saturday, Al'ril 13; 1974 eyebrows. Co~,.tt'''l(T'b "'I Po",__ M ...~C A New Venture , Eubie's home is much like him, full of memo ories. He moved into a three-story house in 1945 when he married his second wife, Marion. A little vamp went along.way His first wife, Avis, died in 1939 after 29 years of marriage. The halls of the big brownstone are lined with pictures in black wooden frames dating back 50 years. The living room is small for composer Harold Arlen and cluttered with pictures, records and music. A black baby grand nearly fills the room. Iy lo~n Corry da dum, da dum, da dum. Nlaht," ''The Man That Got know, E. Y. Hsrbura, the Iyro. Eubie seldom ventures away (rom home ex New York Times Service You know, I'd amten bored. Away" and the. music for Iclst - we went to HOlly cept to perform. New York, N. Y. _ "I was . That's.why I WU vlmplna:. "Wizard 01 Oz'" and "Bloom· wood to work on lOme mov Nowadays, the household is extra bUSy due er Glr!." HI wu.:ln fact, In Ie. Tibbett, was aolna to do ~~~m~~;.e:~o~~;ayY~:c~;; Vamp to tame enormous Jueee!s. the sona, but he dldn't. Then to Eubie's newest interest, Euble Blake Music, piano," he said. "That WIJ 44 "So, the company Isked "In '31, '32, '33:1 lived In a Judy was lolna to do It, and a" record company. "We started a record com years Igo. Do I look that me what I WII playing. I penthouse In the Croyd6n 'on then Frank wa. loin•. to do pany to keep up with Eubie's composing," says, old?" said, 'Nothing. just some- 86th St. I often pass by and I It. They didn't." carl Seltzer, Eubie's partner in the 19-month- i The man talking was Har. thing of my own.' I didn't salute it now," Arlen said. He Changing times old Arlen, and indeed he did realize I had a song, but it sighed. remembering when a old company. The company began as a mail·or not look thlt old. He was turned into 'Get Happy,' and Arlen plucked at the 'small Depression was on the land. r6~ der operation wilh two Euble Blake records cut talking about his life as a it was all from that little but an urban sophistication In hiS lapel. He Slid that in Mr. Seltzer's small studio. The company composer, Ind how it all vamp. I got $50 for it." was on Its music. sometimes he truly loved his s~arted "The favorite thing I own music. at Eubie's home using the Blake's per began. Eventually. Arlen went on "Oh Lord, taste today," he sonal Christmas-card list for potential custom "One day. Vincent asked to compose other things. and wrote?" he said. "I'll g!v~ you one, but no one's ever Slid. "How it's chang Ina. ers. It now has grown to a wholesale business me to play at rehearsal," he among them were "That Old. Sickening. There Ire four or Slid, "and I wu vamping ~ Black Magic," "Blues In the heard of it - 'Last Night as well. "I'd say we've sold 5,000 records, When We Were Young.' It five youna people wrltlna which is pretty good," Mr. Seltzer says. The was strange. George Gersh beautiful thlnaa, but mostly win was living on 720d St., it's percussive stuff, and not venture Is just "slightly profitable," he adds. Arlen in 1960. melodic at alL" "Eubie does the playing, and I do all the rest," working on 'Porgy,' and he'd drop by and play his stuff, Arlen looked perplexed. Then Arlen, who is an ele· he says. and I'd play mine. I played It He, said he could not under gant min, said that he had' ______Most of the business details of Eubie's ca for him. He had absolutely no stapd it yet. started to work a,aln. He reer are handled by other people, his Wife, or re.etlan." "Then Yip and I- you Turn to pl,e 3, column 3 hiS close friends. He has no children. "I'm taken care of like a racehorse," he says. His wife is his manager and agent. "My wife takes core of everything," Eubie says. Mrs. Blake, a Composer Arlenremembers ~ormer showgirl, didn't want Euble to return to FromJ)4get weatherbeaten Truman Ca the stage. But since he has, she's been con· said that his wife had died pote, said he didn't much like stantly bUSy arranging his appearances and four years ago. and that he popular music now, either. setting- up Interviews. thought then that It was the Top 40 blues Eubie's performances all Involve the play end for him, too. "The Top 40 and all that," ing of ragtime. semiclassics and, of course, a Starts writing again he said. "You play 'All the lot of his songs, which have benefited from the "Then one night I went to Things You Are' after nine or revival. In a typical hour·long performance, he hear that black singer.. You 10 of those things, and even know, that good slnaer," he that sounds like a bad song." likes to talk about one-third of the time about Then Stanley Adams, the his mus;c and his life. !aid. He had Italicized the word good. president of ASCAP, aot up, A son of former Virginia slaves, Euble often cleared his throat, and said, commenls on how he taught himself to speak "Bobby Short," he said. "Naturally, thIs Is a rather "That'. who it wu. He'. "proper" English by listening to the radio and auspicious occasion," and been doing those songs, the bee4n to Introduce the erri.!· how he pretended he couldn't read music be right songl, for 25 years. nent composers and lyricists cause blacks were supposed to be natural Then I went over and heard who were there. singers and musicians. HIt wasn't easy for Mabel Mercer. I atarted to Then another man from come. out of It. I started to ASCAP aot up, pointed to,. blacks When I started," he says. "Some great: work laain." Arlen pUlled stars used to dress next to the toilet." Euble plano, and said he hoped that a blank manuacl'ipt out of his some ot them might he pr.. says that at one tlme even record sales were poCket. He Slid he had al valled on to play their sonas. segregated. "Race records weren't supposed to ways carried one before. and Quietly, Ar,len and Styna be sold to white people," he says. that now he was carrying slipped out of the room. Euble's not sure why the tables are turned one again. now, His audiences are nearly all white. But "Once. I WII In anlgent's ottlce," he said, "and IiOme· he's proud of the fact that his contributions are thing came over Ute Tele being appreciated by someone and that he type. 'Want Theme to Be won't be forgotten just because he's black. I Called "Let's Fall in Love,'" c'People want to record me for history," he it said. I got a channlna, says proudly. He plans to donate his career burning sensation in my stomach, rushed Into the memorabilia to a university, but he hasn't de men's room and wrote· eight cided.which one. Several have indicated an in· bars." terest. ASCAPparty Retirement is simply out of the question for Arlen lot up. He was In an Euble. "I'll keep performing," he says, "until otflce of the American Socle· one day while I'm on stage, the man upstairs ty at Composers, Authors says 'nine, 10-you're out." and Musicians, and. outside there WIB a small party_ ASCAP WIS alvlna It for the cast of "Music, Music," Alan Jay Lerner's .neW show, In 1135 a dapper Harold Arlen and Anya Taranda which opened this week at (later his wife) toured the Goldwyn Studios, where the City Center. musicals with his songs had the whole country When Arlen walked in, he humming. was areeted by Martin Char· min. who has been lyricist to "HI, Toots," Charmln said, written almost as much mu some of Richsrd Rodger'. and they embraced. sic as Arlen, embraced him, music. Then, Jule Styne, who hIS too. Styne, who looks like a THE AMICA BULLETIN MAY, 1975 PAGE 85
