AMICA Bulletin - Stacks are the Stanford
Transcription
AMICA Bulletin - Stacks are the Stanford
The AMICA Bulletin Automatic Musical Instrument Collectors’ Association www.amica.org Volume 48, Number 6 November/December 2011 This ad prepared with the help of Rosanna Harris, with thanks ISSN #1533-9726 T he AMICA B ulleTIn AUToMATIC MUSICAL INSTRUMENT CoLLECToRS' ASSoCIATIoN Published by the Automatic Musical Instrument Collectors’ Association, a 501(c)(3) non-profit, tax exempt group devoted to the restoration, distribution and enjoyment of musical instruments using perforated paper music rolls and perforated music books. AMICA was founded in San Francisco, California in 1963. VoLUME 48, Number 5 Visit the AMICA web site at: http://www.amica.org to enter the “Members-Only” portal, Current User Name: AMICA Current password: rewind (to end 2011) New password: treadle (from 1 Jan 2012) November/December 2011 AMICA BULLETIN FEATURES DEADLINES Ads and articles must be received on or before the 1st of these ODD months: AMICA in England 2011 . . . . . . by Shirley Nix . . . . . . . . 300 AMICA in Pittsburgh 2012 . . . . .by Tim Baxter . . . . . . . . 303 Nickel Notes . . . . . . . . . . . . . . . . by Matthew Jaro . . . . . . 304 Mechanical Music Today . . . . . . by Marc Sachnoff . . . . . 308 Visit to the Popper Showroom . . by Q. David Bowers . . . 330 Duo-Art Organ Concertola . . . . . by Paul Morris . . . . . . . 333 Tribute to Larry Givens . . . . . . . .by 3 Friends . . . . . . . . . 348 January March May Bulletins will ordinarily be mailed in the 1st week of the even months, for expected delivery mid-month. COLUMNS President’s Message. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Vice-President’s Message . . . . . . . . . . . . . . . . . . . . . . . . . . Editorial Observations . . . . . . . . . . . . . . . . . . . . . . . . . . . . Letters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 Years Young . . . . . . . . . . . . . . .by Alan Turner . . . . . . AMICAn in the Spotlight . . . . . . . . . . . . . . . . . . . . . . . . . . Web Sites of Interest . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sutter Creek Organ Rally . . . . . . . . . . . . . . . . . . . . . . . . . . Call for AMICA Award Nominations . . . . . . . . . . . . . . . . Chapter News . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2011 Annual Reports . . . . . . . . . . . . . . . . . . . . . . . . . . . . . AMICAn Making Music . . . . . . . . . . . . . . . . . . . . . . . . . . In Memoriam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ads . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 296 297 296 298 299 313 313 314 315 315 321 345 347 357 July September November Terry Smythe 55 Rowand Avenue Winnipeg, MB, Canada R3J2N6 204-832-3982 (email preferred) [email protected] MEMBERSHIP SERVICES Membership Dues: USA Bulk Mail . . . . . . . . $55.00 USA First Class . . . . . . . .$70.00 Overseas . . . . . . . . . . . . .$70.00 Canada-Mexico . . . . . . . .$65.00 Renewals – Additional $5.00 due if renewed past the Jan. 31 deadline Address changes and corrections Directory information updates Additional copies of Member Directory . . . $25.00 Single copies of back issues ($10.00 per issue – based upon availability) Front Cover: ETUDE Cover December 1947 Front Cover Border: Kroeger ad, Music Trade Review, December 1925 Inside Front Cover: Announcement of new book by Q. David Bowers Inside Back Cover: AMICA 2011 in England photos Outside Back Cover: QRS Display ad, Music Trade Review, ~1928 Lyle Merithew & Sandy Swirski 416 Colfax Drive San Jose, CA 95123-3403 408-227-9284 [email protected] To ensure timely delivery of your BULLETIN, please allow 6-weeks advance notice of address changes. AMICA Publications reserves the right to accept, reject, or edit any and all submitted articles and advertising. While the AMICA Bulletin offers accurate and historic information to its members, the bulletin, its publisher and the AMICA Board cannot be held responsible for contributions that may be considered by some as inaccurate, speculative, or of an OP/ED Format Entire contents © 2011 AMICA International Printed by Engler Printing Co., Fremont, OH • [email protected] 293 AMICA INTERNATIoNAL - International officers PRESIDENT Tim Baxter 939 Briarcliff Rd NE Atlanta, GA 30306-4664 404-377-1220 [email protected] PAST PRESIDENT John Motto-Ros 110 Allen Ranch Road Sutter Creek, CA 95685 209-267-9252 [email protected] EDIToR Terry Smythe 55 Rowand Avenue Winnipeg, MB, Canada R3J2N6 204-832-3982 [email protected] VICE-PRESIDENT Alan Turner 148 Kingsway Avenue Winnipeg, MB, Canada R3M 0H1 204-489-3075 [email protected] TREASURER Joe Orens 8917 Wooden Bridge Road Potomac, MD 20854-2448 301-340-6664 [email protected] SECRETARY Bob and Bonnie Gonzalez 26 Foremast Cove Corte Madera, CA 94925 415-924-6834 [email protected] MEMBERSHIP SECRETARY lyle Merithew & Sandy Swirsky 416 Colfax Drive San Jose, CA 95123-3403 408-227-9284 [email protected] - Committees AMICA ARCHIVES Tom hutchinson 15361 Hopper Road Sturgeon, MO 65284 573-442-6675 [email protected] CoNVENTIoN CooRDINAToR Frank nix 6030 Oakdale Avenue Woodland Hills, CA 91367 818-884-6849 [email protected] AMICA MEMoRIAL FUND Ray Dietz 1250 Lanier Road Martinsville, VA 24112-5212 276-638-8563 [email protected] AMICA Honor Roll Thomas & Donna Stengel 46 Court St. Lancaster NY 14086-2302 716-683-5309 [email protected] AUDIo-VISUAL & TECHNICAL harold Malakinian 2345 Porest Trail Drive Troy, MI 48098 248-528-3111 [email protected] WEBSITE MANAGER Karl ellison 6 Lions Lane Salem, MA 01970-1784 978-740-5680 [email protected] AMICA ENDoWMENT FUND Richard VanMetre 1506 South Courtland Avenue Park Ridge, IL 60068-5333 847-318-7310 [email protected] 294 AMICA Bulletin - Nov/Dec 2011 AMICA INTERNATIoNAL Chapter officers FoUNDING CHAPTER Pres: John Ulrich - 510-223-9587 [email protected] Vice Pres: Karen Simons Sec: Jack & Dianne Edwards Treas/Bd Rep: Lyle Merithew & Sandy Swirsky Reporter: Bob & Bonnie Gonzalez BoSToN AREA Pres: Phil Konop Vice-Pres: Bob Hunt - 207-985-2308 Sec: Kirk Russell Treas: Dorothy Bromage Reporter: Don Brown Board Rep: Bob Hunt - [email protected] CHICAGo AREA Pres: Jerry Biasella - 708-756-3307 Vice Pres: Richard Van Metre Sec: Carol Veome - 773-338-1042 [email protected] Treas: Joe Pekarek Reporter: Curt Clifford Board Rep: TBD HEART oF AMERICA Pres: Bob Stout - 816-833-1556 [email protected] Vice Pres: Dan Davis Sec: Trudy. Moffitt Treas: Brian Graham Reporter: HC and Marlene Beckman Board Rep: Gary Craig LADY LIBERTY Pres: John Dousmanis (646) 638-2201 Vice Pres: Vincent Morgan - 718-479-2562 [email protected] Sec: Bob Stuhmer Treas: Maryam Morgan Reporter: Martin "Buzz" Rosa Board Rep: Vincent and Maryam Morgan Newsletter Editor: Bill Maguire LAND oF DIXIE President: Walt Gerber - [email protected] Vice President: Robert Soule Treasurer: Tim Baxter Secretary: Danita Gerber Board Representative: Tim Baxter [email protected] MIDWEST (oH, MI, IN, KY) Pres: Don Johnson - 248-650-1840 [email protected] Vice Pres: Liz Barnhart Sec: Hilda Merchant Treas: Alvin Wulfekuhl Reporter: Christy Counterman Board Rep: Liz Barnhart NoRTHERN LIGHTS (MN, ND, SD, MB, Northernontario) Pres: Paul Watkins - 763-421-0672 [email protected] Vice Pres: Sec: Mark Kraabel Treas: Barbara Watkins Reporter: Jerrilynn Boehland Board Rep: Paul Watkins or Mark Kraabel PACIFIC CAN-AM Pres: David Goodwin - 360-403-1970 [email protected] Vice Pres: Mark Baratta Secretary: Larry Sanchez Treas: Mark Smithberg Reporter: TBD Bd. Rep: Dan Brown RoCKY MoUNTAIN Pres: Jere DeBacker - 303-570-6243 [email protected] Vice Pres: Ken Hodge Sec: Louise Lucero Treas: Barry Weiss Reporter: Larry Emmons Board Rep: Jere DeBacker SoWNY (Southern ontario,Western New York) Pres: Glenn Roat [email protected] Vice Pres: Bob and Kathy Singer Sec: Shirley Roat [email protected] Treas: Holly Walter [email protected] Reporter: Audrey Cannizzaro and Bill Lukasiak [email protected] Board Rep: Mike Walter Photographer: Bill Lukasiak SoUTHERN CALIFoRNIA Pres: Jerry Pell - [email protected] Vice Pres: Mike Choate Sect/Reporter: Shirley Nix [email protected] Treas: Diane Reidy Board Rep: Frank Nix TEXAS Pres: Rich Clayton - 972-369-0470 [email protected] Vice Pres: Michael Barisonek [email protected] Treasurer: Janet Tonnesen [email protected] Secretary: Suzanne McCall [email protected] Bulletin Reporter: Ken Long [email protected] Board Rep: John McCall j-mccall@sbcglobal .net Affiliated Societies and organizations American Theatre organ Society (AToS) President/CEO – Ken Double 5705 80th Street North St. Petersburg, Florida 33709 Phone: 281-798-6205 E-mail: [email protected] THEATRE ORGAN Co-Editors – Mike Bryant and Don Feely Editorial Office 3111 NE 165th Pl. Vancouver, WA 98682 Phone: 206-619-6645 E-Mail: [email protected] Associazione Italiana Musica Meccanica Villa Silvia - Via Lizzano, 1241 47023 Cesena (FC), Italy Phone: 0039-547-323425 Fax: 0039-547-661264 Email: [email protected] Website: www.ammi-italia.com Australian Collectors of Mechanical Musical Instruments Peter Phillips - Editor 26 Alice Street Padstow, NSW 221, Australia Phone: (612) 9773-4734 email: [email protected] Netherlands Pianola Association Nederlandse Pianola Vereniging Att. Jan van Hulzen, Member of the Board Chopinrode 25 2717 BH Zoetermeer, Netherlands email: [email protected] Carousel organ Association of America Editor/Publisher: Ron Bopp (918) 527-0589 4725 Montrose Dr., Bradenton, FL, 34210 [email protected] Friends of Scott Joplin 1217 St. Croix Ct. Kirkwood, MO 63122-2326 website: http//stlouis.missouri.org/fsjoplin Email: [email protected] International Piano Archives at Maryland Performing Arts Library,University of Maryland 2511 Clarice Smith Performing Arts Center College Park, MD 20742 Phone:301-405-9224 Fax: 301-314-7170 Email: [email protected] International Vintage Phono & Mechanical Music Society C.G. Nijsen, Secretaire General 19 Mackaylaan 5631 NM Eindhoven, Netherlands Musical Box Society of Great Britain Alison Biden St Giles Hilltop, Northbrook Close Winchester, Hants. SO23 0JR, UK email: [email protected] Musical Box Society International Rosanna Harris, Editor 5815 West 52nd Avenue Denver, CO 80212 Phone: 303-431-9033 Fax: 303-431-6978 Email: [email protected] AMICA Bulletin - Nov/Dec 2011 Netherlands Mechanical organ Society-KDV A. T. Meijer Wilgenstraat 24 NL-4462 VS Goes, Netherlands Northwest Player Piano Association Everson Whittle, Secretary 11 Smiths Road, Darcy Lever, Bolton BL3 2PP, Gt. Manchester, England Home Phone: 01204 529939 Business Phone: 01772 208003 Email: [email protected] Pianola Institute Clair Cavanagh, Secretary 43 Great Percy St., London WC1X 9RA England Player Piano Group Adam Ramet, Bulletin Editor 42 Park Road, Westcliff on Sea, Essex, UK Email: [email protected] Smithsonian Institution Division of Musical History Washington, D.C. 20560 Society For Self-Playing Musical Instruments Gesellschaft fur Selbstspielende Musikinstrumente (GSM) E.V. Ralf Smolne Emmastr. 56 D-45130 Essen, Germany Phone: **49-201-784927 Fax :**49-201-7266240 Email: [email protected] 295 President’s Message This issue will contain the first descriptions of our 2012 convention in Pittsburgh (see page 303). Your convention chairman (me!) is working hard to insure a fun and interesting experience. I know it is not possible for all of our members to attend the conventions, but I think it is one of the most important things we do as a group. Besides the necessity of convening to conduct AMICA’s business affairs, the ability to speak face to face with folks remains critical, even in our well-connected world. None of Skype, e-mail, or similar technologies can replace an in person, one-on-one interaction. Maybe there’s a technical issue you want to vet, and the gal who knows so much about it is just across the room. Perhaps you need to discuss local chapter issues. Or maybe you are just reveling in the great company of friends from years past or chatting up someone new. And if your world is like mine, there’s not a lot of people outside of AMICA with whom you can discuss reproducing piano repertoire, nickelodeons, Aeolian player organs, etc. For folks without a local chapter, the annual convention plays an even greater role in making these important and enjoyable connections. So I would say: try to get to the convention if you can. The convention hotel is itself a destination, situated alongside an historic train depot in downtown Pittsburgh, right on the banks of the Monongehala. We are opening the convention to our brothers and sisters in MBSI and COAA to increase vitality within the hobby and to insure a great turnout, all while giving us the chance to demonstrate our legendary AMICA hospitality. One final request: this convention is being staged without the assistance of a Pittsburgh-area chapter. If there is anyone within a few hours of Pittsburgh that would be willing to either help at the convention, and/or lend an instrument for the hospitality room, would you please contact me at your earliest convenience at the e-mail address below. We are looking for a pedal pumper, a Duo-Art or Welte-Mignon (we have an Ampico A), and, if possible, a nickelodeon or something else lively and interesting. All the best for the holidays and a Happy 2012, Tim Baxter [email protected] Editorial observations A stunning surprise was sprung on me on the occasion of my recent 80th birthday. While Eleanor and I were attending the AMICA Convention in the UK, our daughters Heather and Linda, quietly, discreetly contacted friends and family with an invite to a brunch/party. A number of AMICAns were also contacted who expressed kind regards, very much appreciated. Our Vice-President, Alan Turner, who happens to be a neighbor, attended and insisted that the next issue contain a brief report of that delightful event, attended by about 50 people. My sincere thanks and appreciation to those who were contacted and responded with best wishes, Made my day! This issue contains obligatory reports from our officers and committee chairs. Ordinarily, this issue would also contain our convention photos. With well over 2,000+ photos of this event, this issue could easily be several hundred pages deep. As a consequence, it will contain just a few, with the bulk appearing in the next issue, Jan-Feb 2012. Our Sep-Oct issue contained a fine article by Ray Fairfield, about the restoration of his Cremona nickelodeon. What made that article very special was his real-time documentation with before/after photos. That article represented a huge commitment and discipline, very much appreciated. An appeal to all is extended for similar articles, which really add to the richness of our journal, that which binds us together. For this issue, a number of members have contributed a variety of articles that, for the first time, leaves me in the position of actually having a couple for a future issue. Wonderful birthday present! Enjoy! Terry Smythe [email protected] 296 AMICA Bulletin - Nov/Dec 2011 Vice-President’s Message Greetings one and all! It is with great pleasure that I am able to say that this year's AMICA convention and tour in England was Ship-Shape and Bristol Fashion, a great success! First and foremost I must extend my personal and AMICA's thanks and appreciation to all those who participated in making this year's convention interesting and jam-packed with sights and activities. In particular, Liz Barnhart, Julian Dyer and Boz Oram who, among many others working behind the scenes, joined forces to bring this monumental task together while managing to keep all of us on time and loaded into the coaches with very few glitches and not losing one of us! A job very well done! Thank You All! Near the end of the first week of the tours and convention in England an impromptu meeting was held with the members of the board and committee members who were present. A number of topics were discussed, among which was our ongoing effort to maintain the current membership as well as brain-storming ideas to entice new members into AMICA. A number of ideas were brought forward which will be explored over the next few months and this upcoming year. One idea of particular merit (and one that I could act upon immediately) was the following: Many of our membership have videotaped their instruments and posted the recordings on YouTube. The suggestion was to use those YouTube Videos to advertise (this is free) AMICA and provide a link to the AMICA website for those people who are watching and following our videos to see what AMICA is about. It is our hope that some of these people visiting the AMICA website will be interested enough to become members of AMICA or at least to find out more about what our hobby is about. If you have videos posted in YouTube please consider adding something like the example I have provided below to your profile to generate new interest in AMICA. I posted the following in my YouTube Channel profile, which I hope will direct some people to check AMICA out online. My YouTube Channel is located at http://www.youtube.com/user/AlanWTurner If you enjoy the music that I have posted on my YouTube channel, which was all recorded and played back using technology from the 19-teens, twenties and thirties, you may consider checking out the Automatic Musical Instrument Collectors' Association (AMICA) at http://www.amica.org AMICA is an organization that has the following objectives: (a) To provide an organization for collectors of automated musical instruments, such as roll operated player pianos and pipe organs, orchestrions, nickelodeons etc. (b) To promote the acquisition and distribution of instruments, recordings, and technical and historical information concerning these instruments. (c) To encourage the preservation and restoration of automatic musical instruments to the highest possible standards. (d) To discourage the destruction and dismantling of restorable automatic musical instruments, or the irreversible modification of original instruments. (e) To acquaint collectors with services and repair opportunities. (f) To encourage and assist in the production, distribution, and preservation of recordings - both reissues and new performances. (g) To educate the public about the historical and cultural significance of automatic musical instruments. In addition, AMICA works to encourage interest in the hobby, to entice people to start collecting and/or appreciating these wonderful (and historic) instruments and ultimately to join the ranks of AMICA International as members, thus keeping this aspect of the world's musical history alive for future generations. AMICA is truly a world-wide organization with members in 17 countries around the globe. Our membership ranges from those with very modest collections to those with collections of museum quality pieces. During my time as a member of the organization (and only having a somewhat modest collection), I have been made to feel welcome at every member's home that I have had the honour to visit. I believe the music and this hobby transcend language, cultural and economic barriers! More information on AMICA can be found on our website at: http://www.amica.org Another avenue for promotion of AMICA (again free for the using) is to take advantage of Social Media services such as Face Book, Twitter, My Space and the like. Terry Smythe alluded to this in his Editorial Observations in the May/June 2011 edition of the bulletin. This is technology that AMICA as an organization that hopes to continue well into upcoming century and beyond should embrace and exploit to our benefit. Finally, I would like to draw your attention to the Call for Awards Nominations article which is printed at the beginning of the Chapter Reports section of this bulletin. It is that time of year again where I am appealing to the membership of AMICA for nominations for the Leo Ornstein Literary Award and the AMICA International Awards. Musically, Alan Turner Vice-President AMICA International AMICA Bulletin - Nov/Dec 2011 297 letters Subject: amica article - Cremona Restoration Date: Thu, 06 Oct 2011 12:09:52 -0700 From: Jstevens <[email protected]> To: [email protected] CC: [email protected] the body was moved or not. John Davis' e-mail address is Vincent HiRay--I wanted to thank you for the wonderful article you wrote about restoring your Cremona. It resonated everywhere with me as someone who also does this for fun, but tries very hard to do the best work possible. It is too bad that I did not read such a description some 30 years ago when I started learning the"hard way" about piano and organ restoration. In addition, the writing is delightful, and obviously carefullyconsidered--an outstanding contribution. Jack Stevens Subject: Blind Tom Date: Fri, 02 Sep 2011 07:24:22 -0400 From: Vincent Morgan <[email protected]> To: Terry Smythe <[email protected]> I hope you are enjoying your trip. From what I hear from Keith, you are. I was intrigued by the article in the current Bulletin about Blind Tom. His historian, John Davis, is a friend of mine who lives in Brooklyn. He is the person who brought the family together, and even brought the descendants of Tom's former slave owner family together. Then he provided an opportunity for the two families to meet each other and begin reconciliation. He is also the initiator and promoter of the Blind Tom festivals. To our knowledge only one of Tom's own compositions has ever been put on a piano roll, "The Battle of Manassas". It was recorded on my piano. I will find out if it is available online. There are only 2 known copies of that roll in existence that we know of and John owns both of them. He paid over $300 on e-Bay for the first one and I was able to get the second one through MMD for $30. He paid me $50 for it. John has produced a CD titled "John Davis Plays Blind Tom The Eighth Wonder". It is available on Amazon.com. In the front is a 12-page biography of Tom Wiggins. When Tom played The Battle of Manassas, he held a whistle in his mouth and had various other things that made various noises so that he could imitate the sounds of the battle that the piano couldn't produce. In this composition, you can hear the Southern soldiers advance as Dixie is played. Then there are drum rolls, cannons and more. The north retaliates with Yankee Doodle and more shouts, drums, guns, etc. Eventually, the South wins with a triumphant rendition of Dixie. It helps to familiarize oneself with the battle before listening in order to follow the music. Still, it is enjoyable and exciting even without the background. The same goes for George Gershwin's Rhapsody in Blue. Few people know that it is the train fro NY to Boston starting, running fast, then slowing down for a station, starting again, etc. All the while the tempo is the clickety-clack of the rail joints as the wheels run over them. It is not known if Tom actually recorded the piano roll, but we believe so. No one else was interested in playing his music until John Davis revived it. Still, today, he is the main source of Tom's music. Tom continued to work for his owners long after the Civil War and moved with the family to NJ for a long time and then eventually to Brooklyn, where he died and was buried. There is now also a grave in his home town. I don't remember if 298 [email protected] PS. I talked to Matt Jaro at the MBSI meetings and thanked him for his great articles in the Bulletin. He mentioned that he doesn't get much feedback, if any. We wanted to talk more, but were both busy. To: Boston Area Chapter Automatic Musical Instrument Collectors’ Association November 20, 2011 Greetings: Present, past and perspective members of the Boston area chapter of AMICA When I was a boy living in Terre Haute, Indiana during WW ll because my father was away in the service, I had a friend up the street whose family owned a player piano. I found the piano totally fascinating. It truly was the neatest thing I had ever seen. My mother who was a pianist and had hopes that I might also learn how to play was decidedly cool to my enthusiasm; pianos were to be played by the hands, not the feet. I never went very far with piano lessons but I never forgot that player piano. Years later when my wife needed a piano, I actually found a player piano that worked, but opted for a smaller lighter spinet because there were questions about the floor in the old farm house we rented being able to support the larger heavier player. Still I had some lingering regrets. It seems that the purchases that produce the most lingering regrets are the ones you don’t make. Later while working as an engineer at Draper Labs in Cambridge, MA I met Bill Koenigsberg, also an engineer. Bill was excited about a piano he was rebuilding, a Weber Duo-Art reproducing baby grand. I was really a setup for this one after all the years thinking about player pianos. I ended up buying Bill’s piano and started a hobby that has given me great pleasure ever since. One of the things that has greatly enhanced this hobby has been my AMICA membership both on the national level and on the chapter level. The national level with the AMICA Bulletin and the contacts and information it provides broadens the scope of knowledge about what people are doing and how things can be fixed if needed. Most people have more interest than stuff. The size of a collection or the mechanical abilities of the owner are not important compared to the appreciation that interest and knowledge can bring. On the chapter level all of this is made even more personal and relevant. Meeting friendly people in their homes with a common interest to share is what AMICA membership is all about. I certainly hope interested automatic musical instrument fanciers, if they are not members, give AMICA some consideration. I think they might like it. Past members, let me know what you think about AMICA, and present members, I hope we see you soon at a future meeting. Philip Konop, President Boston Area Chapter AMICA 978-456-8467 AMICA Bulletin - Nov/Dec 2011 80 Years Young TERRY SMYTHE – Editor of our AMICA Bulletin by Alan Turner international vice-president Terry Smythe celebrated his 80th birthday in grand style! over 50 of terry’s family and friends joined together on sunday, october 30th, 2011 to celebrate this wonderful occasion with a surprise brunch, held at the star Conservatory Restaurant in Winnipeg, Canada. Five local aMiCan’s were pleased to be among those in attendance. the company was delightful, the food delicious, and terry was overwhelmed by the outpouring of love and well wishes. terry’s daughters shared birthday messages sent from around the world, including many from his aMiCa friends and colleagues. a beautiful flowering plant was displayed with congratulations on behalf of aMiCa, and Tim Baxter, president of aMiCa international who sent the following message: “On behalf of myself and AMICA members everywhere, many happy returns on this great day! You’re more vital at your age than many at half your age! Thanks for all your hard work and keep at it; it will keep you young.” Congratulations terry on this milestone, and know that aLL your friends in aMiCa wish you many more healthy and happy birthdays to celebrate over the next few decades! Cheers, aMiCa Board of Directors AMICAns Alan Turner, Terry and Eleanor Smythe, Morley and Marlene Golden Terry’s daughters, Linda and Heather (authors of the surprise event), Ed Note: Within our unique slice of musical heritage, we have another octogenarian, who shared his 80th birthday one day after Terry. Bill Flynt, of Dallas, Texas, who has done much over the years for our special interest. He may be contacted at: Bill Flynt <[email protected]> 1-972-644-2493 AMICA Bulletin - Nov/Dec 2011 299 AMICA in england, 2011 by Shirley Nix This year the Convention was held in England, and what a trip it proved to be. Summer seemed to have forgotten England this year, with rain and cold weather more or less the norm, but the itinerary and the good company proved to be more than a match for that. Right at the start we need to thank Julian Dyer, who headed up the whole trip and found some really fantastic spots for us to visit. Of course, special thanks also to Liz Barnhart, who acted again as registrar, handled the money, and many of the headaches. Thanks also to Boz Oram and Linda Paskins, our tour guides who arranged the travel details for us. The hotels were great, as were the meals and buses. The trip started on Monday, when the buses picked us up and took us to Kew Gardens, where we were free to roam this huge area on our own. It’s a lovely place, and one of the highlights for me was the Queen Charlotte’s Cottage, which was built solely as a picnic spot-inside. All the lovely grounds available for them and the picnics were held upstairs in the cottage. This is acknowledged as one of the world’s foremost botanical gardens, with 55 acres, and a really impressive “treetop walk”. It seemed most of our hearty AMICA members managed to take this walk, even though the elevator to the top was out of order, but what are a few stairs? From the gardens back to the bus for a short trip to the Kew Bridge Pumping Engine Museum. We had visited this museum back in ‘93 when we had our first AMICA convention in England, but there was quite a change this time. The original beam engines of 1869 were up and running and the whole place had been changed. We were thrilled to see the 100 inch engine running. Then it was on to the Musical Museum at Brentford, which had been located in an old church last time AMICA visited. After 40 years in the leaky church the museum is now in a new building specially designed for the collection of automatic musical instruments. The instruments were demonstrated, much to our delight, and a buffet dinner followed. When we had been fed it was time for the pumper contest, which is always a lot of fun. There were several contestants, including Terry Smythe who admitted he had never played a pumper before. The judges “chewed on it” for a while and decided the winner was Al Rustad. Since “footsie” didn’t make it over the pond this year the award was a diploma, appropriately dubbed by Julian Dyer as “a flat footsie”. Tuesday we left London, driving to the West Country via a great detour through the countryside villages filled with charming thatch-roofed cottages. We also went through a very upscale, be it rural, area where Madonna used to ride her horse, and where rockstar Sting has his mansion. Our final destination was the UNESCO heritage site Stonehenge, where we were supplied with headsets pointing out the different sites and telling of the different theories of the origin. These ran from giant men bringing the stones from Wales, Merlin using his magic at the bequest of King Arthur, and the latest being, of course, aliens from another planet. 