plus rhythm section). A complete tune listing the computer-deliberateness of today's ba­ here is superfluous because one doesn't buy roque-hearted lovers. Those who try to im­ this sort of record for the songs played; one press this reviewer with the ''mathematical longs to hear what a Popper Happy Jazz purity'' of Bach should be advised that some Band sounds like. Ken Stroud may or may not people find algebra less than tuneful! Lemare be inserting the nickels. keeps the voices clearly differentiated and Mr. Stroud is definitely featured on Side II soaring in the special direction of song - and at the Compton Cinema Organ, which we are that's enough. Don't tell me I should like told once occupied the orchestra pit of the Bach; show me why if you can. And Edwin Hammersmith Regal and is now the' 'flagship H. Lemare can. of the Napton collection." The 3/12 has an Mozart's "F Minor Fantasia" is next. The exceptionally fine sound, and the Melotone (a influence of Bach is obvious in the opening pre-Hammond vacuum tube contraption ex­ passages; however, Lemare reminds us that ploited by the Compton people) blends with Amadeus was into more complex harmonies, the pipes better than any other which the re­ rhythmic patterns and emotional depths. Mo­ viewer has heard in British installations. The zart's great skill as an orchestrator is matched Melotone is prominently featured in "Annie by the organist's registrations. It's incredible Laurie." that a roll player could capture the timbre as Ken Stroud's other renderings are in keep­ well as the notes! ing with the ambience of the Napton tourist If the program thus far has been a bit heavy attraction. Ken is of the Freddie Laker school for some, the lovely Italian melody of Ros­ of theatre organ playing: get 'em there fast sini's "Quis est Homo" (Stabat Mater) will be with no frills of fuss. It's a style which keeps especially welcome. Lemare just lets it sing audiences screaming for "more!" - and re­ chorus after chorus. Manufacturers, distributors or individ­ viewers panting for "less!". His "Song of In­ The reverse track of the cassette opens with uals sponsoring or merchandising organ dia'' could easily serve as a baseline for all the ''Prelude'' to Hansel und Gretel by Hum­ recordings are encouraged to send re­ other recorded performances. Now Tommy perdinck. That there are too many choruses view copies to the Record Reviewer, Dorsey can empathize with how Rimsky-Kor­ of the familiar "Prayer" is the fault of the THEATRE ORGAN, 3448 Cowper sakov must have felt after hearing the swing composer, not the artist. Musical shows with Court, Palo Alto, California 94306. version. In transit across the Atlantic, "On A just one big hit tune are not limited to the Be sure to include purchasing informa­ Clear Day'' has lost much of its original mel­ 1980s. Lemare tries to keep the "Prelude" in­ tion (post-paid price, ordering address) ody line. Stroud's ultimate barn-burner, "Ti­ teresting with variations of tempo and con­ and a photo of the artist which need not ger Rag,'' clearly suggests that deliberate and trasting registrations. be returned. premeditated arson is not always the strategy Boccherini's "Minuet" is both witty and of choice. Perhaps someday a smart tiger will ponderous. Lemare's unhurried tempo gives write a tune with the refrain, "Hold that or­ one a fresh view of this familiar classic. Danc­ PUT ANOTHER NICKEL IN, Ken Stroud ganist!". One can only hope. ing can be graceful and hypnotic without be­ plays the Mighty Compton at Napton Nickel­ In summary, the mechanical instruments ing cute or clever. odeon and tries the mechanical music ma­ are interesting, the Compton is wonderful, In this release we are treated to only one Le­ chines, Grosvenor Records, Birmingham, and Ken Stroud is not the organist to show it mare composition. It's a lovely "Improvisa­ England. Available from The Organ Litera­ off to its best advantage in these parts. tion'' with lots of Chrysoglott and Harp runs. ture Foundation, 45 Norfolk Road, Brain­ WALTER J. BEAUPRE The modern harmonies are a sobering remin­ tree, Massachusetts 02184. $9.00 plus $1.50 der that good music really hasn't advanced postage per order. that much in 70 + years. Neither has good THE ART OF EDWIN H. LEMARE, WPO organ playing! This one is primarily a souvenir album for 103 (Dolby System stereo cassette