JOURNAL OF THE AMERICAN THEATRE ORGAN SOCIETY

J O U R N A L O F T H E A M E R I C A N T H E A T R E O R G A N S O C I E T Y

NOVEMBER | DECEMBER 2009

ATOS NovDec 51-6 H 10/23/09 12:21 PM Page 1

MIDI Conceptswww.MIDIConcepts.com

(630) 893-5383

Each stop toggles lightly when touched, and has an LED indicator that glows, showing the stop is “on”.

Everyone’s asking…

”How do you control 208 stops, couplers,

Music books may be placed over Duet’s control paneland registrational changes made with the pistons.

See inside cover of Sept/Oct “Theatre Organ” for more info or check www.MIDIConcepts.com for continuing updates.

Great 16’ Post Horn 16’ Harmonic Tuba 16’ Tibia Clausa 16’ Clarinet 16’ Saxophone 16’ Salicional 16’ Bourdon 16’ Vox Humana** 8’ Post Horn 8’ Brass Trumpet 8’ Harmonic Tuba 8’ Open Diapason 8’ Horn Diapason 8’ Tibia Clausa 8’ Tibia Minor** 8’ Clarinet 8’ Kinura 8’ Orchestral Oboe 8’ Saxophone 8’ Vox Humana** 8’ Salicional 8’ Viol Celeste IV 8’ Mezzo Chorale II 8’ Echo Chorale II 8’ Quintadena 8’ Concert Flute 5 1/3’ Tibia Clausa 4’ Clarion

4’ Octave 4’ Tibia Clausa 4’ Tibia Minor** 4’ Viol Celeste IV 4’ Mezzo Chorale II 4’ Flute 3 1/5’ Tibia Clausa 2 2/3’ Tibia Clausa 2 2/3’ Twelfth 2’ Tibia Clausa 2’ Fifteenth IV 2’ Piccolo 1 3/5’ Tierce 1’ Fife 16’ Piano* 8’ Piano* 4’ Piano* Harp Marimba Cathedral Chimes Xylophone Chrysoglott* Glockenspiel Orchestra Bells Sleigh Bells Sub 16’ Unison Off Octave 4’

Great 2nd Touch (On organs with 2nd T.) 16’ Post Horn 16’ Harmonic Tuba 8’ Tibia Clausa 8’ Clarinet Solo to Great 8’ � Solo 16’ Post Horn 16’ Brass Trumpet 16’ Harmonic Tuba 16’ Open Diapason 16’ Tibia Clausa 16’ Clarinet 16’ Saxophone 16’ Salicional 8’ Post Horn 8’ Brass Trumpet 8’ Harmonic Tuba 8’ Open Diapason 8’ Horn Diapason 8’ Tibia Clausa 8’ Tibia Minor** 8’ Clarinet 8’ Kinura 8’ Orchestral Oboe 8’ Saxophone 8’ Salicional

8’ Echo Chorale II 8’ Oboe Horn 8’ Quintadena 8’ Vox Humana** 4’ Octave 4’ Tibia Clausa 4’ Tibia Minor* 2’ Tibia Clausa Cathedral Chimes Xylophone Glockenspiel Orchestra Bells �Great to Solo 16’ Great to Solo 8’ Great to Solo 5 1/3’ Great to Solo 4’ Great to Solo 3 1/5’ �Accompaniment 16’ Viol Celeste IV 16’ Bourdon 16’ Vox Humana* 8’ Post Horn 8’ Harmonic Tuba 8’ Open Diapason 8’ Horn Diapason 8’ Tibia Clausa 8’ Tibia Minor** 8’ Clarinet

8’ Kinura 8’ Orchestral Oboe 8’ Saxophone 8’ Oboe Horn 8’ Vox Humana** 8’ Salicional 8’ Viol Celeste IV 8’ Mezzo Chorale II 8’ Echo Chorale II 8’ Quintadena 8’ Concert Flute 4’ Octave 4’ Tibia Clausa 4’ Tibia Minor** 4’ Viol Celeste IV 4’ Mezzo Chorale II 4’ Vox Humana* 4' Flute 2 2/3’ Twelfth 2’ Piccolo 8’ Piano* 4’ Piano* Harp Marimba Chrysoglott* Sleigh Bells Octave 4’ Coupler Solo to Accomp 8’ Solo Pizzicato

Snare Drum Tambourine Castanets Tom Tom Sand Block Chinese Block Acc. 2nd Touch (On organs with 2nd T.) 8’ Post Horn 8’ Harmonic Tuba 8’ Tibia Clausa 8’ Clarinet Marimba (rpt) Cathedral Chimes Xylophone (rpt) Glockenspiel Sleigh Bells Triangle Solo to Accomp 8’ Pedal 32’ Diaphone 16’ Open Diapason 16’ Salicional 16’ Harmonic Tuba 16’ Tibia Clausa 16’ Bourdon 8’ Post Horn

8’ Harmonic Tuba� 8’ Open Diapason 8’ Tibia Clausa 8’ Clarinet 8’ Saxophone 8’ Salicional 8’ Viol Celeste IV 8’ Concert Flute 16’ Piano Accomp to Pedal 8’ Great to Pedal 8’ Solo to Pedal 8’ Bass Drum Kick Drum Snare Drum Cymbal 1 Cymbal 2 Pedal traps 2nd touch (On organs with 2nd T.)

* Modifiers Piano to Rinkie Tink Chrys to Vibraharp Damp Vibraharp Tremulants Main, Solo, Tibia Clausa & Tuba-Diapason ** Bonus Ranks trem’d Tibia Minor (Bart/ Wurl) Vox Hum. (Bart/ Wurl��Combinations 10 general pistons 10 memory banks �Toys (right pistons) Aooga, Bell, Whistle, Horse, Bird, Phone Siren & Gong ��

There’s always room for a 3/24 Duet on your organ.It can be placed right over your existing music desk.(Also, see our web site for alternative side mounting ideas.)

tremulants, and memory bank controls (see spec below) on a panel only 8” x 22” and still be able to easily read and use them? “The short answer . . . 3/24 Duet’s panel simply eliminates repetition.”

It’s that easy!

Made in USA, 3/24 Duet is a new theatre organ unit that adds 24 ranks of ensemble to MIDIed instruments! Following the response to reduced introductory pricing, we’re extending our $TIMULU$ of $500 off the price, making it $3480 for orders placed by Dec. 31st. Price for the first 3 months of 2010 is $3,980. Then, who knows?

Interested in more info and hearing ‘Duet?”

MIDI Concepts – 6N534 Glendale Road – Medinah, IL 60157


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NOVEMBER | DECEMBER 2009 1

THEATRE ORGAN (ISSN 0040-5531) is published bimonthly by the American Theatre OrganSociety, Inc., 7800 Laguna Vega Drive, Elk Grove, California 95758. Periodicals Postage Paidat Elk Grove, California and at additional mailing offices. Annual subscription of $33.00 paidfrom members’ dues. POSTMASTER: Send address changes to THEATRE ORGAN, c/o ATOSMembership Office, P.O. Box 5327, Fullerton, California 92838, [email protected].

On the Cover: The 2009 annual convention in Cleveland featured a number ofnotable instruments, including the fine Kimball installed in the Palace Theatre(Photo by Richard Neidich). For Robert Ridgeway’s complete review of theconvention events, please turn to page 29.

Exterior of the Cleveland Grays Armory(Photo by Richard Neidich)

FEATURES

20 A Desert Wind in thePipes of the MightyWurlitzer

29 Treasures of the Western Reserve

40 The Dorm RoomOrgan

42 The Isle of Man Project:Part II

DEPARTMENTS

4 Vox Humana

5 Headquarters

7 Letters

8 News & Notes

26 Professional Perspectives

45 Ex Libris

46 For the Records

50 Chapter News

60 Meeting Minutes

64 Around the Circuit

67 Obituaries

THEATRE ORGAN NOVEMBER | DECEMBER 2009 Volume 51 | Number 6


T H E AT R E O R G A N2

For a complete list of exciting CIC-ATOSrecordings including the artistry of Ken

Double, Simon Gledhill, and Jelani Eddingtonvisit www.cicatos.org or contact CIC-ATOS

Recordings c/o Mike Rolfe, 1431 N. AudubonRd., Indianapolis, IN 46219.

Beyond the Blue HorizonNew Release Featuring Scott Foppiano

2007 ATOS Organist of the Year

P.O. Box 25165Scott Air Force Base, Illinois 62225-0165

Phone: 618-632-8455Fax: 618-632-8456Cell: 618-558-8455

E-mail: [email protected]

JACK MOELMANNJACK MOELMANNJACK MOELMANN

AMICAINTERNATIONAL

(AUTOMATIC MUSICAL INSTRUMENT COLLECTORS’ ASSOCIATION)Dedicated to preserving, restoring & enjoying Mechanical Musical Instruments like Player &

Reproducing Pianos, Organs, etc.

A gathering place for those who enjoy music, friendship & fun!

ANNUAL CONVENTION � LOCAL CHAPTERS

For a free issue of the AMICA Bulletin & InformationContact: Bill Chapman • #760-564-2951

[email protected] – (AMICA in subject)

To find out more visit us at W W W. A M I CA . O RG

JOIN US AND HELP THE HOBBY GROW!

ESTABLISHED 1963 SAN FRANCISCO, CALIFORNIA

Articles and FeaturesAdded Regularly

Calendar of Events and Submissions

Theatre Organ Locator

www.atos.org

The Diapasoncelebrates its 100th anniversarywith a special commemorativeissue, December, 2009. The issuefeatures tributes on the occasionand reflections on the last 100 years of the organ. Also included is a reproduction of Volume 1,Number 1 of The Diapason fromDecember, 1909.

Copies of this special issue ofThe Diapason are available for sixdollars ($6.00). Contact editorJerome Butera, The Diapason, 3030West Salt Creek Lane, Suite 201,Arlington Heights, Illinois 60005;847-391-1045; [email protected];www.TheDiapason.com

Have you remembered the

ATOSEndowment

Fundin your will or trust?


Fr. Andrew ~'~!ll / ·-':; Rogers · - tk~ -, ---~

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~/ ~ - .__..... .. -~,. Concerts ✓~ Silent Films . __

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rogersconce-:[email protected] : ••• -


Journal of the American Theatre Organ SocietyLibrary of Congress Catalog Number ML 1T 334 (ISSN 0040-5531) Printed in U.S.A.

NOVEMBER | DECEMBER 2009 Volume 51 | Number 6

THEATRE ORGAN EDITORIAL OFFICE1845 South Michigan Avenue #1905Chicago, Illinois 60616Voice/Fax [email protected]

CHAIRMAN OF THE BOARD Colonel Mike Hartley (Ret.)17 Whippoorwill DrivePalm Coast, Florida [email protected]

VICE CHAIRMAN OF THE BOARDCraig Peterson7800 Laguna Vega DriveElk Grove, California [email protected]

SECRETARY Bob Evans798 Old Warren RoadSwansea, Massachusetts 02777Voice/Fax [email protected]

TREASURER Paul Van Der Molen0 N 468 Willow RoadWheaton, Illinois 60187630-653-4986Fax [email protected]

DIRECTORS (current term)David Barnett (2010)Jelani Eddington (2010)Allen Miller (2010)John Apple (2011)John DeMajo (2011)Bucky Reddish (2011)Jack Moelmann (2012)Donna Parker (2012)Doug Powers (2012)

YOUTH REPRESENTATIVE TO THE BOARDTyler Morkin 1240 East Broomfield Street, Apt 00-8Mount Pleasant, Michigan [email protected]

PRESIDENT & CHIEF EXECUTIVE OFFICER Ken Double5705 80th Street NorthSt. Petersburg, Florida [email protected]

JOURNAL ADVERTISING Jeff Weiler1845 South Michigan Avenue #1905Chicago, Illinois 60616Voice/Fax [email protected]

ATOS MARKETPLACE Dennis Unks4002 Westbury Ridge DriveErie, Pennsylvania 16506814-838-8794Fax [email protected]

MEMBERSHIP/EXECUTIVE SECRETARY Jim MerryP.O. Box 5327Fullerton, California 92838Voice/Fax [email protected]

JOURNAL STAFFEDITOR Jeff Weiler (see above at Journal Advertising)CONTRIBUTING EDITORS Vern Bickel, Jonathan Ortloff, Scott SmithPUBLISHER Donna ParkerP.O. Box 6103Aloha, Oregon 97007503-642-7009Fax [email protected]

PUBLICATIONS REVIEWDonna Parker (see above at Publisher) Jeff Weiler (see above at JournalAdvertising)

ASSOCIATE EDITORSAROUND THE CIRCUIT Dave Luttinen MUSIC Steven Ball REVIEWS Andy Antonczyk, Stanley D. HightowerPROFESSIONAL PERSPECTIVES Edward M. Stout III WURLITZER RARITIES Ron Mitchell

CORPORATE OFFICEAmerican Theatre Organ Society, Inc.7800 Laguna Vega DriveElk Grove, California 95758

DESIGN & TYPESETTINGSleeping Giant CreativeIndianapolis, Indiana

PRINTING & MAILINGJohnson Press of AmericaPontiac, Illinois

ATOS COMMITTEES & CHAIRSACQUISITIONS & EXPANSIONSKen Double (see above at President & CEO)

AMATEUR THEATRE ORGANISTCOMPETITIONSusan Cole-ShawP.O. Box 653Mount Dora, Florida [email protected] Mike Hartley (see above atChairman of the Board)

ARCHIVE & LIBRARYJim PatakRialto Square5 East Van Buren Street, Suite 210Joliet, Illinois 60432 [email protected]

ARCHIVAL LIAISONJeff Weiler (see above at JournalAdvertising)

AROUND THE CIRCUITDave Luttinen4710 225th Place SWMountlake Terrace, Washington [email protected]

AWARDS & RECOGNITIONJack MoelmannP.O. Box 25165Scott Air Force Base, Illinois 62225618-632-8455Fax [email protected]

BYLAWSJelani Eddington1706 West Palomino DriveRacine, Wisconsin 53402262-639-8788Fax 262-639-8242

CHAPTER RELATIONSCraig Peterson (see above at ViceChairman of the Board)

CONVENTION PLANNINGMike Kinerk2655 Pine Tree Drive Miami Beach, Florida 33140305-532-9000 Fax [email protected]

EDUCATIONJelani Eddington (see above at Bylaws)Donna Parker (see above at Publisher)

ELECTRONIC ORGANS (ETONES)Bucky Reddish 5370 Vinings Lake View DriveMableton, Georgia [email protected]

ENDOWMENT FUNDJohn DeMajo6001 Statute StreetChesterfield, Virginia [email protected]

INNER-CITY YOUTH/SCHOOLS PROGRAMJack Moelmann (see above at Awards& Recognition)

MENTOR PROGRAMDonna Parker (see above at Publisher)

NOMINATIONS—BOARD ELECTIONBill Carr11815 North 77th DrivePeoria, Arizona [email protected]

ORGANIST SCHOLARSHIPSSusan Cole-Shaw (see above atAmateur Theatre Organist Competition)

PIPE PIPERJonathan Ortloff141 Church Street #1Keene, New Hampshire [email protected]

PUBLIC RELATIONSDonna Parker (see above at Publisher)

RESTORATION & PRESERVATIONAllen Miller167 Carriage DriveGlastonbury, Connecticut 06033860-633-5710Fax [email protected]

SIMONTON LITERARY PRIZEJelani Eddington (see above at Bylaws)Donna Parker (see above at Publisher)

STRATEGIC PLANNINGDoug Powers 3323 Belvoir BoulevardBeachwood, Ohio [email protected]

TECHNICALAllen Miller (see above at Restoration & Preservation)

TECHNICAL CONSULTATION PROGRAMAllen Miller (see above at Restoration & Preservation)

DAVID L. JUNCHEN TECHNICALSCHOLARSHIPAllen Miller (see above at Restoration & Preservation)

YOUNG THEATRE ORGANIST COMPETITIONJelani Eddington (see above at Bylaws)Donna Parker (see above at Publisher)

YOUTH INITIATIVES:GEORGE WRIGHT MEMORIALFELLOWSHIPTHEATRE ORGAN INSTRUCTOR & STUDENT LISTSJelani Eddington (see above at Bylaws)

THEATRE ORGAN STUDENT OF THE YEARTyler Morkin (see above at YouthRepresentative)

THEATRE ORGAN WORKSHOPSJonas Nordwall7221 SW 13thPortland, Oregon [email protected]

WEBSITE (www.atos.org)Tom Blackwell9717 Dayton Avenue NorthSeattle, Washington 98103206-784-9203206-778-2724 [email protected]

THEATRE ORGAN (title registered U.S.Patent Office) is the official publicationof the American Theatre OrganSociety, Inc. (ATOS), a non-profitorganization. © 2009 American TheatreOrgan Society, Inc. All rights reserved.Annual membership in the AmericanTheatre Organ Society is $40.00 peryear ($55.00 outside of the U.S.A.),which includes six issues of THEATREORGAN. Make check or money orderpayable to ATOS and mail to the ATOS Membership Office, P.O. Box5327, Fullerton, California 92838,[email protected]. MasterCardand VISA are accepted.Single copies of current and back issuesare available for $6.00 each (pleaseadd $3.00 per issue sent outside of theU.S.A.). Make check or money orderpayable to ATOS and mail with yourorder to ATOS Marketplace, DennisUnks, 4002 Westbury Ridge Drive, Erie,Pennsylvania 16506.

ATOS MISSION STATEMENT—The Ameri-can Theatre Organ Society (ATOS) isthe leading international organizationpursuing a positive difference in con-serving and promoting the theatre pipeorgan and its music, preserving originalinstruments where possible. We providesupport and guidance to all ATOSchapters and others, with promotionaland educational opportunities to boththose within the Society, and to thepublic worldwide through the Internet,publications, conventions, and per-sonal contact. We are passionatelydevoted to providing professionalleadership and resources so the theatrepipe organ will thrive in the 21st century.

Opinions expressed in articles andadvertisements appearing in THEATREORGAN are not necessarily those of the American Theatre Organ Societyor the Editor. ATOS is not responsible for omissions or errors that result from misrepresentation of informationprovided. Advertisers and their agentsassume all liability for advertising con-tent. Advertisements in THEATRE ORGANdo not constitute an endorsement byATOS or the Editor of goods or servicesoffered. The Editorial Office reserves theright to accept, reject, or edit any andall submitted articles and advertising.Article submissions: We are pleased toaccept manuscripts for review. Contactthe Editor, Jeff Weiler ([email protected],312-842-7475) to discuss length andcontent. Reproduction: No part of THEATREORGAN may be reproduced in anyform by any means without prior writtenconsent from ATOS. For additionalreprint information, please contact Jeff Weiler, THEATRE ORGAN EditorialOffice, 1845 South Michigan Avenue#1905, Chicago, Illinois 60616,[email protected].



As the holidaysdraw close, wehave much for

which to bethankful.

It seems that even as the Dow beginsto show some signs of revitalization, othereconomic indicators continue to give uspause almost on a daily basis. It comes asno surprise that the entire organ com-munity has been affected; churches,universities, and concert halls—the tra-ditional “safe spaces” for pipe organs—struggle under enormous financialobligations. These circumstances havebeen felt in theatre organ circles, too, asthe costs of mounting public presentationsand organ restoration rise. And given thechanges in cultural tastes and socialpatterns, it’s easy to feel that we’ve beenhit by a double whammy.

Yet there’s exciting news to report.Some interesting projects—large andsmall—proceed unhindered, others areplanned, research continues, recordingsare released, programs presented, andconventions continue to draw well andgenerate good profits.

Producing a convention takes astaggering amount of work. Althoughthere may have been a bit of trepidationregarding attendance as our recentgathering in Cleveland drew near, theefforts of the Western Reserve chapter

were well rewarded. In this issue, RobertRidgeway recounts his days at the annualATOS convention, leading us through avery successful string of programs with hisusual insight and thoroughness. And don’tmiss the stunning photographs capturedby Richard Neidich!

It seems that the eyes of the organworld were set upon Ohio this year as itplayed host to the Organ HistoricalSociety and the American Institute ofOrganbuilders, as well as ATOS. All threewere rip-roaring successes. And for thatwe truly can be thankful.

Greetings of the season,—Jeff Weiler, Editor

JeffJoanneDannielle

From:

Editorial Office Administrative Assistant

Editor

Designer

Season’s greetings!

Farny Wurlitzer sent this Christmas carddepicting the rose garden of his Kenmore,New York home in the early 1960s.


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Greetings from St. Petersburg, Florida,and where, oh where, did this year go?

Before I get into the meat and potatoesof my message, let me offer a reminderabout an opportunity to hear one of themost wonderful and fun sounds in all oftheatre organ—Big Bertha, the MightyWurlitzer at the Alabama Theatre. Ourfriends at the Alabama chapter arepreparing a wonderful regional conventionright after Thanksgiving, and I hope youare planning to attend. There is regis-tration information in this issue, as well asfull details at the new and improved ATOSwebsite. Southern hospitality, Alabamastyle. It will be a great event, and it’s rightaround the corner. Leftover turkey? Bringit with you to Birmingham!

I am pleased to make not one, but two,very special announcements. Some of youmay have seen this mentioned on thewebsite, but for those of you (and there aremany) not of the computer age, ourfundraising efforts have received sometremendous support from two new sources.In early September, an anonymous donorinformed ATOS of his desire to set aside15% of his estate for ATOS. This will be asizeable amount of money—possibly wellinto six figures, depending upon futuremarket conditions. The final determinationof the specific allocation—be it the ATOSgeneral fund, the Endowment Fund, YouthInitiatives, scholarships, etc.—will bemade soon.

Meanwhile, just a few short weeks afterreceiving that good news, ATOS received asecond announcement from anotheranonymous donor. And again, this indi-vidual has specified 15% of his estate

shall be earmarked for ATOS, and thisdonor has indicated these funds shall beunrestricted, available for ATOS to use asit would best suit the organization’s needsat the time the monies become available.

On behalf of the membership of ATOS,Chairman Mike Hartley, and the entireboard and staff, we humbly say thank youto these two individuals. We hope they aresmiling as they read this, knowing theimpact they will have on ATOS.

Secondly, the significance of these twogifts cannot be stated strongly enough.Combined, estimating normal market con-ditions, these gifts represent potentiallyhundreds of thousands of dollars. Theannouncements come just a bit more thanone year into the ATOS board of directors’initiatives to move more strongly into aprogram of fundraising with the creation of the CEO position and the fundraisingcommittee.

These two anonymous donors highlightwhat I have believed for many years—ATOS has a passionate membership thathas an interest in the long-range devel-opment of the music of the theatre organ,and a heartfelt interest in expanding ourart form. Furthermore, I truly believe thereare many individuals who might be in aposition to offer similar gifts. These giftsdo not have to be 15% of an estate. As onemight wish to remember family, church,university, and charitable organizations inan estate, carving out 5% of these entitiesto make room for a gift for ATOS would notdiminish those other gifts seriously, andwould be most helpful to ATOS. At thesame time, I know there are those whoselife is dedicated to the theatre organ. A

legacy gift could underwrite scholarships,fund complete installations, provide thedollars for marketing and promotion thatcould help spread the word about ATOS,and so much more. These first two dona-tions have helped to set the stage for thefuture, and I hope they will encouragemore of our membership to think aboutATOS in their estate plan.

This effort is ongoing and demandscareful planning, a respectful approach,months and years of development, and agreat deal of trust. Donors have a right toask questions about future programs andhow their gifts will be used by ATOS. Andour organization must be prepared tofollow though completely and correctly sothe trust earned is well rewarded.

My duties as President and CEO allowme to wear many hats for ATOS. Thefundraising hat is challenging, but sorewarding. My sincere hope is that, likethe conversations over many, many monthswith these first two individuals, I can meetwith more and more of you to discuss howyour legacy gifts can guarantee the futurefor ATOS and the music we so dearly love.

Thank you to two special individuals.For those interested, do not hesitate tocontact me. For those who I know shouldbe interested, don’t be surprised when youhear from me (written with a wink and asmile).

Have wonderful holidays. Our nextmeeting in this forum will welcome theNew Year and all it has to offer. Hope tosee you in Birmingham, and wishing youall the best!

—Ken Double

Forming the Partnerships That Make Fundraising Work



ATOS Memberships Make Great Gifts!Jim Merry, Executive Secretary, P.O. Box 5327, Fullerton, California 92838,

[email protected], www.atos.org


ACTIONS CHESTS CONSOLES PERCUSSIONS REGULATORS TRAPS TREMOLOS

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WWW. TEX.ASTALKIES.COM --------.... -~ ........ The Red, White and Blue Ragtime Revue is a collaboration of two incredible musicians. It all started during an informal jam session in Wichita, KS. Organist Dave Wickerham was the featured artist at the concert. Ragtime pianist, Dick Kroeckel was in the audience. By pure coincidence, Dick was seated at the grand piano and Dave sat down at the Little River Studio Mighty Wurlitzer Theatre Pipe Organ. Within a very few moments they had melded their talents. This resulted in the booking of the concert in McKinney, Texas. Inside the DVD case, you'll find a booklet with biographies on the pair, information about the MPAC Mighty Wurlitzer as well as other trivia about the performance.

TRACKS INCLUDE: Repasz Band March, The Entertainer, Memphis Blues, Kiss of Fire (Tango), Tempation Rag, 12th Street Rag, Medley: Easy Rider/ Yellow Dog Blues, Original Rags, Maple Leaf Rag, Frankie & Johnny, Scandal Walk, "Chicago" Medley: Overture/ All That Jazz/ Mama, Pineapple Rag, Medley: Dallas Blues/ Houston Blues, Tiger Rag, Missouri Waltz, The Sheik of Araby, The Chrysanthemum Rag, "Red, White & Blue" Medley: Yankee Doodle/ Grand Ole Flag/ Yankee Doodle Dandy/ Stars & Stripes Forever, Medley: Charleston/ Doin' The Raccoon

~DICK KROECKEL

© 2008 Texas Talkies Media Production Company, LLC. P. 0. BOX 2 l 4 1 l Waco, Texas 76702


Radio City Music Hall75th Anniversary Mystery!

Through the courtesy of a long standing ATOS friendin Mesa, I was able to obtain a copy of the double DVDdistributed by Time Life Magazine entitled Radio CityChristmas Spectacular. The DVD visual and audio pro-duction values are without question, but I was amazedto see in the list of credits the name of the organ tuner,together with organists George Wesner and Fred Davies.

Did any ATOS member get tickets for the 75thanniversary Christmas show, and did the organ andorganists actually feature in the production? If so, theircontributions were edited out!

My singular disappointment in acquiring the DVDdoesn’t end there. The bonus DVD is titled Diamondon the Rock and is very informative, but it tends toconcentrate a lot on the Rockettes. The organ? Prepareto see three fleeting split-second glimpses of the organmanuals in close up, and a brief mention by an agingRockette of the “wonderful organ.”

Incidentally, if you want a copy of the DVD itappears that Time Life will not sell to anyone who is nota US citizen…hence enlisting the help of my friend.

[Ed. Note: It appears the DVD of the 75th anniver-sary Christmas show is available to be sent to non-U.S.addresses from the Radio City Music Hall website:http://radiocity.shop.musictoday.com/Product.aspx?pc=6RCD02]

—Alan Ashton

Minnesota Public Radio,Fitzgerald Theatre, Musicians toCollaborate in Wurlitzer Series

Minnesota Public Radio announces The Indie Artist Residency: AStudy of The Mighty Wurlitzer Theatre Organ, A Yearlong Program,with multiple performances and outreach collaboration withclassical MPR, The Current, and the Fitzgerald Theatre.

The Fitzgerald Theatre is home to a three-manual, 21-rankMighty Wurlitzer donated by Pat McGuire. The Fitzgerald has beenthe steward of the instrument since its renovation in 1986 and isvery proud to present it as part of its cultural offerings. The talentof performing at a theatre organ is considered by some a dying art form.

Twin Cities theatre organist Mike Grandchamp is working withMinnesota Public Radio to help young musicians to see the “old”instrument in a new light. This unusual pairing between classicalMinnesota Public Radio and The Current will serve as an incubatorof creativity and talent that could create a new genre of theatre organmusic. Mr. Grandchamp will work with two local musicians, deVonGray and Alicia Wiley, who want to learn more about the great artof performing at the king of instruments. The resident artists willlearn the mechanics and history of the instrument and take part in accompaniment of film and other stage activities throughout the year.

Mike Grandchamp is a veteran musical performer and recordingartist. His credits include performances at the pipe organ of theFitzgerald Theatre, engagements in Twin City area supper clubs,and several years as the featured entertainer at the theatre pipeorgan at Cicero’s, a restaurant in Edina.

Saint Paul native deVon Gray is a multi-instrumentalist, acomposer, a conductor, and a hip-hop producer. Gray is a memberof the hip-hop band Heiruspecs, which gets frequent air play onradio stations like The Current. Gray is also active in the classicalmusic scene. He attended the New England Conservatory of Musicand continues to pursue classical music opportunities in the TwinCities.

Alicia Wiley’s command of the piano, her voice, and the art ofsongwriting have earned her a respected place in the Twin Citiesmusic scene. Trained in both classical and jazz styles, Wiley drawsinspiration from a broad spectrum of musical eras, and her musiccan be heard on The Current. She has been honored with threeMinnesota Music Awards: Best Self-Released Recording and BestFemale Vocalist (2004) and Best Keyboardist/Pianist (2006). Wileyis a graduate of McNally Smith College and is currently working onher fourth studio album.

The Fitzgerald Theatre is committed to programming that reflectsthe audience and mission of Minnesota Public Radio. This 1,000-seat theatre acts as MPR’s largest broadcast studio, with airwavesreaching millions of people tuned in to A Prairie Home Companion.Our staged productions commission authors, artists, and radio hoststo create intellectually stimulating programs that delight andenlighten our vast public radio community. Our programs serveextended communities through the reach of MPR events that areon-stage, on-line, and on-air. The Fitzgerald is Saint Paul’s oldesttheatre and will be celebrating its 100th anniversary in 2010.

•Installation •Restoration•Service & Tonal Finishing—at its best•Expert Installation of Relay Systems

Ed Zollman • 3310 Forest Ridge, Wichita, KS 67205316-729-6860 • [email protected]

Century II Exhibition Hall, 4/38 Wurlitzer, Wichita, KSLittle River Studio—Coup Residence, 4/19 Wurlitzer, Wichita, KSWurlitzer Manor, 4/48 Wurlitzer, Gig Harbor, WAWashington Center for Performing Arts, 3/22 Wurlitzer, Olympia, WAAveni Residence, 4/60 Wurlitzer, Gates Mills, OHPeery's Egyptian Theatre, 3/23 Wurlitzer, Ogden, UTHoldgreve Residence, 3/21 Wurlitzer, Colorado Springs, COBurnett Residence, 3/18 Kimball, Halstead, KSMarkworth Residence, 3/24 Kimball/Wurlitzer, Omaha, NE


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W E L C O M E N E WM E M B E R S July 18 to September 19, 2009Mark and Mary Aulman, Woodland,

CaliforniaBrian and Shirley Bild, St. Louis, MissouriJoseph Calverley, Brantford, CanadaCharlie Clayton, Matthews, North

CarolinaJames Coats, Birmington, AlabamaChuck Crawley, Hollywood, FloridaCarroll Eddleman, Hoschton, GeorgiaAlan Edgar, Carnmoney, United KingdomDon Erhardt, Chesterfield, MissouriMichael Fisher, Redford Township,

MichiganJohn Goettee, Jr., New Windsor, MarylandWilliam R. Hartig, Yardville, New JerseyM. D. Holmberg II, Marion, TexasSteve Jarvis, Portland, OregonCharles Karayan, Burbank, California

Craig Keller, Lilyfield, AustraliaNelson Koeppel, Cheekowaga, New YorkKenneth B. Koswener, Mahopac, New

YorkBob Kroepel, New Durham, NevadaCarol Lautenschleger, Strasburg, OhioNorman Lundin, Flagstaff, ArizonaJohn Malone, Turlock, CaliforniaPeter F. McDonnell, Key West, FloridaBrian D. Miller, Louisburg, North

CarolinaThomas Mustachio, Wayne, New JerseyDavid Nelms, Monroe, North CarolinaPaul Parker, Chesapeake, VirginiaRichard and Linda Parton, Fullerton,

CaliforniaRobert A. Raymond, Jr., Salisbury, North

CarolinaLawrence R. Requa, St. Petersberg,

FloridaRoy C. Rhinehart, Jr., Kissimmee, FloridaDavid Ritch, Gastonia, North Carolina

Kevin Rose, Omaha, NebraskaCarolyn Schroeder, DeWitt, NebraskaTim Stephens, Atlanta, GeorgiaJohn Strate, Murray City, UtahJames Swinehart, Akron, OhioJon Thorwaldson, Glendale, ArkansasButch Tigner, Greenville, GeorgiaKeith Addison Tyler, Long Beach,

CaliforniaJune and Ken Vail, Easton, PennsylvaniaLon Vanderveer, Phoenix, ArkansasHarold L. Wade, Houston, TexasBernadette Wagner, Champaign, IllinoisDarron Walsh, Las Vegas, New HampshireDouglas H. Weakley, Glendora, CaliforniaBarbie Weisserman, Farmington Hills,

MichiganPhillip E. Woodwell, Land O Lakes,

FloridaHeath Wooster, Burwood, Australia

AT O S A N N O U N C E S T H E2 0 1 0 G E O R G E W R I G H TM E M O R I A L F E L L O W S H I P

A program to bring a young person to the ATOSannual convention to be held in Seattle, Washingtonand surrounding areas June 29–July 3, 2010.

The George Wright Memorial Fellowship has beenestablished to pay for an interested young person betweenthe ages of 15 and 24 to attend his or her first ATOS annualconvention. ATOS will pay the convention registration fee,jam session fee(s), hotel, economy round-trip airfare, andthe cost of the banquet for the winner.

All young people interested in applying for this fel-lowship should request an application today by contactingJelani Eddington, ATOS Youth Initiatives chair, 1706 WestPalamino Drive, Racine, Wisconsin, 53402, or bydownloading the forms online from the ATOS website,www.atos.org. If you know of a young person who might beinterested, please have him or her fill out an applicationtoday.

All applications must be completed and postmarked no later than March 1, 2010. Applications must besubmitted by Certified Mail, Return Receipt.

For more information, please contact Jelani Eddingtonat the address listed above or by e-mail [email protected].

AT O S A N N O U N C E S T H EP O S I T I O N O F Y O U T HR E P R E S E N TAT I V E T O T H EB O A R D

A program to encourage dialogue and exchange of ideasbetween our young members and the ATOS board.

The position of ATOS Youth Representative to the board has beenestablished to encourage a two-way avenue for dialogue and the expressionof ideas from a youth perspective. The Youth Representative will serve onthe ATOS board of directors for the two-year period from 2010–2012 andshould be involved in as many ATOS events as possible. The position isavailable to young persons between the ages of 15 and 24.

ATOS will cover the approved costs associated with attending eventssuch as the annual convention and any mid-year board meetings the YouthRepresentative is required to attend.

All young people interested in applying for this position should requestan application today by contacting Jelani Eddington, ATOS YouthInitiatives chair, 1706 West Palamino Drive, Racine, Wisconsin 53402.The application forms may also be downloaded from the ATOS website,www.atos.org. If you know of a young person who might be interested inserving ATOS in this capacity, please have him or her send for anapplication today. Be sure to include your mailing address.

All applications must be completed and postmarked no later thanMarch 1, 2010. Applications must be submitted by Certified Mail,Return Receipt.

For more information or for general inquiries, please contact JelaniEddington at the address listed above, by e-mail at [email protected],or at 262-639-8788.



It is time to nominate candidates to fillthree (3) positions for ATOS directors forthe three-year term of 2010 to 2013. AllATOS members who have maintainedcontinuous membership in good standingfor at least the last two years are eligiblefor nomination and may nominate them-selves or be nominated by another memberin good standing, in which case writtenconsent of the nominee is mandatory andmust be received before the nominee’sname can be placed on the ballot.

A nominee need have no special talentor experience in pipe organ technology or musicianship; however, nomineesshould have a demonstrated interest inATOS and have the time to work towardthe goals and growth of the society. Whilethere are benefits enjoyed by directors, oneof which is the reimbursement of certainmeeting-related expenses, there are alsoresponsibilities. Along with a willingnessto participate in the administrative affairsof the society, it is most important thatdirectors faithfully attend both board andcommittee meetings.

The ATOS board usually meets twice ayear, the first being just prior to the annualconvention, usually in the summer, andagain in mid-year, usually sometime in lateJanuary. Attendance of all directors isnecessary if the decisions and actions ofthe board are to be truly responsive to themembership. In addition, directors chairand/or serve on one or more committeesproviding valuable input to the board. Thechairs of the committees are responsiblefor submitting a written report of theiractivities and recommendations prior tothe meetings of the board.

The board is currently taking action onseveral exciting programs that shouldincrease public awareness of ATOS and seta course for the future. This is a great timeto become involved in the work of ATOS.

Procedure to be observed in the nom-ination process is as follows:

1. Each nominee shall furnish a state-ment, not to exceed 150 (one hundred fifty)words, including the name and city/stateof residence, personal data, work and

theatre organ experience, a short platformstatement, an evening/weekend telephonenumber, and a photo. Statements exceed-ing the 150-word limit will disqualify thecandidate. The nominee’s name, city/stateof residence, contact telephone number,fax number, or e-mail address are not to beincluded in the word count.

2. Candidate résumés and photo are to be sent to the Nominating Committeechair. It is strongly recommended thatnominations be sent via “return receipt” or similar mail class if international.Nominations may also be sent digitally;however, the sender MUST verify receiptof the nomination by the chair. Thepostmark deadline is January 15, 2010.

3. We will use a separate mailing ofballots and résumés of the candidates.While this method is costly, we hope that itwill encourage members to vote for thecandidates of their choice, thus demon-strating their interest in and support ofATOS and its objectives.

4. If you have questions, please contactthe Nominating Committee chair:

Bill Carr11815 North 77th DrivePeoria, Arizona [email protected]

5. Counting words:a) Name, city, and state in the

heading do not count.b) Hyphenated words count as one

(1) word (e.g. vice-president, two-term…).c) Articles and prepositions count

[the organ caretaker = three (3) words, anavid lover of theatre organ = six (6) words].

d) ATOS = one (1) word, MCTOS =one (1) word. American Theatre OrganSociety = four (4) words.

e) Abbreviations count as one (1)word (Asst., Mrs.).

f) Numbers count as a word [26 =one (1) word, 5 = one (1) word].

AMATEUR THEATREORGANISTCOMPETITIONRESULTS

The ATOS Amateur Theatre OrganistCompetition committee (Susan Cole andMike Hartley, co-chairs) is very pleased to announce the winners of this year’scompetition. They are as follows: JohnSteen (Texas), Peter Ruston (England), andDavid Burud (Illinois). Congratulations toall! They will receive award certificates, anhour private lesson from Chris Elliot (oneof our convention artists), and an oppor-tunity to perform a 15-minute mini-concertin the Allen Organ room. We want to thankChris Elliot for volunteering his time andhis instructional expertise. Many thanksalso to Joel Hurley and Allen OrganCompany for their continued support of thisATOS event.

All entrants in the competition receiveddetailed comments and critiques from ourthree judges (Jim Riggs, Rob Richards, andRon Rhode), which are most valuable. Thisis probably the most important factor andreason for entering the competition. Thecommittee wishes to extend our utmostgratitude and appreciative thanks to ourjudges this year for their valuable time andexcellent comments!

Last, but by far not least, thanks go toDoug Powers for arranging and schedulingthe competition on the convention agenda.Our heartfelt thanks go to Wayne Tilschner,who really did the bulk of the committee’swork, and Lydia Hartley for her computerexpertise and time in assisting us.

