Music Trade Review
Issue: 1923 Vol. 76 N. 17 - Page 64
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
56
THE MUSIC TRADE REVIEW
APRIL 28, 1923
CONDUCTED BY V. D. WALSH
ORGANIST PROBLEM IN THE MOVING PICTURE THEATRE
Lack of Competent Players Makes Organ Music in These Houses Poorest Part of Musical Pro-
grams in Many Cases—More and Better Organists Should Be Developed by Campaign
Some of the most successful directors of mo-
tion picture houses have stated that music is
50 per cent of the attraction on their programs.
This is substantiated by the many piece or-
chestras of the larger houses and the care given
to their musical programs. There is a factor,
however, in some of the musical programs
which, if not a detriment to music itself, is cer-
tainly of no value and that is the organ.
Seemingly in the houses where the orchestras
rule some thought and attention is given to
organ music which must function during the
interim in which the orchestras have their rest
periods. As a whole, however, such programs
cannot be considered of the highest standard
and in most cases could not be billed as an
organ attraction.
In the vaudeville houses where motion pic-
tures are a part of the program and where an
organ is used to supplement the work of the
orchestras such music is very poor indeed. To
the casual observer it would appear that the
organ in such cases in the eyes of the musical
director becomes a necessary evil. Certainly
very little care and attention is given to organ
music.
It is said there are over 18,000 motion picture
houses in the United States and a good per-
centage of these are equipped with organs. It
may be that there is a shortage of well-equipped
organists. Indications point in that direction.
If such be the case it would appear to be a
problem for the entire music industry. Every
one interested in music should be interested in
seeing that it is rendered at its best, and poor
organ playing is certainly not good music propa-
ganda. In fact, of all musical instruments which
arc supposed to function in the place of an
orchestra, it lends itself least readily to the
novice.
Something should be done to encourage the
development of more and better organists. A
movement to secure better organ programs is
needed. The hundreds of thousands of people
attending motion picture houses deserve better
music from that instrument. If they obtain it,
naturally, the whole music industry will indi-
rectly benefit.
The fault does not lie with music publications
devoted to organ music. There is much high-
class material readily available for such instru-
ments. The organists need a more diversified
program and this, naturally, can be obtained
through having a comprehensive range of ma-
terial at hand. The local sheet music dealer
should give this problem some thought. It may
be that the sales of organ publications in the
smaller cities will not involve large amounts of
money. This should not deter the retailer from
exploiting organ music. The profit may be
quite small, but the possibilities of the organ
in his territory carrying out propaganda for
better music are too important to be judged
from a mere profit-making viewpoint.
KORTLANDER WITH MILLS, INC.
Max Kortlander, general manager of the re-
cording department of the Q R S Music Co.,
has closed a contract with Jack Mills, Inc.,
whereby that firm will publish all his piano com-
positions for a period of two years. The first
of these new releases has been added to the
Mills "Pianolog Series" and are entitled "Deuces
Wild" and "Red Clover."
NUMBERS BEING PLAYED BY SPECHT
Among the numbers Paul Specht and His Or-
chestra are now playing in their vaudeville tour
of the Keith Circuit are "Dearest," "Twelve
Bells," "Yankee Doodle Blues," from the Irving
Berlin catalog; "Sweet One" and "Buddy," from
the Reinick catalog; "Way Down Yonder in
SONGS THAT SELL
You Know You Belong
to Somebody Else
(So Why Don't You Leave Me Alone ?)
Dearest
— You
Tell Her—I Stutter
(You're the Nearest to My Heart)
Homesick
Open Your Arms, My Alabamy
Ivy (Cling to Me)
Choo Choo Blues
—
Some Day You'll Cry Over Someone
Some Little Someone
Every Wednesday Night
Come on Home
Down Among the Sleepy
Hills of Tennessee (new)
Don't Bring Me Posies
(It's Shoesles I Need)
Some Sunny Day
Truly
Just a Little Love Song
Yankee Doodle Blues
E a r l y In the Morning (Bines)
— Night
New Hampshire
Venetian Blues
Constantly
Kissing Time (Waltz)
—
Universal Dance Folio for 1923
IRVING BERLIN'S NEW
Music Box Revue
Crinoline Days
Lady oi the Evening
Porcelain Maid
Pack Up Your Sins
and Go To The Devil
Will She Come From the East?
The Little Red Lacquer Cage
Bring On the Pepper
—
—
IRVING BERLIN, Inc.
1607 Broadway, New York
New Orleans," published by Shapiro, Bernstein
& Co., Inc.; the M. Witmark & Sons' number,
"Fate," and a special novelty arrangement by
Specht of Tosti's "Good-bye."
WRIGHTMAN CO. NUMBER POPULAR
HARMS. INC.
62 WEST 45™ ST.
NEW YORK
"When Uncle Sammy Mows That Pay-Day
Call," described as the National bonus song, has
been featured by some of the leading orchestras
in the Middle West. In addition it has several
times been broadcasted by the Westinghouse
station from Kimball Hall, Chicago, 111., one pro-
gram being played on the Kimball grand con-
cert organ by Claud B. Ball, professional man-
ager for the Wrightman Co. Following its pub-
licity in the above form the Wrightman Co. re-
ceived a series of favorable letters.
