Cinema Organ Autumn 2001 by John Leeming

210

£1.50

Autumn 2001

ISSN 0958–255X

Journal of the Cinema Organ Society

Vol. XLIX No. 210

Autumn 2001

RIGHT HAND SIDE OF MANUALS

LEFT HAND SIDE OF MANUALS

SWELL

PEDAL

CHOIR

GREAT

(in a swell box)

TREMULANT OBOE 8 ft CONTRA OBOE 16 ft FIFTEENTH 2 ft OPEN DIAPASON 8 ft ECHO GAMBA 8 ft CONTRA GAMBA 16 ft

TRUMPET 8ft

BASS FLUTE 8 ft

DULCIANA MIXTURE 3 ranks

BOURDON 16 ft

PRINCIPAL 4 ft

OPEN WOOD 16 ft

LIEBLICH GEDECKT 8ft VOIX CELESTE 8 ft OCTAVE

OCTAVE 8 ft GAMBA 16 ft OPEN DIAPASON 16 ft

COR ANGLAIS 8 ft LIEBLICH FLUTE 4 ft DULCIANA 8 ft

COUPLERS SWELL TO PEDAL CHOIR TO PEDAL

GREAT TO PEDAL

SWELL TO CHOIR

CORNO DI BASSETTO 8 ft

TROMBA 8 ft FIFTEENTH 2 ft

PICCOLO 2 ft HOHL FLUTE 8 ft GAMBA 8 ft

PRINCIPAL 4 ft OPEN DIAPASON No.2 8 ft DOUBLE DIAPASON 16 ft

HARMONIC FLUTE 4 ft CLARIBEL 8 ft OPEN DIAPASON No.1 8 ft SWELL TO GREAT GREAT TO PEDAL

Cinema Organ, 23 Aveling Park Road, London E17 4NS. Email: cinema-organ@leemingj.demon.co.uk. Fax: 0870 055 4990

The letter from Cameron Lloyd in the last issue, regarding Maclean, the Trocadero organ and the Blackpool approach has prompted quite a response. Here is a selection of your comments.

Blinkered? From WAYNE IVANY SHIRLEY, Surrey: Mr Lloyd seems to be the sort of blinkered fellow who will only listen to one type of theatre organ playing. Why the vendetta against Quentin Maclean? Dull as some of his commercial output may be, particularly from Marble Arch, it can never be described as boring, in fact some of his earlier work at Shepherds Bush is quite delightful, and most of the Troc records are refreshingly inventive. I would also be a hypocrite if said I was not a Reginald Dixon fan, and I believe we all owe a debt of gratitude to Reg, but the ‘lean’ years of the 60s weren’t so lean, as what was lost in commercial recordings, (which incidentally dried up in the middle of the war – practically no commercial organ records were issued after the war, with the exception of Reginald Dixon and Joseph Seal), was made up for in an at least one organ broadcast practically every day, and only one of these a week featured Reg. Many other fine organists broadcast throughout the 1960s, each one doing his/her best to keep the organ popular and in the public eye – a fact I’m sure Reg would readily agree with, were he here today. It is unfair to make any comparison between Reg and Quentin Maclean, which is rather like comparing the flamboyancy of Leopold Stokowski, with the unassuming qualities of Sir Adrian Boult, both being superb at what they did. I also suspect that, according to Mr Lloyd, if it’s not played in a certain style, then it’s not entertaining; likewise if the South Bank Wurlitzer does not have screeching harmonic couplers, then it takes on the more refined tonal characteristics of a ‘Good Compton’ – a back handed compliment? Finally, how many of us have said we don’t like

something, never having tried it? Give Quentin Maclean a break!