The committee was very pleased withthe response to the competition this year,and we wish to encourage amateur theatreorganists over age 25 to enter thecompetition in 2010. Quoting one of thisyear’s entrants, “It was a lot of fun.”

—Susan Cole and Mike Hartley, co-chairsAmateur Theatre Organist

Competition Committee

O P E N I N G O F N O M I N AT I O N S F O RT H E 2 0 1 0 E L E C T I O N O F D I R E C T O R S



Y O U T H C O R N E RBY TYLER MORKIN

ATOS has reached a pivotal moment inits history, as it embarks on a path tomaintain the prominence and future of anAmerican art form. Now, more than ever,youth initiatives are at the forefront ofushering in a new generation of enthusiaststo further the art form that we hold so dear.

A large part of this effort has been theATOS Summer Youth Camp. The 2009camp marks the third year of one of the mostsuccessful youth-oriented programs ourorganization has sponsored. By now, most ofthe students are nearing the end of anotheracademic semester. The summer campfaculty and coordinators are also busyconcertizing and planning next year’s camp.Now that three successful ATOS summercamps have been completed, it is clear fromthe students that our labors have borne fruit.Rather than attempt to summarize thestudents’ reactions, I thought it best to havethe students relate their experiencesdirectly, in their own words. I talked withthree individuals who attended the mostrecent Summer Youth Camp. Here is whatthey have to say about the camp and theirtheatre organ studies in general.

JESSICA TOMLINSONAge 24, from St. Petersburg, Florida

How long have you been interested in theatreorgans? I’ve been interested for about fouryears.

How did you first become interested in theseinstruments? My piano teacher had an Allenorgan at his house. He originally used it as a teaching tool. My interest went fromthere. Then, my mom saw an article in thenewspaper about a concert hosted by theCentral Florida chapter of ATOS. I madesome friends in the chapter who helped tointroduce me to more theatre organ.

Do you play? If so, do you have a teacher?Yes. I take classical organ lessons from aprofessor at St. Petersburg College.

What was the first theatre pipe organ youremember playing? The first pipe organ thatI played is at Pinellas Park Auditorium. It’sa 2/9 Wurlitzer.

Are you involved in any technical aspects ofthe theatre organ? I’m mostly involved withplaying. I would like to be more involved inother aspects, however.

Have you attended any Summer YouthCamps offered by ATOS? Yes. I attended theone in Phoenix this year and the one inChicago last year.

How did you like your overall experience atthe camp? The one in Phoenix was veryinspiring. We talked about arranging andregistration, as well as using theatre organwith other instruments. The youth campinstructors are all forward-looking.

As a final question, what do you think ATOScan do to help promote the theatre organ to the younger audience? ATOS shouldcontinue promoting theatre organ with otherinstruments. Expanding the music reper-toire to include modern music is alsoimportant. I do like the music of the ’20sand ’30s, but expanding the repertoire isvery important to attract young people. Moremedia publicity would also be helpful.

NATHAN AVAKIANAge 18, from Portland, Oregon

How long have you been interested in theatreorgans? I became interested in theatreorgans when I was four years old. I startedlessons six years ago.

How did you first become interested in theseinstruments? I went to the Portland OrganGrinder restaurant and became fascinatedwith the mechanics of the organ. I enjoyedwatching all of the unenclosed parts of theinstrument.

Do you play? If so, do you have a teacher?Yes. I work with Donna Parker.

What was the first theatre pipe organ youremember playing? I think it was the pipeorgan that used to be in the HollywoodTheatre in Portland.

Are you involved in any technical aspects ofthe theatre organ? As of right now, I’m not.I would like to be, as I think it is reallyimportant.

Have you attended any Summer YouthCamps offered by ATOS? Yes. I attended thecamp the first year in Chicago and again inPhoenix this past year.

How did you like your overall experience atthe camp? I loved it. I really enjoyed thefirst one; however, the most recent oneseemed even more polished and well puttogether. I’m really happy about the waythings have turned out. I’m also lookingforward to the upcoming technical camp.

As a final question, what do you think ATOScan do to help promote the theatre organ tothe younger audience? I think the mainthing is that ATOS needs to start doing ismore integration of the organ with otherthings, such as theatre organ and orchestra,dancing, and theatrics. I’m doing a concertin November, collaborating with a localdance team here in Portland. I think thattheatre organ enthusiasts are an isolatedcrowd. The primary consideration is toexpand the instrument to more people inways we haven’t used the instrument before.

DAN ROMEROAge 28, from Barnstable, Massachusetts

How long have you been interested in theatreorgans? I have been interested since I wasa teenager. I’ve gotten more seriouslyinterested in recent years.

How did you first become interested in theseinstruments? I was studying classical organat age 12. I had heard about theatre organsand located some books on them at thelibrary. Then, when I was 13 or 14, I hearda program on the Wurlitzer at the DenverParamount.

Do you play? If so, do you have a teacher?Yes. I play a little bit of theatre organ.

What was the first theatre pipe organ youremember playing? I’m not exactly sure. Ibelieve it was the theatre organ at the MountSt. Francis Auditorium.

Are you involved in any technical aspects ofthe theatre organ? I haven’t been tooinvolved with theatre organ. I did work withan organbuilder in Denver for one year. Theorganbuilder worked entirely on classicalinstruments, although he did have sometheatre organ experience.

Have you attended any Summer YouthCamps offered by ATOS? I attended the onethis past year in Phoenix.



How did you like your overall experience at thecamp? The camp was wonderful. We had agreat time. It was actually better than Iexpected, not that I necessarily had manyexpectations one way or another; it was great.One of the very best aspects of the camp wasmeeting other young people who are alsointerested in theatre organ. Some commentswere made throughout the week, such as“Gee, I’m not the only one interested in this.”

As a final question, what do you think ATOScan do to help promote the theatre organ to the younger audience? I think keeping upprograms like the Summer Camp is veryimportant. It is reaching a lot of kids who don’totherwise get a chance to play. Another ideathat may be good would be that ATOS couldpair up with other organizations such as theAGO and OHS.

The three students interviewed for thisarticle represent only a fraction of thosestudents positively affected by their expe-rience at the ATOS Summer Youth Camp.Through their words, it is clear to see that ourefforts in Youth Initiatives are succeeding.Through these projects, ATOS is able to reachout to a new generation of enthusiasts in waysonce thought to be impossible.

These young people also provide adifferent perspective on the direction of youth initiatives within ATOS. Through ourhard work and their involvement, we willundoubtedly preserve the future of theinstruments we know and love. The youngpeople here are proof that immeasurablepositive returns have been made with ourinvestment.

As we embark on the years ahead in ATOS,we must continue to realize that securing thefuture of our organization is paramount. Onlythrough this investment can we ensure a placefor theatre organ in generations to come.

I N N E R - C I T Y Y O U T H P R O G R A MATOS provides partial funding to chapters sponsoring inner-city youth programs

that provide exposure to the theatre organ. Up to $250 per program per year will beoffered to a chapter to help pay expenses for such an effort. Only a few chapters havetaken advantage of this program in past years; perhaps your chapter would like toparticipate.

For additional information or how to apply, contact the chair of the Inner-City YouthProgram, Jack Moelmann, for complete details. Past experience has shown that suchevents provide great satisfaction for both the participants and the chapter. There is nodeadline; requests may be sent at any time.

—Jack MoelmannP.O. Box 25165, Scott Air Force Base, Illinois 62225

[email protected], [email protected]: 618-632-8455, Fax: 618-632-8455

ATOS ANNOUNCES THE 2010 YOUNG THEATRE ORGANIST COMPET IT ION

ATOS is pleased to announce theYoung Theatre Organist Competition for2010. In an effort to make participationin one of our flagship programs a moreenjoyable experience for everyone, thecompetition committee has made anumber of important rule changes overthe past several years for this event. Forcomplete details, please consult theYoung Theatre Organist Competitionrules and guidelines; they may be foundon the ATOS website, www.atos.org, byclicking on the “Downloadable Forms”link.

Prize Money—ATOS is pleased tooffer up to USD $1,500 in prize moneyfor this year’s competition winners. Eachfinalist will receive an award of $500.The overall winner will receive anadditional award of $1,000. The 2010overall winner will be invited to performa live concert as part of the 2011 annualconvention.

Age Eligibility—This year’s competi-tion will be open to competitors betweenthe ages of 13 and 24 as of July 1, 2010.

Three Finalists Brought to theConvention—The competition judgeswill select up to three finalists from allof the entrants. Those finalists will bebrought to the annual convention in the Seattle, Washington area, where

they will perform live during the conven-tion. An overall winner will be selectedfrom among the finalists based on thatperformance.

Competition Open to ATOSMembers and Non-Members—Thecompetition will be open to ATOSmembers and non-members alike.Entrants who are members of ATOSchapters may be sponsored by theirhome chapter. Entrants who are ATOSmembers but not affiliated with achapter, or who are not members ofATOS, may compete as entrants “atlarge.”

A copy of the competition rules andguidelines, as well as the applicationform, can be obtained from Competitionchair, Jelani Eddington, at [email protected], or by downloading thematerials from the ATOS website atwww.atos.org. All competition materialsmust be received by the chair no laterthan April 1, 2010.

The Competition Committee hopesthat this will be a rewarding andenjoyable event for all who participate.Think about joining in on the fun for2010!



During the Cleveland convention, theATOS board invited each attendee tocomplete a satisfaction survey. The surveywas designed to canvas satisfaction with theconvention agenda, general membershipmeeting, the banquet, and the awardspresentation. The board had two mainobjectives; the first is to send a clearmessage to the membership that satisfactionwith the convention, along with commentsand suggestions, is important. Second, thesurvey, along with comments and sug-gestions, will be useful in planning the 2010convention in Seattle. Based upon theresponses, 97% indicated they were satisfiedoverall with the 2009 convention. Therewere 122 completed surveys received out of460 attendees, or about 27% participation.Comments and suggestions number 293.

There were 11 questions where eightselections were numerical and three wereeither yes or no. The numerical questionsoffered a selection of 1–2–3–4–5 (from worstto best) rating. There was adequate spaceprovided for comments and suggestions.

Results from the survey were interest-ing, with a great number of positive andconstructive comments and suggestions.Overall, 87% were very satisfied with theentire convention, with about 10% feeling itwas adequate. Only 3% (4 respondents) werenot satisfied. Similar numbers were used torate the convention scheduling. Surprisinglywith today’s economy, 89% felt the numberof convention days was acceptable. Thesame percentage felt the number of concertswas adequate. Regarding the banquet, 74% felt there should be no change in theroll call of chapters. When asked abouthaving the awards presented during aluncheon, the vote was close: 41% wouldprefer a luncheon; 13% voted in the middleof the scale. However, 44% wanted it left atthe banquet. Adding additional workshopsand/or lectures by eliminating a concert ortwo found 70% voting no and 30% yes.Another close vote was on the option of a50/50 cash raffle, with proceeds going topipe organ preservation, youth initiatives,and other programs. There were 52% votingyes and 58% no.

Many took the time to offer comments andsuggestions using both sides of the form. Thehighlights were:

Classical Concerts—received the mostcomments, with 98% being unfavorable.There were no negative remarks about theartists. However, most felt the concert wastoo long, especially without an intermission.There were several comments about offer-ing an option—giving attendees a choicebetween a classical concert and a differentvenue.

Meals—23.8% felt there was notadequate time scheduled for meals. 11% feltthere should have been better commu-nication from the host staff regardingaffordable local eateries and not just fastfood. Suggestions were made to have theconvention hotel offer affordable groupmeals or a buffet which would have theadded benefit of bringing attendees togetherfor “acquaintance time.”

Concerts—We must consider the age ofour group; intermissions are a must. Therewere many suggestions regarding ATOSyouth, such as adding more youth concertsand providing young attendees with freetickets to extra concerts. Some felt the youthcompetition should entail all contestantsplaying at least one required score. Limit thesilent movies to a 30-minute comedy. Therewere many positive comments stating howgreat the artists were. There also wereseveral positive comments about the MC(Ken Double).

Venues—Most were concerned aboutthe theatre doors at some concerts not beingopen when they arrived. For the most part,all were satisfied with the venues. Sug-gestions were made to allot time for Sundaychurch services.

Transportation—There were 14% whocommented on the early arrival at somevenues which resulted in attendees havingto stand outside the theatre until the doorswere opened. There were 5% who felt moreforceful bus captains were needed. Manycomments were submitted regarding thecongestion in boarding buses, creating aherd mentality. Thought should be given toassigning attendees to buses or using a largeroom in the convention hotel to gatherattendees into groups and lead them to thebuses.

Hotel/Record Shop—There wereseveral comments regarding the record shop.It was recommended ATOS set up a central

credit card process that can be used fromone convention to the next. Organ-relatedvendors should be allowed to set up in therecord shop and display their products.Hours of operation should be consistent.5.8% felt the hotel parking rates were toohigh.

SURVEY RESULTSRating: 1–2–3–4–5 (worst to best)1. How satisfied were you with the

convention schedule? (75 or 68% rated 4and 5; 27 or 25% rated 3; and 8 or 7% rated1–2)

2. How satisfied were you with actualnumber of convention days? (100 or 89%rated 4–5; 11 or 10% rated 3; and 1 or 1%rated 1–2)

3. How satisfied were you with thegeneral meeting (content/time allotted)? (57or 70% rated 4–5; 16 or 20% rated 3; 8 or10% rated 1–2)

4. How satisfied were you with thenumber of concerts? (109 or 84% rated 4–5; 13 or 11% rated 3; 0 rated 4–5)

5. How satisfied were you with theawards banquet? (37 or 70% rated 4–5; 9 or27% rated 3; 7 or 13% rated 1–2)

6. At the banquet, there is a roll call ofchapters. Should it be done, for example, afew chapters at a time and spread throughoutthe schedule of convention concerts? (21 or26% Yes; 61 or 74% No)

7. Would you prefer an awards luncheonover the evening awards banquet? (36 or41% rated 4–5; 13 or 15% rated 3; 38 or44% rated 1–2)

8. Or, would you prefer awards be givenduring the intermission of concerts? (49 or46% rated 4–5: 7 or 7% rated 3; 50 or 57%rated 1–2)

9. Would you prefer additional workshops/lectures and eliminate a concert(s)? (32 or30% Yes; 73 or 70% No)

10. Would you favor a 50/50 cash rafflewith proceeds distributed to pipe organpreservation, youth and adult programs,etc.? (52 or 47% Yes; 53 or 53% No)

11. How satisfied were you with theconvention (overall)? (104 or 87% rated 4–5; 12 or 10% 3; 4 or 3% 1–2).

Notes: (1) Not all questions wereanswered. (2) Additional detail regarding thesurvey will be posted on the ATOS website.

THE 2009 MEMBERSHIP SATISFACTION CONVENTION SURVEY



The board felt the membership surveywas a successful venture and will providesuggested improvements for future con-ventions. There were administrative lessonslearned on our part, and adjustments arebeing made. The following actions areunderway:

• Changing all quantitative questions toyes or no.

• Changes to the survey distribution andcollection process.

• Updating the convention planningbinder in preparation for future conventions.

• Incorporating suggestions.Thanks go out to those who took the time

to participate in the convention survey.Additionally, I would like to send myappreciation to ATOS members JanBresnick, Don Bresnick, and WayneTilschner for their assistance in thetabulation and narrative analysis of the 2009convention survey.

—Colonel Mike Hartley

C A L L F O R AWA R D N O M I N AT I O N SNow is the time to consider nominating someone you feel is deserving of consideration

for one of the ATOS honors. As a people organization, we need to recognize members whohave done an outstanding job in promoting, preserving, presenting, and otherwisefurthering the art form we all hold so dear. There are many unsung heroes working quietlyand diligently who may be unknown outside of their local chapter. Please take the time tonominate these individuals so they may receive the recognition they deserve.

All ATOS awards require a written nomination not to exceed one printed page. Anymember of ATOS may nominate another for any ATOS award. The major categories includeHall of Fame; Honorary Member; Organist of the Year; Ron Musselman Member of theYear.

Nominations should be submitted to Jack Moelmann, chair of the Awards andRecognition Committee. Contact information is provided below.

For additional information, contact Jack, and he will be glad to help you. Nominationsfor any of the above should be submitted no later than February 1, 2010. Let’s continueour tradition of recognizing outstanding members. Please don’t wait until the last minute;nominations are being accepted now.

—Jack Moelmann, ChairAwards and Recognition Committee

[email protected], [email protected]. Box 25165, Scott Air Force Base, Illinois 62225

Voice: 618-632-8455, Fax: 618-632-8455

When Stan Kann died in September,2008, at age 83, the theatre organ world losta great organist, comedian, and TVpersonality. You name it, he did it. He hadbeen the house organist at the FabulousFox Theatre in St. Louis for many longyears, and he appeared on numerous TVshows as a guest, not for playing the organ,but for his collection of stuff—namelyvacuum cleaners and other gadgets whichusually fell apart when he tried to use them.

Mary Strauss, owner of the Fox Theatre,held a wonderful public memorial serviceat the Fox and announced the formation ofa memorial scholarship fund in Stan’smemory to help aspiring young theatreorganists follow in his footsteps. Donationswere accepted, and the sale of his CDs andDVDs also go to the fund. ATOS wants todo its part.

The tradition of “passing the SaladBowl” was started by Jack Moelmann in1999 at the Wichita regional convention.Actually one of the first attempts at this was in 1986 at the Richmond annualconvention when Jack used a trophy cup toserve the same purpose. In Richmond, thecause was the Young Theatre OrganistCompetition; in Wichita it was the

Smithsonian organ project. The biggestcollection was in Indianapolis in 2001which generated the initial funding for theGeorge Wright Memorial Fellowship.

Jack did it again at this year’sconvention in Cleveland. Money collectedwill go toward the Stan Kann ScholarshipFund and the Summer Youth Camp.

The end result was $1,225 collected forthe scholarship fund, as well as $2,845 forthe Summer Youth Camp. On August 3,Jack Moelmann, in his capacity as anATOS board member and staff organist atthe Fabulous Fox, presented a check for$1,225 to Mary Strauss at her home. We hope that this contribution and otherswill further the education and careers of aspiring young theatre organists. Apermanent display depicting the life andcraziness of Stan has been set up at the Foxwhich can be viewed by everyone whoattends programs there.

S TA N K A N N M E M O R I A L S C H O L A R S H I P F U N D

Mary Strauss and Jack Moelmann

Stan Kann exhibit at the Fox Theatre (Photo by Jack Moelmann)



The George Wright Memorial Fellowshipis a program ATOS established in 2001 toenable young theatre organ enthusiasts toattend their very first convention. TheFellowship has been one in a series of verysuccessful programs ATOS has put intoplace to help encourage and support youngertheatre organists and theatre organ enthu-siasts. Previous George Wright Fellowsinclude Zach Frame from Lake Geneva,Wisconsin (2002), Jonathan Fox fromShreveport, Louisiana (2003), Jesse Kohlfrom Forest Grove, Oregon (2004), SamMoffat from Toronto, Ontario, Canada(2005), Daniel McCollum from Sumterville,Florida (2006), Nathaniel Baker fromColumbus, Ohio (2007), and Glenn Tallarfrom Homer Glen, Illinois (2008).

ATOS was pleased to name not one buttwo deserving recipients of the award thisyear, Kat Brightwell and Jonathan Gradin.Kat Brightwell is 16 years old and hails fromSeattle, Washington, where she is an activemember of the Puget Sound Theatre OrganSociety. Jonathan Gradin is 19 years old,lives in Rathdrum, Idaho, and is a member ofATOS’ newest chapter, the Spokane FirstNazarene chapter.

Those who attended the Clevelandconvention had the pleasure of meeting thesebright, enthusiastic young individuals. Thefollowing essays relate their experiences attheir first-ever ATOS convention. We all lookforward to seeing them both again very soon!

—Jelani Eddington

KAT BRIGHTWELLMy name is Kat Brightwell. As a recip-

ient of one of this year’s George WrightMemorial Fellowships, I’d like to take thisopportunity to introduce myself and sharewith you impressions of my first ATOSconvention.

I am 16 years old and, while I have beenstudying theatre organ for only a year and ahalf, I have played various non-keyboardinstruments (flutes, saxophones, baritonehorn) over the past 10 years. I also have alongstanding interest in the movies, music,fashion, and architecture of the early 20th

century. Given my interests, I was thrilled atthe opportunity to attend this convention.

The music, of course, was a high point. Ihad not seen most of the artists in concertbefore, and it was a real treat to hear themplay. The variety of music that can be playedon the theatre organ is amazing, and wecertainly got to hear the full range and scope.It was inspiring to hear all of these concertsone right after another. I got some great ideasfor my own playing (and, hopefully, I’ll soonbe good enough to actually use them).Watching the Young Artist’s competition wasan entertaining-but-nail-biting experience. Iplan to enter someday, and it was good to geta sense of what that will be like.

In addition to the music, the beautifultheatres in which the concerts took placewere of particular interest to me. I’m glad myfirst convention was largely “in-theatre”! Isaw a number of movie palaces that weredesigned in a different manner than the oneswe have in the Pacific Northwest—this wasthe first time I had seen an Ebersonatmospheric firsthand, as well as an earlyRapp & Rapp. I was very grateful for the tourof Playhouse Square on the overture day; Ilearned a lot and saw four lovely, uniqueearly 1920s theatres.

The icing on the cake of this conventionwas the people. I saw friends I hadn’t seensince last year’s Summer Youth Camp, andpeople I knew from the internet but hadn’tmet in person. Also, I had the good fortune tomake a lot of new friends. It’s great fun tohang out for a whole week with people whoshare your interests! I knew the people at theconvention would be nice, but I didn’t knowthey would be as amazingly nice as theywere. Everyone was so sweet and encour-aging—it was one of the most upliftingexperiences I have ever had. The WesternReserve chapter did a wonderful job ofputting on this convention. Between all theconcerts, beautiful theatres, and friends oldand new, the week couldn’t get any better.

Thank you so much, ATOS, for providingme with this experience. The conventionreminded me of why I love the theatre organand how glad I am that I chose to be involvedwith it. I was sad to leave Cleveland, but I

am very much looking forward to welcomingyou all to my city next summer: Seattle—Where It All Began!

JONATHAN GRADINThe 54th annual ATOS convention was

titled Treasures of the Western Reserve, andwith good reason. I had the privilege—andgreat surprise—of being selected as one oftwo George Wright Memorial Fellowshipwinners, a program that assists young peoplein attending their first convention. Therefore,I offer a heartfelt “thank you” to JelaniEddington, the George Wright MemorialFellowship committee, the ATOS board,Doug Powers and the Western Reservechapter, and everyone who kindly made me,a young enthusiast, feel welcome.

The convention began with two veryinformative seminars: the chapter leadershipseminar, covering fundraising, promotionand similar topics, and a Heritage Serieslecture on Ashley Miller and Pearl White,two organists I wished I had learned moreabout sooner.

That evening we all headed south toAkron, where Chris Elliot accompanied awonderful silent film, The Mark of Zorro, in the equally wonderful Civic Theatre, arare Eberson atmospheric. When he hit theopening notes, it was such a live sound,enveloping and blanketing me, that all I could think was, “Wow! This is whateveryone was talking about!”

Thursday afternoon’s members’ forumand “First, Do No Harm” seminars were veryinformative, particularly the latter as I wouldlike to learn how to work on theatre organs.Donnie Rankin’s evening concert on the3/10 original-installation Wurlitzer in theLorain Palace Theatre came off very well. OnFriday, John Lauter presented a well-chosenmix of old standards and newer songs, suchas Michael Jackson’s “Thriller.” The Grays

INTRODUCING THE 2009 GEORGE WRIGHT MEMORIAL FELLOWSHIP RECIPIENTS



Armory installation, much different than atheatre, presented a fresh, very live acousti-cal sound, with its two-second-plus reverb.

After lunch Jonathan Ortloff, last year’sYoung Artist Competition winner, played afine program on the Playhouse SquarePalace Theatre’s 3/17 Kimball as a preludeto the wonderful Young Artist Competition.Danny McCollum, Nathan Avakian, andMary Ann Wootton, the three finalists,played very well. I was pleased with the levelof talent shown in these young people. Forme, this laid to rest the debate over thesurvival of the theatre organ.

Richard Hills’ concert on the magnificent4/60 theatre organ in the former Avenimansion just blew me away. I especiallyenjoyed his opener, the “MGM Overture,”which included “Singing in the Rain” and“Over the Rainbow.” After the veryinformative annual meeting, we spent therest of Saturday in Columbus, hearing a bit ofclassical at First Congregational by JohnSchwandt and David Peckham.

After a delicious buffet dinner at theColumbus Athenaeum, Clark Wilsonpresented a magnificent concert on the OhioTheatre’s 4/34 Robert-Morton, an originalinstallation to which 14 ranks have beenadded. I especially enjoyed the sweet andreminiscent “Love’s Old Sweet Song,” thefast, jazzy “Georgy Girl,” and the masterfulmedley of Irving Berlin songs.

Sunday featured Jonas Nordwall’s concertat the Playhouse Square State Theatre, theKeyboard Pops concert with JelaniEddington and Chris Elliott, and thebanquet/awards ceremony, at which Chriswas named organist of the year. I even got asmall plaque and a certificate! Following theawards ceremony, Peter Richard Conte,Grand Court organist at Macy’s, played aconcert of Romantic literature on the 4/54Austin (1919) in the Masonic Auditorium.

Overall, the convention was a blast. Ienjoyed meeting people with similarpassions and interests. Next year I will focuson attending the Summer Youth Camp and,hopefully, the convention. I look forward toseeing you all again someday. Thank you allonce more for the wonderful time!

Dear ATOS staff and members,It was a privilege to have been selected

as winner of the 2009 Young TheatreOrganist Competition, and I would like toexpress my gratitude to all those involvedwith not only the competition but with allefforts to support young organists likemyself. Although my generation includes apromising number of interested andtalented organists, keeping the instrumentalive and relevant will be an immensechallenge. I feel not only an aspiration butalso a responsibility to make sure thetheatre organ is properly preserved andpromoted for future generations to enjoy.

ATOS has generously provided me withscholarships, for which I am extremelygrateful, that have enabled me to takeweekly lessons and attend various organworkshops and conventions. ATOSsponsors activities like the young organistcompetition and the youth summer organcamp that help interested kids becomeactive and engaged in the theatre organ

community. But perhaps the most valuablething that ATOS provides is a welcoming,supportive atmosphere for young artists.

Thank you to Jelani Eddington fororganizing the young organist competitionand for being so accommodating andaccessible throughout the process. Thankyou also to the judges who provided eachentrant with helpful critiques. Mostimportantly I’d like to thank my organteacher and respected mentor, DonnaParker, as well as Jonas Nordwall, who hasalso provided me with invaluableinstruction.

On behalf of all young theatre organ-ists, thank you to ATOS and its membersfor all of your support and financialassistance. This support gives youngorganists the confidence and resources tobe successful with their theatre organendeavors, and for that I will always begrateful.

—Nathan Avakian

Y O U N G O R G A N I S T T H A N K S

F R O M T H E E X E C U T I V E S E C R E TA RYSome Helpful Hints:

Don’t miss an issue of THEATRE ORGAN; renew on time and submit address changesto the membership office address shown below. Your confirmation of renewal or newmembership is your bank or credit card statement. New members may not receive theirfirst issue of THEATRE ORGAN for up to two months. Please contact me with questionsor concerns about your membership.

Please Take Note:In order to save up to $3,000 per year in printing, processing, and postage cost, it was

decided that membership cards will no longer be issued. The card is not required toregister for ATOS conventions or other programs. When requested, I will verify yourcurrent membership status to your chapter. You will find your ATOS renewal date and yourID number in the top line of address information on the envelope in which you receiveTHEATRE ORGAN. If you feel that a membership card is an important part of belongingto ATOS, please let me know, either by e-mail or a letter to the post office box. If asubstantial number of you share this opinion, I will ask the board of directors to reconsiderthis decision in the future.

—Jim Merry, Executive SecretaryP.O. Box 5327, Fullerton, California 92833

Voice or Fax: 714-773-4354, [email protected]



INTRODUCTIONOver the last three years, a remarkable

revolution has stirred within ATOS. Thatrevolution has come from the wide-eyedenthusiasm of our next generation of youngorganists, technicians, listeners, and sup-porters. For as long as the organization hasexisted, we have trumpeted the battle cry of encouraging younger theatre organenthusiasts. Yet, as the years and decadespassed, too often these promises ofencouragement rang hollow, and thecommitment to supporting our youth became“lip service.”

In 2006, Mike Cierski, an ATOS directorwho had previously served as YouthRepresentative, presented the youth campidea to the board. Unfortunately the campwas cancelled that year due to a lack ofparticipants. With the addition of staffmembers Donna Parker, Jelani Eddington,and me for the 2007 camp—together with anaggressive advertising campaign in print andby word of mouth—ATOS sponsored the firstSummer Youth Camp. Upon completion, Iwas honored to be approached by the ATOSboard to be the director of the summer campprogram and to serve as the lead instructorfor the following year. I once again solicitedassistance from my colleagues JelaniEddington and Donna Parker as associateinstructors. This year, I passed my baton aslead instructor to Martin Ellis, while Icontinued as the director of the program.

In the last three years, we have seen adramatic increase in participation in many

of our youth-related programs, including theYoung Organist Competition and GeorgeWright Memorial Fellowship (ATOS evennamed two winners this year!). That result is not surprising. Our young enthusiasticorganists who meet at the summer campconstantly network with each other onFacebook, MySpace, and Twitter, and useother wonders of the digital age to spread theword about our art form. In fact, one of ourmost promising young students this yearheard about the theatre organ not from apizza parlor or from listening to a recordingmade 50 years ago, but by stumbling upon atheatre organ video on YouTube.

The new generation of theatre organistsis a diverse group. Some love the music ofGeorge Wright, yet others have more of apassion for the music of Jennifer Lopez, BillyJoel, or Michael Jackson. Others look toexhilarating orchestral movie music fromJohn Williams and Danny Elfman, or otherclassical and orchestral greats. Whatevertheir diverse tastes in music may be, they allshare the common vision of taking thetheatre organ into the 21st century andbeyond.

Many of our members who attended therecent ATOS convention in Clevelandcommented on how heartening it was to seeso many young people in attendance. Oneperson in particular told me that it had beenyears, if not decades, since he had seen somany young people at an ATOS convention.Many of those youth were from the summercamp.

Ten, 15, or 20 students at any givensummer camp may not seem like a hugenumber to some, but those students are our future. Where would we be if the top 10,15, or 20 organists today had not beenencouraged and supported, and instead hadtheir interest in our beloved instrumentsnuffed out by naysayers at an early age?Where would our industry be if those toporganists today simply stopped playing,recording, or teaching? Without a doubt,even if we are encouraging a singlestudent—and our efforts are directed at farlarger numbers—the long-term impact onour art form and organization from theSummer Youth Camp cannot be overstated.

This year’s activities included a kick-offsession at the beautiful Orpheum Theatre inPhoenix, where all the students had anopportunity to introduce themselves to oneanother and play the Wurlitzer. Campactivities included group master classsessions, break-out sessions for one-on-oneinstruction, visits to area theatre pipe organinstallations—both large and small, andperformance opportunities at all venues. In addition to the faculty, organists LynLarsen, Charlie Balogh, and Lew Williamscontributed to an enriched learningexperience. Adrian Phillips III presented thetechnical aspects of the theatre pipe organ,showing the internal mechanisms of aWurlitzer windchest and other parts, as wellas hosting an extensive tour of the chambers.

A session on film accompaniment offeredthe opportunity for the students to try theirhand at playing for the silents. A privateafternoon visit to Organ Stop Pizza, as well astwo evening visits during business hours,gave them a first-hand look at anotherapplication of public performance on thetheatre pipe organ. In contrast, they had theopportunity to experience moderate andmore intimate acoustic environments atPhoenix College, the Fizzell residence, andthe First Christian Church.

OUR VISION FOR THE FUTURE

Over three years ago when I wasapproached by ATOS to head up the firstSummer Youth Camp, I gave a lot of thought

L O O K I N G I N T O T H E E Y E S O F T H E F U T U R E :T H E 2 0 0 9 AT O S S U M M E R C A M P BY JONAS NORDWALL

Lyn Larsen welcomes the students (Photo by Donna Parker)

Class sessions were held in the Phillips' music room(Photo by Donna Parker)



to the individuals who could assist me withthe challenges at hand. There are manyexcellent theatre organists in our industry,but far fewer instructors. From that smallfield of theatre organ teachers, I made thedecision to ask Donna Parker and JelaniEddington to join me in the first years of thecamp. Besides sharing my vision for what thesummer camp program should be, they alsohave the experience of teaching in a classformat, as well as extensive experienceworking with youth.

In selecting the instructors for thisprogram, it was important for me that thesummer camp not be a week-long exercisein nostalgia. Rather, I wanted it to be avibrant, forward-looking event that encour-ages our young organists to take thisinstrument in exciting, new directions. Weneed instructors who embrace new uses forthe theatre organ and who will providemeaningful guidance to young organists whowant to learn to play today’s music as well astraditional theatre organ “standards.”

This is the formalized continuation of thetheatre organ’s ongoing musical develop-ment. George Wright, Buddy Cole, AshleyMiller, Billy Nalle and others set the stagefor bringing the theatre organ up to dateabout 60 years ago in an informal manner.At that time, the established academicmusical world did not accept the theatreorgan as a legitimate instrument. Thoseorganists began the movement that changedthat perception, and that movementcontinues today through our summer campfaculty.

Using these criteria to select anotherinstructor to add to the camp program, Iasked Martin Ellis to join the team. Not onlywas he the first-ever ATOS competitionwinner, but he has worked to create a suc-cessful career as a concert artist, classicaland church organist, arranger and editor for Hal Leonard Publishing, and mostimportantly a principal staff member withthe Indianapolis Children’s Choir—a groupof over 2,500 youth ranging in age fromkindergarten through 12th grade.

Martin, Donna, and Jelani are verydeeply committed to the same vision I have,and they did not disappoint. Even before theSummer Camp started, we collectively spenthundreds of hours developing a curriculumfor this year’s camp, always being mindful ofthe importance of presenting new material.The extensive curriculum was researched,well thought-out, detailed, and provided an

educational road map of scope and sequencefor our students.

Importantly, this core teaching staff works together seamlessly, demonstratingthe utmost respect for one another, yet is able to bring different—and sometimesdiffering—perspectives to the students.Instructors consistently support andcomplement each other during the campsessions.

One point often overlooked is that thecore instructors are certainly more than“just” teachers. They must be availableliterally 24 hours a day to address a varietyof crises and issues that predictably (andsometimes unpredictably) arise throughoutthe week. In addition to teaching, there is acertain amount of parenting and caring thatis involved for those students needing morenurturing and assistance.

The ATOS Summer Youth Camp hasproven to be an unqualified triumph. Wemust ensure the continuity of the program toguarantee future growth and success. At thesame time, we intend to increase the numberof qualified instructors who participate in theprogram.

We will restructure the ATOS SummerYouth Camp with the goal of maintaining thehigh quality that was established in 2007 aswell as the consistency of the program. Ihave done a significant amount of researchinto the structure of other successful arts-based summer camp programs anddiscovered that, virtually without exception,the programs consist of two segments. First,these programs have a core faculty groupthat oversees, governs and administers theoperations of the camp for many years. Thiscore group is important to ensure the

continuity of operations, to maintain highstandards for the program, and to guaranteethat the camp is as efficient and cost-effective as possible. This prevents the needto reinvent the wheel every year with anentirely different group. Second, in order toprovide a diversity of viewpoints, variousvisiting guest instructors are invited topresent topics. This is the structure that isused for extremely successful camps such asthe Butler Community Arts School inIndiana, Interlochen Center for the Arts’Summer Arts Camp in Michigan, YoungMusicians and Artists Summer Camp atOregon’s Willamette University, and manyothers throughout the country.

This is the model that I intend to pursuefor the ATOS Summer Youth Camp. I willrely on Martin Ellis, Jelani Eddington, andDonna Parker to comprise this core group of co-administrators because they have a proven track record of successfullyadministering the program. Their duties willinclude overseeing the curriculum, assistingin establishing policies, teaching, admin-istration duties, budget management, andoverseeing on-site camp operations. We will also be reaching out to established,successful, veteran theatre organists and/ortechnicians to serve as guest presenters infuture years.

A WORD ABOUT OUR BUDGET

Far too often in many organizations, mythand gossip run rampant and take on a life oftheir own that is completely devoid of fact.ATOS is not immune from the pitfalls of thegossip mill. This year, some of the most wild

Martin Ellis works with Jessica Tomlinson as DanMinervini, Katie Van Varick, and Justin LaVoie

watch (Photo by Donna Parker)

The students experience lots of horsepower in the blower room at Organ Stop Pizza

(Photo by Donna Parker)



claims have been asserted and repeated as“fact,” including the ridiculous claim thatour budget was $100,000 (don’t we wish?).Misleading and inaccurate pie charts andgraphs presented to the board, as well asoutright fabrications, have fueled utterlyfalse claims that outrageous payments weremade to instructors, staff, and venue hosts atprevious camps.

Since the camp’s inception, our instruc-tors have fronted ATOS camp expenses, suchas van rentals, food, catering, teachingmaterials, and hotel rooms for scholarshiprecipients on their personal credit cards.(ATOS did not have its own credit card untilrecently.) They were rightfully reimbursedfor these camp expenses, yet it has beenreported that these were payments made fortheir services as instructors. These claimsare completely false.

Merely passing around the expenses ofthis program without also reporting theincome is misleading as well.

Each year we have refined the summercamp process so that it runs more efficiently.As with any project—particularly one on thescale of the ATOS Summer Youth Camp—there is a steep learning curve. Each year theprogram costs have been trimmed and thecamp has operated more efficiently. In 2007,the cost to the ATOS treasury (income lessexpenses) was $10,145.22. With refinementsand changes in place, the next year costsignificantly less than half that amount:$4,867.16. While all the final numbers havenot yet been calculated, our best projectionto date is that this year’s summer camp willagain cost ATOS less than half that of the previous year: approximately $2,000.Importantly, the cost for this year’s summercamp was more than $6,000 under itsbudget.

Thirteen young men and women attendedthis year's summer camp, and ATOS spentapproximately $154 on each student. Eventhe most fiscally conservative among uswould find it difficult to argue that spending$154 on an aspiring young theatre organist is extravagant. To the contrary, it is anindispensable investment in our future.

While I am delighted that this year’sfaculty was able to make such a dramaticreduction of the cost of the program, it bearsmention that investing $2,000, $4,800, oreven more in an educational program suchas the summer camp is one of the mostimportant things that ATOS can do. One of

the stated purposes in our bylaws is tofurther the public appreciation of the theatreorgan through educational programs. ATOS’investment in the Summer Youth Camp fallssquarely within this mandate.

Our overriding objective from thebeginning of this program has been to ensurethat our Summer Youth Camp thrives, andthat we do everything within our power tocontinue to support the young, enthusiasticorganists who walk through our doors. Wehave been very fortunate to enjoy the supportof so many of our generous members andchapters who have stepped up to the plate tohelp ensure that this program is a success.It is those individuals who help carry thebanner of the theatre organ into the future.

Our next generation of theatre organistsis counting on us for support, and we cannotlet them down. Our future deserves nothingless than our very best.

WORDS OF THANKSMany dedicated individuals, groups, and

ATOS chapters have given generously oftheir time, efforts, support, and financialresources to make the ATOS Summer YouthCamp a success. On behalf of the SummerYouth Camp Committee and, indeed, all ofATOS, I extend my sincere thanks to everyone of you.

