HISMICHTINESS,

TheCrown Prince of North Tonawanda

Dick Loderhose and 11 The Crown Prince" as it was when he purchased it. THE STORY OF A FAMOUS ORGAN NOW LAUNCHED ON A SECOND GREAT CAREER By Ben Hall

The house on Radnor Street, in definitive theatre organ of all time. the Paramount Theatre and its towering Long Island's Jamaica Estates, is not The Loder hose Wurlitzer-now building at New York's Times Square, the largest in the block. But it has a boasting 37 ranks and still growing--is he included in his scheme the finest distinction that sets it apart from its composed of the original Paramount pipe organ money could buy. Naturally, neighba:s and, indeed, from any other building studio Wurlitzer of 21 ranks it would be a Wurlitzer. But he wisely house in the world. Fa: behind it, in a plus s.ome additions with r, personali­ did not leave its design up to the ar­ huge concrete block studio building ty all their own. The a:gan is fiery, tisans in Na:th Tonawanda entirely; (where Jane Loderhose's rose garden almost overpoweringly bdlliant, and instead, he summoned a young organist used to be) lives the biggest pcivately­ (if it is fair to compare Victa: records from Chicago, the brightest star in the owned Wurlitzer in captivity. of 30 years ago with today's United Balaban & Katz constellation, to plan Dick Loderhose, its proud keeper, Artists pcoducts) sounds very little the instrument, and to supervise its refers to the high-pressure Behemoth like it did in its earlier days. The rea­ voicing and installation. Jesse Craw­ in more respectful terms- 11 The Crown sons for this we'll touch on later, Mean­ ford and the original c 1Crawford Spec­ Prince of North Tonawanda," he calls while a bit of background oe the iJistru­ ial" were an immediate sensation when it, with a deferential bow towards the me ~ foe those not already familiar the Paramount opened in November, Queen Mother of all the Wurlitzers, the with it. 1926. Every week the marquee pro­ great instrument still enthroned in New When Adolph Zuka: decided to claimed 11 Jesse Crawfcrd at the ·Or­ Ya:k's Paramount Theatre and con­ build a monument to the Famous Play­ gan," and newspaper advertisements sidered by COGNOSCENTI to be the ers-Lasky Corporation in the form of carried special boxes reading 11 Come Fall, 1960 5 and hear Tesse Crawf cxd and the 'Mystery Voice' of the Wurlitzer" er (later) simply "The Crawfcrds at THAT organ." Crawford had already become an established Victor recording star. His records, since the "Pre-Orthophonic" days, had been made in the Wurlitzer showrooms in Chicago on one of the several small instruments set up there for demonstration. After Zukor stole him away from the Chicago Theatre to the Paramount, Crawf crd at first con­ tinued to go back to Chicago to record. But this soon proved impractical, and V ictcx arranged for Crawford to record on a modest instrument in Wurlitzer Hall on New Yexk's 42nd Street, only a few blocks from the Paramount. But Crawfexd felt (and rightly) that he needed an exgan with more range and resources fer his re~ordings. No doubt tests were made in the Paramount Theatre, and it was decided that Vic­ tex's microphones (this was in 1927) could not do justice to the far-away acoustics of the huge theatre and the idea was abandoned. (What wouldn't you give today to hear some of those "rejects"?) And so it was decided that Wur­ litzer would build a special organ, ideal fer recording and broadcasting, and