300 This is a very imposing monument, and the audio sets were really very interesting as we walked the trail. One could almost imagine the above theories of origin having some merit, since these huge Shirley Nix stones were brought from Wales, a few hundred miles away, and evolved between 3,000BC and 1600 BC. What a massive undertaking, especially for prehistoric people. These stones would be a huge job even today. Then it was on to Salisbury, for free time to tour and shop in this medieval city. We had two hotels in this spot, since Salisbury is not large, nor are the hotels. In the evening we were able to visit the magnificent cathedral for a private recital on the “Father Willis” organ. For those who wished, they could arrive earlier for a choral presentation by a visiting choir from Innsbruck. The cathedral is a very imposing structure. It was built in just 38 years starting in 1220, and houses one of the four remaining original copies of the Magna Carta. It also houses Europe’s oldest clock, from 1386, which has ticked over 5 million times. Wednesday was the day many were here for - the Great Dorset Steam Fair for the day. This is probably the largest show of its kind in the world, set on 600 acres of land. The displays of the steam engines are just mind boggling. These huge machines are restored to perfection, and are driven and worked throughout the day, as was evidenced by the smoke and fumes. There were tractors from very small to very large and some pulled very heavy loads, some cut lumber, and some powered the fairground organs. Mixed in with the engines and tractors are the fairground organs, which of course were the items of most interest to most of us. This year they didn’t have as many as usual....only 40 large and larger organs! This was an organ lover’s paradise, with organs everywhere it seemed. There were Gaviolis, including the first book playing organ delivered to England. One Gavioli had a setting for the organ complete with a waterfall and flowers, a stream and fountains. There was a huge Verbeeck, a 101-key Mortier, a Dean organ, a few Bursens, a very small DuWyn, a small Bruder, a few Marenghis, and just on and on. As an interesting sidelight..one of the organs was owned originally by a showman who was married to England’s champion sword swallower. Several of the organs also had displays of showman wagons, which were used as we use trailers today. What a fabulous way to spend a day. For those brave hearts there were also fairground rides, some stomach lurching just to watch, and two carousels. Of course, food courts were everywhere, and there were booths with just about anything you wanted, from souvenirs to clothing. There were two scheduled pickups, one in the afternoon and one at eight p.m. so we had the choice to go back to the hotel and spend more time in Salisbury or to stay until evening. It was a long day, with lots of walking, but well worth the effort. On Thursday we drove to the West Somerset Railway for a train ride to Minehead. This is a preserved steam operated branch, which took us through some lovely scenery for a relaxing ride. AMICA Bulletin - Nov/Dec 2011 When we arrived in Minehead, a seaside resort, we had free time to explore the town. Unfortunately the weather didn’t cooperate too well, and many of us spent a lot of the time in coffee shops watching the rain. In the afternoon we visited the private collection of Bernie and Anne Brown. When we arrived they had set up a lovely afternoon tea for us (the rain had stopped, fortunately), with tea and cakes. We sat in the backyard and enjoyed this and then went inside in groups to see their collection. This is a very interesting collection, with many reed organs, harmoniums, music boxes, and other rare items not generally seen. We had a buffet dinner at the hotel and then had the evening free to explore the village of Bristol, or just to relax. Friday was perhaps the most unusual trip of the Convention, with a visit to the “Big Pit”, a coal mine in Wales. On the way the road was lined with heather, and goats were roaming free. The ride into the area was worth the trip on itís own, but the best was yet to come. This is the remains of a working coal mine, and the trip into the hole was really a trip into another world and time. The tours are run by retired miners, and they really knew the story well. It was, in a way, a shocking experience to learn how the miners worked mostly in darkness, along with the horses who pulled the ore trains and the children who stood in total darkness to open the fire doors as the carts approached. The lights were turned out so we could get the full impact of total darkness. Of course, we didn’t have the rats and cockroaches to keep us company as the inhabitants did in the heyday of the mine. When the tour was over we were free to visit the other buildings on site where the repairs were done to the equipment, and the shower rooms, which were a later addition, which made home life a little easier. We boarded the buses again and started off to the city of Bath, but one of the buses had mechanical trouble (it wouldn’t go!), so our bus had to turn around on a very narrow road, go back and load up as many as we could on our bus. The bus company sent out a mechanic and the bus was repaired very quickly and didn’t give us any more trouble on the trip. We had a couple of hours to explore Bath. The original Roman baths are available to visit, and the town itself has many interesting sites. Tonight was our farewell dinner, since this was the end of the original tour, and about half were going home or on to other tours from here. The farewell dinner was aboard Isambard Kingdom Brunel’s famous ship, the SS Great Britain. This was the first ocean-going iron ship. It had been sitting and rotting in the Falkland Isles for a long time, but was finally returned to England, where it was restored. It was built almost 170 years ago, and is another trip back in time. The dining room is quite a fantastic place, with all fixtures as close to original as possible. The engine is viewable, and the whole ship is in a special building to keep the hull from rusting further. It was quite a visit, and a lovely way to end the first part of the trip. The next day the buses drove through some fantastic areas, stopping in Swindon for lunch and more exploring. Then it was back to Heathrow to drop off those leaving us. The extension tour continued on to Ipswich, where we stayed for the night. Sunday it was on to Thursford, which many may remember from the previous England trip. This is another magical place, with the wonderful organs, and the two carousels, one featuring three-abreast galloping horses and the other with gondolas and rolling track. The latter is probably the only one of its kind still in existence. Started by George Cushing, who fell in love as a teenager in 1920 with the fairground sights and sound, from the steam engines to the fairground organs. He bought a used steam traction engine and worked it as a contractor. As internal combustion and diesel engines came to favor he could not stand to see his beloved steam engines scrapped, so he began buying every one he could, making many think he was mad. When he began to restore these beautiful engines it was regarded as a joke by “normal folk”. He also began collecting fairground organs, and the result is the magnificent Thursford collection. The organs are quite lovely, with the huge 98-key Marenghi with the chariot, two horses and driver on the facade probably at the top of the list. Others are the 121-key DeCap, the De Leeuwin “Lion”, a 112-key Mortier, two 101-key Hooghuys, a 112-key Carl Frei, a lovely Wellerhaus, and a Wurlitzer Theater organ. All the organs were played for us, and both carousels were available. Later in the day we rode to the North Norfolk Coast, where a steam train festival took place. We could wander down to the seaside, shop, or ride on a train. Again, the rain came down, but it didn’t dampen our spirits, just our clothes. Monday we went to Stowmarket to the Museum of East Anglian Life, where all aspects of life can be seen by way of reconstructed houses, barns, windmills, and other things relative to the area. This was another really interesting place, with lots of photo ops. If it’s photo ops you were interested in, our next stop was the well-preserved Medieval town of Lavenham. This was a very wealthy area in medieval times, being a trading center for wool. Many fine and expensive buildings were built here, and when the wool market collapsed there was no money in the area to replace them with more modern structures, so they survived. Many of the buildings, built in the 1300’s, are suffering from the fact that the wood originally used for beams was wet wood, which twisted when it dried, leaving the houses with some really outlandish bends and leans. As I said, really a photographic spot. Tuesday included a journey through the fens (a unique wetland landscape) for a visit to the museum at Strumpshaw, a fascinating place started in the 1950’s, a third-generation museum with steam engines and musical instruments. There is also a theater organ. From there we went to Great Yarmouth, another seaside resort, quite full of arcades with various games of chance designed to take your money. Since it rained quite heavily again, it was easy to partake of the games and lose your money. When the money was gone it was time to find a good coffee shop to take shelter in. That evening we were treated to a traditional, and I must say great, fish and chip dinner at what is, I am told, a quite famous fish and chip restaurant. Wednesday found us visiting Bressingham Gardens, which is a world-famous garden with fine floral arrangements laid out in the 1930’s by Alan Bloom. This was as pretty a place AMICA Bulletin - Nov/Dec 2011 301 as you ever want to see, and the flowers were just gorgeous. A huge area, and each one more beautiful than the last. Just to add to the fun of the gardens, there is a merry-goround and a couple of trains which ride around the gardens. When we left the gardens we went on to Bardwell, where there is an 1820’s built windmill. The owner also has a Ruston traction engine, and is able to disengage the sails and drive the machinery to grind the corn. Unfortunately, the windmill suffered greatly when the remains of a hurricane hit the area and the top was blown completely off, landing on the steam engine, but fortunately not the house. The owners are restoring the windmill, most of it done and slowly coming back into shape. The owner told us he “owns the air space” around the mill, so when a developer tried to build a tall office and commercial building he was able to stop the project. The townspeople sided with him, since they want the windmill to stand where it is and to continue to operate. On Thursday we sadly realize that the last day of the tour had arrived. The buses headed back to London with our first stop at the Cotton museum, where the late Robert Finbow started the eclectic collection of mechanical music. This is now run by small but active group of enthusiasts. We saw reproducing pianos, barrel organs and pianos, and much larger instruments. There were collections of all sorts, and “eclectic” hardly does it justice. Phonograph records and sheet music were on the walls and ceilings everywhere, and display cabinet after display cabinet housed the unusual and rare items. There were toys, movie memorabilia, china heads for storing tobacco, and just too much to mention. One of the rare pieces is a Hooghuys monkey organ, only one of three left in the world. It was really meant for fun and enjoyment here, and enjoy it we did. Our last stop was the Musical Museum at St. Albans, the dream of one of the earliest importers of mechanical music in the UK, Charles Hart. We wandered through, enjoyed the demonstrations, and really appreciated the lovely instruments. The St. Albans is home to a huge Mortier organ, a Bursens, a DeCap, music boxes, cob organs, a Mills Violano, pianos, and a Wurlitzer organ and a very rare Rutt organ. Another great visit. Then it was back to the Hotel in London, and home for most. The memories of this Convention will last forever, along with those of other trips. AMICAns who took the extended tour, enjoyed the Thursford collection, started by George Cushing One of many, many fairground organs at the Great Dorset Steam Fair, but this one recognized our presence. Neat! Julian Dyer at Stonehenge Our AMICA Convention 2011 souvenir, a delightful reminder of our time at the Great Dorset Steam Fair Ed Note: The vast number of photos of the convention would have caused this issue to expand beyond reasonable expectations, so next issue, Jan-Feb 2012, will contain a proper photo spread. ts 302 AMICA Bulletin - Nov/Dec 2011 AMICA 2012 Convention Pittsburgh, PA, USA July 11 – 15, 2012 please plan on attending the 2012 Convention in Pittsburgh, PA, an exciting city with attractions galore, many within walking distance of our convention hotel. our convention hotel, the Sheraton Station Square, is situated at the premier location in the city: on the Monongahela Riverfront in downtown pittsburgh overlooking Fort Duquesne and the golden triangle, where the allegheny and Monongahela Rivers meet to form the ohio River. the hotel is part of the Station Square shopping complex, which comprises 52 acres of indoor and outdoor shopping, dining and entertainment. Being among pittsburgh’s largest tourist destinations, it attracts more than three million people annually. station square incorporates the former “grand” station of the pittsburgh and Lake erie Railroad, with some of the original structures such as the freight house building and the elegant concourse being converted into restaurants and a shopping mall. (if you ever saw the movie “Flash Dance,” a portion was filmed at the grand Concourse Restaurant). station square boasts a stop on Pittsburgh’s Light Rail System (“pat”), as well as the docks for the Gateway Clipper River Fleet and “Just Ducky” Duckboat tours. our planned activities include visits to the following: (1) Frick Art and Historical Center, including Clayton, the mansion of pittsburgh industrialist henry Clay Frick, and the Car and Carriage Museum. the m a n s i o n includes a Welte Cottage Orchestrion restored by Durward Center in a rare “original installation” location. (2) Phipps Conservatory and Botanical Gardens, where we will take in over 17 distinct botanical experiences, including a palm Court, Butterfly house, orchid Room and formal outdoor garden. the phipps Welcome Center is the first LeeD-certified building in a public garden and boasts a fabulous Dale Chihuly chandelier. (3) Blackwood, a 35-acre estate in Butler County built in its entirety by two of aMiCas most enterprising members, Don Fink and Ben Robertson. our visit will include a concert by Dave Wickerham on Blackwood’s meticulously restored 3 manual, 20 rank Wurlitzer theatre organ with gold-leaf “waterfall” console. We will also be treated to a Mini organ Rally on the grounds during a wonderful outdoor catered lunch and after Dave’s concerts. a tour of the grounds will include viewing the clock tower with its 1907 seth thomas tower clock and roll-playing schulmerich carillon, the Blackwood gyrocopter, and an antique radio collection. (4) a riverboat dinner tour of pittsburgh’s three rivers and stunning skyline. of course we’ll feature workshops, the Mart, the pumper contest, collection tours and a fabulous Banquet with live “period” music. if you have any spare time (or would like to take a day on either side of the convention, which is recommended), you would be well-advised to visit any of: • • • • • • • • the Warhol Museum the Carnegie Museum of Natural History (the biggest and best dinosaurs, and much, much more) the Carnegie Museum of Art the National Aviary the Duquesne and Monongahela Inclines (and the breathtaking view of the city from atop Mount Washing ton) the Nationality Rooms at the University of Pittsburgh Bayernhof Museum – Former home of Mr. Charles B. Brown, iii – 19,000 square feet featuring mechanical instruments, music boxes and other collectibles (likely to be on the “collection tours”) “Just Ducky” Duck tours on vintage WWii amphibious transport the hotel rate is $119 a night, and the convention registration fee of $365.00 will include all attractions as well as two breakfasts, two lunches and two dinners. the convention will be open to members of MBsi and Coaa at no additional charge (or aMiCa membership requirement). to make a hotel reservation, call 1-800-325-3535 and mention the aMiCa room rate. We look forward to seeing you in pittsburgh!! sincerely, Tim Baxter, Your Convention Chair Useful links: sheraton station square: http://www.sheratonstationsquare.com/ Frick art & historical Center: http://www.thefrickpittsburgh.org/ phipps Conservatory and Botanical garden: http://phipps.conservatory.org/ Blackwood: http://www.thefrickpittsburgh.org/ gateway Clipper: http://www.gatewayclipper.com/ Duquesne incline: http://www.duquesneincline.org/ Carnegie Museum of art: http://www.cmoa.org Warhol Museum: http://www.warhol.org nationality Rooms at pitt: http://www.pitt.edu/~natrooms/ national aviary: http://www.aviary.org/ Just Ducky tours: http://www.justduckytours.com/ AMICA Bulletin - Nov/Dec 2011 303 Nickel Notes by Matthew Jaro In this column I would like to feature a prominent nickelodeon, orchestrion and band organ collection in Annapolis, Maryland. This collection belongs to Richard and Cheryl hack. I think this is appropriate since there are very few articles written about specific collectors, and collections are at the center of mechanical music. A collection and collector are the focus of all activity, acquisition, selling, restoration and last but not least: home construction. When a collection fills all available space, the collector can either add on to their house or decide not to add more instruments to the collection. The Hacks are currently in the middle of an ambitious and beautiful construction project in order to provide a stunning setting to display their instruments. (larry Givens). This gave Dick the idea that maybe it would be possible for him to rebuild a reproducing piano. He acquired a Stroud upright Duo-Art Matthew Jaro reproducing piano and rebuilt it with some additional help from friends like John Grant. It took about six months of work part-time. He taught himself to do everything from the pneumatics to the refinishing. The next machine was a Mills Violano which the Hacks also acquired from Bill Edgerton. That needed refinishing and total rebuilding. Mark Reinhart was knowledgeable about Violanos and lived very close to Annapolis. Dick also read Mike Kitner’s book on restoring the Violano. The book and advice from Mark enabled Dick to complete the Violano project in about nine months to a year, part time. Getting Serious Cheryl and Dick Hack in front of their beautiful Mortier organ Beginnings I love asking collectors how they got interested in mechanical music. The Hacks were putting their first addition onto the house and they were staining some oak boards. Dick’s parents came to visit and said: “You need an antique wall telephone for your new room”. Not knowing about antiques, the Hacks accompanied Dick’s parents to an antique mall and picked out an antique oak telephone. It happened that the dealer also sold Edison phonographs. They acquired an Edison phonograph while they were there. Armed with the phonograph, the Hacks wanted to meet people in the area that they could talk to about the machines. They ran into a collector in Annapolis that also had music boxes, reproducing pianos and jukeboxes. Their first mechanical music machine was a Regina 15 ½ inch music box. This was around 1980. Dick fell in love with the mechanical aspect. He was amazed at how well a machine could play music mechanically. Dick was in electronics his whole life, so to get music that played mechanically was something quite different. The Hacks acquired the music box from Bill edgerton’s Mechanical Music Center in Connecticut. They would drive from Maryland to Darien, CT to check out what Bill had and then drive all the way home – in a single day! The Hacks acquired books from Bill Edgerton on rebuilding the piano (Art Reblitz) and rebuilding player pianos 304 The wonderful aspect to all of this activity is that Cheryl likes the machines and music as much as Dick, and she falls in love with instruments that the Hacks will then acquire. They are really a team interested in mechanical music. Their local friends introduced them to both AMICA and MBSI and the Hacks became members right away. The Hacks went to their first convention, MBSI in Philadelphia in 1983 and acquired a cylinder music box from nancy Fratti. It played 48 tunes, all operatic and they basically just fell in love with the tune card. elton norwood repinned all six cylinders and rebuilt the music box. It is a Conchon music box. After the Violano, the Hacks got really carried away, and worked on three machines at once: a Knabe Ampico “B”, a Weber Unika, (which they acquired in pieces with no tubing), and a reproduction Wurlitzer Harp. Cheryl heard Bob Gilson’s harp and fell in love with it, so Dick decided to build one for her to celebrate their anniversary. In order to build the harp, Dick visited Bob Gilson, who took his harp out of the case and let Dick take measurements and make drawings. It took a couple of years to finish all three pieces. Around this period of time the Hacks acquired their first Welte (it’s almost like you could just buy Weltes at Wal-Mart), which was close to a style 3. It was a barrel machine so it really didn’t fit the standard style numbers. They acquired it from a collector in England. It sat for a long time, while they were waiting for Durward Center to restore it. It was weight driven and Durward said that there is no room for the top pully for the weight. Cheryl said, “Just cut a hole in the ceiling”. Durwood said “Really?” – He couldn’t believe it. It turns out that the Hacks wanted to redo the ceiling anyway. Durward rebuilt the Welte and Dick built a temporary roll player to test the machine. During the time that machine was being worked on, the Hacks acquired the machine they have now. When the first Welte was sold they gave the temporary roll player they built to the new owner. The first Welte is in a museum in Japan now with most of the roll player still in use. AMICA Bulletin - Nov/Dec 2011 The second Welte came from France, in Aix-enProvence. It’s equivalent to a Style Five. It was also a barrel machine which they converted to rolls. house Construction By 1985, the Hacks finished the addition of their downstairs music room, to house the ever-increasing collection. The room was actually built for the Welte Orchestrion first Welte. This was an area with thirteen foot ceilings dug out from what used to be crawl space under the house. The house had to be propped up with steel and a ramp was dug from the waterfront side down into the new music room. About 150 yards of dirt were hauled out. To get the instruments into the new room, they took off the front of a three stage fork lift truck, had brackets welded onto the fork lift part, and they had that bolted onto the wall. They made up an electrically operated hydraulic system. Now machines could be lowered from the front deck into the basement. Professional Restoration Dick’s first professional restoration was about 1993. A friend wanted a Pierre Eich Solophone restored and he couldn’t find anybody who would do it quickly at the time. He wanted to see how it would work to do a job for somebody else. What got Dick started in doing restoration as an occupation was that he really enjoyed doing the work for his customer. The Solophone is still playing today as good as when he restored it. Dick owned a TV and appliance store, but the nature of that business was changing, so he went into full time restoration in the mid to late nineties. When he closed the store, a building went up for sale in Baltimore that was reasonably priced. So Dick and John Grant together acquired the building. That’s where the major restoration projects are done with smaller jobs being done at the house. DeCap 92 key dance organ sale. He watched the prices continually fall, and decided this would be a good time to buy an organ . Seeburg G In the Trader there was a Seeburg G that came up for sale, very reasonably priced. When Dick called immediately he found he was the second person in line. Someone had already bought it. The lady who owned the Seeburg said her brother-inlaw had a Seeburg G he might sell (all God’s Children have Seeburg G’s!). One problem was that it was converted to play “A” rolls! Fortunately, most of the original parts were available. The Brother-in-law said, “Yes, I’d like to sell the Seeburg G but I have to test the market first. I’ll call you when I set a price.” Dick would call him once a month, but the price he wanted was still too high, given that in addition to the roll problem, the glass was broken, the case was cut on the sides, etc. The Hacks went back and forth with the owner for about a year. Finally the Hacks went on a vacation with the kids, and the Seeburg owner called his business to say he was going to sell it this weekend and could Dick top an offer that he got? Dick never got that message. Since the owner didn’t hear back from Dick, he figured he was no longer interested and he sold the machine. The machine went through two other owners and Dick finally wound up acquiring it several years later. Bill emerson rebuilt the glass and Dick did all the rest of the restoration work. There was a lot to do. The pipes, drums, etc. were all gutted since it was now an “A” roll Instrument Acquisition The next major piece was a DeCap 92 key dance organ. Bob Brown brought a Mortier organ to a rally in Freemont, Ohio. The Hacks were now interested in dance organs. They visited haning and White, nearby to see what they were selling, and acquired the DeCap. The Hack’s room wasn’t ready so Haning and White had to keep it until the room was ready. Around this time Dick was watching every issue of the Antique Trader and memorizing the mechanical music ads. In fact, this was how Dick found out about the Haning and White AMICA Bulletin - Nov/Dec 2011 Seeburg G Orchestrion 305 piano. The pipe chest and drum shelf came from Mike Ames. They had to find pipes, and then had a reproduction bass drum made by Dana Johnson. Dick found an original snare drum. I commented to Dick, “It’s amazing you bought that machine with all that work required.” Dick said “The Worse they are, the better I like ‘em”. He said you could get machines like that for reasonable prices if you are willing to do the work required. He said that since restoration started out as a hobby, he didn’t really count the time as an expense. Now that he does restoration professionally, he realizes that time spent on a wreck takes time away from paying projects. Organs Mike Kitner told Dick that he had a Wurlitzer Style 153 band organ to sell from an estate. Dick said, “That sounds like an interesting machine”. They had been acquiring a lot of pieces lately, and so he told Cheryl that there is a 153 for sale, mostly complete, all in pieces with the paint peeling off, and the price is real reasonable. Cheryl said, “well, we ought to buy that”. Cheryl was really enthusiastic about this. The organ sat around for about ten years until they got it playing. In this time period they acquired a Ruth 36 organ, that still needs to be completed. The Ruth was acquired from Haning and White. Dick brought Mike Kitner with him. They noticed that the organ had a lot of work done to it that needed to be done over. Mortier 86-keys dance organ They acquired a Bursen organ, advertised on MMD. Dick had difficulty reaching the owner. The owner said “I’m glad you talked to me, because I have ten other people interested in that organ, but you are the first one to actually talk to me. The owner was a piano technician who acquired the organ in the seventies and totally took it apart and put it in storage, until the time the Hacks acquired it, five or six years ago. When it arrived, it was in 75 different pieces. A lot of those pieces were boxes of parts. Even the chassis of the organ was cut in half, because they thought they needed to do that to get the organ out of the building. Dick said, it had to have been gotten into where ever it was, so it should have been able to be gotten out. There was no tubing, so Dick retubed it in metal, as it was originally. Strangely enough, considering all the parts that came in, the organ wasn’t missing a single part. The latest Addition The Hacks had a philosophy that you acquire something first and then worry about where to put it. But when they acquired the Mortier, there was no solution. The façade wouldn’t Wurlitzer 153 band organ On Ron Bopp’s Bumbling Bruder tour seven years ago, Henk Veeningen in Holland had this Mortier organ for sale. The facade hadn’t been painted but the organ was restored. Cheryl went over to Dick and said “did you see the Mortier organ for sale?” Cheryl then said “I think we should buy that”. Rosa Patton (formerly Ragan) painted the façade to the Mortier, the Ruth 36 and the Wurlitzer 153. Rosa is the premier painter having done projects such as the Glen Echo carousel, horses and 165 band organ. The painting is glorious, to say the least. During the process of stripping the new paint off of the 153, Rosa found enough of the old painting so that she was able to recreate the original look. It was also amazing that the original artwork survived until the owner before Dick had it repainted. They acquired it from an estate and they were told that the façade was out being painted, so they would get a freshly painted façade when they got the organ. Of course, Rosa had to strip all of that and restore it to its original glory. 