Hugely Popular From DONALD INKSTER NEW MALDEN, Surrey: Cameron Lloyd – who is he? Obviously not a member of the COS, otherwise his address would be registered, and he refers to ‘your’ concerts. It seems he attends COS concerts including those at the South Bank University and he knows a bit about our activities, so perhaps he is a friend of a member. Like you, I feel he should come clean and reveal his identity. And maybe he should let us know which end of the country it is where such strongly-held views are said to prevail! As to the South Bank Wurlitzer, of course it does not sound as it did in the Trocadero and the acoustical limitations of the Edric Hall are wellknown to us all. However, the notion that the organ ‘sounds like a good Compton trying to be a Wurlitzer’ seems to me to make little sense. On numerous occasions, whether by accident or design, I have heard organists reproduce sounds typical of Maclean’s registrations and it has to be said that our American visitors have regularly obtained typical ‘American Wurlitzer’ effects on it – it’s all in there. How anyone can rate Maclean’s music as dull and boring is quite beyond me. With almost all of his recorded output now available to us on CDs it is possible to listen, learn and appreciate more and more fully the sheer brilliance of his performances. But the previous letter, from Hal Wilton, surely supplies the real answer: Mac’s interludes at the Troc were hugely popular with the audiences there. His Wednesday morning broadcasts were frequently attended by students from the Royal Colleges who were there to see ‘how it was done’ and to gain from the experience. During the war the Trocadero miraculously survived the bombing and one can imagine what a terrific morale-booster Mac would have been had he stayed on.

“What about a mention of Reginald Dixon?” asks Mr Cameron. Well, he gets them all the time, doesn’t he? There is hardly an issue of Cinema Organ or indeed of the COS Newsletter in which his name fails to appear. His contribution to the organ as entertainment has never been in doubt and that he has left a legacy of great value is undeniable. Nevertheless, he was not top of everyone’s list (mine for instance). Success in show business depends not only on material but also on a recognisable personality and style of delivery. This is true of organists just as much as of singers, comedians and so on, and this is why we have such clear memories of the great performers. Dear old Robin Richmond often used to make this point – and he certainly practised what he preached! Finally, Mr Lloyd states that the COS tries to lecture, not entertain. I find this puzzling and invite him and his friends at their end of the country to elaborate a little, so that we have a better idea of what they mean. The COS is dedicated to the organ and organ music as entertainment and, if it is falling down on the job in some way, constructive criticism and sensible suggestions for improvement would surely be welcome. The COS is approaching its Golden Jubilee, so it can’t have been doing too badly over the years!

No Compton Clone! From BILL SIBBEY BRIGHTON, Sussex: I can’t understand how Cameron Lloyd can say the South Bank organ sounds like a Compton trying to be a Wurlitzer. What sort of Wurlitzers has he been listening to? I know there are some ‘boring’ sounding Wurlitzers (small ones) which can be heavy going on the ears, and I could understand it if the SB organ was tonally bad, but it sounds like a first class Wurlitzer to me and to all of the fine organists who play it. I wonder if he has been to the States like a number of us have and hear how the Troc organ compares to some of their instruments. I think it may have been Jim Riggs or Tom Hazleton who said that it was the closest sounding, tonally, to the Oakland Paramount that he knew. Is Cameron only listening to CDs of the organ, or has he heard it live? No way is it a Compton sound-alike. I’m looking forward to hearing the re-furbished Troc Wurli when all the work currently being done on it is completed. Keep up the good work.

A COS Welcome From CHRISTOPHER THOMPSON WOLVERHAMPTON, W. Midlands: I strongly disagree with Cameron Lloyd’s comments about the South Bank Wurlitzer. I am aware that this instrument is not at its best at the present time but to say it is not sounding good in my opinion is nonsense. I have the Hills R Alive CD and must say that of my 40 or so recordings, this certainly sounds the most ‘American’ of all Wurlitzers. In some of the tracks I thought I was listening to the Wurlitzer at the Chicago Theatre or Shea’s Buffalo, New York. The registrations that Richard uses are simply perfect. Another comment Cameron made was that Quentin Maclean was dull and boring. Personally I am not very familiar with Mac’s playing so cannot comment, but having to spoken to Mr Lloyd himself a while back there are not many organs and organists that Mr Lloyd does actually like! In a final note I would like to thank everyone at Solihull for making me so welcome when I went to a DIY night for the first time in July. We have a superb instrument here in the West Midlands. It is good to know that private practice and ‘open console’ sessions are available there. That is the main reason why I am in the COS – the chance to play the instruments! A great pity about the attitude of the people concerned with the running of the other Compton organ we have in the Black Country. “We don’t allow idiots to ruin this organ” was the reply when I asked if I could have a play recently. (This venue is not currently advertised in the COS concert listings). Needless to say I don’t attend the concerts there anymore and they wont be getting my support. I just hope this venue will have a look at their attitude in years to come! Thank you COS for the work you do and encouragement you bring to people. A tip to other societies who are ‘keeping their consoles behind bars’: not only are you depriving yourselves but the organ scene as a whole – the next person you deny console access to could have been the Phil Kelsall or Nigel Ogden of the future that you have just gone and lost forever! What young person is going to sustain interest in an instrument they are not allowed to play? They’ll probably go straight out, buy a synth and join a rock group!