First and foremost, our primary hosts inPhoenix this year, Adrian W. Phillips, Jr.,and Adrian and Deborah Phillips, gavegenerously of their time and efforts. Theygraciously welcomed us into their musicroom and allowed us to use their residenceorgan as the primary teaching instrument.They also helped to arrange innumerabledetails for the week, from transportation andlodging, to food and hosting a pool party andcookout at the end of the week. They evenarranged for an Allen RQ-311 to betemporarily installed in their living room forbreak-out master class sessions for thestudents.

Mike Kinerk (ATOS Convention Plan-ning) secured a terrific rate at the beautifulEmbassy Suites in Scottsdale, which servedas our camp headquarters. The parents andstudents were thrilled.

Special thanks go to Lyn Larsen, whograciously gave of his time to explain thedesign and installation of the Phillips’ pipeorgan. Our gratitude also goes to BradBishop, Pat Rowan, and Jack Barz at Organ Stop Pizza in Mesa for their support

and hospitality. Charlie Balogh and LewWilliams performed spectacular shows ontheir respective nights, which were morethan inspiring for the young campers.

The entire Valley of the Sun chapterhosted us throughout the week and made thestudents feel welcomed and appreciated.VOTS chapter member Madeline LiVolsiserved as Summer Camp registrar, andVOTS president Bill Carr helped us arrangevisits to the Orpheum Theatre, PhoenixCollege, and the First Christian Church.Chapter members Tom and Beverly Fizzellhosted our group for an ice cream social andjam session on their home pipe organinstallation one evening. The VOTS chaptertreated the entire camp to a wonderful buffetdinner at the First Christian Church.

We also extend our thanks to the dads—Danny Morgan, Vince LaVoie, and LenMinervini—for driving the 12-passengervans loaded with students throughout theValley of the Sun all week. We couldn’t havedone it without them! Our thanks go to themoms—Deb Van Varick, Linda Minervini,Theresa LaVoie, and Louise Morgan—foralways being on hand to help in whateverway possible.

Thank you to Ken Double, ATOSPresident/CEO, who visited the camp andtalked to the students about the future ofATOS and the theatre organ. The studentsappreciated his visit.

As in past years, there have been many ATOS chapters and individuals who provided financial assistance andscholarship funds for the Summer YouthCamp program. These funds have helpeddefray the cost of attending the camp formany of our students. Those who supportedthe Summer Camp this year include the Nor-Cal Theatre Organ Society, DairylandTheatre Organ Society, New York TheatreOrgan Society, Eastern Massachusettschapter, Salt Lake City chapter, Motor Citychapter, Columbia River Theatre OrganSociety, Oregon chapter, Bro. Chris Lambert,Robert MacNeur, Al Murrell, Jim Gallops,and Dick Dissell.

To those who have given so generously oftheir time, efforts, and resources to theSummer Youth Camp program, we extendour sincere, heartfelt appreciation. Beyondour words of thanks, the entire theatre organcommunity owes you an enormous debt ofgratitude for your investment in our future.



I returned home from the 2009 ATOSSummer Youth Camp in Phoenix, Arizona; itwas delightfully inspiring and educational!Our instructors this year were Martin Ellis,Donna Parker, and Jelani Eddington. Theyare all forward-thinking visionaries whoseem to have endless creativity. Huge thanksare due to them, along with many others thathelped us out.

Most of our lectures and master classeswere held at the Phillips residence at a 106-rank organ with symphonic and theatreorgan stops. It was truly a thrill to hear andplay this fabulous instrument. Our lecturesincluded topics such as registration, ar-ranging, music history, and silent filmaccompaniment. I most enjoyed the lectureabout arrangements needing “road maps” todescribe not only the form of the piece ormedley, but also to plan variations inregistration, texture, dynamics, tempo, key,and other factors, depending on the style ofmusic. This helps to keep things interestingfor the listener. One morning after anintroductory discussion, some students tookturns accompanying various sections of asilent film. I wasn’t planning to do this,because first, I wouldn’t be able to see whatis on the screen, and second, I’m not used toimprovising at all. But for some strangereason, I let Jelani talk me into going upthere anyway. He said, “Why don’t you justgive it a try…just keep a beat with a pedaland chord accompaniment.” So, I gave it ashot (although not a very good one). Anothermorning, Jelani shared the process with usfor his recording of the Rachmaninov pianoconcerto with the organ as the “orchestra.”He played both parts and recorded themusing multi-track recording software. Donna

talked a bit about her work with Trio ConBrio, and Donny Rankin, one of ourparticipants, talked about his recordinginvolving an organ, drum set, and steeldrums. This was fascinating and only fueledmy previous desire to one day write orarrange for myself and other musicians.

On our second evening in Phoenix,Beverly and Tom Fizzell invited us into theirhome for an open console session on theirdelightful Wurlitzer organ. We also heard amotivating speech from ATOS president KenDouble. We all enjoyed meeting him, as wellas our hosts and, of course, we enjoyedplaying for them, too. On Thursdayafternoon, we had the privilege of visiting thePhoenix College Auditorium where theValley of the Sun ATOS chapter has beenrestoring a Wurlitzer organ that had beenrediscovered after not being used for a longtime. They are doing a very good job, and Iadmire their dedication. This was a specialtreat for me since the organ’s caretakers saidthat they hadn’t heard music played on thisorgan for a very long time. That evening, adinner social at First Christian Church washosted by Valley of the Sun chaptermembers; I enjoyed meeting them. There isa Wurlitzer theatre organ in the church'sfellowship hall, and we all enjoyed playingthe instrument. We are grateful for thechapter’s and the church’s hospitality.

For me, the biggest thrill of all was thechance to enter Organ Stop Pizza when it wasclosed to the general public and to take turnsplaying the Mighty Wurlitzer. There wasenough time so that most of us could havetwo turns. We even got to ride the lift! Eachtime someone went up to play, they couldplay it up and play it down again. The lift not

only raises the console, it also rotates. It wasakin to an amusement park ride. On my firsttry, I played “Les Biciclettes” and “MidnightHour.” When I returned to the console again,I played “A Mighty Fortress Is Our God” anda Baroque piece. For this music, I rattled thewalls with the Principal chorus and the 32-foot pedal stops. The console is beautiful,and I enjoyed looking at it up close andfeeling the intricate gold-leaf decorations onit. We also spent two evenings at Organ StopPizza listening to Charlie Balogh and LewWilliams play it masterfully. We are verygrateful to Charlie and Lew, as well as theowners, for affording us this once-in-a-lifetime opportunity.

On Friday evening, to top it all off, thePhillips family hosted a pool party anddinner cookout for all of us. This was a nicechance to relax and bond with all of our newfriends. At the end of the evening, we allreceived our certificates and some surprisegoodies, and we had the chance to hear ourinstructors play the Phillips organ one lasttime.

We enjoyed the events very much, and I can’t wait for next year. I’d like to thankthe Valley of the Sun chapter for all of theirwork in coordinating the week-long camp. I especially thank Adrian Phillips III, LynLarsen, Bob MacNeur, and MadelineLiVolsi, and our instructors Donna Parker,Jelani Eddington, and Martin Ellis. Iappreciate the input and presentation fromKen Double, and the efforts of the parentvolunteers as well. I apologize if I havemissed anyone, for I know there were morepeople “behind the scenes” who helped tobring this all together.

—Jessica Tomlinson

R E P O R T O N T H E S U M M E R Y O U T H C A M P

Justin LaVoie tries his hand at the Wurlitzer at the First Christian Church in Phoenix, with a little help

from Donnie Rankin (Photo by Donna Parker)

Valley of the Sun chapter members and Summer Camp students, parents, and instructors at the First Christian Church in Phoenix (Photo by Donna Parker)



This article explores the topic of thetheatre organ as a vehicle for exoticism,with particular focus on the exoticization ofArabs. Though the theatre organ enjoyedperiods of success in both the United Statesand Britain, the performances consideredhere are primarily by American organists.In tracing the role of the theatre organ as aninstrument of exoticism, I will first set outworking definitions of exoticism andorientalism. I will then consider social-political issues in Arab-US relations, andwill show that the processes of orientalismwere at work in the early 20th centurypopular culture that produced the theatreorgan. I will argue that the theatre organ—because of the technical advances thatprovided its unique control of tonalresources and because of its physical andvisual situation in the realm of the moviepalace—was uniquely positioned to be anexoticizing voice in American popularculture. Finally, I will explore some of thecomplex issues surrounding exoticism inthe music of the theatre organ in its periodof resurgence since the 1950s; showing thatthe exoticism present in music from thislatter period, while more complex in itsmotivations, continues to suggest traits of Western identity through nostalgicreferences to an Eastern Other that isfundamentally distant and apart from who“we” are as an American audience.

We must at the outset define the termsorientalism and exoticism. First, orientalismhere refers to the processes—demonstratedin literary and social critical terms byEdward Said in his landmark study of thesame name—of Western cultural definitionand political hegemony by creating andmaintaining a vision of “the East (Orient)”that was created on the West’s own termsand without any actual or significant inputfrom persons or powers from this “East.”That is, “the West” (primarily Britain and

France, as colonizing empires) has devel-oped a discourse of “the East” as a means ofhelping “the West” identify what it is (andextending its power and domination) bydefining what it is not.

Second, exoticism is focused more onthe ways that, from a Western perspective,the East is depicted as Other (that is,Orientalized) through means that mark it asfamiliar and recognizable, yet define itslesser status in exotic terms. Exoticism maybe exercised in any number of ways. Thisessay focuses on musical exoticism, which,according to Jonathan Bellman, “may bedefined as the borrowing or use of musicalmaterials that evoke distant locales or alienframes of reference.”1 Bellman goes on toclarify:

“Musical exoticism is not equivalent toethnomusicological verisimilitude, to theforeign music in its true form. The exoticequation is a balance of familiar andunfamiliar: just enough “there” to spice the“here” but remain comprehensible inmaking the point. Exoticism is not about theearnest study of foreign cultures; it is aboutdrama, effect, and evocation. The listeneris intrigued, hears something new andsavory, but is not aurally destabilizedenough to feel uncomfortable.”2

Finally, to cover all bases, the termtheatre organ is used here to denote pipeorgans that were installed in movie housesin the 1920s and ’30s for the purposes ofsilent movie accompaniment and theperformance of popular music. Theatreorgans differ from so-called “classical” or“straight” organs in several technical ways,which can be summarized as (a) containingfewer sets or ranks of pipes than con-tained in the average classical organ; and (b) treating these pipes not as the buildingblocks of the traditional “diapason chorus”of organ tone, but as tonal colors on apalette equivalent to instrumental colors in

an orchestra; and (c) controlling these tonalresources in more flexible ways than wouldbe possible on a classical organ. Bringingall these terms together, then, we arespeaking about the ways the theatre organ’sunique musical possibilities were used tomake musical reference to Arab people,places, and culture without actually de-scribing these referents accurately, in orderto distinguish them as apart from Americanaudience and thereby helping theseaudience to define and understandthemselves.

The specific terms of this exoticizing/self-defining process for Americanaudiences have their roots in the history ofArab-American relations. Douglas Littleargues that “the citizens of one of the NewWorld’s newest nations have long embraceda romanticized and stereotypic vision ofsome of the Old World’s oldest civi-lizations.”3 Sketching the history of“Orientalism, American Style,” Little tracesthe roots of this vision to eighteenth centuryChristian reactions to the crucifixionnarrative in the Gospel of Matthew, and tothe Thousand and One Arabian Nights,concluding that “most [eighteenth century]Americans…regretted that the Holy Landwas peopled by infidels and unbelievers,Muslims and Jews beyond the pale ofChristendom.”4 Ninteenth century tours ofthe Middle East gave Americans a firsthandview of Arab culture, but with an exoticizedframe of reference already in place, thesetourists saw what they already expected tosee, and accounts such as Mark Twain’s TheInnocents Abroad left readers “with theirorientalist images of a Middle East peopledby pirates, prophets, and paupers moresharply focused than ever.”5 These imageslaid the groundwork for twentieth centuryviews, present in American-Arab relationsranging from the establishment of Israel toU.S. oil interests in the Middle East, and

A Desert Wind in the Pipes of the Mighty Wurlitzer:Arab Exoticism in the Music of the American Theatre Organ

BY FREDRICK BRABSON

1 Jonathan Bellman, ed. The Exotic in Western Music (Boston: Northeastern University Press, 1998), ix.2 Ibid. xii-xiii.3 Douglas Little. American Orientalism: The United States and the Middle East Since 1945 (Chapel Hill: University of North Carolina Press, 2002), 9.4 Ibid. 11.5 Ibid. 14.



solidified into “an irresistible intellectualshorthand for handling the ‘backward’Muslims and ‘headstrong’ Jews whoseobjectives frequently clashed withAmerica’s,” and whose inferiority wasassumed even to the level of race.6

Though this sketch of eighteenth andnineteenth century American orientalism isbrief, it is not intended to be glib. Nor, aswe shall see, should it be considered static.Rather, it underscores the point thatorientalist images of the Middle East asbackward and primitive were grosslyoversimplified, and that they reinforcedAmerican sensibilities of being civilized,progressive, and at the top of a social/cultural and political hierarchy in worldaffairs. How these views supported theprocesses of American social and politicalpower is explored by Michael Oren in hiscomprehensive study, Power, Faith, andFantasy: America in the Middle East, 1776to the Present,7 but particular issues relatedto popular culture are brought into a specialfocus by Eric Davis as he traces the waysthe Middle East was presented at latenineteenth and early twentieth centuryWorld Fairs.8 Davis states:

“Foreign exhibits demonstrated by wayof comparison the United States’ superiorityin many realms….[I]f foreign countriespossessed greater civilizational depth, theircurrent levels of economic, scientific,cultural and political development paledwhen compared with late 19th and early20th century America….Thus the concernwith race, which was most closely asso-ciated with exhibits of non-Western peoples,was part of the process whereby the fairssought to educate the populace on thedesired manner in which they shouldunderstand the organization of the world’speoples.”9

Commenting specifically on the MiddleEastern exhibits at the 1893 World’sColumbian Exposition, Davis concludesthat “the exhibits in the Midway Plaisancerequired a ‘seedy’ quality in order to serveas a counterpoint to the symbolism of theWhite City which foretold Chicago’s futuregreatness.”10 Davis also notes that the 1893 fair underscored another view inwhich “the Orient became the world offantasy, escapism, irrationality, and theunexpected…in which the populace couldescape the tedium of daily life.”11

And here, then, is the intersection thatforms the focus of this essay. The location ofthe theatre organ as an accompaniment forthe escapist entertainment of the filmindustry, taking place as it often did in theexotic décor of movie houses and palaces,made for its complex identity as both amarvel of American power and grandeurand yet a mystery foreign in nature.Furthermore, the contrast between anearthy, sensual, savage Middle East and agrand, spiritualized, superior America is theone that is most often stated outrightthrough Arab exoticism in theatre organmusic. And finally, the musical flexibility ofthe theatre organ made possible new sonicdefinitions of both the United States and itscultural foils.

Theatre organ historians disagree on theexact date an organ was first used in a moviehouse. John Landon acknowledges the lackof precise data, but notes that a Los Angelesfilm house was designed in 1905 specif-ically to include a pipe organ built by thelocal firm of Murray M. Harris.12 DavidJunchen states that the organ building firmsof Roosevelt and Farrand & Votey builtinstruments for theatres as early as 1893and 1895, respectively.13 Whenever thespecific date of its origins, the theatre

organ as we know it emerged for theaccompaniment of silent films—first as arelief for the orchestras of larger filmhouses, but soon after as a sufficientinstrument in its own right. Thus in 1911,the Rudolph Wurlitzer Company marketedthe theatre organ as we know it today, underthe name “Hope-Jones Unit Orchestra.”The instrument manifested the innovationsof the English organ builder and engineerRobert Hope-Jones, who developed andadvocated electronic controls of the organ’spipe valves and the extensive use of anorgan design called unification.14 Thoughthe “unit” in Unit Orchestra referred to thetonal design and mechanism, the economicimplication was certainly present in theadvertising: the theatre’s orchestra couldnow be a one-person show. Because theinstrument included not only organ soundsof imitative quality, but also percussionsand sound effects, it was the perfectexpressive vehicle for scoring the imagesthat flashed on the silver screen, and farsurpassed the pianos of the early moviehouses:

“A flick of the finger, and chimes wouldcall Ramona back beside the waterfall. Adramatic sweep of the hand and all wouldbe silent save for the throbbing of thebroken-hearted Tibia—languishing in theleft loft as it was comforted by its mate, thecrooning Vox Humana over on the right—tothe tune of ‘Prisoner of Love.’ A quick kickof the crescendo pedal, a lightning jab at thecombination pistons, and the mood wouldchange to joy again—all glockenspiels,trumpets, tubas and snare drums—as aninvisible MacNamara’s band marchedacross the balcony.”15

The organ’s pipes were voiced boldly tofill large auditoria, and the visual display ofthe console (of which more below) marked

6 Ibid. 10.7 Michael B. Oren. Power, Faith, and Fantasy: America in the Middle East, 1776 to the Present (New York: W.W. Norton, 2007).8 Eric Davis. “Representations of the Middle East at American World Fairs 1876-1904,” in The United States and the Middle East: Cultural Encounters, vol. 5, YCIAS Working Paper Series (New Haven, Connecticut: Yale Center for International and Area Studies, 2002), 342-381.9 Ibid. 349-350.10 Ibid. 367.11 Ibid. 370.12 John W. Landon, Behold the Mighty Wurlitzer: The History of the Theatre Pipe Organ (Westport, Connecticut: Greenwood Press, 1983), 4.13 David Junchen, The Encyclopedia of the American Theatre Organ, vol. 1 (Pasadena, California: Showcase Publications, 1985), 16.14 Unification is central to the design of a theatre organ, though Junchen notes that organs of “straight” specification were also used in theatres (seeearlier citation). Unification is the process whereby one rank of pipes of consistent tonal characteristic is made to serve many functions. For example,the Tibia Clausa rank—a set of large-scaled stopped wood pipes that happens to be a crucial element in the theatre organ “sound”—if present onthe Great division of an organ of straight specification, would contain 61 pipes playable at 8’ (unison) pitch only on the Great manual of that organ.If this same classical organ had a Tibia Clausa at a different pitch on the same division, then another set of 61 pipes would be required, scaled andvoiced somewhat differently, and playable only at this other designated pitch. By contrast, the Tibia Clausa of the theatre organ consists of a set of85 pipes—the original 61 pipes, extended an octave in either direction—that form a “unit” from which the various pitches playable on the organ areborrowed: 16’ (sub octave), 8’ (unison), 4’ (octave), 2-2/3’ (“Twelfth,” or third harmonic), 2’ (“Piccolo”/“Fifteenth”, or fourth harmonic), and 1-3/5’(“Tierce,” or fifth harmonic). This same Tibia Clausa rank could be played in this manner from all divisions of the organ. All other ranks in a theatre organspecification—diapason, trumpet, oboe, Vox Humana, string, flute—are treated in the same manner. The result is a significant departure from traditionalorgan sound, and any combinations possible on a theatre organ would be difficult, if possible, to attain on an organ of classical specification. See PeterWilliams and Barbara Owen, The Organ in The New Grove Musical Instruments Series (New York: W.W. Norton, 1988), 175-176 and Ben M. Hall, The BestRemaining Seats (New York: Da Capo Press, 1988), 181 for further discussion of unification.15 Ben M. Hall, The Best Remaining Seats (New York: Da Capo Press, 1988), 179-180.



the theatre organ as an instrument of power.The term “mighty” was applied byWurlitzer in their advertising, and quicklyreached title status.16 When the “MightyWurlitzer” played, it was an affirmation forits hearers: “It was, after all, capable ofproducing honest music of compellingemotional force when properly played and,in the hands of an expert, could workmusical magic far beyond the limitations ofany other single instrument. Without it themovie palace would have been as soullessas an armory.”17 Through the excitement ofthe up-beat “console riser” tunes, thestrong resolve of the hero’s victory in thefeature film, or the collective spirit of thesing-along, the Mighty Wurlitzer affirmedfor its audience the sense that the countrythat had produced it truly was the “land ofthe free and the home of the brave.” And sowhen the theatre organ sang of other lands,it did so in ways that made their distinctionand distance unmistakable, and their exoticnature undeniable.

Theatre organs were often visually im-pressive in addition to their sonic splendor.Hall writes that:

“The mightiness of the Wurlitzer…cameto be a status symbol as newer and grandertheatres were opened. Consoles weredesigned to match any décor—an orientaltemple with jewel-eyed Buddhas guardingthe rest rooms might boast an organ consolethat rose from the depths crusted withcrimson dragons and lacquered lotusblossoms. A vast Italian garden, open to [aprojected] sky, could feature a consolefrescoed with peacocks or…acrawl withalabastine cupids.”18

The visual impact of theatre organconsoles is an essential element in theexoticizing process as played out in theirmusic. David Naylor describes how thedesire for exotic architectural styles ofmany types followed the 1922 discovery ofKing Tutankhamen’s tomb.19 This taste,combined with the escapist nature of themovie palaces, found a unique intersectionin Arab exotics, for the Middle East (and,to be sure, the East in general) as a realm ofescape and fantasy had been demonstratedand reinforced at the World’s Fairs. Toescape from the uneasy social contextcreated by the Industrial Age into the

distant realm of a Middle Eastern palace,and then to sing rousing popular chorusesaccompanied by a Mighty Wurlitzer deckedout in Arabesque filigree, was to overtakethe exotic landscape, to appropriate it forour own comfort, and to control it for ourpleasure.20 Knoxville’s Tennessee Theatre,decorated in Spanish-Moorish detail,provided weekly opportunities for suchescape for nearly a decade when it was firstbuilt. And the image of a single organist,seated at Wurlitzer console structured likefurniture from the French Baroque butfinished with Arabesque appliqué, coaxingfrom her fingers all manner imaginablemusical sounds, is a clear depiction oflocalized power and control. Thus when thetheatre organists used their instrument tomake exotic references to Arab people andplaces, the perceived inferiority of thisculture was clear.

In the area of silent film accom-paniment, motion picture companies beganproviding volumes of cue sheets and moodmusic with their films so the show mightreceive fitting accompaniment. Examples ofthis mood music can be found in Sam FoxMoving Picture Music, vol. 1 (1913) by JohnStanley Zamecnik (1872–1953), whichcontains several numbers intended forexotic reference. Zamecnik was a prolificAmerican composer who studied withAntonin Dvorak.21 Though capable ofproducing far more demanding music,Zamecnik intended the Moving PictureMusic volumes to be simple and accessiblefor the average movie-house pianist. Eachsection or theme of music is no more thantwo pages long, and most employ briefthemes (sixteen bars) in trio form, thusgiving the accompanist enough music towork with if the length of the scenerequired, but allowing easy cuts to be madeif brevity was needed.

Sam Fox Moving Picture Music, vol. 1includes “Indian Music,” an “Oriental VeilDance,” “Chinese Music,” and “OrientalMusic.” Though “Indian Music” and“Chinese Music” (which both emphasizethe pentatonic scale in a way that the othertwo movements do not) are not specific tothis essay, the four movements occur in the order given above, and they all bearsome striking similarities to one another.

Harmonic stasis is a key feature of each,noted above as a dimension of the alla turcastyle. The same stubborn harmonic insis-tence is present in all four pieces, withspecial emphasis on the open fifth interval,repeated in the bass. Of the four move-ments, all follow conventional classicalphrase structure, except for the “OrientalMusic,” whose first two phrases arelengthened after the harmonic change as ifto suggest that once the poor Easternerfound the new chord (in this case, thedominant), he had to hammer it out to makehis point before returning to the tonic. Othercharacteristic alla turca devices, includingjangling grace notes and short, repeatedmelodic ideas illustrate that these piecesare designed to evoke a locale that is distantand a culture that is Other, and they do soconcisely. They are so concise and similarin their devices, in fact, as to support inAmerican film cues what Jonathan Bellmansays about the alla turca terms in the exoticlexicon, namely that they can be appliedindiscriminately: “I see all these gesturesas ultimately being derived from the time-honored ‘wrong-note’ principle of musicalexoticism, which was never limited to theTurkish Style: what our good music does notfavor or encourage, their… crude musicprobably does, or may as well do.”22

In addition to the accompaniment ofsilent films, theatre organists also providedentertainment before and between films,during which time they played popularmusic of the day. An example of one suchpopular piece that demonstrates the exoticin early American popular music is thesong, “Alla,” by Anita Owen (1920).Dedicated to silent film star Alla Nazimova,the Arab flavor of the song is built on thedouble entendre of the star’s name:Alla/Allah. In fact, Nazimova employed thesame pun for her Hollywood home, callingit “Garden of Alla,” but later allowing thespelling to be changed to “Allah.”23

“Alla” employs characteristic exotictechniques, both in words and music. In thelyrics, the desert is characterized as“dreary,” and nights there are “long andeerie,” thus evaluating the Arab world as an undesirable place to be in comparisonwith the speaker’s comfortable (assumed)American home. The thought of the beloved

16 The Wurlitzer Unit Organ, reprint of Wurlitzer advertising book (Vestal, New York: Vestal Press, no date given), examples throughout.17 Ben M. Hall, The Best Remaining Seats, 180.18 Ibid. 194.19 David Naylor, American Picture Palaces: The Architecture of Fantasy (New York: Van Nostrand Reihhold Company, 1981), 83.20 See Landon, Behold the Mighty Wurlitzer, 15-16, for further of the sociological context of movie escapism.21 http://www.mont-alto.com/photoplaymusic/zamecnik/zamecnik.html 22 Jonathan Bellman, The Style Hongrois in the Music of Western Europe, 41-42.23 http://en.wikipedia.org/wiki/Alla_Nazimova.



is the antidote to this situation. But in spiteof Owen’s intent to make an Arab reference,her exotic examples are mixed in the lyrics:“Kharma can ne’er divide us, Hope’s star willguide us thro’ paths Elysian.” Owen’smusical idiom uses characteristic alla turca devices,24 especially the minor mode(for the verse only), pulsing open fifths(indicating static harmony), descendingchromatic lines (in verse and vamp), andlowered seventh scale degrees. Her use ofchromatic alterations in the chorus is seemsto utilize the common-tone diminishedseventh that is characteristic of music theperiod, more than the usual lowered 5thscale degree commonly associated with thealla turca style. Still her evocation of anexotic mood is unmistakable, and usesdevices common at the time.

More explicit Arab exoticisms followedwith songs such as Ted Snyder’s “The Shiekof Araby” (1921), in which the shiek’sconquest of his bride is recounted. Thesheik owns his bride by telling her, “Yourlove belongs to me.” He is painted in aneerie light when he tells her, “At night whenyou’re asleep, / Into your tent I’ll creep.”While the refrain employs typical Westernpopular melodic and harmonic devices thatare not especially distinctive in this context,the verse of the song sets its exotic nature.For the verse, Snyder uses the minor modeand a variation on the pitch sequence 5—flat-5—flat-3—2—1. This mode-melodycombination is taken directly fromTchaikovsky’s Marche Slav, Op. 31, andseems to have served as an immediateidentifier in Middle Eastern exoticisms. Thesame devices are employed in TeddyPowell’s “The Snake Charmer from OldBaghdad” (1937) and Harry Warren’s “TheGirlfriend of the Whirling Dervish” (1938),which depicts Arab characters who areeither irrational or morally suspect. TheSnake Charmer is overcome by his ownjazzy “hot licks” and gives up all caresexcept playing swing music that left hissnakes “nervous wrecks… [with] kinks in all their necks.” The girlfriend of theWhirling Dervish is described as an“oriental” with a “manner too bold and muchtoo free,” who cheats on her boyfriend:“every night when he goes out to make anhonest rupee, / She steps out to make a lot ofwhoopee.” As with “Alla,” the mixedcultural references in “The Girlfriend of theWhirling Dervish” do not appear to trouble

the lyricist. And in both cases, the quotationof the Marche Slav melody, the repetitiveopen 5th bass line, and the predictable,insistent harmonies are all employed tocaricature Arabs and to support lyrics thatridicule and subjugate them.

The inclusion of popular music intheatre organ repertoire is only one half ofthe equation, however. Theatre organexoticism has not only to do with the what ofthe music, but also the how. Distinctivetonal registrations seem to have been acrucial part of early theatre organ exoticism,and the later recording history of theinstrument bears out that they still are.Registrational exoticisms were builtmechanically into some theatre organs ofthe day, as exemplified by the SymphonicRegistrator device developed by the Marr &Colton Company. Essentially a factorypreset combination action, the SymphonicRegistrator brought on combinations ofsounds categorized by theme or mood. Theirlist of possible combinations includespredictable moods such as love, quietude,jealousy, rural, garden, foxtrot, march,mysterious, and night. But also present intheir list of 39 options are Chinese,Oriental, and Spanish.25 Unfortunately, anylists of the specific stops brought on in eachof these combinations have been lost. Butthe presence of this device points to the useof such exotic categories in the realm of thetheatre organ design and construction, anddemonstrates that how one formed thesound of the oriental Other was crucial toits representation.

In spite of our lack of data about Marr & Colton’s version of the orientalstereotype, we do have evidence of oneorganist’s approach to registering Arabexoticism which also intersects with theperformance of popular music on the theatreorgan. In his video presentation, LegendaryTheatre Organists,26 silent film organistextraordinaire Gaylord Carter describeshow motion picture studios would distributetheatre organ short subjects to smallertheatres who could no longer afford an organor organist. One such short subject happensalso to be a felicitous example of Arabexoticism at work. Produced about 1934,this performance of Radio City Music Hallorganist Dick Leibert accompanying a mansinging the popular tune “Love Songs of theNile” (Freed/Brown, 1932) features aunique solo break between choruses. This

passage is structured around the melody ofthe chorus, which Leibert plays as staccatochords in the left hand, but is ornamentedby a busy solo on a buzzy reed stop in the right hand. While Leibert is offeringmusical comment on his Kinura or Krumetstop, the film shows a Caucasian womancostumed as a Middle Easterner, dancingwhat is intended to portray a belly dance.The sprightly tempo and fluttering solosuggest that the effect is to be humorous,though this is not altogether clear. But evenin its comic ambiguity, this representationof the Middle Eastern woman is notcomplimentary. The buzzy reed stop is adistinctive signal, probably one usedconsistently among early theatre organists,that points specifically to Arab culture, andin its thin, non-lyric sound, stands outagainst the other majestic or lush sounds ofthe theatre organ and belittles the characterit depicts.

The culmination of Arab exoticismseems to have occurred in a period of“rebirth” for the theatre organ.27 In the1950s high fidelity recording made possiblean increased range in audio reproduction.The theatre organ, which had been madeobsolete by the development of sound films,generally languished but was still played bya few artists and enthusiasts. One suchorganist was George Wright (1920-1998),who had served as organist at the New YorkParamount in the 1940s. While his pred-ecessor at the Paramount, Jesse Crawford,had been dubbed the “Poet of the Organ,”Wright was truly a wizard at the Wurlitzer,and his performances, continually recordeduntil his death in 1998, have kept thetheatre organ alive for unnumberedlisteners.

In 1958, Wright recorded an album ofselections from Rodgers and Hammerstein’sSouth Pacific. In the comic number, “HoneyBun,” in which the soldiers don grass skirtsand coconut brassieres during an evening’sentertainment, Wright quotes in its entiretythe familiar melody known to manyAmerican schoolchildren by the lyrics,“There’s a place in France / Where thewomen wear no pants / There’s a hole in thewall / Where the men can see it all.” In1960, Wright recorded the song “Twilight inTurkey,” quoting this melody again twice—first, as the introduction to the song, inwhich he employs technical trickery to bendthe ending pitch of his introduction28—and

24 See Jonathan Bellman, The Style Hongrois in the Music of Western Europe (Boston: Northeastern University Press, 1993), 25-4525 Landon, 44, and Hall, 192.26 Film Technology Company, producer. Legendary Theatre Organists (Los Angeles: Film Technology Company, 1987).27 See Landon, chapter 4 for discussion of the theatre organ’s place in early high fidelity recording.



again as an excursus in which repeats themelody multiple times, modulating up ahalf step each time, and adding tuned andnon-tuned percussions to his buzzing, reedyregistration.

Though numerous composers have laidclaim to this melody piece, the onlycopyrighted (and therefore official?) versionof this melody is by James Thompson, andis called “Streets of Cairo, or The PoorLittle Country Maid.” The editor of onepublished version describes it as “Anamusing song of 1893 which mockinglyimitates the music used for the sensationaldance of Little Egypt at the Chicago World’sColumbian Exposition.”29 Though numer-ous composers have laid claim to the piece,James Fuld writes that this melody hasexisted under various titles, but clarifies:

“The opening five notes, includingharmony and meter, are identical to theopening five notes of the song Colin PrendSa Hotte in J.B. Christophe Ballard,Brunettes ou Petits Airs Tendres (Paris,1719)….In J.B. Wekerlin, Échos du TempsPassé (Paris, 1857), …the song isrepresented as a ‘Chanson à danser’ withthe comment that the first phrase of themelody resembles almost note for note anAlgerian or Arabic melody known as theKradoutja, and that the melody has beenpopular in France since 1600. No printingof Kradoutja has been found.”30

While further research for this essay hasalso failed to yield a printed version ofKradoutja, one claim linking the piece toArab culture has been made. Dancer JulieElliot, who uses the performing name Shira,reports that

“New York dance researcher Moroccoindependently discovered this song wasknown in the Middle East. When she wasdancing in Baghdad, Iraq in the late 1960s,an old woman played it on her oud for her.The woman’s grandmother, who lived beforethe time of the Chicago exposition, taughtit to her….[I]f the melody had been knownin the Orient since at least 1600, possiblyearlier, as the French song’s sheet musicasserted, then it certainly could have

spread throughout the Middle East andNorth Africa by the time of the 1890s.”31

By quoting this melody, Wright con-tinues the use of the theatre organ as a toolfor exoticism—pointing unmistakably to aculture other than the one he and hislisteners inhabit, and, if “The Streets ofCairo” truly has Arab origins, mocking thisculture outright. In these examples, hisregistrations differ from those used in mostof his playing, and his particular use of thereiterating glockenspiel, which strikes agiven pitch multiple times per second, is adevice he employs only rarely, and only forspecific effect.

Wright’s example set the stage for otherorganists, most notably contemporarytheatre organist Lyn Larsen, who playsmany of Wright’s arrangements today.Larsen’s own version of “Honey Bun”follows Wright’s outline almost verbatim.And the legacy of interest and enthusiasmfor the theatre organ that Wright’s playingengendered has led to the continuation ofthe theatre organ’s vocabularies in general.Ron Rhode, another current theatreorganist, is known for performing songsfrom the 1920s and ’30s in the style of the period. Thus when Rhode performs“Moonlight on the Ganges,” which is notspecifically Arab in its reference yet servesas a sufficient orientalist marker, heemploys another of Wright’s specializedregistrations to depict the distant India.

Rhode’s registration deserves specificmention here for the symbolic implicationsit carries as an exotic device. This regis-tration is a combination of the clarinet stopat 16' pitch, and a strident string stop at 2'pitch. Thus, when the organist plays middleC on the keyboard, one hears a clarinet anoctave below unison, and a voice of over-developed overtones two octaves above. Theopen space of three octaves in between,combined with the exaggeration of over-tones upon overtones, forms a sound that isalmost piercing in quality if not in volume,and that is nearly devoid of harmonicfundamental. This aural presentation of theEast was, at some point, most likely

intended to mimic the neigh. But like thebuzzy Kinura and Orchestral Oboe stops, itserves as a contrast to the usual lush chorussounds of the organ and tells us that theland it represents is not our own.32

Two final examples point us to theconclusion that the use of exoticism inAmerican theatre organ music has formedan integral part of this instrument’svocabulary—and, more to the point, thatthese devices are part of our vocabularybecause we continue to employ and acceptthem. Though both of these devices fallsomewhat outside the realm of specificArab reference, they demonstrate howingrained notions of East and West arerecognized immediately through musicalsignals, and how our assumptions aboutthem are carried forward. First, Lyn Larsendescribes Cyril Scott’s 1905 piano piece“Lotus Land” as “an exotic piece brimmingwith mystery which evokes a torridatmosphere” and asks the listener to hearin his own performance “how the fingercymbals and Chinese [sic] gong combinewith stringent reeds and silvery strings tocarry you off to some distant land.”33

Second, contemporary theatre organistBarry Baker includes the late 1940s hit“Nature Boy” on a recording also from1995, and he employs melodic bird calls,non-rhythmic tom-tom rolls, a distant gong,and hollow flute sounds that stand apartfrom his usual registrations. He alsoemploys an open fifth harmonic stop inmelodic iteration to provide a wanderingorganum that is falls noticeably outside the diatonic harmony. In both instances,these organists provide—through contrastand color, languishing tempo, specificpercussions and melodic registrations—theaural information that they are describing aland that is far away, dangerous, dreamy,fantastical, and even primitive.

That these examples persist on record-ings from 1995, and that they are fresharrangements or orchestrations reflectingeach organist’s individual musicianship,shows us how exotic devices are still a partof musical vocabulary for the theatre

28 Because the pipe organ uses a separate pipe for each note of the scale, sliding between pitches requires additional techniques. In this case a personother than the organist was placed in the organ chamber to cover the open end of the pipe and gradually uncover it, with a hand or a piece of paper.This technique causes the initial pitch to be lower than the pipe’s actual speaking pitch; as the pipe is uncovered, the pitch rises to normal. (This analysisof Wright’s additional technique is my own. I have been unable to locate documentation of it in the literature, but a close listening reveals specific tonalcharacteristics that support the argument.)29 Margaret Bradford Boni, ed., Songs of the Gilded Age (New York: Golden Press, 1960), 14.30 James J. Fuld, The Book of World-Famous Music: Classical, Popular and Folk (New York: Dover, 2000), 276. Ralph P. Locke also traces briefly theemergence of “Kradoutja” in his article, “Cutthroats and Casbah Dancers, Muezzins and Timeless Sands: Musical Images of the Middle East,” in Bellman’sThe Exotic in Western Music, cited earlier; see pp. 115–116.31 Julie Elliot, “That ‘Snake Charmer Song,” The Art of Middle Eastern Dance. http://www.shira.net/streets-of-cairo.htm. 32 This registration is suggested as a “novelty” sound in Jim Riggs, Registration Guide for Large Theatre Organs, (Walnut Creek, California: The Jim RiggsTheatre Organ Workshop [self-published, no date]).33 Lyn Larsen, Paradise Revisited (Phoenix, Arizona: Musical Contrasts, 1995), CD liner notes.



organ. Specifically Arab exoticisms, thoughrepeated through quotations of Wright’sarrangements, seem to have become lessfrequent since George Wright codified themin the 1950s and ’60s. To measure instancesof Arab exoticism in theatre organ musicsince 9/11 will be an important next step inthis project. (As the acquisition of theatreorgan CDs can be expensive, this willrequire further time and resources for thegathering and analysis of materials.)

This essay has described how theattitude towards Arab people and culture asapart from and inferior to American culturetook shape in the late nineteenth and earlytwentieth centuries, and how these attitudeswere reflected and assimilated in the socialand political processes of the World’s Fairs.In it, I have traced how the ideas expressedin the popular media of film and music ofthe time were absorbed into the vocabularyof an instrument uniquely poised toarticulate them. I have surveyed specificdevices used in the performance of Arabexoticism on the theatre organ, and notedhow the organ’s location in the moviepalaces could reinforce American attitudesand practices of domination vis-à-vis theMiddle East. And I have shown how theseideas have persisted in the vocabulary ofthe theatre organ as it has lived on throughthe process of audio recording. Whether theartists of this instrument—itself born of aspecific technological and artistic period,yet living on as an instrument of bothnostalgia and current musical expression—will continue the pattern of exoticizing theirhuman family in the Middle East remains tobe seen.

