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Guess the Number of Fleasupon this Dog and get a

Grand Piano Free

11

In ordcr to pro\"c the indisputable value uf the NEPLUSCLTRAPIANO we arc making the above astollisliing o~fcr.

No Piano firm in existence has the courage to risk a similar test.·

lf we were not absolutely sure uf mlr pearly tone, our unapproachable scale, our transparent varnish, our moth proof fclt and ourunimpeachable actions, could we afford to nuke such an offer?

·Simply catch an ordinary dog of the size represented in the above\ctching. Carefully remove the fleas olle by one and preserve t hem inalcohol to avoid future dispute. Then count the aggregate, divide by17 and take the square root. Sell9 the result to us on Or beforeFebruary 31st, 1912, and we will s<:nJ the prize piano by returnmail.

NEPLUSULTRA PIANO COMPANY

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,-_.~=========~=====~==========~

The AMICA BLTLLETINAUTOMATIC MUSICAL INSTRUMENT COLLECTORS' ASSOCIATION

JULY/AUGUST 2000 VOLUME 37, NUMBER 4

THE LATEST SONGSOF THE RENOWNED GENIUS

ALPHONSUS POMADE

LAST PORTRAIT OF PROF. POMADE

'Thc fQIlowing may beobtained in any key f ron1lo\v X to high &.

"Johnny Get the Tweezers,There's a Clove in Father'sBreath."

A beautiful song for low voice,the lower the better. Especiallysuited for White Ribbon meetings. Sixty-seventh edition.

"Sister's Switch is TurningGrey."

A pathetic little ditty withbeautiful lantern slides. ThreC"million sold.

"Shower of Gold, or WhyWaste the Eggs When He'sDoing the Best lie Can."

Always makes a hit. Threethousand sold in tel! minutes.

"Don't Scratch It or It'll Never Get Well."A touching little canzonetta with a staccato accompaniment.

FOR SALE AT

ALL HABERDASHERS AND SHIP CHANDLERS if' "

l)

Entire contents © 2000 AMICA International 193

VOLUME 37, Number 3 July/August 2000

FEATURESGateway Plans October Small Organ Festival — 200Harvey Northrup Roehl— 202In Praise of Pianos — 208Victor Herbert Vignette— 218Piping Up— 219Know Your Roll Artists — 221I Created Jazz in 1902 — 222

DEPARTMENTSAMICA International — 194

President’s Message — 195From the Publisher’s Desk — 195Calendar of Events — 196Letters — 197AMICA People - 199Crossword Puzzle— 216Tech Tips — 224Chapter News — 228Classified Ads — 239

Front Cover:

Inside Front:

Inside Back Cover:

Back Cover: From AMICA April 1978

THE AMICA BULLETINAUTOMATIC MUSICAL INSTRUMENT COLLECTORS' ASSOCIATION

Published by the Automatic Musical Instrument Collectors’ Association, a non-profit, tax exempt group devoted to the restoration, distributionand enjoyment of musical instruments using perforated paper music rolls and perforated music books. AMICA was founded in San Francisco, California in 1963.

ROBIN PRATT, PUBLISHER, 630 EAST MONROE ST., SANDUSKY, OH 44870-3708 -- Phone 419-626-1903, e-mail: [email protected] the AMICA Web page at: http://www.amica.org

Associate Editor: Mr. Larry Givens Contributing Editor: Mr. Emmett M. Ford

AMICA BULLETINDisplay and Classified AdsArticles for PublicationLetters to the PublisherChapter News

UPCOMING PUBLICATIONDEADLINESThe ads and articles must be receivedby the Publisher on the 1st of theOdd number months:

January JulyMarch SeptemberMay November

Bulletins will be mailed on the 1st weekof the even months.

Robin Pratt, Publisher630 East Monroe StreetSandusky, Ohio 44870-3708Phone: 419-626-1903e-mail: [email protected]

MEMBERSHIP SERVICES

New Memberships . . . . . . . . . . $37.00

Renewals . . . . . . . . . . . . . . . . . $37.00

Address changes and corrections

Directory information updates

Additional copies ofMember Directory . . . . $25.00

Single copies of back issues($6.00 per issue - basedupon availability)

William Chapman (Bill)2150 Hastings CourtSanta Rosa, CA 95405-8377707-570-2258e-mail: [email protected]

To ensure timely delivery of yourBULLETIN, please allow 6-weeksadvance notice of address changes.

AMICA Publications reserves the right to accept, reject, or edit any and all submitted articles and advertising.

From: The Etude, August 1912Thanks to Beverly Brabb

194

AAMMIICCAA IINNTTEERRNNAATTIIOONNAALL

INTERNATIONAL OFFICERSPRESIDENT Dan C. Brown

N. 4828 Monroe StreetSpokane, WA 99205-5354

509-325-2626e-mail: [email protected]

PAST PRESIDENT Linda Bird3300 Robinson Pike

Grandview, MO 64030-2275Phone/Fax 816-767-8246

e-mail: OGM [email protected] PRESIDENT Mike Walter

65 Running Brook Dr.,Lancaster, NY 14086-3314


SECRETARY Judith Chisnell3945 Mission, Box 145

Rosebush, MI 48878-9718517-433-2992

e-mail: [email protected] Robert DeLand

Registered agent for legal matters 485 Gatewood LaneGrayslake, IL 60030

847-548-6416 - Fax 847-548-8615e-mail: [email protected]

PUBLISHER Robin Pratt630 E. Monroe Street

Sandusky, Ohio 44870-3708419-626-1903

e-mail: [email protected] SECRETARY William Chapman (Bill)

2150 Hastings CourtSanta Rosa, CA 95405-8377


— COMMITTEES —

AMICA ARCHIVES Shawn Fox1319 Pearl St., Sandusky, OH 44870 419-621-9758

AMICA MEMORIAL FUND Judy Chisnell3945 Mission, Box 145, Rosebush, MI 48878-9718 517-433-2992AUDIO-VISUAL & TECHNICAL Harold Malakinian

2345 Forest Trail Dr., Troy, MI 48098CONVENTION COORDINATOR Frank Nix

6030 Oakdale Ave., Woodland Hills, CA 91367 818-884-6849HONORARY MEMBERS Mike Walter

65 Running Brook Dr., Lancaster, NY 14086-3314 716-656-9583PUBLICATIONS Robin Pratt

630 E. Monroe St., Sandusky, OH 44870-3708WEB MASTER Terry Smythe

55 Rowand Avenue, Winnipeg, MB, Canada R3J 2N6204-832-3982 — e-mail: [email protected]

BOSTON AREAPres. Ken VolkVice Pres: Dorothy BromageSec: Ginger ChristiansenTreas: Alan JayneReporter: Don BrownBoard Rep: Sandy Libman

CHICAGO AREAPres: Richard VanMetre - (847) 402-5391Vice Pres: George WilderSec: Curt CliffordTreas: Joe PekarekReporter: Kathy Stone SeptonBoard Rep: Marty Persky

FOUNDING CHAPTERPres: Bing Gibbs - (408) 253-1866Vice Pres: Mark PopeSec: Lyle Merithew & Sandy SwirskyTreas: Richard ReutlingerReporter: Tom McWayBoard Rep: Richard Reutlinger

GATEWAY CHAPTERPres: Dorothy Crowley (314) 843-2140Vice Pres: Yousuf WilsonSec: Mary WilsonTreas: Mary WilsonReporter: Cynthia CraigHistorian: Larry HollenbergBoard Rep: Gary Craig

HEART OF AMERICAPres: Ron Bopp - (918) 786-4988Vice Pres: Tom McAuleySec/Treas: Linda KoehlerReporter: Joyce BriteBoard Rep: Ron Connor

LADY LIBERTYPres: Keith Bigger - (718) 528-9443Vice Pres. & Reporter: Bill Maguire

(516) 261-6799Sec: Richard KarlssonTreas: Ron KilfoilBoard Rep: Marvin & Dianne Polan

- (631) 673-0388

MIDWEST (OH, MI, IN, KY)Pres: Judy ChisnellVice Pres: Stuart GriggSec: Judy WulfekuhlTreas: Alvin WulfekuhlReporter: Christy CountermanBoard Rep: Liz Barnhart

NORTHERN LIGHTSPres: Dave KemmerVice Pres: Jerrilyn Boehland -

(612) 780-5699Sec: Jason E. Beyer - (507) 454-3124Treas: Terry GoepelReporters: Paul & Barbara WatkinsBoard Rep: Dorothy Olds

PACIFIC CAN-AMPres: Mark Smithberg - (206) 763-9468Vice Pres: Kurt MorrisonSec: Halie DodrillTreas: Ward FolsomReporter: Dan Brown Board Rep: Carl Dodrill

SIERRA NEVADAPres: John Motto-Ros - (209) 267-9252Vice Pres: Sonja LemonSec/Treas: Tom & Virginia HawthornReporter: Doug & Vicki MahrBoard Rep: John Motto-Ros

SOWNY (Southern Ontario,Western New York)

Pres: Anne Lemon - (905) 295-4228Vice Pres: Mike HamannSec/Mem. Sec: John & Diane ThompsonTreas: Holly WalterPhotographer: Garry LemonReporter: Frank WarbisBoard Rep: Mike Walter

SOUTHERN CALIFORNIAPres: James WestcottSec./Reporter. Shirley NixTreas: Ken HodgeBoard Rep: Frank Nix

TEXASPres: Jerry Bacon - (214) 328-9369Vice Pres: Tony Palmer (817) 261-1334

Haden VandiverMichael BarisonekBryan Cather

Sec./Treas: Janet TonnesenBoard Rep: Dick MerchantBulletin Reporter: Bryan CatherNewsletter Editor: Bryan Cather

SOUTHERN SKIESPres: Debra Legg - (727) 734-3353Vice Pres: Bill ShriveSec: Howard Wyman (813) 689-6876Treas: Dee Kavouras (352) 527-9390Reporter: Dick & Dixie LeisBoard Rep: Debra Legg

CHAPTER OFFICERS

AFFILIATED SOCIETIES AND ORGANIZATIONSAUSTRALIAN COLLECTORSOF MECHANICAL MUSICALINSTRUMENTS19 Waipori StreetSt. Ives NSW 2075, Australia

DUTCH PIANOLA ASSOC.Nederlandse Pianola VerenigingEikendreef 245342 HR Oss,Netherlands

PIANOLA INSTITUTEClair Cavanagh, Secretary43 Great Percy St., London WC1X 9RAEngland

INTERNATIONAL PIANOARCHIVES AT MARYLANDPerforming Arts Library, Hornbake 3210University of MarylandCollege Park, MD 20742

MUSICAL BOX SOCIETYINTERNATIONALP. O. Box 297Marietta, OH 45750

NETHERLANDS MECHANICALORGAN SOCIETY - KDVA. T. MeijerWilgenstraat 24NL-4462 VS Goes, Netherlands

NORTHWEST PLAYER PIANOASSOCIATIONEverson Whittle, Secretary11 Smiths Road, Darcy Lever,Bolton BL3 2PP, Gt. Manchester, EnglandHome Phone: 01204 529939Business Phone: 01772 208003

SMITHSONIAN INSTITUTIONDivision of Musical HistoryWashington, D.C. 20560

PLAYER PIANO GROUPJulian Dyer, Bulletin Editor5 Richmond Rise, Workingham,Berkshire RG41 3XH, United KingdomPhone: 0118 977 1057Email: [email protected]

SOCIETY FOR SELF-PLAYINGMUSICAL INSTRUMENTSGesellschaft für Selbstspielende Musikinstrumente (GSM) E.V.Jürgen HockerHeiligenstock 46 D-51465 Bergisch Gladbach GermanyPhone: 2202-932524Fax:. 2202-932526

INT. VINTAGE PHONO & MECH.MUSIC SOCIETYC.G. Nijsen, Secretaire General19 Mackaylaan5631 NM EindhovenNetherlands

Two Bs or Not Two Bs.Hi All,

I have noticed that since the introduction of an Asian pianolabel designated the Webber that many AMICA members andother people often misspell their own as well as their hosts’piano brand name. There has never been a WEBBER Duo-Art

in history. That is, unless the decal man had a rough night dur-ing Prohibition and the next morning slipped while applying thegold transfer. Would that be he “fell” on the “fall”? Or, histori-cally speaking, “Legends of the Fall”? How about if he hurt hisknee as a result, would it then be a “fell o’ knee”? Anyway, Idigress...the WEBER piano is correctly spelled with one ‘B’.This is whether it is a Weber piano, a Weber Pianola, a WeberThemodist-Metrostyle, a Weber Duo-Art Pianola or a plain ol’Weber Duo-Art. The Weber piano was named for its maker andI might add, Steinway nemesis, Albert Weber (1828-1879).

Just thought you’d like to know!

Robin

195

Hello,

I’m excited to begin my term as AMICA President andgrateful to Linda Bird for having left the organization in suchgood condition. AMICA has new by-laws and standing ruleswhich accurately reflect current procedures and which willfaciliate the organization’s progress. Many of us have recentlyreturned from the convention in Sacramento. Thanks are due toJohn Motto-Ros and members of the Founding and Sierra-Nevada chapters for a job very well done. We recently receivedthe news of the death of Harvey Roehl. For many of us, his pio-neering publication “Player Piano Treasury” was our first indi-cation that other people might be interested in these wonderfulmachines. Harvey and Marion were great promoters of ourhobby and our sympathy is extended to her.

AMICA has declined in membership for several years andgrowth will be critical to survival. Some chapters have “mem-bers” who are not International Members. Chapter officers areencouraged to remedy this situation as quickly as possible.

Many chapters work hard to introduce AMICA to the pub-lic. Heart of America and Southern California chapters haveemphasized band organ rallies to accomplish this (the organs inSacramento were certainly attention-getters). It has been adream of mine to present player and reproducing pianos to thepublic as well. If you’ve been around long enough, you’ll

remember how our presidentMolly Yeckley almost single-handedly did this with herreproducing pianos. They’renot as easily or safely movedas band organs, but there is avast public out there which hasnever seen or heard a player orreproducing piano and a gener-ation for which a piano itself isan unfamiliar object. Try torecall your excitement at firsthearing a player or reproduc-ing piano.

I will rely upon your support and assistance to keepAMICA alive and vital. The photo of me was taken recently atRichard Reutlinger’s home in San Francisco, the city where thisadventure all began in 1963.

Amicably,

Dan Brown

President’s Message

Announcements !

SSTT.. LLOOUUIISS RRAAGGTTIIMMEE FFEESSTTIIVVAALL

The 2000 St. Louis Ragtime Festival will be held, aslast year, on the second weekend of September, the dates ofwhich are September 9 and 10. The venue again will be theacoustically-divine Ethical Society.

To ensure diversity, a radically different line-up will beshowcased this year, featuring three pianists and threeensembles. Last year we were treated to the pianistic fire-works of Tony Caramia; this year’s featured virtuoso is notone iota less of a pianist extraordinaire, none other thanNovelty Ragtime connoisseur Alex Hassan, of the Libraryof Congress Music Library. In addition, nimble-fingeredpianist-composer Reginald Robinson of Chicago, who atthe tender age of 25 has composed over 100 rags andrecorded three CD’s for Delmark Records, and our own JanHamilton Douglas, renowned house musician at the ScottJoplin House State Historic Site, will perform.

The ensembles to be featured this year include: theTurpin Tyme Ragsters, a wonderful six-piece concert bandfrom Kansas City; the Et Cetera String Band, a three piecegroup from the border country of Western Missouri andEastern Kansas, which has dazzled our ears for years with afolksy barn dance style of ragtime interjected with music ofthe Caribbean which, astonishingly, blends well into theragtime repertoire; and the Elite Syncopators of Indianapo-lis, a four piece group led by the phenomenal pianist TerryParrish, who have been featured for years on the GoldenrodShowboat.

But that is not all! The St. Louis Vintage Dance Asso-ciation will accompany the Turpin Tyme Ragsters, demon-strating dances of the Ragtime Era, providing danceinstruction to all who wish to take advantage of this uniqueopportunity.

AND . . . the young winners of the St. Louis RagtimePiano Competition will be given the opportunity to show-case their budding talent.

ALL brought to you, at no charge (makes up forTreemonisha, huh?), by your friendly friends, the Friends ofScott Joplin!

The Ragtime for Tulsa Foundation presents the millen-nium talents of Mimi Blais and Jeff Barnhart in our Rag-time 2000 Concert, June 6th, in the John H. Williams The-ater of the Performing Arts Center in Tulsa, Oklahoma. Formore information call/fax (918) 749-3184 or e-mail:[email protected]. Please visit our website atwww.webtek.com/ragtime.

196

AMICA Memorial Fund DonationsAMICA has received two generous donations in mem-

ory of AMICA member Mr. Lynn Guyett of Council Bluffs,Iowa. These were from the AMICA Heart of AmericaChapter and also from Galen and Linda Bird.

Please think of AMICA as a place to remember yourfriends and family with a donation to the AMICA Memori-al Fund.

Sincerely,

Judith Chisnell3945 Mission, Box 145Rosebush, Michigan [email protected]

February 16-26, 2001 AMICA Convention, Melbourne, Australia

June 26-30, 2002 AMICA Convention, Springdale, Arkansas

Heart of AmericaSeptember 1, 2, 3, 2000

Mt. Pleasant, IowaBand Organ Rally

Heart of AmericaDecember, 2000Joplin, Missouri

August 27, 2000Afternoon Meeting of

Texas Chapter at the eastDallas home of our president,

Jerry Bacon, to see and hear his newly restoredphotoplayer and other instruments.

September 23, 2000Sierra Nevada Chapter

John and Nadine Motto-RosSutter Creek

(joint meeting with Founding Chapter)

October 14-15, 2000Midwest Chapter

at the Leedyswith the Chicago Chapter

Christmas Meetingin Sandusky & Norwalk, Ohio

October 8, 2000Afternoon meeting of

Texas Chapter in Arlingtonat the home of our

Bulletin Reporter/Newsletter Editor,and Vice-President Bryan Cather

for a Mart/Swap Meet

December, 2000Sierra Nevada Christmas Party

Doug and Vicki MahrOrangevale

December 3Texas Chapter

Evening Holiday Dinner at the homeof Myriam and Tony Palmer,

CALENDAR OF EVENTSANNUAL CONVENTIONS

CHAPTER MEETINGS

197

Dear Editor,

My wife and I are new to AMICA and are enjoying the people we have met, our new (to us) Marque Ampicopiano and now The AMICA Bulletin.

I have been reading the May/June bulletin with great fascination. I just finished the article “Bird Repertoires”by Archie A. Mumma. Just as I read about musical inversions a bird outside my window gave me a perfect exam-ple of what I was reading at that very moment.

I have a couple questions. 1. I noticed that there was no ex. 3, but that ex. 2 was repeated in the ex. 3 space.Is there an ex. 3 or was this a mistake in the original text? On page 169, middle column, 9th line should it read,“Among the robins that I have heard...?”

I was all set to write to the author when I noticed that it was originally written in 1929. I guess it is a bit late.But, I do know a number of people that I would like to send this article to. May I make copies? It certainly wouldbe good for music teachers and students as well, especially with the ready-made quiz at the end.

Vincent Morgan, NY

Letters…

Dear Editor,

I would like to comment on the most recent AMICA Bulletin. I have enjoyed reading the various articles. However,I got the biggest kick from the picture of Durrell Armstrong and his little red truck (Ford) on the back cover. This photowas taken prior to 1958 in front of our home in Vestal. 1958 was the year we built the first addition on to our home toaccommodate the growing collection, things just grew from that point.

On another matter may I say a few words of thanks.

I would like briefly to say Thank You to our friends for their caring support these past few months of Harvey’s ill-ness. This was a great source of strength during a trying time.

Sincerely,

Marion Roehl

Phonograph Recordings

of Ampico ArtistsBy Martin Hersch

The April 1984 article “Ampico Performances With Disc Counterparts” reprinted in the May/June 2000AMICA Bulletin was most informative. It might be interesting to note that Benno Moiseiwitch recorded Schu-mann’s “Carnaval” on LP (MCA 1408) late in his life and issued in 1980. It is fascinating to compare this laterecording with his much earlier Ampico recording of the same work (over 26 minutes long on four rolls). Also, anumber of Joseph Lhevinne’s 78 rpm recordings were reissued in 1970 on an RCA LP recording (VIC 1544) in1970. Interestingly, his phonograph recording of the Schulz-Evler arrangement of the Johnann Strauss Jr. BlueDanube Waltz omits the long and elaborate introduction, so beautifully captured on the Ampico piano roll recording(probably omitted due to the time limitations imposed by the 78 rpm disc).

AMICA People

Player--PianoDemonstration

"Jelly Roll'Morton" Jazzand other Pop/Classical

RollsKarl Ellison .. Guest Lecturer

Monday, September 18, 200011 :00 a.m.... Community Time

Salem State CollegeCharlotte Forten Hall

T hiS demonstration will feature some of the piano playing of the legendary 1920's jazzmusician Ferd "Jelly Roll" Morton as well as some popular music of the Roaring Twenties

- played live at the Charlotte Forten Hall on Mr. Ellison's recently restored 1917 upright grandpneumatic player piano. This instrument used to be a household commodity and was one of theonly sources for music in the home before both the popularity of the phonograph and the availability of radio.