install it in a studio on the 8th floor of the Paramount building. After all, Wurlitzer's stake in Crawford's Victor recordings was a large one - every record bore the legend: "Played On the Wurlitzer Organ" (a device • • N.Y. Daily News Photo copied by Kimball on Lew White's Interior of solo chamber of "Crown Prince". Brunswicks with less success.) So Pictured are Dick Loderhose and Ronald Bishop. Wurlitzer agreed to build the "dream organ" for Crawfcrd exactly as he specified. those ancient microphones couldn't "Nocturne" was heard around mid­ By this time a second console cope with anything but a pure sound night er later, depending on where you had been installed in the pit in the coming in a straight line from one di­ were tuned in, and at least one younger Paramount Theatre (plus two more rection. listener (whose parents thought he was spinet-like portable consoles on the The first recording made on the sound asleep) used to sneak a Philco stage) to permit Jesse and his beauti­ new crgan was the memorable "You're ''Cathedra1 Gothic" midget radio un­ ful wife, Helen, to perform duets be­ The Cream In My Coffee" coupled wirh der the covers and suffocate slowly to fore dazzled Paramount audiences. "Me And The Man In The Moon" on the strains of the Paramount Studi o Consequently, the new studio organ Victex 21844. The year was 1928, and Wurlitzer every night. had two consoles, also, as it was to Crawford (with an occasional assist be used not only for broadcasting and from Mrs. Crawford) continued to re­ Many other artists have been i­ reccrding but £ex rehearsal by the Craw­ cord on it until after the mid-thirties. dentified with this famous organ. Don fords. Both coosoles were on movable Of course, Helen Crawf cxd made two Baker, during his highly successful platforms; the second console had no recordi.t,igs on her own: the sensitive reign at the Paramount Theatre, made stop tabs, only pistons, and was a and rollicking accompaniments to Bing (in addition to a series of hymns for slave to the main. Crosby's singing of "Can't We Talk Brunswick) two 78-RPM. albums for One of the many unique features of It Over" and "I Found ~ ou" on the Columbia . which, in LP form, still the studio organ was its percussion Brunswick label--a tantalizing sample sound marvelous. George Wright made a chamber -a low-ceilinged section run­ of her artistry in her own right. less-fortunate album on it "accompany­ ning the width of the studio and ex­ Crawford's Victcr records never ing" (as it turned out) Cozy Cole and tending about six feet out in front of identified the organ; it was always his drums on a New Year's Eve some (and below) the shutters to the two or­ simply a "Wurlitzer." But there is one years back; Gecxge's wonderful King gan chambers. The percussion chamber exganist who almost s~ le-handedly recordings, made during the same had its own expression shutters in the put the Paramount studio Wurlitzer on period on the 36 ranker in the theatre top of the chamber that could be oper­ the map in the minds of millions of downstairs more than redeem this in­ ated independently from the rest of the people all over the country. Ann Leaf, discretion, however. Lew White and organ. A large Wurlitzer concert grand with her CBS network broadcasts, Fred Feibel both recorded a number of piano on the studio floor, playable from "Nocturne," and "Ann Leaf At The hymns, Christmas carols and light pro­ either console, completed the