only). The final selection is the last movement those who have spent a pleasant few hours at Available from The Organ Literature Foun­ (not the "Largo") from Dvorak's New the Napton Nickelodeon (near Rugby, War­ dation, 45 Norfolk Road, Braintree, Massa­ World Symphony. In this reviewer's opinion, wickshire) and want to take home the sounds, chusetts 02184. $10.00 plus $1.50 postage per no organist anytime, anywhere has played a or for collectors of band organ nostalgia. Side order. I offers a dozen instruments from the collec­ tion, all nicely recorded and working effi­ How these performances in 1913 of world ciently. The Swiss music box dates from the class organist Edwin H. Lemare came to be deason's 1880s while an electric orchestrion was built re-created on the Welte-Tripp organ in a Bos­ on the premises (one wonders why) from ton church was explained in THEATRE OR­ scratch in 1984. Most intriguing to this re­ GAN earlier this year (January/February, f;}reelings viewer was the Hupfeld Violina Phonoliszt. 1985, p. I 8). If you liked the first tape (we cer­ Played from a circular bow, the three violins tainly did) you'll enjoy this one also. The high plus piano could easily be mistaken for a frequency ambient noise from the roll player quartet of 8-year-old recitalists gleefully dis­ mechanism and/ or organ is still present under membering Offenbach's "Barcarolle." But a every selection, but it detracts very little from certain amount of mayhem and musical abuse the organ presence and none from the artist. can be fun, especially if the tunes are "Home J. S. Bach opens this concert also, but it is the in Pasadena," "For All and Ever" and "El lesser known "Prelude and Fugue in D Ma­ Bandido." Other more familiar songs such as jor." Although very little of Bach's vast out­ "Bye Bye Blackbird" of "Silver Threads put ranks among this reviewer's alltime favor­ Among the Gold" may cause one to flinch. ites, it's a relief to hear something other than Instruments heard include an Italian re-iterat­ the "Toccata and Fugue in D Minor," LAND OF LINCOLN ing piano (Racca Melodicci), a barrel reed ''Gigue,'' or the accompaniment to THEATRE ORGAN SOCIETY organ and barrel piano, a Wurlitzer Photo­ Gounod's "Ave Maria." Lemare's interpre­ CORONADO THEATRE Player, a Belgian Decap Dance Organ, and tation of the D Major is a lesson in how won­ Tino the Accordion Boy (a real accordion derful romantic playing at its best can be after Rockford, Illinois

NOVEMBER/DECEMBER 1985 THEATRE ORGAN 17 better transcription of a symphonic work. ly better recorded. Untremmed reeds cut Lesser artists often get so wrapped up in try­ through like a buzz saw. Reg's dazzling im­ ing to imitate orchestral instruments on the Season's Greetings provisations and infectious rhythms carry organ that they lose the mood and sweep of him through many medleys of pop hits. The the piece. Lemare masterfully creates a dialec­ from Detroit second chorus of "Rosalie" with piano tical tension between the Slavic "Old World" prominent is nice, although the first chorus of and the "New," never releasing his firm grip "Music, Maestro, Please" may jar the teeth on either our emotions or the musical intent. of American listeners. "Says My Heart" re­ We must remember that when Lemare made minds one (pleasantly!) of the Guy Lombar­ these rolls there were no great orchestral re­ do orchestra on Benzedrine. Reg's left hand cordings of symphonic works. Few listeners carries the melody for "Whispering" while could compare what he was doing with, let's his right sets off the fireworks. Anyone who say, a Bernstein/New York Philharmonic can't warm up to "Margie" has to be a hope­ performance. Today with the great orchestras less anglophobe! of the world as available as our turntables, an On the Wurlitzer in the Granada Clapham organ transcription is both foolhardy and su­ the playing of "Change Partners" is messy perfluous - unless the artist can give us a new and irritating. Frankie Carie's "Sunrise Sere­ appreciation of the work. Among theatre or­ nade'' is terrible as recorded in what seems to ganists in recent memory only Ann Leaf and be a reverberent house-of-horrors. Ravel's Dennis James have really succeeded beyond "Bolero" without any sensuous build up is the level of clever orchestral imitations. And just plain embarrassing. Reggie's rendering now, out