Mr. Ellison's piano will express nuance, tempo, and any manner of dynamic that he wisheswhile pumping its treadles and working the levers in its keyslip. He states, "The music is

top-notch, well-orchestrated, full-sounding pieces - pop, jazz music from the 1920's to Chopinand Schubert - played, as one piano-roll company touted, [in the manner of] "the Masters fingers on your keyboard" Several of the pieces will be preceded by a narrative history regardingthe piece of music. A range of styles that will be demonstrated will provide rewarding musicfor everyone.

199

200

The Chapter members, Tom Novak and Gary Craig,played their brand new Stuber street organs around thegrounds to entertain visitors to this free public display andfamily outing Ice Cream Social. A display of musical boxesand organettes was manned by Mary Wilson and DorothyCrowley on the back porch as visitors exited the inside collec-tion and tour. In the cellar of this 18th Century Mansion inthe video lecture hall, Yousef Wilson demonstrated and lec-tured on the Magic Lantern slides he has showing constructionof the 1904 Fair.

On the lawn BobbyNorfolk, a well knownregional story tellerwho assumed the per-sona of Scott Joplin,accompanied on thepiano by Ragtime his-torian and musicianTrebor Tichenor,entertained onlookersreflecting on ragtimeand the world’s fair.

As a blossominginterest in organsemerges in the Gate-way Chapter ofAMICA based uponevents like the DeMe-nil exhibit, its mem-bers have decided to

sponsor a street organ festival this year, October 13-15, at theworld renown Missouri Botanical Garden, located in St.Louis, Missouri. The chapter will provide a public exhibitionof street organs - which will be scattered throughout the Gar-den playing. An exhibition of other mechanical musicalinstruments will be displayed at the entrance of the gardenincluding a video display of larger instruments. During theday (10 am to 4 pm) in the Garden’s Schoenberg Theater, mul-timedia presentations on the history of organ grinders andmechanical musical instruments will be offered periodically toadd to the public’s education of these instruments.

The Missouri Botanical Garden is one of the top threebotanical gardens in the world and is renowned for research,education, and display. The Garden opened to the public in

1859 and is one of theoldest botanical gar-dens in the UnitedStates.

In 1971, the Mis-souri Botanical Gar-den was listed on TheNational Register ofHistoric Places by theU.S. Department ofthe Interior. Also, theGarden was designat-ed a National HistoricLandmark in 1976 bythe National Park Ser-vice because it pos-sesses national signifi-cance in commemo-rating the history ofthe United States. Ofparticular historical interest are the Tower Grove House(Henry Shaw’s 1849 Victorian country home); the StrauchFountain Angel sculpture on the west side of Tower GroveHouse, which originally stood at the 1904 World’s Fair; theLinnean House (1882 conservatory built by Henry Shaw); theMuseum Building (built by Henry Shaw in 1859 to house hisoriginal scientific collections); and the Administrative Build-ing (Henry Shaw’s 1849 urban townhouse that was moved toits present site from downtown). The fully furnished TowerGrove House and the Linnean House are open to the public.

Gateway Plans October Small Organ Festivalwith Missouri Botanical Garden

By Cynthia Craig

Gateway Chapter has been busy reorganizing, seeking new members, and arranging demonstrations of automatic musical instru-ments in the area. Last year the chapter was invited by the DeMenil Mansion and Museum to celebrate its large collection of 1904 St.Louis World’s Fair memorabilia.

Storyteller Bobby Norfolk as Scott Joplinand ragtime musician/historian TreborTichenor entertain visitors to DeMenil.

Gateway member Tom Novak manninghis 20 note Stuber organ on the DeMenilHouse grounds.

Dorothy Crowley with Jane Novak and DeMenil staff in costumesserving visitors.

201

“The Climatron” (seephoto to right) was the firstgeodesic dome to be used asa conservatory, incorporat-ing the principles of R.Buckminster Fuller, inventorof the geodesic system. In1976 it was named one ofthe 100 most significantarchitectural achievementsin United States history.The term “Climatron” wascoined to emphasize the cli-mate-control technology ofthe greenhouse dome.

Many fine pieces ofsculpture adorn the living collections throughout the Garden,including seven monumental bronzes by Swedish artist CarlMilles, located in the Water Lily Sculpture Garden.

The Linnean House is the oldest continuously operatinggreenhouse conservatory in the United States, and has housedthe Garden’s camellia collection for over a century.

The William T. Kemper Center for Home Gardening isthe largest non-profit gardening information center of its kindin the nation. It provides recreation, education and resourcesfor home gardeners.

TROPICOS, developed at the Missouri Botanical Gardenin the early 1980’s, is the largest botanical database in theworld, containing almost 800,000 plant names and nearly1,300,000 specimen records. The Garden operates the world’smost active tropical botany scientific research program thatfocuses on exploration of the tropics, which encompass theearth’s least known, most diverse, and most rapidly vanishingecosystems. Because of the speed with which irreversible

changes are occurring in trop-ical regions, the Garden hasmade a long-term commit-ment and assumed a leader-ship role in the study andconservation of these imper-iled habitats.

The Garden works to pro-mote pharmaceutical andagricultural research by col-lecting a vast array of plantsamples from around theworld to identify chemicalsthat might be useful tohumans as drugs, pesticides,herbicides, and in other appli-

cations. The Garden’s reference library contains over 122,000volumes, including many rare books that date as far back as1484. The Garden’s herbarium contains almost 5,000,000plant specimens that have been collected, pressed, dried,labeled, and cataloged, with some dating back as far as themid-1700’s. Flora projects are comprehensive single or multi-volume publications that describe all of the plants growingspontaneously in various regions of the world. The Gardencontributes to many flora publications around the world,including: Flora of China, Flora of the Venezuelan Guayana,Flora of North America, Flora Mesoamericana, and Flora ofMissouri. The Center for Plant Conservation, a national orga-nization dedicated to the preservation of endangered plantsnative to the United States, maintains a living collection ofendangered native flora and is headquartered at the Garden.The Garden has over 1,100 volunteers who do a wide range ofjobs from building exhibition props and rebinding books toteaching and gardening.

Seiwa-en (see picture) is located on 14 acres at the Garden and is thelargest Japanese strolling garden on the North American continent.

The Margaret Grigg Nanjing Friendship Garden, a showplace ofextraordinary traditional craftsmanship, is the most authentic Chinese gar-den of its size in the United States.

Over 750,000 visitors from all over the world come to the Gardeneach year. The Garden has over 33,000 members.

View of the Seiwa-en (Japanese Garden).

AMICA members who have street organs areencouraged to register and bring them to this weekendevent (October 13-15, 2000) in the midst of the Midwestfall season. Even if AMICAns don’t have organs, theGateway Chapter cordially invites them to attend. Toreceive registration information, call 314-771-1244 orE-mail Cynthia Craig [email protected].

202

He Shall Be Remembered

Harvey Northrop Roehl

HARVEY NORTHROP ROEHLOF VESTAL, NEW YORK

Harvey Northrop Roehl, 76, died Wednesday, June 12,2000 at his home. He is survived by his wife of 52 years,Marion C. Roehl, one niece, one nephew, several cousins.Harvey graduated in 1949 from Cornell University. From1952 to 1973 he was employed at Broome Community Collegeas Administrative Dean. He was a WWII Veteran and retiredas Major from the U.S. Air Force Reserves. He was the ownerand operator of the Vestal Press, Publishers of Books onMechanical Musical Machines. Harvey was an avid collectorof mechanical musical instruments. Through his membershipin the Musical Box Society International and AMICA, Harveyand Marion made many friends throughout the world. He wasa former Craftsman Member of the Piano Technicians Guild.He was a member of the First Congregational Church, U.C.C.and served on many Church Boards and committee positionsover the years. He was a member and Past President of theBinghamton Kiwanis Club. He was a Licensed Private Pilotand a NYS Licensed Professional Engineer (inactive). Harveyand Marion were avid travelers and visited many parts of theworld.

A memorial service was held at the First CongregationalChurch, U.C.C., 30 Main Street, Binghamton, New York, withthe Rev. Clifford L. Aerie officiating.

In lieu of flowers it was Harvey’s request that memorialcontributions be made to the Endowment Fund of the MusicalBox Society International, Box 297, Marietta, Ohio 45750 orCHOW, 81 Main Street, Binghamton, New York 13905.

Marion would like to express her appreciation to the Hos-pice Staff and doctors for the care they provided duringHarvey’s illness. Arrangements were made by the Ernest H.Parson Funeral Home, 71 Main Street, Binghamton, NewYork.

Memories of Harvey Roehl

I first met Harvey at the MBSI Band Organ Rally in Muscatine,Iowa where he played my calliope and signed an “A” roll for me.Gee, I wish I would have kept that roll.

Rick McDowell

Harvey and Marion and their Vestal Press not only chronicledmuch of the history of mechanical music, they played a major role inthe “Player Piano Revival” and so have become a part of that history.An utterly honest and dependable man. I’ll always remember himgiving me a no-nonsense lesson in how to tie a bow tie.

Bob Berkman

My memories are of my first exposure to the world of automaticmusic through the wonderful reprints and books offered by Harvey’sVestal Press. I cannot overstate the important impact he had on allour lives and the present higher standards exhibited because we allwere exposed to his foresight and industry. I, for one, will never beable to thank him adequately for nurturing and encouraging thishobby through his fine efforts. We shall all miss his contributions.

Robert Ridgeway

AMICA members and friends may choose toremember Harvey through the AMICA MemorialFund, in care of: Judy Chisnell,

3945 Mission, Box 145,Rosebush, Michigan 48878-9718

Harvey Roehl (l) and Mike Barnhart (r)Attending Convention in Dayton, Ohio

Photo from AMICA News Bulletin 1978

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On November 23, 1999, I wrote to Harvey after fixing hisAmpico B roll drive motor. Here is part of that letter.

“Since it is Thanksgiving time, I am giving you thanks for allthat you have done for me over the last 25 years. The books of theVestal Press were my early mentors as I became hooked on this stuff.My library in Arlington Heights, Illinois, was less than 200 yardsfrom my house. It was there I discovered the Ampico B. LarryGivens’ books and others, started this adventure.

When our second son was born in 1977, his hyperactivity soonbecame apparent and we needed many resources to cope. Bedtime forhim was always a challenge. Our nightly ritual that worked for yearswas playing a tape of carousel music that I had purchased from you.That tape lasted several years and was quickly replaced by another.

You owe me nothing.

Thanks to both of you and get well soon.”

Bob Taylor

A few thoughts on Harvey Roehl.

I first met Harvey at an MBSI Mid-Am Band Organ Rally. Har-vey was at that time always looking for piano rolls of out of copyrighttunes to use for the cassettes Marion was selling. As I was setting upat the mart with two or three tables full of rolls, I attracted his atten-tion right away, as not many others had as many rolls. Over the nextfew years of attending other meetings and marts, I found Harvey hadmany interests similar to mine, including the history of amusementparks, and of music reproduction overall. In 1998, The Mid-Am BandOrgan Rally came to my backyard in nearby Berrien Springs, Michi-gan. As usual, Harvey was present with his Calliope, and in one ofour conversations, the topic turned to a local area business that was nolonger in business, Voice of Music of VM. Harvey had one of theirearly tape recorders, and wondered if anyone was collecting them, orif a museum in the area had attempted to collect any of the many VMproducts. Much to his disappointment, I told him that I knew of none.Sunday morning at our open house, I did show Harvey a couple ofearly VM portable record players (1950’s mono) that I had collected,although they are in need of some repair and don’t work. Little did Iknow that as Harvey and Marion drove out the drive Sunday morningfrom our open house that it would be the last time I would see him.He will be missed, but not forgotten, as he was one of the major con-tributors to the hobby with the books he wrote, and the publishing ofLarry Givens “Rebuilding the Player Piano” that has to be considereda major landmark in the advancement of the hobby of automaticmusic instruments. It was the first book I read after acquiring my firstplayer piano in 1970.

Bennet Leedy

I met Harvey Roehl at the Bethlehem Convention for the firsttime. I had bought some things from his Vestal Press prior to ourmeetings. Our chapter (Philadelphia) went to visit his home in Vestal,New York. He and his wife were terrific hosts. He had lots of talent.He played the Photo Player and the Calliope for us and showed us hisvery large collection. We had a great time.

Paul Dietz

Sorry to hear of Harvey Roehl’s death. He was always a keenand interested person, particularly if there were problems. At onestage we conversed in detail about electric piano roll drive in repro-ducing pianos. His was - mine wasn’t! He had electrified his 1924Bauer Welte Licensee and I was struggling for maximum perfor-mance from our Hamilton. He will be missed by all of us.

Grahame Code

Memories of Harvey N. Roehl

Harvey was indeed a very special person. He will be missed byall. He left a very big void in our hears, and with AMICA. We foundHarvey to be a very caring and private person. However, when weneeded advice, he was like the Patriarch of the Mechanical Musicalfamily. When we needed advice Harvey was there for us. If he didn’tknow the answer, he would research it and get back to us.

Harvey was an avid collector of mechanical musical instruments.He was the owner and operator of the Vestal Press Publishers ofBooks and Mechanical Musical Machines. He wrote and publishedmany of the books found at Vestal.

Harvey loved collecting misspelled signs, posters, advertisingand odd worded slogans. For instance, we found him a sign that read“Graves Real Estate.” He enjoyed telling funny stories as to how heacquired some of his musical collections. When I rewrote the Bylawswith our committee for our chapter, I called Harvey our “EnglishGuru.” We charged him with checking the punctuation marks, thespelling words and anything else that didn’t make sense. He did hischarge well, and was pleased and happy to have had the opportunityto help.

Harvey will be missed at our AMICA Conventions telling hismany stories and playing the instrument he knew best, the piano.Marvin and I lost a friend who cared not only for us, but for all thepeople he knew.

Dianne K. Polan

Harvey was such an early driving force in the hobby/field that hewill be very much missed.

Yes, Harvey will be missed. Every day something comes up andI tell myself that I need to tell Harvey about it and then I rememberthat he is gone. Being only 10 miles away, we would occasionally dothings together and would talk on the phone several times a week.When Harvey joined the internet last fall, it made communicationseven more frequent. On top of everything else, he was an engineerwho spoke and wrote well. He would enjoy plays on words, humor-ous typographical errors and other misappropriations of the Englishlanguage. I remember a couple years back when our local bus systemhad public service messages printed on the sides that he pointed out toeveryone that a local Planned Parenthood Clinic was offering “FreePregancy Tests” (sic).

He was a good friend and I’m sorry that we have lost him. Hecertainly had a significant influence on the mechanical music hobbythrough his writings, publications (via the Vestal Press), his leader-ship and organizational skills and through his friendship and sharingof his own collection, and especially his encouragement of newcom-ers to the hobby.

Bob Conant

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My wife and I started collecting antique mechanical music in1983. We wanted information and checked out libraries and book-stores in the area, finding nothing. It wasn’t long before we found outabout AMICA, and from there Vestal Press. We now own more thana dozen books on mechanical music due to the efforts of HarveyRoehl and the authors he encouraged. Some of them may have beenpublished anyway, but Harvey made sure it happened.

We have seen Harvey and Marion at several conventions and acouple of band organ rallies through the years. They were always funto be around, and Harvey was always willing to share or help withideas and information.

We visited their home once and had the opportunity to enjoytheir friendship and a fine collection. While we were there, Harveyfound out we wanted a quality reproducing piano. He went to hisdesk, pulled out a letter about an untouched Steinway Duo-Art andput us in touch with the owner. No charge, just Harvey helpinganother collector. We bought the piano, had it restored, and stillenjoy its’ fine music.

We will always remember Harvey’s talks at Conventions, hiscalliope playing at organ rallies, and most of all his friendship.

We heard the sad news of his passing at the AMICA Conventionin Sacramento. The following night at the pumper contest there weretwo new members entered. One was 24, the other just 14. Besidesdoing well in the contest, both were very accomplished pianists, andentertained us for hours. All we could think of was that Harvey waslooking down smiling and still getting things done.

Frank and Shirley Nix

SOWNY meets Harvey Roehl

It was a great privilege for the SOWNY Chapter to be able to saythat we had the pleasure of visiting the Roehl’s not once, but twice,over a period of years. Each time we had the opportunity to traveldown to Vestal, New York, we were treated to a wonderful afternoonof musical excitement. Harvey’s collection of instruments were var-ied in scope and impeccably restored, down to the last detail. Hewould go to each instrument and tell us about the machine, it’s past

history, how it came to be in his collection, and usually an amusinganecdote about some aspect of its history. The best part about the touris that we did get to hear these machines. And they all sounded won-derful. The end of the tour found us back in the upper Music Roomwhere we would be treated to a silent movie accompanied by Harveyon the Photoplayer, with all the stops pulled out and all the bells andwhistles too! Harvey was always ready to answer any questions thatmay have come into your head during the course of the tour and waswilling to share any information which he had.

Most members of the SOWNY Chapter had limited contact withHarvey over the years, but I’m certain that these memories that theyshare will be fond ones.

Mike Walter

I was greatly saddened to hear of the death of Harvey Roehl. Hewas a gentle man and a gentleman.

My acquaintance with Harvey began as I took on the enormoustask of organizing and building the Merry-Go-Round Museum in San-dusky, Ohio. Starting with very little knowledge of the history of thecarousel - let alone the wonderful music that has always made it soexciting - I turned to Harvey and Marion Roehl.

I knew so little of the field that I didn’t even know if Harvey andMarion were brother and sister, brother and brother, - or husband andwife! Many times through my years at the Museum, I was fortunateenough to spend time with them and know them for the marvelouspeople they were.

Harvey was very patient with my ignorance of the topic andmore than patient as we struggled to pay our bills. He sometimes hadmore confidence than I did about our ultimate success.

And when ASCAP came in and demanded large payments (fromour nearly empty coffers), Harvey again came to the rescue. He creat-ed tapes and CDs which were proven to be in the public domain andsupported us in our presentation to ASCAP. Thanks to Harvey, wewere successful.

I am no longer involved with the Merry-Go-Round Museum andthose who are came in long after our early struggles. Fortunately theMuseum is still a success, but it only became so with the steadfastsupport and guidance of people like Harvey.

Thank you again, Harvey.

Sincerely,Rachel C. Pratt, Founder and Former DirectorThe Merry-Go-Round Museum, Sandusky, Ohio

A Milestone in the World of Mechanical Music PassesFrom the Scene

When the news reached me about the passing of Harvey N.Roehl, it had the same effect as those pivotal points in one’s life,where an influential person no longer remains a part of the group - inthis case, the Player-Piano community.

My first experiences with Harvey Roehl began in the ‘fifties,when his Player Piano Scrapbook was one of the first postwar (that’sWorld War II, for the younger readers!) publications on the subject ofpneumatic players. This volume had hand-printed text and manyillustrations of instruments as well as reproductions of original adver-tising. While the book has been out-of-print for many years, oneamusing effect has remained, at least for this writer:

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There was an illustration of the Leabarjan Model #5 perforator inHarvey’s early book. Beneath the picture was the mention of a(quote) “Little Gem Home Dandy Perforator”. I was - at that time -one of the few people familiar with these cast iron arrangingmachines, having purchased the first of the three being used in Mainetoday, and would - therefore - receive letters from people who, havingseen the one in Roehl’s Scrapbook, set out to acquire a machine oftheir own. For decades afterwards, I’d receive letters asking if I knewthe whereabouts of a “Leabarjan” (tm) perforator . . . or the “LittleGem Home Dandy” brand - which was, of course, the same product!

Not long afterwards, Vestal Press began . . . launched with theimpressive Player Piano Treasury, an illustrated history of players andcoin-operated “nickelodeons” (orchestrions) which went throughmany printings. I regret to this day selling the first printing of this1961 book, because the subsequent editions didn’t have the photo-graphic detail and contrast of the first 1000 copies. (We were runningThe Old Salzburg Music Box Shop - Danilo and Lois Konvalinka andI - in Washington, D.C., so it was natural to “retail” a book whichcould be purchased again.) My replacement edition (#1852, signed byHarvey) dates from 1962 . . . and this time I held on to my purchase!

Harvey and Marion Roehl built up the Vestal Press in theseyears, adding an impressive array of reprint service manuals for themore elusive player actions and publishing books and papers by Q.David Bowers, Art Reblitz, Mike Kitner, David Saul and other notedexperts in the restoration/collection field. The crowning achievementfrom 1972 has to be the Bowers Encyclopedia of Mechanical MusicalInstruments, crammed with pictures and advertising material whichcovered most bases on the subject.

During this period of growth, Harvey and Marion traveledaround the country, in their camper (something Lois Konvalinka and Istill do with a passion today) . . . and his interesting periodical “TheHouse Organ” was widely distributed.