I am going to be researching a large number of our venues over the next 12 months and finding out who allows me access and who makes it difficult! I shall be writing my results in the future. Watch this space! I think you’ll be pleasantly surprised, Mr Thompson. The great majority of theatre organ groups in this country are very welcoming to young aspiring organists – indeed, to players of all ages. Just look at the success our young organists have had internationally in the last couple of decades. That couldn’t have happened without organs for them to play! – Ed.

exhibited some stylistic playing on occasion (the records bear this out) that leads one to wonder who inspired whom! Why beat the horse? Is the suggestion that you should have only C or D grade entertainment? In my first-hand experiences with the COS over the last eight years, I have been impressed that the organization generally espouses a higher-than-usual ideal that some other groups would do well to emulate. A little education never hurt anyone. I recall a gentleman once exclaiming to an organist “Why, you played over my head all evening”. The good organist replied “Have you tried lifting up your head?” Indeed!

Lift Up Your Head From CLARK WILSON EAST LIVERPOOL, Ohio: Regarding Cameron Lloyd’s comments about Maclean, it’s interesting how trained musicians and general auditioners alike (both past and present) seem to feel quite the opposite to him. The man was obviously a genius and far out in front of his contemporaries. The fact that his music holds up well 70 years later speaks volumes. Of course, it’s well known that the world usually hates its geniuses … I count that organ as one of perhaps the five best Wurlitzers I’ve ever heard or played (and that’s been plenty). It certainly sounds nothing like anything but a Wurlitzer. With the vast mechanical and tonal differences between these two types of organs, how could anyone possibly confuse one for the other? If the statement refers to the sound as it was in the ’30s, well, what can we say? We’re judging from recordings, not real-time experience. Also, we must remember that tremulants, regulation, and registration were generally quite different than they are today. Often, many old organs seem to have shared a similarity in tone for these reasons. However, upon critical listening for a moment, there really can be no mistaking any major brand for another. What about Reginald Dixon and all he did to keep the Theatre Organ going in the Sixties? This sounds like the old arguments that we used to have in the States about whether George Wright or Jesse Crawford was better. Any comparison was folly; Crawford was the original, and Wright was operating in a totally different set of circumstances. George himself said this in referring to the “sacred” memory of Jesse. Certainly the same is true here. Maclean was first. He even

Anti-Blackpool? No! From DONALD WOOD BINGLEY, W. Yorkshire: The COS anti-Blackpool? Nonsense. Just the opposite in fact, as you point out [Editorial, Summer 2001], and I believe you lean over backwards to be even handed. There is a pro-Southern slant to the Newsletter but this is understandable. As for Reginald Dixon, he was a unique entertainer exactly right for the times in which he lived. At his pinnacle, he was just superb, as the tapes of his broadcasts constantly remind us. Those who have adopted a similar style have reaped their own rewards but they could never achieve his unique greatness. This is not to belittle their efforts – just the opposite in fact – but times and tastes have changed and the world has moved on. But they have done well and we thank them for it. Let us simply rejoice that, with so many tapes and recordings to remind us, the memory of Reg is still very much a part of our enjoyment of his music and the Tower Wurlitzer which was such a large part of his life. I have been in touch with Mr Lloyd, and invited him to enlarge on his views. His response is below. – Ed.