Works Cited

Bellman, Jonathan, ed. The Exotic in WesternMusic. Boston: Northeastern University Press,1998.

Bellman, Jonathan. The Style Hongrois in theMusic of Western Europe. Boston: NortheasternUniversity Press, 1993.

Boni, Margaret Bradford, ed. Songs of theGilded Age. New York: Golden Press, 1960.

Davis, Eric. “Representations of the Middle Eastat American World Fairs 1876-1904,” in TheUnited States and the Middle East: CulturalEncounters, vol. 5, YCIAS Working Paper Series.New Haven, Connecticut: Yale Center forInternational and Area Studies, 2002.

Elliot, Julie. “That Snake Charmer Song.” The Artof Middle Eastern Dance. http://www.shira.net/streets-of-cairo.htm.

Fuld, James J. The Book of World-FamousMusic: Classical, Popular and Folk. Fifth Edition:Revised and Enlarged. New York: Dover, 2000.

Hall, Ben M. The Best Remaining Seats: TheGolden Age of the Movie Palace. New York:Da Capo Press, 1988.

Junchen, David. The Encyclopedia of theAmerican Theatre Organ, volume 1.Pasadena, California: Showcase Publications,1985.

Landon, John W. Behold the Mighty Wurlitzer:The History of the Theatre Pipe Organ.Westport, Connecticut: Greenwood Press,1983.

Little, Douglas M. American Orientalism: TheUnited States and the Middle East Since 1945.Chapel Hill: University of North Carolina Press,2002.

Naylor, David. American Picture Palaces: TheArchitecture of Fantasy. New York: VanNostrand Reihhold Company, 1981.

Oren, Michael B. Power, Faith, and Fantasy:America in the Middle East, 1776 to thePresent. New York: W.W. Norton, 2007.

Riggs, Jim. Registration Guide for Large TheatreOrgans, Walnut Creek, California: The Jim RiggsTheatre Organ Workshop, self-published, nodate.

Said, Edward. Orientalism. New York: PantheonBooks, 1978.

The Rudolph Wurlitzer Co. The Wurlitzer UnitOrgan. Vestal, New York: Vestal Press. Reprint ofperiod advertisements, no date given.

Williams, Peter and Owen, Barbara. The Organ.In The New Grove Musical Instruments Series.New York: W.W. Norton, 1988.

Season’s Greetings& Happy New Yearfrom the Board & Staff at ATOS.

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Over the past three years we have sharedinsights into the lives of several notablepersons whose lives and contributions to thetheatre organ field could not be measured.The tributes were all written after “the downbutton” had been pushed and they couldnot enjoy the appreciation we, as clubmembers, have for them. There is nothingmore boring than a chronological review ofa family’s history step after tedious step, butwe should have an overview of the lives inthis idealized ATOE family that wouldmake Ozzie and Harriett look like liberalDemocrats.

This essay explores the Ray Taylorfamily’s long history in preserving andpresenting theatre organs to the generalpublic. A native of San Mateo, California,Ray was treated to attending the openingweek of the famed San Francisco FoxTheatre, as well as the bellowing antics ofTibia Plena pipes installed in a fewdiscontented Robert-Morton and Smithorgans near his home. In spite of thosehard-nosed bomb-bastaphones, Ray washooked on theatre organs for the rest of hislife, and he is now in his 88th year. Untilrecently he drove his 1967 Mustang to hearhis oldest son, Bill, play intermissions atDavid Packard’s wonderful StanfordTheatre in downtown Palo Alto.

Ray Taylor met his wife Doris just priorto being assigned to the Manhattan Projectin Los Alamos, where he worked onelectrical instrumentation during thecreation of the first series of atom bombs.He married Doris at the end of the war, andthey remained in Los Alamos untilreturning to San Mateo in 1950. The nestwas filling, with Bill appearing in 1952 andDick’s arrival one year later. It goes withoutsaying their lives were carried by the

musical bias of George Wright recordingssinging throughout the house. At the age offive, Bill began accordion lessons until henoticed the squeezette had NO PEDAL!This would not do, so he began to takeinterest in organ lessons in 1959. It wastime for one of the great theatre organtalents to enter the lives of both Taylor lads,when they heard Larry Vannucci play thesix-rank Wurlitzer in a San Franciscomotion picture studio. New seeds were sownwithin the Taylor boys’ fertile minds afterhearing and feeling the difference betweenan electratone and the real acousticinstrument. There was to be a pipe organ intheir future.

In 1963 the family attended theunforgettable Farewell to the Fox concertwith George Wright reaching new emotionaland stirring highs while realizing it reallywas FAREWELL to the organ and buildinghe so loved. They also attended the 1963ATOE convention in Bismarck, NorthDakota. It was Bill’s first opportunity to playa pipe organ, and he was coached andassisted by Dick Loderhose and LowellAyers. The convention experience cap-tured the family’s interest, and soon a newGulbransen Rialto graced their living room.As members of the local “Horseshoe Club,”Ray and Doris became close friends withNorm and Lorraine Lippert, who had theseven-rank, Style 165 Special installed intheir Bay Area home. Their little jazz-boxhad a Krumet as well as an English Horn inplace of the traditional D Trumpet.

Deeper impressions were etched in 1964when they heard Ann Leaf re-arrangeMarket Street as she thundered forth on theGranada/Paramount’s six-chambered giant.Steve Levin claimed he could feel the Jones Street sidewalk shake with the 32'

Diaphones being called to the front lines.In fact, the steel fame of the buildingsupported the sidewalk, and pedestriansand Volkswagens were given fair notice. Inthat year they heard the same Wurlitzercommanded by Tom Hazleton as hesupported the live antics of the ThreeStooges on stage. The year 1965 was pivotalin many ways for the Taylor family and their friends. The great San FranciscoGranada/Paramount Theatre came crashingdown, Bill began serious lessons withVannucci, the boys met organman Ed Stout,and the family began a determined searchfor a Wurlitzer pipe organ. What a year!

The search ended in 1967 when JuddWalton found a Style E Wurlitzer that hadbeen transplanted from the State Theatre in Stockton to a little church in Ione,California. With the help of friends, theorgan was moved to San Mateo for short-term storage, as the intent was to find atheatre for re-installation. There was adelightful little theatre in the nearby town ofBurlingame that was running a mixedprogram of dated art and classic films. Theowner was a colorful and good-heartedshowman who had an exaggerated sense ofquestionable taste. If one gold cherub couldhold up an oversized red drape, why not usefour? The only thing missing was the redlight beneath the marquee. Ward Stoopes’little Encore Theatre was doing good busi-ness, and he loved organ music. Whenapproached by Ray and his teen-aged boys,Ward was overjoyed at the idea of having areal Wurlitzer pipe organ in his theatre,thereby freeing his patrons from the clicksand squeals made by 33 rpm theatre organrecords covered with coke and cigaretteashes.

Why Wait for the Down Button?A Tribute to an American Family Who Gave the Musical Community the Castro Wurlitzer Organ

BY EDWARD MILLINGTON STOUT III



No time was wasted in undertaking thereleathering of the Style E, and Ed Stout hadtime to guide them in the carefully repeatedtasks, hot glue and all. The installation wentsmoothly, with Ray pitching in to help withthe construction of the relay room. It wascrystal clear that 15-year-old Dick Taylorpossessed very special gifts in the manualarts, as well as a desire for perfection. It was not difficult for a veteran organman tocomprehend the deep love for organbuildingthat was already driving the gifted young-ster. The charming little Wurlitzer begansinging forth in the Encore Theatre in 1969,with Bill playing as often as studies wouldallow. The little jewel entertained theEncore’s patrons from 1969 until the theatreclosed in 1972. A great deal of dedicatedeffort was expended for a brief three-yearrun, but valued experience had been gainedfor the next great and lasting project.

Organ restoration work moved to theback burner while Bill and Dick entered theUniversity of California, Berkeley to studytheir chosen fields. Ray wanted both sons to enjoy financial security, and they wereboth exceptionally bright students. Whileattending Berkeley, Dick met another avidorgan nut named Jim Welch. How, out ofthousands of students, did Dick manage to befriend another electrical engineeringstudent who was not only an organist, buthad already erected his own pipe organ inone of his father’s commercial buildings?Jim was nearly as crazy about collectingtheatre organ parts as Dick, and they bothbegan competing during their summervacations. Why? At the age of 20, did Dickhave some wild vision for another grandinstallation and, if so, where? There are very few old theatre buildings operating at a profit and with ownership possessingthe vision for sharing a Wurlitzer with thepublic.

Both boys graduated from college withelectrical engineering degrees and Bill,without delay, entered the job market inSilicon Valley. Dick was possessed with theneed to find a suitable theatre for the nowlarge collection of choice Wurlitzer parts.

The answer loomed forth from within theCastro District of San Francisco, which hadbecome a colorful and creative honosensualcommunity. The Capital and City Hall forthe Castro district was the Nasser family’s

wonderful Castro Theatre, opened in 1922.It was running a most successful “art andrevival” policy and had nightly organ music with David Hegarty and Elbert LaChelle at the less-than-mighty Conn. Didyou ever wonder why a manufacturer wouldcall their product a Conn Artiste? Dick andRay approached the innovative showman,Mel Novikoff, who had leased the oldpleasure-dome from the Nasser family.When learning the eager lad wanted toprovide a real pipe organ, Mel was behindthe idea and a mutual agreement wasestablished.

Keys to the 1922 landmark wereprovided in January of 1979, and theinstallation began with major repairs beingmade to the existing water-damaged cham-bers. Dave Schutt had removed the originalRobert-Morton organ some years before.Small elevated tremulant caves were builtinto the repaired ceilings. The proposedCastro organ was projected to be around 21ranks, thereby requiring safe headroom of3,000 CFM with a 15-hp Spencer. Dick wasable to locate one of the two 20-hp Spencersfrom the Fabian Theatre in Patterson, NewJersey, which delivered 4,000 CFM. Therewas no room in the trap-room basementareas, so a double room was constructed onstage-right 10 feet away from the picture-sheet. The 14" static conductors seemed tothrust their way throughout the basementand upper stage areas to the awaiting Mainand Solo chambers.

Most new installations demand having afour-manual console, and Castro’s need wasfilled by the purchase of the console andcomplete relay from the darkened StateTheatre in Detroit. Dick releathered the1925 console and matching relays prior toits being placed into active service again.What do you think you are doing, Dick,rebuilding a dated pneumatic computer andexpecting it to provide reliable service? Ohwell, the ideals of youth! The installationwas covered in the January/February, 1983,issue of THEATRE ORGAN.

The organ was first heard in October of1981, with Jim Roseveare commanding nineranks for a special celebration for GeorgeCukor, who was present on stage. WaltStrony played a stunning concert on theCastro Wurlitzer when it had reached 11ranks. At that point the real personality of

the organ was well in place, with specialefforts being directed to the OrchestralOboe, Wurlitzer’s most important color reed.Many hours were expended on that mostvalued rank to assure each reed tongue tookthe tremulants with evenness. In June of1983, the Castro organ was singing forthwith 16 ranks when the gifted Tom Hazletonwas featured during the 1983 annualconvention. One year later, Lyn Larsenreturned to the Bay Area to work again withDick and Ed in a very special concert forthe AGO national convention.

The complete 21-rank organ was singingforth in 1995, thereby thrilling the nightlypatrons with a well-established tradition.Going to the Castro Theatre without theWurlitzer was out of the questionc and theowners of the theatre knew that vitalinformation. The Nasser family gainedcomplete control of the theatre theirgrandfathers built, and they have investeda fortune into providing new seats, heatingplant, and decorative restorative projects.

Dick had procured the wonderful 25"Tuba Mirabilis from the Brooklyn FoxTheatre and that “royal” stop was given ahome in the original pipe holes next to theoriginal 15" English Horn from the sameorgan. So, the two old friends who tried to shout through the small and distantopenings in Brooklyn now push you backinto your comfortable seat in the grand oldCastro Theatre. There is just no sound quitelike the harmonic collaboration of theoriginal Wurlitzer “Brass Chamber” ranks,the Double English Horn, and the TubaMirabilis. The later enlargement of the Style285 added a Tibia, String, and Vox Humanato the traditional “Brass” ranks, and calledit the Orchestral division. At the Castro, thepatrons are supplied with oxygen masksbefore the special “Brass” blower is turnedon.

There are similar stories about other finefamilies who have dedicated their funds andtime to provide a great organ for theircommunity, and this essay is also a tributeto those wonderful people who were notlooking for inflated recognition but justwanted to share their passion with theircommunity. The Taylor family is just one ofmany within our wonderful interest group.



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2 0 0 9 A N N U A L C O N V E N T I O N

Treasures of theWesternReserve

BY ROBERT RIDGEWAY

(Photos by Richard Neidich)

Interior of First Congregational Church

Jonathan Ortloff at the organ and Allan Ward on the drums at the Palace

Akron Civic Theatre



Cleveland, Ohio was the focus of thetheatre organ world from June 30 throughJuly 6, 2009. When the attendance at thisyear’s ATOS annual convention reached the450 mark, a sigh of relief was felt byeveryone involved. It is no secret that theeconomy is still far from prosperous, andseveral factors could have had a negativeimpact on the registration numbers: First,the new official ATOS board policy of notpermitting any audio recording or video-taping at the concerts was implemented.Although a source of some contentionamong long-time members, this rule bringsATOS into compliance with current UScopyright law. From the beginnings ofATOS, it was considered almost a birthrightby zealous enthusiasts to be able to recordprograms. No one could predetermine theimpact this policy would have onattendance. Second, following on the heelsof the ATOS gathering was the annualconvention of the Organ Historical Society(OHS), also scheduled for Cleveland. Sincethere is a percentage of cross-over member-ship in both ATOS and OHS, it was notknown how many would have the time andresources to attend both conventions or beforced to choose one over the other. As itturned out, the OHS convention registrationwas in excess of 500. Third, because the2007 annual meeting was in New York andthe 2008 gathering was in Indianapolis,some might have wished for balance and a West coast site. Fear not; the 2010convention will be in Seattle, Washington.As a point of information, an archivalrecording was made of the conventionconcerts, and a highlight CD has beenprepared. Pre-order forms were supplied atthe convention, and the CD is availablethrough the ATOS Marketplace (see page72).

The event planning committee need nothave been apprehensive about the regis-tration figures; for the first time in manyyears, nearly every program was scheduledin a theatre—each one lovingly restoredand maintained. It is always a treat to get tohear these organs in the venues for whichthey were created. Echoing that theme, theconvention hotel was the splendid MarriottRenaissance located adjacent to what wasonce the tallest building in Ohio, theTerminal Tower. The Renaissance Hotelwas replete with architectural details towarm the hearts of lovers of old theatres,and it also has modern amenities.

For those who arrived early and tookadvantage of the optional events, it was agreat day. In the afternoon we had the

opportunity to tour the multi-theatrecomplex that comprises Playhouse Square.This fortuitous grouping of outstandingtheatres nearly suffered the fate of so manyother fine cinema palaces—shuttering,neglect, vandalism, and finally demolition.The tide turned in Cleveland due to theextraordinary activist Ray Shepardson. Hewould not permit these wonderful buildingsto fall, by increasing public awareness andspearheading fundraising and restoration.Our attendees were given a thorough tour ofthe Ohio, Palace, State, Allen, and acrossthe street, the Hanna.

Even though these showplaces were allresplendent, none had a working pipe organwhen they were restored and reopened inthe late 1970s. In the early 1990s the lateBill Taber was pivotally involved in theinstallation and reintroduction of a three-manual, 15-rank Kimball that had formerlybeen installed in the Enright Theatre in theEast Liberty section of Pittsburgh. GeraldBrookins and his family purchased thisKimball in 1958 and donated it to thePlayhouse Square organization in 1975.The Kimball was premiered February 2,1992 by Ron Rhode. The public wasthrilled, and this organ continues to providemusic to varied audiences. To date, none ofthe other theatres in this complex havefollowed suit with pipe organs, but thePalace just added two additional rankswhich our group got to hear presented bythe same man who premiered the Kimballin 1992, Ron Rhode.

Ron has been a solid crowd-pleaser forover 30 years. His ATOS programs areeagerly anticipated for their mix of bothfamiliar and obscure toe-tapping tunes.Among the selections were “Cosi Cosa”;“Nobles of the Mystic Shrine”; “I’mConfessin’ (That I love You)”; “I Don’tKnow Why”; “My Baby is Due at 2 to 2Today”; a medley from Singin’ In the Rain;“Pietro’s Return”; “See You In C-U-B-A”;“For Good” (from Wicked) and “ Paddlin’Madeline Home.” We were next treated tothe haunting Duke Ellington tune,“Solitude.” The program ended with thedelightful warhorse, “The Light CavalryOverture” by von Suppé and “TheDambuster’s March” by Eric Coates as anencore. Many in the audience expressed thedesire to listen to Ron for another hour (ormore), but the convention committee choseinstead to offer an open console session inwhich several participated.

Wednesday, July 1, marked the firstofficial day of the convention. In themorning, a seminar was held promoting

chapter leadership. The afternoon seminarin the on-going Heritage Series highlightedthe musical careers of two important figuresin theatre organ history—Ashley Miller andPearl White. Amazingly, quite a few in theaudience knew nothing about these twoterrific players from the relatively recentpast. Scott Smith and Clark Wilson took usdown memory lane with anecdotes andexamples of the playing of Miller and Whitefrom older recordings. Suffice to say, no oneleft unaware of the immense contributionsof these two musical giants. A livelyquestion-and-answer exchange took placethroughout.

Later, the opening reception gave oneand all the chance to renew old friendshipsand meet and greet newcomers. As hasbeen the case in past years, the inter-national membership was well representedby folks from Great Britain, Australia, andNew Zealand. The Grande Lobby of theRenaissance Hotel provided the perfectback-drop for the reception. We wereentertained by the hotel pianist as well assome members vamping through showtunes.

After dinner, we boarded busses for thetrip to Akron and the completely refur-bished Civic Theatre. The Wurlitzer wasrebuilt in 2000 by the Akron Civic TheatreOrgan Guild and enlarged from 13 to 19ranks under the guidance of Lyn Larsen,Carlton Smith, and others. The JohnEberson-designed atmospheric Civic is oneof only a very few remaining theatres in theUnited States where the stars still twinkleand the clouds go drifting by. Chris Elliott isa well-established theatre organist andaccompanist for silent films; he was greatlyinfluenced by the late Gaylord Carter. Chrisregularly plays for silent films in northernCalifornia and frequently travels around thecountry thrilling audiences with the magiccombination of silent film and theatre organaccompaniment. Chris began his programwith a stirring rendition of the “King Kong March.” A musical homage to CharlieChaplin came next, and many of the tunes brought back poignant memories,especially “Smile.” We marveled at thetimeless appeal of Douglas Fairbanks, Jr. inThe Mark of Zorro. The Fairbanks-Elliottcombination was a winning one as indicatedby the enthusiastic applause and positivebus conversations afterward.

Thursday morning brought us to the first of two ATOS shows at the ClevelandMasonic Auditorium. The Performing ArtsCenter (PAC) complex is enormous, and the2,100-seat auditorium is used for varied



Exterior of the Renaissance Theatre in Mansfield Ron Rhode at Palace Theatre Kimball

Audience begins to gather at the Palace Theatre

Boarding busses for trip to AkronDonnie Rankin in concert, with projected image



presentations throughout the year. It hashoused a 4/43 Austin pipe organ since thebuilding was constructed in 1918, installedin a loft on the right side of the auditorium(facing the stage). The console is in whatwould have been a box seat area below. Thissomewhat unconventional placement hasbeen a blessing for the Western Reservechapter since it meant that the left organloft was empty, making it available for theinstallation of the chapter organ.

In 2006, the chapter received a dona-tion of the 4/17 Wurlitzer originally from the Granada Theatre in Santa Barbara,California, from Wade and Marilyn Bray. In the interim the organ had been installedin the Pasadena residence of Dr. OrrinHostetter. The chapter moved it into storageand shop space in the PAC complex, andthe rebuilding process began in earnest.The organ was respecified and enlargedfrom 17 to 28 ranks. The previously unusedloft was cleaned, divided, dry walled, andpainted. As many of us who have restoredand re-installed these instruments know,projects always cost far more than plannedand consume exponential amounts of time.This installation proved to be no exception.The chapter received a $35,000 loan fromthe ATOS treasury to assist (which has beenpaid back, in full with interest, from thechapter’s share of the convention proceeds).The chapter had many volunteers workinglaboriously on the myriad of rebuildingdetails and even brought in several well-known professional organmen in hopes of being able to premier this organ for the 2009 convention. It was too much to accomplish in the time available. AWestern Reserve member, Jack Alling, wasgracious enough to make his new Walkerdigital organ available. The organist for thisconcert was the Kansas native, BrettValliant. As Master of Ceremonies, KenDouble aptly remarked, while Valliant is hisreal name, it is also the perfect moniker fora show business career.

Brett delivered a remarkable contrastbetween older, more traditional theatreorgan selections and recent popular tunes.Among his offerings were: “I Am What IAm” (from La Cage Aux Folles); “Beyondthe Blue Horizon”; “Sway”; and a medleyfrom The New Moon by Romberg. Shiftingmusical gears, Brett played “The BohemianRhapsody,” made famous by the rock group Queen, and then The Platters’ hit,“My Prayer.” The Rossini Overture to The Thieving Magpie (La Gaza Ladra)introduced some gravitas to the program.This was followed by “The Liberty Bell

March”; “Vous les Vous”; “Winner TakesAll”; and the big Abba hit “DancingQueen.” “My Heart at Thy Sweet Voice”was next, and Brett’s show wrapped up withtwo rhythmic challenges: “Opus One” and“Grizzly Bear.”

A very satisfied audience rode thebusses back to the hotel for two afternoongatherings, the attendance at which shouldhave been convention requirements. Thefirst was the members’ forum at which the membership could ask questions of the ATOS board and discuss issues ofimportance. The second was a technicalseminar co-hosted by Allen Miller and JeffWeiler, with the additional participation bythe president-elect of the Organ HistoricalSociety, Scot Huntington. The provocativeand appropriate title of their presentationwas taken from the medical establish-ment—”First, Do No Harm.” Resourcessuch as the recently updated OHSGuidelines for Restoration and Conservationwere discussed. These may be read andprinted out from their website: www.organsociety.org/html/historic/pdf/ConservGuidelines.pdf.

In the early years of our hobby there wasa tremendous amount of irreparable damagedone to organs due to ignorance of acceptedrebuilding procedures and the lack ofaccess to correct tools and materials.Fortunately, this is no longer the case. Indozens of projected photos we were shownhow not to restore. Jeff Weiler, Allen Miller,and Scot Huntington are professional pipeorgan craftsmen with many decades ofexperience. It was both enlightening andtraumatizing to see some of these mangledefforts and then hear explanations of whycertain procedures were frowned upon.After some particularly horrific photos weredisplayed, a noise was heard in parts of theroom that appeared to mimic the sound ofpeach pits dropping out of trouser legs. Weare, in the final analysis, just the custodiansof these amazing music machines, and weowe it to the generations that come after usto exercise careful and well-thought outrestorations. Many excellent questions wereasked, and Allen, Jeff, and Scot werepatient and thorough in their explanations.One sensed that most everyone presentunderstood the meaning behind the seminartitle, wanted to be considerate and carefulwhen approaching rebuilding projects, and were not afraid to ask questions of moreknowledgeable folk if unsure how toproceed.

The evening presented us with threewelcome treats. First, we had the chance to

visit the gorgeous Lorain Palace Theatrewith an original 3/10 Wurlitzer. Second, wewere made aware of the sights and soundsof the regional in Birmingham to be heldover the Thanksgiving weekend, as well asthe annual gathering next summer inSeattle, Washington. Third, we had thepleasure of hearing a young man whocontinues to mature musically— DonnieRankin.

The console of the Wurlitzer is in theorchestra pit on the left as you face thestage. The organ lift, which no longerfunctioned, was removed many years ago.As a result, the console remained hiddenthroughout the performance, and Donniehad to rather awkwardly extricate himselffrom the depths to acknowledge applauseand announce selections. There were twotelevision cameras focused on the console,and the image was projected on the hugetheatre picture sheet allowing the audienceto watch Donnie. It was, by his ownadmission, a distraction to glance up andsee himself larger than life.

Donnie’s opening was a smooth renditionof “From This Moment On,” followed by aclever novelty tune: “Onezy, Twozy, I LoveYouzy.” Next came two Beatles hits: “And ILove Her” and “Yesterday.” A medley fromGuys and Dolls was the next offering, and itvery ably demonstrated just how muchmusic can be made with an original 10-rankpipe organ, but this particular selection wasplayed just a little too fast, in my opinion.

The old Amos & Andy (and GaylordCarter) theme, “The Perfect Song,” was, infact, just about perfect in every way whenDonnie played it next. Donnie was involvedin band all through high school, includingthe steel drums, and he played “Recuerdosdel Pasado” (Memories of the Past),originally arranged for the steel drums. Heclosed his first half with the “Rapaz BandMarch.”

Between the first and second half of theprogram was a PowerPoint™ presentationcovering the upcoming regional conventionand the terrific line-up for next summer inSeattle. Most everyone agreed that thesetwo pending events offered great appeal.

Donnie returned with the first million-seller tune from Jesse Crawford, “Valencia.”Donnie surprised us with a novel intro tothis familiar melody and then introduced aclever segue into “Lady of Spain.” Theaudience enthusiastically displayed theirapproval. Donnie continued to astonish witha magnificent rendition of “You and I”—done à la Stevie Wonder. “El Relicario”followed and then a Lyn Larsen-identified



arrangement of “Somewhere Over theRainbow.” The program came to a thrillingclimax with the Dvorak “Slavonic Dance #8in G minor.” The playing certainly endearedDonnie to the crowd, but perhaps even moreappealing than his musicianship was hisdead-pan humor and banter between tunes.If he were not playing organ concerts, hemight find a career in stand-up comedy. Onecan only hope that the attendees fullyappreciated just how much music wasplayed on this delightful, original 3/10Wurlitzer.

Friday morning we were bussed to thehistoric 1893 Grays Armory building. TheCleveland Grays, organized as a volunteermilitia to help maintain law and order, nowserve as an educational and philanthropicorganization. The building still serves tohost their meetings, and there is even ashooting range in the basement—a startlingrevelation to many when target practicecoincides with organ practice. This venue ishome to another almost completely originalStyle 240 3/13 Wurlitzer. Other than theaddition of a few ranks (the 32' Diaphonefrom the Playhouse Square State Theatre,Quintadena, English Horn, and Piano), it is operating as it did when it was installed in 1931 in Warner’s Theatre in Erie,Pennsylvania—one of the last Wurlitzerorgans to be installed in a US theatre.

Our artist was John Lauter from Detroit.John has been presenting concerts for over20 years, and he entertained the audiencewith a fine cross-section of music, includingsome gems from across the pond. Among theselections were: “Wedding of the PaintedDoll”; “Spring Is Here”; and “Once in Lovewith Amy.” “The Westminster Waltz”introduced us to the first of three compo-sitions by the Englishman Robert Farman,the other two being “How Beautiful IsNight” and “Derby Day.” Carlos Jobim’s“Mojave” contrasted nicely with the LarryVanucci-styled “Darn That Dream.” “AForest Night” by Marvin Hamlisch, “TheShadow of Your Smile,” and a tribute toMichael Jackson afforded us some morerecent selections. John’s program had someolder favorites, too, with “I Could HaveDanced All Night”; “Love Walked In”; andthen “I Have Dreamed” from The King andI. John displayed his inventiveness with aseries of Jerome Kern tunes played in themanner of J.S. Bach. The show ended with“God Bless America.” The Armory is verylive and reverberant, the organ sparkling,and the musicianship of John Lauter left uswanting more. We returned to the hotel, and

ATOS board of directors

Proscenium of the Canton Palace Theatre

John Clark McCall, banquet organist

Grand Lobby of the Renaissance HotelChris Elliott (l) and Jelani Eddington followingthe pops concert



some owners of electronic organs attendedthe ETONES meeting.

After lunch we went back to the PalaceTheatre and the Kimball for an afternoon of music played by younger performers. The opening concert was by the winner oflast year’s Young Organist Competition,Jonathan Ortloff. Jonathan just graduatedfrom the Eastman School of Music and,prior to the convention, recorded his firstCD on the Grierson-RTOS Wurlitzer ownedby the Rochester Theatre Organ Society.This disc featured several tracks backed bya very talented drummer named AllanWard. This musical duo reprised their rolesin Cleveland.

Jonathan opened with a spirited ren-dition of “It’s De-Lovely,” and then slowedthe pace with a carefully crafted version of“The Windmills of Your Mind.” Next came“We Open in Venice” and “All the ThingsYou Are.” A folk-song suite representingthree countries followed: “Waly, Waly” from England, “Four Strong Winds” fromCanada, and ended with the traditional“Shenandoah,” widely known in the UnitedStates. Jon tugged at our hearts with “So inLove” and brought his performance to aclose with “It’s All Right with Me.” It wascertainly all right with the audience basedon the positive comments heard afterward.This is a young man whose career we shallwatch with interest.

After a brief intermission, we had thechance to hear performances by the threefinalists in the 2009 ATOS Young Organistcompetition. The first was Danny McCollum,who opened with “No Business like ShowBusiness,” followed by a medley from My Fair Lady. The second artist wasNathan Avakian, who began with a rousingperformance of “Comedy Tonight.”“Carillon,” a classical offering by Vierne,was next. Nathan ended his set with aspirited medley from 42nd Street whichincluded some of the lesser-known tunes.Nathan has a background in theatre anddisplayed confidence in his playing andhumor in his conversation with theaudience.

The final contestant was Mary AnnWootton from Great Britain. She gave us acircus-themed opening with “Be a Clown,”which segued into “The Entry of theGladiators” by Fucik. Mary Ann nextplayed a gorgeous Ashley Miller arrange-ment of “Misty.” Her closing selectionfeatured a number of tunes from The Soundof Music. The three judges (all professionalmusicians) deliberated and announced that

the overall winner was Nathan Avakian.The audience was in complete accord.

Friday night afforded those fortunateenough to obtain a ticket the chance to hearthe second-largest residence theatre organin the country at the former home of the lateVince Aveni. This instrument has grownover the years from a modest 3/11 to a 4/60.The home, built in 2000, is a spectacular27,000 square foot mansion containing anenormous music room. After Vince died,the family had endeavored to sell theproperty for several years. Last November,they permitted Mark Herman to record hissecond album, A Kid in a Candy Store,using this organ. The Western Reservechapter recorded two CDs-worth of materialas a fundraiser for their PAC project. Thefirst of these, Magnifico, is now availableand provides an opportunity to hear thismarvelous instrument. Since the house(with or without the organ) was for sale, itwas not known until just prior to theconvention whether or not the facility wouldbe available. Good fortune smiled, and thehouse sold to another music lover, OscarVillarreal, who bought the property as wellas the pipe organ and graciously permittedthe convention to make use of the instru-ment. It is a testament to the generosity ofMr. Villarreal since he was out of townduring the convention and relied uponothers to see that things were properlyattended to.

Richard Hills is no stranger to theconvention crowd. He has thrilled audi-ences for over a decade with his stellarperformances. This was no exception.Because the Aveni/Villarreal music roomcan only accommodate limited numbers,two repeated presentations had to bearranged. As a result, the running time ofthe concert was somewhat reduced, butevery piece was a gem. The opener was an“MGM Jubilee Overture” arranged byJohnny Green, transcribed by RichardHills. The Gershwin hit, “How Long HasThis Been Going On?” was followed by asumptuous medley from The King and I.The hauntingly beautiful “Lonely Town” byLeonard Bernstein explored the vast tonecolors available in this 60-rank organ. Oneof the most appealing elements of a RichardHills concert is the inclusion of someBritish light music, and two such delightswere part of this program. The first was“March” from A Little Suite by TrevorDuncan, and the second was “Cachuca”from the suite In Malaga by FredericCurzon. A performance by a British theatreorganist would hardly be complete without

the old standard, “A Nightingale Sang inBerkeley Square” by Sherwin. Just when wethought it could not get better, Richardafforded us a tantalizing tribute to de Silva, Brown, and Henderson, featuringsome of the best songs from that prolificsong-writing team. As we were catching ourbreath from this sonic potpourri, Richardplayed an awesome, knuckle-bustingarrangement of “The Old Pianna Rag.”Hills has given us memorable encores overthe years that have left us gasping, but thisone may have been the most incredible oneyet. A few in the incoming crowd askedwhat was in store for them, and many justmuttered, “You have to hear it to believe it!”The next day nearly everyone waxedprofusely over the Hills/Aveni/Villarrealtreat. We are deeply indebted to those whomade this particular event possible. Thisparticular evening occupied an even higherplane of spectacular magnificence. Theonly downside was the inability for everyconvention registrant to attend due to thespace limitations.

The following morning at the hotel wasthe ATOS annual meeting, which was verywell attended. Many asked pointed andrelevant questions of the board and officersregarding policies, finances, and plans forthe future of the organization. Even thoughwe had to eat lunch and catch busses for the trip to Columbus, no one wanted thespirited discussion to end. Undoubtedlythere will be articles, questions, andresponses in THEATRE ORGAN, as wellas on the ATOS website, concerning someof the issues raised.

We finally got on the busses for the two-plus hour ride down I-71 to Columbus andtwo major concerts. Our first stop was theFirst Congregational Church on East BroadStreet where not one but two fine pipeorgans are available. The chancel has arecently restored 4/66 electro-pneumaticKimball from 1931, and the rear galleryhouses a 3/73 von Beckerath mechanicalaction organ from 1972. The featuredperformers were David Peckham and JohnSchwandt. The program opened with “TheStar-Spangled Banner,” the US nationalanthem, performed as a duet. Next,Peckham played several selections on theKimball: “Cheek to Cheek”; “Will-O-the-Wisp”; and “Toccata on America.” Anotherduet followed, with the ethereal “Adagio”by Albinoni. John Schwandt performed avery articulate “Praeludium in C Major” byBuxtehude at the von Beckerath organ inthe gallery. Then it was back to the Kimballfor three more selections by David:



Chris Elliott announcing the film for the evening

Masonic Auditorium interior Exterior of the Ohio Theatre, Columbus, Ohio

Jim Riggs in a reflective moment

Busses staged in front of hotel for trip to the Lorain Palace TheatreMembership listening intently to the First, Do No Harm seminar

Auditorium of the Renaissance Theatre



“Fantasy on Nursery Tunes” by RobertElmore (from Boardwalk Pipes); “Song ofPeace” by Langlais; and the Ron McKean“Danza” improvisation. Next it was time forsome hymn singing, and Schwandt led usthrough “Ode to Joy.” Dr. Schwandt thenperformed an acceptable but rather austereimprovisation on a submitted theme.

Another duet followed, with both mendoing musical battle with “The Ride of the Valkyries” using the Kimball. Wagnermight have been rendered speechless. Bothperformers wore Vikingesque headgear to add to the entertainment element. John Schwandt then played the familiar“Shenandoah” on the Kimball. Followingthat, David Peckham played the Bach BWV541 “Prelude and Fugue in G Major.” Johnperformed the Dubois Toccata from theSeven Last Words of Christ and thendemonstrated his capability with sometheatre organ fare by playing “DancingTambourine” on the Kimball. The concertended with “The Battle Hymn of theRepublic,” which brought the house down.I overheard several people remark, perhapsapocryphally, that they even observed akitchen sink amidst the final chords. We allleft the church with cascading stanzasricocheting through our heads. Columbus isfortunate indeed to have such a facilitywhere duets of this magnitude can beregularly performed.

Because of the necessity to feed thethrong, planners wisely made arrangementsto take our group down the street to thestately old Columbus Athenaeum. Wefeasted on a wonderful meal amidst thesplendor of a fine old architectural setting.Then it was off to the Ohio Theatre. Thiswas a short bus ride or, for many of us, agood walk.

Like so many other theatres in downtownareas, the Ohio was very nearly demolisheddecades ago but, through a Save the Ohiocampaign, the building was not only savedbut totally renovated; it is now the jewel inthe crown of the city. The original Robert-Morton organ is still installed, but it wasenlarged several years ago from a 4/20 to a4/34 in what can best be described as toomuch of a good thing. The performer for theevening, Clark Wilson, has been associatedwith the Ohio Theatre for many years andis featured every summer for an extensivefilm and concert series. Clark began hisprogram with the “Entry of the Toreadors”from Bizet’s Carmen. This thrilling openerwas marred by one of the few ciphers in theentire convention, but Clark pressed on.One of the featured organists at the Ohio

years ago was Bill Dalton; Clark played adelightful version of “Broadway after Dark”in Bill’s inimitable style. A few of thestunning lighting effects shared the bill as Clark played “Two for the Road” and“Georgy Girl.” Some of the quiet stops werefeatured in the familiar “Love’s Old SweetSong.” A performer who had a greatinfluence on Clark was the late John Muri.Clark dedicated his next piece, “I Met a Girl” from Bells Are Ringing, to John. A marvelous medley of Irving Berlin hits came next, followed by a “SpanishSerenade” by Pierne. Harold Arlen wasrepresented by the familiar “Right as Rain”and, keeping up the rain theme, Clarkperformed “Don’t Rain on My Parade.”Next came a series of children’s nonsensesongs and ended with Vincent Youmans’“Without a Song.” The other long-timeorganist at the Ohio Theatre was RogerGarrett, and Clark ended with two of his best-remembered selections: “MarcheSlav” and his theme song, “Romance.”These brought back some wonderful mem-ories, since I was the recording engineer fora Roger Garrett LP made at the Ohio in1967, and these two tunes were on that LP.A weary, but highly satisfied, group boardedthe busses; conversations tended to be shortas most of us drifted off to sleep for the rideback to Cleveland.

Sunday morning found us at the StateTheatre in Playhouse Square and a concertby Jonas Nordwall at the Walt Stronysignature Allen digital organ. The State isa beautiful facility, and the Allen Organtechnicians had the luxury of many days ofset-up and voicing. The end result was verysatisfying. Jonas opened with just a “ghostlight” on the stage and a trip back to anearlier time with “Sentimental Journey.” Amedley from Oklahoma was followed by acontrast of the “Grand Polonaise in A Flat”by Chopin and “Take Five” by Brubeck.Jonas displayed his generosity of spiritwhen he surprised the audience by bringingout the Young Organist Competition winner,Nathan Avakian, to perform a cameo (under the guise of Jonas having to take a break according to union rules). Nathanperformed a delightful arrangement of theDisney tune, the theme from Fantasmic.The promising future of this young artistwas assuredly cemented in the minds of the audience with this confident andentertaining performance. Jonas Nordwallis to be congratulated for his willingness toshare the spotlight with a rising star.

Jonas’ musical inventiveness wasprominently displayed in a version of “I

Can’t Stop Loving You” that was first basedupon a French folk tune and ending upperformed à la Elvis Presley. The audiencewas soon roaring their approval. Afterexcerpts from the musical Les Miserables,the program came to a close with the well-known “Beautiful Ohio.” The encore was avery rousing “Stars and Stripes Forever.”Everyone was in a festive mood as thebusses took us back to the hotel before thevariety show at the PAC complex in theafternoon.

The program at the Masonic PAC wasthe only one open to the general public. Itwas an attempt to replicate the well-knownJoliet Rialtofest formula. Ken Doubleintroduced the concert. He was standing indarkness and could have used a followspotlight.

My comments that follow are notdirected at any of the musicians, but ratherthe less-than-stellar presentation of theshow itself.