By 1963 the Konvalinkas and I had launched The Musical Won-der House (Music Museum) in Wiscasset, Maine, and it wasn’t longbefore the Roehls came by for a visit. Always the one to try out the“new technology” along with preserving the old (as with “reproduc-ing” pianos), I recall him having a portable light for his photographicequipment with “Sun” on it; if memory fades a bit here, this is due tomy scrambling around to find sockets for his chargers in our museum,a Georgian-style residence built in 1852 . . . and with electrical con-nections not in the most ideal of places. Harvey featured The MusicalWonder House several times in “The House Organ” and eventuallybegan selling our audio products: LPs and Cassettes, especially many2-tape Cr02 sets recorded on our Steinway “AR” entitled ChopinSpectacular.

The museum is not in its 37th year and still features some new(but out-of-print) Vestal Press books in the shop . . . many of interestto the visitors once they’ve seen and heard the restored instrumentsplaying on our Guided Tours.

The Konvalinkas and I ran into the Roehls on many conven-tions/meetings in the Musical Box Society and player clubs, oftenhearing him perform Ragtime “live” on one of the instruments - usu-ally a grand piano. The last time I met Harvey was in ‘90 at the OhioAMICA Convention, over the dinner table, and he was talking about“Moxie” - the bitter New England beverage, which originated inMaine (a sexual elixir turned into a soft drink when the Pure Food andDrug Act originated). He had just published the memoirs of the first“Moxie Girl” - a silent movie star - and was happy to converse withsomeone familiar with what has become to be known as “The MoxieMystique”. (I’ve appeared at several Moxie Festivals with my travel-ing ‘29 Story & Clark player, discovered and rebuilt by Robin Pratt,of Sandusky, Ohio . . . having arranged and published two illustratedWord Rolls of “Moxie Music.” Thus, Harvey and I had a lot of notes

to compare about the history of this obscure beverage - still bottledtoday in a muted version of the original “tonic”.)

Books by Roehl on other subjects followed: railroads, postcards,carousels, history of limericks, a book on living in an RV(!), and othertopics dear to those who relish “vanishing Americana.”

While not up on the mechanics of Vestal Press, the publishinghouse changed hands in recent years, while the audio recordingbusiness continued under the Roehls’ auspices. As with all goodthings, nothing lasts forever, and many player enthusiasts soon foundthat their reprints of rare service manuals and the informative “ency-clopedia” style player-oriented volumes were being closed out, beingreplaced by books on other subjects not related to the core of theenterprise: mechanical music. Vestal Press apparently closed itsdoors not long ago, but this is something I can’t document, since thephase-out of Pianola topics began about the time that Harvey left thepublishing house, and that’s when I ceased being a mail-order cus-tomer.

We all age and face an uncertain future. Danilo Konvalinka,who owns the museum collection with me, had a stroke shortly beforeThanksgiving last year. One of the first people to write, via E-mailnow, was Harvey Roehl. Danilo was not on-line at that time (as Iwas!), but had a forwarding/FAX service going, so the kind messagesreached him in Massachusetts, where he underwent physical therapy.(My partner was lucky, and while recovery was slow, progressbecame apparent by Spring. He’s now hosting our collection at themuseum, around the corner, for the 37th Season - as mentionedabove.)

While Harvey, the publisher and energetic personality, is nolonger with us, his recordings, books, service manual reprints and theother facets of Vestal Press will be around for decades . . . manyXeroxed for future collectors, since the bulk of his publishing is nowout-of-print. As Danilo once said, “Paper is patient” - so Harvey willbe speaking to future generations through the results of his uniquepublishing business . . . one which had much to do with re-interestingpeople in the hobby - and the business - of restoring/playing mechani-cal musical instruments.

There would be many less Player Pianos, band organs and musi-cal boxes playing today if his vision in publishing hadn’t occurred atthe historical time that it did. Suburban sprawl was just beginning,and many wonderful instruments were being swept away as cities andtowns experienced their populace leaving.

I don’t think there’s a collector today, who - when consultingsome book on the subject - doesn’t pick one up with the logotype of“Vestal Press” on the spine.

Harvey’s gone, but he and his wife Marion have shown the dif-ference a couple of dedicated people can make. Single-handedly heinjected “life” into an obscure subject, and we all owe a major debt tohis efforts for having reprinted so many rare items in the field of self-playing instruments.

Rewind.

L. Douglas HendersonArtcraft Music Rolls

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Harvey Roehl - A Tribute

Harvey Roehl was one of nature’s true gentlemen. He was intel-ligent, kind, unassuming, ethical and one of the most genuinely decenthuman beings it has ever been my privilege to encounter in this life.His contribution to the world of automatic musical instruments wasextraordinary! His loss will be acutely felt; all in AMICA shouldmourn his passing as it marks the loss of a truly good person from ourmidst. I miss him already.

I will never forget my first encounter with Harvey and his wifeMarion - a simple mail order business transaction, usually an imper-sonal kind of thing. Enclosed with my order was a personal handwrit-ten note welcoming me to the world of automatic musical instrumentsand to the Vestal Press, which was the Roehls’ publishing house. Itwas the sort of note one gets from a dear old friend with whom one isvery comfortable. You know, the kind of friend you’ve known foryears . . . almost one of the family. It was kind and warm and gen-uine. Try finding something like that nowadays on the Internet.

Many people (and I am one of them) believe that a singularlytraumatic and stressful event can trigger the onset of a precipitousdecline in one’s well-being or immune system. Harvey endured justsuch an event in the early 1990s.

Just about anyone who came into contact with Harvey during thepast few years can testify that his usually robust high spirits seemed tobe absent, or somehow waning. Oh, he put on a brave face, and, asalways, found a positive remark to say about something or somebody.I often got the feeling that it was in Harvey’s nature to pay a compli-ment, even when it pained him to do so. Yet, the twinkle in his eyewas beginning to flicker.

Those who knew him can’t help but get the gnawing suspicionthat it was Harvey’s traumatic brush with darkness in the early 1990sthat led to his final illness. Rest in peace, Harvey.

Jeffrey Morgan

Harvey Northrop RoehlHarvey Roehl died on June 21, 2000, at his home in Binghamton,

New York, after an illness during which he was cared for by the localHospice. He is survived by his wife Marion.

Harvey first swam into my consciousness when he published hisown Player Piano Treasury in 1961 - a moment when several pioneersthroughout the world were engaged in reviving the interest of musi-cologists in the forgotten virtues of mechanical music.

As Harvey Roehl wrote, publication of his book “brings to thepublic for the first time the story of the vast player piano industry inAmerica. Today it is all but forgotten . . . except for a few scatteredcollectors.”

It was not until the age of ten that Harvey heard his first playerpiano, when he visited an uncle in Minneapolis, and “right then andthere” he decided that this was a machine that suited his “soul”. How-ever, he had to wait until he was demobilized in 1946 before he couldindulge this enthusiasm, since his parents had not been minded toexchange their beloved Ivers and Pond upright, the only object thatthey had ever bought on installment payments, for “any such mechan-ical contraption foolishness”.

Harvey served in World War II, ending up as a Major in the U.S.Air Force Reserve. He graduated in 1949 from the School ofMechanical Engineering at Cornell University and also gained a Mas-ters Degree at the same institution. From 1952 to 1973 he wasAdministrative Dean at Broome Technical Community College atBinghamton, and was a Licensed Professional Engineer in New YorkState and a Craftsman Member of the Piano Technicians Guild, aswell as a Licensed Private Pilot.

In 1957 Harvey located a treasure trove of rare 44-note mechan-ical pianos, 45 in all. And these formed the basis of the Roehl pianocollection - many being sold or swapped for other machines. Theyhad been put into storage at the advent of Prohibition, by a pianomover, who had his eye on the money that remained inside them!

Harvey Roehl was, of course, best known to collectors as theowner and operator of the Vestal Press, in Vestal, New York, publish-ers of books on mechanical musical instruments and machines. Healso had a collection vast enough to encompass the whole history ofthe specialty.

Wise collectors, if they have not already obtained a copy, wouldbe well advised to obtain the video film of Harvey talking about themanufacture of Music Rolls - Punching a Hole, Playing a Roll, withBob Berkman of QRS Music Rolls Inc. and Harvey Roehl of Vestalpress, Limited, produced by The Brockway Broadcasting Corporation.This is a splendid introduction to Harvey for those who did not knowhim personally.

Harvey and Marion were avid travelers and made friends all overthe world. He will be much missed and sympathy will radiate to Mar-ion from so many friends and admirers.

Gerald Stonehill

Dear Editor,

I thought I might submit this letter to you in tribute to HarveyRoehl, who was my friend for 40 years. As with many “Nickelodeon”friendships, we didn’t see each other that much, but kept in contactwith each other by way of the telephone, or just “bumped” into eachother at various meets, and social affairs. He was a good man, and Ithought it would be interesting for the “younger” members to knowwhat it was like in the days B-4 “Dave Bowers!” No one had estab-lished prices on the various machines yet, and it was every man forhimself!

Would you allow me to pay tribute to Harvey by printing thisarticle about him?

Thank you.

When I started in 1960, Seeburg “G’s” were going for $600, andWurlitzer orchestrions went for $350. I missed a Seeburg “H”, 80miles away, which was bought for $400. I bought a Gebruder-BruderBand organ, brass and wooden pipes, 16’ wide, 12’ high, and 4’ deepfor $500.

But at this time I was making top wages as a Class “A” tester forRCA, during the ATLAS MISSLE program, of $125 per week, sothese prices were big money for a father of 6 . . . who knows . . .maybe they are a bargain today at what they’re selling for!!!

Oh, for the good old days, but with money $$$$.

Sincerely,

Walter Nuss “Nussy”

I Knew Harvey Roehl

I got interested in mechanical music after I saw the collection atthe Cape May County Airport, Cape May, New Jersey. I always didthings the hard way, and I never owned a player piano first. My“first” was a Coin piano. On the way home from work at RCA-Victorin 1960, I spotted a piano on a loading dock covered with a movingblanket. I wondered why there was a lock on the bottom board, butwhen I lifted the blanket, I discovered it was a Wurlitzer automatic

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player piano (Coin straight piano to you), so I bought it for $125.Shortly after that I found a Wurlitzer Orchestrion in the second floordance area of a Chinese restaurant in Philadelphia. When I asked theoriental person who owned it how much he wanted, he replied “hun-dred dollar!” I said, “That’s a lot of money;” and then I received anold oriental proverb. . . “Not like fish, you have to buy today, youcome back 3 year from now, and it still be here!” Well, I couldn’tfight that one, so I just paid it! The third one came from Don Janich,Marshall, Wisconsin, who was setting the woods on fire locatingNickelodeons and band organs. I bought a Wurlitzer Violin - flutePianinno from him for $350. Now the plot thickens. In those daysthere was no way to locate other Nickelodeon collectors - except byway of the publications, “The Antique Trader,” and the magazine“Antiques.” (I think that was the name of it.) If you located a Nick-elodeon collector, maybe just maybe he might put you on to anothercollector he knew, unless he wanted to keep all the wheeling and deal-ing to himself! Somehow, I got Harvey and Marion Roehl’s nameand called them that day.

They invited me to their house, and after I looked at the map, hemight as well have lived in deepest, darkest Africa. I lived in NewJersey near Philadelphia, and they in Binghamton, straight up! At thattime the NE Extension of the TP ended at Clarks Summit, Pennsylva-nia, and the rest of the journey was by county and state roads to theirhouse. I arrived with a list of questions in hand (as I knew nothingabout Coin pianos). He and Marion tutored me, while they bothworked on their latest acquisition. They played the 146 Wurlitzerband organ and a Cremona with pipes (on and off when they felt likeit or to bad tubing). I recorded all of these machines, on a reel to reeltape recorder, and remember, tape recorders had only been aroundsince about 1952-54. I was amazed at how great the band organsounded live, and how terrible it sounded on tape. This was becausethe Wurlitzer arrangers had to “fudge” the music up to make the song“fit” due to the missing notes in a band organ scale. I didn’t knowthis, and in listening to it live, you were overwhelmed with the vol-ume! Afterwards Harvey told me he admired my 1940 Lasalle, as atone time in his life he had been an Automotive engineer. I believe atthat time he was (or had been) the Dean of the local college. I showedhim some pictures of my small collection, and he saw the picture ofmy Wurlitzer Piannimo, and Harvey replied, “hey, I could use this.”Then he showed me the galleys (proofs) of the book he was workingon - “The Player Piano Treasury.” So I got to see the book B4 hepublished it, and my name and the picture of my Piannimo were putinto it.

At this point I have been talking exclusively about “HarveyRoehl.” Let us not overlook the other half of the team, Marion Roehl,who has always treated me and everyone else I know, like they wereroyalty. When you are a long way from home it is nice to be treatedlike your are “family” and that is the way Harvey and Marion treatedme. Harvey showed me a “pamphlet” he had done, I believe as afavor (Marion?) about mechanical musical instruments, B4, playerpiano treasury. Years later I remarked how it tickled me, inserted inthis pamphlet was the sentence, “Books like this don’t make anymoney, etc.” I wonder if “these” books have made any money yet?Some years later, I discovered a Wurlitzer Orchestrion in a black barin Cape May, and bought it for $350 (inflation!). I traded this off toQ. David Bowers for a Seeburg “G”, and eventually Harvey bought itfrom David, and this is the one he recorded with songs you onlydream about, and made cassette tapes of it.

As with everything, Harvey (and Marion) do, it was perfection.Harvey was a perfectionist to a degree, where he didn’t overdo it.The result was Perfection. I almost “cried” when I heard my machineplay like that. The 146B Band organ he recorded, to me sounded bet-ter than the real machine, when they made compact discs of it. Thiswas the best band organ recording I ever heard!

Harvey was very giving, but you would never know it to hear

him talk. He was pompous, shy, modest, (somewhat unusual for anickelodeon collector???), somewhat laid back (unless he really knewyou), but if you think he was a pussycat, prepare yourself for a shock!He had a dry sense of humor that would knock you off your feet.Harvey, Marion and myself had a unique friendship. We saw eachother about every 20 years and from telephone calls. When Harveypassed away, it was 40 years from the time I first walked in their door,yet it seems like we knew each other forever.

Many people were surprised to know that a man with so manypianos that played themselves, was an accomplished piano player. Onone visit to his home, he said to me (I was honored), “Listen to thisWalter,” and he turned on his North Tonawanda 44-note Pianolin.The song he had set us was “Dynamite Rag” a real finger buster. Harvey sat at the American Photo player (piano) and played alongwith the Pianolin note for note, and never made a mistake. Someyears later at the great Pittsburgh Band Organ Rally and meet, at theCoal Barons mansion, while at the hotel/mote used for the convention,I was walking through the lounge, which was empty, and heard apiano playing. It was the old style where the artist plays the rhythmwith the left hand. I followed my ears, and came up behind some manseated at the keyboard. As I walked around this person, to see who itwas, I was amazed to learn it was none other than Harvey Roehl. Icomplimented him, and years later, I made a suggestion about some-thing that had been on my mind. “Harvey, why don’t you recordyourself. There are just no more piano players playing in “stride.”As always, modest Harvey side-stepped the compliment and sugges-tion, and told me about a man from England who was really good, andgave me the info on how to get recordings of the person. That soundslike Harvey, not taking the credit for himself, but complimentingsomeone else.

At this same meet, on a bus ride to tours and places having thingsfor sale, I was sitting in the front seat of the bus with a companion,and all of a sudden, someone was standing alongside of me. My God,it was Harvey Roehl. I didn’t even know he was on the bus. Harveyspoke to me as if I was an old friend, and then warned me about theplace we were going. He advised me to be very careful about dealingwith this person, as things had happened in the past that indicated hemight be shady. This was the rare side of Harvey. This is the manyou will never hear say anything bad about anybody, a man who hasnothing but good to say about everybody, that looks for the good inpeople. Here he was, going out of his way to warn a friend to be care-ful. Harvey will never know how overwhelmed I was that a man ofhis importance (to everyone else, not him) would walk down the aisleof the bus just to talk to me. He will never know, because I was sooverwhelmed I couldn’t talk, and never had a chance to thank him.

Some people had said, “The meek shall inherit the earth.” Oth-ers laugh and say “It will be because they wouldn’t have the guts torefuse it.”

But here is a man, modest, shy, quiet, but to those who judge byexternal qualifications, be not fooled. This man, Harvey Roehl, was areal man! He saw no reason to impress anybody. He knew what hecould do, and did it.

When you get to Heaven, Harvey, drag along your WurlitzerAutomatic Harp and lots of rolls (nobody cutting ‘em), and tell St.Peter all you need is a hot electrical outlet. They need harp players upthere, but they already have too many street piano players, and therent partys are driving St. Peter crazy because nobody uses their rightname!

Good Bye Harvey. We will never see the likes of you again,

Your friend, Walter Nuss

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Photographs by Robert Lautman

Send in by Alison Fahrer and Tom Kimble

It’s impossible to imagine life without the piano. Theautomobile, the computer and the pizza, maybe, but not thepianoforte. Since its invention in Italy around 1700 byBartolomeo Cristofori, a keeper of musical instruments forthe Medici, it has become indispensable to our survival as acivilized people. What else, after all, has enriched societyin so many different ways? It’s not only a versatile musicalinstrument but also a striking work of decorative art, ahandsome piece of furniture, a complex product that gener-ated a worldwide industry, a status symbol, a prop for Pres-idents (Harry Truman) and performers (Liberace), a musefor classical composers and Tin Pan Alley songwriters alikeand, not to be overlooked, a constant reminder for millionsof fledgling pianists that there is more to life than pleasure -namely, practicing.

Over the years, the piano’s impact has been as impres-sive as its size. It has been called “the single great factor in

the development of musical artand the dissemination of musicalknowledge.” During the mid-1800s, it was the embodiment ofVictorian attitudes toward music.In the early 1900s, it became asymbol of domestic bliss in themiddle class American home,where “Give us a tune, Sis,” wasan oft-heard request. Today itcontinues to command esteemamong players and nonplayersall over the world. Everybodywho enjoys music (and whodoesn’t?) loves the piano.

Elaborating on that theme, theNational Museum of AmericanHistory opens a fascinatingexhibition on March 9, “Piano300: Celebrating Three Centuriesof People and Pianos.” Theshow features some two dozenhistoric pianos, including one byCristofori and the rectangular1850 Chickering shown above(together with itsornamented iron frame andstrings, opposite), plus the fiveother beautiful instrumentsdepicted on the following spread.The exhibition will run throughMarch 4, 2000, at the Smithson-ian International Gallery. - JimDoherty

In praise of pianos . . .From the Smithsonian

209

The 1974 grand by John Broadwood & Son of London (right) had 51/2

octaves; most pianos then had only 5. One of the first small uprights(above) was produced in 1801 in Philadelphia by John Isaac Hawkins. An1830s piano (below, top view), also made in Philadelphia, featured aone-piece metal-frame invention by Alpheus Babcock.

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By Rudolph ChelminskiIllustrations by William Bramhall

In May 1975, Arthur Rubinstein, at 88 still one of theworld’s top concert pianists, returned for the last time to hisbirthplace, the grimy Polish industrial city of Lodz, southwestof Warsaw. As luck had it, I was his gopher on that trip, carry-ing his bags and running his errands. There was to be only asingle performance in Lodz, so not a seat or an inch of standingroom was free in the Grand Theater as he launched into a typi-

cally demanding concerto program: Chopin’s Second andBeethoven’s “Emperor.” No sooner had the last thunderousnotes sounded than the stage was flooded with a sea of carna-tions in Poland’s red and white national colors. Standing, theaudience cheered itself hoarse, the orchestra rose to applaudand, up in the balcony, a chorus of youthful admirers chantedthe traditional song “Sto Lat” - may he live a hundred years.Walking to the front of the stage, dabbing his eyes, the elderlyconcert pianist smiled, bowed and repeatedly lifted his handsfrom his heart in an embracing gesture toward the public.

For the young lady of the 19th century who hadeverything, an ingenious side table (above, left)turned into a sewing cabinet (center) or a piano(right). The Art-Deco Steinway (below) wasdisplayed in the U.S. pavilion at the 1939World’s Fair in New York.

. . . and the artists

Paderewski crisscrossed thecountry like a monarch in hisprivate railway car -Ie· equipped not only with bed-

I ~ room and dining room but J

salon with grand piano, tooattended by a tuner,a physician and a chef.

~- ----

dramatic shock of reddish gold (later white) hair, and the generous portions of tempo rubato that he slathered onto the keyboardmade him an impresario's dream. A hundred years agoPaderewski bowled them over in America the way Elvis Presleywould a few generations later. He crisscrossed the United Stateslike a monarch in his own private railway car - equipped notonly with bedroom and dining room but salon with grand piano,too - attended by a tuner, a butler, a chef, a physician and thepianist's wife. Rubberneckers would gather .at railroad crossingsjust to catch a glimpse of his car gliding by.