LOOK! NO HANDS! Everson's pianos play themselves Everson Whittle has been interested in Player Pianos for only the last four years, but during that time he has built up a collection of' 'fine instruments which between them show th~ development of Player Pianos. The oldest Instrument, Inch of space has been used to dating from the turn of the house the motor and cenhlry, Is placed In front of machinery, the engineering of ler the keyboard of an which Is of a very high ~ J.ry plano \\Ihose keys calibre. ar~ then struck by the LlBERACE hammers of the Player Plano. Everson has about 1,500 The earlier mOdels were rolls covering all types of op,-,rated by two foot pedals music. Most of them are from which operated the 65 tiny the beginning of the century bellows, one for each note, and many well-known pianists and also turned the roll which like Dame Myra Hess played had on It the music. for the master rolls. These rolls must have been There Is renewed Interest In one of the first pieces of Player Planas especially In programming, for the paper America, to Where Everson Is punched with holes to has to turn to for advice In correspond with the different restoration work, spares and notes. modern rolls' cut by present As the holes on the roll run day names like Llberace. over a metal strip which has a In the few years since he hole In it for each note, so by became addicted to Player varying the air pressure the Planas, Everson has seen the tiny bellows are contracted price of Instruments rocket which in turn causes the right and their availablllty Everson Whittle with one of note to be activated. decrease. the Pla.yer Planas IiIslde the The tempo of the music can Althouth Everson plays the Rlbbleton Avenue Methodist be altered by different plano and Is the organist at Church. pressures on the pedals and Rlbbleton Avenue Methodist tHis Is marked on the rolls. Church, he has never had a Rolls for operettas and music lesson. songs have the words running along one side whilst a roll of nursery rhymes Is decorated If the player gets tired of expression In playing by the with pictures. Most rolls have operating the toot pedals an 'ater models gives the LONGRID6E NEWS an elaborate picture or design electric motor can do the job, I,l-qpresslon that the plano Is at the beginning, some also giving an eerie effect as keys becng played by human carrying a resume of the go down and music pours hanu~. work. forth with no-one near ! An \!;ngllsh Duo-Art has EERIE An American Amplco been re..tored to all its former "'verson's other four Player Instrument dating from about glory me~anlcallyand struc THURSDAY, JANUARY 23, 19'75 1 all look at first sight 1928, Is able to play with the turally, ''''lth a beautifully l. conventional planas expression used by the finished ca~e decorated with except that they are a little original pianist who made the gilding. deeper. A model which dates master roll. This gives a The mechahics of these from early this century has much superior quality to the later Player Planas are Improved bass notes and a earlier models and Is housed low down. behind the feature of the workmanship Is achieved by rows of holes front panel which is- easily the beautifully inlaid brass punched along the outside removed' for viewing; nameplate. edges of the rolls. The use, of PAGE 86 MAY, 1975 THE AMICA BULLETIN
Oscar R·as,bach mechanical musical ~·asadena 25 Ma rch '75 instruments like A very special If you . ('.omposer Oscar Ra-sbach music boxes, player a founding member of t.he organs and singing \ merican Society of Com .. birds. ~()Sers. Authors' and Publish·· kind of music like the After the meeting, '~"S (ASCAP) - died at his • two s p e'c i a I lome yesterday at 86. plano reproducing pianos, One of Rasbach"s mo~t at the church the duo-art and 'opu]ar songs was "Tree6." Formed only in ampico, will be '''hich set to music the The Wurlitzer theatre organ which was 1972, the North West ·Jmed poem b:'t .Joyce Kil demonstrated, both of It was introduced in Player-PlaDo AS8OC ler. housed at the Odeon Cinema, Manchester, for ,which are capable of ~J22. 40 years, will be the subject of a combined laUon is holding its faithfully reprodu- Many of his other songs - meeting of Preston and District Organists' annual general cing the actual Association and the North West Player-Piano · 11 e 1u din g "'l\lountains,.. meeting at Ribbleton perfonnanoo of the · Redwoods." and "'A Wan Association this Saturday. Avenue Methodist '1erer~s Song'~ - recently Besides taped music of the organ, slides artist who Inltlally Church this Saturday cut the rolls. ave been revived by envi wm highlight the pipe chambers, console and' afternoon. :'onmentaJist groups. special effects of the. instrument which Anyone interested A Fapidly ex- would be welcome to Rasbach came to Southern Include surf machine, chimes, drums .and. panding membership the meeting and 'alifornia from his native cyEnbals. . ayton. Ky.. at the turn of The organ was recently dismantled by which already further information numbers 70, brings can be had from the 'le century and settled In the Lancashire Theatre Organ Trust and !le Pasadena-San Marino together enthusias1B secretary, Mr. E. presented to Manchester Corporation. Whittle. 47 Raikes rea. where he spent most Members of the public are invited to the who have their own Road, Preston. Tel. ;f his life. He taught piano p~yer-piano or some meeting which begins at 7 p.m. and is at Prestoo 22836. xhen not compoSing. . I)" ..f.,oei.eed PrM. Rtbbleton Avenue Methodist Church. other form of _____• __4 _
QRS ROLL LIST ADDITIONS hole punch and blank paper, from the sheet music, of rolls you can't buy- My "Ten Cents A Dance" turned out Bi 11 Pixley has suppl ied the following rolls to the QRS pretty good. My next will be a "Lee Sims" arrangement master roll list. New members, this list came out a of "Ev' rything' s Been Done Before" from MGM's "Reck couple of years ago t but I still have a few copies. If less," 1935, and "Them There Eyes," 1930. It takes you want one, send me a large stamped self-addressed lots of hard work and time, 80 to 100 hours, to make envelope, and 11 11 see that you get one. --Ginny each roll. The paper has to be l~ned both directions, a 433 Ice and Snow (1917) Will Rossiter tough job, and the music interpreted and timing 947 Whoa, January Max Kort 1ander figured out. I put on the words and chords for "uke" 2185 Down Hearted Blues J. Lawrence Cook as on the old Connorized rolls. My wife helps with the music as she used to play piano and cello an9 can read Edgar Purdy also adds a title: music. I am going to get some help from the church 2225 My Rose Is Only You (Marimba Waltz) organist and from wherever I can on the next roll as I Osborne & Howe am no J. Lawrence Cook yet. John Faunce has also_ been working on a complete QRS list Is there any other member who cuts a roll by hand, for a couple of years t and would like help on the w~thout any equipment but a punch? following numbers for which titles are missing. If you can help, write to him at 1414 Menoher Blvd., Johnstown, ~. Pa. 15905. 53 492 1550 1951 2762 3153 3758 4841 2543 3257 54 791 2347 2037 2770 3242 3769 4897 2774 3258 55 838 2364 2050 3062 3414 37ts5 2911 3259 ARYTHMODIK LIST ADDITION 56 909 2375 2236 3064 3415 3791 2410 3035 3264 BY HAMER F. ARBUCKLE . 57 934 23B8 2246 3066 344ts 3806 2440 3048 59 1052 2390 2307 30b8 34tSl 3984 24b8 3059 BSS23 BEAUTIFUL LADY (VAN ALSTYNE), played by Otto ~ 60 1114 2564 3117 3,05 4001 2487 3061 Winternitz and Frederick Arno. 61 1197 1212 2610 3151 3567 4002 2499 3062 63 1549 1541 2692 3152 3598 4124 2503 3067 John saySt My latest project is making my own rolls with a one- THE AMICA BULLETIN MAY, 1975 PAGE 87