The two organists were Jelani Eddingtonand Chris Elliott, but for some inexplicablereason they both performed in the dark.What is the cost of using two followspotlights? The efforts of these two playerswere diminished when they were forced toexecute their selections in darkness. WithJelani at the piano and Chris at the Walkerorgan, they performed the widely known but now somewhat over-exposed “DeepPurple.” The Strongsville Community Bandadded their contributions to the show, butstaging issues marred the overall effect. Themusicians performed admirably, but therather amateur-like staging and timingcertainly did not serve to impress thegeneral public. For example, after the bandwould perform, the curtain would close andthen reopen while the band members werestill running off to the wings. When theyswitched from the organ to the band, adesignated announcer was supposed tocome out on stage and introduce the nextpiece. They announced him but he wasnowhere to be found. So, evidently, no onewas running the show with people in placeand ready to go. To make matters worse, theannouncer emerged 20 minutes later andessentially remarked, “The piece played 20 minutes ago that I was supposed toannounce was thus and such.”

The curtain went up late on the show,and the band was announced when half ofthe band was still moving into place. Thismight be acceptable for an amateur highschool production but not if ATOS isendeavoring to show the public itsprofessionalism. The announcer also made



a joke about Sarah Palin and, regardless ofone’s politics, this was neither the time norplace; you will most certainly alienate alarge number of the audience. The musicoverall would rate a grade of B, but thestaging would merit nothing higher than anF. It was an embarrassment knowing that alot of the first-time public was there andwondering what was going on. Sufficientrehearsal, an attentive crew, and a goodvaudeville-like variety are necessary if youwish to copy a successful formula. Beforewe begin staging shows like this throughoutthe country, we should make certain thatevery detail has been addressed, or we willonly reinforce in the minds of the publicthat we are an organization of well-meaningbut clueless amateur hobbyists.

The busses loaded and we made our wayback for the (optional) banquet and awardsceremony. This year, instead of holding abanquet at the hotel in a ballroom, thedecision was cleverly made to hold it on thestage of the State Theatre. The Allen organwas still set up from the morning program,and there was sufficient space for the tablesto be arranged facing the console which hadbeen turned toward the backstage wall. Themusic for the meal was provided by thataffable Southern gentleman, John ClarkMcCall, Jr. It was a perfect complement to adelicious dinner. John displayed a widerange of music for our enjoyment—hiswarm, engaging personality enchanted theentire room.

Col. Jack Moelmann, recently re-electedto the ATOS board, announced that atheatre organ scholarship fund was beingestablished at the St. Louis Fox Theatre byowner Mary Strauss in memory of the lateStan Kann. Jack suggested that we “pass thesalad bowl,” as has been done on previousoccasions, to raise money toward this worthygoal. The proceeds would be dividedbetween this fund and the ATOS SummerYouth Camp, which provides importanttheatre organ instruction. Jack worked theroom like a seasoned politician. Even in theface of the sagging economy, the “take” forthe evening was in excess of $2,000. Afterthe meal, many well-deserved plaques weredistributed and speeches given. The fullcomplement of recipients appeared in the September/October, 2009, issue ofTHEATRE ORGAN. This marked the endof the official convention; the next daywould be an optional after-glow.

For those who sought another dimensionin organ performance, the opportunitypresented itself later in the evening at theMasonic Auditorium. It was the official

Skip Stine (l) and Ken Double

Exterior of the Canton Palace Theatre

Dinner being served inside the historic Columbus Athenaeum

David Peckham (l), and John SchwandtConvention Hotel, the Renaissance, nextto Terminal Tower



opening concert of the Organ HistoricalSociety convention, and the organist wasthe famed titulaire of the Wanamaker Organin Philadelphia, Peter Richard Conte. TheOHS generously provided tickets free ofcharge to all ATOS conventioneers whowished to attend, and many did.Interestingly, for this program there werenot only follow spotlights in evidence, buta television camera directed at thekeyboards of the Austin organ and theresulting image projected on a large screen.

Monday, July 6, arrived and many wereseen checking out of the hotel. But there arealways a significant number who sign up forall the pre-glow and after-glow events, andthis year was no exception. The twoprograms closing out the Cleveland gath-ering were both in magnificent theatres.Anticipation was high as we boarded busesand made our way toward Canton, Ohio andthe Palace Theatre. This theatre was savedfrom the wrecking ball several decades ago.The facility is now very successful as aperforming arts center, and the Kilgenorgan is used every weekend to great publicacclaim. This was a chance to see and hearanother almost totally original theatre organinstallation. This instrument began life as a3/9 and was eventually expanded to a 3/11with the addition of two ranks and thereplacement of the relay which had becomewater damaged and unreliable. Professionalorganbuilder Charles Kegg has been thewatch-dog/restorer of this marvelousinstrument since the late 1970s.

The afternoon concert was performed bythe familiar MC and ATOS executive, KenDouble. He opened with “Another Opening,Another Show” and progressed into anumber of offerings like “It’s a WonderfulWorld”; “When You’re Away”; and asuperbly performed medley from Finian’sRainbow. Before the intermission Kenshowed his musical range by playing “APortrait of My Love”; “Frim Fram Sauce”;and “That Lucky Old Sun.”

The second half afforded the audiencethe opportunity to experience the combinedmusical talents of Ken Double and anextraordinary trumpet player, Skip Stine. Idon’t wish to come across as a slobberingsycophant, but in the musical world thereare those who play the trumpet and thosewho are masters of the form. Skip Stine isone of the latter. I am not trying to be a shill,but I had the pleasure of being therecording engineer in April in Wilmington,Delaware for an album entitled Tributefeaturing Skip on the trumpet and KenDouble at the Dickinson organ. Over the

years Skip played with Harry James, theJackie Gleason Orchestra, and a myriad ofother top-notch ensembles. The words“smooth, controlled, and musical” cannotbegin to describe his tone. I am old enoughand fortunate enough to have heardmusicians like Louis Armstrong and BennyGoodman; Skip Stine is every bit aspolished as they were.

Ken and Skip opened their set with “YouMade Me Love You,” followed by “Penniesfrom Heaven”; “Around the World”; and“Don’t Blame Me.” The musical magiccontinued with “Cherry Pink and Apple-Blossom White”; “Memories of You”; andtwo encores consisting of “A Day in the Lifeof a Fool” followed by “And the AngelsSing.”

The audience roared their approval andemerged from the theatre with nostalgicsmiles. The director of the Canton Palace,Georgia Paxos, was beaming from ear to earand remarked that even though the organ isused every weekend and the citizens ofCanton expect to hear it, this program wasan exceptional treat.

We next traveled to Mansfield for theevening concert by Jim Riggs, but first we“chowed down” in Bellville, Ohio, at theDutch Heritage Restaurant. This place isobviously used to accommodating busloadsof visitors and had a dining room ready forus. We ate “family style” with platters andbowls passed down the tables. There was noway you could have emerged hungry afterthis feast. The staff went out of its way toensure our group was treated marvelously.

The last concert was regarded withmixed anticipation and sadness as a funweek was drawing to a close. The Renais-sance Theatre in Mansfield was restored asa performing arts center in the 1980s. Fromthe beginning it was a given that the theatrewould have a pipe organ. Many are unawarethat character actor Joe Kearns had anearlier career as a theatre organist; he iswell known for playing the role of the long-suffering neighbor Mr. Wilson in the 1950sshow Dennis the Menace. When the 3/18Wurlitzer from the Warner Brothers Studiowas offered for sale, Joe bought it and builta home in Hollywood especially to housethis instrument. A very young Lyn Larsenmade his first records using this organ. TheRenaissance Theatre later purchased andinstalled it where it was premiered by thestill-youthful 40-year-old Lyn Larsen inMay, 1985.

The artist for our last concert was theeffervescent Jim Riggs. In homage to thelate Joe Kearns, Jim opened with the Dennis

the Menace theme. As many of you areaware, a Jim Riggs concert is filled withgems from the musical past played in thestyle of the period. Jim did not disappoint,and we basked in a series of hits. We heard“Personality” and “Moonlight BecomesYou.” Harkening back to the creation of thisWurlitzer in 1928–29, we heard “Rosalie”;“How Long has this Been Going On?”;“When I Fall in Love”; “Body and Soul”;“Lullaby of the Leaves”; and “Memories ofYou.”

Jim played a beautiful arrangement of“What Are You Doing New Year’s Eve?”followed by the announcement that, aftermany years of being single, he was gettingmarried. The audience applauded this andthe additional news that he had recentlymoved from California to Wichita, Kansasto become the new organist at Century II,home to the former New York ParamountWurlitzer. Jim brought his delightfulconcert to a close with a few more favorites:“Black Coffee”; “Somewhere Over theRainbow”; the iconic “Paramount onParade”; and an encore of “GoodnightSweetheart.” We were tired but satisfiedafter a full day of music, food, andconviviality. We piled on the busses for theride to Cleveland; most of us fellimmediately into the “arms of Morpheus”as the lights of Mansfield faded from view.Another successful convention was over.

The fine photographs that accompanythis review were taken by long-time ATOSmember and Washington, DC residentRichard Neidich, and I am grateful for hissuperb coverage of the entire event.



Jonas Nordwall following his concert at the State Theatre

The annual meeting Ohio Theatre

Ken Double (l) with Vern Bickel, recipient ofthe Hall of Fame award

Clark Wilson after his Ohio Theatre programYoung organist finalists: Mary Ann Wootton, DanielMcCollum, and the overall winner, Nathan Avakian

Exterior of the Aveni/Villarreal residence



There comes a time very early in a neworganist’s studies when he or she needs tostart practicing at an actual organ console.My time came in late 2008, when I joinedthe St. Louis Theatre Organ Society (SLTOS)and realized the theatre organ was theinstrument I wanted to play. Although I had no piano lessons at that point, myexperience with other instruments allowedme to jump right to the organ. There was aproblem, however; I was going back tocollege, the Missouri University of Scienceand Technology, which kept me two hoursaway from the nearest theatre organ for ninemonths out of the year. What I needed wasmy own organ and, after considering theoptions, decided that I would simplyconstruct one myself.

When asked why I made my organ, Iconfess that the motivation came fromseveral areas. First, as a student at anengineering college, I had been looking fora project to gain practical experience in myfield of study, computer engineering. Otherstudents also had their own design projects,so there is no denying that some one-upmanship among my peers gave me addedincentive. Second, I wanted somethingportable, since I needed to transport it toand from college myself. The best solutionwas to make a component console that couldbe assembled in my dorm room. The goalwas for the organ to sound as realistic aspossible, though I recognized the limitationsimposed by my relatively tight budget.Because this would be a computer-driventheatre organ, I chose the Miditzer virtualtheatre organ for the software. Miditzer wasperfectly suited because of its MIDIcapabilities. Add the fact that the software isdistributed free of charge, and the choicewas a no-brainer. After finding the rightsamples of pipe sounds, called SoundFonts,I achieved a good replication of the theatreorgan sound. In addition, the interface onthe computer screen reflects a WurlitzerStyle 216 console and allows me to changeregistrations in real time. Using the MiditzerMIDI input, any piston, stopkey, swell shoe,and toe stud on the interface could bemapped to an external MIDI controller.

The organ was initially of a single-manual design, with plans to add a secondmanual as finances would allow. For thekeyboard, I chose the M-Audio Oxygen 61.

This 61-note synth-action keyboard wasperfect because its many buttons could beprogrammed to function as pistons. Anotherplus with this keyboard was the accom-panying software which can turn thekeyboard into a drawbar organ. Also, it waspowered completely by USB, so it didn’trequire a MIDI converter or power con-nection. The pedalboard, however, was byfar the more challenging aspect of the organ.The commercially available units with thenecessary MIDI interface were priced far toohigh for my budget. So I decided to createone.

To start, I needed to find a mechanicallyintact pedalboard and a means to connect itto the computer via MIDI. I first contactedJim Ryan, president of SLTOS, who linkedme with the right people. It was during myThanksgiving break when I acquired an oldKilgen 32-note radiating pedalboard. Jimalso showed me the MIDIBox hardwaredesign platform, which was perfect for thepedalboard. After spending several eons inthe MIDIBox internet forums, I found thebest way to connect it.

Starting on the physical connection end, I used magnetic reed switches andrefrigerator-style magnets to convert thedepression of a pedal key to an electricalsignal. The reed switches are enclosed in aminiature glass tube, so there are noexternal moving parts. I hot glued thesecomponents to the pedalboard which wouldallow me to easily swap out bad switches,plus the well-worn pedalboard wasn’t ableto support nails or screws. The result was avery low profile and stable electrical system.To process the signal, a custom-builtMIDIBox was created. This unit consists ofa central module, the Core, and numerousother modules that can be connected to it fora variety of input/output functions. For thistask, I needed one DIN module which wouldconvert 32 buttons to MIDI input signals.An inexpensive PIC-brand microprocessorwas employed because it runs on the MIDIOperating System and could be programmedusing the MIDI ports connected to acomputer. The MIDI application I used wasMIDIO128 which is designed to handle upto 4 DIN modules. With a bit of tweaking onthe MIDIO128 code (which took another eonin those user forums), I had it sending outthe correct on/off messages to each pedal.

To connect the MIDI ports on theMIDIBox to my computer, I used an Emu2x2 MIDI USB interface. The 2x2s wereselected over the 1x1s because I wouldeventually need the extra port for anothermanual. My lone manual was an Oxygen 61,which is a velocity-sensitive 61-notekeyboard. I connected it and the 2x2 inter-face to a USB hub, allowing the entire organto be hooked to my laptop using just a singleUSB connection from the hub. This was veryconvenient as I often needed to unplug thelaptop for actual schoolwork. The organwent down in history as the coolest USBdevice ever to be plugged into my computer.

For an organ bench, I again talked to Mr. Ryan. Not too surprisingly, he soonfound someone with a spare that wasdonated to the cause. It needed a bit of workstructurally, but was very serviceable. Theoriginal “console” design consisted of twocrate-like shelving units I already had whichsupported a single 7' long 1" by 8" plank. Ifthere’s one thing I learned in this project, it’s that simplicity works. The officialcompletion of the console occurred in lateJanuary, 2009, when the pedalboard wasprogrammed and debugged. The DormRoom Miditzer, as I called it, was officiallyup and running.

In March, I decided to purchase a secondkeyboard. This was prompted by my startingpiano lessons just a few months earlier, andI wanted an 88-key hammer-action unit onwhich to practice. After a bit of shopping, aCasio CDP-100 was selected. In addition toits use for piano practice, it would alsobecome the organ’s second manual. I haddecided it wasn’t the end of the world tomake an organ with two different keyweights, and I had been itching for thatsecond manual for some time. Adding thiskeyboard only required the addition of a 3'long 2" by 6" board to support the back ofthe keyboard and a couple of spring clampsto hold it in place. This keyboard was alsoconnected to the 2x2 interface. With thesecond manual installed, I now had thecapability of a two-manual theatre organ, adrawbar organ, and a piano in my dorm. Itwas interesting to think back when I movedto college at the start of the school year wheneverything was transported in a smallwagon. Moving back home at the end of theschool year required a U-Haul truck. This

The Dorm Room Orga nBY PETER SHILLIDAY


realization prompted my parents to ask: “Ofall the instruments to learn, why did you haveto pick the King of Instruments? Why couldn’tyou take up the piccolo or something?”

One thing has happened that I predictedwhen I first began planning this project. I amlearning to play the pipe organ backwards.That is, I am learning registrations and stylingand gaining familiarity with the pedals withouthaving first acquired keyboard skills.However, it seems to be working for me. OnceI take more semesters of piano and gain thoseskills, I’ll be ready to combine all the elementsof theatre organ playing. Most of all, nothingbeats the freedom of having my own organ. IfI wake up in the morning and feel like playingsomething, I am five steps away from theequivalent of a Wurlitzer Style 216. I lovelistening to music on ATOS radio and from myown music library, and I play along as much asI can. Since the media player and the Miditzersoftware are on the same computer, everythingcan be easily mixed through the sameheadphones. And as one might suspect, theorgan is certainly a conversation starter whenguests visit my room.

There are, of course, limitations to mysetup; although Miditzer supports it, the organdoes not have second touch. Hand-registeringmust be done with the mouse to click theindividual tabs on and off which takes someadditional finesse. Nevertheless, I am well onmy way to creating a realistic practice organ ata cost that is orders of magnitude less than acommercially available instrument.

Like any do-it-yourself organ project, it’snever really done. But I’m very happy with theprogress so far. The next improvement on myagenda will be to add a swell shoe. After that,some relatively simple improvements will be to modify the supporting structure to havethe keys at a proper playing height. Andeventually, the organ bench and pedalboardwill be refinished to be more cosmeticallyappealing. But I felt the real mark of mysuccess was apparent at the annual SLTOSpicnic this past June. There is always atraditional organ at the picnic which membersplay throughout the event. I was asked to bringmy creation and set it up next to the big-namemodel. For most of the afternoon, the com-mercial organ sat idle as people waited in lineto play my personal dorm room organ.

My thanks and recognition are extended toJim Ryan, Rich Iezzi, and Richard and PamMasching. A big thanks to everyone in the St. Louis Theatre Organ Society for theirencouragement, and for sharing their enthu-siasm of theatre organs with me.

a n

From top:

Peter Shilliday seated at his modular organ(Photo by Ken Iborg)

The dorm room Miditzer (Photo by Peter Shilliday)

Wiring the pedalboard for a MIDI interface(Photo by Peter Shilliday)

Dave Stephens makes music on Peter’screation at the SLTOS picnic

(Photo by Gary Broyles)

COMPONENTS AND COSTPayee Memo AmountLowe’s Hardware for 2nd Manual $7.47 Musician’s Friend Casio CDP-100 88-key MIDI Keyboard $429.39 SmashTV Misc Components $13.76 SmashTV Misc Components $18.60 The Midi Store M-Audio Oxygen 61-Key Keyboard $169.00 Mozingo Music 2 MIDI Cables $13.60 Radio Shack 9V 800mA DC Power Adapter $22.54 Radio Shack Wire and PC Board $9.26 SmashTV Ribbon Cable and Connectors $23.65 Michael’s Magnets $2.15 Radio Shack Wire and PC Board $9.26 Michael’s Magnets $7.54 SmashTV CORE Kit and DIN Kit $49.60 Zzounds Emu 2x2 USB MIDI Interface $54.94 Mouser Electronics Reed Switches $31.24 TOTAL $862.00




Herewith some continued notes regard-ing progress on my modest efforts in the Isleof Man; it is by no means as big a project asmost of yours over there, but nonethelesswe’re trying to get a Wurlitzer back as nearas possible to original as we can afterhaving been messed about with. For me, it’sa challenge I am really enjoying. It willhopefully be seen as a sort of legacy of allmy experience when I eventually “cease tobe.”

I regularly remind myself of a profoundphrase that caught my ear at a concert I hadthe honour of compèring in April, 1978.The legendary American organist GeorgeWright gave a memorable concert for ourLondon and South of England chapter at theState Theatre, Kilburn during which hecommented, “It’s not what you’ve got, it’smore what you do with it.” Although hemostly played very modest instruments inhis main role as a session musician on TV,at the time of his visit here, he was knownfor his ground-breaking recordings on somevery large American Wurlitzers. For his tripto the UK he was playing a very unorthodoxWurlitzer organ designed by Englishorganist Quentin MacLean, and I wonderedwhat on earth he would make of it.

With two Tibias, two Tubas, twoDiapasons, two big reeds, two fancy reeds,three strings, and three flutes, heacknowledged that this seemed “a verystrange instrument.” I spent a week withhim satisfying his need for “a fewadjustments.” These mainly comprisedtremulant adjustments, getting theChrysoglott/Vibraphone in perfect order,minor regulation of the Tibia trebles, andtuning. Of special interest to me at the timewas the way he went about getting themaximum variety out of that organ. It waslike an object lesson. The same thing

applied when I joined him at a recordingsession on a fairly small Conn electronicorgan. I must say, his influence has servedme well, especially his study and appre-ciation of what each and every voice in theorgan could do, both alone and incombination. That little lesson learnt, itensures I relish every minute of playingpipe organs large or small and even mymuch-travelled and rather modest YamahaHS-8. Let’s write out one of music’s majorlessons one more time—it’s not what you’vegot, it’s more what you do with it.

Whilst it is undoubtedly true that largeinstruments are impressive and a privilegeto perform at, the above “lesson” leads menicely into a few more comments on mywork on the rather modest 2/10 Isle of ManWurlitzer.

GOING OVERGoing over is a new-found phrase I have

learnt from the good folk of the Isle of Man.“Going over” is the way they refer to leavingtheir beloved island for the main body of theUK when they talk amongst themselves

about taking a trip off-island. “I’m goingover,” they say.

What a remarkable place, the Isle ofMan. Thirty-two miles long and 15 mileswide, it has a population of 80,000 and isrenowned for its annual TT motor cycleraces. However, for the majority of time itis a restful and peaceful place. Drive justfive minutes from the principal town ofDouglas and you will find time hasseemingly stood still. With Celtic traditionsstill kept in mind, their love of preservingall that has come their way is much to thefore. Interestingly, their own parliament(Tynwald) is left in no doubt of the desiresof the taxpayers, for on an island as small asthis everyone seems to know everythingabout everyone. They certainly appear tohave everything the modern worlddemands, yet it is traditional values thatseem to predominate and long may itcontinue, say I.

Musically, the island is richly servedwith brass and silver bands, fine choral andoperatic societies, an electronic organsociety, and any number of other artsgroups. Everything I have come into contact

The Isle of Man ProjectPart II BY LEN RAWLE

(Photos Rawle Collection)

Ah yes, I remember it well. Your scribe (l) andthe late George Wright in 1978

My better half enjoyed the party spirit



with exhibits high standards and adds to the quality of life there. For certain nobodyis bored on this island. It is, of course,especially enlightening to have learnt of thebacking by their government of therebuilding of the magnificent Villa MarinaConcert Hall complex and the GaietyTheatre Arcade.

It is in the Arcade that free concerts aregiven. These are all well attended, and thisbodes well for the future of the Wurlitzerorgan.

THE WURLITZERI am thoroughly enjoying the lengthy

process of restoring and transplanting theIsle of Man Wurlitzer into its magnificentnew home in the Gaiety Arcade in Douglas.On my previous visit the last of the rows(ranks) of pipes, namely the Trumpet, havebeen cleaned and made ready. The day for their installation coincided withpreparations for a 50th birthday celebration.Not surprisingly we became entangled witha few balloons as we carefully lined up thesequence of pipes prior to their finalplacement. Let us hope they give goodservice for many years to come.

As I write, with the exception of ahandful of small treble pipes, all the ranksare now in their final resting place.

The console is on site and on itsmoveable platform. Joy of joys, the wind ison, and everything that has already beenelectrically wired is singing very sweetly.There is much to do to install all thepercussion. Then it will be on with the finaltesting and tonal regulation of everything.For now, the 800 or so pipes are giving a good and reliable account of themselves.As I check the results of each day’s work,the instrument’s unique sounds attractcontinuous interest from visitors to theGaiety Arcade. A surprising part of organ-building takes the form of acting as a good

public relations agent, and it is a splendidopportunity to educate interested folk onwhat exactly goes into a pipe organ. So far,so good, as they say.

As will be seen from the stoprail, thereis not a lot to confound the performer, yetthis organ has a most brilliant array ofsounds—just as capable of producing dancemusic it is perfect for orchestral tran-scriptions and big band stylings. Handregistration is made easy because of theclose proximity of each and every stop.

Some may feel that with just twomanuals, things might be a little limiting.Happily, the ease of controlling everything,coupled with second touch facilities andeven a music desk (when mounted) that isat a really comfortable height, makes this awinner in my book. But then I would saythat, wouldn’t I, having built and restored itfrom scratch!

When not in use, the garage area inbetween the two glass-fronted pipe cham-bers houses the console on its mobiletrolley, but tolerances are tight. Accordingly,I have established a simple guide trackmade out of angled steel that is bolted to thefloor. A locating wheel is placed horizontallybeneath the trolley. This accurately directsthe console from its performance positioninto safe storage. There is a remote risk thatif someone did something really silly thatthe console would run down the length ofthe performance area. It runs very easily ifthe brakes are not applied and, heavenforbid, could conceivably run down somestairs and even out onto the promenade! Ihave, therefore, introduced a couple ofchains to ensure that the console is notdrawn out beyond its performance location.

Another of my little innovations felloworgan preservationists might be interestedin is the inclusion of horizontal passageboards beneath the main windchests foradded comfort during routine servicing.This is the area normally used for housing

the wind reservoirs, the top of which featurepainful protruding wires. These days I’mbuilt for comfort, I’m happy to acknowledge!

Similarly, the temperature stabilitywithin the organ chambers is excellent andnever varies from 68°F even during recenthot spells. The mass of glazing above thearcade can all too easily raise temperatureswithin the building. Thankfully, thechamber design I specified incorporates astate-of-the-art heat/cooling pump systemthat makes long hours of working verycomfortable. More importantly, it keeps theorgan in quite good tune compared to otherinstallations where flue pipes quickly go outof tune with the reed pipes, and all the pipesgo out of tune with the percussion.

My next trip to the island should see astart being made on the restoration andinstallation of percussions. With any luck,by the time these notes are in print theentire organ will be up and running. Ifinitial results are anything to go by, then itwill be a fine addition to “the circuit,” andI look forward to the tonal finishing process.Having worked with organ voicer KeithBance on the Haarlem Compton 3/11 inHolland and the East Sussex NationalWurlitzer 4/32, a fine tonal result isguaranteed within the Gaiety Arcade’sexcellent acoustic setting.

Here’s to a few photographs of thefinished product in the not too distantfuture.

Refinished console given its first ride on itsmobile plinth

Neat, attractive, and oh so easy to play The guide track to ensure perfectlocation of the console when

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It was sad for me that the author of thisbeautiful, color-plate-filled tome on thehistory of Fort Wayne’s beautiful EmbassyTheatre passed away just as I received acopy for review. Dyne Pfeffenberger, in amost scholarly fashion, chronicles therescue from near demolition to thesubsequent restoration and re-birth of thelargest movie palace in the city of FortWayne, Indiana.

What I found most fascinating aboutthis book was the comprehensiveness of the historical details on the EmbassyTheatre, which began its life known as the Emboyd Theatre. The theatre has awonderful four-manual Page organ thatwas made famous by the late BuddyNolan. The organ is one of four largeinstruments built by the Page Pipe OrganCompany of Lima, Ohio—the companywas generally known for building organsof a much smaller size. The theatre itselfis part of a larger building that, in total,occupies a full city block and originallyincluded a 250-guestroom hotel known asthe Hotel Indiana that cleverly claimed tohave “the world’s best beds” to attractweary salespeople passing through thecity. The theatre and its accompanyingbuilding were a massive undertaking in1928 and an equally massive undertakingin its reincarnation that began in the

mid ’70s and continued through thelandmark’s 80th anniversary in 2008.

The architectural photographs in thisbook are both amazing and gorgeous intheir colorful detail. The stories andarchive photos of the inimitable vaudevilleentertainers who graced the stage of thetheatre are abundant. I was astounded atthe dedication and ingenuity it took toraise the financing to rescue this theatre,the organ, and the building. One of themore colorful fundraising tactics was the sale of slices of cheese from a two-ton barrel. A long-established, and nowtraditional annual event, attracts nearly15,000 visitors to the Festival of Trees—with 50 Christmas trees decorated by localdesigners and organizations displayedthroughout the theatre and hotel. TheEmbassy of today is not only a beautifullyresurrected city treasure from a past era,but it has been improved and updated tobecome a relevant showplace for manydifferent entertainment and culturalevents in the area.

It is obvious in reading through the various chapters of this book that Mr. Pfeffenberger, a certified public ac-countant, had a deep emotional fondnessfor the Embassy and he loved being there.He also enjoyed many wonderful hoursplaying the piano and the famous Page at

the theatre for over 50 years. He was oneof the founding members of the EmbassyFoundation, the organization responsiblefor giving new life to the theatre, theorgan, and the building. The story he tellsin this marvelous chrome-coat-paged bookis passionate and clearly organized intoseparate sections on the theatre, the organ,the performers, the hotel, the foundation,and the people who made it all happen.

If you fancy historical movie palaces,theatre organs, and show business, andcan fathom the tremendous amount oftalent and effort it takes not only puttogether the show but to keep the showgoing, you will want to get your personalcopy of this beautiful book. It is availableat www.fwembassytheatre.org/order_form.html. The sale of the book itself is afundraiser for continued maintenance andongoing improvements at the EmbassyTheatre.

—Andy Antonczyk

The Historic Fort Wayne Embassy Theatre Dyne L. Pfeffenberger

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R E V I E W S

SCOTTFOPPIANOChristmas at theArlington

Scott Foppiano’s new holiday CD,Christmas at the Arlington, is a Christmasstocking full of holiday musical enjoyment.Scott made this album on the great four-manual, 27-rank Robert-Morton organ, mostof which originally came from the Loew’sJersey Theatre and is now installed in theArlington Theatre in Santa Barbara,California. The instrument itself is a realbarn-burner, as is this highly entertainingCD.

Rising out of the pit are the first fewmeasures of “Joy to the World,” and we areimmediately surprised as it morphs into avery clever introduction for a rip-roaring,all-stops-out arrangement of “We Need aLittle Christmas.” Next is a vibrant butrelaxing version featuring the instrument’sbeautiful and powerfully speaking Tibias in“The Most Wonderful Time of the Year.”Scott now takes the Morton through itspaces with Leroy Anderson’s “Sleigh Ride,”with some jazzy rhythmic improvisations forthe finale. “The Bells of Christmas Medley”is a sensitive and cleverly woven wintercomforter of “I Heard the Bells onChristmas Day,” “Silver Bells,” and “Jingle

Bells.” The medley reminded me ofthe way the great Eddie Dunstedtermay have transitioned these songstogether. Mr. Foppiano’s performanceof the Richard Purvis arrangement of “Greensleeves” is both accurateand beautifully preformed. Jessel’s“Parade of the Wooden Soldiers”has it all: Trumpet, music box, and climaxing to a thunderouslythrilling marching band. In choos-ing repertoire like “Puer NatusEst,” Scott adroitly guides us fromthe subtlest tonal dimensions ofthis Robert-Morton to a spine-tingling full untremulated cathe-dral sound substantiated by theinstrument’s Tibia Plena—andthen the console descends as thearrangement evaporates again to

a whisper.The “Rudolph the Red-Nosed Reindeer

Medley” elicits all of those wonderfulchildhood memories of Christmas with“Jingle, Jingle, Jingle”; “We Are Santa’sElves”; “There’s Always Tomorrow”; “We’rea Couple of Misfits”; “Silver and Gold”;“The Most Wonderful Day of the Year”; “A Holly Jolly Christmas”; and lastly,“Rudolph the Red-Nosed Reindeer.” WithScott’s use of the upper registers of the Tibiain “Have Yourself a Merry Little Christmas”we can just picture Judy Garland in thatfamous MGM musical, Meet Me in St. Louis.The “Sentimental Christmas Medley” gentlymelts and folds the heartfelt emotionalholiday favorites “I’ll Be Home forChristmas,” “Blue Christmas,” and “WhiteChristmas” into a harmonious confectionsurrounded by rich Tibia and Voxcombinations.

The beautifully blended layered stringsin the poetic Christmas carol “O HolyNight” are just fantastic. Although hisrendition of “Under the Christmas Mistle-toe” has certainly been influenced by thefamous presentations of its composer,Richard Leibert, at the Radio City MusicHall, Mr. Foppiano’s arrangement is originaland refreshing; it’s followed by the beautifulfavorite “The Christmas Song.” The finaleof this CD, “Carol Medley: The Glory ofChristmas” is a creative montage of all ofour favorite Christmas hymns. This medleyis a glorious composite of rich liturgical and

theatre organ stylings; it is most reminiscentof how the late Tom Hazleton, one of Scott’sfamous teachers, would have approachedthis composition, but it is still uniquely aFoppiano musical original.

I felt, over and over again, as I listened tothis album, it was genuinely played from theheart, and it is original. It well representsthis fine experienced musician, one whoemotionally connects to the music heperforms and is a continual student of thetraditions of the instrument he loves. Theorgan on this album sounds excellent and isa remarkable example of a deluxe Robert-Morton theatre organ in a fully restoredtheatre environment.

This CD, liner notes, and a sample trackare available at www.members.cox.net/sbtos/cd.html. The CD may be ordered viae-mail to [email protected]. Purchase prices is$20.00, plus $2.00 for first class mail.Please mail your check to: Santa BarbaraTheatre Organ Society, P.O. Box 1913,Goleta, California 93116-1913.

—Andy Antonczyk

VINTAGE CLASSICHAMMOND ARTISTSHAMMONDThe Golden Age of theHammond Organ 1944–1956

What a completely fun nostalgic album.The vintage Hammond artists wereentertainment legends from a bygone age ofmuch simpler times. If you remember them,you’ll be astonished at how good andtremendously innovative they really were. Ifthey happen to be from an era before yourtime, as many of them are for me, you’llmarvel at their creativity and musicality.These artists were not only revered by asmall community of organ aficionados, butthey were instrumental pop stars of theirtime, most of them selling hundreds ofthousands of records in their day. Themastering quality of these archiverecordings is very good, and the music willhave you tapping your toes from thebeginning to the end of this CD. You’ll also find the well-researched liner notes tobe fascinating as well as chock-full of



interesting tidbit factoids on the variousartists. If you are a die-hard Hammondenthusiast, you will find yourself luxuriatingin many of the tracks on this disc again andagain. What a treat it is to have thiscollection of the famous Hammond sides ona single CD.

Here are the tracks: “The GallopingComedians,” Ethel Smith; Fred Astaire andGinger Rogers medley: “Isn’t This a LovelyDay,” “Cheek to Cheek,” Wilbur Kentwell(organ) with Flo Paton (piano); Fred Astaireand Ginger Rogers medley: “Top Hat, WhiteTie, and Tails,” “Let Yourself Go,” “Let’sFace the Music and Dance,” WilburKentwell (organ) with Flo Paton (piano);“Tico-Tico,” Ethel Smith and the BandoCarioca; “Blues in the Night,” Harry Farmer(as ‘Chris Hamalton’); “Dizzy Fingers,”Chris Hamalton and his Hammond organs;“Herthquake Boogie,” Milt Herth and histrio; “Twelfth Street Rag (Boogie-woogie),”Milt Herth and his trio; “Dinora,” (Samba)Ethel Smith and the Bando Carioca; “TheHarry Lime Theme,” Ethel Smith; “Monkeyon a String,” Ethel Smith; “The VelvetGlove,” Robin Richmond (at the electricorgan and clavioline); theme from the filmTime of His Life, Robin Richmond (at theHammond organ); “Some Like It Hot,”Robin Richmond (at the Hammond organ);“Plantation Boogie,” Lenny Dee; “Birth ofthe Blues,” Lenny Dee; “FerryboatSerenade,” Ken Griffin; “There Are Dreams

in Your Eyes When We Dance,” BarrySnow; “April in Portugal,” EthelSmith; “Kitchen Rag,” Harry Farmer(as Chris Hamalton and his Hammondorgans); Tunes of the Times: “Here inMy Heart,” “Somewhere Along theWay,” “Half as Much,” Harry Farmer;“Answer Me,” Harry Farmer;“Cruising Down the River,” KenGriffin; “Yours,” Ken Griffin; “PegLeg,” Harry Farmer (as ChrisHamalton and his Hammondorgans); “Love is Just Around theCorner,” Harry Farmer RhythmEnsemble; “The SyncopatedClock,” Ken Griffin; “’Till I WaltzAgain With You” Ken Griffin.

Order this CD at www.bygonedays.org/hammondpage.html. You’ll be pleasantlysurprised that is only £4.79 (less than $8.00 US), plus postage (free in the UK, lessthan $8.50 US, £2.99 Europe, and £4.99anywhere else). You can use almost any typeof credit card so you can pay in your localcurrency.

—Andy Antonczyk

VARIOUS LEGENDARYTHEATRE ORGANISTSThe Mighty Wurlitzer

Gems from the Golden Ageof Cinema, Ballroom, andTheatre Organs

This astonishing CD of archiverecordings of many the most iconicBritish theatre organ performances isof one of the best compilation albumsI have in my entire library. The linernotes explain that although only 18 ofthe 25 tracks on this CD are actuallyon Wurlitzer organs, in Britain, theterm “Wurlitzer” has become genericfor all makes of theatre organs due tothe tremendous popularity of theorgan at the Tower Ballroom inBlackpool. “Elsewhere, while thedistinction may have been clearer,the Wurlitzer sound was ratedsuperior to that of other Unitorgans.”

Although the stylistic diversity of theartists on this CD is titanic, it is obviouslyapparent as you scrutinize the numeroustracks on this disc why they were included,but more significantly, why these artistsgleaned immense popularity. Each of themis unique in their style, and each of them isenormously entertaining and musical. All ofthe tracks are crystal clear, and the generalproduction quality of this disc isexceptional. The graphics are just beautiful;although the four-manual Wurlitzer on thecover is not in Great Britain but across thepond in Birmingham, Alabama, it isunarguably a gorgeous specimen of a MightyWurlitzer console.

The track list and other performancedetails of this collection of original theatreorgan recordings from 1929–1956 is asfollows: Popular Favourites Medley:“Lullaby of Broadway,” “For You,” “When I Take My Sugar to Tea,” Joseph Seal (Regal Cinema, Kingston-On-Thames);“’Swonderful” (Funny Face, GeorgeGershwin), Edward O’Henry (MadameTussaud’s Cinema, London); “Singin’ in theRain” (Film: Hollywood Revue of 1929),Jesse Crawford (Victor studio salonWurlitzer, New York City); “Louise” (Film:Innocents of Paris), Reginald Foort (NewGallery Cinema, London); medley of oldsongs: “Where Did You Get That Hat?”“The Honeysuckle and the Bee,” “TheWhistling Coon,” “Pom Tiddly Om Pom,”“Silver Threads Among the Gold,” “Let’sAll Go Down the Strand,” Leslie James(Regent Cinema, Stamford Hill, London);

Compact discs, cassettes, videos, books, and music to be reviewed should be sent to theeditor, Jeff Weiler, 1845 South Michigan Avenue #1905, Chicago, Illinois 60616. Items must bereceived three months prior to the issue date in which the review will appear.