Modern pianists may be somewhat more restrained thantheir flamboyant predecessors, but in this tlicentennial year ofthe piano's invention, it's clear that many still inspire extravagant adulation. Clearly something is going on here that hasmore to do with personality than with merely playing an instrument. Painters and poets may slink through life as the most pallid of dweebs and still enjoy hugely successful careers, but noart shakes the soul as deeply as music, and within this vastdomain there is no sorcerer with quite the conjuring power of agreat concert pianist.

"You have to be born to perform," Gary Graffrnan told mewhen I interviewed him recently in his donnish, oak-paneledoffice in Philadelphia. Graffman should know. Now director ofthe Curtis Institute of Music, he was one of America's foremostconcert pianists himself before an injury to his right hand limitedhis performing activities to repertoire for the left hand. "Nomatter how good you are, no matter how much you want to do itor how hard you practice, some people are suited to life on stageand some aren't. Charisma, whatever that means, can driveaudiences wild - there's a kind of transmission to the audiencewhich can't be described. And if you happen also to play verywell, then you've got it made."

Ignace Paderewski (Smithsonian, March 1999), the mostcelebrated of Polish pianists after Chopin himself, was by al! .accounts only a so-so technician, but his regal demeanor, his

As he had repeatedly done throughout his long career, theold maestro had his listeners wound around his little finger,demonstrating once again the power of the mysterious bond thatties a great concert pianist to his public. It is one of the mostintriguing aspects of the classical music scene, this bond. Norules seem to apply, no fonnula can make it happen or trainingdevelop it, but when the rapport is there it is very much like alove affair. Franz Liszt, granddaddy of the profession, drove hisaudiences to such fits of hysteria that ladies would hurl theirjewels up onto the stage in his general direction, shrieking andswooning. It is said that a couple of countesses once staged animpromptu wrestling match in order to approach the Hungariandemigod. When he ventured close enough to them, they kissed

r-his hand.~--4

"I have been asked," he said with angelically false innocence, "to play Chopin's 'Polonaise.''' Pandemonium. It couldbe only one, of course, the "Heroic," the A-flat Polonaise thatmakes every Pole's heart swell. Noble of visage, brilliantlyframed by his signature aureole of white hair, Rubinsteinreturned to the keyboard, raised those powerful, gnarled hands,and finished off the concert playing what he always played best the audience.

They wouldn't let him go. Encore upon encore followed - Ican't even remember how many today, so overpowering was the

'" wave of gratitude and love that washed over him. But it wasn't(:".. .. ifinished, not just yet. The old pro knew very well what they~wanted, and he was making them wait. Finally, he held up his

arms to make an announcement.

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The star system didn'texist when J. S. Bachwas plying his trade.He usually performed

at a far remove from thepublic, undertaking hisfantastic fingering andpedal work out ofsight

in dusty organ lofts.

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It wasn't always like that.The star system didn't exist

when the well-tempered I.S. Bachwas plying his trade in Muhlhausen,

Weimar and Leipzig. Ironically, Bachwas much more admired in his time for hiskeyboard talents on organ and harpsichordthan for the titanic depth of his compositions,a situation roughly similar to Shakespearebeing appreciated as an actor only. Eventhough he was an acknowledged virtuoso,Bach usually performed at a far remove fromhis chilly Lutheran public, improvising hisfantastic fingerings and pedal work out ofsight in dusty organ lofts. Mozart, one of thefirst great keyboard artists to make the transition from harpsichord to the newfangledpianoforte, played directly in front of hisaudiences, and wowed them with theunequaled artistry of his touch. But hisvenues were mostly royal and noble salons,and he struggled throughout his adult lifeagainst the injustice of the servant-class position to which musicians were then consigned.

The profile of the modern concert pianisttook shape slowly over many years. It wasBeethoven, as much as anyone, who set thestandard for flamboyance. He studied Bach

religiously (how else?), traveled to Viennafor lessons with Mozart, and further studiedwith Haydn and Salieri .. but he took the gos-samer of their harpsichord-based fingeringand wrung its neck, stunning the Viennese(salon crowd with a style so wild and tempes--- -.-Jtuous that it frequently ran away with him.

The violinist and conductor LudwigSpohr described an incident that occurred asBeethoven was performing with an orchestrain Vienna. "Beethoven was playing a newPianoforte-Concerto of his, but forgot at thefirst tutti that he was a Solo player, andspringing up, began to direct in his usualway. At the fITst sforzando he threw out hisarms so wide asunder that he knocked boththe lights [candles] off the piano upon theground."

Two boys were deputized to take thelights off the piano and hold them on eitherside of the keyboard, but one got just a hairtoo close and, at the next appearance of thefatal sforzando, received Beethoven's backhand right in the kisser and dropped the candlestick clattering to the stage, much to theaudience's merriment and the maestro's fury.

Beethoven's new style was revolutionaryand spellbinding, but it came at a price notonly to kids and candles - the musical hard-" .~

ware suffered, too. Harold Schonberg, fo(- .. ,;,many years the New York Times' distinguished music critic, noted that "Beethovenbanged the hell out of the piano."

And then along came Franz Liszt. It isalmost impossible to avoid hyperbole whereLiszt is concerned. He had it all. Handsome,dashing and romantic, he was at the sametime an extraordinary composer and a pianistof such unbelievable ease and skill that manyconcluded that he had entered into someFaustian pact with the Devil - or perhaps,considering his unconventional lifestyle andnumerous mistresses, that he was- ..the Bevil.He was to the piano what Paganini was to theviolin (they were roughly contemporaneous),and he deliberately set out to prove that anything the Italian could do on his instrument,he could equal or surpass on his. Liszt fascinated observers with his prodigious memory.Like America's eccentric chess genius BobbyFischer, who is said to remember every moveof every game he played in competition,Liszt could faultlessly play back any pianopiece, however long or complex, after a· , .single hearing. "I don't think anyone today' _ jcould do that," says Claude Frank, a NewYork-based pianist who has soloed with mostmajor U.S. and European orchestras and, for

Franz Liszt drove his audiences ~':.~"

to such fits ofhysteria thatladies would hurl their jewels

at him, shrieking andswooning. Two countesses once

staged a wrestling match inorder to approach him.

the past 25 years, taught advanced class-( " es at Yale. "He also had an overwhelm-

- ~~ng personality, far more powerful than. . anyone playing today."

Liszt, Frank point out, was the firsttrue concert pianist in the sense that hewas the first to separate composing fromplaying. Before he came along, pianistsmostly played their own compositionsand variations, but Liszt's recitals aroundEurope - he called them "soliloquies" included not only his own music, but alsoworks by Beethoven, Schubert, and anyothers he deemed worthy of presenting tohis hysterical admirers. He was a dedicated and hugely influential propagatorof the musical faith, and it seemed somehow natural that in his later days he tookthe four minor orders of the RomanCatholic Church and dressed in the blackcassock of an abbe - still surrounded,though, by adoring women. Almostsingle-handedly, Liszt raised the status ofthe concert pianist from entertainer tomaestro.

There is no formula for becoming a- - \maestro, but a distinguishing characteris~c of those who achieve the distinction is

that they almost always begin as childprodigies. Mozart himself was probably

the most sensational of the lot. He beganat the harpsichord at age 3, and at age 4informed a professional musician that hisviolin was half a quarter-tone out of tune.By 5, he was composing and at 6 he wastouring with his father, playing andimprovising for the astonished imperialcourt in Vienna. Felix Mendelssohnplayed at 4 and began composing at 8.Camille Saint-Saens played complexpieces at 5, composed at 6 and appearedin public at 8. The Pole Raoul vonKoczalski made his debut at 4.

And so it goes. Maddeningly, however, only a few prodigies deliver on theirearly promise. It is one of the great bafflements of the musical world that mostof the early bloomers fail, fade or simplygive up, no one quite knows why. Arecent example is the Greek pianistDimitris Sgouros. Born in 1969, he didn't begin piano lessons until age 7, butwithin three months of that he wascomposing, and four months later madehis pUbli~ebut. He entered the Athensconservator'x at 9, and graduated at 12with first prize and the title of professorof piano, but by then was already a veteran of concertizing. His professionalcareer began in 1981, when he auditionedfor Andre Boroci,' an impresario who

organized classical music programs forelegant cruise ships. As is customary,Sgouros was prepared to perform frommemory.

"What Beethoven can you play?"asked Borocz. "Everything," replied thelad without a blink, and it wasn't a lie.When he sat at the piano it was no longera boy but an old man who played. Hejoined the cruise, of course, and it wasthe start of a tumultuous roller-coasterride to fame, In less than a year heplayed Rachmaninoff's mountainousThird Piano Concerto in Carnegie Hallunder the direction of MstislavRostropovich. "A miracle from God,"Rostropovich exclaimed. "I've neverseen anything like this." That same year,Sgouros gave a concert for ArthurRubinstein at his home in Geneva, a fewmonths before the old lion died. "Yoursis the greatest playing I have ever heard,"said the 95-year-old Rubinstein,"including my own."

And yet, the Sgouros rocket somehow stalled. Now 30, Sgouros continuesconcertizing, mostly in Greece andGermany, but he is merely one brilliantpianist among many. The fantastic international career that had been predicted

213

for him has not materialized, while otheryoung pianists who were unknown whenhe was making his juvenile starburst talents like Yevgeni Kissin and ArcadiVolodos - drive audiences and critics intofits of thunderous acclaim. Whatever isthe magic that passes from performer tolistener, the phenomenal Sgouros has notyet produced it.

How does it happen that way, andwhy? No one knows, but the answermay have something to do with the sheernumber of penormers vying for attentiontoday. Three hundred years afterBartolomeo Cristofori introduced thepianoforte in Florence, Italy, that got thiswhole thing rolling, there are moresaccomplished pianists around the worldthan ever before. "The economics ofsurvival," is how Jerome Lowenthal,professor of piano at New York'sJuilliard School of Music, describes thereality facing the aspiring concertizer.'There are far more performers aroundthan opportunities.".

In Brussels, Cecile Ferriere presidesover the Queen Elisabeth InternationalMusic Competition. Last May her jury(Claude Frank was one of its members)listened to 102 very good pianists at thestart of a month-long marathon beforewinnowing them down to 24, then 12,then six. Taking in two days of the semifinals, I listened to nine of those contestants. Each played so brilliantly that rwas convinced he or .she had to be thesurefire winner. But no. Of those nine,only four made it to the finals beforeVitaly Samoshko, a 25-year-oldUkrainian, took the grand prize after having proved his mettle in sonatas byBeethoven and Prokofiev and a concertoby Rachmaninoff.

The abundance of fine pianists fighting for the honors in Brussels was asobering illustration of just how stiff thecompetition has become today. Alas, theeconomics of survival dictate that mostof these performers will be obliged tomake their livings in entirely differentlines of work, or teach or, at best, playsporadically in minor-league circuits.

How good are all these dedicatedmusicians? It's a subject of some debateand disagreement. "The differencebetween the 19th and the 20th centuriesis that technique has been projected to apreviously unheard-of perfection," Andre

214

Playing a concerto ofhisown, Beethoven sprang upand began to direct in hisusual way, throwing hisanns so wide that heknocked the candles off thepiano upon the ground.

Borocz told me a few months before hisdeath last year. Founder of the MentonMusic Festival in the South of France,Borocz had a good overview of the classical music scene, having worked in theindustry for nearly 50 years. "I wouldpardon any number of bad notes to hear alittle emotion in the playing today," hesaid by way of explaining his disdain forthe technicians.

The recording industry has hugelyinfluenced young pianists' determinationto seek perfect technique at all costs,because decades of flawless, note-perfectrecordings have led listeners to expectthat as the norm. Modern recordingequipment is so advanced that it is child'splay for sound engineers to have a musician repeat a passage where he has hit asour note, record the new version and slip

o

it into the recording.

"Everybody fixes," Frank told mr..:-while sitting at a piano in his 12th-floor--~studio on New York's West Side, where Ihad interrupted his practicing. "Most ofus are a bit ashamed of fixing but admitit. And I'm one of them. My correctionsare minimal, though, and in my soloBeethoven sonatas I even left some ofmy clinkers in." At which he launchedinto a terrifyingly perfect Beethoven rifffor me, then punctuated it with a deliber-ate clinker - two adjacent keys struck atthe same time. "I think there's too muchemphasis today on musical and technicalcleanliness," he said. "If we play too lit-erally it can become sterile, but now wecompete with recordings - even some-times with our own!"

The obsession with technical penection has swept away a lot of the excessesand egregious showmanship that werecommonplace in years past. Even so, inthis dry-cleaned new age it is difficult notto yearn at least occasionally for the ticsand quirks of piano eccentrics like~Canada's Glenn Gould, who reinvented: _JBach while driving critics, audiences and (conductors to distraction. Franz Mohr,the longtime head concert technician for

Steinway and Sons, describes in his bookMy Life With The Great Pianists the dayin 1957 when Gould shuffled into arehearsal with the Cleveland Orchestra.

-: rHe was dressed in a typically shabby out-~ fit and carrying his music and personal

effects in a black plastic garbage bag.George Szell, the Cleveland's autocraticconductor, was outraged. "I'm not playing with that bum," he cried, stormingout of the concert hall. Eventually hereturned to his podium and the rehearsaltook place as planned, and Szell was

deeply impressed by Gould's interpretation of Beethoven's Third Piano Concerto. "That bum can play the piano," headmitted.

Gould is gone now, but we may allthank Providence that the oldest livingchild prodigy is still with us. VictorBorge, born in Denmark in 1909, studiedpiano with a disciple of Liszt's and gavehis first serious concert at age 8 beforeswitching over to music-hall performances a couple of decades later. Immi-

grating to America in 1940, he developedthe madcap comic piano routines thatbecame one of the most successful oneman shows in history. Today, the 91year-old maestro, still at it, can always besure of a laugh when he takes one of hispatented pratfalls from a piano stool, buthis finest moment invariably comes whenhe pretends to stumble and, catchinghimself, comes down hard on the keyboard with his backside. "I assure you,"he says, "I can play much better by ear."

215

36 THE MUSICAL CROSS WORD PUZZLE BOOK

216

.......--._- _----_.._--_._--..-- _--_ -_.__ __ ,..-- --_ ..

PUZZLE NUMBER FIFTEEN

A few operall.

-JTHE MUSICA.L CROSS WORD PUZZLE BOOK 37...- --_.__ ---------.---_.__ ------_ -------_ ---_ --- .._-_._--.--- _ _._.-

HORIZONTAL

1. Initials of the first and last names of the com·poser of the opera "The Mikado."

2. Left hand. (abbr.)4. A term indicating the use of the soft pedal.

(abbr.)6. Initials of the composer of "Danse Negre." (See

page 97.)8. With the bow. (abbr.)9. Panionate; hurried. (French.)

13. In time. (abbr.)15. An opera by Puccini. Article omitted.16. An opera by Ambrose Thomas.18. 650.19. The. (French.) Masculine.21. If; in cue; provided.22. Moderate rate of speed. (abbr.)24. An opera by Verdi. Article omitted.26. Len. (abbr.)29. An echo.31. Dan&hter of Polonius in the opera "Hamlet."33. Celebrated Italian violinist and composer. 0653·

1713.)34. In. (French.)35. And.36. Altemative.37. The seventh note of the scale. (French.)38. Latin preposition meaning "from."39. Initials of an American violinist and composer.

Born in St. Louis, Missouri 1871.

41. Louder. (abbr.)43. Initials of the composer of the opera "Esmeralda."46. The theatre.48. An oratorio by Haydn. (Article omitted.)51. From.52. A key. Final letter omitted.53. A large bassoon.57. Bound, connected. (abbr.)60. A portable organ, used in former time, in reli·

gious processions.61. Used to print music.63. An opera by Flotow.66. An opera by Verdi.70. Six.71. Initials of a celebrated piano teacher and com·

poser who was Mendelssohn's friend and teacher.73. Thee. (French.)74. Initials of the composer of the opera "The

Masked Ball." (See page 91.)76. A, an, one.77. First three letters of an Italian word meaning

"the text, subject or theme of any coplposition."78. Of the.79. A composition consisting generally of three

movements for a solo instrument, with orchestralaccompaniment. (abbr.)

80. Initials of pianist and composer; the most popular of his compositions being his well·knownPolish dances. 0850.1925.) (See page 96.)

YERTICAL

I. Initials of operatic soprano; former member ofMetropolitan Opera Co.

2. Last syllable of a term occuring frequently inthe Psalms, indicating the interlude in which thepriests should blow the trumpets.

3. Tone. (German.)5. Becoming softer and slower by degrees. (abbr.)•. Initials of pianist and composer of piano works;

famous for his melodious studies. (1815·1888.)8. With the.9. Initials of the conductor of the Handel and

Haydn Society, Boston.10. Melody, tune. (French.)n. An opera by MasseneL Last letter omitted.12. Initials of the composer of the light opera "La

Mascotte."14. Time; rate of movement. (abbr.)IS. The continued bass. (abbr.)17. A preposition.18. A cathedral. (German.)20. Initials of famous dramatic tenor. Born in

Belgium 1861.21. Without regard to time. (abbr.)23. In two parts.24. An opera by Francesco .Schira.25. An opera by Richard Strauss.27. An indefinite period of time.28. Initials of the greatest virtuoso upon the violin.

(.1732·1840.) (See page 91.)29. Spanish article.30. The note "C sharp." (German.)32. At, to, by, for. (Latin.)33. With the.4.. The name originally given to the bighest note

in the scale of Gnido.

41. An order of selections in concerts.42. An organ with all its registers or stop" in use.

(abbr.)43. First and third letters of the musical alphabet.44. A triplet. (French.)45. Sweetly. (abbr.)46. A short poem in pastoral style.47. Initials of famous pianist, teacher and composer,

born in Austrian Poland 1830. (See page 91.)49. Initials of noted Italian operatic tenor. _

_) 0845.1896.)50. That part of a violin extending from the head

to the body, and on which the fingerboard isfixed.

54. Two vowels.55. Initials of an English composer of psalm tunes.

(1758·1831.)56. Initials of composer and organist; famous for

his church music. (1765·1838.)58. Initials of a modern French composer and con·

ductor. Born 1860.59. A French dance. First three letters.61. A change of position of an interval. (abbr.)62. Initials of an opera I'omposer, born in Malta.

(1775·1818.)64. Gradually slower. (abbr.)65. The note "B sharp." (German.)67. A species of musical declamation. (abbr.)68. Agitated. (abbr.)69. A letter of the Greek alphabet.n. Initials of a celebrated American organist. (Born

1851.) (See page 97.)75. Initials of famous German lyric compo~er,

known as the greatest song writer. (See page 90.)

217

Victor Herbert VignetteBy Andrew L. Stone - Fro~'The AMICA Bulletin, April 1978

Ampico rolls have served many purposes besides being a merefireside divertissement in some country squire's living room.

In 1939 I made a film for Paramount called The Great VictorHerbert. During our music rehearsals, an all out brouhaha developedin respect to the correct interpretation of Herbert's "Kiss in the Dark."

Arthur Kay, the musical director, felt that Herbert had in mind aViennese beat. Mary Martin, the star who was to sing the song, wasequally intransigent in her belief that the composer intended that it besung in a lilting ballad style. On the other hand, Louis Lipstone, thehead of the Paramount music department, and my musical advisor, PhilBoutalje, had ideas of their own on the subject and were equally dogmatic in their beliefs.

This, of course, is one of those dreadful enigmas which confrontthe producer-director of a movie. If I ruled in favor of Mary Martin,the other three would consider it a gross example of a weak producerpandering to the star. If I went along with the head of the musicdepartment, the conductor would be outraged, and vice versa. And if Idisregarded the hallowed expertise of my musical advisor, I'd have asulking bent reed by my side for the rest of the picture.

So - what did I do?

I bundled the four of them into my car and drove straight-away tomy home. They were then seated around my Knabe. Without furtherado, I put on the Ampico roll1201F "Kiss in the Dark," played byVictor Herbert, and let the composer himself demonstrate preciselywhat he had in mind when he wrote the piece.

This ended the argument. It was done in the picture as Herbertplayed it on the Ampico recorded three years before his death.

Actually, one of the most poignant moments in theatre historyrevolves around another of Victor Herbert's Ampico recordings. Onceevery year the famous theatrical Lambs Club in New York gave a

show called "The Lambs Gambols." Most of the male stars appearingon Broadway took part, making it an outstanding gala evening.

In May of 1924 Victor Herbert devoted much energy and time tothe staging of that year's event. On May 26, 1924, following a morning of strenuous rehearsals for the "Gambols," Victor Herbert felt illand went home. A few hours later he succumbed to a heart attack.

So much is history. The balance of the story was related to me, inthe forties, by an executive of the American Piano Company. If theincident is true (and it might be well worth AMICA's time to verifythe tale), it would represent a highly moving and dramatic tribute toVictor Herbert and the Ampico.

The setting for the closing number of the "Gambols" revealed awhite Mason & Hamlin concert grand piano in the center of a barestage. The backdrop was a black cyclorama. After a moment ofhushed silence, the light of an overhead spot flashed on revealing abowed figure standing motionless against the cyclorama. The figurewas that of one of the great composers in the musical comedy field.