‘A Starchy Feel’ From CAMERON LLOYD WOMBOURNE, Staffs: When I say that your concerts lecture, I mean the way in which some organists (usually those closely involved with the COS) often start rambling on about tibias and voxes, etc., which I feel is confusing to the general

public. They have come to hear the music, not get baffled with science! I should state that I am 20 years old (don’t start saying that I don’t know anything about how a theatre organ sounds). OK, I can’t remember them in the theatre, but the Tower Wurlitzer is, and I am sure many will agree, very pleasing to the ear. Having played quite a few theatre organs, including the Tower Wurlitzer for dancing, I feel that the ‘Blackpool Sound’ is most popular. I remember David Lowe’s cringe when I asked about the quint and tierce couplers. This, to me, sums up the general COS attitude. Reginald Dixon seemed a bit of a ‘no-no’ at the workshops, instead I listened to hours of how to do this and that, but learnt very little. Perhaps I got bored? I did not say that the performances (recordings) of Maclean were ‘bad’. The performances were, I must admit, musically sound, but the way in which they were played was boring. As for your statement that the Trocadero Wurli is “the most Wurlitzer sounding in the country”, who is to say what a Wurlitzer should sound like? To me, the Troc Wurli does not sound quite right. I do not wish to insult the work that you do, it is good to know these organs are looked after. I refer to the sound which is most pleasing to sit and listen to. I do not feel that the COS organs are pleasing to the ear, with the exception of the Midlands District Compton and the Wurlitzer at Tywyn. By “this end of the country” I refer to the Midlands area. I attend quite a few concerts at various venues, mainly in the Midlands, but some out of the ‘boundaries’. I talk to many people who do not like attending COS concerts due to their ‘starchy’ feeling. One elderly gentleman said that he felt frightened to sneeze! This is no lie! I don’t profess to be an expert on organs. I play, help out here and there, and have some knowledge about tuning and maintenance. I merely wish to put forward my opinions and the opinions of quite a few other people, who, for some reason, seem afraid to do so. It is nice to know that the COS do not dislike the ‘Blackpool’ style, but I feel more could be put into the workshops and journals about the Blackpool side of things. I hope Mr Lloyd’s letter will encourage these people to put forward their views. The COS is always pleased to receive comments and suggestions about the way we operate, however critical these comments might be – Ed.

We now move sideways, but only just, this time from a former Journal editor …

MacFoort Again! From DENNIS MATHEW CHARTHAM, Kent: I think no-one could fault the beauty and correctness of R. Foort’s playing; – and I heard him, once, making a small church organ sound magnificent (rather like Nigel’s handling of these instruments. In that case, I must say that R.F. had skill and imagination). But, as I listen to a recent re-recording of some of Q. Maclean’s masterpieces it is obvious that he had the musical skills and hoc genus omne to make him a superb innovator and arranger. One has only to note the combinations that no-one else seemed to discover, and the quotations from other composers (in ‘This Lovely Rose’, a bit from Rosenkavalier). The extraordinary versions of numbers like Sing Brothers’ and ‘Hold my Hand’, and of course, the fugal treatment of ‘Night must Fall’ and ‘Free’ (was it?). I think that Maclean showed himself therefore to be a witty performer. Not necessarily a humorist, or joker. He imported the atmosphere of the town hall organist to his playing on the Wurlitzer at Elephant & Castle. One cannot find a greater compliment; but he was also familiar with performers like Jesse Crawford – the late Herbert Norman told us once at a Saturday Meeting with Gerald Shaw in the Regal, Marble Arch that Mac would ask him,when the organ for Marble Arch was being planned and constructed, if he could make the Tibias like those on Jesse Crawford’s instrument (playing records to make his point). Of course, there was Foort’s ‘Nightmare at the Mosque’, but that wasn’t new sounds – just a potpourri of numbers which helped to demonstrate the success of Cook’s recording system. You may have heard [too young to recall?] that apart from the Vaughn records of G. Wright, the other earopener was a small series of recordings made at the Mosque (Richmond,Virginia). As I write this, ‘Hold my Hand’ has just come up on the tape! Yes, one can see that Maclean made each recording (3 minutes!) into a Production Number. One really got one’s money’s-worth. See also the vintage correspondence opposite – Ed. 26

There’s Nothing New! In this third issue of the year 2001, arguments continue to rage about the relative merits or Maclean, Foort and Dixon. Donald Inkster, correctly anticipating an extended correspondence column in this issue, sent some cuttings from issues of the Radio Times following Leslie Barnard’s first article some 65 years ago. Not only were there similar rival views around at that time, but they involved largely the same organists! In the extracts reproduced below, note that Sidney Torch’s name was mis-spelt almost every time.