~

jm HAMMOND THE GOLDEN AGE OF THE HAMMOND ORGAN 1944 - 1956


R E V I E W S

“A Japanese Sunset,” Sandy MacPherson(New Empire Cinema, London); “TheWhistler and His Dog,” Terance Casey(Regent Cinema, Brighton); Blackpool songmixture (No.8, Part 1): “The Wedding of Mr. Mickey Mouse,” “My MoonlightMadonna,” “It’s the Talk of the Town,”“Hand in Hand,” Reginald Dixon (TowerBallroom, Blackpool); “Bugle Call Rag,”Sidney Torch (Regal Cinema, Edmonton);popular melodies (No.2, Part 1): “EmptySaddles,” “A Pretty Girl is Like a Melody,”“Stars in My Eyes,” Harold Ramsay (Regal Cinema, Kingston-On-Thames);“Marigold,” Quentin Maclean (TrocaderoCinema, Elephant & Castle, London);musical sweethearts medley: “Polly,”“Dinah,” “Nola,” H. Robinson Cleaver(Regal Cinema, Bexley Heath, Kent);“Donkey Serenade,” (Film: Firefly,Rudolph Friml), Lloyd Thomas (GranadaCinema, Tooting, London); “Spooky Takes aHoliday,” Donald Thorne (Granada,Willesden, London); Snow White and theSeven Dwarfs film medley: “Whistle WhileYou Work,” “Someday My Prince WillCome,” “I’m Wishing,” Reginald Foort(BBC theatre organ); moonlight rhapsodymedley: “Shine on, Harvest Moon,” “I Lovethe Moon,” “Lover, Come Back to Me,” AlBollington (Paramount Theatre, London);“A-Tisket, A-Tasket,” Sidney Torch(Gaumont State Cinema, Kilburn, London);Bobby Pagan’s hit parade (No.2, Part 2):“We’re Gonna Hang Out the Washing Onthe Siegfried Line,” “Run, Rabbit, Run,”“There’ll Always Be an England,” BobbyPagan (HMV studio organ); “Jealousy,” EnaBaga (Tower Ballroom, Blackpool); Finchfavourites medley (No.7, Part 1): “Arm inArm (Just You and Me),” “You Made MeCare,” “A Little Rain Must Fall,” HoraceFinch (Empress Ballroom, Blackpool); frommy post bag hit medley (No.3, Part 2):“Amapola,” “I Understand,” “SouthAmerican Way,” Sandy MacPherson (andthe Columbia Studio Orchestra); hit parademedley (No.1, Part 1): “Sam’s Song,”“Goodnight, Irene,” “Bibbidi-Bobbidi-Boo,” Reginald Dixon (Tower Ballroom,Blackpool); Guys and Dolls selections: “Sit Down, You’re Rocking the Boat,” “I’ll Know,” “If I Were a Bell,” Joseph Seal (Regal Cinema, Kingston-On-Thames);Dancing at the Tower medley (No.7,

Part 1—Quicksteps): “There’s AlwaysRoom at Our House,” “Why Worry?” “DownYonder,” Reginald Dixon (Tower Ballroom,Blackpool); popular favourites medley (Part 2): “I’ll See You in My Dreams,” “Bye,Bye, Blues,” “I’ll See You Again,” JosephSeal (Regal Cinema, Kingston-On-Thames).

This honestly is a glittering gem of acollection that you’ll assuredly want toincorporate into your collection, and what athrifty bargain it is at £4.79 (less than $8.00US) plus postage (free in the UK, less than$8.50 US, £2.99 Europe, £4.99 anywhereelse). You can use almost any type of creditcard so you can pay in your local currency.It is available at www.bygonedays.org/wurlitzerpage.htm.

—Andy Antonczyk

JONATHANORTLOFFCLANG CLANGCLANGJonathan Ortloff, organ, withAllan Ward, percussionRTOS-Grierson four-manual,23-rank Wurlitzer installed inthe Auditorium Theatre,Rochester, New York

First albums can be tricky territory. Willnew listeners tip their hat in generosity or lie in wait for that bump-bump-bump in the brake? After Jonathan Ortloff’scompetition-winning performance at the2008 Indianapolis ATOS convention, it wasnatural to expect a recording, which ClangClang Clang fulfills in more than one way—not merely as young Ortloff’s débutbut also a handsome capturing of the RTOS-Grierson Wurlitzer at Rochester’sAuditorium Theatre.

Jonathan Ortloff is already one of themore impressive figures of his generation.In June, 2008, he graduated with twobachelor degrees, one in engineering fromthe University of Rochester, the other inorgan performance from the Eastman Schoolof Music in the studio of David Higgs. Bothdiplomas were earned over a six-year period

that also included a major research anddocumentation project on the unaltered1937 Æolian-Skinner at the University’sStrong Auditorium. Ortloff’s enthusiasmsare broad, covering classical and theatreorgan performance, the design and con-struction of new classical organs, historicpreservation both of classical and theatreorgans, and the occasional journalistic foray.Whichever disciplines end up taking him,Ortloff is already someone to watch.

Clang Clang Clang includes a healthycross-section of familiar fare, admixed witha few intriguing fancies and one of theartist’s own tunes. Tight control is kept onrhythm, and big gushy moments are kept incheck. Registrationally Ortloff tends towardthe lean, lightly tremmed and colorful,though this instrument’s meaty Tibias andlight strings keep any combination frombecoming Seng-like. There are some funwide-pitch stop choices, and severalparticularly good who-forgot-to-turn-on-the-Leslie effects. For now, over-use of the 32'Resultant and English Horn can be chalkedup to youthful enthusiasms, as well as atendency to let stop choice more thannuanced phrasing strike the heartstrings.For this reason, the up-tempo numbersseem particularly effective, while theballadeering seems calm. This is not tosuggest that young Ortloff’s evolving style isreserved; in “Charade” and “My FunnyValentine,” for example, he keeps a lonelytune moving in the sparest of treatments,resisting any temptation to dress it up in spitcurls. The collection of folk tunes is all themore moving played for reverence ahead ofsentiment.

One of the disc’s more novel features isOrtloff’s teaming up with percussionistAllan Ward. The effect is mainly good,particularly the appeal of fine instrumentsstruck by human, not pneumatic, means.While the two musicians are in lockstepmuch of the time, the occasional disconnectmars the effect. There is also a sonic oddity;the percussion’s localized aural image canstand apart from the obvious big-roomambience of the organ. Where the combosounds truly fine is in soft numbers such as“My Funny Valentine,” in which Ward’sspare touch permits Ortloff a particularlydelicacy in registration.



Ortloff’s arranging skill has structure andmotion, even in the longer medley from WestSide Story. The short fast numbers areparticularly well-shaped, nicely phrased,and handsomely registered, with a goodsense of keeping kitsch from devolving intocamp. “It’s De-Lovely” and “We Open inVenice” come off clever as pie, ideallyshaped without the slightest hitch. Occa-sionally he lays inadequate groundwork forthe liberties he takes. For example, in the“Trolley Song,” the unfolding of the firstverse ends up being a teasing multiplicityof introductions. Just as you wonder if thetrain will ever leave the station, Ortloffsteams into a smart tempo, and treats the B section melodic fragments with perfectlyswelled Tuba responses. But with things upto speed, Ortloff all too soon gets to grandretards that can seem halting.

Still, the playing never lacks for styleand swagger. Given the innate good taste ofthis creative début, we can expect moregood things from this talent of great promise.

The tracks are: “The TrolleySong”; “Charade”; West Side Storymedley: “Maria,” “Tonight,” “OneHand, One Heart,” “America,”“Somewhere”; “It’s De-Lovely”;“Grey Skies”; Folk Song Suite:“Waly, Waly”; “Four Strong Winds”;“Shenandoah”; “We Open inVenice”; Tableau II from TheFirebird; “All the Things YouAre”/“My Funny Valentine”; “So inLove”; “All I Ask of You”; “It’s AllRight with Me.”

To order CLANG CLANGCLANG for $20 postpaid, visitwww.jonathanortloff.com.

—Jonathan Ambrosino

Allen Organ Company—P.O. Box 36, Macungie, Pennsylvania 18062-0338, 610-966-2202,www.allenorgan.com/www/store/maincds.htmlSteven Ball—734-846-3627, www.stevenball.comBanda (George Wright recordings)—720-733-2905, fax 720-733-2137,[email protected],http://theatreorgans.com/cds/banda.html Ed. Benoit—30110 West Latham Street,Buckeye, Arizona 85326, 623-327-1437,[email protected] Records—626-792-7184Central Indiana Chapter of ATOS—1431 North Audubon Road, Indianapolis, Indiana46219, www.cicatos.orgCinema Organ Society—www.cinema-organs.org.ukDickinson Theatre Organ Society—302-995-2603, www.dtoskimball.orgKen Double—281-798-6205www.KenDoubleEntertainment.comR. Jelani Eddington Organ Recordings—P.O. Box 44092, Racine, Wisconsin 53404-7002, www.rjeproductions.comMark Herman Productions, LLC—P.O. Box 5059, Fort Wayne, Indiana 46895,www.markhermanproductions.com

The Historical Recording Company—www.thehistoricalrecordingcompany.comJoliet Area Theatre Organ Enthusiasts(JATOE)—P.O. Box 212, Joliet, Illinois 60434,708-562-8538, [email protected] Recordings—888-572-2242, www.greatorgancds.com JBL Productions—8933 Wagon Road, Agoura, California 91301,www.organhouse.com/jbl_productions.htmLancastrian Theatre Organ Trust—http://theatreorgans.com/lancast/lanc1.htmMichael’s Music Service—4146 SheridanDrive, Charlotte, North Carolina 28205, 704-567-1066, www.michaelsmusicservice.comMidnight Productions, Inc.—800-788-1100, [email protected],www.theatreorgan.comMSS Studios—www.organ.co.ukMusical Contrasts—[email protected] Theatre Organ Society—P.O. Box 625, Berkeley, California 94701-0625,510-644-2707, www.theatreorgans.com/norcal/Organ Historical Society—Box 26811, Richmond, Virginia 23261, 804-353-9226, fax 804-353-9266,[email protected], www.organsociety.orgOrgan Stop Pizza—480-813-5700 x200, www.organstoppizza.com

Jonathan Ortloff—www.jonathanortloff.comDonna Parker Productions, Inc.—P.O. Box6103, Aloha, Oregon 97007, 503-642-7009

Pipe Organ Presentations—760-324-0470, [email protected],www.pipeorganpresentations.comBob Ralston—SPOTOMA, 17027 TennysonPlace, Granada Hills, California 91344-1225, 818-366-3637, www.bobralston.comRob Richards—www.robrichards.comJim Riggs Recordings—25A Crescent Drive#185, Pleasant Hill, California 94523Rosa Rio—1847 Wolf Laurel Drive, Sun CityCenter, Florida 33573, 813-633-0902Paul Roberts, Cardinal Productions—P.O. Box 22035, Beachwood, Ohio 44122,http://theatreorgans.com/cds/roberts/

Roxy Productions—480-695-8568, [email protected] Talkies Media Production Company—P.O. Box 23413, Waco, Texas 76702.www.texastalkies.comT-V Recording—408-248-6927, [email protected] Strony—www.waltstrony.comWichita Theatre Organ—316-655-8177, [email protected],www.nyparamountwurlitzer.orgTony Whittaker—www.tonywhittaker.co.uk

S H O P P I N G F O R R E C O R D I N G S



ATLANTAAtlanta, Georgia—We did not have a

chapter meeting for the month of July.However, we had enough of the chaptermembership attending the Cleveland con-vention that we will just consider it our Julymeeting. Here is a list of those 23 attendees:

Phillip and Mandy Allen, David Caron, Ronand Donna Carter, Larry Davis, Ken Double(Florida), Elbert and Wanda Fields, BobFountain, Paul Gelsleichter (North Carolina),Mike Knight, John McCall, Rick McGee, MikeMixon, Dale Parrott, Bucky Reddish, Markand Carrie Renwick (Florida), Clayton andSusan Cole-Shaw (Florida), David Tuck, andBrent Wood (North Carolina).

On Saturday, August 22, the Reddish homewas invaded by at least 125 people for abirthday celebration! Bucky Reddish,president of the Atlanta chapter, reached amilestone—his 60th birthday (he’s almost asold as an original Wurlitzer now). The partyfeatured prominent artists: ATOS President/CEO and chapter member Ken Double, ChrisElliott, Jelani Eddington, Larry-DouglasEmbury (artist-in-residence at the Atlanta FoxTheatre), and our own John McCall, Jr.Offering great contrast and musical variety,each artist performed at the Walker RTOtheatre organ installed in Bucky's residence.There were even some organ-piano duets withChris Elliott (organ) and Jelani Eddington(piano). At the end of the evening, we weretreated to a special duo—Mark Renwick atthe organ, accompanying his talented wife,Carrie, in several vocal selections. A greatparty!

Please note our new chapter mailingaddress is P.O. Box 426, Marietta, Georgia30061-0426.

—Rick McGeeBucky Reddish, President

770-948-8424, [email protected]

Larry-Douglas Embury (left), Chris Elliott, BuckyReddish, Jelani Eddington, and Ken Double

(Photo by Elbert Fields)

CHICAGO AREAChicago, Illinois—On June 15, the Fox

Valley chapter of the American Guild ofOrganists sponsored a program at the TivoliTheatre in Downers Grove featuring DennisScott at the Chicago Area Theatre OrganEnthusiasts’ Wurlitzer organ accompanyingthe Buster Keaton silent film classic College.The program was part of a weeklong PipeOrgan Encounter for teen musicians. Open tothe public, many members of the AGO andATOS were present. After the program thestudents played at open console, and we wereimpressed by one young artist, 13-year-oldEmily Seward from Detroit.

CATOE likes to encourage young artistsand invited Emily back to play for a social. OnAugust 15, Emily returned to the Tivoli, andwe are pleased to have provided her firstopportunity to play an extended program.Emily thinks the pipe organ is cool and isconstantly looking for things to play that arecool. She does not just play the organ; she istotally into and a part of the music. Thanks tothe coaching by her teacher, John Lauter, shehas a wonderful sense of registration and iseffective playing one organ chamber againstthe other. Emily is a delight. This programwould not have been possible without thesupport of some special people—Emily’s dad,Ed for bringing her to us, and the Tivoli’sWillis and Shirley Johnson for making bothprograms possible. There are organ interludesat the Tivoli Friday and Saturday nights.

—Jon C. HabermaasJohn Peters, President


Emily Seward at the Tivoli Wurlitzer (Photo by Michael Garay)

CENTRAL INDIANAIndianapolis, Indiana—The Central Indiana

chapter has some sad news to report: on July 1, longtime CIC member and Ft. Wayneresident Dyne Pfeffenberger died as a resultof a fall at his home that led to a massivestroke. Dyne was one of the core group oforgan enthusiasts who saved the EmbassyTheatre, and he was a good friend of BuddyNolan, often sharing midnight concerts at the

Embassy’s Grande Page organ. Dyne was atrue entertainer, and his charm and wit will bemissed by many.

On July 12, the annual CIC pitch-in andmeeting was held at the Kokomo, Indianahome of Bill Tandy. Bill did triple duty,serving as host, grill master, and organist. Firsthe grilled up some tasty foods, then he relaxedfor a few minutes during the meeting, andfinally he performed at his two-manual Allenorgan. He entertained us with selections fromhis vast repertoire of popular music, as well assome perhaps lesser-known tunes from the1920s on up.

CIC members congregated at the HedbackTheatre on August 2 for a short businessmeeting, followed by local organist RonWilson at the 2/11 Page/Wurlitzer. Ronperformed a delightful program focusing onmusic from the 1960s, including moviethemes.

—Justin NimmoTim Needler, President


Bill Tandy (Photo by Tim Needler)

DAIRYLANDRacine/Milwaukee, Wisconsin—The Dairy-

land chapter, in conjunction with the KimballTheatre Organ Society, had its annual springconcert Memorial Day weekend at thebeautiful Oriental Theatre, presenting DonnieRankin at the 3/40 Kimball. Donnie, whobecame interested in theatre organs at the ageof three, is only 20 years old; he won the ATOSYoung Organist Competition in 2007. He livesin Ohio and takes the train every few weeks toWisconsin to study organ with our own JelaniEddington. We have also given him severalscholarships to further his study. Donnieplayed a varied, interesting program, includ-ing a patriotic medley, and did an excellentjob accompanying the silent movie Liberty,starring Laurel and Hardy. We can expect tohear more good things from Donnie as theyears unfold.

Flag Day, June 14, found our DTOS groupinvited to the Elkhart Lake home of Gary andNancy Bieck. The fun began even before weentered the music room, as we walked through



Gary’s large flower garden which was in full bloom. Playing the 3/18 Wurlitzer wasRon Reseigh, organist at the Organ Piperrestaurant. Ron played a variety of music,showing off all the sounds of the organ,including a patriotic sing-along in honor of the day. We saw the debut of Gary’s newestaddition, a large American flag that wasunfurled from the ceiling at the end of theprogram. A potluck meal and open consolefollowed, with many organists participating.What a great way to celebrate Flag Day.

Former DTOS member Dave Wickerhamreturned to Wisconsin in June to remove hisWicks organ to his new home in Boca Raton,Florida; he was assisted in this huge task byour past president, Gary Hanson. We’re happythat Dave will once again have a pipe organ inhis home.

Dairyland enjoying having organist KayMcAbee in recital for two days; he playedJohn Cornue’s Barton-Kilgen at his LakeGeneva industrial building on July 17 and atFred Hermes’ the following day. At theCornues’ it was a standing room only crowd.Kay treated us to several of his signature songsand gave an informal, fun recital, stoppingseveral times for coffee breaks. During one ofthe breaks, we had open console; manyorganists played, beginning with John Cornue,joined by his wife, Laurie, on violin, and ZackFrame, who also knows how to entertain anaudience. The next day, Kay played Hermes’five-manual Wurlitzer in Fred’s “basementBijou.” Once again, Kay played to a crowd;several people returned the second day to hearhim again!

On August 23 Dairyland had another funsummer event—our annual picnic at JackMoelmann’s summer home on Lake Geneva.Jack played his Hammond for us, we had openconsole, and we enjoyed relaxing on his deckon this sunny, although autumn-like, daybefore the start of the busy fall season.

—Sandy KnuthDean Rosko, President


DELAWARE VALLEYTelford, Pennsylvania—Bucks County

was the setting for a very impressive andmusical afternoon at the home of Lee Hulko.We were treated to the sounds of Walker,Walker, and Walker. Organs were everywhere!Chapter officers, members, and guestslistened to the sounds of organist and concertartist Bernard J. McGorrey III at both theatreand classical organs; there were favoritesounds and songs for all. Bernie is projectmanager and crew chief for our 3/19 Möllertheatre pipe organ at the Keswick Theatre,Glenside, Pennsylvania. Lee has invited usback to his home; considering all the fun wehad, we’re eagerly awaiting that return visit.

The presence of Bob Walker and his wife,Sandy, was a particular highlight of the day.

Special thanks to Lee Hulko, BernieMcGorrey, the Walkers, and all those involvedin our events.

—Anna Downey, President215-723-7716, [email protected]

Lee Hulko (Photo by Dick Auchincloss)

Bob and Sandy Walker (Photo by Dick Auchincloss)

EASTERN MASSACHUSETTSWellesley, Massachusetts—The Eastern

Massachusetts chapter was well representedat this year’s convention. Thirteen mem-bers made the trek to Cleveland. Those whoattended had many positive comments aboutthe convention. Well done, Western Reserve!

EMCATOS did not present any summerconcerts, but the board of directors was busyplanning next year’s lineup for our Pipe OrganPops and Silents in the House series. We havean ambitious schedule planned for theupcoming season and will be presenting asilent film, our first in quite some time.

Last year we experimented with printing aseason schedule in a postcard-sized format.This schedule proved so popular that we aredoing the same for this season. If your chapteris looking for an inexpensive way to “get theword out,” printing season schedules is worthyour consideration.

This summer, in an effort to get our localtheatre organs in front of the public, weinitiated what will hopefully become a regularfeature at the Zeiterion Theatre (3/9 Wurlitzer)in New Bedford, Massachusetts and the

Providence Performing Arts Center (5/21Wurlitzer) in Providence, Rhode Island.EMCATOS vice president Len Beyersdorferplayed before the Festival Theatre’s pro-duction of The Producers at the Zeiterion inJuly and before the premiere of the film TheTent-Life in the Round at PPAC in August. Inboth instances the audience respondedenthusiastically to the addition of pre-showtheatre organ music.

We hope to develop a corps of organists who are willing to play before selectedpresentations at both venues.

—Bob Evans, President508-674-0276, [email protected]

EMCATOS members at the convention (Photo by Ken Krause)

Len Beyersdorfer at the Zeiterion (Photo by Bob Evans)

GARDEN STATELittle Falls, New Jersey—In July a number

of Garden State Theatre Organ Societymembers started the summer off perfectly bybeing among the largest contingents at theAmerican Theatre Organ Society’s annualconvention in Cleveland, Ohio. The excite-ment of hearing new artists play and seeingvenues that some had not visited before was supplemented by frequent chapter get-togethers for sharing food, conversation, andquite a bit of laughter.

Later in July, a diverse group of membersgathered to enjoy each other’s company inLake Hopatcong, New Jersey. Bob and CathyMartin’s lakeside cottage provided the setting,and members provided many varied and

The deadline for receipt of Chapter News items by the Editor is the FIRST of the month TWO months prior to the THEATRE ORGAN publication date (that’s the first of every odd-numbered month). Please note that ATOS policy prohibits inclusion of music titles played at programs or menu items served at chapter functions. Text may be edited for spaceand clarity. Due to space considerations, please submit a maximum of 250 words of text. Submission as a Microsoft Word file attached to an e-mail (to [email protected]) is ourfirst preference; second is text in an e-mail; finally, typewritten hard copy may be sent via postal mail to the Editor (address on masthead). Please submit a maximum of twophotos (no less than 3 x 2 inches with resolution of at least 300 dpi), preferably sent as a .jpg file attached to an e-mail. Photos may be sent to the Editor via postal mail; theywill not be returned. IMPORTANT: Please name your text file with your chapter name, and name your photos with your chapter name followed by the numerals one or two.Your text MUST include your chapter name and principal city/state of operation; your chapter correspondent’s name; and the name, telephone number, and e-mail addressof your chapter’s president. A caption and appropriate credit to the photographer MUST be included with photos; please put this information at the end of your text document.



delicious food dishes to share. The weathercooperated completely. The pleasant afternoonmade it possible for some to swim, others to goboating, and the remainder to just sit andrelax. Walking along the lawn, HenryRomanczyk took up the accordion from timeto time to offer a musical background at thepicnic.

The festivities continued in late August,when close to 80 GSTOS members traveled toNew Hope, Pennsylvania. Nina Heitz offeredher home for a meeting, mini-concert, picnic,and open console. We had a full house and a full day. Pennsylvania organist Barry Lesher took to the console of the 3/23Wurlitzer/hybrid. He entertained with a greatmix of lush romantic ballads and noveltytunes. An encore was demanded. Then it wason to the business part of the day, followed byabundant food. While theatre pipe organmusic wafted all around us, folks ate eitherindoors in the spacious home or outside on the patio overlooking the pond andsprawling grounds. A number of professionalmusicians were in attendance, and they addedto the musical caliber of the open consoleexperience.

We are all well rested now and ready to diveinto the full calendar our fall season has ontap.

—Catherine MartinMichael Cipolletti, President


GSTOS members crowd the Heitz’ organ(Photo by Tony Rustako)

Barry Lesher (Photo by Tony Rustako)

JOLIET AREAJoliet, Illinois—After recovering from

Extravaganza XIII, on May 17 we welcomedDave Calendine from Michigan for his firstperformance at the Rialto. Dave began playingthe piano at age three and was playing inchurch by the time he was nine years old. Hewas allowed to play at the Akron Civic Centerorgan one night after a film, and he was hiredas the house organist. He played at severalrestaurants, including the Toronto OrganGrinder and Shady Nook in Cincinnati, Ohio.Dave has played theatre pipe organs through-out the United States and Canada. In 2000, heplayed a solo concert tour through Germanyand Switzerland. Currently staff organist atDetroit’s Fabulous Fox Theatre, he also serveson the board of directors of the Motor CityTheatre Organ Society. Needless to say, wehad a great turnout, and we thoroughlyenjoyed Dave’s performance.

On June 23, we were very much entertainedby our own Don Springer. He grew up inWhiting, Indiana, and began studying at agenine. Four years later, the Hoosier Theatre re-opened with the installation of a pipe organ,and Don became a regular feature at themighty Wurlitzer. During high school, Don metAl Melgard, staff organist at the ChicagoStadium for over four decades. Don studiedwith Al for several years and learned all of Al’stricks. He later studied at DePaul Universityunder Herman Pedtke. Don played at both ofthe Sally’s Stage restaurants, incorporatingcomedy routines, and he recorded an album,Don Springer Live from Sally’s Stage. Heperformed concerts at the Hinsdale Theatre,where he recorded Intermission Interlude. Don continues to play in the area and oftenpresents seminars through the Allen OrganCompany. Our thanks to Lee Maloney forletting us use his establishment for ourseminars. Don is a big Jessie Crawford fan,and it shows in his playing. He is no slouchwhen it comes to George Wright, either. Manythanks to Don Springer and to all those inattendance.

On July 22, the Melody Makers electronicorgan club were our guests at the RialtoTheatre. They held their regular businessmeeting and then took turns at the Rialtoorgan. We did this for the club last year, andthey were all thrilled to play a theatre pipeorgan. This is a good way to attract newmembers.

Along with CATOE members, on August 15we were invited to hear the talented EmilySeward, a staff organist at the Redford Theatrein Detroit, play the Wurlitzer organ at theTivoli Theatre in Downers Grove. Only 14years old, Emily has been studying since shewas six; she is just superb. Emily attended the

2007 and 2008 ATOS Summer Youth Campheld in the Chicago area.

We were scheduled to hear Paul Johnson at the Rialto Theatre on August 16. Unfor-tunately, he required surgery following anaccident. Instead, we were lucky to have GlenTallar who plays at Beggar’s Pizza in Lansing.Glen has been playing for quite a while and isbecoming very good; he’s currently studyingwith Jelani Eddington. Glen has attended theSummer Youth Camp. There were over 80members in attendance at the social, and allenjoyed the food and open console.

Many members of the Joliet Area TheatreOrgan Enthusiasts were invited to theChicagoland chapter social on August 29 atthe Steinway Piano Gallery in Downers Grove.We heard two very talented young organistsfrom Lake Geneva, Wisconsin—22-year-oldZack Frame and 30-year-old John Cornue.The talents of these two young men areimpressive. We hope to have them play for usat the Rialto in the near future.

—Barbara PetryJim Patak, President

708-562-8538

LAND O’ LAKESMinneapolis/St. Paul, Minnesota—Ron

Rhode closed out the Phipps Center for theArts 2008–09 organ series on June 6. Hisconcert featured a varied selection of piecesfrom several of his latest CDs. Theappreciative audience brought Ron back foran encore after a light classical finale.

During the concert Ron told the story of theunique and much-traveled Mattapan,Massachusetts Oriental Theatre console, oncea part of the instrument used to record his lastalbum in Phoenix before it was sold. Theconsole traveled back the East Coast andfinally, to the Phipps Center. In all, it was avery special evening for both the artist and theaudience—one that will not soon be forgotten.Now, without a pipe organ at home for severalyears, Ron has once again purchased aWurlitzer to install his new residence inPhoenix. We wish him all the best in his newendeavors.

Recent progress update on the PhippsWurlitzer: all of the chests in the Solo chamberhave been re-valved in preparation for arecording session, and the Wurlitzer soundedexceptionally good as a result of the recentmodifications, updates, and greatly reducedwind noise.

The Phipps Center for the Arts 2009–10season schedule of events is available. Formore information or to reserve tickets, visittheir website: www.thephipps.org.

The Heights Theatre presented three filmsduring July and August: the 1928 silentcomedy film The Patsy was shown on July 30,



accompanied by Karl Eilers at the WCCOWurlitzer organ. The film, starring MarionDavies, is based on the Broadway stageproduction which opened on December 22,1925. Next, on August 6, the Oscar-nominated1938 talkie The Vivacious Lady featured a pre-show organ concert by Harvey Gustafson.Finally, a new 35mm print of the 1951 sciencefiction film The Day the Earth Stood Still waspresented on August 17. More information canbe found online at www.heightstheatre.com.

Despite a storm-ladened weekend, 20 Lando’Lakes members and guests gathered at the home of Michael LuBrant and JeffCharlton in Hastings, Minnesota, for ourchapter’s August 9 event. Our host explainedthe history of his Kimball/composite residenceinstallation. Kimball Opus 6695 was origi-nally built for E.W. and Elizabeth Backus,well-known patrons of music and the arts;their south Minneapolis home was the placefor afternoon musicals and recitals. TheKimball now boasts 19 ranks, controlled froma four-manual Möller drawknob console.Additions include several traps. MikeGrandchamp played a concert of standardsand favorites and performed two selections onMichael’s recently acquired harpsichord, builtby Michael Dowd of Boston in 1973. Fivemembers were heard during open console atthe Kimball and the harpsichord.

Minnesota Public Radio (MPR) and TheFitzgerald Theatre will be presenting TheIndie Artist Residency: A Study of the MightyWurlitzer Theatre Organ. Mike Grandchampwill be working with MPR to help youngmusicians see the “old” instrument in a newlight by collaborating with hip-hop artistdeVon Gray and pianist/vocalist/songwriterAlicia Wiley. The two young artists will takepart in playing film accompaniment and otherstage activities throughout the year.

—Kim CrislerTerry Kleven, President


Mike Grandchamp at Michael LuBrant’scomposite residence organ

(Photo by Kim Crisler)

Tom Neadle playing the 1973 Michael Dowdharpsichord (Photo by Kim Crisler)

LONDON & SOUTH OF ENGLAND

Woking Surrey—Our organist on theevening of 18th July was Cinema OrganSociety chairman Simon Gledhill. The winnerin the early 1980s of a Northern Englandcompetition, Simon was spotted by none otherthan the BBC’s Nigel Ogden—presenter ofThe Organist Entertains. The rest, as they say,is history, and Simon is in constant demandacross the globe.

Those fortunate to hear Simon preparingbefore the start of the concert had no doubtthat Simon had a fabulous selection at hisfingertips. Simon’s musical tour de forceincluded many numbers with an Americanflavour.

We were all delighted that our audience wasthe largest of the year to date; extra chairswere required before all could be seated. Theaudience appreciation left no one in doubt thatSimon will be very warmly welcomed back toWoking before long.

August is traditionally a quiet month for ourchapter; no concerts were planned, andcommittee members were permitted to takeholidays!

Our committee met again on 19th Sep-tember, before Richard Hills’ visit. We havebeen focussing on the careful removal andshipment to safe storage of our ex-RegalEdmonton Christie from its current home inWales.

—David ColesIan Ridley, President

+44 1494 [email protected]

Simon Gledhill at Woking (Photo by David Coles)

LOS ANGELESLos Angeles, California—The temperature

was 106, but that didn’t stop 60 members andguests from enjoying the annual July potluckpicnic at Ken and Jenice Rosen’s home.Acknowledging the weather, tables were setup inside instead of on the patio. Ken andJenice, your fellow members of the LosAngeles chapter thank you sincerely for yourgracious hospitality. After good food andconversation, the group was treated to a varied musical program by Jerry Nagano at theformer “Pig ’n’ Whistle” Wurlitzer. Theconsole was opened to the members,approximately 10 of whom ventured up to taketheir turn at the studio pipe organ.

For many years the late Gaylord Carteraccompanied silent movies and entertainedaudiences. Born on August 3, 1905, inWiesbaden, Germany, a few years later hisfamily moved to Wichita, Kansas. In 1922,they relocated to Los Angeles, where 16-year-old Gaylord found employment playing pianofor movies. To finance his pre-law educationat UCLA, Gaylord played at the SavilleTheatre in nearby Inglewood. There he wasdiscovered by Harold Lloyd and, as a result ofthat discovery, Gaylord was hired as organistat the new Million Dollar Theatre in downtownLos Angeles.

On August 2, 2009, as a tribute to the 104thanniversary of Gaylord’s birth, the LosAngeles Theatre Organ Society presented oneof Gaylord’s favorite silent movies, Wings,starring Clara Bow, Charles (Buddy) Rogers,and Richard Arlen, with a brief appearance byGary Cooper. An audience of approximately200 enjoyed the movie, as well as San GabrielMission Playhouse’s beautiful Spanisharchitecture, new projection system, andscreen. Bob Salisbury, a student of GaylordCarter, did a masterful job at the wonderfullyoutspoken Wurlitzer. By the time the story of



World War I flyers came to an end, there wasscarcely a dry eye in the audience.

—Diana StoneyBill Campbell, Chairman and President

[email protected]

Host Ken Rosen (l) and Jerry Nagano (Photo by Diana Stoney)

Members and friends enjoy a potluck picnicat the home of Ken and Jenice Rosen

(Photo by Diana Stoney)

METROLINACharlotte, North Carolina—Ten days before

the ATOS convention in Cleveland, many ofour members made a trip of between three andeight hours to attend a two-part concert andcookout in the beautiful mountains of NorthCarolina. On June 20 our first stop was outsideof Hendersonville at the residence of Lawrieand Rosemary Mallett. Lawrie’s organ is ahybrid that he built from an Allen and aGulbransen. Scott Foppiano made it soundbetter than ever, playing many of his signaturetunes as well as our requests. The cookout wasa real success; many first timers attended toeat and hear the organ music.

Afterward, we travelled by caravan to thebeautiful mountainside home of Steve Alhart.Steve’s house is the perfect location for anorgan concert—a large room with speakersplaced high, solid sound throughout, withgorgeous mountain vistas visible from themusic room. The Allen 319EX was tweakedby none other than Walt Strony, so we knewwhat to expect. Again, Scott gave useverything he had and made many of us think

that this must be the finest Allen installationin the state.

Earlier in the year, we heard two fineconcerts by Martin Boehling. Martin lives outon the coast, so a trip to Charlotte is anovernight endeavor. He played the Walker atthe Parsons residence on April 18 and at theWoods Artisan on February 20. In addition toplaying, Martin can tweak organs to improvethe sound; he made the Artisan sound morelike a Wurlitzer. Martin is not afraid to playlightly and melodically, and the ear nevertires. As always, we encourage open consoleafterwards. Lawrie Mallett remarked that “the gathering at Brent’s house was veryreminiscent of the meetings that we used tohave at the Wolverine Chapter in Michigan.”

—Michael Johnston704-567-1066, [email protected]

Scott Foppiano at the Alhart residence (Photoby Frank Dunhuber)

Martin Boehling at the Parsons residence(Photo by Lawrie Mallett)

MOUNT BAKERBellingham, Washington—Our monthly

programs continue, and we have added silentmovies on a regular basis. The 1921 GermanExpressionist film Nosferatu, directed by F.W. Murnau and starring Max Schreck, wasthe first and only production of Prana Film.Accompaniment for the film was provided by Jeff Fox. Many concert organists haveentertained our chapter, including: AndyCrow, Wally Stevenson, Tom Roughton,Melany Armstrong, and Carl Peterson. Weenjoyed hearing Mark Andersen, as well as the

return visit from Dorothy Watson and HalLogan. In August we screened three silentmovies: Buster Keaton’s Cops, Harold Lloyd’sAmong Those Present, and Charley Chase’sMighty Like a Moose. Jeff Fox accompaniedthese films at the Mighty Wurlitzer.

The refurbished Mount Baker Theatrecontinues to provide an excellent venue for ouractivities, and we hope you will be able to joinus in the near future.

—David BainesVernon Greenstreet, President


Mark Andersen at Wurlitzer Manor (Photo Andersen Collection)

NEW YORKNew York, New York—On Saturday,

August 29, we were once again invited toChaminade High School in Mineola, NewYork, for an afternoon of open console at the3/15 Austin-Morton theatre pipe organ(enhanced with a bit of Wurlitzer and Barton).Even though we were threatened by the wrathof Hurricane Danny, attendance was good, andeveryone had a great time. When not in theauditorium enjoying the music, folks weregathered around the lobby engaging in conver-sation and indulging in assorted beveragesand a vast array of homemade goodies.

As a special treat, young organist DanMinervini, who just returned from the ATOSSummer Youth Camp in Phoenix, Arizona,played a short cameo performance. During theweek-long camp, organists Donna Parker,Martin Ellis and Jelani Eddington coachedDan and the other young organ students,including Andrew Van Varick who was alsosponsored by the New York Theatre OrganSociety. The students had an opportunity toplay several outstanding instruments. Dan andAndrew noted that the camp was highlyeducational and extremely useful. It will be anexperience they will carry through their lives,and they were very grateful to be part of it.

Many thanks to Br. Rob Lahey, Bob Atkins,and Alan Lush for preparing the organ. Alsothanks to John Valentino, Tom Stehle, andAllan France for their participation in thisevent.



Our autumn schedule was busy, with manyexciting concerts and events.

—Allan FranceJohn Valentino, Chairman

[email protected]

Ken Double (l), Dan Minervini, Martin Ellis,Donna Parker, Andrew Van Varick, and Jelani

Eddington (Photo by Leonard Minervini)

Alan Lush at Chaminade (Photo by Allan France)

NORTH TEXASDallas/Fort Worth, Texas—Sometimes you

just have to try something new. Take a concertstage band, a ’40s-era swing band, and a fewvocalists for starters. Throw in a thunderingWurlitzer theatre pipe organ just to roundthings out, and the results can be amazing.Such was the case at the McKinneyPerforming Arts Center (MPAC) on June 6 asan appreciative audience was treated to amusical D-day tribute like no other. For twohours, strains of Glenn Miller, BennyGoodman, and John Philip Sousa filled thetheatre to reactions ranging from loud handclapping to downright tears during soloistJeannie Fisher’s emotional rendition. Amusical tribute to all the Armed Forces, withthe veterans in the audience being recognized,was also very moving.

The idea for this concert came up severalmonths ago when members of the North Texaschapter were searching for new ways toshowcase the MPAC Wurlitzer and work withother musical groups in the North Texas area.The suggestion was made to contact theMcKinney Community Band and see if a joint

concert could be worked out. It turned out tobe a match made in musical heaven.

“We liked the idea from the start,” saidCommunity Band director Bill Sleeper, whohas been with the organization since itsinception three years ago. “Like the organgroup, we, too, were looking for ways toexpand our audiences, and this was a perfectfit.” McKinney Swing Band director JohnJohnson, who at one time actually did a shortstint with the traveling Glenn Miller Band,echoed his sentiment. “I was looking forwardto the event, and I have to say it far exceededmy wildest expectations,” he noted.

Mating the sounds of a theatre organ withother musical groups is quite common in otherparts of the country where organs remain intheir original homes, but the event was a firstfor this area. In the 1920s and ’30s, Texashoused over 200 theatre organs in its moviepalaces and public venues. The McKinneyinstrument is one of only two remainingtheatre organs playable today in a Texasvenue. Organist Bob Whiteman, who at onetime played the stadium organ for theCleveland Indians, adeptly put the Wurlitzerthrough its paces.

Credits also go to vocalists Linda Young,Karen Fruzia, and Jenny Wennerberg, perform-ing as the “Sorta Sisters.” Their renditions ofAndrews Sisters’ hits certainly had toestapping from the largely World War II-eraaudience.

Overall, the program was such a successthat there are already plans in the works foranother band and organ concert. Definitelystay tuned.

July was spent in rebuilding the toy counterfor our MPAC Wurlitzer. On August 8, the toycounter was physically installed in the Solochamber and wired to the Driver Boards. Theconsole wiring was scheduled to be completedthe first week of September. The oneremaining percussion, the chimes, will beinstalled after the action has been restored.Many thanks go to Don Peterson, Al Cavitt,Loren Hungsberg, Mike Tarzis, Mike Ussery,Jim Wilson, and Ken Brown for theirdedicated efforts to get this project completed.

On August 16, the chapter held its regularmeeting. The program presented after themeeting turned into the highlight of the day.Bob Whiteman was the featured artist andstarted the program by playing several pieceson the MPAC 3/17 Wurlitzer. Halfway throughthe program, he introduced one of his pianostudents, Anne Higginbotham, a 7th gradestudent at Covenant School, Dallas. Bob andAnne played a few duets on the piano; then Bob moved to the organ console, and heand Anne played some organ and pianoarrangements. They then swapped places,with Anne at the Wurlitzer and Bob at the

piano. All in all, it was a very entertainingprogram.

—Michael A. TarzisDon Peterson, President


Linda Young (l), Karen Fruzia, JennyWennerberg (Photo by Don Peterson)

Ian Clark (l) and Bob Whiteman (Photo by Kenneth Brown)

Bob and Anne at the piano (Photo by Kenneth Brown)

NORTHERN CALIFORNIABerkeley, California—April 18 was the

annual two-chapter Morton Madness doubleconcert on two different Morton organs. Thisyear, Mark Herman played.