306 AMICA Bulletin - Nov/Dec 2011 Bursens dance organ, art deco style fit in the garage since the ceilings were only eight feet high. Anyway, they knew they needed more space because they were running out of room. They designed the latest addition and put the maximum square footage that the county would allow them, for a new music room, a quilt studio for Cheryl and an elevator. The county was fussy because of septic capacity, even though the addition wasn’t to be used for living space. However, the county figures that if you have more square footage then you will have more people, one way or another; so they just blindly apply the rules. But, Dick said, and I totally agree, that they were able to get a pretty good addition out of it. The county required the Hacks to sign an agreement that they wouldn’t do any more additions (so what happens if they buy more instruments?) Dick says there’s still room for another piece, or two or three. The addition has required over a year so far and is almost complete. This space of time has enabled the Hacks to consider carefully what they want to do, and even make some last minute decisions to greatly improve things. The hupfeld Phonoliszt Violina The latest acquisition was the Hupfeld Phonoliszt Violina. Dick was called out by Bob Brown to repair the lighting of a façade of a very large dance organ in Phoenix. Bob knew that Dick was always interested in Phonoliszts, and he knew that Mike Ames wanted to sell some of the things in his collection, among which was a Phonoliszt. So, instead of coming home after the job, Dick went directly to California to look at the Phonoliszt. He came home, talked to Cheryl about it and decided to acquire it. Conclusion Now, the Hacks have a fabulous collection of automatic musical instruments that are displayed in a gorgeous Arts and Crafts setting, with stained glass windows and meticulous wood work. I have always felt that it is important to provide a beautiful setting for beautiful instruments, and Dick and Cheryl Hack have certainly done so. Hupfeld Model B Phonoliszt Violina Dick Hack contemplating his next restoration Ed. Note: Matthew Jaro may be contacted at: [email protected] 1920's Seth Thomas weight driven tower clock mechanism from a church in Pennsylvania Dick hack may be contacted at: AMICA Bulletin - Nov/Dec 2011 [email protected] 307 Mechanical Music Today By Marc Sachnoff Most people think that the technology behind the mechanical music machines we AMICA members enjoy stopped being developed around 1930. But that is not the case. A rich variety of music machines has been developed in the years following the golden era using technology not available to the folks at Wurlitzer, Aeolian, Seeburg or Regina. Of course there have been several revivals of the original technology of pneumatic roll and book operated instruments. The player piano craze of the 1950s with Crazy Otto and The Old Piano Roll Blues, and the resurgence of interest in the early 1970s because of the hit movie, The Sting, are just two examples of times when new instruments and the rolls to play them were manufactured. But the technology introduced during these short periods of renewed interest was, by and large, the same as was used in the first decades of the century. This column will investigate and celebrate the advances and innovations in modern technologies used for the same purposes that mechanical music has always served – to entertain, to educate, and to promote the joy of music, music delivered in a mechanical context. To start our examination of mechanical music today we’ll look at the computer operated reproducing piano. The first person to make the commercial leap from pneumatically operated pianos to computer driven solenoid operated pianos was California electrical engineer, Wayne Stahnke. Wayne has been inventing, designing, and building electronic reproducing pianos since the early 1970s. He is known for his designs of the Bosendorfer SE, his Telarc recordings of the Rachmaninoff ’s 35 AMPICO rolls on the Bosendorfer SE, and his work on the Yamaha Disklavier line. Today he produces the Live Performance LX player system – a top of the line product available for installation in Wayne Stahnke grand and upright pianos. Wayne was gracious enough to allow an interview for this column. Excerpts of that interview appear below. MS: How did you become interested in mechanical music? Wayne: My interest dates back to 1956. I went to Disneyland at the age of 13 and I saw a player piano in the Wonderland music store. I was absolutely taken by it. I was a piano student at the time and I was struggling with the technical aspect of piano playing. There it was, playing all those notes with great rapidity and precision. You can imagine the wheels turning in the head of a 13 year old mechanically inclined boy. I decided I needed to own one, so, I put a classified ad in the Los Angeles Times. The phone rang and a woman had a Weser Bros. upright with a Simplex action. I paid $35.00 for it – money I earned on my paper route. It wasn’t in playing condition. All the rubberized cloth was worn and leaky. I had to find a source for materials and I was told that Knott’s Berry Farm had a building way out of the way with some nickelodeons in it. A man named Stan ran the shop, but the person who did the repairs was Ed Fritze. Ed helped me and sold me tubing and cloth. 308 I always wanted to be an Electrical Engineer at least since the age of 4 or 5. I loved electricity and working with it. I repaired radios and TV sets. My dad said when I was in my early teens I used to tell him, “When I grow up I’m going to Marc Sachnoff build a piano that plays from a tape.” I always had that in mind and planned to do so when I was done with my education. In college I developed a plan of buying a player piano at beginning of Summer, repairing it and selling it before school started. This was in lieu of holding a typical summer job. I did this every year for several years in a row. MS: Did you get involved in understanding piano roll technology? Wayne: Oh yes. I made a trek to New York in 1961 to QRS to meet Max Kortlander and J. Lawrence Cook. This was about one month before Max died. He had a large office in the factory with a Steinway Duo-Art. J. Lawrence Cook had a recording piano and I spent some time with him. He was very nice and he even invited me to his home in Harlem. In his basement he had another recording piano for making nickelodeon rolls. He let me watch him arrange using that piano which had organ-like stops for holding notes down. He would play a chord and then depress the footplate and it would go “ka-chunk” as the perforator punched holes into the paper. I even had him sign some of his rolls for me. MS: How did you get interested in reproducing pianos? Wayne: Ed Fritze, the man at Knott’s Berry Farm, liked Ampicos and used to rebuild them. He had several of them at his home. He played some of his rebuilt instruments for me and I purchased one when I was in college – a 1927 Fischer with a Mediterranean case. This was when the A mechanism was highly perfected with many changes made to it, just before the B era. I rebuilt the piano over several summers and began collecting rolls. MS: When did you begin development of the electronic reproducing piano? Wayne: There was a long delay. After college, I got a job at Hughes Aircraft. There I learned a lot about designing and building electronics. Later I worked at Fairchild Semiconductor in Mountain View, California. By the age of 30 I was married and I decided the time had come. My wife volunteered to support me. I quit my job and I started building a device that would record Ampico rolls on magnetic tape and play them back through electromagnetic valves teed into the tracker bar of an Ampico piano. However, what I really wanted to build was an all electronic player piano operated by solenoids. [Solenoids are basically plungers activated by a magnetic coil, driven by electric current.] I was aware that it would be a large undertaking. In retrospect I was exactly right. Early on, I realized that I needed to tackle this complex job one piece at a time. The first job was to figure out how to record data onto magnetic tape, recover the data from the tape and put it back in useful form. AMICA Bulletin - Nov/Dec 2011 MS: Did you do this alone or with partners or investors? Wayne: By 1974 people began to express interest in my work and so with investors we started a company to commercialize it. I did a production-worthy design and it was called the Cassette Converter CC-3. About 25 were built. It predated the Pianocorder [See sidebar about the Pianocorder], but it was not widely distributed. We ran into resistance by piano owners and despite the fact that it played wonderfully, it was not nearly as well received as I hoped. We produced 20 cassette tapes for it, all taken from Ampico rolls. [See also Jul 1976 AMICA Bulletin for a full report.] MS: But that wasn’t an all electronic instrument, it was more of a digital interface for improving the enjoyment of traditional reproducing pianos. Wayne: That’s true, but having built the CC3, I was ready to tackle an electronic player piano. I found a backer in Dick Carty, a Los Angeles area restorer and piano dealer. Dick gave me a place to work in his piano shop and paid for out of pocket expenses. It took me 18 months to build a working prototype. The piano was a new vertical manufactured by the Gordon Laughead Piano Company of Michigan purchased specifically for this purpose. It was the first player piano in all history to have individual expression on every note. Until then every other reproducing piano built had a split pneumatic stack with one dynamic on each half of the keyboard at any instant. About this time Marantz Superscope was looking to buy my design. There were at that moment three different electronic player piano designs in existence; one was mine. The second one was built by Charles Groeschel of Houston, Texas who was hired by mechanical music dealer, G. W. MacKinnon, who wanted to be in this business. Groeschel was very secretive and he would never reveal anything. I learned that his piano was completed and was being demonstrated. I was crushed – he beat me to the punch. I decided I wanted to see it and called to make an appointment. [Wayne was relieved to discover the piano was not a musical or mechanical success and posed no credible competition to his work.] The third was invented by a man named Ray Vincent; it subsequently became the Pianocorder. Ray designed it himself and was trying to commercialize it. Somehow he fell in with Teledyne – the big aerospace company. What they were doing building player piano kits is beyond me! Superscope was casting about looking for something, so Joseph Tushinsky and several Teledyne engineers came to visit me. I played the working prototype instrument for them and they liked it very much. They talked about buying it and taking it to market, but I was not free to work with them, because there were investors and I did not control the business decisions. For whatever reason, the deal fell apart and Marantz Superscope decided to buy Teledyne’s product, designed by Ray Vincent, which they did. MS: So the Carty project fell apart? Wayne: That’s right. At this time, J.B. Nethercutt of Merle Normand Cosmetics wanted an electronic reproducing piano for his San Sylmar collection. [The San Sylmar collection of the late J. B. Nethercutt is world famous and still open to the public on a regular basis, just north of Los Angeles.] He had hired an engineer to build one for him – I don’t remember his name. This engineer planned on measuring dynamics by putting something beneath the keys and to capture 16 levels of dynamics. J.B. came and heard my work and contracted with me to build an instrument for him. He let the other engineer go, so he must have been impressed. MS: Was this the beginning of the Bosendorfer SE? Wayne: No, not yet. Mr. Nethercutt chose a brand new Steinway 9’concert D for me to install a mechanism into. I started in November or December of 1975 and delivered it in June of 1978. This instrument was the first completely new reproducing player grand piano since the 1940s. It played superbly. It used hammer velocity sensing for extremely accurate dynamic recording. It also had 1023 dynamic levels for each key. It could play louder than a human can and so softly it could even record and reproduce silent notes. It was at that time that I developed the standards that I have used for all my work up to the present. They’ve never changed since 1978. MS: Why 1023 dynamic levels? Wayne: Because 1023 is one less than a power of 2, 1024. I built the system using binary arithmetic so powers of two are important. I chose 256 pedal positions with proportional pedaling, and 1.25 millisecond timing resolution. MS: Why 1.25 millisecond timing resolution? And what does that mean? Wayne: Timing resolution is the resolution that the human ear can hear. The human ear cannot distinguish infinitely fine temporal differences, so you want to determine the resolution of the human ear and make the resolution of the instruments finer than that. If you play a chord at mezzoforte and the notes are not exactly together, ordinary ears can hear about a 10 millisecond offset in the notes played. I wanted to know what kind of split people can just barely distinguish through blind testing. Can people really hear the difference? Well it turns out some can – if ordinary ears can hear 10 milliseconds of split, Carl Seashore and his colleagues at the University of Iowa found in the 1930s, that people with “golden ears” can hear a 5 millisecond split. With that number in mind I divided 5 milliseconds by 4 and decided that resolution of my pianos should be 1.25 milliseconds. So I went to a standard finer than the human ear can resolve. MS: But that seems a little extreme, doesn’t it? Wayne: My goal was to use good engineering judgment. I settled on standards for timing resolution, pedaling and dynamic range, and I have used exactly those same standards until now. The recordings I made in 1979-1980, sound the same as if they were made on any instrument I have built since. They are every bit as good. The same with dynamics. I needed them to be finer than the human ear can distinguish, but there were no standards or research, so I had to come up with my own. Mr. Nethercutt loved his Steinway. It was kept inside San Sylmar and played only on tours. Not many people had access to it. When I built it, the first of its kind, my goal was to make it play properly. Having finished the project, I had learned a lot, so I planned to make another one for my own use. I bought a new Yamaha Conservatory Series C7, which in those days was 7’4” long. It took me two and a half years to complete, until 1982. It was a wonderful instrument and every- AMICA Bulletin - Nov/Dec 2011 309 thing I had hoped for. [This instrument was used for the Podolsky recordings, reported in the March-April 1987 AMICA Bulletin] Plus I made some tremendous advances in technology. It was with that instrument that I came up with the modern method of hammer velocity sensing. Here’s how it works: there are shutters on the shanks of each hammer. A light-emitting diode and photo transistor stare at each other just above the shank. The shutter breaks the light beam twice as the hammer moves upwards toward the string. [This makes it possible to record individual hammer velocities with high accuracy, something never previously possible in recording a live pianist’s performance.] I applied for a patent on this and it was granted in 1983. Nine years later Yamaha wanted it for their Disklavier and bought the patent from me. That method is in use in every Disklavier equipped piano from then until now, which is why they record so well. Mr. Nethercutt learned about the improvements I made and commissioned me to build a second piano for him – this time in a Bosendorfer 290. At the time, Kimball owned Bosendorfer and they are the people who named it the “SE” for “Stahnke Engineered.” About the same time the Massachusetts Institute of Technology commissioned me to build a piano for them in a Bosendorfer 290 as well. So Kimball decided they wanted to commercialize my system and sell the SE system in Bosendorfer pianos. instruments sold very slowly at that price, but still at a rate of around six per year. I thought it was a pretty good clip for something as expensive as it was, but Kimball’s management did not think they were selling as briskly as they planned so they stopped production in 1987. Thirty-two were built and all of them ultimately were sold. To the best of my knowledge every one is still in working condition and many are in daily use. It is very satisfying to work on something with such a long life. MS: These were extremely expensive pianos, weren’t they? Wayne: Yes. The first one was sold in 1987. Initially, the plan was if you paid full retail for a model 225, 275, or 290 Kimball would toss in the SE system for free. As you know, new pianos MS: How long did it take to build the first one? Wayne: It took me three years to do the design and build the first prototype. The first Live Performance LX system shipped in July of 2007. MS: When was the Disklavier introduced? Wayne: The Disklavier was not introduced until 1988 – and never was available in any piano other than Yamahas. I joined Yamaha in 1991. They wanted to improve the Disklavier design and I had two key patents they needed if they wanted to sell the Disklavier in the US – optical hammer velocity sensing and proportional pedaling. They bought my patents and hired me as a consultant for ten years. I went to Japan four times a year to attend meetings. My hands were tied for 10 years in terms of developing my own products. MS: But that relationship ultimately expired didn’t it? Wayne: In 2001 my contract with Yamaha expired but I had agreed to a three year noncompete arrangement, so I was not free to do anything on my own until 2004. I waited until the appropriate time and a little more and quit my software job as Principal Software Engineer to work on my own design for the LX MS: What was the response like to your new product? Wayne: The response to the LX was mixed. People who saw it, heard it, and bought it loved it. But a lot of people didn’t even want to see or hear it. As one dealer told me, “Player pianos are all the same so you might as well buy the cheapest one.” There was and still is a lot of that, but I used to get letters from owners saying things like, “Thank you for bringing this into the world.” MS: Yes, I know of one gentlemen in the Los Angeles area who has installed LX systems in three vintage Steinways. What is the future of electronic reproducing player piano? Wayne: I think they are mature now. By that I mean that we have several different kinds to meet different market segments, and the technology is mature. I do not envision any changes other than evolution in them. Bosendorfer 275SE reproducing piano with microphone array used for recording Robert Silverman’s Beethoven cycle. Photo: John Atkinson, Stereophile magazine, www.stereophile.com are normally heavily discounted – especially on the high end. The management at Kimball was not happy with the margins so they later raised the price on the 290 SE to $150,000. Now, that’s at least $300,000 or more in today’s dollars – so it was a lot of money at the time. MIT ended up buying a production SE instrument from Kimball. Other customers included Ohio State University, the Royal Conservatory of Music in London, the University of Cincinnati Conservatory of Music, and wealthy individuals. SE 310 MS: What is the modern electronic player piano market like today? Wayne: The recession has hit all piano sales, but 3-4 years back 30% of new pianos sold had player systems installed. I believe that 30% of all Yamahas sold are Disklaviers. That’s a lot of player pianos. MS: Tell us some of the advantages of the Live Performance LX system. Wayne: First of all, the LX plays all of Yamaha’s CDs all of Pianomation’s, and most of Pianodisc’s. It plays more music and more kinds of music than any other modern player piano. It also plays the thousands of MIDI files available over the web and from other sources. AMICA Bulletin - Nov/Dec 2011 The LX uses full proportional pedaling [discussed above]. Other playing mechanisms use "on-off" pedaling, which destroys the pedal shadings that make fine piano playing so satisfying. The combination of proportional pedaling and high-resolution control yields musical results that are head and shoulders above the competition’s. You simply have to hear it for yourself. The LX playing mechanism is completely hidden from view, and does not interfere with the trap work. MS: Wayne, I’m kind of biased as you know. I’ve had the LX system installed in my 1924 Steinway B for over two years and I’m always amazed at the performances. Recently, after having moved to the Seattle area, I had the piano tuned by a local technician and I mentioned that I had your system installed. He’d said he’d heard of it and kind of waved it off as another player system. But after the piano was tuned, I demonstrated the piano with one of your disks with Earl Wild’s performances and frankly he was blown away. He just stared at the piano and began praising it profusely. I wish you could have seen his face! You can learn more about the Live Performance LX system at: www.live-performance.com The Pianocorder 1978-1987 The LX sustain solenoid remains cool even when the piano is played for extended periods. The LX note driver boards use the latest advances in high technology electronics. Joseph Tushinsky was an inventor, musician, optics innovator, writer and chairman of the board of Superscope Corp. and the Marantz Co. A visionary, Tushinsky was an early believer high-fidelity audio and became the American importer-distributor of Sony audio tape recorders in the late 1950s. Together with his brother Irving, he developed a wide-screen film projection process known as Superscope, which, when introJoseph Tushinsky duced in 1953, helped to usher in the era of (photo courtesy Consumer wide-screen motion pictures. Tushinsky colElectronics Association) lected reproducing pianos and amassed a large library of music rolls, and even commission the creation of a unique vorsetzer capable of playing the rolls of all three major reproducing systems. Keyboardless demonstration Pianocorder unit adapted from a Marantz spinet by Grant Leonard of Minneapolis AMICA Bulletin - Nov/Dec 2011 311 In the 1970s, Tushinsky produced the Superscope Pianocorder Reproducing System. Superscope already had a large facility for manufacturing cassette players and the new system used regular cassette tapes as its data storage medium, playing the piano directly from commands encoded on the cassette tape. Pianocorder expert, Mark Fontana relates that the Pianocorder was actually based on a system called the "Piano Player" designed by Ray Vincent. Superscope created a fairly extensive library of material for the Pianocorder system, reaching over 30 ten-cassette volumes. While the majority of tapes issued were made by converting traditional 88 note player piano and reproducing rolls to the Pianocorder format, several famous pianists, including Liberace, George Shearing, Teddy Wilson, Oscar Peterson, and even Chick Corea produced recordings directly on Superscope's Kawai medium-sized grand piano. This author has had a chance to listen to them – played on a great piano – and I can attest to the surprising quality and sparkle of these celebrity recordings. In 1987, the Pianocorder Division was acquired by Yamaha. Yamaha had already developed its own competing system – the Disklavier – and quickly discontinued sales of the Pianocorder. In all, Mark Fontana says that about 16,000 units were sold between 1978 and 1987. Unfortunately, the Pianocorder library is no longer commercially available. Original tapes are deteriorating, but several people have created digital archives of the original Pianocorder data files. Additional Pianocorder information can be found online at http://www.pianocorder.info A typical installation of the Pianocorder in a grand piano, this one is a former Ampico, and equipped with Mark Fontana’s wireless module, bypassing the cassette deck. The Pianocorder system was available in both factoryinstalled versions and aftermarket kits. Many of the factory installations were done in lower quality spinet and console pianos. In fact, larry Fine, whose Piano Book surveys the American Piano industry says that these Marantz Pianocorder spinets and consoles might actually hold the dubious honor of being the worst pianos ever made in America! 