PIANO CONCERT WITHOUT A PIANIST Duo-Art Piano Gives Performance with Orchestral Accompaniment Led by Damrosch from THE MUSICAL COl)RIER, NOVEMBER 22, 1917 contributed by Doug Hickling The Aeol ian Company gave a demonstration, with or- through the record roll, mechanical in its inception, chestra, of the Duo-Art Weber reproducing piano, in but something more as to its del Ivery. Aeol ian Hall, New York, Saturday night, November 17. The reports In the Sunday daily papers were interest- A large and fashionable audience attended, Including Go- Ing. The Times says: dowsky, Paderewski, Gabrilowitsch and others well known It was a reproduction of Harold Bauer's interpreta in the musical world; and while Harold Bauer was playing tion of Saint-Saens' G minor concerto. Mr. Bauer him In Chicago, a reproduction of that artist1s playing of self was in Chicago. Mr. Damrosch followed it as he the Saint-Saens G minor concerto was reproduced through would a player of flesh and blood, and created some the Duo-Art, the New York Symphony Orchestra doing the amusement by his occasional close scrutiny of the mov accompaniment for the reproducing instrument. This demonstration was interesting in the extreme, in ing keys of the keyboard and his success in "coming out that it indicated the advance that has been made in what even" with the roll, after the pianist had had a pause is popularly termed the player piano. The audience appre which was filled in by the orchestra. ciated the wonderful 'mechanical demonstration and indi On the other hand, the Tribune says: cated this by 1iberal applause and many exclamations of wonder. The various New York daily papers gave inter Of course, it would be idle to state that the living esting reports of the event, but indicated the same lack pianist was not missed, for machinery, no rna tter how of knowledge of the reproducing piano and its purposes perfectly adjusted, can never replace the soul, but it that usual1y accompanies daily paper dissertations on was certainly a wonderfully close approximation to the musical topics when not written by their regular critics. original Mr. Bauer, probably as close a one as device The program as was presented at the demonstration in ever has approached. The playing of the piano brought Aeolian Hall was as follows: forth from the large audience both warm enthusiasm and amusement when the piano would suddenly dash into a ll Overture, ..Oberon •••••••••••••••••••••••••••••••••Weber particularly brilliant bit of work. Adagio from Symphony No.3 (with organ) •••...Saint-Saens Concerto in G minor for plano and orchestra•. Saint-Saens The Sun makes the blunder of saying that this demon Recorded by Harold Bauer on the Duo-Art piano stration was the first in musical history and proceeds: Ir Ish Tune •••••••••••.••••••••••••••.••.• Percy Gra inger When Mr. Damroscp. stepped upon the conductor's plat Moll y on the Shore•.•.•••••••••••.•••.••• Percy Gra Inger form to conduct the concerto he had a button pressed The Salnt-Saens G minor concerto gives many oppor and the large concert grand on the stage fell into the tunities to a mechanical piano that are not often met opening bars of the concerto, and then for thirty with in works of that form; especially is this to be mdnutes, actuated by the Duo-Art record, as made by observed in the second movement. In this demonstration Mr. Bauer himself, it played the work with the orchestra it must be said that Hr. Damrosch seemingly failed to to the end and with remarkable technical clarity, good appreciate with proper gravity the task that was before rhythmic accent, much fine shading in phrasing and an him and his orchestra in giving the Duo-Art that recog agreeable tone quality. nition that probably would have been given Harold Bauer The American gave more space than any other paper: had that artist been seated at the piano. Mr. Damrosch appeared to take the instrument as a wonderful toy, and In these days of superinventions and superdeeds, did not altogether assume that strictly serious atti ordinary performances have ceased to attract the atten tude which was certainly due the occasion as a scien tion of the populace who are becomdng used to extra tific experiment. Those conversant with the diffi ordinary things. This by way of preamble to saying that culties of' the construction of a reproducing piano can an event of remarkable interest and significance to the well understand that it was an epoch in the musical general public as well as to the music'world in par world to have a demonstration of this kind with a ticular occurred last night. Harold Bauer, the pianist, symphony orchestra; and when Hr. Damrosch turned to the played a recital in Chicago and at the same time played Inanimate Instrument 'and gestured and smiled as though as soloist with the New York Symphony Orchestra at the artist were seated at the piano, it created amuse Aeolian Hall, New York. Of course you will say this is ment In the audience which Hr. Damrosch responded to by physically impossible--and it is. Harold Bauer did not Indicating his own enjoyment at the fact that the piano appear in person a t the Symphony concert. When Wal ter was being played without any visible means of control Damrosch, conductor of the Symphony Society, stepped of the keyboard ..To many this attitude was contagious, upon the conductor's platform he pressed a button and and $ome of the Import of the stage happenings was the large concert grand piano on the stage, with his dissipated. Also there occurred some passages that were orchestra, swung into the opening bars of the well lost or were muddled through a lack of absolute syn known Saint-Saens concerto in G minor for piano and chronization between the instrument and the orchestra. orchestra. For thirty minutes the piano, actuated by a All in all, however, The Aeolian Company can well be marvelous Duo-Art record made by Harold Bauer himself, proud of the results of the evening. It may lead to fu~ played this great concerto in perfect rhythm with the ther demonstrations of a nature that will arouse respect famous New York Symphony Orchestra of seventy players. for the wonders of the Duo-Art, and for 'the literal re It arose to the grand stirring climaxes with the or production of Harold Bauer1s playing and interpretation chestra and diminished in the roost delicate passages PAGE 88 MAY, 1975 THE AMICA BULLETIN