After many years, our chapter’s largeWurlitzer organ in the auditorium of BerkeleyHigh School was finally used for a schoolmusic program! The school music instructor,Karen Wells, had heard about the organ andfinally came to an organ work party to talk to



us and see the organ. She wanted to use it inthe school symphony orchestra spring concert,but she didn’t have anyone to play it. Theanswer to this came when a student,Alexander Johnson, a member of the highschool symphony, walked into the next organwork party session. He had been trained onkeyboards, piano, and percussion instruments,but he had never played an organ. ChrisNichols promptly seated him at the organconsole and gave him some instruction. OnApril 16, the concert took place. The organwas used for the last piece, and the organ’sfinal chord brought the house down withcheering and yells for an encore. Manygathered around the console to have a look,asking questions for about 30 minutes. Thenext morning, Chris Nichols and Neal Woodwent to the music class and gave apresentation about the organ. They alsoconducted tours of the organ chambers. Theysaid the students took interest in all aspects ofthe organ.

May 3 was the final public concert of our2008–2009 season. Lew Williams played oneof his usual fine programs, utilizingtranscriptions from classical, big band, andLatin orchestral scores. His wide variety ofmusic is well liked. He seemed to useeverything in the organ at least once,including the surf effect and the saucer bells,which delighted the organ crew.

On Sunday, June 14, Paul-Wesley Bowenplayed a concert for us on the three-manualRobert-Morton organ in Grace Baptist Churchin San Jose (originally from the San JoseLiberty Theatre). After the concert, severalpeople tried the organ. The organ is undercontinuing restoration by Bill Brooks, withtechnical assistance from Dave Moreno.

The annual chapter picnic was held onAugust 23 at the country home of Gay and RonBingaman in Grass Valley, California. Many ofthe guests played the Allen organ. The Sierrachapter was invited to this event.

—Elbert DawsonNeal R. Wood, President


ORANGE COUNTYFullerton, California—The Orange County

Theatre Organ Society met in PlummerAuditorium on August 15 for our annualsummer open console and potluck. This yearwe were pleased to have two young men joinus who are interested in learning how to playa theatre organ. One of the young men, MattGerhard, is attending college and is anorganist at a local church. The other, DavidMarsh, is a very energetic teen with a lot ofpotential. This furthers one of our goals tointerest more young people in the theatreorgan.

Since the OCTOS organ is located in a highschool auditorium, we have greater access tothe organ during the summer months when theschool is closed. This summer we set asidetime to do some tonal finishing on the organ.We are fortunate to have the services of SteuartGoodwin, an OCTOS board member and anoutstanding voicer. He worked on a number ofpipes that had “changed” over the years. Thebenefit of Steuart’s work is hard to defineexcept to say that it has given the organ a morerefined and even sound.

The OCTOS board decided to change theway the year’s programs are marketed. In thepast we thought in terms of yearly programs(five in number), but we decided to switch toa “season” of programs that start in Septemberand run through June. When a season ispurchased as a package, membership inOCTOS for the following year is included freeof charge. We will be watching closely thisyear to see what impact this may have onattendance and income.

—Ed Bridgeford, President714 529-5594, [email protected]

David Marsh (r) and Bob Andjulis at PlummerAuditorium (Photo by Pat Mower)

Matt Gerhard at the Plummer AuditoriumWurlitzer (Photo by Pat Mower)

PIEDMONTBurlington, North Carolina—Williams High

School has a new Main chamber. The latestadditions to the Piedmont chapter’s 3/25Kimball Wurlitzer-hybrid are complete. Theexisting eight-rank Main chamber needed newchests, and we wanted to complete a plannedlarger specification. Two Wurlitzer chests,seven ranks and five ranks, respectively, werepurchased, making space for a French Horn,Vox Humana, Viole d'Orchestre and Celeste.They replace four of the eight MIDI voices incurrent use.

The seven-rank chest had been recoveredwith perflex in the late 1970s. After removingmaterial and glue, the condition of bothprimary and secondary pouches was not good.New replacements can be purchased, butmoney is tight, so we made them ourselves.The entire summer of 2006 was spentfabricating and covering 12 ranks ofpneumatic motors. It was indeed a learningexperience!

The original eight ranks were scheduled tobe playing by the end of August. As time andmoney permit, four new ranks will come to life.It is particularly gratifying to know these rankswere part of the original 61-rank Standaartthat once resided in this space. After threelong years of preparation, we hope to haveboth chambers playing by the beginning of thenext school year. Contact Mac if you want tohelp. Do an Internet search for “PiedmontTheatre Organ,” and our website will lead youto us.

—Mac AbernethyErnest N. Boyd, President


Old Main Chamber (Photo by Mac Abernethy)



New Main Chamber (Photo by Mac Abernethy)

PUGET SOUNDSeattle, Washington—Summer home

parties are always enjoyable events, providingan opportunity for great music, food, andcamaraderie in a casual setting.

The Puget Sound chapter was delighted towelcome Donna Parker as the featured artistfor this summer’s get-together at the Kenmorehome of Russ and Jo Ann Evans. Donnaplayed an enjoyable and varied program, withsomething for everyone. Often a substitute atOrgan Stop Pizza in Mesa, Arizona, Donnaincluded tunes reminiscent of the upbeat andlively music we all remember at our localpizza parlors in the 1970s, ’80s, and ’90s.

A bonus was a short cameo played by ourscholarship student, Kat Brightwell. Manythanks to Donna for providing such adelightful day!

—Jo Ann EvansDave Luttinen, President


Kat (l) and Donna encourage aspiring youngorganist Nicholas Towle, whose mother looks

on (Photo by Jo Ann Evans)

PSTOS scholarship recipient Kat Brightwell(Photo by Jo Ann Evans)

RIVER CITYOmaha, Nebraska—On July 12, the River

City Theatre Organ Society presented AnAmerican Afternoon of Music featuring PattiSimon at the Rose Theatre’s 3/21 Wurlitzerwith Dick Kroeckel at the Yamaha grand. Theduo was most entertaining and showcased awide variety of musical selections. TheRCTOS annual concert was a huge success,with over 500 in attendance. Patti and Dickprovided a great afternoon of music with theSwingtones, a local 18-piece big band, makinga guest appearance in the second half of theconcert. The final musical experience with theorgan, piano, and band provided a specialending to the afternoon’s spectacular program.Patti, Dick, and the Swingtones shared thestage to receive standing ovations. TheWurlitzer never sounded better, thanks to themany hours Ed Zollman spent tuning andadjusting the instrument. The entertainmentcontinued with an after-glow reception at theMarkworth residence, where Patti and Dickperformed until late in the evening.

August 16 brought the chapter to the homeof Jeanne and Frank Sabatka. This meetingwas the chapter’s annual picnic potluck.Jeanne is a seasoned local organist andentertainer. Jeanne featured her friend andvocalist Marlee; then chapter musicians andorganists/pianists Arlon Anderson, GregJohnson, and Jerry Pawlak played duets withJeanne. A special treat for the group includedaward-winning accordionists Milo Karasakand his son, Mark. A picnic potluck dinnerwas served on the beautiful residence patiooverlooking a wooded area.

RCTOS chapter has two surplus blowerfans. For specifications, etc., contact BobMarkworth at 402-573-9071 or [email protected].

—Jerry PawlakBob Markworth, President


Patti Simon and Dick Kroeckel at the RoseTheatre (Photo by Bob Markworth)

Patti Simon and Dick Kroeckel at theMarkworth residence (Photo by Jerry Pawlak)

ROCKY MOUNTAINDenver, Colorado—Arrrrr! The Holiday

Hills ballroom embarked on a nauticalmusical cruise at our club social in July withAdventure on the High Cs, an original musicaltreasure hunt produced by club memberJanice Blakney. The “Uncorked Players” sangup a storm of solo, small ensemble, and chorusselections accompanied by Annette Cash atthe grand piano and DeLoy Goeglein and JimCalm at the four-manual Allen organ.Meanwhile, pirates swarmed the audience andcats prowled the stage.

Our August 9 club event brought us back toDenver’s historic Paramount Theatre and the4/20 twin console Wurlitzer for an outstandingafternoon of Triumvirate on the Tibias,featuring the formidable talents of Bob Castle,DeLoy Goeglein, and Doug Thompson,followed by open console time.

—Jim Calm, [email protected]



Shipwrecked crooner Glenn Dinges reachesfor the “High Cs” (Photo by Bill Kwinn)

Triumvirate on the Tibias organists DeLoyGoeglein (l), Bob Castle, and Doug Thompson

(Photo by Bill Kwinn)

ST. LOUISSt. Louis—Norm Kramer’s biography

describes a varied and successful musicalcareer that began while he was still in histeens and continues to this day. Many peoplestill remember Norm from his years (1967–77)as organist for the St. Louis Blues hockeyteam. With these credentials, it was nosurprise to have a large turnout for one of hisrare theatre organ concerts at the Julymeeting. The large concert space in the Allendealership of Jerry Roberts was the idealsetting, and the instrument was a three-manual Allen theatre model. At the end ofNorm’s wonderful performance, the cheerswere not from hockey fans seeking anothergoal; instead, they were from Norm’s fanscalling for an encore. Thankfully, Normobliged.

For the August gathering, Ed Plitt was ourartist at the home of Bernie and BettyNordmann. Bernie has a composite instrumentthat began with a 2/8 Wurlitzer from a localchurch; it is now a 3/13 configuration with aReuter theatre console. Ed is another SLTOSmember who has been a professional musicianall his life, and he is known for his Hammondjazz styling. For those who enjoy a jazz flavor,Ed more than fills the bill. He presented ahighly varied program, with rarely heard

selections, including a tribute to song hits bythe late guitar icon, Les Paul. Norm is also anaccomplished theatre organist and wasrecently selected as one of the staff organistsat the St. Louis Fox Theatre.

—Ken IborgJim Ryan, President


Norm Kramer at the Midwest MusicConservatory (Photo by Gary Broyles)

Host Bernie Nordmann (l) with Ed Plitt (Photo by Gary Broyles)

SOONER STATETulsa, Oklahoma—The music of Irving

Berlin came alive for a large group of people atthe monthly meeting of the Sooner Statechapter on Friday, July 17. Master ofCeremonies Bill Rowland interspersed themusic with facts about Berlin.

Phil Judkins, Joyce Hatchett, Bill Rowland,Jeannette Maxfield, and Carolyn Craft playedfavorites. Included with organ selections wasvocal music by Wayne Underwood, accom-panied by his wife Myra, and Joe Maxfield,accompanied by his wife, Jeanette. LyndaRamsey prefaced her playing with a shortstory about “weather songs” composed of hersong titles.

On August 21, Carolyn Craft played anentire program for us, assisted by severalfamily members. Carolyn played a variety ofstyles, from music made popular by SammyKay, Glen Miller, and Hoagy Carmichael, toseveral pieces with a Latin flavor. She alwaysknows how to get the most interesting sounds

from our Robert-Morton. Carolyn has been achurch organist for more than 40 years andloves to play gospel music, so her familymembers, all church musicians, sang andplayed two groups of gospel songs.

—Barbara PurtellPhil Judkins, President

918-251-2245

Irving Berlin night (Photo by Bill Ashley)

Carolyn Craft and family (Photo by Bill Rowland)

SOUTHERN JERSEYFranklinville, New Jersey—On Saturday

morning, May 2, we had a social/businessmeeting at the Broadway Theatre in Pitman.The theatre’s Kimball 3/8 organ was given agood three-hour workout by the chapter’sorganists.

The 3/16 Wurlitzer in the CinnaminsonHigh School was used to accompany theCinnaminson Community Chorus SpringConcert. Our chapter has an on-going projectof improvement and maintenance with regardto this instrument.

Our annual summer barbecue was held onSaturday, August 22. It was a wonderfuloccasion filled with much thrilling theatreorgan sound. We received enthusiastic reportsfrom our six members who attended the ATOSconvention in Cleveland, Ohio. The buffetluncheon overflowed with everything good toeat. There was a short and fruitful businessmeeting. We started plans for a series of silentmovies at the Pitman Broadway Theatre thatwill feature our Wayne Zimmerman at the 3/8Kimball.



We also started planning for an organextravaganza involving the two pipe organslocated at Pitman's Broadway Theatre. Theaffair will start with an open console at theBroadway Theatre’s Kimball. Then, after a twoblock walk, it will be an open console at theFirst Presbyterian Church’s new 2/21 Wicks.

Member John Breslin told us of two visitshe made during his summer travels. One wasto the Tennessee Theatre in Knoxville; theother was to the Byrd Theatre in Richmond,Virginia. At both theatres, the local organistvolunteered to provide an informal tour of thefacility followed by a demonstration of thepipe organ. Both venues have Wurlitzers—a3/16 at the Tennessee and 4/17 at the Byrd.John had contacted the theatres in advancethrough telephone calls, and he was happythat both organists were very pleased to havehim visit.

—Fred OltmannJoseph Rementer, President

856-694-1471

John Breslin entertains at the BroadwayTheatre (Photo by Fred Oltmann)

Wayne Zimmerman at the Broadway Kimball(Photo by Fred Oltmann)

VALLEY OF THE SUNPhoenix, Arizona—In July we enjoyed two

wonderful concerts at the Orpheum Theatre.Both programs were played by visiting Brits,and both were totally different.

For several years, after attending the ATOSnational convention,Christian Cartwright andhis chums David and Tony have come to theValley to enjoy the Wurlitzer at Organ StopPizza for a few nights. Some of us have beenfortunate enough to hear the very talented self-taught Christian play “after hours” at the pizza

parlor. This year, he agreed to play for thechapter at the Orpheum on July 11. Hepresented a varied program of over two dozennumbers. It was hard to tell who was moreexcited: the audience or the organist.

Two weeks later, we enjoyed Matthew Basonat the same venue. Matthew had played for thechapter last summer, and he was glad to makea return visit. Some of his program includedBlackpool Tower dance stylings. Matthew did very little talking between numbers,presenting instead several medleys of songs.

Included in the audience at Bason’sprogram were several students from the ATOSSummer Youth Camp and their parents. Thatevening, they returned and enjoyed openconsole at the Orpheum’s Wurlitzer.

During the week that followed, the youngpeople participated in group and privateclasses with Martin Ellis, Donna Parker, LynLarsen, and Jelani Eddington. Most of thistook place at the Adrian Phillips Music Room.In addition, the group enjoyed hearing CharlieBalogh and Lew Williams at Organ Stop. Theyalso had the opportunity to participate in openconsole at the Fizzell residence, Organ Stop,Phoenix College, and the First ChristianChurch Fellowship Hall. We really enjoyedhaving the Summer Youth Camp here, andhope the Camp will return to this area.

—Madeline LiVolsiBill Carr, President


Tony, David, and Christian at the Orpheum(Photo by Madeline LiVolsi)

Summer Camp students at the Fizzellresidence (Photo by Madeline LiVolsi)

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DRAFT MINUTES OF THE 2009ANNUAL MEMBERSHIPMEETING OF THE AMERICANTHEATRE ORGAN SOCIETY(ATOS)Held during the 2009 annualconvention in Cleveland, Ohio,Gold Room, Marriott RenaissanceHotelJuly 4, 2009, 9:00am

President and CEO Ken Double introducedChairman of the Board Mike Hartley.

Chairman of the Board Mike Hartley calledthe annual meeting of the ATOS membershipto order at 9:03am. With approximately 140members present, a quorum was presentpursuant to ATOS Bylaws section 3.5(a).

Following brief introductory remarks theATOS Chairman of the Board asked theofficers, directors, and staff of ATOS tointroduce themselves.

Chairman Hartley recognized outgoingdirector Don Near for his service to ATOS.

Officers 2009–2010: Chairman of the Board,Mike Hartley; Vice Chairman of the Board,Craig Peterson; Secretary, Bob Evans;Treasurer, Paul Van Der Molen

Directors elected for the term 2009–2012:Jack Moelmann, Donna Parker, and DougPowers

Other Directors Present: John Apple, JohnDeMajo, Jelani Eddington, Allen Miller, DonnaParker, and Bucky Reddish. Director Absent:David Barnett (excused). Youth Repre-sentative to the Board: Tyler Morkin (excused).

ATOS Staff: Ken Double, President/CEO;Mike Kinerk, Convention Planning Coordi-nator; Jim Merry, Executive Secretary; JeffWeiler, ATOS Journal Editor/Parliamentarian

Old business:The Secretary read his report to the

membership. This report was a summary ofboard actions since the last membershipmeeting. The report follows:

The ATOS board of directors met 11 timessince my last report to you in July of 2008. Tenof these meetings took the form of telephoneconferences while one (the 2009 mid-yearmeeting) was a face-to-face event. All ATOSboard meetings operate under Robert’s Rulesof Order. Jeff Weiler is parliamentarian.

Since minutes of all ATOS board meetingsare published in THEATRE ORGAN, my reportwill summarize the most important aspects ofthe ATOS board actions of the last year.

Telephone conference meeting of Tuesday,August 19, 2008:

• The Uniform Chapter Charter Agree-ment between ATOS and the EasternMassachusetts chapter of the AmericanTheatre Organ Society is amended as follows:

The chapter’s area of operation is easternMassachusetts, southern New Hampshire,and Rhode Island.

Telephone conference meeting of Monday,September 29, 2008:

• ATOS announces the first of its touringshows to be held at the Riviera Theater inNorth Tonawanda, New York on April 19, 2009.

• The ATOS board accepts the bid of theEastern Massachusetts chapter of theAmerican Theatre Organ Society’s bid to hostthe 2011 ATOS annual convention.

• Dolton McAlpin assumes legal responsi-bilities and will provide legal counsel for ATOS.

Telephone conference meeting of Tuesday,November 18, 2008:

• The ATOS board accepts the bid of thePuget Sound chapter of the AmericanTheatre Organ Society’s bid to host the 2010ATOS annual convention.

• Plans are begun for an ATOS TechnicalCamp. Allen Miller has been gathering infor-mation from interested members through thewebsite and from responses to his article inTHEATRE ORGAN.

Mid Year meeting of Saturday, January 3,2009:

• Convention schedule is announced:- 2009-Cleveland, Ohio- 2010-Seattle, Washington- 2011-Massachusetts and Rhode Island- 2012-Los Angeles/Orange County

• The board approves funds to reprint theATOS Shop Notes.

• The board votes to make the ATOS ShopNotes available on the ATOS website as adownload.

• Because of his heavy work load andschedule, Michael Fellenzer resigns from theboard. The board accepts Michael’s resig-nation with regret.

• The board voted to initiate an ATOSTheatre Organ Radio webcast.

• Col. Mike Hartley (Ret.) is appointed tothe office of vice chairman of the board.

• John DeMajo is appointed to the ATOSEndowment Committee.

Telephone conference meeting of Monday,January 19, 2009:

• Dolton McAlpin suggests engaging theservices of copyright attorney Whit Raynor tomake an official recommendation regardingthe ATOS recording policy. The board felt isbest to solicit an outside opinion in this matter.

• The board votes to engage the servicesof Whit Raynor.

• John DeMajo is appointed chair of theATOS Endowment Committee.

Telephone conference of Thursday,January 29, 2009

• The board appoints Dennis Unks to fill theboard seat vacated by the resignation ofMichael Fellenzer.

Telephone conference of Tuesday, March 3,2009:

• Dennis Unks resigns his board position formedical reasons. The board accepts Dennis’resignation with regret.

• Don Near is appointed chair of the ATOSFinancial Review Committee.

• Copyright attorney Whit Raynor presentshis recommendation to the board.

• Whit Raynor explained to the board thatrecording at conventions without the ad-

vance consent from the copyright owners(typically the artists and publishing com-panies) is illegal. He also noted that becauseATOS has knowledge of the recording activityat conventions and also has the ability to limitor control it; it could be vicariously liable forany copyright infringement by its members.The board enacted the prohibition ofrecording at ATOS-affiliated conventionsimmediately.

• The ATOS webcast (Theatre Organ Radio)is undergoing a period of testing.

Telephone conference of Monday, March 16,2009:

• The board votes to appoint David Barnettto fill the board position vacated by theresignation of Dennis Unks.

Telephone conference of Wednesday, April 15, 2009:

• The board votes to enact the conflict ofinterest language proposed by DoltonMcAlpin and amended by Jelani Eddington.(Section 5.b. in “Policies” and Section 4.2 in“Bylaws”)

The amended language is given below:Bylaws:Section 4.2 NUMBER AND QUALIFICATION

OF DIRECTORS.The following section (e) was added to

Article IV, Section 4.2 in the ATOS Bylaws.Before this amendment Article IV ended withsection (d).

e. Director of Another Organization. Be-cause Directors must give undividedallegiance when making decisions affectingthe Society, a Director’s serving simul-taneously on the board of directors of anyother national or international public,charitable or private organization thatpromotes the theatre organ and theperformance of its music (hereafter a“Competing Organization”) will impair andprejudice the Director in carrying out his orher duties as a member of the Society’s Boardof Directors. Consequently, from and afterJuly 1, 2009 any person who is a member ofthe board of directors of any CompetingOrganization may not qualify to run forelection to the Board of Directors, may not beappointed to the Board of Directors, nor maysuch person serve as a Director. Theprohibition in this subsection shall not applyto any person who serves on the board ofdirectors of any chapter of the Society.Further, the prohibition in this subsection shallnot apply to any Director elected in 2009, andany such Director is exempted from theprohibition of this subsection during his or herinitial term and any consecutive termauthorized by Section 4.4 of these Bylaws.

Policy5. BOARD/STAFF ACTIVITIES, CORRESPON-

DENCE, AND CONDUCTAdded language is presented in bold type. b. Confidentiality: It is the policy of ATOS

that the business of the Society shall beconducted in an environment of open andfree communication. Unless otherwise specif-ically provided in the ATOS Policies, the


IJ


Society’s bylaws, or by operation of law, all meetings, books, records, and otherdocuments that reflect official actions of theSociety shall be presumed to be open and/oravailable for inspection by any member ingood standing of ATOS at his/her expense.Information regarding the internal problemsof an ATOS Chapter, information of apersonal nature about an ATOS member,information subject to a legitimate claim ofprivilege, information concerning actionsand/or negotiations in progress but notfinalized, information concerning financialsupporters and fund-raising activities, infor-mation required to be maintained asconfidential by law, the Society’s bylaws, orthe Society’s written policies, and/or anyother information designated in good faith inadvance as confidential shall be held in thestrictest of confidence.

Telephone conference of Thursday, May 21,2009:

• Tyler Morkin was reappointed as YouthRepresentative to the board for 2009/2010.

• Two people have been recommendedas recipients of the George Wright MemorialFellowship.

• The agency that served as our Californiacorporate headquarters will no longerprovide that service.

Craig Peterson has been named ATOS’registered agent with the State of California.

The new corporate address for ATOS is:7800 Luna Vega DriveElk Grove, California 95758• ATOS Theatre Organ Radio was officially

launched on April 22, 2009.Telephone conference of Thursday, June 18,

2009:• The board approved the charter of a

new chapter—the First State chapter head-quartered in Wilmington, Delaware.

• The board approved the re-activation ofthe Kentucky (Bluegrass) chapter.

Respectfully submitted, /s/ Bob Evans, Secretary, ATOS Members asked the following questions

about items in the secretary’s report:John Gusmer (Dairyland chapter) asked the

reason for the inclusion of “conflict of interest”language. He also asked why the exemptionfor 2009 was included. Jelani Eddingtonexplained that many of the items discussedby the board contain confidential informationthat should not be shared with competingtheatre organ organizations. In order toprotect the interests of ATOS and its membersattorney Dolton McAlpin recommended thatthe board adopt “conflict of interest” lan-guage. Those running for the ATOS boardwere exempted for this election (2009) only.The board felt that those running for boardseats were nominated before this languagewas enacted and should be elected underthe previous bylaws.

Wayne Zimmerman (Delaware Valleychapter) asked why the words “consecutiveterm” were included in the “conflict of

interest” language. Jelani Eddington re-sponded by stating that board members mayserve for two consecutive terms. Thoseelected in this year’s election (2009) should beallowed to run for another term in 2012 underthe same exemption.

Motion: Wayne Zimmerman (DelawareValley); second, Mike Detroy (DelawareValley) to accept secretary’s report. (Carried:Unanimous)

Motion: Tom Garver (Dairyland); second,James Snell (Puget Sound) to accept lastyear’s annual membership meeting minutesas published in THEATRE ORGAN. (Carried:Unanimous)

ATOS Treasurer Paul Van Der Molen gavethe ATOS treasurer’s report. He summarizedthe state of the ATOS treasury and assured themembership that ATOS’ finances are downwhile our financial condition is sound. Paulreported on several large expenditures of thepast year. A complete report will be publishedin THEATRE ORGAN. The report as given to themembership follows:

Mr. Chairman, Mr. President, fellow boardmembers and members of the AmericanTheatre Organ Society; I want to thank youfor the privilege of just completing four yearsas treasurer of our wonderful organizationthat does so well in promoting the music thatwe love to listen to, on the instruments thatwe cherish. It has been a pleasure to workwith this board which is composed of forwardlooking and visionary people who cherish thehistory, but are making pathways to thefuture.

With regard to our finances, this past yearhas been a difficult one primarily because ofthe national economy which probablyaffected everyone in this room to onedegree or another. ATOS also was affected,in that some of our invested funds which, foryears, have been weighted toward growth,experienced a similar percentage of loss thatwas in the range of what most moneymanagement firms saw in their holdings.However, the endowment fund was investedmostly in AA & AAA bonds which were theresult of a change I made in May 2008, afterdiscussion with our fund manager in anattempt to better meet the goal of theendowment fund trust documents, which is toearn dividends and interest for distribution.We experienced a much smaller percentageloss in the endowment fund. We also had asignificant amount of cash in money markets,that at the time were earning good interestand longer term CD’s which are still earning a5% return. Our investment fund, year to year,was down about $115,000, but we’veexperienced a recovery this past May ofabout $15,000 leaving us down about$100,000 to date.

This past year saw some new expenses thatwe’ve not dealt with in the past. The mostobvious was the new paid position of thepresident and CEO. Unfortunately some ofthe verbal commitments that were made

to Ken weren’t fulfilled because of theeconomic downturn that affected those whowere willing to give large donations. Antic-ipated receipts fell far short of what wasexpected to cover that new obligation.

We were also thrilled to have received theEric Reeve collection for the Archives, valuedby an IRS recognized appraiser at over$300,000, but that did require an unan-ticipated expenditure of several thousanddollars to pack, ship, and store, and it is still notyet at its final destination.

We also assisted the American OrganInstitute with an emergency $15,000 toprofessionally remove, pack, and ship apristine original Wurlitzer organ to their facilityin Norman, Oklahoma for future installation as an original organ in an as-yet-to-bedetermined location.

This past fiscal year, we also started theinternet broadcast of theater organ music.This required several thousand dollars ofupfront money to start this service. Weanticipate this to actually be a profit center,and we have signed our first major sponsor,Organ Stop Pizza, of Mesa, Arizona. We haveseveral other discussions scheduled withprobable sponsors. If you or your companymight be interested in participating as asponsor, please talk to Ken about theopportunities.

We completed a second successfulSummer Youth Camp. However, ATOS stillneeds to partially subsidize that program. Wethink it is so worth the effort because theseyoung people could be our future players,and most of us need someone to listen to sowe can enjoy our favorite kind of music.

THEATRE ORGAN, under Jeff Weiler’sstewardship, has been consistent in its deliv-ery, with printing costs being shopped yearly,and mailing costs constantly monitored to bethe most efficient yet reliable. This past fiscalyear, Jeff experienced an increase inadvertising revenue which, of course, helpsoffset the cost of production. Unfortunately,mailing rates continue to go up, and thatalways presents Jeff with new challengeswhich he is up to handling.

All in all, the American Theatre OrganSociety is sound. While our financial net worthis down compared to last year, we arehealthy and dealing with these circum-stances in a positive and forward lookingmanner. Now more than ever, we needstrong leadership and hard work. I believeyour president and board are up to the taskof making ATOS the best it has ever been.Someone said “Come with me, the best is yetto be.” I think that can be said about ATOS.

Respectfully submitted, Paul Van Der MolenTreasurer of the American Theatre Organ

SocietyMotion: Bob Legon (EMCATOS); Joseph

Graif (Potomac Valley) to accept thetreasurer’s report as presented. Carried:Unanimous



Committee Reports:Youth Camp: (Eddington) Third annual

Summer Youth Camp is scheduled for July 27–31 in Phoenix, Arizona. Headquarters will bethe Adrian Phillips’ music studio with visits tothe Orpheum Theatre, Phoenix College, andOrgan Stop Pizza. The primary instructor will beMartin Ellis. Registration is expected to be 15 or16 students.

Financial Review Committee: (Near) Donreported that the ATOS Financial ReviewCommittee met to validate that the society’sfunds were properly protected and accept-able accounting practices were employed.A professional investment firm has maintainedthe ATOS investments and foundation fund forthe past 10 years with no loss in principalnoted in the fiscal year. Don stated that hewas pleased to report that the condition ofATOS finances is sound, and all accountingprocedures are acceptable. There were no derogatory statements necessary. On a personal note, Don expressed graveconcerns about the deficit spending in thecurrent budget.

ATOS Adult Getaway: (Nordwall) Jonasreported that the ATOS Adult Getaway mustregister at least 13 students to make the eventself-sustaining. If fewer students are enrolled,the event will be canceled. In other remarksJonas stated the need (for both the youthand adult events) for a female facultymember to be present.

ATOS Technical Experience: (Miller) Allenreported that the first ATOS TechnicalExperience is scheduled for next summer.Headquarters will be the Saunders residencein Zanesville, Ohio. Dates are to be deter-mined.

Wanamaker (Macy’s) Update: (Double)Ken reported that the Lowell Ayars Wurlitzerwill be debuted in late fall of this year.

Website/Theatre Organ Radio: (Double)Ken stated that because of the popularity ofATOS Theatre Organ Radio we may have topay more than originally anticipated. Fundingis expected to come from sponsorships. Thefirst sponsor is Organ Stop Pizza of Mesa,Arizona. The ATOS website work continues.The newly designed site should be up andrunning this coming fall.

President/CEO Report: (Double) President/CEO Double reported on the progress, plans,and upcoming activities of the AmericanTheatre Organ Society. Below is a summary ofhis presentation:

The ATOS board of directors established theposition of President/CEO to explore newhorizons, address issues, and to address themost important question; What of ATOS five,10, or 15 years and more ahead.

Challenges: • Dwindling membership- What are we doing about membership

growth? We are losing five to 10 percent ofour membership each year.

- Step one: Find a resource from which we can grow—our local chapters. ATOS has established a membership committee

chaired by John Apple with members JohnMcCall, Tom Garver, and Bucky Reddish. Thiscommittee will reach out to the “associatemembers” of local chapters and invite thesemembers to become regular members ofATOS. The first chapters approached wereManasota, Garden State, Atlanta, Motor City,Dairyland, and Orange County. Our hope isthat we can recruit ten to 15 percent of theseassociate members.

- ATOS welcomed a new chapter, FirstState, and was happy to reinstate theBluegrass chapter this year.

• What does ATOS do for local chapters?This has long been a nagging question.

- Since the fall of 2006 I have met personallywith 30 chapters, either through officers andboard or with members at large. I havereminded them of the programs and benefits(ASCAP/BMI umbrella, etc.) and havehighlighted new initiatives like Theatre OrganRadio.

- I have listened to the concerns of thelocal chapters and brought them to ourStrategic Planning Committee. We found thatour local chapters want help with increasingmembership, marketing their presentationsand, therefore, increasing concert atten-dance.

- The Chapter Leadership Workshop andthe Technical Seminar were presented inresponse to some of the survey results.

• The ATOS touring show- To gain public exposure, ATOS must be

visible to the public.- One effort in this regard is the ATOS touring

show. The first show at the Riviera Theater hadboth good and bad results. Artistically, theshow was a success. Financially, the show wasnot so successful. The show, however, was alearning experience for all of us. The show ispatterned after the Rialtofest and featuresmultiple keyboard performances, an orches-tra, and possibly a vocal group. Possible line-up for shows—San Gabriel, Fergus Falls,Starksville (Meridian), Mississippi, Jersey City,Cincinnati, and PPAC in Providence, RhodeIsland. We are also investigating the conceptof featuring headline acts with the theatreorgan. Ray Compton, an experiencedpromoter, is helping to develop this concept.More to come.

• The internet, ATOS’ gateway to the world- Absolutely nothing fuels growth like the

internet.- While some of us still dial 411 and read the

morning paper, the rest of the world goesonline.

- Through the efforts of Steve Worthingtonand Tom Blackwell, ATOS radio is now on-line.Theatre Organ Radio is a hit. Listeners in 60countries have logged thousands of hourslistening to our beloved Wurlitzers, Mortons,Christies, etc.

- Our first sponsor, Organ Stop Pizza, hasbeen signed. More to come.

- ATOS Theatre Organ Radio is a potentialprofit center and great promotional vehicle.

• ATOS on television

- ATOS is entering into a national part-nership with Turner Classic Movies.

- We will take “baby steps” at first andgradually take part in special events.

- Through Genevieve MacGillicuddy,Director of Special Events for Turner ClassicMovies, we will present a silent film at theAtlanta Fox. Robert Osborne will be the host,and Clark Wilson will provide the musicalaccompaniment. Our eventual goal is topresent “live on tape” a silent film presen-tation with the organ.

- We also will establish a web link with TurnerClassic Movies. Their website receives over200,000 hits a week. With all this web activity,ATOS will receive some attention.

• New initiatives- How can we help our new players?- How can we provide teachers and

lessons for aspiring theatre organists?- Allen Organ Company and ATOS are

forming a partnership to produce “JohnFerguson and Friends,” a DVD series of lessons.The costs of production—cameras, recording,editing, and graphics—will be covered by theAllen Organ Company and its facilities inplace at Octave Hall. That alone saves ATOS$25,000–$30,000 and could make this venturea win-win for everyone.

- Production will begin this coming fall. Thelessons will cover beginning, intermediate,and advanced levels.

- A long-term goal is to provide on-lineinteractive question-and-answer sessions forpurchasers of the series.

• Conventions- Recall Tampa and New York City. These

conventions had no chapter connection andwere produced by ATOS.

- We have an impressive lineup goingforward with Atlanta awaiting chapter boardapproval.

- 2010, Seattle.- 2011, Massachusetts and Rhode Island.- 2012, Los Angeles/Orange County.- 2013 (Tentative), Atlanta.- We are trying to remain four years ahead

in planning annual conventions.• Higher education initiatives- Activities at the University of Oklahoma

(see latest edition of journal): John Schwandt,John Riester, and Bob Wilhelm are heading upactivities at the American Organ Institute

- The University of Michigan and EastmanSchool of Music are seriously considering theinclusion of theatre organ studies in theirprograms.

- Mary Strauss, owner of the St. Louis Fox,has instituted a scholarship program for youngtheatre organists in the name of Stan Kann.

• Fundraising- The officers, board, and staff of ATOS are

accountable to the membership. - We should be good stewards of ATOS

funds.- Financial Review Committee chaired

by Don Near reviewed the accounting pro-cedures used for ATOS finances. Theycompleted the task and found that the


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procedures used by the ATOS treasurerdemonstrate sound financial practices.

- In 2010 ATOS will go through a full financialaudit. This is long overdue and will benecessary for granting foundations andorganizations to take ATOS grant applicationsseriously.

- The fundraising plan is as follows:Phase I: Initiation of an annual fundraising

drive. The first effort brought in $23,000. Phase II: The “quiet campaign.” This

phase involves estate planning. We will helpthose who wish plan their bequests to includeATOS.

- There is no reason why we should not beconsidering an endowment figure that willenable us to help fund chapter projects on aserious level.

• Program underwriting- Fundraising will substantially offset ATOS

budget expenses.- Theatre Organ Radio sponsorships can be

a profit center.- The Adult Getaway will pay for itself.- The Technical Experience has received a

first donation of $1,000.- The George Wright Memorial Fellowship

and other educational programs can befunded with grants.

- The Summer Youth Camp is alreadypartially underwritten by donations.

We have a great advantage over someother non-profit organizations. Our uniquelyAmerican creation—the theatre pipeorgan—allows us to tell a great story to thoseorganizations that fund the arts. We are the“new kid on the block” with a lot to offer.

New business:Questions and comments from the

membership:Steve Brown (Bluegrass): Asked if anyone

knew if the VHS tape Movie Palaces, pro-duced by the Smithsonian, would be made

available on DVD. He also asked whether theWurlitzer Factory Tour VHS tape is available onDVD. Several members stated that theFactory Tour was available on DVD.

Wayne Zimmerman (Delaware Valley)commented positively on the conventionvenues.

Tom Rathburn (Western Reserve TheatreOrgan Society) made some conventionannouncements.

Bob Legon (Eastern Massachusetts) com-mented positively on the convention andmentioned the organs in the New Englandarea.

Peter Rushton (UK) suggested coordinationof dates between ATOS and other organ-related conventions. Those coming greatdistances could benefit from back-to-backconventions.

Ken Krause (Eastern Massachusetts) ex-plained that this was his first convention. Kenalso asked why more events were not opento the general public. President/CEO Doubleexplained that rentals for most venuesincrease sharply when the general public isallowed to attend.

Motion: Richard Neidich; second, RussShaner (Buffalo Area chapter) that all com-mittees of the ATOS shall provide twiceannually a report to the membership byposting their reports on the ATOS website. Thereports are to include accomplishments,status of current activities, and a forecast ofactions for the next six months.

Also, the ATOS treasurer shall post semi-annually a current budget-versus-expensestatus report, as well as an annual net worthand audited financial report for ATOS on theATOS website.

Chairman of the board Hartley stated thatthis motion would be taken under advisementand placed on the agenda of the next ATOSannual membership meeting.

Good of the order: Hearing no otherquestions or comments Chairman Hartleyasked for a motion to adjourn.

Motion: to adjourn. Al Haker (St. Louis);Jonathan Gradin (Spokane First Nazarene)(Carried: Unanimous)

Chairman of the board Hartley adjournedthe meeting at 10:24am.

/s/ Bob Evans, SecretaryNote: The meeting was conducted using

Robert’s Rules of Order. Jeff Weiler,Parliamentarian

AT T E N T I O N A L L T H E AT R E O R G A N I S T S !

The ATOS website has information about all performing theatreorganists, including a biography, publicity photo, and contactinformation (name, address, phone, e-mail, website). Having thisinformation available to concert promoters, program directors, andchapters will help them, and will give you added visibility. Pleasesend all information to [email protected] or to Donna Parker, P.O.Box 6103, Aloha, Oregon 97007. E-mail or call with questions(503-642-7009).

AT O S E D U C AT O R S ’G U I D E S A R E AVA I L A B L E

The ATOS Educators’ Guides are in two editions. The chapteredition is for use by ATOS chapters; it gives chapter membersstep-by-step guidelines to help them prepare and present asuccessful theatre organ program to students in their area. Theschool edition is for the use of educators as they prepare theirstudents to attend a theatre organ program. Both guides mustbe used together when presenting a theatre organprogram to students.

The ATOS Educators’ Guides may be downloaded fromwww.atos.org or purchased from the ATOS Marketplace.



We strive for accuracy; however, the informationcontained in Around the Circuit is presented assubmitted. ATOS is not responsible for errorsresulting from unreported changes to schedules,venue, and contact information.