312 [About the Author] Marc Sachnoff is a two time Emmy Nominated television writer/director/producer who now leads an education reform nonprofit in the Seattle, WA area. He has been collecting mechanical musical instruments since purchasing his first player piano at age 13. Teaching himself to play piano from player rolls, he went on to have a successful professional music career specializing in jazz, blues, ragtime and stride piano styles. His interests span a variety of music machines from Fotoplayers to nickelodeons, MIDI operated devices to reproducing pianos and modern computer controlled pianos. He is a member of AMICA. He welcomes ideas for this column and can be reached at [email protected] AMICA Bulletin - Nov/Dec 2011 AMICAn in the Spotlight around town Hi Babit south palm Beach, FL 7 october 2011 I Finally Got To Meet The Piano Roll Man by patrick Mascola i was rapping with owner Glenn Easton at his Lighthouse Cove tiki Bar, when my ears pick up an unusual piano sound. it was a familiar piano style that i couldn’t quite place. i looked to the band stand and there was this old 94 year old geezer attacking on al nero’s keyboard with lightening fingers. i asked glenn, “Who the hell is that?” glenn replied, “oh he comes in once and a while. he used to cut piano rolls.” My excitement stemmed from when i was a kid. an aunt had a piano roll piano. it was rolled paper filled with thousand holes that was turned by a foot pump. as the roll would roll, the air would pass through the holes and cause a piano key to strike, playing the melody of a song. the roll had the words type on it and we would sing along. this was fun. i often wonder who cut these rolls. it seemed that every piano key played at the same time. Well, the guy’s name is Hi Babit from Coconut Creek. i went over to him and marvelled at the speed and strength he still had in his fingers. he admitted that arthritis had slowed him down some. and what a charming man. he is still active as a technician and tunes pianos. i am going to have him tune up my grand and keep him at it for as long as possible. What a treat to have a dream come true after 70 years. i finally got to see, hear and meet the, Piano Roll Man. Web Sites of Interest Unusual musical instrument... http://tinyurl.com/3fgcf2t (contributed by Vince Morgan) An Unusual Performance of Ravel's Bolero http://tinyurl.com/6j6m7vg (contributed b y Thad Kochanney) Dangers of labelling CD/DVD discs http://tinyurl.com/2axejo7 (contributed by Vincent Morgan and Hi Babit) Fairground Organs of Cuba http://www.orgsites.com/wa/organito/ (contributed by Art Reblitz) AMICAn Bill Blair with Jay leno http://tinyurl.com/6evorwh (contributed b y Thad Kochanney) Franz Liszt 1811-1886. A European in Thuringia http://tinyurl.com/67dwd5b http://reconcavo.org/?lang=en (contributed by Bill Dean) John Arpin Collection Launch and Celebration http://tinyurl.com/6zqnxjr Fairground organs in Cuba http://www.orgsites.com/wa/organito/ http://tinyurl.com/6g6k4fk (contributed by Art Reblitz) The Eden Palladium carousel (now Ecomusee Carousel) http://tinyurl.com/d6paktp Fur Elise like you've never seen/heard it before. http://tinyurl.com/3fgcf2t (contributed by Vincent Morgan) Friends of Johnny Mercer http://www.friendsofjohnnymercer.com/ (contributed by David Oppenheim) Library of Congress National Jukebox, http://www.loc.gov/jukebox/ William Gaddis' fascination with the player piano http://tinyurl.com/6h3d3ve (contributed by Keith Bigger) Roberts Musical Restorations http://tinyurl.com/clvm2w8 AMICA Bulletin - Nov/Dec 2011 313 2011 Sutter Creek Organ Rally Reporter - Jack Edwards Photographers - Jack Edwards, Darryl Coe & Josh Groeneveld Ardis Prescott John Iles, Philip Wright, Dan Wright, Bob Meyer, Landon Steven Caringella, and Julie Porter This year's Sutter Creek Organ Rally featured some repeat performer's such as Frank and Shirley Nix, Darryl Coe, Lyle Merithew - Sandy Swirsky and maybe a new one or two. Organs were shown from Southern California in the case of the Nix family and Jerry Pell, more locally, San Jose and San Francisco, and from as far away as Dan Danko's Washington State. The rally virtually stopped when a convoy of vintage Dodge Brothers automobiles came through town. I found out later that the street organs caught the fancy of some of the antique car owners, and they made their way from where the cars were parked back downtown to hear and in some cases to crank. As is pretty much always the case, we had a good time, and the street organs were appreciated by all concerned, including the shop owners along Sutter Creek's main street who very much appreciated the influx of shoppers from Sacramento, San Jose, San Francisco and beyond. Darryl Coe Dan Danko Chuck and Peggy Schoppe Jerry Pell’s Bruder fairground organ 314 AMICA Bulletin - Nov/Dec 2011 Call For AMICA Award nominations As Vice-President one of my duties is to chair the nominations Committee for the awards AMICA gives out each year. Please do some thinking about worthy recipients and send your suggestions for nominations for both awards to your Local AMICA Chapter who will then pass those nominations up to me and the awards committee. .Please submit your suggestions to your local AMICA Chapter at your earliest convenience so that, if possible, we can meet the deadline of December 31, 2011 for the nominations for each of the two annual awards to be reach me and the awards committee. Each Local AMICA Chapter should compile the award nominations received from their membership and submit up to three nominations for each award to me and the awards committee. Please try to get the nominations to me before December 31, 2011. Send these nominations to me by email at [email protected] If an AMICA member who is not a member of a Local Chapter would like to nominate someone for an award, please send that nomination directly to me at the above email address. Relevant Award by-laws and a brief description of each of the awards The Awards: Presented in the form of an engraved brass and wood plaque. In addition, the basic registration fee for the annual membership meeting for the year of the award will be waived for each recipient in attendance. The plaques may be accepted by any AMICA member designated by the recipient in the event the recipient cannot be present. The award shall be funded by the AMICA treasury. Mechanism of Awarding: An awards committee will be appointed annually by the President. The committee will be chaired by the Vice-President and have two additional members. The Board Representative for each chapter shall be asked to obtain from the membership of their chapter three nominations for each award each year. These nominations shall be submitted to the chairman of the Awards Committee to arrive no later than December 31st of the year prior to the year the award is to be presented. At that time the committee will convene by mail/phone/email and select the three best candidates by number of ballot and/or outstanding qualifications. The Awards Committee will present the lists of the three best candidates for each award to the Executive Committee who will vote to select the final winners from these lists. The Awards Committee Chair will then have the plaques made up and make arrangements for the presentation of the awards at the next annual membership meeting. leo Ornstein literary Award Presented for contributing in some way in a literary effort to further and promote the goals of AMICA - either by contributions to the Bulletin or by independent books, articles, etc. The contributions must have been made in the past two years. AMICA International Award Presented for contributing substantially to the promotion of automatic music and AMICA as viewed technically, musically, archivally or from the perspective of the general public. Alan Turner Vice-President International [email protected] Chapter news Dixie Chapter President - Walter Gerber Reporter/Photographer - Walter Gerber The Dixie Chapter had its third meeting in historic Savannah Georgia on June 25th. Eight members began the day with a guided bus tour through the historic area. We were quite surprised as to hear about the many events that occurred here affecting early Colonial America. The tour dropped us off at the Crystal Beer Garden for lunch. This landmark eatery has been open since 1933. We re-gathered at David Oppenheim's home along with four guests to hear some of his fine instruments. The meeting was called to order and with no old business a discussion began regarding ways to increase membership with a focus on encouraging younger folks to join. For new business, the Dixie chapter will have a strong presence at the Pittsburg Convention helping out wherever possible. Walt Gerber announced his retirement from Cisco Systems to take up player piano rebuilding full time. After doing rebuilds as a hobby for thirty years his association with Crabb Piano service in Tucker Georgia both as a rebuilder and instructor will help ensure a continuing supply of knowledgeable technicians are available to "keep them playing". Charleston was proposed as a location for the next chapter meeting. After adjournment many stayed to hear more music on David's machines. A great time was had by all. Lee Lanier and David Oppenheim by 1930 Marshall and Wendell AMPICO A AMICA Bulletin - Nov/Dec 2011 Victor,Taylor Crawford,Lee Lanier, Roger Dayton, Guest Frank McDonald, and David Oppenheim standing by Seeburg "L" 315 Boston Area Chapter Danita Gerber and Marie Pendelton Larry Norman engaged in conversation with Roger Dayton, with Jim Blanco and his brother Michael seated, and Frank McDonald David Oppenheim, Guests "Beanie" Barbee and "Bubba" Horovitz, alongside a 1902 Double Comb 15.5 in. Regina Disc music box President - Phil Konop Reporter - Phil Konop Photographer - Phyllis Konop The Summer meeting of Boston Area Chapter was held September 11th at the workshop of piano restorer and member of the chapter, louis Gentile in Quincy, MA. It was a beautiful day and made for a pleasant drive down to Quincy where Louis and his wife Rosemary had arranged the shop for a meeting and set out a large spread of refreshments for everyone to enjoy. After a period of socializing President Phil Konop called the meeting to order at around 2 p.m. Kirk Russell read the minutes from the previous meeting which had been held at Charles Jacksonís Piano Museum in Hopkinton, MA. Treasurer Dorothy Bromage then gave a report and also commented on our membership. Membership over the last two years has ebbed from well over 40 members to currently 36. Our attendance at this meeting, including guests was 16, a number less than 50% of our membership. It was decided that a letter would go out to current, former and perspective members discussing the benefits of membership in the hopes of improving our numbers. Old business turned out to be more upbeat. The “Museum Piano” which we provided the Charles River Museum of Industry and Innovation and was subsequently badly damaged in a flood has been replaced with a very nice Marshall and Wendell upright Ampico that can be pumped or played electrically. The piano came from Charles Jackson and was put in fine working order by Louis Gentile. The piano is circa 1920 but looks almost brand new. Charles and Louis delivered the piano to CRMI where it was well received. Following the meeting Louis gave us the background as to how he got into the business of restoring pianos. His shop has a “kid in a candy store” effect on piano enthusiasts. It contained 60 pianos waiting to be restored or picked up by owners. As part of Louis’s business he has to dispose of derelict pianos and he has removed and saved many of the iron plates or partial plates with the brand names inscribed on them. These make for a spectacular display on the workshop walls. We were happy to welcome guests Bill and Mollie O’Connell from Worcester, MA and Bob Cordier from Biddleford, ME. Bill and Mollie had expressed an interest in Amica to Bob Hunt. We hope their interest continues. Arthur “Bubba” Horovitz, “Beanie” Barlee, David Oppenheim, and Lee Lanier 316 Rosemary Gentile our Hostess AMICA Bulletin - Nov/Dec 2011 Louis Gentile tells about his shop Tom Ahern at one of Louis Gentile's newly restored players Kirk Russell , Bob Hunt, and Bob Cordier confer during the meeting Louis Gentile's workshop Unique wall display Bob Hunt showing his e-valve system to Davis Kay Dorothy Bromage and Bob Cordier Replacement Museum Piano AMICA Bulletin - Nov/Dec 2011 317 Chicago Area Chapter President - Jerry Biasella Reporter - Curt Clifford The Chicago chapter of AMICA held its August meeting at the home of Marty and laura nevel. The Nevels live in an historic landmark in Schaumburg Illinois built in 1929. When purchased the house was in a major state of disrepair and through their hard efforts they have turned it into a magnificent show place, keeping all the charm of the original builder while bringing it up to a more livable and spacious home. The interior space was totally renovated with some rearrangement and reconfiguration. In this very large 3 story home they replaced 99 windows, added new doors, enhanced original wall moldings, and added art and whimsy everywhere as a wonderful background for their automatic musical instruments and various collectables. This was a fun house to visit and a good time was had by all. The Nevel Collection includes a 1915 Violano Virtuoso Home Model, a 1914 Gabel Automatic Entertainer, a 1900 Imperial Symphonian, a New Century 4 Comb Disc Music Box, a 15.5" Curved Front Regina Changer, an 1870 Orchestral Interchangeable Conchon that rests on its matching table, a 1925 Seeburg KT with flute pipes, Steinway Art Case Reproducing Grand Piano, an 1894 Capital Cuff Box, a Phonograph Lamp, and an 1895 rare and unique 20.5" Kalliope with Bells. The Nevels also collect Gadget Canes and Light bulbs. Our business meeting was conducted by our vice president Richard VanMetre. The secretary's report was read and approved along with our treasurer's report. Under old business Mel Septon reminded us there are still a few of the 2006 convention favors left. Under new business Tim Trager made a suggestion regarding guests and membership. We frequently host guests at our meetings, so it was suggested to request of these guests their contact information i.e. an email address, or phone number. We may then include these folks in some of our future notices to reach out to them as possible new members and to make them feel welcome. Warren and Barbara Stiska mentioned that members might be interested in attending meetings of JATOE - Joliet Area Theater Organ Enthusiasts - held locally at the historic Rialto Theater in Joliet. Their comments prompted suggestions that at future meetings members could provide information about other hobby related events that might be of interest to our group. Also, members indicated that they would like to hear about individuals who can restore/repair instruments Ed Lisaukas, who was not present at this meeting, had previously advised that he wanted to share one of his latest discoveries - parlorsongs.com - the web site for The Parlor Songs Association Inc, Preserving Americaís Popular Music History. The corporation was established for and dedicated to the preservation of popular American music and musical culture. Their purpose is to preserve, educate, share and also provide a forum for study/discussion of popular American music and musical culture. At the end of the meeting we once again thanked our hosts the Nevels for allowing us to enjoy their magnificent home and collection. 318 Our hosts Marty and Laura Nevel VP Richard VanMetre conducts our business meeting Members listen eagerly during our meeting AMICA Bulletin - Nov/Dec 2011 The Nevel's magnificently restored home 1915 Mills Violano Virtuoso, Home Model, circa 1915 20.5" Kalliope with 10 bells in custom made walnut case, circa 1895 15.5" Regina Curved Front Automatic Disc Changer Chicago Area Chapter SATURDAY – OCTOBER 29, 2011 President - Jerry Biasella Reporter - Curt Clifford About 64 people attended the chapter meeting in the home of Kathy Stone and Mel Septon. Their beautiful new home provides a perfect background for their automatic musical instruments and plenty of space for the group to mingle. Their 9’6” Steinway Duo Art is 1 of 10 made and 1 of only 2 left with the original mechanism. It has 2 pumps, 2 motors and a factory designed special stack for extra loud capability. In addition to the piano, the couple has a beautifully restored Seeburg G, 2 musical boxes, a victrola, and a violano on loan from Marty Persky. All instruments provide joyful noise. President Jerry Biasella called the meeting to order, the minutes of the August 13, 2011 meeting were read by the secretary and approved by the group and Kathy and Mel were thanked for hosting our fall meeting. Joe Pekarek reported that the Chicago Area Chapter ended 2010 with 75 memberships (124 members) which reflects a slight decrease for the calendar year. As of today we added 3 new members. Mel Septon advised that we still have for sale 4 Nipper dog favors and 4 piano roll favors of the Chicago Blues. VicePresident Richard Van Metre put out a request for hosts for 2012 meetings. We would like to have 4 gatherings next year. Members were reminded that our 2012 annual convention will be held in Pittsburg and a lot of fun activity is being planned. Tim Baxter, our international president, is actively promoting this city. After the formal meeting we had a special treat. Beverly Chatfield, one of the guests, played Brahm’s Ballade Op 118 No. 3 for the group. She and the Steinway were both superb. This was followed by a piano roll - “Procession of the Sarder” one of Mel’s favorites which also showed the capability of a great piano. 18.5" New Century 4 comb disc music box, circa 1903 The Lamp Phonograph Our hosts, Mel Septon and Kathy Stone with their 9'6" Steinway Duo-Art with dual pump AMICA Bulletin - Nov/Dec 2011 319 Halloween Greetings, carved by Maria Bronson Secretary Carol Veome reads the chapter minutes An unexpected guest dances up a storm President Jerry Biasella and Joe Pekarek Seeburg G Guests enjoy an excellent catered dinner Mills Bow-front Violano Virtuoso Upright player with a new form of right hand accompaniment Mel and Kathy's new home Cont’d on page 335 320 AMICA Bulletin - Nov/Dec 2011 2011 Annual Reports President's Report: Treasurer's Report This has been a good year for AM/CA. While we all know that membership is not as robust as we would like, we have several chapters whose meetings and attendance would be the envy of any enthusiasts' organization. Stated another way, membership can never be just about numbers; we must look as well at the commitment of the members we have and the quality of our events. In this regard, A MICA is indeed healthy and thriving and A MICA continues to be a vital part of the lives of its members. I am enjoying serving as your president and am grateful for the high-quality officers you have elected to help me. I would like to give special thanks to John Motto-Ros, who is gracious enough to act as my "sounding board" on numerous issues, and to Terry Smythe, who works so hard to give us a bulletin that has so much rich content. The President's Award this year has been awarded to Bob Taylor of Columbia, Missouri. Bob's accomplishments include, but are by no means limited to: (1) being a vital part of AMICA at the local and national levels, both by hosting meetings and serving as a technical resource; (2) placing mechanical music in the public eye with his resolution/high fidelity You Tube postings; and (3) providing your President with hours of technical support (including actual component repair!) as to Bob's unique expertise: Aeolian Residence Organs. Bob's help has enabled me to bring "on line" the 116 note player mechanism of 55 rank Aeolian Residence Organ at the Callanwolde Fine Arts Center here in Atlanta. In the last year I have given numerous public presentations of the organ as a player instrument and have been able to raise awareness of AMICA as a result (and gained some new members). The Callanwolde Organ had its Duo-Art player gutted in the 1960s; the replacement and restoration of same will be the subject of an "Adopt an Instrument" proposal/ will be submitting to the Board. AMICA National had revenue in fiscal year 2010 of $65,748.54. This was 13% less than in fiscal year 2009. The majority of the decrease was due to a decrease in bulletin advertising and no convention revenue in fiscal year 2010. National membership dues in fiscal year 2010 were almost identical to membership dues in fiscal year 2009. AMICA National had expenses in fiscal year 2010 of $75,856.11. This was 37% greater than in fiscal year 2009. The majority of the increase was due to an increase in the printing and postage cost for the AMICA Bulletin, 2010 Convention expenses, and seed money for the 2012 Convention. The total AMICA International revenue (National and Chapters) for fiscal year 2010 was $124,443.66 and the total AMICA International expenses (National and Chapters) for fiscal year 2010 were $135,287.68. At the beginning of fiscal year 2010 the net assets of AMICA International (National and Chapters) were $192,497.73 and at the end of fiscal year 2010 the net assets of AMICA International (National and Chapters) were $181,653.71-a net decrease of $10,844.02. The revenue and expenses for fiscal year 2011 are expected to be similar to those for fiscal year 2010. AMICA International remains financially sound. Respectfully submitted, Timothy Baxter, President Past President's Report This past year has been relatively quiet as Past President. President Tim Baxter seems to have a good handle on things and does not need much advice on matters of concern; although we have communicated frequently via e-mail. I have also stayed in touch with other officers and amica members. As Chairman of the Nominating Committee, it is my responsibility to make sure we have a current slate of officers. presently, all officers are in place with no anticipated vacancies. During my final term as President, I felt it was very important to advertise AMICA, and I put aside advertising funds in the budget. I still feel this is an important issue for AMICA to pursue. My expenses were minimal; therefore, I am not billing AMICA. Respectfully submitted, John A. Mottoros, Past President Respectfully submitted, Joe Orens editor's Report In my role as Editor of our AMICA Bulletin, I have now published 12 issues. I very quickly learned that previous issue were all laid out by our printer in Ohio, but we never knew the cost because invoices always emerged as a one-line total charge. I am doing the layout now, and translating the savings into color pages, something we had very little of in the past. Over the past 4 years, our average cost per issue is still approximately $4,600. Current feedback suggests that the increase in color pages has been favorably received by our members. Member articles are very much appreciated. In particular, articles about restoration of an instrument, including before/after pictures, are particularly desirable. Very good recent examples are those by Ray Fairfield, Stephen Goodwin, Jim Lowell, Peter Phillips, Tockhwock, and Richard Zipf. Such articles are undeniably a huge commitment and difficult to compile on a consistent basis. All members are strongly encouraged to commit to progressive documentation, by photo and text, of future restorations. Columns by various of our members continue to be encouraged. Matthew Jaro's "Nickel Notes", and Ken Long's "Lost and Found" are excellent examples. More are invited embracing such as "A Visit With ......... ", or "The Story Behind .......... " In my role in providing original literature into AMICA's on-library, some 47 documents have been added over past year, with 24 of them emerging from member contributions. There would have been more, but all my AMlCA activities tend to hob- AMICA Bulletin - Nov/Dec 2011 321 ble my quest for new old original literature. The library now contains about 430 documents, making it now a very useful repository for personal research. ln earlier years, AMlCA and related associations thrived through the continuing stream of literary nourishment emerging from Harvey Roehl and his Vestal Press. When it evaporated, we were deprived of that critical nourishment and a gradual decline emerged within all related associations. In recent years, we are seeing a revival of interest in new literature, such as "The Golden Age of Automatic Musical Instruments" by Art Reblitz. Q. David Bowers, author of a number of publications over the years, has recently written a number of new books. As an outright gift, he graciously offered to AMICA a manuscript, "Violin-Playing Machines", co-authored by himself and Art Reblitz, for publication by and for AMICA. I have completed the layout and it will soon be published. He successfully invited a number of grand patrons to make significant contributions to AMICA to help defray total costs. This initiative will somewhat follow in the footsteps of AMICA's publication of the purple Welte book, authored by Charles Davis Smith and Richard Howe. This occurred in the early 90's and AMICA earned a net of $7,000+ for its commitment. An RFQ is in the process of being requested, and upon its receipt, it is expected that AMICA will be asked to commit to an initial expenditure in excess of $10,000, offset in part by donations by Grand Patrons. Q. David Bowers has also authored "An Encyclopedia of Disc Music Boxes" soon to be published, and is currently working on "American Coin-Operated Instruments", also soon to be published. Watch for announcements in our AMICA Bulletin. AMICA member, Bill Edgerton, has initiated an independent reference library of significant interest to AMICA members - Mechanical Music Library, International, Inc.,. Bill is also a member of MBSI, and to get this library started he entered into a contract with MBSI. MBSI has agreed to make its archives available to the MMLI on the understanding that much of it will eventually be digitized, and all of it be made publicly available, dominantly for research purposes. Conversely, AMICA has few physical archives. It does have a digitized on-line library of some 430+ items of original literature in digital format. Some years back, AMlCA donated its physical archives to the International Piano Archives at Maryland (IPAM). I have never been able to determine what is in the AMICA collection at IPAM. I personally donated 25 books to this newly formed MMLI. All are either duplicates or have already been digitized. I am very supportive to donating physical archives to the MMLI, but only after they have been digitized. Prior negative experience with access of such material at the University of Maryland strongly suggest that donations of original literature to institutions should only occur after they have been digitized. Institutions typically excel as caring for and protecting original physical archives, but typically severely restrict access. It is expected that access to the MMLl collection will be much less restrictive, particularly so in favor of our members. 2. That the Board approve in principle the MMLI proposal, Recommendations 1. That the Board approve in principle a commitment to support publication of this "ViolinPlaying Machines". 2011 ... The England Convention is now past, and it was a great trip. 2012 .. .. Pittsburgh, PA. 322 Respectfully submitted, Terry Smythe, Editor smvthe@shaw .ca Membership Secretary Report As of September 15, 2011 we had 1107 members (This number includes Affiliates, Founding Members, Gifted Members, Honorary Members.) Of these 1107 members, 1091 were paying or gifted members. A member can be an individual, a family or an organization. New members and rejoining members: So far this calendar year we have 52 new and rejoining members. We have about the same number of members as last year. Late Dues Payments: The deadline for payments is January 31. Dues notices are sent to everyone in mid-November. Reminder notices are sent in February with a requested late fee, which some people honor. Payment Methods: AMICA accepts cash, checks, credit cards (not debit) and PayPal. This year Robbie Tubbs has been receiving the PayPal notices and forwarded them to the Membership Secretary and to the Treasurer, but this should soon be changed so that PayPal will come directly to the Membership Secretary. Gift memberships have been made available for one year from piano technicians for their clients. Advertising: in the renewal letters a coupon for a free 100 word classified advertisement is included as part of the renewal. Archivist Report Over the last year I have received with great regularity the bimonthly shipments of extra Arnica Bulletins. The amount of Bulletins received greatly exceeds the number needed to fill the few requests that come in from Terry. Over the last year shipments of Bulletins have been made to; France, Australia, Texas and the ice cream parlor in Columbus, Indiana. The initial request for 40 bulletins to each of these foreign counties proved to be very costly so the shipment was reduced to five. Terry has suggested that foreign authors needing extra copies of their articles develop a means of making copies from withn their countries from PDF electronic copies of the Bulletin. The storage of the old Bulletins is becoming a major problem. I give away to every visitor that comes thru as many Bulletins as they will take but that hasn't put a dent in the pile. The officers of Arnica fairly soon need to make a decision on the disposition of these old issues. I am reluctant on my own, to make the decision to take them to a recycling facility but that is eventually what I will be forced to do. Respectfully submitted Tom Hutchinson Convention Chairman Report AMICA Bulletin - Nov/Dec 2011 2013 ... San Francisco, CA. 2014 ... Denver, Colorado 2015 ... Pending confirmation. We need chapters to host conventions in the coming years. It is work, but it is fun, too. No one knows your area like you do, and the best places to go. Really, it's each chapter's responsibility to host in turn, so talk to your chapter members and call Frank if you can do it. We need from 2016 on. Respectfully submitted Frank Nix AMICA honor Roll Report During 2011 I have received the following nominees to add to our Honor Roll: Dr. Frank Adams (Automatic Music Roll Company) Jeffrey Morgan (literary contributions to the Bulletin) Durrell Armstrong (player piano supplies) On a sad note, larry Givens, an Honor Roll member has recently passed away. Any additions, corrections or other information is always welcome to update our Honor Roll list. Respectfully submitted, Tom Stengel Memorial Committee Report The following is the final Memorial Committee Report for the year of 2010. This report includes activity from August 2010 through 10 March 2011. Memorials Received By Sandy Swirsky With Membership Renewals Memorial Gift Albrecht. William and Rosemary Olds. Dorothy Andre, Norman Drapkin, Christina Chase, Thomas Spencer, John Bird, Linda Cappel. Ron Chapman, Bill Diamond, Franklin Edwards, John Epstein, Benjamin Glier, Daniel Goldman, Kenneth Howard, Robert Irelan, Wayne Isogai, Norio Jacobs, Eileen Launderville, Joseph Linker, Jack Metcalf, Peter Palmer, Tony Tracey, Ed Tyler, Charles In Memory Of Derald Kirlin Whitney, Bill Willing, James Lange, Lloyd Barret, Andrew Rutoskey, John & Elza. Dennis Ubreita. Javier Tom Grace & Jerrv Doring Total donations to the Memorial Fund are $621.00. Thank you letters have been written to all donors and acknowledgement letters that a memorial donation has been given. have been sent to the families of memorial recipients. The Memorial Committee Chairman has sponsored all postage as a contribution to AMICA. Respectfully submitted Ray Dietz, Chairman Website Manager Report Our visit counter now