with every characteristic of tone shading, tempo, touch Mrs. Antonia Sawyer, A. Tagllapietra, Harry B. Tremain, and technic which the large audience at once recognized H.E. Verrau, Fel ix Warburg, George W. Weir, Arthur M. as the actual playing of the artist in every essential. Wight, Francis Wilson, Pasquale Amato, Arthur Bodanzky, Aeolian Hall was crowded. In addition to those al Eddy Brown, Will lam C. Carl, Vera Cu---, Maurice ready mentioned there were present also Mrs. Harold Dambois, Frank Damrosch, Adamo Didur, Andreas Dippel, Bauer, C.G.K. Billings, Daniel Blumenthal, William Charles H. Ditson, Richard Epstein, Pierre Floridla, Wells Bosworth, Commodore Bourne, N.F. Brady, Walter Nahan Franko, Sam Franko, Carl Friedberg, Ossip Buckner, Bill ie Burke, Frank Crane, Mrs. Will iam N. Gabrilowitsch, Rudolph Ganz, Oscar Hammerstein, Fritz Croxton, Mrs. Walter Damrosch, Charles J. Duveen, Harry Kreisler, Margaret Matzenauer, Daniel May, Pierre Harkness, Flagler M. Friedsain, Daniel Frohman, William Monteux, Marie Rappold, Marie Tiffany, H. Godfrey J. Guard, F.W. Haensel, George W. Jacoby, Hugo Jaeckel, Turner and Arnold Volpe. Henry Junge, Felix Kahn, D.P. Kingsley, Carl Laemle, Stephen Lauzann, George Naumburg, Alton B. Parker, Morton Platt, G.A. Richardson, Henri Roche, Mrs. J.D. Rockefeller, Jr., William A. Roos, William A.Geppert,
CONTRIBUTED BY HESTER ZIMMERMAN THE CHRISTIAN SCIENCE MONITOR Friday, "...1, 1m 13 Rehearing past organ greats on Wette' ByLouJa 8ayder later got Into the business, It waa lude and Fugues played by Lynwood Boetoa because of the German-baaed Welte Farnam and Edwin H. Lemare, Mall With something less than the fan Company, whose founding member Reger's performance of hiI own "R0 fare It delerved, the final event In had begunaa an apprentice to a Black mance, Op. 88," a daa1InI vlrtuOIlc Boaton's Church of the Covenant's Forest musical clock maker In 1827 account by Clarence Eddy of LIat', May music festival provided a unique (according to the researches of Nel· "Fantasy and Fugue on B.A.C.H.," throwback to the early days of me· son Barden), that theBe wonders special effecta numbers - L1ado's You MAIQ;YOU~ chanlcal music, generally taken for reached our shores In the 1800's. "Musical Snuffbox" (Charles Heln· o.N. granted today. However, the Impact of two world roth), a Lemmens "Fanfare" (Eu MUSIC On a recent afternoon, for the firlIt warson the promillng developmmtot gene Glgout), and Mr. Lemare's own OWN Rous time since It waalnatalled In 1M, the new Ideaa by th1I organization was "Bell Scherzo" - to dlIplay the wide - IV/TUTUS- church's four-manual Welte-TrIpp or· dllUtroua, and the Welte Company tooal range avallable. The llatenen gan waa supplemented with a Welte perllhed In World Warn. also heard Ormund Berr!nllton's reno LEABARJAX PJ;RFOIMTOQ Reproducing Pipe Organ Player, dltion of Irving Berlin's "Always,': rebuilt by Ken Clark, to recreate which must have enraptured l_'s performances by lOme of the great On that afternoon In the ll18O's dancers and skaters alike, and to organlata of the put, recorded on architectural elegance of the BOlton conclude there waa an all-out demon Welte organ rolla between 1810 and church with Ita Tltfany stained glass stration of what player rolla could 1980. - windows and an unbelievably opulent encompass In Mr. Lemare's perfor· Much invogue Tltfany chandelier, Mr. Clark's re mance of Salnt-8aens's "D8J1Ie Ma Back when It W&I an added In· constructed Welte Organ Player cabre," unearthly fiddler, church dlcationof affluence to have a player· brought back, with "tonllblng fidel chimes, ratUin& bones, cock·crow. piano In the parlor, there were thOle Ity, 10 lelections, from J. S. Bach to and all. Irving Berlin, played by virtuoso with enough money and living apace organllta of other days -)(ax Reger, to have pipe organs In the house, more Playerless console Lynwood Farnam, EdwinH. Lemare, often than not with Reproducing Pipe Despite evidences of styllltic flam· Charles Heinroth, Clarence Eddy, Organ Player attached. 'I1Ie paper boyance which varied with the playsr, Eugene Gigout, andOrmund Ber· organ rolla - of which the Welte thele performances were all uto: rington. Company, manufacturers of bOth of noilblng for their human quality and thele mechanical lnatrummta, had a Immediacy. At no time W&I thli library of almost 1,000 - ran the Nuances transcribed mechanical urgency typical of the gamut of selections aacred and pro As Mr. Barden's Informative pro player piano In evidence, although the fane, and represented recordlnp by gram notes explained, the technical audience could lee the paper rolla In most of the leading classical and process for recording organ mUBlc on motion next to the playerleu orgui popularorganlltl of the earty 1800's. paper roUs was Ie.. exacting than cOllSOle. Tonally, the Church of the In thole days the phonograph waa that of piano, since touch dynamics Covenant's superb Instrument pr0 young, too, and 10 It wu not aurprll· were not Involved. Thus "all of the vided an exceptional vehicle for the Ing that player·pianOl were :very signals durin& an organ recording reproductions, and technically the much In vOIUe In public places like lesslon were either on or off, and. .. Reproducing Player operated fault· cafes and dance halla, and player· every nuance of the artiIt's playing leuly. organa In lChooll, hotell, restauranta, waa transcribedonto the roU.·' Altogether It wu a thoupt·provok· and lkatlng rIn1uI. LIke the "talldng What Mr. Clark had chosen from Ing demonstration, both tor the oppor machine," thlI wu an exciting new the extenalve orpn library of the tunity to bear put IJ'e&t orpnlItI, concept, and It Hemed then to have time Included an arrangment by and to experience the vtabWty of a quite a future. founder MIchael Welte of the "Poet pioneering and Inventive mUBlc· Although Amertcan companies and Peuant" Overture, a Bach Pre· making technique. THE AMICA BULLETIN MAY, 1975 PAGE 89
the carved cabriole legs and the carved case edges. However, nothing I have seen to date approaches the workmanship on the pictured instrument. Unfortunately the stretcher has been broken in moving at some time and needs regluing, and the very thin walnut veneer is pee ling from the edges of thB IId; however a I I the marquetrie is intact. There are many bands of geometric inlay which do not show in the picture. The Aeol ian com pany has no records of instruments other than their manufacture, and the Steinway people state that the piano was a standard case and the art case put on by Aeol ian (which was the case in all early art models, am to Id1. Brown mahogany Instruments with unusua IIY fine tone were pul led from the I ine and painted or re veneered and made into art cases. The art cases put on the Steinways were put on at the Aeol ian factory, with the exception, of course, of the Louis Models (XIV & XV) which had to start as such, the case being carved. But even in the latter cases I bel ieve any hand painting was Gone by Aeolian. If anyone has any I iterature on the pictured Steinway or information re gard i ng th is mode II wou Id like very much to hear about it. Itis my fond hope that whoever ends up with th is AN UNUSUAL DUO-ART AR piano wi II have the money to have it properly restored or have the patience and skil I to do so himself. BY TOM GRATTELO ~ The pictured 1918 Steinway Duo-Art AR was formerly AMICAn John Simpson, of Deagon, rhe property of Col. Green, son of Hetty Green, who was Australia, sent in this attractive the richest woman in the world when she died in 1916. photograph of his English Weber Most people have heard stories about this wonderful Duo-Art, circa 1929-1930. eccentric who held in a hernia with a stick for 20 years because she would not pay for an operation, who searched a carriage for six hours for a two penny stamp she had dropped, and who would not pay for medi cal care for her son's dislocated knee cap so that eventually he had to have his leg amputated. The story of the Col. 