It’s interesting to see former Journal Editor Charles Hayles’ name amongst the correspondents. Also, I wonder who the ‘Rank and File Cinema-Organist’ from Hove was? If we are still arguing the relative merits of many of the same organists after 65 years, what does that tell us about the impact made by our present-day organist colleagues?

Ed Stout and a ‘Bitsa’ From IAN MACNAUGHT EAST KILBRIDE, Strathclyde: I had a wry smile at Ed Stout’s swipe at those who choose to add bits to their instruments (Summer 2001). I thought it was a bit rich coming from Ed while at the same time extolling the virtues of the Castro Theatre Wurlitzer. Can we remember how many Wurlitzers went into the making of the Castro, dare I ask? Did they not just keep on collecting bits from different organs, big and small, to add to their ever growing pile? Somehow it’s OK to do something yourself but don’t copy me by doing the same thing the your own little instrument. The pot appears to be calling the kettle black. On my last visit to the Bay Area I was, in fact, struck by the fact that almost every Wurlitzer organ there is a ‘bitsa’. Think of the list; Paramount, Oakland – composite instrument, Berkeley – composite instrument, Stanford the same. It begs the question, is there an original Wurlitzer in the Bay Area? Now don’t get me wrong. I’m not, in principle, against adding additional Wurlitzer bits to an existing instrument. But I think Ed should look round before spouting off. We, the rest of us, will feel a bit less guilty when we add that extra rank. Regards Mortons, etc. After hearing some very good sounding organs on the last ATOS convention in San Francisco, all Wurlitzers, I was gagging for something different. The organs admittedly, sounded well regulated, tremmed etc., but every instrument had a sameness. It was as if they were the same organ, the Paramount being the exception. I couldn’t wait to hear a Compton again: now there’s something different! Thank goodness our organs don’t all sound the same. They might not be as well regulated or trem absolutely properly but they have one thing, and that is character. I think of organs like the Walthamstow Christie or the Clayhall Compton that give us unique sounds. I remember being at the COS 40th Anniversary concert at Clayhall, and Dudley Savage was at the console. David Shepherd gave a lovely introduction and then Dudley proceeded to enthral us with his wonderful musicianship, using, of course, the Melotone. He even brought one American visitor to tears. The lucky chap said to me, “I’ve listened to many many theatre organ concerts in my life, but none has even made me cry with such enjoyment.” And this on a six rank Compton. I think anyone

who was there that day would agree, it was a concert to remember. What Ed Stout needs to do is turn his attention to actually working on a Morton, Möller or Kimball. By using his undoubted skills, I’m certain he could get any organ to produce beautiful sounds and, incidentally, not by fitting Wurlitzer parts either. The Bay Area could do with another instrument, other than a Wurlitzer. This would broaden the scope of examples of fine American organ building there and provide ATOS with a more varied venue.

Aeolian Alive! From RALPH WAGGETT SEATON, Devon: I responded to John Morris’s invitation [Summer 2001] to visit his Aeolian residence organ. Apart from the brief encounter during the Scottish Convention [in 2000] (part of a house tour) I was unfamiliar with the distinctive character of the Aeolian organs. Paul gave a full account of his instrument in his article and pictures but a visit makes it all come alive. The Aeolian company produced many organs in the innovative period in the early twentieth century, developing their own ideas. Neither specification nor console followed either the traditional classical models or the Wurlitzer developments. With a diapason foundation, the generous supply of flutes and strings, three distinctive solo stops, a full set of couplers give opportunity for an extensive range of sounds; the two manuals are identical and tremulation produces a good ‘cinema’ sound. Paul has a large collection of standard rolls; these are interesting, simply providing the ‘holes’ to trigger the notes and giving instructions for the ‘driver’ to follow – registration, speed (levers and volume (swell pedal)). So, sitting at the console one turns the mechanical sequence into music of one’s own creation. In addition, Paul also has a Duo Art organ player which does it all. I listened to Edwin Lemare playing his composition ‘Andantino in Dflat’ followed by Pietro Yon playing Bach’s ‘Toccata and Fugue in D-minor’ (at speed!). Paul is good company and, whether it’s music or organ construction, visitors will find that the conversation will flow; they will be made very welcome. Performers inevitably receive the glory but this is yet another reminder of our debt to the practical people who work on these demanding instruments.