reads 89,259. Compared to last year's reading of 76,121 we've had over 13,000 visits to our website this year. This averages to 36 visits per day. The major improvement made this year was to standardize the way the "Historic Video" is handled on the MembersOnly area. My changes now allow computers of any kind (Windows, Apple, Unix, hand-held etc.) to be able to view the videos, whereas this was not the case before. I was lucky enough to have the owner of the MMD, Jody Kravitz help me accomplish a tricky section of necessary programming. The project took me about 10-hours total to complete. Additional functionality is the ability of a visitor to translate the webpage into any number of languages, making the website truly international. In the heading of each page is a pulldown list of languages the user can choose from. This improvement should assist non-English speaking visitors to enjoy our content and learn more of what we're about. Jack Edwards in San Jose continues to field inquiries from the site. Terry Smythe in Winnipeg continues to provide new content to the "Original Literature" section of the MembersOnly page. If you haven't visited lately, please go to www.amica.org, and take advantage of the great documents, movies and sound recordings found only in our Members-only area. The login Name and Password to this exclusive area is located in your latest Bulletin at the top of the masthead. Karl Ellison, Website Manager Founding Chapter Report President: John Ulrich Vice President: Karen Simon Secretary: Bob & Bonnie Gonzalez Treasurer: Lyle Merithew & Sandy Swirsky Reporter /Newsletter: Jack & Diane Edwards Board Rep: Lyle Merithew & Sandy Swirsky The Founding Chapter, which includes Northern California and Western Nevada, has 56 paying memberships, 78 individuals. Our total treasury is $4,888.16 as of 8/31/2011. This year we held six meetings. They were held at the homes of: Julie AMICA Bulletin - Nov/Dec 2011 323 Porter, Roy Powlan, Bruce Grimes & Tockhwock, John Ulrich, Bob & Bonnie Gonzalez and Richard Reutlinger. We also supported the Organ Rally in Sutter Creek. The Founding Chapter is sponsoring the 2013 Convention in San Francisco to celebrate the 50th Anniversary of AMICA. We are working diligently toward that event. We hope to see everyone there ! Respectfully submitted Sandy Swirsky and Lyle Merithew, Board Representatives Chicago Area Chapter Report In the Chicago Area Chapter we ended 2010 with 75 memberships (124 members) which reflects a slight decrease for the calendar year. We gave a $1000 donation to the Sanfilippo Foundation which donates to local and national charity organizations. Our 4 meetings were all quite different this year with a good turnout for each one. We waited for spring this year to insure good weather before we began our meetings. On May 16th about 25 mechanical music aficionados joined many others for a delightful afternoon concert at The Polish Museum of America in Chicago. This 1935 museum, one of the oldest ethnic museums in America, has a special room filled with Paderewski memorabilia. This special concert was put together by Rex Lawson and Denis Hall, founders of the Pianola Institute in London, and was dedicated to the memory of the late Polish President Lech Kaczynski and his wife, Maria who had just recently died in an airplane crash in Russia. The beautiful 7 foot 1925 Model AR Steinway was provided for the concert by Jim and Wynette Edwards. The piano rolls featured works of Chopin, Liszt, Schubert, Debussy and Schelling along with Ignace Jan Paderewski playing his own creations. In the Great Hall of the Museum the piano resounded impressively and provided a thoroughly enjoyable listening experience for all. Our June 6, a group of 25 was hosted in the home of Margaret Bisberg and Richard VanMetre in Park Ridge, IL. They have a medium size collection of disc and cylinder musical boxes, a Steinway Duo Art piano, and a Victor Credenza phonograph. We enjoyed a great potluck dinner and homemade treats. The discussions centered on the upcoming Union, IL antique phonograph sale, the remaining Nipper dog table favors, and the reissue of Leo Podolsky Ampico rolls. In September Joanne and Jim Tharp hosted 30 people in Palos Park. Their ranch home, decorated in the Arts and Crafts style, comfortably accommodates their 1926 Steinway Duo Art Reproducing Piano (Italian Renaissance style art case) and their 1929 Mason & Hamlin Ampico B Reproducing Piano (heavily carved Louis XV walnut case). They also have some 1960s hi fi equipment which includes a JBL Paragon stereo speaker and some interesting model cars. Members brought side dishes and desserts to the table. The Buffalo, NY convention news was shared and the discussion centered on future meetings. In December 141 attendees came to our holiday gala at the Sanfilippo estate in Barrington, IL. In the late afternoon the party began in the house where we were greeted on arrival with holiday music. Two spectacular new additions, the Hupfeld Helios ill/39 orchestrion and the 84 key Mortier Astrid cafe organ, were featured in the theater. After a brief business meeting around 5:30PM in the theater, we were treated to the party's high324 light, a live holiday concert on the 5 manual 80 rank Wurlitzer by acclaimed theater organist, Jelani Eddington. Festivities then moved to the Carousel Pavilion for more music, wine and a holiday buffet dinner in the midst of the 1890 Eden Palais Salon Carousel and 24 fairground and dance organs. In addition, the Steam Engine Gallery featured many beautifully restored marvels of the industrial revolution. The colossal 110 key Gavioliphone with resurrected angel trumpeters, maiden harpists and winged lions delighted us all with more concert fare. A good time was had by all. Carol Veome, Chapter Secretary heart of America Chapter Report The Heart of America Chapter held three meeting in 2010 because a spring meeting had to be cancelled. Our first meeting was an organ rally held at Gage Park in Topeka, KA hosted by the Bechmans H.C. and Marlene. We had approximately 30 participants who brought 8 street organ and one accordion to perform at the park. As part of the event we had a train ride around the park and a free ride on the carousel. Later that evening we had a dinner at a local steakhouse. The meeting concluded with a breakfast and chapter meeting at the Bechman's house. Our second meeting was in conjunction with an organ rally at The Deanna Rose Children's Farmstead in Leawood, Kansas. We had ten street organs and one large organ participating. That night some of us attended Ed a dinner theater performance in Overland Park, Kansas. The next morning we had a breakest/ meeting at Trudy and Greg Moffitt's house. Our third meeting was a split meeting held in December at Harold Engelhaupt's house on Saturday and Doug Cussick's house on Sunday. There were 38 participants for the happenings at the Englhaupts. We began with a mart on Saturday morning which represented a departure from what we usually did. This was followed by a partially catered and partially prepared dinner. The evening was topped off by our infamous gift exchange which at times can become quite raucous. On Sunday we meet at Doug and Barbara Cusick's house in Leawood, Ks. 45 of us spent several hours listening to the Cusick's large collection that included a variety of band organs, a Hupfeld B Violina-Phonolist, a 1928 Mortier 84 key orchestrion ,and a Mason-Hamlin reproducing piano. We then had a marvelous brunch prepared by Barbara Cusick with assistance from several other members. We had a brief membership meeting followed by more listen to the Cusick's many instruments. Respectfully submitted, Gary Craig, Board Rep lady liberty Chapter Report John Dousmanis, President (646) 638-2201 Vincent W. Morgan, Vice President (718) 479-2562 Maryam Morgan, Treasurer (718) 479-2562 Vincent & Maryam Morgan, Board Reps. The Lady Liberty Chapter currently has 51 families (74 individuals) up from 44 families (68 individuals) in 2010 who AMICA Bulletin - Nov/Dec 2011 have paid their dues for 20 I I. We have been asked what our secret is for getting new members. It is simple, members inviting friends to meetings. We also have membership applications and old AMlCA Bulletins on hand to give to guests. That's it. In the second half of 2010 we held meetings at: the home of Bill and Ann Edgerton on Sept. 11th and at the home of Glenn Thomas and his wife, Kim Kleason, on Dec. 11th. In the first half of2011 our activities included: 1-A rare outdoor treat of the Pratt Institute's steam calliope on March 19th, 2-A meeting at the home of Vincent and Maryam Morgan on April 23rd and 3The second annual organ rally at Nunley's Carousel in Garden City. The meetings at Edgertons and Morgans featured as our special guest, Hi Babit. His memories, stories, ability to adlib on the piano and his timely jokes held us spellbound. In fact, at the Edgertons Bill had to ask Hi for permission to show off his many wonderful instruments. The outdoor event with the steam calliope at Pratt Institute in Brooklyn was the first time that the calliope had been used outdoor except for New Year's Eve. People came from 3 blocks away to find out what was making that strange and VERY LOUD music. Quite a few of them lined up to try their hands at the keyboard. Most were stumped at the time delay between pressing a key and the sound. However, one professional pipe organist was able to overcome this, having experienced similar delays on pipe organs. Others finally figured out that they had to just play and not listen to the music themselves. It was a wonderful and fun-filled event. The organ rally is the one that wasn't. Not one of the organs showed up whose owners promised to be present. However, Vincent Morgan did take his Castlewood busker organ and was able to persuade people to crank a few tunes. We also sold piano rolls at 50¢ each or 3 for $ 1.00 and gave people copies of the AMICA Bulletin. Later we were given a free tour of the Long Island Space Museum. Someone in NJ donated 750 player piano rolls to the Chapter. Those who attended the meeting at the Morgans were able to take their pick for a donation to the Chapter. Some members came a couple days early to find special gems. Others picked some out at the meeting and even came back later for more. 45 of them were donated to a missionary couple in Montreal who use a player piano in their ministry. There are still about 150 available. In December a single ballot was cast for all officers to remain in their respective positions, with a unanimous positive vote. Respectfully submitted, Vincent & Maryam Morgan, Lady Liberty Board Reps. Midwest Chapter Report President- Don Johnson Vice President- Liz Barnhart Secretary- Hilda Merchant Treasurer- Alvin Wulfekuhl Reporter- Christy Counterman Board Rep- Liz Barnhart The Midwest Chapter has 60 family memberships. Any- one is welcome, but our main area is Ohio, Indiana, Michigan and Western Ontario. We convened a chapter meeting in the Atrium of the Genesee Building during the Buffalo Convention with 16 members in attendance. We discussed our future meeting sites as well as other business. Our Fall Meeting hosted by Don Johnson and Bob Andersen was in the Detroit, Ml area on Sat-Sun., Oct. 23-24. We toured Woodlawn Cemetery with the help of lra Grinnell, who told us about his grandfather and gave us insights into his life and piano business beginning in the early 1900's. His efforts in promoting music education in Detroit helped make player pianos popular in Michigan. Our guide was very convincing, but we later found out he was an impersonator and a friend of Bob and Don's. We visited the grave of Richard Storrs Willis who wrote, "It Came Upon the Midnight Clear" and sang his song in his memory. We saw the elaborate gravestones of many Motown artists and the memorial stone for Michael Jackson. Also included, were crypts of early automotive pioneers like Horace Dodge and Edsel Ford. Saturday evening was an Octoberfest celebration at Don and Bob's with the singing of German songs around their 1917 Schumann 88 note piano. On Sunday morning we returned to Don and Bob's for a delicious brunch and business meeting. Our Spring Meeting was held May 7-8 in Columbus, IN. We started with a bus tour of many National Historic Landmarks in the area and ended back at the Visitors Center where we enjoyed their beautiful collection of Chihuly glass. We then went to Zaharakos' Ice Cream Parlor and Museum for dinner and enjoyment of their beautiful music machines. During dinner we were serenaded by Hugh Mcintire on his player accordion. Across the street from Zaharakos' was a city building being used for a high school prom. We were unexpectedly treated to 2 hours of a parade of teens arriving for the prom in every sort of vehicle available (limos, convertibles, Army trucks, hay wagons, semi cabs, horse and buggy carriages, etc.). They circled the block at least 3 times before alighting to go into the prom and many townspeople were there to enjoy the proceedings. Our business meeting was held at the hotel on Sunday morning. Our next meeting is planned for Traverse City, Ml in October. Respectfully submitted, Liz Barnhart- Midwest Chapter Board Rep northern lights Chapter Report President - - - - - Paul Watkins Vice President Secretary - - - - -Mark Kraabel Treasurer - - - - Barb Watkins Reporter - - - - - Jerrilynn Boehland Board Rep - - - - Paul Watkins Our local chapter holds three to four membership meetings and/ or events with attendance ranging from 10 to 20 people. On a national level our membership surpasses local participation. With MN, N & S Dakota and Manitoba we have a total of 35 single and/or family memberships (+/- 55 people). Some national members don't participate locally while others participate only through MBSI. Christmas is the best attended and it has been a AMICA Bulletin - Nov/Dec 2011 325 Visit our website for a complete list of items to be offered at auction. +1 519 352 4575 6334-14_MH12_MusicBox.indd 1-2 +44 (0) 20 7851 7070 info @ rmauctions.com www.rmauctions.com 11-10-13 4:10 PM member hosted party each year. Our attending members prefer the "hosting" of meetings, but in looking at what other chapters do 1 notice a considerable amount of festivals, rallies, museums, theaters, etc. Some are even two day events covering both Saturday and Sunday. This is evidently an area for further consideration by our chapter. Another consideration would be more advanced planning of meeting dates and sites. Usually in the early spring Don Barton of Barton Player Piano Co. hosts a Piano Roll Flea Market and Silent Movie/ Organ Concert. This was year eleven and it was a March Saturday enjoyed by customers, families looking for adventure and newbies. We're fortunate to have Don as a participating member. He is a player piano rebuilder/technician who has been active in our local chapter for many years. We often participate in a Phipps Center For The Arts organ concert in Hudson, WI. This year it was an early summer June event, but many times it's Winter or Spring. They have outstanding concerts played by leading organists and we combine that with an AMICA meeting and lunch or dinner. They have a wonderful Wurlitzer Theater Pipe Organ with an attached Wurlitzer Grand Piano which helps to attract some very good performers Summer in Minnesota is almost sacred and it's wrapped into twelve (1 2) weekends that start with June, July and end with August. Doing group events during this time is hard to plan because outdoor activity is at a premium. However, a boat ride in late August or early September should be OK, but those three months are close to being sacrosanct. Our Christmas 2011 plans have yet to be established. Several people may be interested in hosting our year end event, but nothing has "come to the fore." However, we finished 2010 with a delightful Christmas Party hosted by Randy Hammond at his home in Brooklyn Center, MN. We held the party a little later in December than usual because he wanted some extra time to "spiff up a bit." Randy was a gracious host and we all enjoyed his extensive collection of phonographs, pianos and antiques. Our afternoon was spent in conversation and music from Randy's 1923 Fisher Ampico-A grand and his 1920 Steinway Duo Art upright. He also has a 5'8" Mason & Hamlin Ampico that's awaiting restoration. A nice surprise was Terry Smythe appearing with Christmas presents after making his trek from snowy Winnipeg. Terry presented a DVD to each Chapter member on "The Art of Piano," which contains rare archival footage of many reproducing piano artists. Randy provided a sumptuous buffet and members brought complementary dishes. We toured the house, played records and music rolls and closed out the Winter daylight hours in Randy's warm and cozy musical environs. Submitted by Paul Watkins, Chapter President. Southern California Chapter Report Our chapter is alive and well, and has an active agenda. We have had meetings at the homes of Mike and Marilyn Ames, joint meeting with MBSI), the Christmas party at the lovely home of Dana Bashor, a joint venture as always with MBSI, and in February we were fortunate to have a meeting at the home of Fred and Deanna Roth. April found us at the home of Frank and Shirley Nix. In June we traveled to the Dana Point home of Mike and Kathy Choate. It's really appreciated when people open their homes for a meeting. 328 We won't have a meeting in August, since the Convention starts then. We also had organ rallies in Sutter Creek, Long Beach and the Los Angeles Arboretum. These were all very successful and a lot of fun. Our Treasury stays pretty solid, with a good balance. Jerry Pell is our President, Mike Choate is Vice-President, hirley Nix is Secretary, Dianne Reidy is our Treasurer, and Frank Nix is our International Board Rep. We're looking forward to another year of fellowship and sharing of this wonderful world of mechanical music. Submitted by Shirley Nix SOWnY Chapter Report The SOWNY Chapter is an active chapter in the Southern Ontario and Western New York area. We have a current chapter membership of22 paying members representing 12 households. Our financial outlook is steady. We have $2,500 in a Certificate of Deposit and $943 in a Savings Account for a total of $3,443 in assets after all2010 convention expenses are accounted for. Chapter meetings were held in September 201 0, December 2010, May 2011, June 20 11, and July 2011 . The December meeting was the ever popular Christmas Party/Meeting, held at Mike and Holly Walter's house. Plans for 2011 -2012 include scheduling Chapter meetings for Spring, Summer and Fall. Respectfully submitted, Glenn Roat, SOWNY Chapter President Texas Chapter Report The Texas Chapter has 51 household memberships, representing 79 persons. The treasures report shows a bank balance 12/31/09 12/31110 $2193.65 $2131.74 The chapter had 4 scheduled meetings in the year 2010. In March, the chapter met in the lovely home of Vance and Judy Kemler in Corinth, Texas, near the shores of Lake Lewisville. They have a 1917 Weber Player Grand Piano, equipped with a CRSP Pianomation digital system, a Symphonium 19" upright, a polyphone 15 1/2" music box, a Bremond 13" cylinder music box with bells, a Hofbrauer Harmonipan pushcart organ, a miniature Ferris wheel band organ, and a Scopitone jukebox and video. Other items include a Scopitone, a Hofbauer monkey organ and a few Edison cylinder phonographs as well as a number of antique clocks. Vance and Judy became interested in automatic musical instruments when Vance's parents, Arden and Charlotte Kemler, College Station, Texas, joined AMICA and MBSI. Our second meeting was held on May 23rd in the home of the late Walter Moore, and his wife Jessie and son Charles. They have a beautiful 1905 Aeolian Orchestrelle Model V, so large they had to add a room to house it. They have a Melodeaux piano which plays from large cardboard folded sheets of music, and a 20 note Gem Roller Organ. They have many types of reed organs, organettes and several music boxes. They have a 1925 Nelson-Wiggen Casino X Nickelodeon and a 1920 Aeolian Duo Art upright piano. Charlie Moore has developed a computerized process for pinning new Cob rollers. Jessie Moore has a beauti- AMICA Bulletin - Nov/Dec 2011 fully displayed doll collection. Some of the dolls have been dressed in authenitic period clothing by her daughter, who is a former editor of a doll magazine. In October, the Chapter had a rare treat, a "grande" meeting in the estate home of Ken Long. Some 63 music aficionados attended. Mr. Long, a former President of the chapter, has an estate home with 3 floors of museum quality instruments and pianos. His collection includes 15 reproducing pianos with Ampico, Duo Art, Welte, or Apollo reproducing systems. A description of the many pianos and instruments can be found in AMICA Bulletin (Nov.-Dec.,2010) pp.394-398. Amica is indeed fortunate to have Ken Long as a member and collector of museum quality instruments. The Year 2010 ended with a wonderful and gala Christmas Party at the home of Sal and Elaine Mele in Dallas. This well attended (32 persons) meeting showcased the Mele's collection. This includes a 1921 Steinway Grand piano with a QRS Pianomotion MIDI system and a 1926 Kranich and Bach Welte art case grand piano. They also have a 1929 Steck Duo-Art reproducing upright piano, a 19th century pump organ, and many music boxes. A fine dinner followed the demos and set the stage for the "Chinese" gift exchange. This was a beautiful finale to the year 2010. Submitted by Suzanne and John McCall Rocky Mountain Chapter Report Jere DeBacker, President Ken Hodge, Vice President Louise Lucero, Secretary Barry Weiss, Treasurer The Rocky Mt. Chapter of AMICA had a good year with Five to Seven meetings - depending on how you count between December of 2010 to October of 2011. We gained several new members, and we have all our members paid and current in the chapter and we verify that they are in AMICA International as well. Our long time member Ben Haass moved back to Colorado from North Carolina, Clara Wingfield moved to Aurora, CO from Kansas. We had AMICA members from Utah, Wyoming, Kansas, New Mexico, Nebraska, and of course Colorado at various meetings through the year. We always welcome guests and encourage them to join our club. December 11, 2010 we were hosted by Bill and Rosanna Harris at their collection of European dance organs, Orchestrions, phonographs and music boxes. We always have a large turnout and this meeting is no exception. We shared a meal and listened to music as we enjoyed the Holiday Spirit. December 12, 2010 we were entertained by Dick Kroeckel with his 9’6" Steinway Duo-Art and his thousands of piano rolls and around a dozen or so of his other pianos. It’s always a feast of music at Dick’s house. Earlier that day we enjoyed brunch and a meeting at the home of Steve McCormick, which is right down the street from Dick’s home. Steve always entertains in the grand style and his Art-Echo piano is something which no one else has. One or the other of his pianos played the whole time we were there. The winter weather was perfect, of course. April 2, 2011 took us to Colorado Springs, Colorado to the home and shop of Art and Jeannie Reblitz where we were invited to view the latest restoration which was a Weber Unika. It was built in Germany in 1917. What a thrill to hear and see an instrument of this caliber and hear about the interesting engineering, design and construction of such a complex machine. Especially for it’s age. It’s really fun to preview these instruments before they fine their new home in a big collection elsewhere. June 25, 2011, we had a most interesting visit to the Carousel of Happiness in Nederland, Colorado. The Carousel has a beautiful working and restored Wurlitzer 125 Military Band Organ. The animals were all carved by our host, Scott Harrison who started this dream many years ago from a gift of a music box from his sister, while stationed in Viet Nam. Scott and his wife and the Carousel of Happiness are a tremendous addition to our state and to our Rocky Mt. AMICA chapter! July 11, 2011 - The Last Harrah at the Harris’ Collection. We’ve all been there - but we are always ready to go again. Always something new, and something else working, and this time the group included members of MBSI, the local antique Phonograph Club, the Rocky Mt. Chapter of AMICA and guests from members of all the organizations. It was a big crowd, a big day, and yet it was quiet relaxed and fun to enjoy and say good bye to this glorious attraction to our club. October 15, 2011 - One Fine Piano and the marriage of two centuries of technology with a Virtual Roll Player System and a Steinway Duo-Art. The home and lovely family piano of Rick England and his wife Jill Seabrook was the focus of our meeting. Everyone enjoyed the time and the piano and the music. This instrument is an inspiration. And Bob Hunt from Maine was there to talk about his work and his development of the Virtual Roll Player System. October 16, 2011 - Our very own Founding Chapter Member, Dick Kroeckel was one of the featured performers at the Paramount Theater in Downtown Denver. The program was called Red White & Blue Ragtime Revue with Dave Wickerham on the Wurlitzer Theater Organ and Dick Kroeckel on the Concert Grand Steinway. It was a great afternoon and nearly as many AMICA members attended as were at our official meeting the day before in Ft. Collins. Boston Area Chapter Report Since the last report, the Boston Area Chapter has met at the historic Slater Mill in Pawtucket, RI (September 26, 2010), in Hopkinton, MA at the residence and piano museum of Charles Jackson (June 26, 2011), in Harvard, MA at the home of Phil and Phyllis Konop (March 20, 2011), and at the shop of Louis Gentile in Quincy, MA (September 11, 2011). On August 13, 2011, a crew from the chapter delivered a piano to the Charles River Museum of Industry and Innovation in Waltham, MA, known as the Watch City. It is a 1920 Marshall and Wendell upright replacing an Aeolian piano that was ruined in a flood. The museum is in an old mill on the Charles River, and in a spring flood, the score was River 1—Museum 0. The Aeolian, restored by chapter members, had been donated in September 2009 as a replacement for an upright that had been in the museum and demonstrated for visitors for many years—but had seen its days. The chapter is committed to maintaining the placement of a piano in the museum, since it is near the entrance and happily demonstrated by museum staff. In 2009, the chapter held its fall meeting there. AMICA Bulletin - Nov/Dec 2011 329 A Visit to the Popper & Co. Showroom by Q. David Bowers Popper & Co. In the 1970s I was co-owner with Claes O. Friberg of the Mekanisk Musik Museum in Copenhagen, Denmark. Located at Vesterbrogade 150 in a three-story brick mansion, the museum was a great attraction in its time, until it closed at the end of the decade. Visitors could see, hear, and enjoy a wide selection of instruments, from small music boxes to large orchestrions, including a Weber Maesto, Seeburg Style H, Imhof & Mukle, and Lösche Titania. Other attractions included an Hupfeld Dea and Steinway Welte reproducing pianos, Encore Automatic Banjo, Monopol “Gnome,” Hupfeld Phonoliszt-Violina, Mills Violano-Virtuoso, and more. Part of the MMM business involved the buying and selling of automatic musical instruments. Claes O. Friberg made a special arrangement with the DDR (East Germany) that allowed him and me to travel unrestricted. If I recall correctly, there were three types of passes available to Danes and Americans: a day pass to visit something specific, a longer pass for which an itinerary had to be approved in advance, and an unrestricted pass. The government had an agency that specialized in the acquisition and sale of antiques. If a citizen had a music box, Ariston organette, or other small instrument for sale, the government would either buy it outright or make some other arrangement—and move it to a central warehouse. If someone had a Hupfeld Sinfonie Jazz 19, Popper & Co. Gladiator, or other large instrument, a government agent would take a picture of it and send it to Claes. He would then visit the owner on his next trip to East Germany and make an arrangement with the owner to buy it. The government collected a fee of some sort. Although Claes went there many times and bought a lot of things—mostly table top music boxes by Polyphon, Symphonion, and Kalliope, plus many other lesser-known makes. I made several trips in which we took time to track down old-timers in the business, look through former factory buildings, and the like. On one such trip to Leipzig we spent part of a day with Hanns Popper, a son of Hugo Popper, who directed Popper & Co. Popper & Co. was founded in Leipzig in the early 1891 as a wholesaler of small musical goods, mainly for export to the Orient. By the mid-1890s the company made a specialty of disc music boxes and handed the goods of several different makers and had a worldwide clientele, working with other wholesalers and manufacturers. Into the 20th century the company expanded and offered a selection of automatic pianos, organs, and orchestrions. Many of these were sold under the Popper & Co. name, but were made by others. By 1904 the firm was manufacturing many