set-up. OrJ?an," alwavs came on with her theme gram material, plus the usual standards A duplicate 20-Hp Spencer Motex and song, "In Time," and faded under from the field of wedding music on the blower was installed as a standby. while the announcer said, 1 'The next studio Wurlitzer during the late thir­ T.he studio was heavily draped and program originates in the Para - ties, and Ann Leaf made a series of was about as dead acoustically as a mount Theatre building in New York, transcriptions fer even more somber padded cell. This was back in the days where Ann Leaf, at the console of the use, £ex Summit Sound Systems. Dick when "reverberation'' was a dirty word; Wurlitzer, is waiting to greet you." Leibert also made albums of a some- 6 theatre organ what restrained nature on it. No one black and white vinyl tile floor, all not from the Roxy but from the Strand will ever know how many "Ave Macias" highly sound-reflective. To alter the Theatre in Brooklyn, is the upright and "Oh, Promise Me's," performed acoustics, curtains may be drawn in piano which stands along the wall to on this organ, have been heard in fun­ front of the shutters. As many as 150 the percussion chamber. Audiences at eral par !ors and wedding chapels all have attended recitals in the studio, recitals in the studio always gape over America - or why. and on summer afternoons the crowd when the piano starts to "play itself., -, Maybe it was a case of too many spills out on the lawn, hearing the or­ Mounted above the piano is a set of "Traumereis" •••whatever the reason, gan through large double doors. Hope-Jones tuned saucer bells bought the 1940's found the Paramount studio In the studio area is enough musi­ from Lorin Whitney-rare but juice­ crgan in almost total eclipse. It sat cal merchandise to startle even the consuming trappings. there in solitary confinement, gathering most sophisticated visitor. First, there The electronic equipment in the dust for almost ten years. Meanwhile, is the original 4-manual Wurlitzer con­ studio,is pretty rare (and juice-consum­ the theatre had changed hands-the sole, refurnished complet~ly in glisten­ ing) too. There's a big Ampex 351-1 once-proud Publix chain was trust­ ing white hand-rubbed enamel and gold; installed in a movable console, with busted out of existence and the Ameri­ it sits on a rolling platform covered in attendant mixers and remote-control can Broadcasting Company-Paramount red plush with deep gold fringe. The switches. Then there are the two Theatres, Inc., took over. The space only thing that hasn't been completely matched Capps condenser miJ<:es , occupied by the studio was needed to renovated is the upholstery on the S-M-mike and Altec mikes and their house some hush-hush communications Howard seat. That well-worn fabric projects, and the organ was put on the power systems~ has been glorified by so many famous block. In either corner of the studio, at the or­ posteriors as t·o make replacement un­ This was 1956. Enter a man and gan end, is a big Altec Laguna speaker thinkable. Otherwise, all is new; the his dream. system, powered by two 60-watt Grom­ console has been completely re­ Dick Loderhose had been bugs on Amplif iers. A complete stereo record­ leathered, all the brightwork has been organs ever since he followed the playback system completes the set-up. re-chromed, new scarlet felt has been classic pattern and stayed behind to But it's what's up front that counts. inserted throughout, stop