of the distant past comes a master­ demonstrates how humdrum Joe Garland's piece. "In the Mood" really was without benefit of Those few theatre organ fans who think that Dixon is playing an organ - not to men­ Glenn Miller. they don't have an ear for classical organ tion the Wurlitzer 2/10 (Model 205, #2037) It's only fair to say that this 90-minute tape playing haven't heard Edwin H. Lemare. first installed in the Tower Ballroom. One of is a "retrospective" - not a "Best of ... al­ Highly recommended. the tunes turns out to be "Marche Militaire" bum. This reviewer considers about 1/3 of the WALTER J . BEAUPRE under an alias. By'' Alice, Where Art Thou?'' contents great Dixon. So if American theatre we begin to hear lots of arpeggios, mini-ca­ organ fans don't have ready access to any denzas, and something which sounds suspi­ Dixon recordings, it's worth having. The ciously like an organ. "Grasshopper's packaging job is tacky with misspelled words, REGINALD DIXON: A RETROSPEC­ Dance'' is a Leroy Anderson-style novelty ar­ punctuation blunders and typesetting goofs. TIVE Volume 1: 1932-1940. Stereo Dolby ticulated with clarity and zest. Dixon can be The last tune in the set is titled "After You've cassette tape, Pipe Organ Presentations, light without being wispy or cute - nothing Gone." This bit of misinformation is repeat­ Ltd.,P.O. Box 20704, Castro Valley, Califor­ "sissy" about his playing. It's good! "Crazy ed in Don Thompson's epistle to his review­ nia 94546. Price $9.95 postage paid. People" introduces the short chromatic Dix­ ers, so apparently he really doesn't know that on "turns" with strict dance tempo. Pedal the song with lyrics which begin "I'll be down Born October 16, 1904, in the Sheffield fa­ and accompaniment lines are clean and au­ to ge'cha in a taxi, Honey ... " usually car­ mous for its cutlery, Reginald Dixon escaped thoritative. Registration is orchestral, remi­ ries the title "Darktown Strutters' Ball." the steel trade and the law (the prediction of a niscent of those early sound film bands. WALTER J. BEAUPRE confident Gypsy) to become "Mr. Black­ The frenetic hype which eventually became pool," England's most popular organist. At the mark of Blackpool is first heard in "Cas­ 13 he was playing piano in a local cinema and tles in the Sand." Reg's abrupt modulations JEFF BARKER PLAYS ENGLISH STYLE organ in a Methodist Church. According to between medley tunes are no-nonsense simple ON THE COLONIAL THEATRE OR­ Peter Ashman's biography, Dixon had been and direct. "Canadian Capers," taken at a GAN. Jeff Barker at the Colonial Theatre inspired by the likes of Reginald Foort and breathtaking tempo, is miraculously sure­ Kimball, Phoenixville, Pennsylvania. Avail­ Jesse Crawford. Valuable boot training for footed all the way. He dazzles but never con­ able from Organ Literature Foundation, 45 what he was to do so successfully at Blackpool fuses the listener. With a socko finale, no Norfolk Road, Braintree, Massachusetts came while trying to synchronize his film­ wonder it was a best selling recording in its 02184. $9.00 plus $1.50 per order postage and scoring efforts to speeded up projectors dur­ time. "The Words Are In My Heart" is very packing. ing matinee performances. Reggie was ready Crawford. "La Paloma" is typical of Dixon's Jeff Barker, an Englishman, came to the for the demands of Tower Ballroom dancers laser beam clarity of melody line: any com­ States in 1964 for a summer gig in Surf City, who insisted on a peppy style of playing. His plexity is absolutely "smokeless." Reg never New Jersey, and liked it here so much that he was the right flair with the right training at the makes the listener work; he does all the atten­ stayed. right time. Via BBC radio he soon became a tion focusing. This may be one of the secrets We remember Mr. Barker around 1970 household word. Nor did his popularity end of his phenomenal appeal. In spite of the fi­ playing dance music on an electronic at a little with retirement from Blackpool in 1969 when delity of the recordings, the marches "Lon­ place on the tip of Long Beach Island, the reissues of early 78 rpm recordings as budget don Bridge," "Blaze Away" and "With same island that is home to Surf City. This LPs flooded the U.K. Tapes of vintage Dixon Sword and Lance" work a special Dixon record is a tribute to a talent that has