Then, one by one, in succession, additional figures were spotlighted until the stage was circled with a somber colonnade of VictorHerbert's most renowned colleagues. There followed a long, dramaticmoment of complete silence. Not a man on the stage moved so muchas a muscle.

Slowly the great piano and empty bench became illuminated untilthe effulgency of its glow dimmed the figures fringing the cyclorama,making them appear as eerie specters. All at once the keys began magically to move. It started as if the tune was coming from a great distance, then became louder.

On the Ampico was roll 371 G "Kiss Me Again" - played byVictor Herbert.

It must have been a truly soul-shaking moment.

~

'"'.~

STACCATO AND LEGATO.Humor, Wit and Anecdote.

THE. '"IKTV():"'O'::' T~lt·:\fPH.

218

r" ~J

219

By Carol Cling

From Las Vegas Review-Journal,April 13, 2000

The sound of silents.

From train whistles to bird chirps,from crashing cymbals to clanging bells,they’re back where they started.

At least on Thursday nights at theFiesta, 2400 N. Rancho Drive.

Inside Roxy’s Pipe Organ Pizzeria -named for the mammoth pipe organ that

once graced New York’s legendaryRoxy Theater - the sounds of silentscome alive as organist David Wicker-ham accompanies a variety of silentcomedies shown free at the restaurant.

The silents - including shorts star-ring such legendary clowns as CharlieChaplin, Buster Keaton, Harold Lloyd,and Laurel and Hardy - will be shownon the hour from 4 to 8 p.m. today andevery Thursday, preceded and followedby Wickerham’s organ renditions ofpopular and classical requests.

One of the three organists whoperform on the restored Kimball pipeorgan, Wickerham demonstrates snazzyshowmanship during his solos.

During a medley that chugs from“Chattanooga Choo-Choo” to “I’veBeen Workin’ on the Railroad,” forexample, the tuxedoed Wickerham donsa striped engineer’s cap and red kerchiefto add a touch of authentic costuming tothe train tunes.

And the movie screen provides abird’s-eye view of the organ’s five key-boards - and Wickerham’s command ofthem - during the musical interludes.

But when he’s providing musicalaccompaniment to the comedy silents,his goal is not to call attention to himselfor his music.

Instead, the art of accompanyingsilent movies requires the oppositeapproach.

“If it’s done right,” Wickerhamexplains, the accompaniment “becomespart of the movie - to where the musicsort of disappears.”

With the coming of talking picturesin the late ‘20s, live musical accompani-ment for movies did disappear.

But not before the Roxy’s hugeKimball was built in 1927 to accompanysilent movies.

The Fiesta’s weekly movie nightsreturn the mighty Kimball to its “original usage, doing the accompani-ment of silent films,” Wickerhamexplains to audience members enjoyinglast week’s opening comedies. Theyincluded such slapstick exercises asKeaton’s 1922 classic “Cops,” Keaton’s1921 “The Paleface” and Lloyd’s 1920“Haunted Spooks.”

Originally, silent movies had noaccompaniment at all, says Wickerham.

Then theaters began employingpianists to set a musical mood.

“The old projectors were so noisythey had to do something,” he explains.

Some silents had specially createdmusical scores the distributors wouldsend to theaters, along with the moviesthemselves.

But some organists drew on theirown knowledge of popular and classicaltunes, creating musical medleys toreflect and reinforce the images on thescreen.

Dear Robin,

I thought the enclosed might make interesting fodder for theAMICA Bulletin. I attended the Thursday performance and found theorgan a real treat. The venue is not elaborate or exotic but it is specialfor a city like Los Vegas. The shutter boxes were framed in light whichcontribute to that exclusive “Vegas effect.”

Have you thought of doing a series of articles on pipe organs and“Where are they now?” (How about it AMICAns? - ED) Just athought. Keep up your good work.

A.J. Todkill

PPiippiinngg Up Organist David Wickerham makes himself at home at a restored1927 Kimball organ, originally built for New York’s legendaryRoxy Theater, that’s now the star attraction at Roxy’s Pipe OrganPizzeria inside the Fiesta.

Fiesta organ provides a live soundtrack for silent-film series

A poster from Rudolph Valentino’s 1926 hit“The Son of the Sheik,” displayed insideRoxy’s, adds silent-era atmosphere toThursday night showings of silent classics.

220

That’s the approach Wickerhamtakes as he prepares for each of thesilents shown at Roxy’s pizzeria.

“You don’t typically do it by theseat of your pants,” he acknowledges.

Instead, he watches the comedyshorts on video, familiarizing himselfwith the plot, the characters - and thecomedic highlights - of the two-reelers,which typically run 20 minutes.

Through repeat viewings, Wicker-ham can identify where the car crashesinto the pole, for example, or whensomebody slips on a banana peel.

Pinpointing comedy bits enablesWickerham to incorporate tongue-in-cheek musical references into hisaccompaniment. During “Cops,” forexample, Wickerham plays the first fewbars of “We’re in the Money” everytime the purloined contents of an unsus-pecting bystander’s wallet changehands. “There’s No Place Like Home”punctuates a family’s moving day. Thesoothing strains of Brahms’ “Lullaby”float through the air as the hyperkineticKeaton, destined for immediate inter-ruption, attempts a brief nap. And whena broken fire hydrant sends a torrent of

water gushing skyward, Keaton takesrefuge under an umbrella to the tune of“April Showers.”

With its bells, whistles, specialeffects and various pipes, the organ canre-create the scope and sound of a 110-piece orchestra, Wickerham explains.

It took more than a year for a crew,working seven days a week, to installthe mammoth Roxy’s organ at theFiesta, according to Bob Maes,who supervised its restoration andinstallation.

The Roxy organ’s original movie-palace home was demolished in 1955.In 1978, Phil Maloof - a member of thefamily that owns the Fiesta - bought theorgan and moved it to the Classic Hotelin Albuquerque, New Mexico, where itwas played for 15 years. (Maloof’s LasVegas home includes several other his-toric organs, including the 20-ton Bartonpipe organ that spent six decades atChicago Stadium, home of Bulls basket-ball and Blackhawks hockey until themid-’90s.)

When the Maloofs closed and soldthe Albuquerque hotel, the Roxy organspent the next few years in Maes’Kansas City, Missouri, warehouse - untilthe Fiesta’s expansion provided a newhome.

In conjunction with its return, theorgan was completely rebuilt “to resur-rect it to its 1927 grandeur,” Maes says.

As the largest organ Kimball everbuilt, the two-story, 16-ton instrument ispowered by a 60-horsepower turbinethat supplies the wind for its 29 ranks ofpipes.

Mirrored swell shades, surroundedby rows of twinkling lights, control theorgan’s volume. Its crimson consolefestooned with elaborate gold-leafaccents, the Roxy organ is in as good ashape as it was in 1927, Maes says.“The craftsmanship in these things isphenomenal.”

So is the sound that craftsmanshipmakes possible, according toWickerham, who moved from theMidwest for the opportunity to play thelegendary organ.

“This is a Cadillac, for sure,”Wickerham says. “This particularinstrument is one of the finest in thecountry. It’s an honor to play it.”

And it’s a thrill to hear it, accordingto several Roxy’s regulars.

Since the place opened in Decem-ber, “this is our 36th visit,” notes WalterErickson, sitting with his wife Isora.“We come two or three times a week.”

They come for the music, but thesilent movies add to the appeal, theyacknowledge.

“After all,” says Isora, “we’re oldenough to kind of remember” the tradi-tion. Indeed, Isora’s mother-in-law onceprovided piano accompaniment forsilent movies.

“We came because of the organ,”says Julie Dixon, who brought twovisiting friends from Texas because shewanted them “to see something differentand unusual.”

“It’s something different,” Maesagrees. “And it has universal appeal.There’s no language barrier, noprofanity - it’s just good, clean fun.”

The movie nights will continueindefinitely - “as long as the audience isthere,” Maes says.

In addition to the short comedysilents scheduled Thursdays, Maes andWickerham hope the program willinclude full-length silent features fromtime to time. (Halloween-seasonshowings of the original 1925 version of“Phantom of the Opera,” with LonChaney, or the landmark vampire classic“Nosferatu” are possibilities.)

Cable television stations occasion-ally feature silents with organ accompa-niment, “but it’s nothing like seeing itlive with a good organist at the helm,”Maes maintains. “You get into it.”

Indeed, during the music-onlyinterludes, Roxy’s patrons “are listening,but they’re talking,” he says. When themovies are running, however, “thewhole house goes quiet” - to listen to thesound of silents.

Organist David Wickerham supplies fast-paced musical accompaniment for BusterKeaton’s antics in “Cops.”

Jim Mulleague, left, and Jason Doucetteappear as Oliver Hardy and Stan Laurelduring Roxy’s inaugural silent movie night,which will feature Laurel and Hardy comedyshorts in upcoming weeks.

KNOW YOUR ROLL ARTISTSFrom Radio Digest, January 10, 1925

/'"-'-! Playing His U'lay Into the Hearts of

Millions, Snodgrass Attains FameDischarged Next Week

Snodgrass will be discharged on the sixteenth of January, at which time he will fulfill a vaudeville engagement.

In addition to playing the piano inrecitals, he also plays this instrument withthe prison orchestra and the saxophone in theprison band. Both of these organizationsappear regularly every Monday fortnightfrom the studio of Radio Station WOS,located in the dome of the State Capitol, Jefferson City, Missouri, and operated by theState Marketing Bureau. It is claimed thatthese are the only convict entertainers whoregularly broadcast from any station.

He has made his musical reputation sincehe was imprisoned, a little over two yearsago, in very much the same manner as O.Henry won a reputation as a story writerwhile he was serving a tenn in the Ohio Penitentiary at Columbus for forgery. Snodgrass, like O. Henry, has discovered his ownpowers only since his imprisonment and willhave a profitable profession and presumablyan honorable career when he has served histime.

Truly, "Stone walls do not a prison make,nor iron bars a cage," to the man with a giftand a will to use it.

Editor's Note: According to the BillingsRollography, QRS issued several rolls byHarry Snodgrass as early as April 1924 - tenmonths before he was to be released fromprison!

Harry •• 8",odgTaaa. lo1oW1l. totho U • a '" d a otBadio phau. as"Z: 1 u ll' 0 f thoJ "lor 1 0 go" 'rhopubl1c will havo& chanco to ••_and hear h1m. ontho vaudov1lle

sta6' shortly.

«King of the Ivories," Inmate at Missouri State Prison, ReceivesThousands of Letters After Giving Concert - Sentence

Expires on January 16Displays Wonderful Technique

Owing to the national reputation he hasacquired by Radio as the time for his discharge draws near, the theatrical managersand record piano roll manufacturers are allanxious to contract with him for his services,so great do they anticipate the public demandwill be for his piano numbers.

Snodgrass, as you can see by the accompanying photograph, is white, twenty-nineyears old, married and has a son nine yearsold, is of slight build, about five feet fourinches tall and weighs about one hundredand ten pounds, plays entirely by note,adding his own transposition of the numberas he plays. It might be said that his musicaleducation was obtained by diligent study onhis own part, and a wealth of experienceobtained through playing as a music demonstrator in music in five and ten cent stores,where he was accustomed to playing fromeight to ten hours a day for several years.

Several masters of the piano havedeclared that his expression and technique isinimitable and that his playing is especiallywell adapted for recording, predicting a greatfuture for him if he is able to keep out offuture trouble, and as Harry assured that hehas learned his lesson, we are confident thathe will profit by his experience.

Although it is generally conceded that aprison would be the last place to go in orderto attain national fame and honor as an entertainer, Harry M. Snodgrass, an inmate of theMissoU1; State Prison, through his extraordinary skill as a pianist has played his way bymeans of Radio into the hearts of millions ofRadiophans throughout the length andbreadth of the country and has won severalpopularity contests as the most popularRadio t<ntertainer appearing at any station.

Snodgrass, who is known to the Radiophans as "The King of the Ivories," was sentenced for a three year term for attemptedrobbery in St. Louis, while under the influence of intoxicating liquor which was thedirect cause of his downfall.

Thousands of letters are received weeklyby Station WOS from which he broadcastsregular programs while under the surveillance of the prison guards. These letters,often eight thousand on a single concert,request information of every conceivablenature about Snodgrass, so deeply is theradio audience interested in the exceptionalability and technique of this pianist. Nearlyall of the inquiries received want to know thelength of the tenn for which he was convicted, whether he is white or black, what age,his appearance, whether he is married or single, does he play by note or by ear, wherewas his musical education obtained, whenwill he be discharged, and would it be to hisadvantage to circulate a petition to the governor for his immediate pardon.

Receives Many Gifts

Through his many wann admirers in theRadio audience he is constantly suppliedwith cigars, cigarettes, candy, fruit and cake,to say nothing of more unusual gifts such asgold pencils, neckties, hose, handkerchiefs,new music, etc. Among the most unusualrequests received by the station with regardto Snodgrass was a telegraphic request froma manufacturing concern in the State ofIllinois to entertain their employees with hisexpenses, and the expenses of a guard toaccompany him, together with an honorarium to be paid by their concern. Of course,

_ this request could not be granted as the_~ inmates of the prison are not allowed to-/ - . leave the prison walls, with the exception of

the time when they appear on the Radio programs and then they are under the constantsupervision of the guards.

221

222

August, 1938

Dear Mr. Ripley:

For many years I have been a constant reader of your (Believe It orNot) cartoon. I have listened to your broadcast with keen interest. Ifrankly believe your work is a great contribution to natural science.

In your broadcast of March 26, 1938, you introduced W.C. Handyas the originator of jazz, stomps, and blues. By this announcement youhave done me a great injustice, and you have also misled many of yourfans.

It is evidently known, beyond contradiction, that New Orleans isthe cradle of jazz, and I, myself, happened to be creator in the year1902, many years before the Dixieland Band organized. Jazz music isa style, not compositions; any kind of music may be played in jazz, ifone has the knowledge. The first stomp was written in 1906, namely“King Porter Stomp.” “Georgia Swing” was the first to be namedswing, in 1907.

You may be informed by leading recording companies. “NewOrleans Blues” was written in 1905, the same year “Jelly Roll Blues”was mapped out, but not published at that time. New Orleans was theheadquarters for the greatest ragtime musicians on earth. There wasmore work than musicians. Everyone had their individual style. Mystyle seemed to be the attraction. I decided to travel, and tried Miss-issippi, Alabama, Florida, Tennessee, Kentucky, Illinois, and manyother states during 1903 and 1904, and was accepted as sensational.

In the year of 1908, I was brought to Memphis by a small theatreowner, Fred Barasso, as a feature attraction and to be with his number-one company for his circuit, which consisted of four houses, namelyMemphis, Tennessee, Greenville, Vicksburg, and Jackson, Mississippi.That was the birth of the Negro theatrical circuit in the U.S.A. It wasthat year I met Handy in Memphis. I learned that he had just arrivedfrom his hometown, Henderson, Kentucky.

He was introduced to me as Professor Handy. Who ever heard ofanyone wearing the name of Professor advocate ragtime, jazz, stomps,blues, etc? Of course, Handy could not play either of these types, andI can assure you he has never learned them as yet (meaning freaktunes, plenty of finger work in the groove of harmonies, great improvi-sations, accurate, exciting tempos with a kick). I know Mr. Handy’sability, and it is the type of folk songs, hymns, anthems, etc. If youbelieve I am wrong, challenge his ability.

Professor Handy and his band played several days a week at a col-ored amusement park in Memphis, namely, Dixie Park. Guy Williams,a guitarist, worked in the band in 1911. He had a blues tune he wrote,called “Jogo Blues.” This tune was published by Pace and Handyunder the same title, and was later changed to “St. Louis Blues.”Williams had no copyright as yet. In 1912, I happened to be in Texas,and one of my fellow musicians brought me a number to play - “Memphis Blues.” The minute I started playing it, I recognized it. Isaid to James Milles, the one who presented it to me (trombonist, stillin Houston, playing with me at that time), “The first strain is a BlackButts’ strain all “dressed up.” Butts was strictly blues (or what theycall a Boogie Woogie player). I said the second strain was mine. Ipractically assembled the tune. The last strain was Tony Jackson’sstrain, Whoa B- Whoa. At that time, no one knew the meaning of theword jazz or stomps but me. This also added a new word to the dictio-nary, to which they gave the wrong definition.

The word blues was known to everyone. For instance, when I waseight or nine years of age, I heard blues tunes entitled “Alice Fields,”“Isn’t It Hard To Love,” “Make Me A Palate On The Floor” - the latterwhich I played myself on my guitar. Handy also retitled his catalogue“Atlanta Blues.” Mr. Handy cannot prove anything is music that hehas created. He has possibly taken advantage of some unprotectedmaterial that sometimes floats around. I would like to know how aperson could be an originator of anything, without being able to do atleast some of what they created.

I still claim that jazz hasn’t gotten to its peak as yet. I may be theonly perfect specimen today in jazz that’s living. I guess I am 100years ahead of my time. Jazz is a style, not a type of composition.

Please do not misunderstand me. I do not claim any of the creationof the blues, although I have written many of them even before Mr.Handy had any blues published. I had heard them when I was knee-high to a duck. For instance, when I first started going to school, atdifferent times I would visit some of my relatives per permission, inthe Garden district. I used to hear a few of the following blues players,who could play nothing else - Buddie Canter, Josky Adams, GameKid, Frank Richards, Sam Henry, and many more too numerous tomention - they were what we call “ragmen” in New Orleans. The cantake a 10 cent Christmas horn, take the wooden mouthpiece off, havingonly the metal for mouthpiece, and play more blues with that instru-ment than any trumpeter I had ever met through the country imitatingthe New Orleans trumpeters.

I hope that this letter will familiarize you more with real facts. Youmay display this in the most conspicuous places, it matters not to me. Iplayed all Berlin’s tunes in jazz, which helped their possibilitiesgreatly. I am enclosing you one of my many write-ups hoping thismay help you in the authenticity of my statements. I am able to upholdall of my statements against any that may contradict. I barnstormedfrom coast to coast before Art Hickman made his first trip from SanFrancisco to New York. That was long before Handy’s name was inthe picture.

I think one should have conclusive proof before being able to claima title. I also advocate much more rigid laws so thieves may get theirjust deserts. There are many who enjoy glory plus financial gain’sabundance, even in the millions, who should be digging ditches orsweeping the streets.

My dear Mr. Ripley, I also ask you for conclusive proof, which I ansure that you will never be able to offer, due to the fact that the onewho inveigled you into this announcement cannot give you any. Hedoesn’t know anything about the foundation. New York itself is justbeginning to get wise to jazz and all the decent dispensers either camefrom parts that I have educated or from tutors of the good New Yorkmusicians. Not until 1926 did they get a faint idea of real jazz, when Idecided to live in New York. In spite of the fact that there were a fewgreat dispensers - such as Sidney Bechet, clarinet and William Brand,bass - New York’s idea of jazz was taken from the dictionary’sdefinition - loud, blary, noise, discordant tones, etc., which really does-n’t spell jazz music. Music is supposed to be soothing, not unbearable- which was a specialty with most of them.

It is great to have ability from extreme to extreme, but it is terribleto have this kind of ability without the correct knowledge of how touse it. Very often you could hear the New York (supposed-to-be) jazzbands with 12-to-15 men. They would blaze away with all the volumethat they had. Sometimes customers would have to hold their ears toprotect their eardrums from a forced collision with their brains.

Later in the same tune, without notification, you could hear onlydrums and trumpet. Piano and guitar would be going but not heard.The others would be holding their instruments leisurely, talking,smoking reefers, chatting scandals, etc. Musicians of all nationalitieswatched the way I played; then soon I could hear my material every-where I trod; but in an incorrect way, using figures behind aconglomeration of variations sometimes discordant, instead of hotswing melodies.

My contributions were many: First clown director, with wittysayings and flashily dressed, now called master of ceremonies; firstglee club in orchestra; the first washboard was recorded by me; bassfiddle, drums-which was supposed to impossible to record. I producedthe fly swatter (they now call them brushes).

Of course many imitators arose after my being fired or quitting. Ido not hold you responsible for this. I only give you facts that youmay use for ammunition to force your pal to his rightful position in fairlife.

Lord protect us from more Hitlers and Mussolinis.

Very truly yours,

Jelly Roll MortonOriginator of Jazz and Stomps, Victor Artist,World’s greatest Hot Tune writer

“I Created Jazz In 1902, Not W.C. Handy”

223

By Tom LylesSpecial to The Washington Star 7/8/77

Reprinted in the AMICA Bulletin, March 1978

What a braggart and a rambler that“Winin’ Boy” was.

He signed his personal letters Ferd andcalled himself Jelly Roll and said he inventedjazz. “If everybody read those little blackdots” on a music sheaf, he said, he could havetaken jazz from turn-of-the-century newOrleans red light night life and made arespectable lady of it. Instead, FerdinandJoseph “Jelly Roll” Morton - after “my cre-ation of jazz music” - watched other musi-cians wrest the music from him and take it upthe Mississippi River, where it slipped slowlyfrom his grasp.