's I ife· is quite colorful, too, and anyone wishing to read more about these people should read THE DAY THEY SHOOK THE PLUM TREE, or THE WITCH OF WALL STREET, both stories of their lives. The piano has had the Duo-Art removed, unfortunate ly, but is unaltered in any way so that it could very easi Iy be reinstal led should a correct mechanism turn up. The unusual features of this plano are of course the Art Case on the large size, which is not usually found, and the Marquetrie case, which puts It in a class far above most art cases~-In fact, any other art case which I have seen. Marquetrie came to England around the time of the restoration, about the same time that England was introduced to walnut, which quickly replaced the sol id oaks which were used exclusively unti I then. From 1670 until the turn of the century (1700), when Queen Ann appeared on the scene with its gentle cabriole, some very fine furniture was made with twisted legs, curly stretchers, marquetrie inlay, al I done in walnut veneers. Marquetrie is the inlaying of various types and shades of woods, al I cut with a thread-I ike marquetrle saw to form birds, flowers, etc. Shadings and nuances are al I formed by different woods. -he background itself is veneer, usually of a very dark 'nature around the ~esign. The more closely the multi tude of pieces fit the better the marquetrie, and the work on this piano is superb. The usual art case on a piano is accompl ished by the simple addition of some ~ iathed parts, such as turned legs, etc. The exception to this would be the Louis XIV & XV models, which have PAGE 90 MAY, 1975 THE AMICA BULLETIN
[:!!~~ !II·!·I!:!i!·!·iii!!.::':'j:1•. ~ ;.~ :i.1iI:"]:i!!!!!.! ...... • ~ ~ .....•.••..•.•....•.:•.••~ .l~ EVERYTHING YOU ALWAYS WANTED TO KNOW ABOUT THE STAR PERFORATOR BY BOB BAKER Everyone talks about the Leabarjan as though it were the only hand-operated piano-roll perforator. Harvey Roehl's Vestal Press even has a Leabarjan reprint on how to make music rolls. But did you know that the Leabarjan is NOT the only manual piano-roll perforator? That's right, there's an even better machine--one that is capable of punching 88 holes at once. You don't believe it. Prove it? OK. Albert Suchy, Jr., was a mechanical engineer and an inventor. He worked for the Fleer Bubble Gum Company in Philadelphia. When he wasn't designing and patenting production equipment, he would devote his spare time to piano rolls. After he got out of the army following World War I, Albert Suchy and Ernest Hopper began devel oping a hand-operated machine for punching piano rolls. Front view of the Star Perforator, showing the rela tionship of each punch-lever's bottom to the punch and die unit. Four levers have been set to perforate. The take-up spool is rotated by hand as the paper is advan ced. The paper advance ratchet is stepped by the ram-bar. unassembled perforator parts came to rest in the base ment of the Suchy horne in North Philadelphia from 1935~· until 1960, when they were moved to the son's house in Oreland, Pa. In the years from 1935 to 1964, Ernest Hopper, who was Albert Suchy Ill's uncle, continued using the first Star Perforator. This was a 100-note model he used to make Welte Reproducing piano rolls as well as to add Welte Reproducing function to standard 88-note piano rolls. Apparently both Hopper and Suchy owned Welte grand reproducing pianos for which they made their own rolls. Albert III remembers hearing these original
Left front detail showing the tops of the individual punches as well as the articulation of the stripper The Star Perforator, as seen in Carl Barker's music plate (which lifts the depressed punches back to their room in Moylan, Pa. The Musical Notation Conversion original position above the paper). Paper advance sheet is in place above the miniature lever-keyboard linkage is shown at the left. set. Four of the actuating levers have been set to perforate. The entire set of punch-levers rides on the ram bar. On August 29, 1922, Suchy and Hopper were granted U.S. Patent #1,427,336 for their Star Perforator. This was to be the closest thing to an actual production perforator, as described below. As the Star Perforator Company, the two men had a number of frames cast, as well as a larger number of the smaller parts that went int~ their machine. On a very limited basis, they had a small number of 88-note punch and die assemblies made, and sold their small perforator on a custom-order basis. Apparently, the device was not recognized as the great advance in home music production that it actually was. Despite being displayed in the John Wanamaker Department store in downtown Philadelphia, sales were very limited. As Albert Suchy, III, the inventor's son, notes, the appearance of the phonograph as a horne entertainment device destroyed the player piano market. Production of the Star Perforator carne to a final close with Albert, Jr.'s death in 1935. The remaining THE AMICA BULLETIN MAY, 1975 PAGE 91
rolls. Ernest Hopper died in 1964. His widow kept the perforator in their home. In 1966, answering an ad for 65-note piano rolls wanted, Mrs. Irene Hopper telephoned :El ------E ~~ Cll~ ~ Carl Barker, a skilled restorer of nickelodeons, player m_ - -- n •• -;...... i- III pianos and band organs. Later, at the Hopper residence, <~ F~ ~ __ m mm_.nm .' r:t Carl saw the IOO-note Star perforator and indicated his i!J~ _.------~.'"~4.",:g ~ desire to buy it. Mrs. Hopper directed him to Albert ------1:1_ Suchy III, who, she thought, as the inventor's son, had LL~ -.------~ lL. w~ ~ priority on the rare device. Albert decided to sell the ------n __ un W perforator to Carl along with two other completed model o~ ------.~ ~ Cl The new-found machines were a wonder to Carl, who had never heard nor seen anything like them previously. In restoring them, he deduced that the Hopper-owned machine was probably the very first Star Perforator ever made, since it had custom-made parts that were machine-fabricated in the other two models. Also, the other two perforators had two kinds of paper advance. One advance made chain-perforations, while the other made slots without paper-bridging: The Hopper-owned machine was capable of making chain-perforations only. Albert Suchy, Jr.'s invention has an 88-note punch and die assembly spaced nine to the inch. Poised above each punch is a small, rotatabIe lever. All of the 88 levers sit on the punch ram bar. When any lever is pUlled forward, its bottom projection pushes its own punch through the paper roll beneath when the ram bar is pressed down. Each operation of the ram bar advances .'