ALASKAState Office Building—333 Willoughby Avenue,Juneau, 907-465-5689 (2/8K). Organ concertsFriday at 12:00 noon. www.pstos.org/instruments/ak/juneau/state-bldg.htm

ARIZONAOrgan Stop Pizza—1149 East Southern Avenue,Mesa, 480-813-5700 (4/74W). Winter organ hours:Sunday through Thursday, 4:30pm to 9:00pm;Friday and Saturday, 4:30pm to 10:00pm.Summer organ hours: Sunday through Thursday,5:30pm to 9:00pm; Friday and Saturday, 5:30pmto 10:00pm. Charlie Balogh, Lew Williams.www.organstoppizza.com

Orpheum Theatre—203 West Adams, Phoenix,480-460-7699 (3/30W). Silent Sundays Film Series.Pre-show concerts 2:30–3:30pm. Concerts andfilm accompaniments are provided by RonRhode. www.silentsundays.info

CALIFORNIA (NORTH)Berkeley Community Theatre—1930 Alston Way,Berkeley, 510-644-2707 (4/42W). All shows2:30pm. November 1, Scott Harrison (organ) andMark Page (piano).www.theatreorgans.com/norcall

Bob Hope Theatre (Former Fox California)—242Main Street, Stockton, 209-337-4673 (4/21RM).Organ played monthly for classic and silentmovies, special occasions, and public tours.

California Automobile Museum—2200 FrontStreet, Sacramento, 916-442-6802 (3/16W).Formerly Towe Auto Museum. Sunday concerts,Friday night silent films.www.SierraChapterATOS.org

Castro Theatre—429 Castro, San Francisco, 415-621-6120 (4/21W). Intermissions playednightly by David Hegarty, Warren Lubich.

Fox Theatre—308 West Main Street, Visalia, 559-625-1369 (4/24W). Thirty-minute organprelude, with guest organist, to frequent classicmovies. www.foxvisalia.org

Grand Lake Theatre—3200 Grand Avenue,Oakland, 510-452-3556 (3/18W). Intermissions:Friday, Warren Lubich; Saturday, Kevin King.

Harmony Wynelands—9291 East Harney Lane,Lodi, 209-369-4184 (3/15RM). Tasting room openFriday, Saturday, and Sunday, 11:00am to5:00pm, or by appointment. Bob Hartzell, liveand recorded performances.www.harmonywynelands.com

Johnson’s Alexander Valley Winery—8333Highway 128, Healdsburg, 707-433-2319(3/10RM). Daily, in tasting room, from 10:00am to5:00pm.

Paramount Theatre—2025 Broadway, Oakland,510-465-6400 (4/27W). Public tours on first and thirdSaturdays at 10:00am. Movie overtures, Thursdaysat 6:30pm.www.paramounttheatre.com

Stanford Theatre—221 University Avenue, PaloAlto, 650-324-3700 (3/21W). Organ played beforeand after the 7:30pm movie by David Hegarty,Jerry Nagano, or Bill Taylor. Call ahead to verifythe theatre is open for the evening.

CALIFORNIA (SOUTH)Avalon Casino Theatre—One Casino Way,Catalina Island, 310-510-2414 (4/16P). Friday andSaturday, 6:15pm, pre-show concert, John Tusak.www.visitcatalina.org

El Capitan Theatre—6838 Hollywood Boulevard,Los Angeles, 800-DISNEY6 (4/37W). Organ playeddaily before shows. House Organist: RobRichards. Staff Organists: John Ledwon, EdVodicka, and Ty Woodward.www.elcapitantickets.com

Nethercutt Collection—15200 Bledsoe Street,Sylmar, 818-364-6464 (4/74W). Christmas ConcertSeries. Friday, December 4, 8:00pm, and Satur-day, December 5, 2:00pm and 8:00pm, 2009Organist of the Year Chris Elliot; December 11,8:00pm, and December 12, 2:00pm and 8:00pm,Rob Richards and Alex Zsolt. Free admission;please call for reservations.www.nethercuttcollection.org

Plummer Auditorium—201 East Chapman Ave-nue, Fullerton, 714-870-2813 (4/28W). January 10,2010, 2:30pm, Organist and band leader DeanMora brings Mora’s Men of Music for a programof swing era music performed by band andorgan; April 18, 2:30pm, Donnie Rankin, 2006ATOS Young Theatre Organist, performs anafternoon of music with a youthful flair; June 20,2:30pm, Robert Israel accompanies the newrestoration of Buster Keaton’s The General.www.octos.org

Orpheum Theatre—842 South Broadway, LosAngeles, 310-329-1455 (3/14W). Saturday,11:30am; organ is featured as part of the guidedtour of theatre. www.laorpheum.com

COLORADODenver Paramount Theatre—Glenarm & 16thStreet Mall, Denver, 303-466-3330 (4/20W). Allevents are at 2:00pm. January 17, 2010, Pipesand Stripes IV, Wurlitzer and Colorado 101st ArmyBand; public welcome at no charge; March 7,Wurlitzer and Wiz Kids, Martin Ellis and ColoradoChildren’s Chorale, adults $12, students $6.www.rmcatos.org

Holiday Hills Ballroom—2000 West 92nd Avenue,Federal Heights, 303-466-3330 (4/33 GW4Q). Allevents at 2:00pm. November 22, Got Gospel? EdWagner, Bev Bucci, and others; February 7, 2010,Never on Sunday, AGO organists. Members, nocharge, others $5. www.rmcatos.org

CONNECTICUTThomaston Opera House—158 Main Street,Thomaston, 860-283-6250 (3/15MC). Organconcert Saturday, November 28, 2:00 pm, JohnLauter. www.thomastonoperahouse.org

DELAWAREDickinson High School—1801 Milltown Road,Wilmington, 302-995-2603 (3/66K). All concerts at7:00pm unless otherwise noted. November 21,Jerry Nagano; January 30, 2010, DaveWickerham; March 13, Simon Gledhill; April 6,10:00am, concert and silent short with WayneZimmerman; April 24, Steven Ball; June 12, LewWilliams; July 17, Rich Lewis. www.dtoskimball.org

FLORIDAPolk Theatre—127 South Florida Avenue,Lakeland, 863-682-7553 (3/12RM). Movieovertures: Friday and Saturday, 7:15pm; Sunday,1:45pm. Bob Courtney, Sandy Hobbis, and HeidiLenker.

Roaring 20’s Pizza and Pipes—6750 US Highway301, Ellenton, 941-723-1733 (4/41W). Sundaythrough Thursday evenings: open 4:30pm to9:00pm; organ performance: 5:00pm to 9:00pm.Friday and Saturday evenings: open 4:30pm to10:00pm; organ performance: 5:00pm to10:00pm. Saturday and Sunday afternoons:open 12:00 noon to 2:30pm; organperformance: 12:30pm to 2:30pm. Wednesday,Friday, Saturday afternoons, Sunday evenings,and alternating Mondays: Dwight Thomas.Tuesday, Thursday, Saturday evenings, Sundayafternoons, and alternating Mondays: Bill Vlasak.www.roaring20spizza.com

Tampa Theatre—711 Franklin Street, Tampa, 813-274-8981 (3/14W). Movie overtures: Bob Baker, BillBrusick, Bob Courtney, Sandy Hobbis, RichardFrank, and Bob Logan. www.tampatheatre.org

GEORGIAEarl Smith Strand Theatre—117 North Park Square,Marietta, 770-293-0080 (Allen 317EX). Pre-showsfor movies and other events by Strand organistsRon Carter, Rick McGee, Larry Davis, Phillip Allen,and James Thrower.

Fox Theatre—600 Peachtree Street NE, Atlanta,404-881-2119 (4/42M). Larry Douglas Emburyplays before each show. www.foxtheatre.org

Rylander Theatre—310 West Lamar Street,Americus, 229-931-0001 (3/11M). Organ featuredfor pre-show productions of the Sumter Playersand other events. www.rylander.org

HAWAIIPalace Theatre—38 Haili, Hilo, 808-934-7010(4/13RM). Hawaiiana show every Wednesday,occasional silent movies, concerts and specialevents featuring the organ. Bob Alder, TommyStark and Dwight Beacham. www.palacehilo.org

ILLINOISArcada Theatre—105 East Main Street, St. Charles, 630-845-8900 (3/16GMC). Organinterludes Friday and Saturday nights. www.onestientertainment.com/arcada/arcada.htm

Beggar’s Pizza—3524 Ridge Road, Lansing, 708-418-3500 (3/17B/H). Tuesday and Saturday6:00pm to 9:00pm: Glenn Tallar. www.beggarspizza.com/location-il-lansing.html

Theatre Organ Programs and Performances


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Lincoln Theatre—103 East Main Street, Belleville,618-233-0018 (3/15H). Movie overtures: Friday,David Stephens; Saturday, volunteers.www.lincolntheatre-belleville.com

Rialto Square Theatre—102 North Chicago Street,Joliet, 815-726-6600 (4/27H). Organ pre-showsand intermissions: Jim Patak or Sam Yacono.Theatre tours with Jim Patak at the console.

Tivoli Theatre—5021 Highland Avenue, DownersGrove, 630-968-0219 (3/10W). Theatre organinterludes every Friday and Saturday, 6:30pmand 9:00pm. www.classiccinemas.com/history/tivoli.asp and www.classiccinemas.com/specialevents/theatreindex.asp?theatre=3

Virginia Theatre—203 West Park Street,Champaign, 217-356-9063 (2/8W). Organ playedprior to monthly film series, Champaign-UrbanaTheatre Company performances, and manyother live shows throughout the year. WarrenYork, organist. www.thevirginia.org

IOWAOrpheum Theatre—520 Pierce Street, Sioux City,712-258-9164 (3/21W). Occasional pre-shows,special events, and concerts. www.orpheumlive.com

MASSACHUSETTSKnight Auditorium, Babson College—WellesleyAvenue, Wellesley, 508-674-0276 (4/18W).November 21, 7:30pm, A Double Bill with KenDouble at the organ and singing vocals of yourfavorite tunes; January 9, 2010, 2:30pm, YoungOrganist Concert with ATOS competition winnerDonnie Rankin. Come see the future of theatreorgan as this talented young man plays themusic you love. www.emcatos.org

The Shanklin Music Hall—130 Sandy Pond Road,Groton, 508-674-0276 (4/34W). November 22,2:30pm, A Double Bill with Ken Double at theorgan and singing vocals of your favorite tunes.www.emcatos.org

MICHIGANFox Theatre—2211 Woodward Avenue, Detroit,313-471-3200 (4/36W and 3/12M). Lobby organplayed for 45 minutes prior to selected shows.Call theatre for dates and times.

Michigan Theatre—603 East Liberty, Ann Arbor,734-668-8397 (3/13B). Daily overtures beforeevening films, plus silent films for specialoccasions. Dr. Henry Aldridge, Director; Dr. SteveBall, Staff Organist; Stephen Warner, NewtonBates, Fr. Andrew Rogers, Emily Seward.www.michtheater.org.

The Mole Hole—150 West Michigan Avenue,Marshall, 616-781-5923 (2/6 B/K). Organ daily,Scott Smith, recorded artist.

Public Museum of Grand Rapids Meijer Theatre—272 Pearl Street NW, Grand Rapids, 616-459-4253(3/30W). Tours by appointment, and ATOS guestswelcome to hear organ weekly at noon onThursdays. Story time slide program during schoolyear. Organ played on Sundays, 1:00pm to3:00pm.

Redford Theatre—17360 Lahser Road, Detroit,313-537-2560 (3/10B). Movie overtures, Fridays at7:30pm, Saturdays at 1:30pm and 7:30pm. Guestorganists include Steve Ball, Newton Bates, DaveCalendine, Jennifer Candea, Brian Carmody, GilFrancis, John Lauter, Lance Luce, Tony O’Brien,Fr. Andrew Rogers, Emily Seward.www.redfordtheatre.com

Senate Theatre—6424 Michigan Avenue, Detroit,313-894-0850 (4/34W). All concerts start at 3:00pm.November 15, John Lauter; December 6, LanceLuce. www.dtos.org

Temple Theatre—203 North Washington,Saginaw, 989-754-7469 (3/11W). November 8,3:00pm, Mark Herman in concert.www.templetheatre.com

MINNESOTAHeights Theatre—3951 Central Avenue NE,Columbia Heights, 763-789-4992 (4/11W). Movieovertures every Friday and Saturday.

MISSOURICity Museum—701 North 15th Street, St. Louis,314-231-2489 (3/17W). Organ heard every daythe museum is open, via computerized relay orby organists from St. Louis Theatre Organ Society.www.citymuseum.org

Fox Theatre—527 Grand Boulevard North, St. Louis, 314-534-1678 (4/36W). Tours of the FoxTheatre conducted every Tuesday, Thursday andSaturday (except holidays) at 10:30am. Tuesdaytour: $5 for adults and $3 for children (12 andunder). Thursday and Saturday tours: $8 for adultsand $3 for children. For parties of less than 20, noreservations are needed. www.fabulousfox.com

NEW JERSEYBroadway Theatre—43 South Broadway, Pitman,856-589-7519 (3/8K). Organ played before mostmovies and all stage shows. Harold Ware, JohnBreslin, Nathan Figlio, Janet Norcross, BobNichols.

Loew’s Jersey Theatre—54 Journal Square, JerseyCity, 732-741-4045 (4/23RM). November 22,3:00pm, Greg Owen plays an 80th anniversarycelebration of the organ and theatre. An all-request musical program of popular standards.www.gstos.org and www.loewsjersey.org

The Music Hall at Northlandz—Route 202 South,Flemington, 908-982-4022 (5/39W). Organ playedseveral times daily; call for exact times. BruceConway, Harry Ley, Bruce Williams.

Newton Theatre—234 Spring Street, Newton, 973-579-9993 (2/4E). Friday evening intermissions,John Baratta.

NEW YORKAuditorium Theatre—885 East Main Street,Rochester, 585-234-2295 (4/23W). November 22,2:30pm, Danny Ray; December 19, 7:30pm,Christmas program, Tim Schramm; January 24,2010, 2:30pm, Ralph Ringstead.www.theatreorgans.com/rochestr

Lafayette Theatre—Lafayette Avenue, Suffern,845-369-8234 (2/11W). Saturday, 11:00am, EarleSeeley. Saturday evenings and Sunday beforematinee: John Baratta, Earle Seeley and JeffBarker.

Middletown Paramount Theatre—19 South Street,Middletown, 845-346-4195 (3/12W). Pre-showmusic, concerts and silent films presented by theNew York chapter of ATOS and the MiddletownParamount Theatre. www.nytos.org

Proctor’s Theatre—432 State Street, Schenectady,518-346-8204 (3/18W). Noon concert series,Tuesdays, unless stated otherwise.www.proctors.org

NORTH CAROLINACarolina Theatre—310 South Green Street,Greensboro, 336-333-2600 (3/6H-Electronic).Organ played before and after the CarolinaClassic Film Series. www.carolinatheatre.com

NORTH DAKOTAFargo Theatre—314 North Broadway, Fargo, 701-239-8385 (4/21W). Organ plays Friday,Saturday, and Sunday evenings, before andbetween performances. Short organ concerts:Lance Johnson, Steve Eneboe and TylerEngberg. www.fargotheatre.org

OHIOCollingwood Arts Center—2413 CollingwoodAvenue, Toledo, 419-389-9334 (3/8H). Organoften featured for pre-show music. Houseorganists: Paul Jacyk, Emily Seward, BrianBogdanowitz, George Krejci, and Dick Lee.www.collingwoodartscenter.org

The Historic Ohio Theatre—3114 Lagrange Street,Toledo, 419-241-6785 (4/11H). Organ pre-show formovies (6:30pm to 7:00pm).

Masonic Auditorium and Performing ArtsCenter—3615 Euclid Avenue, Cleveland, 216-432-2370 (4/28W). Organ is currently beinginstalled by WRTOS, Inc.www.aasrcleveland.org/tour/aud1-ljpg.htm

Ohio Theatre—55 East State Street, Columbus,614-469-1045 (4/34RM). Organ overtures andintermissions. www.capa.com

Palace Theatre—605 Market Avenue North,Canton, 330-454-9181 (3/12Kilgen). Frequent pre-show and intermission use; occasional concerts.www.cantonpalacetheatre.org

Palace Theatre—Cleveland’s Playhouse Square,1615 Euclid Avenue, Cleveland, 216-771-1771(3/15K). Organ pre-shows for summer film seriesand special events. www.playhousesquare.org

Palace Theatre—617 Broadway, Lorain, 440-245-2323 (3/10W). Occasional pre-show andintermission use, and special events.www.lorainpalace.org

Palace Theatre—276 West Center Street, Marion,740-383-2101 (3/10W). Occasional pre-show andspecial events. www.marionpalace.org

Renaissance Theatre—138 Park Avenue,Mansfield, 419-522-2726 (3/20W). Frequent use,including free summer concert series.www.culture.ohio.gov/project.asp?proj=renaissance

The deadline for receiving Around the Circuit listings is the 10th of every odd-numbered month. Send information for inclusion to: Dave Luttinen, 4710 225thPlace SW, Mountlake Terrace, Washington 98043, 206-963-3283, [email protected] may also be added, modified, or cancelled on the ATOS Calendar ofEvents web page (www.atos.org/calendar).

Codes used in listing: A=Austin, B=Barton, C=Compton,CHR=Christie, E=Estey, GB=Griffith Beach, H=Hybrid, K=Kimball,M=Möller, MC=Marr and Colton, P=Page RM=Robert-Morton,W=Wurlitzer. Example: (4/19W) = 4-manual, 19-rank Wurlitzer

Schedules subject to change.



OKLAHOMATulsa Technology Center, Broken ArrowCampus—129th East Avenue (Olive Street) and111th Street (Florence Street), Broken Arrow,918-355-1562 (3/13RM). May 21, 2010, 7:00pm,Dennis James performing. Free admission.Sooner State Chapter ATOS, 3rd Friday of eachmonth, programs and open console.www.theatreorgans.com/SoonerStateATOS

OREGONBijou Theatre—1624 NE Highway 101, LincolnCity, 541-994-8255 (Electronic). Silent film serieson Wednesdays at 1:00pm.www.cinemalovers.com

Elsinore Theatre—170 High Street SE, Salem, 503-375-3574 (3/25W). Silent film programs Wed-nesdays at 7:00pm. Rick Parks, organist.www.elsinoretheatre.com

PENNSYLVANIABlackwood Estate—Blackwood Lane, Harrisville,724-735-2813 (3/20W-H). Private residence nearPittsburgh hosts several concerts; proceedsbenefit charities and scholarship recipients.www.blackwoodmusic.org

Keystone Oaks High School—1000 KeltonAvenue, Dormont, 724-446-9744 (3/19W). Allshows start at 7:30pm, with doors opening at6:45pm unless otherwise noted; advancetickets $12, at the door $15 unless otherwisenoted. December 19, Jelani Eddington;February 6, 2010, 2:00pm, Theatre Organ fromRagtime to Swing with Martin Spitznagle at theorgan, Bryan Wright on piano, and BoilermakerJazz Band; March 27, Dennis Jamesaccompanies The Yankee Clipper; May 1, KenDouble and the Steel City HarmonizersBarbershop Chorus; September 4, HectorOlivera, tickets $20.http://mysite.verizon.net/patos.wurlitzer/

Roxy Theatre—2004 Main Street, Northampton,610-262-7699 (2/6W). Organ is played 6:30pmto 7:00pm and intermissions. Henry Thomas.www.Roxytheaternorthampton.com

TENNESSEETennessee Theatre—604 South Gay Street,Knoxville, 865-684-1200 (3/16W). Organ playedbefore movies throughout the year and at freeFirst Monday concerts, the first Monday of everymonth at 12:00 noon. Subject to cancellationdue to other scheduled events.www.tennesseetheatre.com

UTAHPeery’s Egyptian Theatre—2415 WashingtonBoulevard, Ogden, 801-395-3200 (3/24W). Silentfilms; entrance and exit music at some otherprograms. www.peerysegyptiantheater.com

VIRGINIAByrd Theatre—2908 West Carey, Richmond, 804-353-9911 (4/17W). Overtures Saturdays at7:15pm and 9:30pm, Bob Gulledge.www.byrdtheatre.com

WASHINGTONLincoln Theatre—712 South 1st Street, Mt.Vernon, 360-419-7129 (2/7W). Originalinstallation organ played one-half hour prior tomovies most Fridays through Tuesdays.www.lincolntheater.org

Mt. Baker Theatre—106 North Commercial,Bellingham (2/14W). Second Sunday monthly,2:00pm, open console.

Paramount Theatre—911 Pine Street, Seattle,206-467-5510 (4/20W). All shows start at 7:00pm.Pre-show organ performance at 6:30pm. JimRiggs, organist. November 2, 20,000 LeaguesUnder the Sea; November 9, Adventures ofPrince Achmed; November 16, The Lost World.www.theparamount.com

WISCONSINHermes Basement Bijou—Racine, 262-639-1322(5/35W). For tour information, contact Eileen atRacine County Convention Bureau, 262-884-6407, or Fred Hermes for appointment. Openconsole on weekends.

Organ Piper Music Palace—4353 South 108thStreet, Greenfield (Milwaukee), 414-529-1177(3/27H). Organ hours: Tuesday, 5:30pm to9:00pm; Wednesday, 5:30pm to 10:00pm withlive band; Thursday, 5:30pm to 9:00pm; Friday,5:00pm to 9:45pm; Saturday, 12:30pm to9:45pm; Sunday, 12:30pm to 8:45pm. RonReseigh, Ralph Conn, and Dean Rosko.

AUSTRALIACapri Theatre—141 Goodwood Road,Goodwood SA, +61-8-8272-1177 (4/29W). Allconcerts at 2:00pm. November 22, RyanHeggie and John Giacchi, ATOS Young TheatreOrganists, brought together to present Beyondthe Blues. theatreorgansociety.capri.org.au

Dendy Cinema—26 Church Street, Brighton,VIC, (03) 9789 1455 (3/15W). Organ before films,Saturday evenings.

Karrinyup Center—Perth, WA (61) 9447-9837(3/21W). All concerts on Sundays at 2:00pm.

Orpheum Theatre—380 Military Road,Cremorne, NSW, (02) 9908-4344 (3/15W).Saturday night, Sunday afternoon, intermissions,Neil Jensen.

UNITED KINGDOMCivic Hall—North Street, Wolverhampton, WestMidlands 011-44-0-1902-552121 (4/44C). Fridayconcerts 12:00 noon to 12:30pm before the teadance. Steve Tovey or Cameron Lloyd.Concerts Saturdays at 2:00pm.http://geocities.com/comptonplus/civic_hall.html

Fentham Hall—Marsh Lane, Hampton-in-Arden,Solihull, 011-44-0-1564-794778 (3/11C). All con-certs on Sundays at 3:00pm. www.cos-centralandwales.co.uk

New Victoria Centre—High Street, Howden-le-Wear, Crook, County Durham, 44-1388-766243(3/18W). Concerts on Saturdays at 7:00pm andSundays at 2:30pm. 14 November, Robert Sudall;15 November, Robert Sudall; 19 December, IainFlitcroft; 20 December, Iain Flitcroft.www.netoa.org.uk

Ossett Town Hall—Market Place, Ossett,Wakefield, West Yorkshire, 44-0-1132-705885(3/13 Compton/Christie). All concerts on Sun-days at 2:30pm, with doors opening at 2:00pm.1 November, Willie Stephenson; 6 December,Keith Beckingham. www.cinema-organs.org.uk

Rye College—Love Lane, Rye, East Sussex, 44-0-1424-444058 (2/6W). All concerts on Sundays at2:30pm. 15 November, David Warner andRobert Gurney; 6 December, David Ivory.www.geocities.com/ryewurlitzer

Stockport Town Hall—Edward Street, Stock-port, Cheshire, +44-161-427-2180 (4/20W). 2 November, 12:00 noon, Kevin Morgan; 29 November, 2:30pm, Len Rawle.www.ltot.org.uk

Theatre Organ Heritage Centre and Hope-Jones Museum—Alexandra Road, Peel Green,Eccles, Manchester (2/6W). Lunchtimeconcerts Wednesday every week, 1:00pm. www.voxlancastria.org.uk/heritage

Victoria Hall—Victoria Road, Saltaire, WestYorkshire, 44-1274-589939 (3/11W). All concertsat 2:30pm unless otherwise noted. 8 November,David Shepherd; 20 December, Richard Hillsand school choir. www.cosnorth.co.uk andwww.cinema-organs.org.uk

Theatre Organ Programs and Performances


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Wallace W. BaumannNoted theatre historian, philanthropist,

organ enthusiast, and long-time memberof the American Theatre Organ Society,Wallace Woodruff Baumann of Knoxville,Tennessee, died recently following elec-tive surgery.

A major figure in the restoration ofboth the historic Tennessee Threatre andits three-manual Wurlitzer, Wallacesupported the preservation of all thingsconcerning the “Golden Era.”

Blessed with the memory of anelephant, he was able to quote the stagedimensions of almost any house of meritin the country, along with its history, bothoriginal and recent, right down to thedetails of the organ, if any.

At age 84, Wallace was lively andactive, serving on the boards of theHistoric Tennessee Theatre Foundation,the Tennessee Theatre Endowment Fund,and the Knoxville Symphony Orchestra,right up to the day he entered the hospital.Known as a shy and retiring person ingeneral, he fought long and hard to returnthe Tennessee Theatre to its original glory,with no compromises allowed. When itwas thought that the vertical sign whichhad been removed many years earlierwould have to be eliminated fromconsideration in the restoration, Wallacesaw to it that the sign was replaced exactlyas originally designed.

He carried his love of the past into aremarkable wealth of knowledge concern-ing the history of Knoxville and the EastTennessee area, his grandfather havingestablished a major department store inthe city and his father being a principal inthe architectural firm responsible formany of the largest buildings and privatehomes in the area.

As the pastor of the First PresbyterianChurch said in his remarks at Wallace’smemorial service, “Everything was finewith Wallace…as long as it remained as itwas 50 years ago!”

He will be sorely missed by thecommunity, the arts, and humanity.

—Breck H. Camp

Ted EarleyTheodore L. Earley passed away,

unexpectedly, late in the evening onFebruary 28, 2009 in Santa Barbara,California at age 78. Ted was born April 28,1930, to Lester Willard Earley andElizabeth Warren (Boring) Earley in SantaMonica. He attended Monrovia-Arcadia-Duarte High School and OccidentalCollege then served four years in the AirForce. After leaving the service, hegraduated in 1956 with a degree inbusiness from UCLA. He worked anumber of years as a station manager forPan American Airways in the UnitedStates and in several foreign locations. Helater worked in Thailand and Vietnam forL.T.V., Inc. and Flying Tiger Line, Inc. Hethen went to work in Saudi Arabia forParsons/Daniel JV and Bechtel, finallyfinishing his career with the Saudi AirportMinistry. His work took him to places allover the world, and he often said, “I neverworked a day in my life because I enjoyedwhat I did so much, it didn’t seem likework.” He and his mother, Bess Earley,moved from Monrovia to Goleta,California in 1995.

Ted loved playing the piano and theorgan and was happy to entertain when-ever he was asked. His interest in theorgan and piano began at an early age;while in high school, when he heard thatthe Monrovia Lyric Theatre was going tosell its pipe organ, he went to bat to getthe organ installed in the MAD HighSchool auditorium. Ted, with the help ofJut Williams, led a campaign to convincethe school board to buy and install theorgan. The joy was, of course, that Ted gotto play that organ often during his highschool years.

While living in Portland, Oregon, in1958, Ted played matinees at theParamount Theatre and truly enjoyedevery minute of it. Ted often participatedin the Santa Barbara Theatre OrganSociety’s open console opportunities andenjoyed playing the Arlington Theatreorgan; he also offered his services in themaintenance of that instrument.

Ted at the Portland Paramount, 1958

Ted in 2009

Robert Mitchell

Bob Mitchell (1912–2009), an organistwho was the first such house musician atDodger Stadium, has died. He was 96.Mitchell died from congestive heartfailure at Hancock Park RehabilitationCenter in Los Angeles, said his caregiver,Vincent Morton.

When the Dodgers debuted in 1962 attheir stadium in Chavez Ravine, so did



Mitchell at a Wurlitzer electronic organ. Atthe time, he was best known as founder anddirector of a group often called the RobertMitchell Boys Choir, which would appear inmore than 100 movies.

His career as choir director was framedby two stints as a silent-movie organist,played out more than 60 years apart. One ofhis last performances was in early June atthe Silent Movie Theatre on Fairfax Avenue,where he was first featured in 1992.

He helped create “a true revival ofcinema on the highest level,” said CharlieLustman, who owned the theater from 1999to 2006. “That you could walk into a classictheater and see a classic movie accom-panied by a man who had done it way backwhen…”

On Christmas Day 1924, Mitchell waspracticing carols on the organ at the StrandTheater in Pasadena when the lights wentdown and a movie about the Yukon went up.The 12-year-old kept playing, improvisinga soundtrack. Soon he was accompanyingmatinee shows five times a week.

He played for films such as the romanticwartime drama What Price Glory, theaction-adventure Beau Geste, and the FritzLang futuristic fantasy Metropolis.

With the arrival of talkies and Al Jolsonin the 1927 film The Jazz Singer, Mitchell’sfirst silent-movie career ended when he was16.

“My father said, ‘I see they are going tohave sound’ in the movies, Mitchell toldCBS News in 2005.”And I said, ‘Oh, thatwill never catch on.’ But, of course, it endedthe organist right away.”

After being hired in 1934 as the organistat St. Brendan’s Catholic Church in LosAngeles, he organized a boys’ choir that heoversaw for 66 years. In the early days, thechoir sang at Catholic Masses that aired onthe radio. The singers were cast in their first film, 1936’s That Girl from Paris, afterthe casting director heard one suchperformance.

The group—also known as the MitchellSinging Boys—sang “Ave Maria” with BingCrosby in the 1944 film Going My Way andwas conducted on-screen by Cary Grant in1947’s The Bishop’s Wife. Mitchell appearedon screen with the ensemble in 1941’sBlondie in Society.

The choir was also the subject of a 1941short film, Forty Boys and a Song, that wasnominated for an Academy Award.

Because some choir members were poor,Mitchell poured most of the money heearned back into the endeavor, CBSreported in 2005. He set up a privateschool, paid for braces, and sometimes evencollege.

Over the decades, more than 600 boysbetween the ages of about 8 and 16 passedthrough the choir. Alumni include membersof the Lettermen, the Modernaires and theSandpipers, said Morton, a 1946 choirmember who returned 10 years ago to carefor Mitchell.

A Los Angeles native, Robert BostwickMitchell was born October 12, 1912, toRobert Mitchell and the former FlorenceBostwick. His father was mayor of SierraMadre from 1918 to 1924 and his motherwas a schoolteacher and musician.

At 4, Mitchell started taking pianolessons and by 10 he was studying theorgan.

He attended the New York College ofMusic but returned to Los Angeles in 1934because his father was ill. Eventually, hegraduated from what is now Cal State L.A.and Trinity College London, Morton said.

During World War II, Mitchell served inthe Navy and played keyboards for theArmed Forces Radio Orchestra under thedirection of Meredith Willson, who wouldwrite The Music Man.

Mitchell once said that the four years he spent as the organist for the Dodgersbrought him the most fame. He also was theorganist for the Angels when they called thestadium home from 1962 to 1965.

He once said he knew nothing aboutbaseball and had to be told which team wonthe game.

In 1963, Mitchell released a rarity for anorganist, a record called Baseball’s Best,said Mark Langill, Dodger team historian.

“It captured the spirit of what theballpark sounded like then,” Langill said,and included “California Here We Come”to reflect the Dodgers then-recent movewest.

Although Mitchell’s career as a movie-house organist was revived in 1992, it cameto a dramatic halt five years later whenLarry Austin, then the proprietor of theSilent Movie Theatre, was gunned down in

1997 in the theater’s lobby. He was thetarget of a hired gunman.

When Lustman reopened the theater in1999, he rehired Mitchell, who playedweekly.

“He loved watching the picture, andthen the music just came out of him,completely improvised,” Lustman said.“There was no score with Bob Mitchell,ever. Bob loved to watch the movie.”

For years, Mitchell played for the LosAngeles Conservancy’s Last RemainingSeats series, which presents vintage films.On May 27, he opened this year’s series atthe Orpheum Theatre downtown, said CindyOlnick, a conservancy spokeswoman.

“No matter how old he got,” Olnick said,“once he sat down at the organ and startedplaying, it was like he was 30 years oldagain.”

Mitchell is survived by several cousins.Reprinted from The Los Angeles Times withpermission.

Bob Mitchell TributeBob offered me my first job in the United

States. I’d only been here three monthswhen I mentioned to another organist that Ihad met that I would rather like a churchjob just as I had in the UK. He said, “CallBob Mitchell” and gave me his phonenumber. I did, and Bob said that he didn’tknow of anything right then but he had asub gig if I was interested. I said that I wasand he told me to phone Sacred Heartchurch on Hollywood Boulevard; I did andwas told that they needed an organist for theChristmas Eve midnight mass.

I had never played for a Roman Catholicchurch but assumed that it was similar toall the high Anglican churches that I haveplayed for in the UK. To a certain extent itwas, but there was much more to a midnightmass than I expected, and I had no ideawhere to begin. Fortunately, Bob hadarranged for a half a dozen or so of his“Singing Boys” to be there in the organ loftwith me, and they were wonderful. Everypiece of music was put in front of me eachtime I was needed to play, fingers pointedto where to begin, where to repeat and theyall sang loudly. Oddly enough it went offwithout a hitch, but it was really a baptismof fire.

Once he gave me another tip. I told himthat I really liked Vierne’s “Prière à Notre


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Dame” but I was uncomfortable playingthat in the protestant church where I wasthen working (First Church of ReligiousScience in Glendale). He said “Don’tworry about it, I play it also. I just put apiece of white tape over the ‘à NotreDame’ in the title and people are none thewiser.”

Ever the compromiser! And he keptplaying until almost the very end.

—Don Thompson

Dorothy SmithDorothy Smith, charter member of the

Sooner State Chapter of the AmericanTheatre Organ Society, passed awayAugust 13, 2009. She and her husbandLee were among the first members in1966. In the late ’70s, she was electedpresident of the chapter, a post she heldfor four years. From around 1980 until two years ago, she was editor of TheWindline, the chapter newsletter. She alsocontributed chapter news articles toTHEATRE ORGAN.

Dorothy was born in 1924; at the age of20, she enlisted in the U.S. Army andserved as a laboratory technician in a basehospital in California. After World War II,

she earned a degree in biology fromStanford University. While at Stanford,Dorothy met her future husband, and they moved to Tulsa in 1950. Dorothy was a certified medical technologist at St. Francis Hospital for 20 years. She wasalso active in the Tulsa Daughters of theAmerican Revolution and Animal Aid ofTulsa.

In 1960, after Tulsa’s Ritz Theatre metits demise by the wrecking ball, Dorothy,the late Bill Roberts, and Phil Judkinsstarted the complete releathering ofTulsa’s only remaining theatre organ,which was in the Orpheum Theatre. Shespent many hours in Bill’s Piano Storereleathering pneumatics for the nine-rankWurlitzer. They completed it in 1963. It was a prominent part of the AGOconvention in 1965, when a concert wasplayed by Mark Kenning of Richardson,Texas.

In 1980, Dorothy and Lee purchased a“mostly Wurlitzer” pipe organ and beganbuilding an entire room specifically tohouse the organ. The installation andreconstruction of the organ began whenthe room was finished approximately ayear later. In 2002, Dorothy and Lee hired

Dan Kimes to finish the installation; onFebruary 4, 2003, they flipped the switchand the mighty Wurlitzer came to life.Dorothy became the organist at LakeviewChristian Church in Mannford, Oklahomain 1982. She was quite a character, andher sometimes stubborn, insistent, andstrong-willed disposition, coupled with herquick wit, always created a memorableimpression.

Dorothy is survived by her husband of61 years, Charles Lee Smith of Tulsa, sonStephen of Colorado, daughter Laura ofTulsa, and son Jeff and his wife, Robyn, ofTulsa.

Dorothy Smith(Photo by Bill Rowland)


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CLASSIFIED ads—75¢ per word for ATOSmembers; $1.00 per word for non-members.$10.00 minimum. Not counted as words: a,and, the, &. Phone numbers are counted asone word, as are hyphenated words. Allclassified ads must be submitted PRE-PAID toavoid a $10.00 handling/billing charge. PRE-PAID charge of $15.00 to have a THEATREORGAN showing your ad sent to your mailingaddress. Deadline for placing ads is the FIRSTof each even month (February, April, June,August, October and December). DO NOTSEND CASH. Make check or money orderpayable to ATOS, in US funds ONLY, and sendto: Jeff Weiler, THEATRE ORGAN Editor,American Theatre Organ Society, 1845 SouthMichigan Avenue #1905, Chicago, Illinois60616. Word counts may be verified inadvance by e-mailing Joanne, the Editorial Office Administrative Assistant, [email protected].

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Organ Expressions.................................25

Parker, Donna........................................69

Ralston, Bob...........................................44

Rhode, Ron ...........................................69

Rogers, Fr. Andrew..................................2

SLTOS Party on the Pipes ......................44

Scott Smith Pipe Organs ......................59

Texas Talkies (Ragtime Revue) ..............6

Wilson, Clark ..........................................45

Zollman Pipe Organ Services ................7


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ATOS MarketplaceATOS MarketplaceTHE WURLITZER PIPE ORGAN – AN ILLUSTRATEDHISTORY — This long-awaited complete history of theWurlitzer theatre organ by David Junchen is an essentialreference book for every theatre organ enthusiast. With 800pages of interesting facts, photos and appendices, eachvolume is sequentially numbered corresponding to theWurlitzer organ opus list. Fabulous photos, informativetables and lists of long-forgotten Wurlitzer information…anabsolute must! $140.00

WURLITZER CONSOLE ART PRINTS — Whether youattach them to your workshop walls or frame them, theseprints of 12 original factory photos of spectacular consolesare a must for your collection of theatre organ memorabilia.Each one is 11" wide and 14" high, printed on heavy cardstock, suitable for framing. $20.00

WURLITZER FACTORY TOUR — The Wurlitzer Factoryvideo, now on DVD, is in stock! This is a rare black andwhite silent film documentary from the early 1920s showingthe Rudolph Wurlitzer Manufacturing Company in NorthTonawanda, New York. $16.00

ATOS 50TH ANNIVERSARY BOOK — Published inhardcover and softcover editions, this 150-page book is anabsolute must for all theatre organ aficionados. Text andpictures cover the first 50 years of the American TheatreOrgan Society’s history. Contains many historic photos, quotes,and informative tidbits, including photos of the first meetingof the organization. Hardcover: $35.00. Softcover: $15.00.

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150 Locust Street, P.O. Box 36Macungie, PA 18062-0036 Phone: 610-966-2202 Fax: 610-965-3098E-mail: [email protected]

www.allenorgan.com

The Quantum™T321Q

Perfect for Saturday Night and Sunday Morning!Imagine the thrill of playing a Unit Orchestra one minute and a classical/concert organ the next, all from the same console! The T321Q has all the bells and whistles (and traps) you’d expect from a world-class theatre organ as well as a complete classic stop list. Whether you’re in the mood for Sacred or Swing, the T321Q has the stops you’re looking for.

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Optional white painted finish with gold paint trim

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TWO COMPLETE VOICINGS:

CLASSICALFrench TrompetteTrompeteTrombaPrincipalBourdonGedacktCromorneHautboisEnglish HornGambaViolaViola CelesteHarmonic FluteVox Humana (English)Mixture IVMixture III

THEATREPost HornBrass TrumpetTuba HornTrumpetOpen DiapasonSolo Tibia ClausaTibia Clausa (m)ClarinetKrumetOrchestral OboeSaxophoneSolo ViolinViolinViolin CelesteOboe HornQuintadenaConcert FluteVox HumanaDolceDolce CelestePed Tibia Pizz

Plus 7 effects, 8 Traps, and 7 Percussions


·~nv

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Documents

JOURNAL OF THE AMERICAN THEATRE ORGAN SOCIETY