of its own instruments, including roll-operated and barrel-operated orchestrions. The last, driven by weights, found a ready market in many small towns and villages not yet wired for electricity. In 1904 Hugo Popper worked with Karl Böckisch and Edwin Welte (of M. Welte & Sons of Freiberg im Breisgau) in the development of the world’s first reproducing piano—the Welte Mignon. The “Mignon” name was selected, as in French it meant “small,” which it was indeed in comparison to the firm’s large orchestrions. In Leipzig at the offices of Popper & Co. the Welte Mignon was tested and developed and held the registration 330 for the trademark. Hugo Popper was a raconteur of sorts, enjoyed the company of leading musicians, and was highly respected for his enthusiasm, generosity, and innovations. By the end of the first decade of the 20th century Popper & Co. was mak- Q David Bowers ing many of the instruments it sold, rather than depending on suppliers. The Welte Mignon was introduced in 1906 and soon marketed worldwide by M. Welte & Sons. The Popper offices included a recording studio, and all of the early masters were made there. Hugo Popper died in 1910, from “too much of the good life,” his son Hanns said. However, he probably died with a smile on his face. An obituary and tribute appeared the November 21, 1910, issue of Zeitschrift für Instrumentenbau, and an English translation of this (by Claes O. Friberg) is in The Encyclopedia of Automatic Musical Instruments, pages 584 and 585. Popper & Co. was carried on by others and continued into the early 1930s. Its line of instruments was remarkably extensive, with many different models of electric pianos and orchestrions, some of very large size. The Popper & Co. Showroom Circa 1905 Hanns Popper recalled the family business with fondness. During our visit he brought with him several catalogs, all of which I had seen, except a brochure on the Popper exhibit and concert hall at the 1911 Turin (Italy) Exposition and a catalog, Bureaux und Mustersäle der Firma Popper & Co., Leipzig, Reichsstrasse 53-55 (Offices and Display Salon of Popper & Co.) Included in the last were 12 pictures of the Popper showrooms with instruments for sale, circa 1905. Popper & Co. had recently advertised itself as an orchestrion factory and had its own line of models, most of which took paper rolls, but some of the smaller styles used pinned barrels. In addition, Imhof & Mukle, the orchestrion maker of Vöhrenbach, Germany, was well represented in the salon as was the Polyphon Musikwerke. The salon was a magnet for visitors to the Leipzig Trade Fairs held each year. Representatives came from all over the world to inspect instruments that Popper made or represented and made wholesale purchases. Selections emphasized large orchestrions but also included disc music boxes, disc orchestrions, electric pianos, and foot-pumped piano players. The pictures in the album were not captioned. Some comments by the author are included here. AMICA Bulletin - Nov/Dec 2011 A room with five large orchestrions on the right and one on the left, probably by Imhof & Mukle. At the end is drapery on the entrance to another showroom, flanked by torchieres—figures holding lamps aloft. A particularly large Imhof & Mukle orchestrion is against a drapery background. An overstuffed chair is in front of it, comfort for a listener. At the right is a heater and to the far right a telephone or intercom. A table with disc phonographs, each with a brass horn, is the focal point of this room. In the distance are some of the same orchestrions pictured in the picture on previous page. An orchestrion with orchestra bells (glockenspiel) in a lyre on the front is seen to the right. At the left are standing figures on bases, perhaps just ornamental rather than musical? Two orchestrions of unknown make are seen, with a chair between them. Disc music boxes are seen at the far right. Disc phonographs with brass horns are in this well-lighted room. Between the windows is a Polyphon disc music box on a stand, and to the right are two orchestrions with pipes arranged symmetrically, possibly made my M. Welte & Sons, with whom Popper had a close relationship. At the left is a Polyphon Rossini disc-operated orchestrion with a winding crank on the right side. This was introduced in 1904. A 1906 brochure stated that 600 had been sold as of that time. At the right is another Polyphon disc orchestrion. Polyphon disc music boxes in deluxe walnut cases are at the center of a room featuring several orchestrions, including an Imhof & Mukle “Trumpeter of Sackingen” with animated figure at the right. AMICA Bulletin - Nov/Dec 2011 331 To the left is an electric piano with a paper roll visible below the keyboard. To the right is a large piano orchestrion. Popper & Co. business office at Reichsstrasse 53-55. A foot-pumped vorsetzer piano player is in the foreground with orchestrions against the walls. The one at the left has a keyboard and is a variation of the “Tonika” model Popper full page cover ads extracted from the German music trade journal Zeitschrift für Instrumentenbau (ZfI) on the dates shown. 332 AMICA Bulletin - Nov/Dec 2011 Aeolian Duo-Art Pipe Organ Concertola by Paul Morris Some notes about Concertola no.204 Thoughts about the tracking mechanism in concertolas I acquired this wonderful machine in December 2001 from Jim Russell, together with the Aeolian Pipe Organ that was Paul Morris commissioned for Walter Langshaw in 1919. The Concertola, as how the system works far as I am aware, was not originally used with this organ, but These are thoughts based on observations made from rather just part of Jim Russell's large collection of “ Aeoliana” concertola 204 which is an early design front loading player, Jim Russell was selling his collection at this time, and the Conclaimed to be made by Aeolian-Skinner, but thought to have been certola was offered as part of the deal that included the 33 rank Aeolian Pipe Organ Op.1458. I am quite sure that the role of the refurbished by them some years after initial manufacture. I do not claim to have solved every Concertola was to act as “bait” last problem associated with to entice an otherwise reluctant this fairly complicated device, purchaser of what might be but these are my thoughts so considered a huge pile of junk! far. I was so overwhelmed The roll tracking and tracker by what I found in New Hampbar expansion functions are ton then, that I rather failed to effectively combined into one appreciate the scarcity, ingenudevice with two pneumatic ity and desirability of the Conmotors, one of them a double certola amongst all the other motor, and activated by two things that were becoming edge triggers, which are mine that day, and I think it is adjustable by grub screws set true to say that only now, as I into the tracker bar. Both of write these notes, the full joy of the pneumatic motors work on ownership has sunk it. It realwhat was known as the “bally is an amazing machine! anced system” which functions Although the concept without valves. The motors of a Concertola – a device Aeolian Duo-Art Concertola #204, for a Duo-Art Pipe Organ are constantly connected to a capable of being loaded with a vacuum supply via tube no. 25 and collapse until a bleed is quantity of rolls and giving a continuous performance – was opened by tubes connected to the edge triggers, whereupon they probably around for a long time prior to its realization, they seem to have been first introduced around 1927. Because of their remain in a state of balance. These tubes go via cut-off pouches, immense cost, starting at $3000, and the fact that they were made and are only open when the hole in the take-up spool (sleeve when they were, it is unlikely that more than several hundred valve) is closed by roll paper as it is spooled onto it. (This fires were sold. Contemporary opinion seems to indicate that, in the external valve no. 13a which amongst other things applies the hands of the wealthy patrons who first owned them, they often necessary vacuum to open the the cut-offs.) If the system is set misbehaved. No doubt their high quality wooden cabinets were up correctly, this state will have caused the tracker bar to contract all too often later gutted in order to make way for a drinks cabi- to the correct size for the roll paper, and held the tracker bar in a net or the like – something with which their owners would have central position, as indicated by the alignment holes punched at the beginning of the roll. had no difficulty. Initially, the tracker bar is at its maximum length, but as Concertola No. 204 was supplied by the Aeolian Skinsoon as the sleeve valve is closed, the expansion pneumatic (now ner Company, which means that it must have been sold sometime after the merger in 1931. Bearing in mind, however, that it has connected to the vacuum supply) begins to close, and continues the earlier style of control panel, and the likelihood that only one to do so until the left hand trigger is just opened. Air enters set of castings was made anyway, which were then finished as slowly through a small bleed* inside this motor. It then remains required, I consider it to have been made around 1927 and sold at this position, having become balanced. If the roll has been later, possibly having been refurbished after an earlier sale, or spooled on so as to be central on the tracker bar, as it must be, kept for several years as a demonstration model somewhere. It only one trigger is needed to do this, because the tracker bar is would be nice to know. It is probably the only Concertola in expanded and contracted symmetrically by levers operating at England now, and certainly one of the very few that were made both ends of it. At this point, the right hand trigger should have been adjusted so that it will be just resting on the right hand edge that still works. What we do know, however, are some of the rolls it of the roll. Having reached the above state, so long as the roll played during its lifetime, since their titles are still to be found in tracks by itself perfectly, the tracking mechanism has no work to the control panel. I would like to think that these were the last do and will remain inactive. The double tracking pneumatic rolls it played before becoming derelict, I suspect in the 1950s. motor will not move if both triggers are shut (since both are subAMICA Bulletin - Nov/Dec 2011 333 jected to the same level of vacuum) or if both triggers are open (since both are being bled at the same rate) If the roll drifts to the right, opening the trigger pallet will cause the tracking motor to move in such a way as to push the tracker bar to the right, and vice versa. The left hand ear will also cause a very small shift to the expansion motor, but this is kept to a minimum since the bleed in this motor ensures that even when the trigger opens, only a small amount of air can enter, making for a small movement, and insignificant change made to the size of the tracker bar whilst the change to the position of the tracker bar is made. This is my understanding of it. Setting up the system 1. Remove the tube from the sleeve valve, and the drive chain to the spool. 2. Use the grub screws to throw both triggers towards the edges of the tracker bar. 3. Have the concertola on, and call for a roll selected for good condition. 4. Manually wind the roll onto the spool, and check that it is centered, using the alignment holes. If it is not, make it so, by adjusting the threaded rod which connects the tracking pneumatic to the lever arm which moves the tracker bar. 334 5. Now, connect the sleeve valve tube, and the tracker bar starts to collapse. 6. Use the left hand trigger to set the size of the tracker bar, by moving it towards the edge of the paper, using hole no. 172 (the first hole to be cut in the roll) as a guide. This hole should end up centrally over antipenultimate tracker bar hole in the top row of holes. 7. Now, adjust the right hand trigger so it just touches the edge of paper. 8. Stop the concertola, and replace the drive chain. Note to the above: as a result of studying the system, so that I probably understood how most of it worked – it was clear that at the time of writing, none of it was working properly. This was almost entirely due to tracker bar tubing having been put on too tightly, the combined effect of which made the tracker bar and expansion sections almost impossible to move. Lengthening the tubes and going back and thoroughly cleaning the expansion levers had the desired effect, and the system performs almost unbelievably well. Ed Note: Paul Morris may be contacted at: AMICA Bulletin - Nov/Dec 2011 [email protected] Midwest Chapter President - Don Johnson Reporters - Don Johnson. Bob Andersen We enjoyed perfect Midwest Fall weather for our October 22-23 meeting in the beautiful city of Grand Rapids, Michigan. Our first activity was to visit the Gerald R. Ford Presidential Museum. The building and grounds are very attractive. President Ford's entire life is portrayed as well as the events in the tumultuous years of the end of the Nixon era and Gerald Ford's becoming president. Particularly dramatic for most of us was the exhibit with the stairs from the roof of the American Embassy in Saigon where the last of the fleeing Vietnamese and Americans were rescued by helicopter! This exhibit represents the end of American involvement in Vietnam, which occurred during the Ford presidency. Both President Ford and his wife Betty were laid to rest on the grounds of the Museum. Following the Museum, our group moved on to the beautiful Meijer Conservatory and Sculpture Garden. This is a very large and attractive center with excellent displays of plant materials, supplemented by unique sculpture. Of particular note among the sculptures is a mammoth bronze horse designed by Leonardo da Vinci and completed by American artist Nina Akamu with the assistance of a $2.5 million donation by Henrik Meijer, son of the founder of the Meijer store chain. The photo of Don Johnson and the horse gives some idea of the immensity of the bronze statue. There were extensive exhibits of plant material, both indoors and in the outside gardens. We spent a very pleasant Saturday evening over dinner and on Sunday morning gathered for a wonderful brunch at our hotel, followed by our business meeting. Sunday afternoon we toured the Meyer May house which was designed by Frank Lloyd Wright. It has received extensive renovation and a very interesting guided tour was enjoyed by our group. The near-perfect Michigan Fall weather made our visit to Grand Rapids a delight. Enjoying a favorite AMICA activity Checking out the Gift Shop at the Gerald R. Ford Presidential Museum. Meijer Conservatory and Sculpture Garden Midwest President Don Johnson admiring the da Vinci horse in Meijer Gardens. Did Don grow or the horse shrink? Tour leader Bob Andersen outlining the visit to Nancy and Ed Group, Bennet Leedy, Carole and Dan Harrett at the impressive entrance to the Gerald R. Ford Presidential Museum. Dan and Carole Harrett, Bennet Leedy, Don Johnson, Nancy and Ed Group admiring the beautiful grounds surrounding the Ford Museum. Bob Andersen spending a moment with old friends? AMICA Bulletin - Nov/Dec 2011 335 Bob Andersen, Don Johnson, Ed Group, Thad Kochanny, Bennet Leedy, Nancy Group, Carole and Dan Harrett at the Meijer Conservatory and Sculpture Gardens. Alvin Wulfekuhl and Shirley Ekvall in the foreground with all of the group enjoying Saturday night dinner together. The wonders of Frank Lloyd Wright total design. The group gathers outside the Meyer May house to say goodbye after the end of the weekend. Thad Kochanny and Don Johnson discuss the subtleties of Frank Lloyd Wright residence design. 336 AMICA Bulletin - Nov/Dec 2011 Founding Chapter Founding Chapter President - John Ulrich Reporter - Bob Gonzalez President - John Ulrich Reporter - Bob Gonzalez Parking was tight this holiday weekend (3 Sep) in the established older neighborhood where Don ellison’s beautiful home is located. I parked about half a block away. As Bonnie and I strolled toward Don’s home, the sound of the KT Special was heard all around. It was a sure sign of a good musical time to come. Don’s home is graced with a large backyard with a cabana to provide a shady area for food and drink. The guests sat around umbrella-shaded tables to enjoy lunch and chat about the latest instruments to join the Chapter. The weather was sunny and perfect. After lunch and a short business meeting conducted by President John Ulrich, Nan Bostick treated the guests to a concert. Nan is a nationally known ragtime pianist and historian on the topic of women ragtime composers. Gary Schneider, a theater organist with a long career in the Bay Area, sat at the Wurlitzer three manual electronic theater organ and played duets with Nan. Then Gary took over and regaled the party with an hour of popular music of the 1920s and 30s. It was wonderful! Later, many fine Roy Bargy novelty rolls were heard from Don’s 1921 Knabe Ampico grand piano. All in all, it was a fine summer afternoon of vintage music. I wish you all could have joined us. Thank you, Don. The 30th was a glorious October day in Northern, California. Especially on the upper deck of the home of our host’s lovely home, nestled in the Eastern Santa Rosa hills. Bruce Grimes and Tochkwock opened their home for 31 members and shared their three unique Duo-Art grand pianos for the Chapter’s October meeting. Our tour began with the smallest grand piano this reporter had ever seen. A 4 ft. art case drawer Duo-Art grand with the fan expression system. The piano did not always have an art case. Inspired by the art-work on a roll box, Tochkwock painstakingly duplicated the scene in delicate wood inlay. The nine foot long work surrounding the piano case took six months to complete. The tour advanced to a 1910 Steinway grand extended to 7’6” some forty years ago. This piano is equipped with a full top action and a long-play fan system Duo-Art. The case was refinished as a Georgian. The highlight of the afternoon was one of the rare 10’6” Steinway Duo-Arts. This was one of several built to travel the world demonstrating expression pianos. When Tochkwock obtained it, it had been shortened by six inches and was the victim of much abuse. Inapt technicians had discarded original parts along the way. Tochkwock restored the case to its original length and constructed a Duo-Art system for it. It plays beautifully. The tone is superb whether hand-played or roll-played. One of the Chapter members, Frederick Hodges, an accomplished concert pianist, sat at the ten foot Steinway and duplicated several Duo-Art performances. It was marvelous! From outside on the deck, you could not tell the roll from Frederick’s playing. Spencer Chase was on hand as well. He demonstrated his new software designed to add lyrics to midi files by simply tapping the computer keyboard space bar in time with the music. The program inserts word syllables into the file so a midi player can display the lyrics for sing-a-long sessions. The afternoon was way too short for all these activities. Add the fine buffet in the kitchen and you have another memorable Chapter meeting. Founding Chapter leaders Blanche Korfmacher and Richard Reutlinger share a moment with Don's KT Special. The doors were open to better hear it play outdoors. Ragtime pianist Nan Bostic with Rob Thomas and organist Gary Schneider enjoy a shady spot in Don's large backyard. Ragtime performer and historian Nan Bostic begins an afternoon of wonderful music playing Don Ellison's midi equipped Schimmel 6' grand piano. Host Tochkwock extolling the virtues of their one-of-a-kind Steinway D Duo-Art outfitted as a Pedal-Electric grand piano AMICA Bulletin - Nov/Dec 2011 337 (l to r) Newest member Melissa Tillman, Tochkwock and Karen Simons are ready for Trick-or-Treat. Full disclosure: Our host often wears Native American clothing. Our tour began with the smallest grand piano this reporter had ever seen. The “Marionette” graced the cover of our Sep-Oct 2005 AMICA Bulletin. A 4 ft. art case drawer Duo-Art grand with the fan expression system. The piano did not always have an art case. Inspired by the art-work on a roll box, Tochkwock painstakingly duplicated the scene in delicate wood inlay. The nine foot long work surrounding the piano case took six months to complete. Note the model river boat that Tochkwock made entirely out of toothpicks. Host Bruce Grimes busily preparing something very special for their guests. Ed Note: An illustration of the roll box may be seen in the May/Jun 2010 issue of our AMICA Bulletin. Chapter VP Karen Simons with stride pianist Mike Lipskin. While demonstrating their Marionette Duo-Art, Tochkwock displayed a period program in the same art style as the piano and Arto roll box, and appealed for help in identifying the art style. Frederick Hodges handplaying Duo-Art rolls at the 10'6" Steinway D John MottoRos, Darryl Coe and Julie Porter enjoy good conversation out on the deck. Ed Note: Frederick Hodges may be contacted at: http://www.frederickhodges.com Mike Lipskin may be contacted at: www.mikelipskinjazz.com/ 338 AMICA Bulletin - Nov/Dec 2011 lady liberty Chapter President - John Dousmanis Reporters - Vincent Morgan, Keith Bigger and Stephanie Varis On October 1st 7 members of the Lady Liberty Chapter and two guests met at the wonderful restored Victorian home of Phil Jamison and lucille St. Pierre in West Chester, PA. Following a luscious lunch the hostess brought out a delicious chocolate cake in honor of Maryam Morgan’s birthday. She didn’t get to take any home as several people insisted on seconds. However, while the cake was being served, Lucille played an Odin book organ from France, belting out a couple tunes, one of which was “Happy Birthday”. Following lunch we held a brief meeting. The chapter reconfirmed our commitment of sending $500 to the Nisco Museum in Ein Hod, Israel that had suffered severe loss in a large forest fire in the area. Our Treasurer reported that our bank account was moved to a new bank that doesn’t require a nonprofit organization to maintain a minimum balance of $5,000 and that as soon as the new checks would be received that commitment could be fulfilled. Vincent Morgan, our Vice President, reported that in the past several months over 1,000 piano rolls have been donated to the chapter to be sold to people who would provide a happy home for them. Many of those rolls went out in our March meeting. People came by at other times to buy even more of the rolls that were still available. Between meetings many more rolls were donated to the chapter with more people showing up at the house to load up their cars still leaving many to be claimed at Phil's house. There are still more rolls for a future meeting. We suggest a donation to the chapter of $1.00 per roll, but no price is too cheap. Our President, John Dousmanis reported on his rescue of various reed organs and pianos in the past few months. He said that one of the reed organs is one of only 6 known to still exist by the company that built it. Keith Bigger reported on a piano that he had restored about 25 years ago that was up for sale. It turned out that the piano’s first owner was J. Ernest Cutting, who originated the first amateur radio program titled “Airbreaks”. The more Keith inquired of Mr. Cutting’s granddaughter, who wanted to sell the piano, the more it was discovered what an influence this man had on the entertainment industry. He discovered and promoted many people who became famous stars. In his later years he became an accomplished painter of seascapes, one of which was purchased by John Wayne. There will be more, much more, about this man and his contribution to the entertainment industry, player and reproducing pianos, etc. in an upcoming Bulletin article. Following the meeting we were entertained royally by Phil Jamison, first in his home and then in his shop, which is located about 2 blocks away in an old combination barn, carriage house and stable. Phil and Lucille's Victorian house with both gas and electric lighting is magnificent and is a small version of Durward Center’s house in Baltimore. The ceilings are papered with special wallpaper made specifically for that house. Many of the items in the collection are unusual, one of a kind, items that most of us had never seen before. In their home we saw several sand operated automata pictures that did not have music. There was also a picture frame automaton that portrayed a comical scene in the kitchen of a French restaurant where none of us wanted to eat. A young man was licking a freshly frosted cake while a nearby worker was skinning a cat to be roasted and served as rabbit. The cook was stirring something in a pot and others were doing various other comical things. Phil entertained us on his foot-pumped Steinway 65/88note pianola, which was located in the same position as an earlier piano that he once worked on for the previous owners of the house. Then came a Gavioli Meloton hand cranked reed organ that is the size of many small street pipe organs, but had many more notes and sounded like a large fair organ. Also in the house were: a Seeburg K, a French Accordeon-Jazz Orchestrion, a Pierre Eich Accordeon-Jazz Orchestrion, and several barrel organs and music boxes. Once we had exhausted those instruments, we moved 2 blocks down the street and up an alley to the carriage house where Phil’s workshop is located. We first encountered a Jan Van Eyk, 51-key, Dutch street organ. Across the room were: a 1905 Maxwell and a 1921 Peugot in process of being restored to their former glory. There were also a few other items waiting in line for the master’s touch. On the second floor of the carriage house (the level where carriages were once kept) we covered our ears when the Gasparini barrel organ blared its trumpets. On display were also: a small square piano, a Japanese Princess upright piano and a copy of a 7'4", 1772 Backers English fortepiano made by Peter Redstone for Williamsburg. We all had a marvelous time, ending with people raiding donated piano rolls that were in the back of the Morgan’s car. AMICA Bulletin - Nov/Dec 2011 Our hosts, Phil and Lucille 339 1905 Maxwell under restoration Vincent Morgan conducting the business meeting French Accordion Jazz Orchestra Phil demonstrating a Criterion disc music box Phil alongside his Jan van Eyk fairground organ Seeburg KT Orchestrion A portion of Phil’s book and roll collection, and a Gavioli Meloton reed crank organ Aeolian Model W Orchestrelle 340 AMICA Bulletin - Nov/Dec 2011 Southern California Chapter Phil demonstrating his Steinway pedalelectric Duo-Art piano President - Jerry Pell Reporter - Shirley Nix Photographer - Lowell Boehland A good crowd of AMICA members joined neighbors and friends of Jerry Pell and Diane Minzey in Wrightwood for the last meeting. Jerry had picked just the right time, since it was a lovely day with great views of the mountains and big trees. The next weekend snow fell and there would have been no meeting. Phil and Lucille’s home Our hosts, Jerry Pell and Diane Minzey in front of their Nelson Wiggen Pian-O-Grand style 3 orchestrion Phil’s shop 2 blocks away Diane had, as usual, put out a fine assortment of food and we were greeted by the wonderful Artrio-Angelus piano, of which Jerry is justifiably proud. This piano plays classical or pop tunes with equal aplomb, and can play 88-note rolls as well as the Artrio Angelus rolls, and is one of only three in California known to be playing. We enjoyed listening to it as we waited for the rest of the group to arrive. Phil proudly in front of his shop entrance Diane Lloyd, Marilyn and Mike Ames, Dave Reidy and Bob Lloyd When everyone was there we went downstairs to the treasure trove of instruments there. The largest and probably the gem of the collection is Jerry’s Bruder organ. This is a wonderful instrument, and we really enjoyed listening to it. Jerry and Diane have a nice assortment of instruments, including (but not limited to) Wurlitzer 103 and 125, and assorted others. They all were played, and filled the air with music, which we all enjoyed. AMICA Bulletin - Nov/Dec 2011 341 After the meeting most of us went to a local Mexican restaurant, which turned out to have super food, which we enjoyed with gusto. The company of the other attendees was great, too, and we all thank Jerry and Diane for their hospitality in hosting the meeting and arranging the dinner. Our next meeting will be a joint AMICA/MBSI Christmas party at the home of Bob and Diane Lloyd, always a favorite. Jerry and Diane’s lovely home in Wrightwood Lloyd Osmundson tries to decide what to eat, while Robbie Rhodes and Richard Ingram watch. Betty Toth points out the "good stuff" Jerry’s mighty Bruder organ, enjoyed by Robin Biggins, Richard Ingram, Jerry and Mike Choate Jerry selects a roll for the ArtrioAngelus 342 AMICA Bulletin - Nov/Dec 2011 Rocky Mountain Chapter President - Jere DeBacker Reporter - Jere DeBacker Our meeting was a great success with two brand new members attending an AMICA gathering for the first time, and with relatively new member, Rick england hosting only the second meeting he's attended. Plus our special guest from Maine, Bob hunt. We essentially had an open house with our host and hostess providing lovely Continental Breakfast