Musicians and critics agree in varyingdegrees with Morton’s self-assessment, butclearly he was a jazz musician of the firstorder. Larry Lucie, who played with Mortonin the late 1930s in New York, says, “I don’tknow anybody else who created any more injazz as far as syncopation and jazz bands wereconcerned.

“He was a natural musician and hewouldn’t brag if he couldn’t back it up. Heand Scott Joplin, I think, are responsible forcreating syncopation . . . that started the jazzthing going.”

GEORGE BROWN, who played withJelly Roll when he lived in Washington dur-ing part of the 1930s, said: “I learned a lotfrom Morton, but it took me years to realizeit. I was young then and Morton’s music wasstrange to me. But he was doing some veryadvanced things, even though he was playingmusic whose time had really passed.”

Ironically, that time began passing asMorton reached for a wide audience but foundhis music was largely being supplanted by thesparkle of another New Orleans master, LouisArmstrong. When the Depression hit andMorton lost a recording contract, he virtuallydisappeared.

“He liked to talk about himself,” Luciesaid, “and he took pride in what he had done .. . he didn’t think he was doing as well as heshould have been doing to know what heknew about music and (have) the name hehad. He wasn’t getting the breaks that hewanted to get at that particular time.”

Alan Lomax, Morton’s chief biographer,says: “Jelly Roll was the most talented com-poser we’ve had. He just kept on originat-ing.” In fact Lomax places Morton’s “wittyand urbane” music on a level with Mozart.

“He was an extremely brilliant man,”Lomax said. “Showers of sparks emergedfrom him if you gave him a chance.”

LOMAX GAVE Morton that chance in theLibrary of Congress’ Coolidge Auditorium inthe spring of 1938, when together they did aseries of recordings on jazz history. Therecordings, done during a five-week period,became the basis of Lomax’ biography, “Mr.Jelly Roll.”

Some of Morton’s recordings from thosesessions, and earlier, show a sophisticatedmusician keenly aware of polyphonal struc-ture, dynamics and interior order.

His statements - “When you’re playingjazz piano you must make it sound like aband. If you don’t make it sound like a band,you’re not playing no jazz piano” . . .”Neverdiscard the melody” . . . “Without cleanbreaks you cannot even play jazz” - are morethan rhetoric. They are a manifesto of hismusic.

Commercial recordings of those Coolidgesessions have been officially out of print formore than a decade. Originally issued in1947 as an expurgated 12-volume set byCircle records, they were re-released on theRiverside label a decade later. Althoughcondensed bootleg copies are available fromAustralia and Sweden, the SmithsonianInstitution has been unsuccessful with plansto re-release the recordings.

DURING THE LAST decade, somerequests for release right to the master materi-al have been received, according to H. MelvinSwift, Jr., the attorney representing Morton’sestate. He said rights would be granted toanyone giving the material “the greatest dis-semination and also are appropriate return tothe beneficiaries.” But even if rights aresecured, it seems unlikely all of the materialwill be released; Morton, adding occasionaldisclaimers about “terrible songs,” heavilyblued the Coolidge Auditorium air. Thosesections, amounting to nearly two hours, werenot released by Circle or Riverside.

Between playing and singing, Morton toldLomax of New Orleans when “wine flowedlike water,” myopically discarding theDepression that had partially obscured him.He talked of the giants he knew, the songs hewrote, “of my creation of jazz music” and“the first hot arrangements . . . I made thearrangements, but they didn’t call me JellyRoll then (1912). They called me Winin’Ball.” When using his nickname in a song,Morton, in turn, changed it to “Winin’ Boy.”

“Since it happens to be a thing like thearchives,” Morton told Lomax, “you’re sup-posed to give facts.” Between his facts andhalf-truths, he offered a fascinating glimpse ofthe New Orleans that had been peopled byAfrican, French and Spanish settlers whosecultures pulsed in the streets, bars and musichalls, offering Morton the disparate invita-tions of the opera, brass bands and ragtime heused to make his music.

MORTON LEFT New Orleans in 1907 tobegin rambling, hustling pool, selling fakemedicine, playing cards and, after careful lis-tening, “cutting” every pianist he met. Latercame Morton’s Red Hot Peppers band, of sixto nine members. When he told Lomax hisstory he was largely a forgotten man remem-bering “when I made $100 a day (and)thought I had a small day.” He talked of peo-ple plotting against him and of his failure torepay an old voodoo debt. Those he trusted,Morton said, were taking his money.

You should see him strolling down thestreet,

The man’s an angel with great big feet!

With his melodies,

Have made him lord of ivories.

Just a simple little chord.

Now at home as well as abroad,

They call him Mister Jelly Lord.

He’s simply royal at that old keyboard.

“You hear that riff?” Jelly Roll toldLomax. “They call that swing today, but it’sjust a little thing I made up way back yonder.Whatever those guys play today, they’re play-ing Jelly Roll.”

HE CAME TO WASHINGTON onesleety 1936 day and spent nearly three yearstrying to run a club, known variously as theMusic Box, the Blue Moon Inn and the JungleClub, at 1211 U St. NW. Brown remembersit was a “strange place, with lots of strangepeople.” One night someone stabbed himwhile he was playing the piano, and Jelly Rollpacked out of town.

He went to New York, then Los Angeles.He died there 36 years ago this Sunday.

Prying his music and memories loosefrom his estate may be impossible, and we arethe poorer for it.

Remembering the Man Who Said He Invented Jazz36 years after Jelly Roll Morton’s death, his part in music history stays largely obscured

MR. TWEEDY

"U you deelde to take the apartment,there's ODe tIlIllIl tblDk maybe IlhouWtIIlI you •• :'

6/16/77From The Washington Star.Contributed By John R. Grant.

TECH TIPSThis landmark article by Peter Brown was originally published

in the AMICA Bulletin, August/September 1978

The Automatic AmpicoStencil Machine

By Peter Brown

The Ampico stencil machine could make a playable trialroll from the original non-playing note sheet recorded bythe artist. Now there is nothing extraordinary about copying one music roll from another. The remarkable thingabout the Ampico stencil machine is that it was not copying- it was inserting most of the perforations itself. How themachine was able to do this, and what pneumatic circuitswere used, is explained in this article.

224

GLOSSARY

Ball bleed valve: Valve for controlling operation of apneumatic, containing both a small bleed and a largebleed controlled by a ball check valve.

Bleed: A constriction in the form of a small orificeplaced in the air-flow path to cause a pressure drop. Thediameter of the bleed orifice is specified by DrillNumber.

Chain bridging: A line of perforations in a music rollwith a narrow bridge of paper between each perforation.Chain bridged notes are sustained for the duration of theline of perforations.

Master roll: Used in the quantity production of musicrolls. Ampico masters, or stencils, are three times thelength of the playable roll and slightly wider.

Music roll: A playable "piano roll."

Note sheet: Original record of an artist's performanceshowing by means of penciled lines the sequence andduration of each note played. A non-playable record.

Stencil: Same as master roll, q.v.

Trial roll: The first playable record representing onestage in the production of a finished music roll. LJ sed bythe editor in developing the final master stencil.

( During the Ampico recording process two simultaneous records"'....,..J'were taken of the artist's playing: one of the notes and pedaling

- and the other of the dynamics. The record of the notes consistedof pencil lines made on a moving sheet. As part of the editingoperation the lengths of some of the pencil lines, indicating noteduration, were artifically extended and the dynamics weretransferred to the note sheet. The note sheet was then ready forpreliminary perforating which was done by hand. Pilotperforations were placed at the beginning and the end of eachnote with blank paper in between. A quarter-inch longperforation was punched at the start of each note with a singleperforation at the end, and the expression coding was treatedsimilarly. In the next stage of the process the note sheet wastaken to the stencil machine. With only the pilot perforations asguides the machine could produce a stencil and a trial roll byautomatically inserting chain bridging between the start and endof each note.

In Re-Enacting the Artist (1970), Larry Givens gives a very fulldescription of the whole process of making an Ampico musicroll. He includes illustrations of the original note sheet, the noteextensions, the hand-punched pilot holes at the beginning andend of 'each note, the three-to-one stencil and the stencilmachine.

Mr. Stoddard patented his system of note extensions in 1912 andinstructed that "bleeding" of certain notes be a matter of routineon all Ampico rolls. The note extensions made it especiallydesirable to develop a machine capable of automaticallyinserting chain bridging between the pilot perforations.Whatever the longest note extension may be, it is certainly norarity to find a roll with half a dozen notes held down for ten

~';nches or so. These alone would require 600 hand punched holes.- No wonder Mr. Stoddard said that prior to the development of

the automatic stencil machine the work of punching the stencilfor Lehvinne's "Blue Danube Waltz" would have taken six boysabout three days to complete.

It may be obvious why it was done, but how was it done? Thereare no drawings of the stencil machine, no patents, and this highpoint of pneumatic development was destroyed sometime in the194Os. Reconstructing the principle of the stencil machine hasbeen something like a detective story, and important clues wereprovided by Dr. Hickman and Mr. Larry Givens. A solution tothe problem is presented but, like any good detective story, anultimate twist is saved for the end.

The earliest reference to the Ampico stencil machine appears ina Scientific American article in November, 1927, laterreproduced in Harvey Roehrs Plnyer Piano Treasury (1961).Probably this account is based on information supplied by Dr.Hickman, for the entry in his diary for February 17, 1927, reads:"Interviewed Mr. Hopkins of Scientific American."

The automatic stencil machine took Mr. Stoddard more thanfive years to design and construct and was placed in operation in1925, about a year after Dr. Hickman joined the AmpicoResearch Laboratory. On December 4, 1926, Mr. Stoddard leftNew York for a three month vacation, travelling to California byway of Cuba and the Panama Canal. During his absence,problems with the stencil machine were brought to Dr.Hickman. In the middle of January 1927 the Doctor began togive the stencil machine his serious attention. By February 17, he

, had reduced the number of valves needed for it to perform its~function from seven valves per note, as originally designed by

Mr. Stoddard, to five per note. On March 3,1927, the day beforeMr. Stoddard returned from vacation, he was down to fourvalves per note. The four-valve unit was installed on one note ofthe stencil machine on March 10 and, with minor modifications

to the bleeds, the results were perfect. Mr. Stoddard ordered thefour-valve units installed throughout the machine.

The four-valve assembly is shown in Figure 1. On the left of thefigure is a representation of the hand-punched note sheet passingover the double-hole tracker bar of the stencil machine. At thispoint in the note sheet, for the note track shown, the system is"off" and no holes are being punched in the stencil. A leadingquarter-inch pilot perforation is approaching the tracker bar.

Valves VI and V3 are outside valves and V2 is an inside valve:valves VI and V2 have No. 65 bleeds. Valve V4 is a specialintermittent valve which controls a ball-bleed valve. This valvein tum controls a punch pneumatic and when the ball-bleedvalve fires, one hole is punched in the stencil. The pouchchamber of VI is exhausted by high-pressure suction H, and V2has a separate suction supply G. Valve V3 has no directconnection to suction although the underside of its pouch isexhausted through a No. 55 bleed by suction H. The pouch of V4is intermittently connected to suction H in a "punch-skipskippunch-skip-skip" sequence controlled by the cutting head.

The sequence of starting punching, inserting chair bridging andstopping punching is shown in Figures 2, 3, 4, S, and 6. In Figure2 the pilot perforation at the start of the note has opened hole I inthe tracker bar. This fires VI and admits atmosphere over the topof V4 to fire the ball-bleed valve, which collapses its pneumaticcausing holes to be punched continuously in the stencil as long ashole I is open. Since the pouch chamber of V3 has no suctionsupply at this time it does not fire.

225

..•

The leading perforation has opened both tracker bar holes inFigure 3. The opening of hole 2 fires V2 and connects the pouchehamb£'r of V3 to suction G. Consequently V3 rises and locks"on" due to the atmosphere supplied to its pouch from under itsown head. The pouch chamber of V4 is connected toatmosphere from V3, but this has no effect on the ball-bleedvalve because the atmosphere supplied from VI is still callingfor eontinuous punching.

As the note sheet continues to advance over the tracker bar,Figure 4, hole I is sealed off and valve VI re-seats. This actioneuts off the atmosphere supply from VI to the ball-bleed valveand interrupts the continuous punching. Since atmosphere issupplied to the pouch chamber of V4 from V3, punching willonly occur when pouch V4 is drawn down by the intermittent Hsupply. Consequently, chain bridging is now punched in thestencil in a "punch-skip-skip-punch-skip-skip" pattern.

\ \"hen hole 2 is saled off in Figure 5, valveV2 re-seats, cutting offsuction G fromV3. Valve V3 remains "on", however, because itis now connected to suction H from VI. In this configuration thefour-valve unit will continue to insert chain bridging in thestencil until the stop perforation comes along. It should be notedthat suction G is not needed for chain bridging and was only usedto get the unit locked into the configuration shown.

At the end of the note extension the single stop perforation openshole I in the tracker bar, Figure 6. This fires VI, cutting offsuction from the pouch chamber of V3. Since there is now no

226

suction to hold this pouch up and its underside is exhausted bysuetion H, valve V3 re-seats thus terminating the intermittentpunching. At the same time, sincve VI is up, the ball-bleed valvefires one last time to punch the end of the note. After the stopperforation clears hole I valve VI re-seats and punching ceases. . -The subsequent passage of the stop perforation over hole~Vsimply closes V2 but causes no other reaction. The four-valveunit is now ready for the next instruction and is in theconfiguration shown in Figure 1.

The system described so far would be adequate if all Ampicomusic rolls consisted only of extended perforations. Despite thesometimes slanderous remarks about the note extensions,Ampico rolls really do contain staccato passages, trills, and thewhole gamut of note sequences and durations. For example, seeAmpico roll 63883-H "Elements of Music or Musical Directions."How all this was accomplished by the stencil machine while stillretaining the automatic chain bridging feature forms the nextpart of the story.

' ..r-T-~I~ ....."...

If the automatic chain bridging were on all the time it would notbe possible to punch short notes - staccato passages wouldcome out legato and trills would be impossibly blurred. Toprevent this, the stencil machine provided for very fine controlof its automatic capability. This was achieved by switching the"guard section" G on and off, under the control of special"Guard Perforations" in the note sheet. With the guard suctionsupply to the four-valve unit turned off, all punching would becontrolled by hole 1 in the double tracker bar and hole 2 wouldbe inoperative. So that a note three-quarters of an inch longcould be obtained by hand-punching a three-quarter inch hole inthe note sheet, this arrangement would turn off suction G beforethis perforation reached the tracker bar. The Ampico stencilmachine was more subtle than this, however, because it couldcut staccato notes and extend notes simultaneously.

It should be recalled that suction G is not needed after thefourvalve unit is locked into chain bridging. Consequently, atthe point shown in Figure 5 suction G can be turned off and thisvalve unit will continue to punch in its note track. At the sametime other valve units, since suction G is off, can begin to punchtrills or staccato passages. By careful control of the length ofstaccato notes and by precision positioning of the guardperforations in the note sheet, the stencil machine could achievesome really remarkable results. All done automatically from thepilot perforations - and without the aid of electronics.

To keep track of the work needed to produce a stencil, Ampico~stamped information blocks on the leaders of note sheets. An-Vexample is shown on page 46 of He-Enacting the Artist. Thisparticular one records that the note, stop, and guard perforationswere inserted by Winifred Ford. But where are the guard

G

H

V4

V3

H

Figure 7V2

Vl

This is the end of the story of the Ampico stencil machine and itsautomatic chain bridging feature. But there is one last puzzleconcerning the intermittent suction supply to valve V4 in FigureI. The obvious way to obtain this supply is to gear a rotary valveto the punch head so that the rotary completes one revolution forewry three strokes of the punch. Then if the rotary valve is open,and passing suction in the 12 o'clock position, and closed in the4o'clock and 8 o'clock positions, intermittent suction will besupplied to V4, Figure I, on every third punch. With this type ofintermittent supply all the chain bridging holes would besynchronized and aligned across the paper. But they are not. Forexample, see page 45 of Re-Enacting the Artist. It is quiteevident that following the continuously chained holes at the startof extended notes there are always two skips before the chainbridging starts. As a consequence the chain bridged holes are notaligned.

\\'hy Mr. Stoddard introduced this degree of refinement into theintermittent punching is not clear. He undoubtedly was aperfectionist. But the complication of requiring exactly twoskips before the first punch of the chain does not appear to bewarranted. In the absence of any obvious motive it seemsimpossible to judge what intermittent mechanism was actuallyemployed. Anyway, that is the twist in the end of the story.-.-Talking about the days when he toured as a professionalmagician, Dr. Hickman says that he never wanted to be told howa trick was done. Since there is usually more than one way ofdoing a trick he preferred to devise his own way of producing amagical effect. Not by choice but by necessity, this account ofthe Ampico stencil machine is of my own devising. This at least ishow it could be done. On the evidence, I think this is probablyhow it was done. It is unlikely that we shall ever know for sure.

To set up the guard circuit, a quarter-inch hole was punched inthe IS T track of the note sheet in advance of any of the noteperforations. The simultaneous opening of holes I and 2 fires allfour valves - since the pouch chamber of V3 is supplied withsuction from V2 - and valve V310cks on. As first hole I and thenhole 2 are sealed, valves VI and V2 re-seat but V3, now suppliedwith suction from VI, remains locked on. Therefore valve V4remains up and supplies atmospheric air to G. Thus at the start ofthe note sheet the guard circuit was off.

1'0 start the automatic chain bridging a single perforation waspunched in the 8 l' track. The passage of this single perforationover hole I fires VI and cuts off suction from V3. As a resultvalves V3 and V4 re-seat, connecting G to suction which turnsthe guard circuit on. The "on" perforation must be aligned withthe quarter-inch perforation of the note to be extended in such amanner that the "on" perforation opens hole I in the 8 T trackbefore the pilot perforation seals hole I in the note track - that isto say, before the situation shown in Figure 4 occurs.

The Ampico stencil machine is shown in the photograph on page42 of Re-Enactin~ the Artist with Mr. Isaacson at the controls.The note sheet on the right is passing over the double holetracker bar and the three-to-one stencil is being punched on the

\ left. When the stencil is finished it will be used to make the first~ trial roll on the same versatile machine. This process of making a

finished stencil and a trial cutting took less than an hour and ahalf compared to the eighteen boy-days needed to do the job by . -_hand.

perforations!' Tum to page 43 of the same book and look at thedynamic coding on the right of this note sheet recorded by;"fischa Levitski. The perforations in the IS T track are the guard

(' perforations. The 8 T hole in the Ampico tracker bar is the re-roll~ Jhole. Sincl' there is no need to automatically re-wind the note~ sheet, the IS T track is available for the guard perforations. In the

- guard track suction G is turned on by a single perforation andturned off by a quarter-inch perforation - exactly the oppositeto the way in which the note chain bridging is turned on and off.

The four-valve unit controlling the guard suction is shown inschematic form in Figure 7. Points I and 2 are connected to thedouble-hole tracker bar. High-pressure suction H is supplied tothe pouch chambers of valves VI, V2 and V4, which each haveconventional pouch bleeds. The output of V4 is the guardsuction supply to the pouch chamber of valve V2 in Figure I.Just as in the case of electronics schematics, the physicalrealization of the circuit shown in Figure 7 may look quitedifferent from the diagram. For example, valve V4 has to supplyguard suction to all of the 83 note punching units and musttherefore be large enough to handle this volume of flow.

227

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News From The Chapters

Boston Chapter Spring Meeting, June 4, 2000

The meeting was held at Ed and Althea Patt’s home.Attending were: Ken and Helen Volk, Chris and GingerChristiansen, Joe and Pat Lavacchia, Norman Daly, Ed andJean Everett, Karl Ellison, Robert Tempest, Sanford Lib-man, Jack Breen, John and Joan Sullivan, Bill Koenigsberg.

Prior to the meeting, our host, Ed Patt gave a tour of hisextensive collection of clocks, musical boxes, and Weber playerpiano. There was also a tour of his new home graced with 9’ceilings to accommodate his many grandfather clocks. Eachhour was purely musi-cal.

Ken Volk beganthe meeting addressingthe issue of paid mem-bership. It was sug-gested that the mem-bership expiration datebe put in the corner ofthe mailing labels as areminder of when dueswere due.

Old Business - theminutes were read andone correction wasmade. The summermeeting will be hostedby Charlie Randazzoand Barbara MacFallin Middleton, MA.

New Business: Ken asked for movies, etc. to be put in avideo to use as publicity for AMICA.

Joe Lavacchia announced that he saw member’s Carlton andNancy Lutts on PBS playing at one of their gigs in Dover, NH. Acall for items wanted: Jack Breen is looking for Thoren’s 4 1/2”discs, Sandy Libman wants a fully restored Nickelodeon, andBill Koenigsberg is looking for Ampico B rolls.

The meeting was adjourned at 4:25

Ken Volk then shows slides of his trip to the U.K. of asteam-powered convention.