grown were still readily available for a British pound magic. He knows how to build tempos to a and matured over the years. or so in the 1980s. fever pitch of excitement. In this reviewer's The 3/25 Kimball organ, originally from Entrepreneur Don Thompson, armed with opinion no other British organist since RD the State Theatre in Philadelphia, reopened in original 78s lovingly hoarded by Dixon's has equalled his marches, and Lord knows the Colonial Theatre in suburban Phoenix­ mother Alice, has launched a retrospective they've tried. ville in 1976. Owner Jim Breneman has since encompassing the ''early years'' and the By "Dixonland #7" on Side I the new Wur­ then sponsored sold-out vaudeville programs "golden years" prior to WWII for the benefit litzer 3/13 complete with piano has been in­ and organ concerts. of U.S. markets. In a letter to enlighten pro­ stalled in the Tower Ballroom, and Reggie Although most of the music on this record spective reviewers Don explains that the earli­ rattles the ivories frequently. To close the side is obscure, it really doesn't matter because it is est cuts are of ''immense historical interest to Dixon's voice is heard introducing his famous played in an interesting way. Side I, for exam­ Dixon fans" and mother Alice "HAD played signature tune "I Do Like to Be Beside the ple, opens with a cute lively novelty number the early recordings quite a lot." Although Seaside,'' and Side II opens with 31 seconds entitled ''When You 're Counting the Stars the tunes are recognizable, one must imagine of this Blackpool theme. Tunes are technical- Alone," which is followed by a flapper-like 18 THEATRE ORGAN NOVEMBER/DECEMBER 1985 "Corn Silk." "Twelfth Street Rag," a wild theme-and-variations arrangement of the fin­ ger buster, cleverly interweaves "Somebody Stole My Gal'' in the left hand countermelody in the final chorus. During "La Cage Aux Foiles" medley, we AN ENGINEERING get our first glimpse of Mr. Barker's ballad­ eering in "Song on the Sand." Good use of rubato, phrasing, shades, and registration all contribute to the romantic playing we hear BREAKTHROUGH! here and in "The Singing Hills," a somewhat obscure yet familiar ballad, on Side II. His ar­ rangement of "The Best of Times" makes you feel that it really is. The famous TROUSDALE digital tape player can now be Side II opens with "Song of the Dawn," a '' Desert Song'' -sounding piece made interest­ attached to any organ! Thanks to this new development, ing through registration and rhythm changes. anyone can now enjoy the musical sophistication pre­ "Waltzing Bugle Boy," in a refreshing 3/4 viously available only to Trousdale system owners such as time, yodels its way into your heart. After "Bohemia," another novelty number, is George Wright, Sandy Fleet, Jasper Sanfilippo, etc. "Song of the Wanderer," a ballad with a beat Noted organ enthusiast Paul Van Der Molen, one of the and a refreshing modulation to a new key. Closing Side II is "Puszta." The buzzy Kin­ first owners of the new Trousdale compatible digital ura lends a chuckle to the humorous piece, player, says, "This player has doubled the enjoyment of my which includes snippets of "Joshua Fought 3/18 Robert-Morton. You were a pleasure to do business the Battle of Jericho." with and your service is second to none." Sam LaRosa as recording engineer and Harry Randel in mastering and production have presented a recording with good fidelity and a quiet surface, as well as inaudible edit­ ing. Mr. Barker's playing is clean, the registra­ tion is varied, and the music sings. The organ • is a well-maintained pipe organ. If you are STOP• looking for a record to listen to again and again, and you want a repertoire that is a little different, this recording is for you. SHIRLEY HANNUM KE)TER . h no limita­ lay wit ORGAN MOODS AND MEMORIES. Rich­ . organists can p ll shade mo-ve- ard Wayne at the Hammond Elegante. Cas­ • Records anything op change and sw~ . on up to 120 key st "bl prec1s1 ' settes, records, or tapes. Reader's Digest, . ns. e-very ' . h incred1 e tto · ded wit Dept. R8880-1, Attn: Music Division, Pleas­ is recor antville, New York 10570. $39.96. I11stall­ me nt d d ment payment plan available. ti111esper . secon ~ be played back ex~:!\:•d::':i:~;e In past releases of multi-record albums of • Recordings m h: original speed .. ld of possib1hues organ music, Reader's Digest has featured at half t ·ng a wor many artists and different organs within each ... o r .. open1 . . 