IJJN ------0------0 U0 ------t:ui!.i:l:::C:::O-;::o:-;u:-;-l
lll------ cl:l\l -----.----- . (!),'l.------. !J...'l;f' ------
\ullj .------_. OlD ------. Uf'------. lOCO ------.- Left side detail showing the paper advance linkage.
the sheet-music. One could then perforate by number ten feet long and over three feet wide. It looks like without being able to read music. Indeed, without being a small locomotive. Of course, pipe organ rolls are able to play the piano, Carl Barker has made eleven perforated on a scale of twelve to the inch, which is rolls to date on his Star Perforator. quite a bit more exacting then 9 to the inch. Also, Probably the best way to get an idea of the the punch and die diameter is significantly smaller ingenuity of design of the Star Perforator is to than that of SS-note piano rolls. compare it with a production machine. An Acme perfora In retrospect, one can see that a hitherto unknown tor, such as the one Eddie Freyer uses to cut his roll-making device was re-discovered only by slightest superb A- and G-nickelodeon and Link rolls, is almost chance. Were it not for Carl Barker's wanted ad, Albert twice as wide as the Star. Of course, the Acme is cap Suchy Jr.'s amazing little perforator would have dis able of copying a nickelodeon roll automatically as appeared forever. Certainly, the reduction of written well as making up to 12 copies simultaneously. music to a punched roll solely through the use of a Nevertheless, without the automatic copying function, miniature keyboard is unmistakable genius. That is the Star does exactly the same thing in terms of paper the Star Perforater. punching, but with one tenth the machine mass. Compared with a vintage pipe organ roll perforator, I am indebted to Carl Barker and to Albert Suchy, III the Star is minuscule. Since they usually used 3:1 for their help in writing this article. Both reduction from master rolls, the pipe organ roll gentlemen made exceptional data and material available machines were ~ense. One remaining example is over for this rare presentation.
Facsimile Pages from the Encyclopedia Britannica Refirring to the ~MPICO
1006 MUSICAL INSTRUMENTS, MECHANICAL MUSICAL INSTRUMENTS, MECHANICAL
croWD tired of it, and during and since the War it has never mechanical control and substituting the manipulation of levers bass and treble sections of the action are controlled by separate Ruearch Work.-All the companies manufacturin, repined the popularity it once had. (E. A. B.) or buttons under his own control.) With the discovery that the expression pneumatics, each closing at two definite rates of Itruments publish instruction books for mechanician-. .e .USICAL IJfSTBUIIBJITI. .BCBAlOCAL.-In the history of human touch could be duplicated came the invention of various speed, slowly for crescendo, and fast for accents. There are also mechanically inclined reader is referred to these publica~tor mechanical musical instruments the yean 1910-26 are signifi recording machines, so that by 1926 every pianist of note could pneumatics to lock the expression pneumatics in a ~ezzo-forte further information. An elabomte research laboratory has been cant chiefly becaUle of the remarkable advance made in repro be heard through his records as well as in concert performance. position and other details for increasing expression. for some time in operation in New York, under the direction of ducing the touch of the human performer. Most of these key Recording Processes.-Processes for recording are, by most T/t4 Duo-Art-The Duo-Art Pianola differs from other repro Mr. C. F. Stoddard, and here the minutest details of musical board instrument$ are known as reproducing or re-enacting manufacturers, veiled in absolute secrCcy, for obvious reasons. ducing pianos of the grand type by having its note-sheet driving expression, including dynamics, pedalling, touch, tone quality pianos, and a disalssion of their mechanical details necessarily The results, however, depend not so much on the method of mechanism and tracke... bar placed behind the fall-board, directly and tempo, have been scientifically analysed, so that a beauty concentrates largely upon the field of the modem pianoforte (see recording as on the ability of the reproducing mechanism to over the keys themselves, the case being extended to tnak.e the of mechanical playing is possible that wu formerly undreamt of. 21·573). duplicate the effects indicated by the artist. Some records made necessary room. Its expression system is divided into a melody In this laboratory also have been developed scientific methods in Europe in the early days of the reproducing piano have been or .. theme" regulator and an accompaniment regulator, with Tu Puna PIANo of recording the performance of a pianist to a degree of accuracy successfully adapted to the later perfected instruments, and the melody always slightly stronger. Two sets of four pneumatics which permits not only the determination of the audible loud By t910 the foo~-pumped player piano had already reached actually give a far finer performance than would have been each, known as the .. accordion dynamics." permit as many u ness of every note struck, but shows dUferences in touch that a high point of development, and there were a number of possible when they were first made. In general the recording 16 degrees of volume. are indistinguishable by the human sense of hearing. This work elaborate devices for lending expression to its music. Ways had pianist simply sits at a regular lteyboard and plays in his usual Tile A".pico.-The Ampico has both a crescendo pneumatic has made it possible to measure scientifically the technical been found of emphasising the melody and subduing the accom style. Electrically connected with his piano, and invisible to system and an instantaneous accent pneumatic system, which ability of a pianist. paniment, at the pleasure of the player. The control of tempo him, is a recording machine carrying an endless roll of paper, on it can use in combination to control the air,..tension behind the PrGdiarJ Usu.-The place of the reproducing piano is now had also underJone various improvements. Some of these which both the notes and the expression are marked as he plays hammers. These systems may be operated independently for fully established in the field of music on educational u well as deVices had brought about an elaborate system of cdntrolling the instrumenL their lepar&te dects, or concurrently for their combined dectl, aesthetic pounds. Distinpished artists have used theee instru levers, which the human player could operate with considerable The old player-pianos had their rolls made by mathematically thus producing an unusual smoothness in crescendo and dimin ments ia public perfOrm&l1ce, directly comparlDg their own e~ression skill. But the chief source of stID rested in the feet, following the sheet-music and with no attempt at variety of uendo, as well as a delicate shading. There is also an .. ampli playing with that of their recordings, sometimes alternating with most of the shading secured through the varying rapidity expression. and interpretation. Some of the newer recording fier" for special dects of volume, and the extended perfora