BOSTON CHAPTERGinger Christiansen, Secretary

Paraphrased/edited by Karl Ellison

229

This has been a busy time for the Southern CaliforniaChapter, with an organ rally in Old Town Temucula on May 6thand 7th starting off a string of events.

Old Town has been particularly appreciative of our instru-ments and music, and it looks as though this will be an annualevent. It’s a really neat place for us, with the old west atmos-phere, and antique shops galore.

We played to good crowds Saturday, and then found thatSunday we were sharing the town with an antique car show.There were really beautiful old cars everywhere in the smalltown, and their owners were as interested in our music andinstruments as we were in their cars. There was a lot of infor-mation being traded, that’s for sure. Neither group was awarethe other would be there.

Added to that, there was a motorcycle group having a roadtrip, and they managed to at least honk and wave as they drovethrough. Some of them stopped to enjoy the sights.

As I said, the town is small (Old Town, that is), just a fewblocks long, and we had organs everywhere. Music filled thestreets and, we hope, the minds of those who were able to hearus. (That is, of course, pretty much everyone in Town, andsome outside of town.)

It got warm, but we managed to keep cool, although someof us got a little sunburned. One of the hazards of our “profes-sion” I guess.

After that, we had a couple of weeks to relax and get readyfor the next event, which was a great one. May 27th saw ustraveling to San Diego to open houses at the wonderful homesof Leland Fletcher and Ron Wolf.

These are uniquehomes, with Lelandbeing a palm treeaficionado . . .he hasover 100 palm treesin his yard. Hisbackyard has awaterfall comingdown through thehill and into a pond.It is just wonderful,and then we pro-ceeded inside andLeland took us on atour of his home andmusical box collec-tion.

Leland only startedcollecting musicalboxes about four

years ago, althoughhe had been into

clocks and other items, and he has really put together a mar-velous collection. Many of his boxes are rare, and almost allare unique. He also has clocks, phonographs, and the variouslittle gems that most of us seem to acquire along the way. Itwas a real treat to visit with him, and everyone certainlyenjoyed his collection. He gave us a super tour.

SOUTHERN CALIFORNIA CHAPTERReporter: Shirley Nix

President: James Westcott

Leland Fletcher, one of the Open House hosts.

Leland Fletcher’s lovely back yard.

230

Ed Walker playing the George Wright Theater Organ.

Charlie Porter and Dave and Diane Reidy.

Jackie Porter, Caroyl and Jim Westcott and Audrey Maxwellenjoy their meal.

Mike Ames, ourhost, demonstratesthe Imhog-Mukel,while Bruce Piershines a little lighton the subject.

From Leland’s home, we ventured on to see Ron Wolf, andagain, the home is really wonderful, with views from nearlyevery window of the canyon which borders his property. It isthe kind of place that says “come in, sit down, relax, andenjoy.” When you move out in the back yard, there is a pond,and a fantastic grotto, or cave, with bougainville flowering overthe top. Gracing all this is a huge bronze giraffe. In fact, thereare bronzes everywhere . . . lots of monkeys, for example. Thewhole place just begs to entertain . . . and we were there toaccommodate that urge.

Inside the home, there are more treasures, of course.

Starting out in the living room there is a George WrightTheater Allen Organ, which Ron played for us. When he gotthrough, his friend, Ed Walker played us a short concert. Theywere both excellent, and sitting there enjoying both the musicand the wonderful view was enough to make one want to justmove in, but then Ron took us upstairs to see more toys.

The first instrument he played here was the VerbeeckDutch Organ, always a favorite, and the one he brings to all ourorgan rallies. It’s a fine, fine organ, with super arrangementson the music. To make the ambience complete, Ron dons hishat, complete with long hair, which changes his appearancecompletely. (In fact, the first time he wore the hat to an organrally, I saw him from across the park and started over to chasethe “hippy” away from Ron’s instrument. Luckily, as I gotclose I realized it was just Ron, so I didn’t holler at him, savingmyself at least a little embarrassment.)

When the Verbeeck was done, we moved over to the See-burg K - a really fun machine. From there to the Arburo danceorgan, which really made us all feel like dancing. It really getsyour toes tapping! Then over to the Wurlitzer 153 band organ,which is loud and wonderful.

These instruments each have their own particular soundsand charm, and as in most collections, it would be hard to pickout a favorite. As collectors, we love them all. Ron has pur-chased a Bursen’s dance organ, but it didn’t arrive in time forus, since it is being restored. Frank and I told Ron that we wantto know when it comes in, because we are inviting ourselvesback.

From Ron’s home we traveled to the Trinity Church for anorgan concert on the Wurlitzer Organ there. Chris Gorsuchplayed for us, and he made that organ sing.Ron Wolf - caught off balance ? by his Arburo Dance Organ.

231

a very large antique car show at the Lutheran University inThousand Oaks. This event brings in about 4,000 people, andwe have been asked to participate with our organs. It shouldbe a lot of fun, and all the “fathers” will spend time with their“children” (organs), enjoying themselves and entertaining all4,000 people at the same time.

As the meeting came to an end, Mike showed how he isputting a double violin on midi to split the violins, making itlike first and second violin plus piano. Since he didn’t have adouble violano, he made do with two singles. The result isquite pleasant, and is sure to be a hit with the owners of thedouble violanos.

Another interesting use of instruments came next, withthe Aeolian Organ, Mills Violano and the Mason and HamlinPiano playing in concert the Brandenberg Concerto firstmovement, #5 in D, composed by J.S. Bach, and arranged byDave Wasson. This is an incredible merging of the instru-ments, and held the audience in rapt attention.

Of course, no visit to the Ames collection is completewithout a concert by the Mortier Dance Organ, and this wasno exception. This organ is so beautiful to look at that it’shard to believe it could be even better to listen to, but that’sthe case.

A finishing concert was on the Aeolian Residence Organ,another impressive instrument. Let’s face it, Mike andMarilyn have nothing but impressive instruments, all infantastic restored condition. I overheard several people saythat seeing all this made them think of going home and

The organ was acquired from the defunct Arden Pizza andPipes Pizza Parlor in Sacramento, rebuilt and enlarged to itspresent capability and installed in the church. How manychurches do you know of which have a theater organ to use forits’ purposes? The organ has a long history, and it was areplacement for the former organ, which was burned by anarsonist at the church after having been fully restored, a sever-al-year project. This organ, too, was in terrible shape and hadto be completely restored, with Jackie Porter acting as gener-al, directing the restoration.

Chris Gorsuch was a student of Lyn Larsen, and is a realentertainer. He kept us all involved in his program, whichranged from a “tour” of the organ, playing all the differentinstruments and pipes to show us what the organ had to workwith, to a set of great music from The Mickey Mouse ClubSong as it might have been done by four famous composers toBroadway songs to Classical.

It was a super program, and was followed by dinner. Thenwe went to our Hotel rooms to wait the start of another day.

Sunday we all trekked over to Solana Beach to the Collec-tion of Mike and Marilyn Ames. Marilyn had put out coffeeand donuts for us, and Mike played the nickelodeons andinstruments for a while. Then he operated his 3000 cubic inchUnion Tool Gas Engine. After that he operated theWhimshurst, Van de Graff, and Tesla Coil. I didn’t get in there,but those who did all seemed to come out of what seemed to bea mad scientists laboratory saying “WOW,” or something inthat vein, with their hair standing on end!!!!

Jody Kravitz was there to discuss template roll and bookcreations. Dave Wasson showed the art of midi scanning, andLarry Broadmore was there to demonstrate his PowerRollunit.

Dave Wasson also did a demonstration of roll perforating,which held the attention of all of us.

We broke for lunch, then came back to hear more instru-ments, and Mike showed off his Imhof and Mukle BarrelOrgan, which is a lovely machine. He played it first from a rolland then from midi system. This is a really stately instrument,playing wonderful, rich music.

The fun stuff had to wait for a short while as the businessmeetings were held. Since this was a joint AMICA/MBSImeeting, both groups had their meeting, one after the other.Our President, Jim Westcott, thanked Mike and Marilyn, andJackie Porter, who arranged the whole weekend, and all thosewho held open houses or helped with the planning. A specialthanks goes to those who helped at the Ames Collection.

We all learned of the very severe illness of Harvey Roehl,and out thoughts and prayers go to Harvey and Marion. Har-vey has been a mainstay of this hobby for so long, and such agood friend, that it was indeed sad to learn that he is so ill.

Another suffering also from severe illness is our friend EdRichmond. Ed and Dodie have been coming to all the organrallies, and their smiles and happy faces are much missed. Wewish them both the best.

The upcoming organ rallies were discussed, particularlythe Father’s Day rally, which is being held in conjunction with

Ervin Canada, Dave Wasson, Royal Akin, and Charlie Porterenjoying the music.

Frank Nix, Susie Coade, Thomas Jansen from Germany, andBob Brown, currently from Florida.

232

HEART OF AMERICA CHAPTERReporter: Joyce Brite

President: Ron Bopp - (918) 786-4988

Katie Hellstein admiressome of the antique fans atthe American Museum ofFan Collectors

One wall of fans at the museum.

Jody Kravitz ready to give his demonstration.

Chris Gorsuchthe organist. Idon’t think he isexactlycamera-shy.

trashing their collection and starting all over. This is said, ofcourse, with tongue firmly in cheek, since how many among uscould even begin to amass the collection Mike and Marilynhave. They have spent years ( and a few dollars, too) collectingand restoring, and they are always refining the collection. Thefortunate thing is that they are so willing to share with the restof us.

As the lights began to blink, reminding us that time hadindeed flown by and it was time to go, we regretfully began todrift out to start the journey home, but with the thought firmlyentrenched in our minds that we are so lucky to be in thishobby, and doubly lucky to have people like Leland, Ron, andMike and Marilyn so hospitable to us, opening their homes andsharing their collections. Of course, they probably are glad tohave us, since how many people outside the hobby can possiblyunderstand?

The spring meeting of the Heart of America chapter washeld March 18 and 19 in Wichita, Kansas on a cool and drizzlyweekend. Chapter members met at the home of hosts Dan andWilla Daniels for a pizza luncheon before embarking on theirtour around Wichita.

The first stop was at the Museum of American Fan Collec-tors in Andover where we were met by Mike Coup who alsoserved as tour guide for a number of the weekend’s activities.The museum contains many fascinating examples of antiqueelectric and unique fans. It is an interesting display for thosewho enjoy old technology or wish to recall memories of every-day household items from years ago. Mr. Coup demonstratedseveral of the fans including “The Standard,” a 1908 feathervane fan made by Robbins and Myers Company.

The next stop was Player Piano Company where memberswere given a tour by Durrell Armstrong. After demonstratingsome nickelodeons, Durrell led us to the old reliable service ele-vator which took us to the second floor. The entire floor wasfilled with many racks of parts, hardware and other supplies forpianos and nickelodeons. We then ascended to third floor

233

where the work areas are located. There were several projectsin progress as evidenced by the hammer assemblies neatly laidout on work tables and the spool frames under construction.Both floors held many uncommon mechanical music machinesfrom Durrell’s collection, including several rare instruments.

After Player Piano Company, the next stop was atLawrence Smith’s collection of antique and classic cars. Mr.Smith has a very impressive assemblage of automobiles andmembers marveled at the Packards, Bentleys, Rolls Royces andother classic cars. Two vehicles that were particular favoriteswere the 1911 Fiat Tipo 6 with its snake-shaped horn, and arare 1930 Isotta Fraschini.

The evening concluded at Wichita’s Century II ExhibitionHall with a showing of the 1926 German silent movie classic,“Metropolis.” The movie was accompanied by Jeff Weilerplaying the Wurlitzer theatre organ which was formerly at theParamount Theatre in New York. Mr. Weiler successfullyrecreated the ambience of a 1920’s movie house in demonstrat-ing his mastery of the Wurlitzer with music which blended withthe story line and mood.

Is this a fanor ahelicopter?

Mike Coup demonstrates a 1908 Robbins & Myers feather vanefan while Ron Connors and Dan Daniels watch.

Work area at Player Piano Company.

MillsExpressionPiano

Durrel Armstrong with some nickelodeons.

Art Nouveau style fan

Spool framesunderconstruction.

234

The next morning, chapter members met once again at theDaniels’ residence for breakfast. At the business meeting,reports were given by members and plans for future meetingswere discussed. Afterwards, members headed once again forCentury II where we were met by Mike Coup. Members weregiven a special tour of the organ chambers of the Wurlitzer wehad heard the night before. The public rarely gets the opportuni-ty to see the organ chambers so this was an exceptional treat forus.

For the final tour of the weekend, members went to theLittle River Studio at Mr. Coup’s home to view another impres-sive organ which had once been used at a local Wichita theatre.

It was a whirlwind weekend with a varied agenda of won-derful tours and experiences. Thanks to Dan and Willa Danielsfor hosting the meeting, and special thanks to Mike Coup andLawrence Smith for the tours.

1911 Fiat Tipo 6with snake-shapedhorn

Inside the organ chamberof the New YorkParamountWichita Wurlitzer

Console of the Wurlitzer theatre organ.

Mike Coupwith the Wurl-itzer theatreorgan console.Note the rungsin the back-ground that wehad to climb toreach theorganchamber.

Craig Brougherand

Durrell Armstrong

Inside the organchamber - or is this a setfrom Metropolis?

1930Isotta Fraschini -very rare

Row of Rolls Royces.

235

Theatre program from“Metropolis” showingthe famous robot.

The Polans had an artist paint this mural on one of their walls.It depicts Coney Island as it might have appeared back in its“hayday.”

On Friday, May 19th, the Heart of America chapter headedto MIDWAY USA, Kinsley, Kansas, home of the CarnivalHeritage Foundation. The Foundation owns the Heyn DoubleDecker Carousel that once resided in Tivoli Gardens,Copenhagen, and is currently undergoing restoration.

After setting up our organs for the Saturday rally, we metat the Carousel Café for a delicious barbecue dinner. After din-ner we headed to the Jerry Weaver Studio to view his NativeAmerican Drum collection of completed and in progressdrums. Jerry is the Nation’s top artist in creating drums forNative Americans and his drums are in galleries and museumsthroughout the United States. He and Joan design and makethese drums out of cottonwood logs. We had a great time look-ing and learning to play his drums and hearing the interestingstories involved with each one.

Bright and early the next morning the Organ Rally began.Ron and Mary Ellen Connor played their Artizan, Style D.Galen & Linda Bird brought the Perlee owned by Blaine andArmeda Thomas. Cynthia Craig and Gary Craig bothplayed their Stuber Organs. Dan & Willa Daniels broughttheir Limonaire and Seeburg L. Tom & Carol Griffith wereseen around town playing their Raffin. Dale Haller broughthis Haufbauer and Tom McAuley wandered the streets playinghis Pell. Leonard & Billie Railsback brought their Stinson.Charles Tyler set up his display of phonographs and alsoplayed his OGM organ. Yousuf and Mary Wilson brought thestreet organ he had just completed called Wilson’s AmericanPeacock.

Following the organ rally we visited the workshop ofBruce White. Bruce showed us how he carves carousel ani-mals and then makes the molds to reproduce them and howthey are painted. He has carved animals for carousels all overthe world and also has made about 1800 carousel houses forthe Applebee’s Restaurant chain.

We were then in for a real treat when we drove to PrairieOaks, a restored farm home outside of Kinsley that serves

group dinners. The food was fabulous and we were enjoying anice meal on the wrap around verandah when a big storm blewin so we headed inside to finish our meal. At our meeting laterin the evening we learned the history of the place and its 16thcentury living room.

Many thanks go to Tom and Carol Griffith for planningsuch a fun weekend. Carol makes porcelain miniature dolls anddonated her latest creation for a drawing at the close of theevening.

Our next meeting will be an organ rally, September 1-3 inMt. Pleasant, Iowa at the Great American Steam Engine Show.

LADY LIBERTY CHAPTERReporter: Bill Maguire

President: Keith Bigger - (718) 528-9443

Our May 7th meeting took place at the home of Dianne andMarvin Polan, Melville, Long Island, New York. The Polansare indispensable members of our chapter. We rely quite heavi-ly on their wisdom and they have always opened their homeand collection to us.

236

Marvin Polan explaining some of the great features of hisMason and Hamlin Ampico B grand equipped with a “PowerRoll.” Marvin is clearly in his element, giving the tour anddemonstrating the collection. He knows the history, the musicand a lot about the technical. There was a tour of Marvin’sworkshop, which unfortunately, I missed.

Gloria Lauterbach came all the way from Connecticut and isvery glad she did.

Joe and Linda Hutter posing next to an original Coney IslandCarousel horse the Polan’s had restored.

Representing the younger Hutters in attendance are Carolynand Eric. The monkey goes along with the Hofbaur StreetOrgan. The organ is German made, ten years old and playsfrom memory cartridges.

Dianne shows off some of their great musical novelties. A bigthanks to Dianne, Kay Kehoe and others who worked hard inthe kitchen.

Everyone gathers around for a song.

237

More than 40 members attended the March 25th Chaptermeeting hosted by Halie and Carl Dodrill at their home inMercer Island, Washington. Their collection continues to growand now includes a 1927 Aeolian Duo-Art pipe organ (threeadditional ranks of pipes were recently added to bring the totalto 12), Aeolian Orchestrelles models V and W (this one wasoriginally used in the Aeolian Hall in Portland, Oregon), and a1912 Steinway 65/88 Themodist-Metrostyle grand, model 0.The new ranks of pipes for the organ have been installed in andaround the living room, giving listeners the impression of beinginside the organ as it plays. The roll “The Storm” was mosteffective in demonstrating the organ.

Jim Heyworth shared a video of a television programwhich featured our late chapter member Dave Zeffert showinghis collection. The usual potluck dinner was a success asalways and a number of members shared plans to attend theconvention in Sacramento in June. Our next chapter meetingwill be at the Kent Museum (WA) on July 22nd, hosted byMary Lou and Jack Becvar.

PACIFIC CAN-AM CHAPTERReporter: Dan Brown

President: Mark Smithberg 206-763-9468

1927 Aeolian Duo-Art two manual/12 rank pipe organ console.

Recent installation of the 16 foot Violone rank of pipes on theliving room ceiling.Carl Dodrill far left, Wes Spore 3rd from left.

Gary Lacher and Larry Slosson listen to a concert by PhilCollier at the 1912 Steinway.

Hosts Halie and Carl Dodrill at the Aeolian Duo-Art organconsole.

Walter Kehoe just “kicking back” on this nice sunny day with a“cold one” (Coke that is) and taking it all in.

LYON & HEALY, CHICAGO M79

Fitted with two pull chain sockets

Piano FloorFull Size

Eight feet 01 silk cord and plug

LaInpsI _

V

238

Junior Size

No. M88-98

N.o. M98-24-inch Silk Shade, lined with Ameri~can Beauty Sateen. trimmed with tinsel band.4-!nch Chenille $20 63fnnge............ ..••......•.... •

No. M80-90

No. M8(}-Mahogany Base, 3~inch

~ri:hed $12.50No. M9(}-24-inch Tudor Silk Shade.Cretonne Border, $1438Chenille fringe. . • • . . • . . . . •

Junior Size

No. M89-99

~~dM~.o~~:~~.e.~.~:.$31.25No. M99-24-inch Silk Shade. lined with silk. trimmed with ruching lIilk apron.

~t:; ~~.a~~?~ $25.25

239

ADVERTISING GENERAL INFORMATION ABOUT

ALL ADVERTISING IN THE AMICA BULLETINAll advertising should be directed to:

Robin Pratt630 East Monroe StreetSandusky, Ohio 44870-3708Phone (419) 626-1903 e-mail: [email protected]

Ad copy must contain text directly related to the product/servicebeing offered. Extraneous text will be deleted at the Publisher’sdiscretion. All advertising must be accompanied by payment inU.S. funds. No telephone ads or written ads without payment willbe accepted. This policy was established by a unanimous vote ofthe AMICA Board at the 1991 Board Meeting and reaffirmed atthe 1992 meeting. AMICA reserves the right to edit or toreject any ad deemed inappropriate or not in keeping withAMICA’s objectives.

The BULLETIN accepts advertising without endorsement,implied or otherwise, of the products or services being offered.Publication of business advertising in no way implies AMICA’sendorsement of any commercial operation.

AMICA PUBLICATIONS RESERVES THE RIGHT TOACCEPT, REJECT, OR EDIT ANY AND ALL SUBMIT-TED ARTICLES AND ADVERTISING.

All items for publication must be submitted directly to thePublisher for consideration.

CLASSIFIED ADVERTISING: $.20 per word, $5.00 minimumfor AMICA members. Non-members may advertise double themember rates ($10.00 minimum). Because of the low cost ofadvertising, we are unable to provide proof copies or “tear sheets”.