56
THE MUSIC TRADE REVIEW
APRIL 28, 1923
CONDUCTED BY V. D. WALSH
ORGANIST PROBLEM IN THE MOVING PICTURE THEATRE
Lack of Competent Players Makes Organ Music in These Houses Poorest Part of Musical Pro-
grams in Many Cases—More and Better Organists Should Be Developed by Campaign
Some of the most successful directors of mo-
tion picture houses have stated that music is
50 per cent of the attraction on their programs.
This is substantiated by the many piece or-
chestras of the larger houses and the care given
to their musical programs. There is a factor,
however, in some of the musical programs
which, if not a detriment to music itself, is cer-
tainly of no value and that is the organ.
Seemingly in the houses where the orchestras
rule some thought and attention is given to
organ music which must function during the
interim in which the orchestras have their rest
periods. As a whole, however, such programs
cannot be considered of the highest standard
and in most cases could not be billed as an
organ attraction.
In the vaudeville houses where motion pic-
tures are a part of the program and where an
organ is used to supplement the work of the
orchestras such music is very poor indeed. To
the casual observer it would appear that the
organ in such cases in the eyes of the musical
director becomes a necessary evil. Certainly
very little care and attention is given to organ
music.
It is said there are over 18,000 motion picture
houses in the United States and a good per-
centage of these are equipped with organs. It
may be that there is a shortage of well-equipped
organists. Indications point in that direction.
If such be the case it would appear to be a
problem for the entire music industry. Every
one interested in music should be interested in
seeing that it is rendered at its best, and poor
organ playing is certainly not good music propa-
ganda. In fact, of all musical instruments which
arc supposed to function in the place of an
orchestra, it lends itself least readily to the
novice.
Something should be done to encourage the
development of more and better organists. A
movement to secure better organ programs is
needed. The hundreds of thousands of people
attending motion picture houses deserve better
music from that instrument. If they obtain it,
naturally, the whole music industry will indi-
rectly benefit.
The fault does not lie with music publications
devoted to organ music. There is much high-
class material readily available for such instru-
ments. The organists need a more diversified
program and this, naturally, can be obtained
through having a comprehensive range of ma-
terial at hand. The local sheet music dealer
should give this problem some thought. It may
be that the sales of organ publications in the
smaller cities will not involve large amounts of
money. This should not deter the retailer from
exploiting organ music. The profit may be
quite small, but the possibilities of the organ
in his territory carrying out propaganda for
better music are too important to be judged
from a mere profit-making viewpoint.
KORTLANDER WITH MILLS, INC.
Max Kortlander, general manager of the re-
cording department of the Q R S Music Co.,
has closed a contract with Jack Mills, Inc.,
whereby that firm will publish all his piano com-
positions for a period of two years. The first
of these new releases has been added to the
Mills "Pianolog Series" and are entitled "Deuces
Wild" and "Red Clover."
NUMBERS BEING PLAYED BY SPECHT
Among the numbers Paul Specht and His Or-
chestra are now playing in their vaudeville tour
of the Keith Circuit are "Dearest," "Twelve
Bells," "Yankee Doodle Blues," from the Irving
Berlin catalog; "Sweet One" and "Buddy," from
the Reinick catalog; "Way Down Yonder in
SONGS THAT SELL
You Know You Belong
to Somebody Else
(So Why Don't You Leave Me Alone ?)
Dearest
— You
Tell Her—I Stutter
(You're the Nearest to My Heart)
Homesick
Open Your Arms, My Alabamy
Ivy (Cling to Me)
Choo Choo Blues
—
Some Day You'll Cry Over Someone
Some Little Someone
Every Wednesday Night
Come on Home
Down Among the Sleepy
Hills of Tennessee (new)
Don't Bring Me Posies
(It's Shoesles I Need)
Some Sunny Day
Truly
Just a Little Love Song
Yankee Doodle Blues
E a r l y In the Morning (Bines)
— Night
New Hampshire
Venetian Blues
Constantly
Kissing Time (Waltz)
—
Universal Dance Folio for 1923
IRVING BERLIN'S NEW
Music Box Revue
Crinoline Days
Lady oi the Evening
Porcelain Maid
Pack Up Your Sins
and Go To The Devil
Will She Come From the East?
The Little Red Lacquer Cage
Bring On the Pepper
—
—
IRVING BERLIN, Inc.
1607 Broadway, New York
New Orleans," published by Shapiro, Bernstein
& Co., Inc.; the M. Witmark & Sons' number,
"Fate," and a special novelty arrangement by
Specht of Tosti's "Good-bye."
WRIGHTMAN CO. NUMBER POPULAR
HARMS. INC.
62 WEST 45™ ST.
NEW YORK
"When Uncle Sammy Mows That Pay-Day
Call," described as the National bonus song, has
been featured by some of the leading orchestras
in the Middle West. In addition it has several
times been broadcasted by the Westinghouse
station from Kimball Hall, Chicago, 111., one pro-
gram being played on the Kimball grand con-
cert organ by Claud B. Ball, professional man-
ager for the Wrightman Co. Following its pub-
licity in the above form the Wrightman Co. re-
ceived a series of favorable letters.
Future scanning projects are planned by the International Arcade Museum Library (IAML).