1·nal speed . . ...,..aginauon, set - nine organists and 16 organs, for exam­ orig b your 111• d ple, on The Mighty Pipe Organ Plays Golden limited only y rding is a stan .- Favorites. In this set, however, the producers ltiple-track reco own mulu- departed from this successful format to one bing or mu M ke your organist, one organ. • O-ver-dub no extra cost. a f fidelity' thanks to d feature at ith no loss o It can be dangerous to give any one musi­ ar ements w cian 14 sides, or 3 ½ hours of playing time to anded arrang . . l precision, h . of d1g1ta do whatever he wants to show his playing abil­ the magic ities and the capabilities of the instrument. In this set, Richard Wayne presents E-Z listening through simplistic arrangements and limited for !urtbet infor111ation, contact registration on the Hammond Elegante. Da-ve Junchen When he does include strings, it's always a re­ 2so E.. Del Mar B\vd. freshing change. And every so often, the Suite 31 l Hammond Auto-Vari rhythm unit is shown Pasadena, CA 91101 in its best light. s1s-795-289S Most of the time, the styling of this laid­ back, mellow record set is straightforward and sometimes metronomic, even if the rhythm unit is not used. But Mr. Wayne's bal­ lad arrangements are rather refreshing, as they are played from the heart. Sometimes NOVEMBER/DECEMBER 1985 THEATRE ORGAN 19 there are hints of other theatre organists' styl­ one's performance under all kinds of condi­ ing, and some arrangements sound faintly fa­ American tions, the non-selective "ear" of the record­ miliar. All the introductions certainly get your ing apparatus, the personal, non-polarized attention, too, as it's not always obvious TheatreOrgan sophistication of the listener, and so on. where it's going. Mr. Wayne's limited use of , -~ Society Occasionally an entertainer/musician may the flute channel and an annoyingly ever­ cut records or tapes for the nostalgia market. present reiterating something-or-other some­ ~=r-1) ~ People enjoy a live event so much that they times becomes tiring. And a limited array of want to take home a memory of it. Lots of keys makes one long for some sharps. theatre organ records are sold that way. If However, the saving grace of this set is the there's a quality performance on the record it emotion found in many of the ballads. When VALLEY OF THE SUN will get replayed. If not, it gathers dust on the a recording is made intellectually, it appeals CHAPTER shelf. The buyer served as his/her own re­ only to the ears. But when some arrangements viewer. come from within, the appeal is to the nostal­ Wishes You a Happy Holiday When Don Thompson or any other musi­ gic heart. Season and a Prosperous cian enters the privacy and solitude of a re­ Copious program notes give historical data New Year! viewer's music room via a record/tape release about all the songs on all seven records. The he does so stripped of event dynamics, per­ notes make interesting reading and are very Thanks to all for the fine support sonal charm, and the opportunity to interact well written. Quality pressing is what RCA is shown at the with an audience. All he has going for him is known for, and this set is no exception - mir­ Phoenix Fall Festival '85 the quality of music in those grooves or mag­ netically imprinted on oxide. And as a review­ ror-like, quiet surface, and inaudible editing. Regional Convention! Record titles are as follows: er for THEATRE ORGAN, Walter Beaupre RECORD TITLE must assume that readers are in much the But in each instance the instrument is well re­ 1 The Happy Organ Plays Happy same position. His job is to tell readers what's corded and seems to be functioning admir­ Hits there to hear. If he's lucky he may also be in­ 2 Golden Waltzes ably. teresting in the process. Obviously music and Don has taken a host of "golden oldies" 3 Golden Hits of the Romantic writing are different modes of expression , so and strung them together (occasionally with '30s the writer often must use metaphors to get his rather abrupt tape splices) so that they serve 4 Great Hits of the Roaring '20s point across. the urge for dance sets of fox trots, waltzes, 5 Something Old, Something So let's take a qualitative look at Don's two-steps and one tango. The tape could also Blue: A Bouquet of Jerome Dance Party. As dance music the tempos are oblige basic sing-along needs and as a general Kern Classics generally consistent and similar to what one 6 All-Time Film Favorites background for social gatherings. A complete catalog of the 76 tunes seems unnecessary. might find in Lester Lanin society rhythms. 