DISPLAY ADVERTISINGFull Page — 71/2 " x 10" . . . . . . . . . . . . . . . . . . $150.00Half Page — 71/2 " x 43/4" . . . . . . . . . . . . . . . . $ 80.00Quarter Page —35/8 " x 43/4" . . . . . . . . . . . . . . $ 45.00Business Card — 31/2 " x 2" . . . . . . . . . . . . . . . $ 30.00

Non-member rates are double for all advertising. Special 6 for 5 Ad Offer - Place any ad, with no changes, for afull year (6 issues), and pay for only 5 issues. Payable in advance.Photographs or halftones $15.00 eachLoose Sheet or Insert Advertising: InquireWe recommend that display advertisers supply camera-readycopy. Copy that is oversized or undersized will be changed tocorrect size at your cost. We can prepare advertisements fromyour suggested layout at cost.PAYMENT: U.S. funds must accompany ad order. Make checkpayable to AMICA INTERNATIONAL. Typesetting and layout size alterations charges will be billed.DEADLINES: Submissions must be received no later than thefirst of the odd months (January, March, May, July, September,November). The Bulletin will be mailed the first week of theeven months.

(Rev. 6-98)

FFOORR SSAALLEE

Visit the Player Piano and Mechanical Music Exchange, a popular Internet site for advertising mechanical music machines forsale. In continuous operation since 1997. Find us at:http://mmd.foxtail.com/Exchange/ (4-00-G)1915 AEOLIAN Weber Duo-Art upright reproducing piano, serial#71633, mahogany, restored and in perfect condition, $10,000.William Jindra Jr., Raleigh, NC, 919-269-4808. (5-00)350 DUO-ART player piano rolls with mahogany roll cabinet, rollsin excellent condition and cabinet like new, $3,000. William JindraJr., Raleigh, NC, 919-269-4808. (5-00)CHICAGO COTTAGE ORGAN CO. reed pump organ, $800.William Jindra Jr., Raleigh, NC, 919-269-4808. (5-00)DUO-ART Mechanism for Steinway Duo-Art model XR or OR 88note temponamic style, $2500; early 1921 AMPICO A mechanismfor 5’4” Chickering grand, $1200; MASON & HAMLIN AmpicoB stack, $1000. Mel Septon, (847) 679-3455. (4-00)88-NOTE PIANO ROLLS, hundreds of used rolls, Fox Trots,Waltzes, Marches, Hymns, Song Ballads, Classicals - $3.00 eachplus shipping. Nice clean playable rolls. Also new old stockQ.R.S. ROLLS $5.00 each. Will furnish lists on request. DaveCaldwell,400 Lincoln Lake Rd. NE, Lowell, Michigan 49331;phone (616) 897-5609 (6-00)AMPICO B Grand Piano, SN 40323. Original finish and ivories.Included are 130 “A” rolls, 21 “B” jumbo rolls, and 30 “B” rolls. If interested, make offer. Fred Fisher,1056 Woodruff Plantation Parkway, Marietta, GA 30067. E-mail: [email protected], Fax 770-612-1817, phone 770-612-1816. (6-00)TWO PLAYER 88-note upright pianos; cases in great condition,players play poorly, need restoration, $390. Fischer Ampico GrandPiano, case in excellent condition, player is in original condition,$2750; also an Aeolian player console, 64 notes, $790, in greatworking condition. Many 88-note piano rolls, $2.50 each. Sendfor list. Phone 212-690-9999. (4-00)STEINWAY XR-plate 1920’s, antique deco, oak organ w/mirrors,Hardman rebuilt 1960’s player console. Sell or trade for standardpiano. Jay Mart Wholesale, “The Piano Store for Piano Stores”,800-411-2363; 216-382-7600. (4-00)FISCHER Grand Reproducer, bench, rolls, some work necessary,$2500 negotiable. Help with shipping. Or trade for white babygrand. Mankoff, 631-321-5857 NY (4-00)1904 GEORGE STECK Metrostyle Themodist pianola piano.The serial number is 28548. This piano is in original conditionexcept that I had the player mechanism rebuilt about 10 years agoby a Mr. Geoff Procter. The wood has never been refinished and isa beautiful reddish brown mahogany or cherry wood. This piano isin excellent condition. Darlene J. Johnson, 3839 Hamilton Way,Redwood City, CA 94062; 650-367-0846. (4-00)1926 KNABE 6’4” Ampico , mahogany w/matching bench, 30rolls, restoration supplies, valves, etc. for Ampico, a find soundingpiano otherwise, $4975 U.S. funds. Harold Braker, 8527 111Street, Delta BC Canada V4C 7E3; 604-572-6110. (4-00)NEW PIANO ROLL BOXES - Large and Small available. Smallboxes (2 x 2) are covered with White Litho (bottom), and eitherBlack Leather or Brown Leather paper (top). Large boxes (3 x 3)are covered with Black Leather paper (bottom), and Black Alligatorpaper (top). Prices are: $1.20 each (small), $2.50 each (large), plusshipping. A 20% discount will be given for orders over $100.Many other repair supplies available (leaders, tabs, tubes, flanges,repair tape). New QRS Rolls 20% off catalog price on orders over$100, 5% on orders less than $100. Refurbished 88-note rolls (newleader, tab, labels and box), $6.00 each. Hundreds of used rollsstarting at $3.00 each (guaranteed playable). California Player RollCo., www.calroll.com, (760) 244-ROLL (7655) (4-00)

“When an old person dies,it is like a

library burning down.”

240

1906 ELLINGTON Upright Victorian style non-player. Exquisitewhite/black design, new pin block, restrung, action rebuilt, highestquality show piece. Photo sent on request, $6000.Call 336-547-9486 Greensboro, NC (4-00-G)

WWAANNTTEEDDWURLITZER violin-flute pianino. Jon Tench, 203-790-6239(CT) before 11 p.m. E.S.T. (4-00)ARTRIO-ANGELUS reproducing rolls and catalogs wanted.David Krall, 4218 Torrence Ave., Hammond, IN 46327, 219-932-2322. (1-01)We buy all types of standard pianos - “concert grand to miniaturegrand” - we sell wholesale to the trade. We exchange pianos forwhat you are looking for! Jay Mart Wholesale, “The Piano Storefor Piano Stores”, 800-411-2363; 216-382-7600. (4-01)Music Deck Base for Steinway Duo-Art (OR) grand piano. Pres-sure reservoir for Seeburg MO Mortuary organ. G Roll (BohemianG-287). Baxter, 1133 South Clinton Ave., Rochester, NY 14620;716-473-5322. (4-00)Wanted: Wurlitzer 65 with tracker bar and APP rolls. BookAutomata Golden Age 1848-1904 by Christian Bailly. Bob Fine,4064 Conejo Drive, San Bernandino, CA 92404; 909-886-3033.(4-00-G)Estey Residence Pipe organ music rolls. Looking for 32 notegrand roller organ cobs. John A. Kadlec, P.O. Box 10544, Spring-field, MO 65808; 417-738-2161. (4-00-G)Roll wanted: Duo-Art 19555 - “I’m Goin’ South” song roll, JohnWerth, 503 Shinnecock Ct., New Bern, NC 28562; 252-636-5541;[email protected] (4-00-G)Song rolls from the “When We Were Very Young” series. Pleasephone John Phillips on INT + 61 3 6227 8324 or e-mail:[email protected] or write 29 Channel Highway, Taroona,Tasmania 7053, Australia. (4-00-G)

LINK style 2E replaced with a Seeberg “A” rollframe some timeago. This is a 44-note keyboardless machine with Mandolin railstill works and could make a great Seeberg KT (Buildup) $5,400ONO; NELSON/WIGGINS style 3A “A” roll player “Piano-O-Grand” piano with mandolin and xylophone folded type 22-bars,similar model in the Nelson/Wiggins ad on page 528 of the ency-clopedia, this one has a clear glass front, needs small amount ofwork, however still plays, $7,300 ONO; SEEBERG Model “E”with piano, banjo rail and 25 (rare) wood violin pipes, refinished(oak), restrung and player refurbished with original beveled clearglass front and decal, $13,800 ONO (The three items I just men-tioned came from the famed Knott’s Berry Farm Collection. We lefttheir original location tags and stamps inside stating they were theProperty of Knott’s Berry Farm); HUPFELD RONISH, the casewas refinished in ebony satin, the piano was restrung and re-ham-mered, the player is in original condition (needs to be restored)$1,700 ONO; 1992 RAGTIME Model 143 DG Home Calliope,43-Calliope pipes, 27-note glockenspiel, 1-castanet, 1-tambourine,1-triangle, 1-bass drum and timpani, 1-snare drum, 1-crash cymbal,handsomely carved oak with beveled glass doors plays “O” rolls,comes with 12, a $10,000 value for $8,600 ONO (By the wayyou’re probably wondering what ONO means - Or Near Offer).We also have AUTOMATON’S, RARE BIRD BOXES, BANDORGAN’S, MUSIC BOXES-CYLINDER and DISC TYPE.Nickelodeon’s and Reproducing Pianos. View our Website to seemore stuff!: www.playerpianos.com. We now have our Ampico,Duo-Art, Recordo and Welte Library in alphabetical order. InAmpico’s alone over 10,000 used rolls for sale, adding our 88 noteroll collection makes us the largest used player roll dealer in theworld - over 20,000 rolls total. If you are looking for a certain title,either call us or e-mail us your request - perhaps we have the titleyou’ve been looking for! Orange Coast Piano, 2658 South GrandAve., Santa Ana, CA 92705; phone Kim Bunker at 714-432-7426.Our e-mail address is [email protected]. (6-00)The Rudolph Wurlitzer Manufacturing Company Factory TourVHS video tape, $20 each. A rare little documentary from theearly 1920’s featuring a tour of the Wurlitzer Company inTonawanda, New York. See a Mighty Wurlitzer pipe organ beingbuilt. A musical score is provided by Ray Brubacher, popular eastcoast artist on the 2/10 Wurlitzer formerly in the Loew’s ColonialTheatre in Reading, Pennsylavnia. Approximately 30 minuteslong. Also available in PAL format for foreign countries (sameprice $20 each!) Add postage USA $3 per order; Canada and for-eign $7 for 1, 2 or 3 video tapes. Order from: The Organ Litera-ture Foundation, Henry Karl Baker, 45 Norfolk Road, Braintree,MA 02184-5915; phone 781-848-1388; Fax: 781-848-7655;E-mail: [email protected] News Item: The COMPLETE cat-alogue of organ books, classical and theatre recordings and videosis now available electronically. Send your request for CatalogueHH/e to our e-mail address: [email protected] (4-00-G)WURLITZER 125 Military Band organ, complete turn key busi-ness includes trailer, generator, 5 rolls, etc. Delivery possible fromIowa, $24,900. Robert Brandel, 2536 Queen Street, Dubuque, IA52001; 319-583-7537 or [email protected] (4-00-G)MILLS VIOLANO, newly restored, mahogany cabinet, beautifullyrefinished inside and out. Plenty of music, quality, appearance andsound. Frank Nix, 818-884-6849; [email protected] (4-00-G)KIMBALL Player Organ, 70’s model, re-tubed with black rubbertubing, has leather pouches, plays good, has bench.Call 517-741-5167 and leave message. (4-00-G)1928 SEEBURG Audiophone Jukebox - Seeburg’s first audiomodel (transition from coin-operated pianos). Unrestored, originalsetup instructions, tubing/wiring schematic. Baxter, 1133 SouthClinton Ave., Rochester, NY 14620; 716-473-5322. (4-00-G)Ten 78 rpms, classical; 346 45 rpms (26 EPs), all with sleeves, ingood condition. 45s collected 1950-61. Mostly top 40, rock’n’roll,some r & b, Dixieland, Elvis. Prefer to sell as package, $1000. Fora listing, e-mail Gloria J. Swanson at [email protected] or phone614-459-0720. (4-00-G)

LLeeaavvee tthhee HHuurrllyy BBuurrllyyJJooiinn tthhee HHuurrddiiee--GGuurrddiieess

Gateway Chapterinvites AMICAns to its

STREET ORGAN FESTIVALOctober 13-15, 2000

aatt TThhee MMiissssoouurrii BBoottaanniiccaall GGaarrddeennJoin us for our Fall 2000 organ event sponsored by Gate-

way Chapter and the world famous Missouri BotanicalGarden in St. Louis, Missouri. Established in 1859, theGarden is one of the world’s top three botanical gardens.

Come join Gateway Chapter AMICA for a mart,entertainment, garden tour, street organs, music, openhouses, good food and good company for this weekendevent. Come early or stay after to enjoy other fun thingsto do in St. Louis and at hotel rates of $51 single or doubleoccupancy.

Get registration information from event organizerCynthia Craig by calling (314) 771-1244,

emailing at [email protected] or writing for information:2941 Russell Boulevard, St. Louis, Missouri 63104.

BBeeaauuttiiffuull MMuussiicc iinn aa BBeeaauuttiiffuull GGaarrddeenn

241

WWrraassssee’’ss CCuussttoomm PPiiaannoo MMoovviinngg

Specializing in:Player Grands, Nickelodeons, and Orchestri-

onsAnywhere in Continental US and Canada

• • • • •25 years experience

Knowledgeable Rebuilder and CollectorWell-known • References Available

• • • • •Your instrument is wrapped, padded andsecured for transport in an insulated and

clean custom-built heavy-duty trailer.Professional and personal service.

JJoohhnn PP.. WWrraassssee660088--886622--11226688

ppiiaannoo..mmaann@@ttddss..nneett(4-00)

Visit the

AMICA Web page

at:

http://www.amica.org

(4-00)

Magic Melodies360 LAWLESS ROAD - JAMESTOWN, KY 42629

RReepprroodduucciinngg aanndd 8888 NNoottee RRoollllssPPrrooggrraamm RRoollllss CCoolllleeccttiibblleess

AUCTIONS AND FIXED PRICE SALES!ALL ROLLS IN PERFECT PLAYING CONDITION

WITH GOOD BOXES

For Periodic Lists Write or CallTel. 270-343-2061

Laura Shelby (4-00)

AMICABROCHURES

(Free)

and

BROCHURE HOLDERS($3.00 each Post Paid)

Order from:

ROBIN PRATT630 East Monroe Street

Sandusky, Ohio 44870-3708

Phone: 419-626-1903

e-mail: [email protected]

242

AMICA TechnicalitiesSince 1969, AMICA has been publishing into bound vol-umes, collections of technical articles written and con-tributed by its members for publication in The AMICABulletin. They may be purchased as follows:Vol 1 - 1969 to 1971 . . . . . . . . . . . . . . . . . . . . . . .$10.00Vol 2 - 1972 to 1974 . . . . . . . . . . . . . . . . . . . . . . . . .8.00Vol 3 - 1975 to 1977 . . . . . . . . . . . . . . . . . . . . . . . . .9.00Vol 4 - 1978 to 1980 . . . . . . . . . . . . . . . . . . . . . . . . .7.00Vol 5 - 1981 to 1988 . . . . . . . . . . . . . . . . . . . . . . . .20.00Vol 6 - 1989 to 1993 . . . . . . . . . . . . . . . . . . . . . . . .20.00

Postage PaidPlease note: Supplies of the earlier volumes may be

temporarily unavailable as stock is depleted. Overseas orders may take longer than domestic shipments.

AMICASTATIONERY

andENVELOPES

This is a reducedsample of

the small letterheadswhich can be purchased.

AMICA ITEMS FOR SALE

AMICA STATIONERY & ENVELOPESFor Quantities and Pricing contact:

Stuart GriggGrigg Graphic Services, Inc.20982 Bridge StreetSouthfield, MI 48034

Fax: (248) 356-5636e-mail: [email protected]

The AMICA Bulletin1971 through 1999 bound annuals

of the AMICA Bulletins$24.00 (U.S. Dollars) per year postage paid

Make checks payable to: AMICA International

Send Orders to: Stuart GriggGrigg Graphic Services, Inc.20982 Bridge StreetSouthfield, MI 48034Fax: (248) 356-5636e-mail: [email protected]

Get the Whole Story !In Stock Now Shipped Immediately !

The AMICA Bulletin remains the single source of complete information about the technical andsocial aspects of our hobby. No home library would be complete without a FULL SET of theAMICA Bulletins, bound into sets by year.

In addition, technical articles published in the bulletin have been extracted and published asinvaluable reference volumes. More than 30 years of knowledge, discovery and revelation can befound in the TECHNICALITIES, a complete set of which takes less than 30 inches of shelf space!

ORDER TODAY! In stock for immediate shipping via United Parcel Service or US Mail.

Attention Chapters!AMICA Brochure Holders

are now available for $3.00 each.

They are clear plastic with AMICA Logo imprinted

on a gold label.

Included will be as many AMICA New Member Info Brochures

as you wish at no charge.

Make checks payable to AMICA International.

Order from:Robin Pratt

AMICA Publications630 East Monroe Street

Sandusky, OH [email protected]

REPLACEMENT LEADERSThese 11 1/4" x 17" reprints. not trimmed and without tabs, are excellent replicas of the more popular types ofreproducing piano roll leaders. While intended for roll repairs, they may also be used for decorative purposes.To splice, overlay new leader on old roll, lay a straightedge on an angle, cut through both papers with a sharpknife, discard scrap, and butt-join with magic mending tape on top surface.

A. Brown on buff(For early red label boxes)

E. Green on ivory(Most common)

B. Black on ivory(Area for reusableartist photo)

AlVITlPITCO'R..~ C 0 'R.. <[) [ :l'( (j

F. Green on ivory(Favorite Fifty &Selected Roll Service)

C. Black on ivory(Most common)

G. WelteBrown on buff(Most common)

D. Black on ivory(Very late rolls by combinedAeolian!American)

Note: Early Welte'swith blue leaders maybe repaired with thisbrown leader. Many ofthese when reissuedhad brown leaders.

QuantityPlease make checks payable toAMICA INTERNATIONAL,And send to:

BRIAN K. MEEDER(. 90.4A West Victoria Street~aBarbara, CA93101-4745.-

e-mail address for orders:[email protected]

Checks or moneyorders from foreign countriesmust be drawnon U.S. bank.

Price: $ 1.00 eachMinimum Order: $10.00

Postage and Handling $ 5.50

Roll Order $ _

Total Amount (U.S. $) $ _

Style

A

B

C

oEF

GTotal Quantity _

243

Four great reasons to visitthe automated music show

and one good reason to stay home!,,--...

........:.-

f"""\

..r-

I (480)~'--

Richfield, Ohio. Sunday,September 24, 7am-3pm,Holiday Inn Richfield, justsouth of Old Exit II of theOhio Turnpike on Route 21,Brecksville Rd. Lodging, Holiday Inn Richfield, 330-6596151.

Claymont, DE. Sunday,October 1, 7am-3pm attheHoliday Inn Select, junction 195, 1-495 and Naamans Road.Lodging, Holiday Inn Select,302-792-2700 (ask for inhouse reservations)

1. Great selection. Browse tables from over 125 dealers at theDelaware sho~ over 80 dealers at the Ohio sho~ See everything in one place, at one time.2. It's buyer friendl~ Buy with the dealers! Doors open to ev

eryone, dealers and· buyers alike, 7am Sunda)T. No additional early buyers' fee.3. Great values. Aren't you tired ofridiculous auction prices, and of buying apig-in-a-poke?4. It's fun! Meet people with a commoninterest from all over the world. Our 15thyear!

Why stay home? Youcan participate in theOhio show live, in realtime, September 24, on

the world wide web. Visit our website,ww~intertique.com for details and to seehundreds of photographs of prior showswith e-mail links to dealers.

First uploads approximately 8:30amSunday, September 24, 2000

,'----

For further information contact Lynn Bilton; Box 536; Hartville OH 44632. (330) 325-7866

244

n-/' Madame Screacherina Topnote

Teacher of tl'1e OldestPossible Italian Method

1'ERl\fS: /I

DOLLARS IN ADVANCE, EVERYNO\V AND THEN.

Coup de (~'Iot-Ics extra.

Address, 13,009 Carnegie Hall,Bumbleton, Nevada.

REFERENCES: I-Ia rry Lauder, Bert Willia ms,~1arie Dressler. Dr. \Viley and J. P. Morg-a nand Ringling Brot hers.

rJ~EN

lYhIE. SCREACHERINA

TOPNOTE

Gradua tc of the Roya 1Conservatory of Peking

M ADAl\.IE TOPNO'TE'S Illethods are based uponthe indisputable pedagogical principle that all

other method.s are \vrong. Brea thing taught with or~'ithout a bicycle pump. I\1adameT'opnote guarantces to place your

I} voice where it will do the least. h~Hln. Assorted Registers. Grand--L ()pera taught in 23 languages.~ 1'his is the only. rncthod in which

t he head voice is "velded to thechest voice, Inaking the intercostalrcsonance su bsiJe b e for e thefrontal vibrations as "vell as lnaking the epiglottis on friendly tcnns\vith the Diaphragnl.

,./ \,r r

,I /

SymphonolaEnd View Top Action

(Patented)

Write for catalogue showing Symphonola player pianos, grand pianos, andupright pianos.

..~--- Tube to Tra(.k~T Bu '

_-- M~I;\] Action Brack.et

-Addre•• PRICE & TEEPLE PIANO CO., Chkago, U. S. A.- - }

guess the number of fleas upon this dog and get a grand piano …yv610wb0842/july... · 2015. 6....

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