tabs have been play the organ in church one Sunday. cleaned, even the inlaid brass and "Up front" consists of two cham­ Theatre organs came next, and soon he bur 1 walnut "Wurlitzer" n·ame plates wer~ bers, each 19 feet deep, 12 feet wide, was playing semi-professionally at the refurbished. To accommddate the added and 17 feet high, finished in hard­ RKO .Kieth's Theatre in his neighbor­ ranks in the organ, two additional bol­ surface plaster. Behind them, the blow­ hood . Ev en after he went into the Navy sters of stop tabs have been added to er room and relays. Laid out in front he ke pt at it, performing in theatres in the horseshoe, plus greatly enlarged of the organ chambers, just as in the his sa iler suit er on Hammonds in ser­ 2nd touch and tremulant facilities. Paramount Building, is the percussion vice club s. Soon after becoming a civil­ Next to the main console is the chamber with its overhead express ion ian again he bought the beautifully­ slave console, still in its original shutters. The original chests, (all voice d Wurlitzer from station WMCA in walnut finish. Behind the two, just as chromatic) are built 4 feet above the New Yor k and set it up in his home, in the Paramount studio, is the setter floor and are 12 feet long instead of where he was happy with it ••• board where new combinations may be the usual 8 feet. According to Dick Still, Dick had the dream. set up conveniently. Then comes the this is a feature not found in any other The dream was to own the biggest latest addition to the Loderhose organ Wurlitzer. Dick has gone to great pains and mightiest Wurlitzer (outside of a in soundproofing the cpests, tremulants, theatre) in the world. Nothing else empire: the huge golden five-manual Kimball console from the late-lamen - wind trunks and reservoirs; during some would do. So, when he heard that the ted Roxy Theatre. This most recent early recording sessions several of famous Paramount building Wurlitzer acquisition will soon be hooked up to Jane's best pink blankets were pressed was for sale, his course of action was into emergency duty. Now 3 inches of clear. the Wurlitzer relays; with its more than 300 stop tabs, it will open up even wi­ fiberglass between a sandwich of ply­ Negotiations were complicated, but wood and special acoustical board do Dick, a negotiatcr of no little experi­ der horizons for the man with the dream. Along wi_th the giant console, the job. For all its ponderous size and ence, managed to get the deal set. What power, it is an amazingly quiet organ Dick brought home the Kimball Fanfare did it cost? "You wouldn't believe me (until someone strikes a chcrd at the Trumpet, Military Bugle and 8' Post if I told you," he will answer, while console!). wife Jane (among the more understand­ -Horn which are being added to the or­ ing of the nation's "Wurlitzer Widows") gan. Of course, Dick hasn't done the looks heavenward. Even so, the price Als o of Kimball pedigree, though job alone. He has had some of the fin- he paid ABC-Paramount was only the beginning. It cost more than $5,000 simpl}' to remove the organ from the Times Square building and stere it un­ til its new home was ready. To -take the ocgan out of the Paramount meant demolishing and then restocing whole parts of the building. Walls had to be removed, doors had to go, and to get the parts down the elevator shaft, a platform had to be built on top of the elevator car itself. In building the new studio, Die~ wanted to duplicate the dimensions and general plan of the ociginal while at the same time improving the listening coooitions. His architects designed a building 71 feet long, 26 feet wide, 20 feet high. The studio proper occupies more than half this space, and is com­ .plete with its own radiant heating sys­ tem in the walls, telephone system and "smoking room" facilities. The entire Studio organ slave console used by Mrs. Helen Crawford. building is made of st rut concrete Not now with the Loderhose organ, block, painted pale green inside with a it is owned by Reiny Delzer, Bismarck, N.D. Fall, 1960 7 est professional help in the business­ The a:gan was officially "un­ over the country through the United Danny Papp (who still gives the Para­ veiled" at a premiere concert by Ann Artists records that have been made on mount Theatre organ the loving care it Leaf on Sunday, October 19, 1958. it--"lntroducing The Mighty Wurlitzer " deserves, and who installed it as well Since that time Don De Witt and Johnny "Sing Along With The Mighty Wurlit­ as the studio organ a:iginally ); Louis Seng have given recitals to foil stu­ zer"; featuring the "King Of The Ferarra, custodian of the Radio City dios, and many of the outstanding fig­ Bouncing Ball", Dick (Loderhose) Music Hall's 58-rank gian~; Don De ures of the O£gan world have play~d it Scott, "Christmas In Your Heart "(Reg­ Witt, the well-known "Tibia Gynecolo­ informally. Dick's telephone is con­ inald F oort), "Beyond The Blue Hori­ gist"; Douglas Pennoyer, former stantly ringing with calls from out-of­ zon" (Johnny Seng), "Organ Treasures" Aeolian-Skinner technician; and Ronnie town visitors who feel that their visit (Don De Witt). Bishop, assistant to Louis Fearra, and to New York is not complete without a Dick has even greater plans for chance to see and hear this outstanding now representing Casavant. All these, -t the months ahead, In the meantime he as well as numerous volunteers with organ. Dick graciously welcomes them exlends a ca: dial invitation to ATOE varying degrees of enthusiasm and all, and the studio guest book has al­ members and their friends to visit him skill, have helped make the Loderhose ready gone into Volume II. and "The Crown Ptince Of North organ what it is today. Now the crgan is being heard all Tonawanda.'' SPECIFICATIONS OF DICK LODERHOSE WURLITZER 37 RANKS & PERCUSSIONS

GREAT-MANUAL II GLOCKENSPEIL CHRYS.-OCTAVE SOLO-MANUAL IV TUBA MIR. 8 CHRYS SUB OCT SNARE ORUM ENG. HORN 8. TUBA MIRABILIS TC 16 CHRYSOGLOTT TAMBOURINE TRUMPET 8 TUBA MIRABILIS TC 16 ENG HORN 16 SNARE ORUM CASTANETS TUBA HORN 8 ENG HORN 16 TIBIA CLAUSA (S) II 16 OPHICLEIOE 16 TAMBOURINE CH. BLOCK OPEN OIAP. 8 SAXOPHONE TC 16 DIAPASON TC 16 BRUSH CYMBAL BRUSH CYMBAL HORN DIAP. 8 SOLO STRING 16 DIAPHONE 16 CASTANETS ACCOMP 4 TIBIA CLAUSA (S) II 8 SOLO STRING CELESTE II 16 CHINESE BLOCK SOLO 8 TIBIA CLAUSA (M) 8 TIBIA CLAUSA (SJ II 16 VOX HUMANA (S) TC 16 CLARrNET 16 GREAT 16 CLARINET 8 VOX HUMANA (M) TC II 16 SAXOPHONE TC 16 GREAT 4 2ND TOUCH SOLO STRING 8 TUBA MIRABILIS 8 SOLO STRING 16 SOLO 16 SOLO STR. CELESTE II 8 TUBA MIRABILIS 8 ENG HORN 8 SOLO STR CELEST£ II 16 SOLO 8 STRING CELESTE II 8 TRUMPET 8 SOLO TRUMPET 8 FRENCH HORN TC 16 VIOL CELESTE II 8 ENG HORN 8 TUBA HORN 8 BOURDON 16 GAMBA CELESTE 11 8 PIZZICATO TUBA HORN 8 OPEN DIAP 8 VOX HUMANA (S) TC 16 OBOE HORN 8 OPEN OIAP 8 MUSETTE 8 QUINT ADENA 8 VOX HUMANA (Ml TC II 16 SOLO 8 TIBIA CL (S) 8 TIBIA CLAUSA (S) II 8 TUBA MIRABILIS 8 FLUTE 8 SAXOPHONE 8 TIBIA CLAUSA (Ml 8 ENG HORN 8 PIANO 16 PICCOLO (S) 11 4 CLARINET 8 SOLO TRUMPET 8 BASS ORUM ACCOMP.