7 Great Hits of the '40s, '50s and They're standards from "Avalon" to "You These probably wouldn't work for line danc­ '60s: A Bouquet of Irving Light Up My Life'' with only two unknown to ing. The medley which begins with ''Ain't She Berlin Classics this reviewer: "Comrades" and "Maggie Sweet'' gradually increases in tempo, but this Reader's Digest offers other record sets Murphy's Home." If patience persists one may have been a deliberate strategy on Don's that the theatre organ enthusiast might also can even hear "Melancholy Baby." So much part: speed it up for fun. enjoy; write for a catalog. for quantity and kind. Thompson is at his best (and his best is im­ This set provides a variety of selections to Before dealing with the less objective sub­ pressive!) playing "Sleepy Lagoon." It's please almost any taste. If you are looking for ject of quality it might be helpful to both the tastefully registered and played with feeling. background music for a party, or just some­ artist and the reader if one of the pragmatics He plays "You Light Up My Life" with re­ thing to help you unwind at the end of a long of reviewing were explained. There is a differ­ straint and perfect control. It's pretty. Don day, this set is for you. ence between evaluating a one-time-only en­ has good fun with "Good Ship Lollipop" and SHIRLEY HANNUM KEITER tertainment event such as the performance of Miss Temple's other whimsical hit "Animal a musician in a restaurant or pizza establish­ Crackers." "Honey" has some very creative DON'S DANCE PARTY. Don Thompson. ment and a musician's performance via re­ counter melodies. His "Charmaine" is a clev­ the Wurlitzer. Stereo Dolby cassette tape cording or tape which can be audited repeat­ er Mantovani impression. "The World Is only. Pipe Organ Presentations, Ltd., P.O. edly under quite different circumstances. For Waiting for the Sunrise" doesn't contain a Box 20704, Castro Valley, California 94546. the entertainment organist to fake his way single pedal line goof. The reviewer was im­ Price $8.95 postage paid. through a request tune to please a customer pressed with Don's 3/ 4 time version of who just slipped him five bucks is standard "Roses of Picardy." "Bye Bye, Baby" sug­ "We believe in giving value for money." procedure in a bar or grill; one doesn't take gests Blackpool but doesn't get much closer declares Don Thompson in his August 15, such liberties when preparing for a recording than, let's say, Groton, Connecticut. The first 1985, letter to the prospective reviewer of session. The live event offers such perks as chorus of "New York, New York" is OK; Don's Dance Party. He may be referring to jolly companionship, the overpowering aro­ talk to your brother-in-law during the second. the fact that his latest tape (90 minutes) with ma of Oregano, ambient room noise to cover Some of Don's worst moments are in the ''over 75 great tunes'' (this reviewer recog­ fluffs, whoopie cushions, "Happy Birthday, pedal line of "Where or When." "Moon Riv­ nized 76) costs out to only 10 cents per minute Dear Trixie!" and all that good stuff. The er'' gets off to a confused start. What or 12 cents per tune. Oh yes, and each tune disadvantages are organ malfunctions, hu­ Thompson intended to do with Glock embel­ averages about 1 minute, 11 seconds playing man error during performance, and varia­ lishments in "Tea For Two" is anybody's time. So no matter which quantitative mea­ tions in audience response. guess. The harmony (if not the Mountie) be­ sure one prefers - litres or gallons - it turns When a performance is recorded for play­ trothed to "Rose Marie" gets lost in the Ca­ out to be quite a crock! back distribution the musician can control the nadian Rockies. Don's playing of "Always" The plastic cassette box sports a color accuracy of playing, select the best from a va­ and "Together" along with that other bomb­ photo (suitable for carrying in wallet or purse) riety of interpretations, weed out selections ing of Berlin are best forgotten. The Eddie of Don at the Organ Grinder Wurlitzer. that don't seem to work, assemble the best Heywood-type left-hand figure he employs in Thompson is actually playing three other from performances over a period of months "Canadian Sunset" perseverates until dark Wurlitzers: one at the Riviera in North Tona­ and years, appeal to a particular audience of descends. Don chooses the spelling '' Jeal­ wanda, one at the Auditorium in Rochester, record buyers, etc. The drawbacks are the ab­ ousy" for Jacob Gade's "Jalousie" - and and one at Ye Olde Pizza Joynt in Hayward. sence of ''event magic,'' private auditing of that's probably some sort of poetic justice