and snacks and lots of music of all types. Following is a scenario of our day. Bob hunt: Bob lives in Maine and is the owner and founder of the Hunt Piano company. He has been restoring automatic musical instruments for almost 50 years. His experience restoring musical instruments, coupled with his professional background as an industrial machine designer led to him developing "The VirtualRoll". Bob completely restored the Duo-Art mechanism in the piano that will be featured at this meeting. He also has been the board representative for the Boston chapter of AMICA. paper Duo-Art roll beautifully and perfectly, as well as regular 88-note rolls, too. The Virtual Roll system only enhances the capability of the player. It is like a modern day Concertola. In addition to a superb Duo-Art restoration, the piano itself underwent a very extensive restoration and refinishing. It looks and plays as well or better than new by hand as well as with the automatic music. Everyone had a chance to enjoy it, too. Rick told us the story of his acquisition of the piano and the restoration. No one else in the family really wanted it, but Rick saw the potential and the beauty in the old mechanism. His mother, upon hearing that he was having it restored wasn't as pleased, because she said "Oh, the men always gathered in under that piano, and we couldn't drag them away from it." It was true again on this fine fall day in Ft. Collins, Colorado. Rick has an extensive book of before and after pictures of the restoration and Bob answered countless questions and gave us an amazing report on the development and future plans for the Virtual Roll System. We enjoyed lots and lots of music on this fun day, almost without stop. The VirtualRoll: The Virtual Roll was conceived, engineered and developed over a 10 year period. It enables roll operated mechanical musical instruments to be played by digital files as well as paper rolls. Most of the music software used with the VirtualRoll comes from original fragile paper rolls that have been optically scanned into a computer and then converted to MIDI note information. All roll data including expression is conveyed to the evalve system via MIDI where it controls the instrument’s pneumatic valves exactly and precisely as the original roll would have. The 1st production VirtualRoll was shipped in 2006 and there are now VirtualRoll systems installed all over the world. In the last two years the success of the VirtualRoll has blossomed to the point that Bob now spends more time building and shipping VirtualRoll systems than he does restoring pianos! See: www.VirtualRoll.com Our hosts, Rick England and Jill Seabrook The Piano: The piano that was used to demonstrate the VirtualRoll is a 1929 Steinway Duo-Art "OR". It was purchased new in 1934 by Rick's Grandfather on the East Coast. The piano probably stopped playing in the late 1950s and sat dormant in New Jersey until 2004 when it was moved to Massachusetts and then restored in 2005/6. The piano restoration was done by Brian Grindrod of East Coast Piano Rebuilding. See: www.EastCoastPianoRebuilding.com and the Duo-Art mechanism was done by Bob hunt. The piano is tuned and maintained by hank lea of Colorado Piano works. www.ColoradoPianoWorks.com This instrument is a stunning example of Steinway's best, the Aeolian Company's finest and the superb craftsmanship of Bob Hunt, Brian Grindrod. It beautifully combines the technology of the 20th Century in the Duo-Art mechanism and the technology of the 21st Century in the Virtual Roll System. The original Duo-Art system is 100% complete and intact and will play a real AMICA Bulletin - Nov/Dec 2011 Bob Hunt, Hank Lea and Art Reblitz 343 Art Reblitz delights in seeing how it all works Room full of top technicians, Bob Hunt, Rick England, Art Reblitz, Hank Lea and Bill Decker Early 20th Century meets 21st Century where the Virtual Roll System tubes into the Duo-Art System The same group of technicians, in and under the piano, of course. L to R Hank Lea (seated), Wayne Irelan, Art Reblitz, Barry Weiss, Don Hein, Marilyn Decker, Bill Decker, Ben Haass, Jere DeBacker, Stephen Weidner (1st AMICA Meeting), Faye Irelan, Pat Moore, Ken Hodge, Bob Hunt, Rick England 344 AMICA Bulletin - Nov/Dec 2011 AMICAns Making Music by Bill Decker Dick Kroeckel On October 16, 2011, The Rocky Mountain Chapter of the American Theater Organ Society presented “Red, White, and Blue Ragtime Revue” at the Paramount Theater in Denver, Colorado. Featured artists were AMICA’s own Dick Kroeckel at the Steinway Concert Grand Piano, and Dave Wickerham, curator and chief organist at the Milhous Museum in Boca Raton, Florida, at the 4/21 Mighty Wurlitzer. Dave and Dick played to a crowd of around 550 including families and 7 busloads of senior citizens. Dave Wickerham and AMICAn Dick Kroeckel The concert consisted of a variety of ragtime selections played as a piano and organ duo as well as solos by each artist. One of the highlights of the show was the beginning of the second half when the twin consoles emerged from the pit with Dave at one console and Dick at the other. Dressed in full Red, White and Blue marching band uniforms, complete with hats and plumes, they wowed the unsuspecting audience with a roaring rendition of "76 Trombones". Halfway through the number, they left their organ consoles, while the organ kept playing using the record/playback system of the UNIFLEX relay, and they reunited at the Steinway to add a piano duet to what the Wurlitzer was playing. AMICA Bulletin - Nov/Dec 2011 AMICA member Dick Kroeckel is a master piano rebuilder as well as an excellent musician. The organ is maintained by a mixed crew of ATOS and AMICA members lead by AMICA member Don Wick. This past summer Don and his crew updated the UNIFLEX relay system and added back the original 2nd Vox Humana which had been previously removed to accommodate a Posthorn, bringing the organ up from a 4/20 to a 4/21. For additional photos of the event take a look at: www.rmcatos.org and look for the "Public Events" page. 345 346 AMICA Bulletin - Nov/Dec 2011 In Memoriam nan Alomong Mike Montgomery Fill not your hearts with pain and sorrow, but remember me in every tomorrow. Remember the joy, the laughter, the smiles, i've only gone to rest a little while. although my leaving causes pain and grief, my going has eased my hurt, and given me relief. so dry your eyes and remember me, not as i am now, but as i used to be. Because, i will remember you all, and look on with a smile. Understand in your hearts, i've only gone to rest a little while. as long as i have the love of each of you, i can live my life in the hearts of all of you. Nan clowning with Bob Hope in earlier years There were no services for Nan, as per her wishes. Cards and charitable donations to a charity of choice, may be sent to her family at her address: Family of Nan Allomong 54 Locust Avenue Oak Park, Ca. 91377-1116 What a loss...... Shirley Nix R Michael Montgomery March 9, 1934 - june 22, 2011 Mike Montgomery was born and grew up in Chicago,Illinois. He attended the University of Michigan and graduated with a Degree in English. He worked at Michigan Bell Telephone Company in many different managerial positions. He married Sue in 1962 and they had three sons. Mike played the piano with The Boll Weevil Jazz Band as well as many other groups. He contributed many, many articles for books and periodicals. He was an encyclopedia of knowledge of early ragtime, jazz and blues. He lectured at the Smithsonian Institute and many other venues. He compiled and published the Rollography Of Columbia and Capitol piano rolls, and was instrumental in enlarging and augmenting the music collection of the Stearns Music Collection at the University of Michigan. He entertained For over forty years at the Dakota Inn Rathskeller in Detroit, Michigan. He was active in many other music related groups. His memorial service was held in Southfield, Michigan at St. John's Armenian Church. It was attended by over 200 people. It was an afternoon of oral and musical tributes, by his many Friends. He will be greatly missed. Nan Flint Ed. Note: Mike Montgomery made it possible for AMICA to acquire the 1925 run of The Music Trades, an important research source now on our AMICA web site. Very much appreciated. ts AMICA Bulletin - Nov/Dec 2011 347 A Tribute to larry Givens by Three of his Friends Q David Bowers, Wally Donoghue and Art Reblitz Photos by Q David Bowers, Wally Donoghue, and Alan Mueller A hobbyist at a Young Age seeing Wally’s car parked on campus, left a note on the front seat. The message said that he would like to meet the owner of the T. He left his phone number and included the mention that he owned a 1915 Model T and would be pleased to show it to Wally. Thus began a friendship that endured for the rest of Larry’s life. Larry Givens, who passed away on August 24, 2011, at age 73, was widely known and admired in the mechanical music hobby. Less widely known were some of his other pursuits. This article is a brief review of his life along with some personal remembrances by the authors, three of his many friends. ContriA Visit to the Musical Museum butions by Alan Mueller have also added much. He was born on May 7, 1937, and after high school Larry related to Dave Bowers that his passion for autoattended, first, the Carnegie Institute of Technology and later the matic musical instruments began when he was with his family on University of Pittsa vacation trip in burgh, studying priUpstate New York. marily journalism and They stopped at the musicology and Musical Museum, a receiving a graduate popular roadside degree in Musicology. attraction in DeansIn addition to his boro. On display musical instruments, were dozens of Larry also had a things Larry had strong interest in never seen before— antique clocks and music boxes, watches, antique and organettes, player classic cars and all old pianos, automatic things mechanical. orchestras, and more. What is amazing is In front of the musehow young he was um a Wurlitzer Style when all these things 125 band organ could started to interest him, be turned on and off in 1952 when he was by a remote switch a young teenager. By and was a siren call the time he was in A Wurlitzer 125 band organ and its proud owner in 1960. to those who passed high school he was a by. The owners, members of the Sanders family, were on hand to very accomplished curator of the things he collected. He joined greet the Givens group and to demonstrate their treasures. Larry the National Association of Watch and Clock Collectors in 1953 asked for explanations of how certain things worked and how at the young age of 16 making him a very early member and rare they were. As the family left, probably no one realized that surely one of the youngest. Larry’s life had changed forever! Antique cars were one of his interests. One of the Upon authors, Wally returning home Donoghue, met Larry started Larry as a result hunting for anyof this. Wally thing available was a student at in mechanical Carnegie Tech in music. By the Pittsburgh and time that Wally was driving his met him he restored 1920 already had a Model T as his display of music everyday transboxes, reed portation. Larry organs, and was also a stuThe Welte orchestrion to the left was rescued other things to by Larry from a mansion being demolished dent at CIT and Larry takes friends for a ride in his accompany his near Pittsburgh. To the right is an impressive about late 1955, Model T Ford, circa 1963. Aeolian Orchestrelle foot-pumped reed organ. collection of 348 AMICA Bulletin - Nov/Dec 2011 clocks. Wally was intrigued, and his life, too, was changed! Soon, he learned more and embarked on his own search. The two continued their friendship, and periodically attended classic car meets together until Wally graduated and went into the Army for a six-month stint. After leaving the Army and moving to Michigan they continued their friendship, visiting each other back and forth. Larry’s treasure hunt continued, with unlimited passion. One of his most interesting finds has been chronicled by Terry Hathaway for his Mechanical Music Press website: Sometime during the early 1920s, Fred Volkman bought a large orchestrion and moved it, along with himself, into the old Slater Hotel, located in Skaneateles Falls, New York, not far from the town of Skaneateles. The Slater Hotel was an old, once stately two-story wooden structure. It had been purchased by “Freddie”, becoming the Volkman Hotel. As the story goes, Volkman had been literally run out of town due to his "socially unacceptable," illicit activities, whatever they might have been. Freddie then set up operations in Skaneateles Falls. The PianOrchestra occupied a spot just inside the doorway in the upstairs grand ballroom. It was a large, almost square, room, with a very high, ornately painted ceiling. Several very tall, stately windows adorned both of the outside facing walls While engaged in his annual two-week summer Air Force service stint at Hancock Field, near Syracuse, New York, Larry Givens heard a rumor of some sort of interesting music machine at the Slater Hotel in the crossroads known as Skaneateles Junction. He drove to that small community, found the building, inquired, and was taken upstairs to a long-abandoned ballroom. There before him was a large and impressive Wurlitzer Style 30A Mandolin PianOrchestra! He opened the doors, looked inside, and was amazed at its orchestral contents. He explained to the owner that his was a music machine that in its day furnished melodies for dancing. “So that’s what that old thing is!” was the reply. “I always wondered what it was.” Further research by Terry Hathaway revealed that the PianOrchestra had been installed in the Curtin Hotel in Auburn, New York, in the early 20th century. These were the glory days Wurlitzer catalog illustration of the Style 30A Mandolin PianOrchestra. The second floor ballroom of a hotel in Skaneateles Junction, New York, where Larry Givens found a long-abandoned Wurlitzer Style 30A Mandolin PianOrchestra (about two-thirds of the way to the right, once in front of the shadowy area in the wall, now with furniture piled there). Photograph taken in 1966 by Dave Bowers on a visit to the site. of large orchestrions, and Wurlitzer PianOrchestras, imported from J.D. Philipps & Sons of Frankfurt-am-Main, Germany, were widely sold in the United States, an estimated 1,000 or so, plus about 300 Philipps Paganini instruments (combining a reproducing piano with ranks of violin-toned pipes). This Wurlitzer Style 30A Mandolin PianOrchestra, superbly restored by Terry Hathaway, is now in the collection of Michael Ames. The Ampico By the late 1950s Larry’s focus had become the Ampico reproducing piano, and he set about learning as much about it as possible. He developed friendships with Ampico inventor Dr. Clarence Hickman and with Ethel (Mrs. Charles Fuller) Stoddard. He was able to obtain copies of photographs taken years earlier of the Ampico research library, the Stoddard home in New York City, and information about the development of the Model B Ampico by Charles Fuller Stoddard. The Ampico reproducing piano was Larry Givens’ first love among automatic musical instruments. By archival research and by interviewing people once connected with the American Piano Company he learned much information that might have been lost otherwise. His 1970 book Re-Enacting the Artist, shares this. His friend Alan Mueller recalled: “In late spring 1994 Larry began sending to a number of his friends a special group of photo's he had taken in the summer of 1965. The group of 14 copied photo's each friend received were views of the Stoddard's penthouse.apartment at 460 Riverside Drive. Typical of Larry, each photo was charted on a layout of the apartment as to the angle of each shot and all the details that he could remember about each. So you saw their love for Oriental decor, their Knabe Ampico B (second one to be produced; Doctor Hickman's Fischer was number one), Following in short order were glossy prints of the Ampico Research Lab and other assorted gems. His note to me stated ‘As an officially designated (by me) Ampico historian, I'm sending you this little present. - If you like the stuff I've sent you before, you should love this! No One else on earth could send it to you. “Vive Le Ampico!!! Best--- ‘Larry” Alan also remembered this: “Larry would often use a quote from an author at the end of some of his longer letters. At the end of one letter about a AMICA Bulletin - Nov/Dec 2011 349 particular difficult time in his life he said: ‘As usual, Edgar Allan Poe says it best: The fever called living is over at last.’ Another time at the end of a letter about the Gourley-Givens MelOdee roll years: ‘I have many pleasant memories, as well as a few no-sopleasant ones. But then, as my mother used to say, ‘Time lends enchantment.’ Perhaps this case is no exception.” Still further from Alan: “On the way to another of his two-week summer Air Force obligations at Hancock Field, Larry had located a Wurlitzer Pianino and called and asked if I could meet him at an old saloon just off Erie Boulevard in Syracuse. He had purchased it and needed some help to move it from the cellar. I found the place, and with the aid of the bartender we inched it up a narrow outside stair with a cement slide for entry of the beer barrels next to the stairs. We were sure it would come apart, but it made it up and into his truck. A box of well-worn rolls also got loaded. After a few beers and much talk Larry was off to Hancock Field and I back to Rochester.” The Collection by 1960 By 1960 Larry had acquired about 250 instruments of all types including music boxes, phonographs, reproducing pianos, band organs, nickelodeons (as coin-operated pianos were called), and orchestrions. These were displayed and cared for at his home in Wexford, on his family estate outside of Pittsburgh. Larry’s grandfather, Mr. De Cesare, was an Italian immigrant. He went into the business, joined by Larry’s father, of demolishing old buildings, many of them in the more fashionable districts of Pittsburgh. Larry recalled that his grandfather decided to Anglicize his surname, and out of a telephone directory picked “Givens.” The family enterprise was very profitable. For Larry it brought the opportunity to visit many fascinating Victorian homes and other structures in Pittsburgh as well as the outlying “society town” of Sewickley Heights and rescue artifacts of interest. Often when these homes were abandoned the owners left behind all sorts of old furniture, pianos, music boxes, lamps, and even large orchestrions. One house contained a Welte orchestrion just sitting on a staircase landing! How amazing this is to recount today. Sometime around 1963 he found a collection of automobile catalogs from the 1910 to 1916 era in Sewickley Heights, really great stuff which he showed to Wally Donoghue. They were just sitting on a closet shelf in one of the mansions. Most were in color and some of the nicest he had seen. Larry took them to the annual old-car meet in Hershey, Pennsylvania, where they sold quickly. His parents were modestly well-to-do and provided substantial storage space in buildings on their property. They were also interested in antiques and the like and understood and appreciated his passion. While we don’t know the financial situation for sure, it is likely that his father helped with funds to purchase instruments that were popping up all over the place at giveaway prices in these very early days. Some could be had for free just for hauling them away and those that required purchase were very inexpensive. Imbued with endless energy and enthusiasm, Larry traveled widely in the Northeast. In the Crystal Tea Room on Main Street in Johnson City, New York, he found and bought a two-violin “Double Mills” that had been purchased by the proprietor, Onofrio Tona, in the 1920s. 350 An October 1956 gathering in the Givens music room. Durrell Armstrong is adjusting the endless roll in the bottom of a Link 2E coin piano with mandolin and xylophone. Larry’s dad Frank is first in the line of observers, then Alan Mueller’s mother, with Larry next—with a Wurlitzer 125 Band organ behind them. Larry’s sister Nancy is next and Alan’s dad completes the group. Larry’s mind was a sponge absorbing everything available about mechanical instruments. As there was virtually nothing in print to help collectors, this involved talking with oldtimers, finding other collectors who were willing to share information, and doing historical research in newspapers, directories, and reference books. The first truly useful reference book on music boxes was by John E.T. Clark, Musical Boxes, a History and Appreciation, published in London in 1948. This told of leading British collectors of the early days, nearly all specializing in cylinder boxes, automata, and the like, with some mention of disc boxes as well. Suitably inspired and informed, Larry acquired some beautiful examples—including a Regina 27-inch automatic disc changer and the largest model made by the highacclaimed Mermod Frères of St. Croix, Switzerland, using 24½inch interchangeable cylinders, in an oak case measuring nearly four feet across. “After I located this music box I drove to pick it up in an old hearse I had in my collection,” Larry recalled in a later conversation with Dave. “When I arrived home my parents thought I had brought a casket with, perhaps, a child’s body inside!” AMICA Bulletin - Nov/Dec 2011 Three friends at Larry’s home in Wexford in October 1956. Alan Mueller is on the left, Durrell Armstrong in the center, and Larry Givens on the right. In later years Armstrong built the Player Piano Company, of Wichita, Kansas, the nation’s most important source for supplies for rebuilding instruments. enthusiastic reception and always learned a lot by the time they departed. He was always a warm and gracious host. Meanwhile, he added other instruments to his display along with posters and other memorabilia. The early 1960s Dick Howe (left), Alan Mueller, and Larry Givens in Larry’s music building, April 1958. The center of attention is a Seeburg KT Special orchestrion. Introduced in 1925, the model became wildly popular and many were sold in the next several years. It uses a 10-tune G (or 4X) roll. The first American book on player pianos, coin-operated pianos, and orchestrions was The Player Piano: An Historical Scrapbook, by Harvey N. Roehl, who lived in Vestal, New York, and was an instructor at the Broome County Technical College. Released in 1958 this was an amateur clip-and-paste effort. To make matters worse, the publisher, Century House Books, of Watkins Glen, New York, printed it on cheap paper, gave it a list price of $3, or more than twice what Harvey thought would be fair, and billed it as a standard reference. (Gee whiz, how prices of books have multiplied since then!) Harvey was very embarrassed about the whole thing. Meanwhile, in Pennsylvania in 1958 Larry Givens visited the store of a leading dealer in antiques, where he met the dealer’s daughter, Suzanne Wilson, who he married a year later. usanne’s father had many valuable connections with other dealers. He steered to yet more instruments. By that time Harvey Roehl and Larry were good friends and had exchanged visits several times. Harvey was a prankster and enjoyed a good joke. In contrast, Larry was on the serious side. One day Larry said that he was engaged to be married, and Harvey should meet his brideto-be on his next trip to Wexford. Without knowing the slightest thing about Larry’s romantic inclinations or about Suzanne, but wanting to kid Larry, upon meeting her Harvey said to Larry: “Is this the wealthy heiress from Cleveland that you told me you have been so excited about?” Well, that did not fit Suzanne at all, but there had been a well-to-do girlfriend from Cleveland. Suzanne ran off in a big huff! Harvey was super embarrassed, but could not undo it. Returning to music, by about 1960 Larry had one of the largest and most varied private collections of mechanical instruments in the United States if not, perhaps, indeed the largest. His name and his collection had become well known and he was becoming friends with collectors all over the country. He also had a great talent for getting any that were not working restored to work as well as new. And, finally, he had a knack for nicely displaying these and all the other things he collected in a way they could all be played and enjoyed. Visitors found a warm and In 1960 Dave Bowers discovered the world of automatic musical instruments by purchasing an 11-inch Regina disc music box for $125 at an antiques show in Johnson City, New York. Soon, he found a copy of Music Boxes, Their Lore and Lure, by Helen and John Hoke. The text was captivating and told of the Hoke family finding a Regina disc-changing music box in an old castle (of all places) and related the story of a huge automatic orchestra, called an orchestrion, rescued from its original location in the Banner Theatre in Los Angeles. A local radio personality, David Greacen, suggested that Dave meet Harvey and Marion Roehl and see their collection. Dave lived not far from the Roehls. A visit was arranged, Dave saw an orchestrion for the first time (a Seeburg G) and many other things. At the time Harvey had negatives and layout sheets and was creating Player Piano Treasury, a fine book about automatic musical instruments—a quality production—that his newly-created Vestal Press would publish in 1961. This was the defining event in the history of collecting such instruments, thousands of copies were sold, and within a few years the number of hobbyists multiplied many times, clubs were organized, prices rose, and other evolutions took place. Among the events, AMICA was formed in 1963. The officers of the Musical Box Society International, formed in 1949 and specifically dedicated to the enjoyment of Swiss music boxes, made it clear to Harvey that members were not interested in pneumatic or electrically-operated instruments. That would change in time, and Harvey later served as president of the MBSI. Dave jumped into the hobby with both feet and was determined to build a fine collection specializing in coin-operated pianos and orchestrions, but with some other instruments as well. Dave, accustomed to writing and research in the field of rare coins (his business since he was a young teenager), found it amazing that there was no in-depth information available on coin pianos and orchestrions, except for Player Piano Treasury, which was great, but did not go into many details. Thus began a search in America and Europe (where Dave went frequently on business) to track down as much information as possible and to acquire instruments as well. He located quite a few old-timers once associated with the industry and conducted interviews with them. Among current collectors, Larry Givens was especially helpful, suggesting sources and also lending printed material for study. “In 1964 Larry was a guest in my home in Vestal,” Dave recalled for this article. “We were seated at dinner, when I asked my son Wynn, age two, ‘Please put a nickel in the Violano.’ He did and the Violano Virtuoso and its accompanying Violano Orchestra cabinet burst into melody. ‘That is terrible,’ Larry said, ‘Your son will grow up not realizing to have all of these things in your house is not unusual.’” And, I guess this was the case, as such instruments were always a part of our family life. AMICA Bulletin - Nov/Dec 2011 351 Dave related when Harvey and Marion Roehl had visitors they would often bring them to Dave’s home a mile or so away so they could see more instruments. Once a collector from France landed in New York City and drove with his wife and young daughter to see the Roehls—first stop on their itinerary. After enjoying the Roehl collection they went to see Dave, whereupon their daughter asked her mother, “Do all homes in America have things like this?” Larry and Dave engaged in frequent correspondence. Larry, who was building a business of making music rolls, often asked Dave questions about business practices as well as concerning the history of coin-operated instruments. Dave had built a large collection of original catalogs and the like, which eventually grew to include the New York Public Library’s run of Music Trade Review and The Presto magazines (Dave paid to have them microfilmed, in exchange) and a full set of the German Zeitschrift für Instrumentenbau (Magazine for Builders of Instruments). Larry told Dave of a Berry-Wood A.O.W. orchestrion for sale in Upstate New York, for $2,000. Dave had never seen such an instrument except as a catalog illustration and was very enthusiastic. Larry said he was going up that way, would look it over on his behalf. Dave said if he liked it Larry could put down a deposit and he would send the owner a check right away. When Larry returned he called Dave, followed up by a letter, to the effect: “I am so embarrassed, and I won’t blame you if you never speak to me again. I asked Jake DeBence, a collector I know, to go along for the ride. He saw the Berry-Wood and made a deal to buy it. I am beside myself and don’t know how I can ever make it right with you.” Larry and Dave moaned about this for years afterward. Dave never interfaced with DeBence again, although he had met him once when he came to Vestal for a visit. The Piano Roll Business As if collecting and restoring instruments were not enough to keep Larry busy, he was immersed in his business of making piano rolls. In the late 1950s he had acquired two original Ampico roll perforating machines from John Morse who had located them on a loading dock at the old American Piano Company factory in East Rochester, New York. The equipment was scheduled to be junked and sold as scrap metal. He also managed to borrow a large quantity of original Ampico master rolls. Larry and a roll perforator, as photographed for Put Another Nickel In, published in 1968. 