Signature Tunes From GEORGE BUCHAN MILLTIMBER, Aberdeen: With reference to Mr William Lewis’s ‘More Signature Tunes’ letter (Summer 2001), I only recognised two names on the list: • Allan Kennedy (Regal Cinema Glasgow): ‘The Road to the Isles’ • John T. McDougall (New Victoria, Edinburgh): ‘Wee McGregor’. From ARTHUR GAWEN STROOD, Kent: Here are a few of the answers: • Cyril Busfield: ‘One Alone’ • Wilson Oliphant: ‘Till We Meet Again’ • Arthur Sudbury: ‘Music, Maestro, Please’ • Alex Taylor: ‘Alexander’s Ragtime Band’ • James Whitebread: ‘Serenade’ (Schubert) • Reginald Cross: ‘Happy Feet’ • Ronald Greenwood: ‘Where There’s You There’s Me’ • Colin Howson: ‘The Wind’s in the West’ • Allan Kennedy: ‘The Road to the Isles’ • Wyndham Lewis: ‘I’ll See You in My Dreams’ • Gerald Masters: ‘Smile, Darn You, Smile’ All the time Reginald New was at the Beaufort Cinema, Washwood Heath, he used no signature tune, but he did when he later transferred to the Regal, Kingston-on-Thames. Quentin Maclean used no tune when doing all those Wednesday lunch-time broadcasts from the Trocadero. However, when he was heard on the radio a couple of times in the evening, I remember hearing him sign off with ‘Knocked ’em in the Old Kent Road’. I assumed that he did so because he had finished the advertised programme a minute or so early. From DON HICKLING NORTHAMPTON: Signature tunes, mainly from the splendid lists compiled by Allan Moyes: • Colin Howson: ‘The Wind’s in the West’ • Alexander Fryer: ‘The Friar of Orders Grey’ • Max Gerald: ‘Ship Ahoy’ • Allan Kennedy: ‘The Road to the Isles’ • Herbert Steele: ‘Smiling Through’ • James Bell, when resident at the Carlton, Tuebrook, used his own composition ‘Down Mersey’ (copies given to the audience during the opening week) • Raymond Charles: ‘Over My Shoulder’ • Harold Nash: ‘Northants Regimental March’

and, for broadcasts, ‘Because of You There’s a Song in My Heart’ • Jack Coombs: ‘Whispering’ • Lew Harris: ‘A Melody from the Sky’ (a film song from the mid-30s). From RON LAKE HORBURY, W. Yorkshire: Joseph Seal made ‘in house’ recordings for use on the ABC circuit. One of these was indeed ‘At Your Service’ but to my knowledge, this was used only for accompaniment to ‘silent’ or ‘non-sync’ ice cream sales advertisement films. These would be shown after the second feature, at the start of the interval, and finish with the spotlight on one or more of the sales girls as the houselights came up.

The Puzzle Picture From TONY MOSS CROYDON, Surrey: The picture on p.26 [Summer 2001] is of vocalist Al Bowlly and accompanist George Scott-Wood at a recording at the EMI Compton, Abbey Road Studios, on May 25, 1938. The titles recorded were: • OEA-3629-1: Goodnight Angel • OEA-6330-1: When the Organ Played ‘Oh Promise Me’ (HMV BD-565) • OEA-5331-1, -2: Maria, My Own; Marta • OEA-6332-1, -2: Stormy Weather; Brother Can You Spare A Dime? (Rejected) On Monday, April l4, 1941 Al Bowlly commenced a week’s engagement at the Rex High Wycombe with Jimmy Mesene – “Two Voices and Guitars in Harmony”. The organ, installed in that year, was a Hammond LaFleur and a new organist was engaged that week. He had no accompaniment experience and, in the middle of “Buddy, Can You Spare a Dime?”, Al Bowlly raised his guitar menacingly and told the unfortunate organist that he was killing the act. A local church organist was recruited the next day and filled in for the rest of the week. Al Bowlly was killed in the London blitz on the Wednesday. Thanks also to replies from Basil Bonner, Ray Webb and Clem Wroth. Ray says, “George Scott Wood was a great pianist but no organist!”

The

Society For those interested in organ music as entertainment