-MANUAL I PICCOLO (S) II 2 SAXOPHONE 8 SIZZLE CYMBAL TRUMPET 8 CHIMES SOLO STRING 8 SNARE DRUM TUBA HORN 8 TUBA MIRABILIS 8 GLOCKENSPIEL SOLO STRING CELESTE II 8 CRASH CYMBAL OPEN DIAPASON 8 ENG. HORN 8 GREAT 4 STRING CELESTE II 8 BRUSH CYMBAL HORN· DIAPASON 8 TRUMPET 8 SOLO 8 VIOL CELESTE 11 8 ACCOMP 8 TIBIA CLAUSA (Sl II 8 TUBA HORN 8 SOLO 4 KRUMET 8 GREAT 8 TIBIA CLAUSA (Ml 8 OPEN OIAP 8 PIZZICATO FRENCH HORN 8 BOMBARDE 8 CLARINET 8 HORN OIAP 8 ORCH OBOE 8 SOLO 8 SAXOPHONE 8 TIBIA CLAUSA (S) II 8 SOLO 8 KINURA 8 SOLO STRING 8 TIBIA CLAUSA (Ml 8 BOMBARDE-MANUAL Ill COR ANGLAIS 8 SOLO STRING CELESTE II 8 CLARINET 8 VOX HUMANA (S) 8 STRING CELESTE II 8 SAXOPHONE 8 TUBA MIRABILIS TC 16 VOX HUMANA (M) II 8 TREMULANTS VIOL CELESTE 11 8 SOLO STRING 8 ENGLISH HORN 16 PICCOLO (SJ II 4 GAMBA CELESTE 11 8 SOLO STRING CELESTE II 8 SOLO TRUMPET TC 16 HARMONJC FIFE 4 MAIN (3) KRUMET 8 STRING CELESTE II 8 DIAPASON TC 16 SOLO TIBIA II 2-2/3 SOLO (2) FRENCH HORN 8 VIOL CELESTE II 8 TIBIA CLAUSA (SJ II 16 PICCOLO (S) 11 2 SOLO HIGH PRESSURE KINURA 8 GAMBA CELESTE II 8 SAXOPHONE TC 16 SOLO TIBIA II 1-3/5 TIBIAS (3) ORCH OBOE 8 KRUMET 8 SOLO STRING 16 SOLO TIBIA II 1 ENGLISH HORN FLUTE 8 OBOE HORN 8 SOLO STRING CELESTE II 16 HARMONIC FIFE 2 VOXES (3) VOX HUM. (SJ 8 QUINTAOENA 8 VOX HUMANA (S) TC 16 PIANO 8 TIBIA CELESTE (SOLO) VOX HUM. (Ml II 8 CONCERT FLUTE 8 VOX HUMANA (M) TC II 16 CHIMES VOX CELESTE (MAIN) MUSETTE 8 FLUTE CELESTE TC. 8 TUBA MIRABILIS 8 MARIMBA 20 PISTONS ON ACC.- COR ANGLAIS 8 VOX HUMANA (S) 8 ENG HORN 8 HARP DOUBLE TOUCH PEDAL CLARION 4 VOX HUMANA (Ml II 8 SOLO TRUMPET 8 XYLO MASTER SUB OCT 20 PISTONS ON GREAT- OCTAVE 4 OCTAVE 4 TUBA HORN 8 XYLO MASTER DOUBLE TOUCH GENERALS PICCOLO (SJ 11 4 PICCOLO (SJ II 4 OPEN OIAP 8 GLOCKENSPIEL 20 PISTONS ON BOMBARDE PICCOLO (Ml 4 PICCOLO (Ml 4 TIBIA CLAUSA (S) II 8 BELLS REIT 20 PISTONS ON SOLO SOLO STRING 4 SOLO STRING 4 SAXOPHONE 8 CHRYS SUB OCT TOE LEVERS: SFORZANDO SOLO STR CELESTE 11 4 SOLO STRING CELESTE II 4 SOLO STRING 8 CHRYSOGLOTT CYMBAL & DRUM STRING -CELESTE II 4 STRING CELESTE II 4. SOLO STRING CELESTE II 8 SOLO 16 TOE STUDS: 17 TOE (STUDS VIOL CELESTE II 4 VIOL CELESTE II 4 VOX HUMANA (SX) 8 ACCOMP 8 FOR TRICK EFFECTS FLUTE 4 GAMBA CELESTE II 4 VOX HUMANA (MX) 11 8 2 CONSOLES: 2ND CONSOLE TIBIA 12TH (S) II 2-2/3 FLUTE 4 SOLO TIBIA II 5~ PEDAL IS ROXY !5 MANUAL TWELFTH 2-2/3 VOX HUM. (Ml II 4 CLARION 4 KIMBALL RESULTANT 32 PICCOLO (S) II 2 VOX HUM. (S) 4 PICCOLO (S) II, 4 DOUBLE ENG. HORN 16 15TH (VIOL CEL) II 2 PICCOLO 2 SOLO TIBIA II 3-1/5 OPHICLEIDE 16 PICCOLO 2 PIANO 8 SOLO TIBIA II 2-2/3 BOTH CONSOLES ON DIAPHONE 16 MOVABLE PLATFORMS. TIER EE ~ S/fi PIANO 4 SOLO TIBIA II 1 FT. BASS 16 CAN BE ROLLED PIANO 16 MANDOLIN PICCOLO (S) 11 2 TIBIA (CL) (S) II 16 ANYWHERE IN STUDIO. PIANO 8 VIBRAPHONE PIANO 8 DBL STRING 16 CHIMES 3 CHAMBERS: PIANO 4 CHY$. DAMPERS DBL. STR. CEL. 16 MAIN MARIMBA SUB OCT MARIMBA XYLO MASTER SUB OCT OBOE HORN 16 HARP SUB OCT HARP XYLO MASTER BASSOON 16 SOLO XYLO MASTER SUB OCT XYLO-MASTERSUB OCT. SLEIGH "BELLS BASS CLARINET 16 PERCUSSION 20 H.P. ORGOBLO BLOWER XYLO, MASTER CHRYSOYLOTT ELECTRIC BELLS (REIT.t BOURDON 16

ABOVE SPECIFICATIONS INCLUDES TIBIAS (SOLO 1, SOLO 2, AND MAIN), 2ND POST HORN ON BOMBARDE ONLY, QUINT CELESTE

BY CUTOUT SWITCH, AND ADDED TRAPS AND EFFECTS • . 8 theatre organ