with the latter in most utoniahing fashion; and recorded accom and suddenness 'of the actual foot-pumping. The foot-pedalled ma,chines also perforate directly from the playing of the artist, tions in the music-sheet produce the greatly desired .. aiqing" paniments have proved most valuable for singers, violinists, etc., player piano permits its " pedipulator " to enjoy the keling of but in these cases a careful system of editing is required before quality of tone. Seven holes OR eech side of the tracker bar con in concerts as well as for private prac:tice. Schools, colleges and being actually an interpretative, perhaps even a creative, artist. the record can be heard in public. Th'e opportunity for editing trol, expression, with an extra one on the right for the re-roIl. couervatoires'of music are cominl to recopile the reproducing The principle of the playerpiano rests upon the laws of atmos is offered also in those machines which do not perforate imme In the Alnpico grand, the note-sbeet mechanism ia in a drawer, piaDO as an indispensable part of their equipment, particularly pheric pressure. William Braid White, in his authoritative diately, but in which the start and finish of each tone are clearly whUe the e1ec:trlca1ly driven. pump fnlUDI under the body of the for teaching the appreciation of mUlic:; and teachenl of the piano. book on Piau Playiflf JI«/Ia,wflU, gives a fairly simple explan indicated by pencil marks, with the exact actioll of the pedals pianoforte welcome its authoritatiw recordinp .. models for ation of what happenS when a mechanical piano is made to play. and every slight variation of pressure. In fact, the possibility of their pupils. He first shows how ct 6 state of reduced pressure, or, as it is revision and editing is most important in the aeation of com called, • partial vacuum,' is induced in a small btllows called a pletely satisfactory recordings. There are'alwaysiome mistakes SOJa Omu blnl7llD'l'S • pneumatic,' one of which is attached in some operative manner to be corrected, and an artist generally finds various details Concerning other keyed inatrumentalittle need be CIODtinues~ mechaDical to eA\.h ICCtlon ot the actiun of a piafio." He ," When which he WUles to emphasi..or subdue, so that the Dna! teeoN--r- said. There are, of course, coln"Operated electric pianos, which some of the air hat beeft pumped out of such a pneumatic, the> ina may truly represent his playins at its best. have proved themselves adequate for entertainment in rea ou tside pressure pushes up its moving wgJJ, and the motion of SOU lb:nOOUCING Pwios taurants and taverns, and often these are reinforced with organ this wall constitutes the 1IlOvement reqtlired to set in motion pipes, drums and other orchestral ettec:ts. Essentially they are the corresponding action and hammer-on the piano.',· He further The pioneers in the manufacture and marketilll of the built on the principle of the player-piano, althouch the need of e~lains ~f that"·the velocity motion of, the·pneumati" in' thu& modern reproducing piano were M. Welte & Son, of Freiburg, expression can practicaDy be disregarded. ~dt'ence· collapsing will depend upolX 'the between tile exterior, Germany, and Ludwig Hupfeld, of Leipzig, both of whom were The pipe organ itself thoroughly adapt prellU~, rlw Pi/Je Or,"n.- is or atmospheriC Ibd the Jeduced prellW'e'inside the active as early as 1904. The nameof Welte-Mignon, which origi able to mechanical playing, for its elects have little to do with pneumatic. The JNatet 'the difference between the two, the nated at that time, was by 1926 best known in America through the human touch, and can be produced at will by the electric more effective 1n11 bet che work of th6 atmosphere, and the higher pneumatic actions distributed under a license issued by the control of stops and pipes. All the great organs\CaD be played the velodty-ot the pneumatic's motion. Thusit appeal'S that the owners of the Welte patent rights. The inventions of Charles with the help of rolls, which are either entirely mechanical in power exerted'on the piano hammer (comllPOnding to the work Fuller Stoddard were developed independently, and the instru their control of expression or permit a hu.mao agent to manipu of the bgers OJ! the 'Uys)by the pneumatie varies as the ment which he perfected put on the market by the American late the stops, while the tones themselves are mechanically rapidity of redUction of· air-pressure inside it. It is therefore Piano Co., under the trade name of the Ampico. Another produced. plain that if we can keep this pr~of pressure-Itlduction under type of reproduPng piano was subsequently develoge
FOR SALE: One Decker Brothers French Provo Antique Square Grand Piano. Ori ginal finish and condition. Well preserved. One Haden & Son Antique Square Grand Piano. Round Legs. Original finish and THIS ADVERTISING SPACE AVAILABLE condition. Well preserved. One Kroger Square Antique Grand. Original Rose wood finish. String Dampers missing. Round Legs. One Edison Console Vic trola. Original but needs some parts: (needle head and front case panel). One Kimball Electronic 500 Player Organ, 1960 Model. Like new. These items are priced to sell. .. we are not in the antique business. Address all inquiries to: G. W. McBrayer, 1021 E. Irving Blvd., Irving, Texas 75060. Phone 214-251-2518.
FOR SALE AMPICO MODEL A OWNERS: Would you like to convert your Model A to an improved Model B system?
Weber Duo-Art Aeolian AMPICO MODEL B OWNERS: Would you like to do away with the short Grand piano, electric, wal comings of improper playing of Arolls with the single crescendo system on the B mech nut finish in excellent con anism? Since 75% of your rolls are most like ly Model A ones, you could really benefit from dition; 70" long, extensive our improved Model B system. We are in the process of manufacturing repairs completed - play AMPICO MODEL B EXPRESSION SYSTEMS (exclusive of drawer and stack), exactly like er action in top shape. the original 1929 model in every detail - with intensity valves and regulators separate from Duo-Art and QRS rolls in stack. These units have dual crescendos and res ervoirs for playing Model A as well as Model B cluded. $3500. rolls to perfection (which the original Ampico Blacked). Full instructions supplied with system or unit. Price approximately $1300 for complete Dr. Howard G. Bergmann system. To upgrade present Model B- price approximately $700 for two reservoirs and dual crescendo unit only. 55 W.14th Street Write for details, to: P.O. Box 203, Milford, New York City, NY 10011 PA 18337. (212) 691-3797 R. Steicher FOR SALE: 8 Solodant Rolls, 60 Solo Elle rolls. Make Offer. Maurie Willyard, 7470 Tiptoe Ln., San Jose, CA 95129 Classical Ampico Player Piano, Hines (408) 252·3603. 8rothers, Serial 74759 (1926) 63 in. top, Good Condition Make Offer Write L.H. Lavergne - 273 North Ave. FOR SALE. Marshall and Wendell Spinet Room 2250 - Schenectady, N.Y. 12345 Piano with Ampico Player Unit. Serial With Name, Address, Phone or Call Number 131161. Rare unit in good con (518) 399-8761 after 6 P.M. dition. $3995.00/Reasonable Offer. Mike O'Leary, 2023 W. 235th Place. Torrance, California 90501. Phone (213) 530-0065.