352 After much preparation, Larry began production in the early 1960s. Wally Donoghue recalled that he initially made recuts of Ampico and Duo-Art rolls, although the first Duo-Art rolls were not 100% satisfactory because the Ampico perforator did not have the very small dies to cut the “snake bite” perforations for the theme valves. Accordingly, these were made with the same size die as the rest of the holes and were too large. Later he had properly-sized dies made and the Duo-Art rolls were satisfactory. Larry also tested various papers for his rolls hoping to find something more durable than what was originally used. He located what was referred to as glassine paper which was apparently used between windings in large transformers and had a tan color. Many readers of the AMICA Bulletin may have some of Larry’s rolls made with this paper. Later he began making new 88-note rolls with the brand name of MelOdee, inspired by an early brand of the same name. In the late spring of 1962 he took in a partner, John Gourley, who was very knowledgeable with respect to music and was a fine pianist. The company was then named Givens and Gourley, Inc. One of the thoughts at the time was that John could become “the J. Lawrence Cook” of the enterprise and issue new rolls of current selections, Wally recalls. The 88-note rolls were not financially successful, in part because the long-established QRS was difficult to compete with. But only in part. Harvey Roehl, who often shared business ideas with Larry, made the gentle suggestion that while using Ampico masters for tunes of the 1930s was nice, a much greater market could be found if the latest popular melodies were issued as well. Larry had no particular interest in doing this. He discontinued the MelOdee brand and concentrated on the Ampico and Duo-Art and also a limited number of Welte rolls. All during this time he immersed himself in trying to learn as much as possible about the history of player pianos in general and reproducing pianos in particular, tracking down those involved with manufacturing the instruments and making rolls. Fortunately, many were still alive. Primary among these people was pianist Adam Carroll, from whom. He learned a great deal about Ampico, other artists, and roll making. Adam and Larry became close lifelong friends and Larry named his first child, born in 1963, after Adam, his full name being Adam Lawrence Givens. Among his lesser-known products was an 88-note player piano roll, Adam’s Arrival, sent to friends as a birth announcement. Later, he and Suzanne had a second child, Mark. (Still later, Larry and Suzanne divorced, and in time Larry remarried, taking Joan as his wife.) With his knowledge of rebuilding player pianos Larry authored a book for the Vestal Press that has become famous in the hobby, Rebuilding the Player Piano. Many tens of thousands of copies were sold, initiating a nationwide boom and excitement in restoring old players. This went into high gear with the Robert Redford movie, The Sting, became popular some years later. Larry also authored another book for the Vestal Press and wrote many features and fillers for the AMICA Bulletin. Articles describing how to cover pneumatics and bellows, clean dirt out of valves and regulate them, etc., had appeared in music trade magazines during the heyday of the player piano, but these were never available to the public, and Larry’s was the first book-length treatment of the subject. Its contents included sections on how a player piano works, rebuilding, specific information on the four major brands of reproducing AMICA Bulletin - Nov/Dec 2011 Piano included a few of the most common tracker scales for American coin pianos and orchestrions, some of which were obtained from the late Durrell Armstrong, and contained errors. In the Seeburg H scale, for example, the lock and cancels functions are reversed (‘flute on’ should actually be ‘flute off,’ etc.). When Terry Borne later had several of Larry’s original H rolls in his possession, he found that Larry had gone through every song, taped over every “loud” and “soft” lock and cancel hole, and then meticulously cut the opposite setting with a razor blade, convinced as he was that every roll was perforated incorrectly because he did not realize that the tubing was connected wrong in in his Seeburg H.” Definition of a True Collector Publisher Harvey Roehl congratulates Larry on the release of Rebuilding the Player Piano, a Vestal Press book that sold tens of thousands of copies and made player pianos popular nationwide. pianos made in the United States (Ampico A, Ampico B, DuoArt, and Welte Licensee), and a little on nickelodeons, reed organs, and supplies. Tracker scales for the most commonlyencountered American reproducing pianos, coin pianos, and orchestrions were also included. As always, he wrote clearly and precisely. Some of the materials he recommended, such as white glue, are no longer considered to be correct, but his instructions helped thousands of people bring player pianos back to life who otherwise never would have had a chance to enjoy them. Art Reblitz recalled: “When I agreed in 1971 to write Piano Servicing, Tuning and Rebuilding, and Harvey Roehl arranged to publish it through his Vestal Press, he stipulated that I would have to supply all of my own illustrations. As we worked together laying out the galley proofs in 1976, he told me why he had required this. When Larry wrote the text for Rebuilding the Player Piano, he didn’t provide any photographs or drawings, so Harvey photographed Marion (his wife) holding pneumatics, trimming the cloth, etc., and then made the line drawings by tracing the photos on tracing paper. He also said he had to format Larry’s manuscript in the largest possible font, on the smallest standard size pages, to make it into a full-length book. “When Durrell Armstrong, the owner of Player Piano Company, learned that I was working on the manuscript for Player Piano Servicing and Rebuilding he called me and asked if I would be recommending the use of any tools or supplies that weren’t already in common use. When I asked why he cared, he said Larry’s recommendation of the use of spring clamps for securing pneumatics to deck boards in Rebuilding the Player Piano precipitated a huge increase in orders for spring clamps when that book first came out. “Larry’s encore, a great little book, Re-Enacting the Artist, published in 1970 by Vestal Press, and dedicated to Charles Fuller Stoddard, should be required reading for every reproducing piano enthusiast. “Larry’s perfectionism and stubborn streak sometimes led to interesting results. The back of Rebuilding the Player Larry’s acquisitions slowed, but he mounted a hunt for that resulted in the aforementioned Seeburg Style H orchestrion. At the time this ornate instrument was not in the “must have” category for collectors, as Harvey Roehl had heard an example and stated in Player Piano Treasury that its musical arrangements were uninspired in comparison to the smaller Style G. (Harvey later changed his mind when he heard some well-arranged rolls on an H, but the book was already in print.) He corresponded with Dave Bowers at length about the H and one he was on the trail of in Canada. Larry had heard a nice one. In a letter to Dave, not to be shared with Harvey, he said that the Style G, of which Harvey was so proud, was in fact quite inferior. Today the Seeburg H is considered to be the ne plus ultra of American keyboard orchestrions. This brings to mind that Larry had strong opinions on many subjects, always expressed with conviction and backed by knowledge—but not always “politically correct.” When he heard that cosmetics magnate (Merle Norman Cosmetics) J.B. Nethercutt, who had one of America’s finest collections of classic cars, was enlisting the talents of Terry Hathaway and Dave Bowers and their Hathaway & Bowers company to build a superb collection of automatic musical instruments, Larry was interested to learn more. This was related to J.B., who treated him to a trip to California. At first Larry was impressed, but later he became critical, telling Dave, Harvey, and others, “This man does not know the first thing about how to restore and maintain these instruments, and he doesn’t know anything about the music arrangements.” Dave remonstrated that J.B. was a fine gentleman, and although he left the restoration and maintenance up to others, including Terry Hathaway and an in-house staff, he did open his collection in the San Sylmar Museum to all visitors and did much to encourage interest in the hobby. Larry felt that a true collector to be worthy of being called such should be passionate about the items acquired and learn everything possible about them. He told Dave Bowers about an enthusiast friend of his who learned of an old Baldwin steam locomotive that was being junked. His friend bought the right to remove the large curved Baldwin name plate—and, fearful that someone might take it, he went in a howling blizzard, stood on a ladder, and detached it. Larry loved that story, a collector defined. When Dave was writing The Encyclopedia of Automatic Musical Instruments in the late 1960s and early 1970s (1,008 pages, published by the Vestal Press in 1971), Larry was a copy AMICA Bulletin - Nov/Dec 2011 353 editor and proofreader. In a letter in this era he spelled the first name of a person as Guiseppe. Dave questioned this, but was not quite sure, and looked it up, than wrote to Larry that Giuseppe, as in Giuseppi Verdi, was correct. Larry turned red, became as embarrassed as all get-out, and said, “Of all people, as I am of Italian ancestry, I should not have made that mistake.” This seemingly trivial and forgettable gaffe remained in his mind for years afterward and he would frequently mention it. In the Encyclopedia manuscript he fixed “mfgr” as an abbreviation for “manufacturer” to the correct “mfr.” Dave insisted on spelling the name of certain Belgian organs as Decap, despite Larry’s saying that it was an Italian name and should be given as DeCap. As to whether it was Italian Dave never checked. Letterheads and printed material in Belgium had it as Decap. Wally Donoghue recalled that Larry had many friends in the hobby. There were some such as Albert Petrak and wellknown race car driver Phil Hill with whom he kept close contact in the early years, but not later. Other favorites included Bill Scolnick, Gerald Stonehill, Ruth Bornand, Lloyd Kelley, Adam Carroll, J. Lawrence Cook, Ken Caswell, Mike Montgomery, Dick Howe, Al Zamba, Dave Saul, Bill Knorp, Steve Lanick, Ed. Fryer, Bob Yates and Peter Brownthis being but a short list. On January 24, 1966, Larry wrote to Wally to say that the MelOdee business had been great in the Christmas season, but had now “slowed down abruptly.” He was using the time to create new master rolls. “We haven’t made any money yet, but sooner or later we will find the pot of gold at the end of the rainbow, I hope.” In the same letter he commented: “Visited Dave Bowers last weekend and really had a treat listening to his stuff. He specializes in big orchestrions, and he just imported an enormous Weber orchestrion from Belgium which is the most amazing machine I’ve ever heard. He knows of a duplicate of it which I am trying to scrape up the cash to buy (unfortunately, it’s also in Belgium!). We will see.…” The orchestrion was a Weber Maesto. Dave recalls that he and Larry dimmed the lights in his music room and spent the best part of an evening listening to dozens of rolls arranged by Gustav Bruder, of Waldkirch, Germany, where the Weber factory was located. “To achieve complete contentment all I would need is a Weber orchestrion, a loaf of bread, and a jug of wine,” he commented. Dave secured for him a near-duplicate, a Weber Solea in a large and impressive cabinet, with instrumentation nearly matching that of the Maesto, less one rank of jazz trumpets. This was a pivotal point for Larry, and he developed a strong interest in learning more about the larger European orchestrions, including those made by J.D. Philipps & Sons and Ludwig Hupfeld. He was already well acquainted with Welte instruments, but the piano orchestrions were new to him. With great enthusiasm he corresponded with Dave about these in ensuing years. Transition Larry’s emphasis shifted. By the late 1960s the prices of automatic musical instruments had multiplied. No longer were Seeburg, Wurlitzer, and other coin-operated models available for a few hundred dollars. Larry bought John Gourley’s interest in the music roll business, probably as profits were minimal and likely John wanted to move on. Larry invited Dave Bowers and 354 Terry Hathaway to come to Wexford, where they bought his collection of automatic musical instruments, less some favorites. These were later distributed to collectors worldwide, where they are prized to this very day. By 1974 Larry had left the roll-making business behind and was seeking regular employment since he was raising a family and was not earning enough to support his life style, which was comfortable, but not lavish. It seems that by then most of the “old money” in the Givens family had been spent or otherwise distributed. Luck was with him. Wally Donoghue recalls that in 1974 the Society of Automotive Engineers was moving its office from New York to Warrendale, very near Larry’s home in Wexford. A number of employees did not want to relocate including the assistant editor of their journal, titled Automotive Engineering. They placed advertisements for job openings and Larry was hired as the assistant editor. His history of writing books and articles, his journalism studies at the University of Pittsburgh, his keen interest in automobiles and his mechanical knowledge all contributed to his being offered the job. He was now in a prestigious position paying well, which he enjoyed immensely. It offered travel to car shows and conventions, meeting automotive engineers, visits to factories and the various manufacturers’ engineering facilities. Some months after Larry started working for SAE as assistant editor, the editor, who had ALS, often called Lou Gehrig’s disease, resigned because his symptoms became bad enough that it prevented him from doing his work. By then Larry had well proven his abilities and was promoted and became editor in chief. This was his dream job and he thrived in it. Unfortunately, in 1981 he was diagnosed with Parkinson’s. However, he was able to productively work until 1986. His final editorial in the November 1986 issue of the SAE magazine was titled “Lightning Does Strike Twice.” He related how his predecessor had to resign because of ALS and now he was resigning because of Parkinson’s. He bid a farewell saying how much he enjoyed being editor. Now he had the time to devote to his main hobby of mechanical instruments, although minus the great collection he had formed. He continued to correspond, even more than formerly, with authors and other friends, continued his pursuit of reproducing pianos and other instruments, their history and occasionally buying, selling, or trading. The “bug” still made him unable to resist a particular instrument, and he would sell something he cared less about to buy a new treasure. He continued to write articles including a lengthy five-part study titled “Five Essays on Collecting” for 1996 issues of the AMICA Bulletin. For the present tribute to Larry his long-time friend Alan Mueller shared some memories of their friendship. Alan furnished most of the pictures used in this article: “Among my photographs is one from August 29, 1993, of Larry and his then second wife Joan with Adam Carroll's youngest son Jack behind. Jack was reluctant to visit Larry because he had ambivalent recollections of his father. Ampico recording pianist Adam was not very attentive to his family, it seems. Jack’s wife Harriet insisted he make the trip from a summer home they had in North Carolina north to Wexford. He had never heard an Ampico and had only vaguely known that his father had made piano rolls. The visit ended up being very emotional for all, but Jack was very happy he had made the trip and got to discuss many things with Larry, a true epiphany. AMICA Bulletin - Nov/Dec 2011 Larry Givens in August 1993 with Jack Carroll, son of Ampico recording artist Adam Carroll, standing behind him and Larry’s second wife Joan to the right. “Larry and I were friends from 1956 on. Sometimes a few years might pass with only a line or two or a phone call, but we remained friends until the end. He was a brilliant person. He alone got the Ampico perforators working in the early 1960s. Like all families, the Givens were complicated but loving people. His Mom was a down-to-earth lady with great common sense. Larry and his younger sister Nancy were rather indulged by their parents, within reason. The family had money gained through the Austin L. Givens Co. demolition company started by his grandfather. All the family members seemed to collect something such as clocks, watches, Chinese ivory, crystal, glass, early daguerreotype cases, and so on. Accordingly, it was natural Larry would gravitate to being a collector also.” Twilight Over the years, Larry was a prolific letter writer, sending lengthy letters continuously to his many friends. Wally Donoghue recalls that his favorite typewriters were the IBM Selectric II and Selectric III. When computers became inexpensive and easy to use, Wally repeatedly tried to convince him to buy one to make it easier to write letters, edit them as they were being written, and store them as files. He also pointed out how it might benefit him to get on the Internet, find information on subjects that interested him and send quick messages by email. His wife, Joan, had and used a computer and had e-mail. Wally would occasionally send him a Larry holding his Honorary Member award from AMICA in 1996 and his often-used IBM Selectric typewriter to the right. message by way of Joan’s email which she would print and give him but he would only reply by “snail mail.” After typing his letters he would often cross out some passage. A favorite way to sign off was “In haste, Larry Givens.” His decline by Parkinson’s was very slow, but for the last three years of his life it incapacitated him although he was completely mentally alert. He had difficulty talking, and finally in 2008 he moved into an assisted living facility in Wexford, with his sister Nancy and children Adam and Mark looking after him. Larry was a true historian and mechanical genius and a great friend to all who knew him. We all miss him and the hobby is much the poorer for his passing. Photo of himself sent by Larry Givens to his friend Alan Mueller in later life. AMICA Bulletin - Nov/Dec 2011 Appreciation: The authors thank Terry Hathaway and Alan Mueller for their contributions to this article. 355 356 AMICA Bulletin - Nov/Dec 2011 ADVERTISING FoR SALE GeneRAl InFORMATIOn ABOuT All ADVeRTISInG In The AMICA BulleTIn The GOlDen AGe of AuTOMATIC MuSICAl InSTRuMenTS. New reduced price — order now! To celebrate our 10th anniversary, Art Reblitz’ award-winning reference is now only $99 plus $5 S/H (single copy USA ground shipment). This book has set a new standard with its hundreds of spectacular color photographs. We guarantee you’ll find it to be one of the most interesting, inspiring, informative books you have in your library—or your money back. Everyone has been delighted, and some readers have ordered several copies. Get your copy today. 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AMICA PuBlICATIOnS ReSeRVeS The RIGhT TO ACCePT, ReJeCT, OR eDIT AnY AnD All SuBMITTeD ARTICleS AnD ADVeRTISInG. All items for publication must be submitted directly to the Editor/Publisher for consideration. neW PIAnO ROll BOXeS - Duo-Art Audiographic series Exactly like the originals! Maroon with Gold Printing, all 3 sizes available! (small & medium are "Top Hat" style) $6.00 ea. Quantities are limited, so get them before they are all gone! AMPICO boxes in two sizes: "Top Hat" boxes (for small rolls with false bottom), and Large (for 3" flange). Black Leather with Gold Printing, Exactly like the originals, $5.00 ea. 88 note roll boxes in two sizes-Large (fits 2 34 flange) covered with Black Alligator paper (Top), Black Leather (Bottom) $3.00 ea. Small (fits 2" flange) Covered with Black Leather Paper (Top), White Litho (Bottom) $2.00 ea. ClASSIFIeD AD RATeS FOR AMICA MeMBeRS: 1-100 Words $20.00 Non-member rates are double for all advertising. DISPlAY ADVeRTISInG Double page color $ 200.00 Full Page color $ 150.00 Double page B&W $ 150.00 Full page B&W $ 100.00 Half Page B&W $ 75.00 Quarter Page B&W $ 50.00 Business Card $ 30.00 Non-member rates are double for all advertising Other repair supplies available- Parchment Leaders, Tabs, Tubes, Flanges, Repair Tissue. Quantity Discounts available. Rich Ingram 626-824-4404 (1-12) [email protected] Special 6 for 5 Ad Offer - Place any ad, for a full year (6 issues), and pay for only 5 issues. Payable in advance. Photographs or halftones $15.00 each. Loose Sheet or Insert Advertising: Inquire Display advertisers supply camera-ready copy. Copy that is oversized or undersized will be changed to correct size. We ordinarily do not prepare advertisements from raw content. PAYMenT: Advertisers will be invoiced. Make check payable to AMICA INTERNATIONAL. Typesetting and layout size alterations charges will be billed if required by professional services. DeADlIneS: Submissions must be received no later than the first of the odd months (January, March, May, July, September, November). The Bulletin will be mailed not later than the first week of the even months. The Pain of Discipline Trumps the Pain of Regret Val Brown I have a Pell Busker harmonette monkey organ for sale. It is in "like new" condition and comes with 2 cartridges (20 tunes each ). It is an electronic player. AC-DC. It has a rechargeable battery. It will play on the battery for about 2 hours or it can be connected to an electrical outlet. There is a Tremulent knob you pull out that makes it sound more like a monkey organ. The former owner Mr Richmond built a metal case for it. Before he passed away, I bought it. I paid $2500.00 and had it serviced about two years ago to reset the movement of (20 pipes 21 note) and to check the electronic system. That cost me $350.00 Years ago I bought a new power plug from Angel Rulli for $25.00. I am asking $3000.00. If anyone is interested, please call herb Mercer at (818) 889-7751 or email. I live in the NW Los Angeles, California USA area. rf [email protected] . Tuning, Servicing & Rebuilding of Pianos, Player Pianos & Pump Organs, Seller of Player Piano & Pump Organ Supplies; Recut Regular Piano, Reproducer Service, Demonstration, Instructional, Advertising Rolls. hechler Piano & Organ Services Owner: Duaine hechler AMICA Bulletin - Nov/Dec 2011 357 1013 Justice Ct Florissant, MO 63034 Website: www.hechlerpianoandorgan.com Online Store: www.hechlerpianoandorgan.com/store eBay Username: hechlerpianoandorgan Phone: 314-838-5587 Worldwide Mailing rf [email protected] FOR SAle OR GIFT - Valuable sheet music collection from 1836 to present. Will give to reputable university, archive, museum, etc. for preservation and historical usage. There are 536 collectable items, including pre-1900 Civil War, WWI, WW2. Included are patriotic , ragtime, dixieland, jazz, popular, waltzes, classical, Soloist, Schottisches, religious, Hawaiian, color litho ET Paull marches, Sousa marches from 1890's, polkas, and 15 song books. I also have a rare 1888 10 1/2 x 13 1/2 603 page Book of Music Manuel with history, biographies, and composer rf portraits in excellent condition. Contact: Jack linker 513-821-1744 [email protected] Rare Rags and Marches - many never available before on any roll - newly arranged. (not a re-issue) "A" roll. Limited Quantities. Plays great on all "A" roll instruments from pianos to Calliaphones. Send $80.50 to Stephen K Goodman, 5731 E Bernadine Dr, Fresno CA 93727-7235 (includes shipping within us). CA residents add sales tax. For shipment outside the US. Hear midi samples at: http://Gnaw-Vol-ty.com rf [email protected] Steinway 6’1” Duo-Art Pianola for sale. This instrument was rebuilt in the early 1970’s. with new hammers, new strings, new covers on the keyboard. The Pianola action was rebuilt by a man named Mr. Valerio at that time as well. The instrument currently is in environmentally controlled storage in Danbury, Conn. Contact : John Buscemi, at 1 781 581 9030. or rf [email protected] Wanted I will pay $50.00 each for the following Stoddard-Ampico rolls by Andre Kmita, in good, clean condition: 4059e - Girl From utah Waltzes 3927D - hesitation Waltz 29901C - Illusion Waltz David Wallis, 547 Marengo Avenue, Forest Park, IL 60130, (708) 366-3103 or [email protected] rf6-11 Wanted: book music for 89-key Gavioli G4 scale, 92-key Decap, 52-key Limonaire, and 52-key Gasparini. Also rolls for 43-keyless Bruder. Also seek popular Aeolian Grand rolls. Send titles and condition to Bill edgerton, 203-857-0240 or rf [email protected] Wanted: American Photoplayer, Steinway Duo-Art upright player piano, ragtime and jazz piano roll collections including original 1900-1940s rolls plus modern and re-cuts such as John Farrell’s JAM and Jazzmaster rolls, Jazz Classics, Hollywood, etc. Disklavier disks. Also buying brass model trains – all sizes/gauges. Contact: Marc Sachnoff 425 298-4385 or rf [email protected] 358 AMICA Bulletin - Nov/Dec 2011 AMICA Bulletin - Nov/Dec 2011 359 PLEASE VISIT THESE SUPPLIERS oF RoLLS Brian Stahl: Piano Ticklers Music Rolls P.O. Box 220, Elizabethville, PA 17023 email: [email protected] www.pianoticklers.com Phone: (717) 599-1369 Joyce Brite: Player Piano and Mechanical Music Exchange http://www.mmdigest.com/Exchange/ http://www.mmdigest.com/Exchange/rollpage.htm email: [email protected] Rob Deland: Blues Tone Rolls www.bluesrolls.com email: [email protected] Phone: (847) 548-6416 Dick Hack: Hack Mechanical Music 2051 Chesapeake Road, Annapolis, MD 21409 email: [email protected] (410) 279-5859 Cell Days (410) 757-2164 Home Evenings Bob & Ginny Billings: Sierra Music Rolls 14010 Rim Rock Drive, Reno, NV 89521 email: [email protected] Phone: (775) 853-4659 Leedy Brothers Music Rolls 4660 Hagar Shore Road, Coloma, MI 49038 www.leedyrolls.com Phone: (269) 468-5986 - Fax: (269) 468-0019 Larry Norman: Rollertunes www.home.earthlink.net/~rollertunes email: [email protected] Phone: (540) 721-7188 Don Teach: Shreveport Music Co. 1815 E. 70th Street, Shreveport, LA 71105 email: [email protected] Phone: (318) 798-6000 - Fax: (318) 797-4572 Robin Pratt: Artists' Choice Music Rolls email: [email protected] Phone: (419) 626-1903 516 Pierce Street, Sandusky, OH 44870-4725 Steve Bentley, SB-"o" Rolls series. Play-Rite Music Rolls 1536 N. Palm St., Turlock. CA 95380. U.S.A. Phone. (209) 632-5784. Fax. 209) 667-8241. email: [email protected] QRS Music Technologies, Inc. 1026 Niagara Street, Buffalo, NY 14213 Phone: 1-800-247-6557 - Fax: 1-716-885-7510 www.qrsmusic.com Magic Melodies 360 Lawless Road, Jamestown, KY 42629 Phone: (270) 343-2061 David Saul: Precision Music Rolls 1043 Eastside Road, El Cajon, CA 92020-1414 email: [email protected] 360 Frank L. Himpsl: Valley Forge Music Roll Company 604 Linnet Road, Audubon, PA 19403 (484)-250-7046 roll shop (610)-291-1841 my cell http://www.valleyforgemusicroll.com Kukral Collection: Welte-Mignon and 88-Note Rolls 216 Madison Blvd., Terre Haute, IN 47803 Phone: (812) 238-9656 email: [email protected] Julian Dyer 5 Richmond Rise, Wokingham RG41 3XH, United Kingdom www.pianorolls.co.uk email: [email protected] John Motto-Ros “Nickelodeon Rolls” “A” “G” “o” Rolls & Boxes 110 Allen Ranch Road, Sutter Creek, CA 95685 209-267-9252 www.johnnysmusicrolls.com e-mail: [email protected] Keystone Music Rolls P.O. Box 650, Bethlehem, PA 18016 Gnaw-Vol-ty Rolls Stephen Kent Goodman www.gnaw-vol-ty.com E-mail: [email protected] Fax: 866-828-2165 D.C. Ramey Piano Company, LLC. 17768 Woodview Drive Marysville OH 43040 708-602-3961 www.dcramey.com email: [email protected] AMICA Bulletin - Nov/Dec 2011 The magnificent Salisbury Cathedral Kew Gardens Our banquet aboard the SS Great Britain. Near are Dorothy Olds, and Bob & Judy Caletti Ken Hodge and Pat Moore admiring the restored machinery at the Kew Bridge Pumping Engine Museum Timothy Stean conducting his unique audio-visual presentation during the Pumper Contest One of many restored antique cars on display at the Great Dorset Steam Fair Shirley and Frank Nix caught admiring one of many fairground organs at the Great Dorset Steam Fair An astonishing lineup of beautifully restored farm equipment at the Great Dorset Steam Fair