20 THEATRE ORGAN NOVEMBER/DECEMBER 1985 when one looks at the last five letters. The horns he uses for the solos? Hard to tell. School of Music in Rochester, New York, an­ pedal line for this ''tango of love'' should be Side II takes us for "A Walk in the Black nounces its fall term, opening September 17. enshrined in every musical household as a Forest'' armed with piano and rhythm sec­ Included is a course in organ accompaniment threat to nasty little boys and girls who think tion. Once Flint gets his bearings he swings of motion pictures. Superior studio equip­ organ pedal boards are bongo drums. Hammond in the style of Jimmy ("The Cat") ment. Instructors are JOHN F. HAMMOND In summary, Don's Dance Party may be Smith. For "All the Things You Are" his ex­ and ROBERT J. BERENTSEN. just the ticket for your next uninhibited cellent musical ideas get repeated for no real August 29, 1924 (LP) KFI, Los Angeles, is BYOB mixer. But if you aren't into singing reason except, possibly, that he ran out of presenting an Aeolian Organ recital from 6:45 and dancing, it may be the longest 90 minutes variations before he ran out of Kern. A fast to 8 p.m. A week later, WJAR, Providence, of your life. samba medley includes "Tico Tico" with Rhode Island, -will broadcast a Capitol The­ WALTER J. BEAUPRE graceful bows to ... guess who? It's very atre program at 6:30 p.m. and a Skinner or­ well done. gan recital at 8: 15; WDAF, Kansas City, will ICE CASTLES, Tim Flint plays the Technics The guitar featured in ''The Rodrigo Gui­ present a program from the Newman Theatre G7, Grosvenor Records, Birmingham, Eng­ tar Concerto" is not bad, but the solo voice from 4 to 6 p.m..; and KFI, Los Angeles, will land. Available from The Organ Literature could be anything. Two final swing tunes, host a program from the Metropolitan The­ Foundation, 45 Norfolk Road, Braintree, ''The One I Love Belongs to Somebody Else'' atre, starting at 6:45 p.m. Massachusetts 02184. $9.00 plus $1.50 post­ and "You Can Depend On Me," serve as a August 20, 1926 (LP) Brunswick Records age per order. dance set. Jazz improvisations are elemen­ announce the release of record #3178 by emi­ tary, and Tim once again demonstrates that nent New York organist, JOHN PRIEST. Tim Flint is a very young British organist he can bounce fingers Jimmy Smith style. The numbers are "Tell Me You Love Me" making his recording debut. Except for the Tim Flint has the basic technique to be a and "Reaching for the Moon." Technics G7 he has a lot going for him. Engi­ fine theatre organist. Whether he will develop May 21, 1927 (EH) BASEL CRISTOL at neer John R. Taylor has worked his usual into a David Shepherd, Nigel Ogden, or Len Chicago's Uptown Theatre presented as an magic with microphones. Perhaps this would Rawle is anybody's guess. organ selection, "Russian Lullaby" as the be a good time to suggest that Taylor visit the WALTERJ.BEAUPRE □ theme for the Colorart Picture, "On the Trail U.S. to do a workshop on techniques for re­ of the Ranger,'' assisted by a violin solo by cording electronic and theatre pipe organs. Victor Young. Recent American releases which have come to March 14, 1928 (LP) WCCO, Minneapo­ this reviewer's attention suggest that our bet­ lis-St. Paul, is presenting EDDIE DUN­ ter efforts are the result of Kismet rather than STEDTER in an organ concert, starting at expertise. Let's see ... where were we? Oh 12:30 a.m. yes, the G7. Circa 1930 (V) It took an alert tin pan alley­ The way Tim plays it, the G7 has a very ite to give the New York Paramount some good piano, a respectable imitation of the idea whereby its pit orchestra will get a little Hammond tibia sound, lousy strings, a individual recognition along with