Mel{ANisl{ Musil{ MUSeUM , Vesterbrogade 1SO, Copenhagen, Denmark ~
Serious About CoUecting? Then You Defmitely Need a Copy of "mE ENCYCWPEDIA OF AUTOMATIC MUSICAL INSTRUMENTS" "The Encyclopedia of Automatic Musical Instruments," by AMICA member Q. David Bowers with the assistance of Claes O. Friberg and many other AMICANS, is 1,008 pages in length, contains thousands of photographs, and a wealth of historical information, model numbers, original advertisements, and other information pertaining to all types of automatic musical instruments. Since "The Encyclopedia of Automatic Musical Instruments" was first released (in the summer of 1972 with the premiere being at the AMICA convention that year) it has gone through four printings and has sold thousands of copies worldwide. It has been designated by the American Library Association as "one of the most valuable reference books" •. a rare honor accorded very few publications in any field. Your own copy of this hefty (weighs seven pounds when boxed for shipment!) volume is a "must" ifyou are a serious collector. In the field of reproducing pianos you can read all about Ampico, Duo-Art, Welte .. how they work, when they were made and how they were made, comparisons of one with the others, and so on. In addition, important but lesser·known makes such as Recordo, Dea, Duca, Artrio-Angelus, and others are discussed in detail -- as are regular player pianos and piano players. In addition you will fmd a wealth of information on disc and cylinder type music boxes, nickelodeon pianos, orchestrions, violin players, organettes, band organs, player pipe organs, calliopes, and a dozen and one other things .- plus a unique and useful dictionary of automatic musical instrument terms. In short, this is the book which you cannot afford to be without·- a book which will pay for itself many, many times over! A copy of the latest edition is available for $30 postpaid directly from the author: Q. David Bowers; Box 1669; Beverly Hills, CA 90210. Your copy will be personalized and autographed to you by the writer. Or, if you live in Europe you can order your copy from the Mekanisk Musik Museum; Vesterbrogade ISO; Copenhagen, Denmark. The overseas price is $32 postpaid. Either way, order your copy today! ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
MUST SELL ~ ~ ~§~ ~ NEW ~ 1. 1924 Weber Duo-Art 6'2" grand in Louis XVI case. Serial ~ ~ #77250 WR. Never been used, virtually brand new. This is ~ b.'l ~ ...' a beautiful piece of furniture as well as a fine instrument. ~ The shaded brown mahogany finish & beautiful white ~ 0rc hestnon . Components /I.';~ ivory keys are in perfect condition. It has always been in ~ ~ the stable humidity environment of Utah & is not even ~ Ten Tune Spoolframes lor 0, § dusty inside. This instrument style is pictured in "The ~ ~ Encyclopedia of Musical Instruments" page 302 & "Re-Enacting the Artist" page 9. Due to age, it needs ~ A, and WurliTzer rolls. b.'; ~ ~ retubing only, but is otherwise O.K. It is that "Special t:1 Custom made tracker bars. § Find" that every collector is searching for. Price $8,000 or ~ best acceptable offer. Automatic tambourines, § 2. 1928 Ampico-Symphonique Serial #915235'2" grand & ~ cymbals, blocks, triangles and ~ matching bench in unique design case of dark brown mahogany with lighter veneer trim. This is a late Model A ~ EQUA-VAC § with the decal in the spool box. This instrument has the ~ drums. pumps. ~ ~ ~ keyboard shift, enclosed stack & a different style to the drawer & is very similar to the Model B in overall appear ~ AD.... ~ t..'; ~ ~ Custom fabrication. ~ ~ ance. This piano also has always been in Utah & is in extra ~ ~ fine condition. The expression system does need some work. Price $4,000 or best acceptable offer; trades ~ ~~ considered. ~ WRITE fOR fREE ~ ~ ~ WANT LIST ~ ILLUSTRATED CATALOGUE § ~ ~ Complete player mechanism or any parts are needed for ~ ~ the following pianos: 1. Wurlitzer Organelle; 2. Wurlitzer Style S Coin Piano; 3. § MechanicaJl RYSltCIDS, lineD § Peerless Style 0 Coin Piano; 4. Coinola or Empress Coin ~ ~ Piano. ~ l~ Also, Electric motor, 2 row pulley & upper 6 row pulley & 09 -lflox 11094 s belts for Weber upright Duo-Art. SPARE PARTS FOR PLAYER INSTRUMENTS BOUGHT & § 1lubltloclk, ~Tcxas'l 1119408 § SOLD ~ ~ James B. Williams, 799 Maple Street, Ogden, Utah 84403, §~ (806) 763- 8606 ~~ Phone 801·394·7263 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Owner reserves right to reject all bids.
World's Largest Selection Of 'Reissues IMUsic Boxes I AMPICO tAMP 1015 MINUTE WALTZ in D Flat, Chopin (Op. 64. No.1) (50602) Played by Eugen d'''''LBERT Main wholesale source for music boxes, tAMP 1016 REVOLUTIONARY ETUDE, Chopin (OP. 10, No. 12) circus organs, nickelodeon pianos, reproduc (62621) Played by MieczYslaw MUNZ * AMP 1017 STARDUST (CarmiChael) ing pianos, etc. Over 500 instruments in (213701) Played by Emse DAWSON stock! Visit us in person or send $2 for tAMP 1018 FLIGHT OF THE BUMBLE BEE (RimskY -Korsakoff) (70301) Played by Sergei RACHMANINOFF large illustrated catalogue (air mail postage *AMP 1019 CARIOCA (Vincent Youmans) to Denmark is 26¢). Or, you can subscribe (214861) Played by OHMAN & ARDEN to our next six issues for just $10. Com DUO ART plete packing and shipping service for U.S.A. * DA 1015 BODY AND SOUL (Green) (104735) Played by Robert ARMBRUSTER collectors and dealers. Instruments offered t DA 1016 ETUDE in E Flat Minor, Chopin (OP. 10, No.6) are to.b. various warehouse points around (pt. 1 of 72874) Played by Vladimir HOROWITZ t DA 1017 ETUDE in C Minor. Chopin rop. 25. No. 12) the U.S.A. and Europe. The MMM is owned (pt. 2 of 7287-4) Played by Vladimir HOROWITZ and operated by two long-time AMICA t DA 1018 RITUAL FIRE DANCE, de Falla ('EI Amor Brujo') members: Claes O. Friberg and Q. David (6755-4) Played by Artur RUBINSTEIN * DA 1019 CARIOCA (Vincent Youmans) Bowers. (0964) Played by OHMAN & ARDEN * DA 1020 THAT OLD GANG OF MINE (Henderson) Mel{ANisl{ Musil{ (19325) Played by HESS & LEITH IMPERIAL "30's Sounds of the Mlvie MJSicals" Q 204 LOVE IN BLOOM (1934) MUSeUM (08605) From 'She Loves Me Not' Q 205 A FINE ROMANCE (1936) ~, Vesterbrogade 150 (09085) From 'Swing Time' ~ Copenhagen, Denmark 6 ~o~a Sal' 9,a a cofl"l)'o'lu Q·R·S MUSIC ROllS, Inc. Cl)\€,€,'. ~~ Tel. 716·885 4600 1026 NIAGARA 5T.BUFFALO. 1\1 y 14;/ 13 AmpicoRolls
For the first time since 1941, the largest selection of re-issued original Ampico* rolls are now ava,ilable. Write for your choice of Ampico,* 'Duo-Art,* Welte, Nickelodeon "A" or "0" rolls and Band Organ 125.
Unconditional Money-back guarantee. Klavier Music Rolls 10515 Burbank Blvd., No. Hollywood, Calif. 91601 Phone: (213) 980-8254 Bonafide dealers invited to apply. *Ampico and Duo-Art art> trade marks of the Aeolian (orpordtion
BULLETIN NON-PROFIT Ginny Billings U.S. POSTAGE AMleA Puhlish\~l PAID AUTOMATIC MUSICAL INSTRUMENT COLLECTORS' ASSOCIATION CAMPBELL, CA 661 Chapman Drive Campbell, California 95008 Pt:RMIT NO. 42 DATED MATERIAL
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