the JESSE stringy accordion, a flute that turns into a tin CRAWFORDS at the Wurlitzer consoles. whistle, and other synthetic tones which are Prospected Ager, Yellen & Bernstein annexed a nice plug­ sometimes pleasant enough musically, but by fest for itself but did a great job in the battle­ which defy verbal description without a stop Lloyd of-music idea between the house orchestra, list. For theatre organ fans that's something E. Irvin Talbot conducting, against Jesse Craw­ of a handicap. Klos ford at the organ. Tim Flint is 20. His playing is assured, ac­ To "Mr. Gallagher and Mr. Shean" paro­ curate and articulate. As with many accom­ dying, the slides set the idea humorously and plished youngsters under the legal drinking quickly. They match up pretty evenly, too, al­ age he has an insatiable thirst for the styles of As a Christmas gift to our faithful readers, though Crawford naturally has the edge on seasoned musicians. ''Through the Eyes of we give you some choice nuggets from the the jazzique. Talbot tried hard to keep Love'' begins with an extended piano intro­ lode, featuring name organists. References rhythm with his baton, was against time in his duction, then a piano solo with wobbly string were: American Organist (AO), Exhibitors jazz offering. backing. He can't resist turning on the plastic Herald (EH), Local Press (LP), Motion Pic­ Crawford opened with a classic melody and rhythm. A pity. It's a lovely song and a nice ture Herald (MPH), and Variety (V). the orchestra did "Indian Love Call." Craw­ arrangement. Tim has a clear concept of how July 1923 (AO) A native of Chicago, stu­ ford did a jazz and ditto by the band; ballad he wants to interpret the tune. dent of and first assistant to Frank Van Dus­ and ditto, this time the orchestra's being aug­ The tempo for "Eleanora" is right: it sen of the American Conservatory, ED­ mented by Caro Nome in a soprano solo. waltzes fast and true. Flint uses the Ham­ WARD EIGENSCHENK, won the conserva­ Crawford flashed the slide which said "No mond sound, a good brass flute solo, and tory's gold medal recently for organ playing. Fair!", and called on his wife for assistance. something which could be an accordion. He has devoted himself entirely to theatre That great jazz organiste socked it out plenty, "Isn't It Romantic?" is another good ar­ work with occasional recitals in Kimball Hall, both clinching the conquest by the Crawfords rangement with clever counter melodies. Orchestra Hall and elsewhere. At the age of with ''When Day Is Done.'' The slide idea led Whatever percussion overlay he is using on 17, he became first organist of the Stratford into a bombination by both, thus taking the the G7 produces a muddy, hollow sound that Theatre in Chicago. He plays from memory a curse off it through applause voting. is dreadful. Unfortunately he sticks with it al­ repertoire of a thousand works. His talent is It was a highly interesting and entertaining most to the bitter end. "Alla Turca" is sub­ exceptional, his poise and balance unusual for 15-minute overture and a departure from the jected to a hokey harpsichord with modern a young man, and his power of concentration conventional program starters. It's an idea plastic rhythms and a final chorus which rarely equalled. Add to this a strong personal­ which is readily adaptable to any house for sounds as though it were played under water ity, marked originality, and untiring devotion pitting band and organ against each other. in which no fish could survive. There are too to work, and you can explain his phenomenal It's not new in picture houses. Paramount is many similar choruses of Robert Farnon's advance and a salary the majority of long es­ following other houses, not on the Publix cir­ "Portrait of a Flirt," a Dave Rose-y type tablished musicians would be proud to rec­ cuit, with this and along very close lines, to the waltz. Tim breezes through it with technical ord. Mr. Eigenschenk plays all the larger others. authority. The piano riffs are admirable in works of Bach and the complete sonatas of January 1931 (LP) The NBC network is "Opus One." The tempo is right and there is Guilmant, Widor and Vierne. presenting AL CARNEY in "Organ Melo­ restrained use of electronic rhythm. The September 15, 1923 (LP) The Eastman dies." JESSE CRAWFORD is featured on NOVEMBER/DECEMBER 1985 THEATRE ORGAN 21