ARTCRAFT Music Rolls
for the 88-Note Player-Piano

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Selections: 'M' through 'Z'

[Return to 88-Note Music Rolls 'A' through 'L']

THE MADAWASKA RAG (1918) -Charles Martin-

Arranged for Player-Piano by L. Douglas Henderson - $21.50

Once again ARTCRAFT Music Rolls provides the Pianolist with some fascinating music! In this case it's an "unknown" Ragtime selection written by a New Brunswick musician and the story behind the creation of this vivacious player roll is interesting in its own right. Read the Duo-Art text for the historical background and 'performance details' concerning THE MADAWASKA RAG. [Link to the Duo-Art description]

THE MANHATTAN RAG (1929) -Hoagy Carmichael-

Arranged for Player-Piano by L. Douglas Henderson - $22.00

For many people, the name Hoagy Carmichael evokes the song STARDUST or a laid-back screen actor and singer, who often added a little life to an otherwise dull Hollywood film. His music career began as a "jazz" pianist, and THE MANHATTAN RAG stands as one of these early achievements in this vein. As with Rube Bloom's THE FUTURISTIC RAG also published in 1929 this Carmichael opus is not a "ragtime" number at all. THE MANHATTAN RAG is a three-part composition which begins with Ragtime elements, but stands as a thoroughly original work and is laced with 'Art Deco' tonalities in the finale.

The Composer was associated with Paul Whiteman's Orchestra at this time, and traveled to the West Coast to work on the (early) colour film The King of Jazz released the next year. During this period he interacted with many of Whiteman's "jazzmen" ... and THE MANHATTAN RAG is one of several late 'Twenties pieces written during Carmichael's short-lived flirtation with complex, instrumental piano solos.

The composition begins with a Ragtime opening, which on this popular Interpretive Arrangement makes use of the lower keys of the piano, contrasting with some staccato treble breaks possessing that familiar Carmichael wit. The second theme is highly unusual for any piece called a "rag" ... for it has a jazz-riff treble line set against sustained bass chords; there is no typical Fox Trot or March beat for this section. The Trio is in a class of its own, featuring "crash" chords (marked on the roll) offset against a driving melody, and the bass notes in spite of constant modulation are all the same octaves! THE MANHATTAN RAG has a chronological nature to the music: first, the mid-West Ragtime beginning (suggesting the Composer's roots in Indiana); next, the middle portion which combines 'free-form' jazz with a feeling of transition; finally, the 'Moderne' conclusion ... perhaps an indication that he has assimilated the New York "jazz" scene with the Whiteman organization. (Only a year before Gershwin premiered his tone poem AN AMERICAN IN PARIS with a roughly-similar set of themes, should one wish to make that connection. The King of Jazz featured RHAPSODY IN BLUE with Roy Bargy at the piano ... and at the Roxy Theatre in Manhattan, George Gershwin himself played a piano solo version in between each screening for the first week of the film's run.)

THE MANHATTAN RAG is an unusual roll, one full of performance tricks and striking feats characteristic of ARTCRAFT releases. There are many places in the performance where the listener can experience the personality of the Composer, who would soon make these aspects his screen persona. We recommend THE MANHATTAN RAG for anyone interested in quinessential 'Twenties music, especially compositions reflecting the developments in New York of the period. This roll is so fascinating that it evokes images of a live keyboard jazz pianist. (It's also the perfect antidote to perform after hearing the Ampico "played by Carmichael" roll of STARDUST which sounds like the 3 M's to those familiar with the Composer's snappy staccato 78 r.p.m. recording)

This roll of THE MANHATTAN RAG is one of ARTCRAFT's most popular export titles. Shouldn't you consider adding it to your collection also?


THE MEADOW LARK - A Ragtime Novelette (1916) -Thomas Pitts-

Arranged for Player-Piano by L. Douglas Henderson - $23.50

We refer you to the Duo-Art text for information about this elegant Ragtime roll. THE MEADOW LARK was perforated to simulate the "keyboard attack" of a specific San Francisco pianist. Subtlety abounds in this acclaimed Interpretive Arrangement. [Link to the Duo-Art description]

MERENGUE - Concert Étude for Piano (1990) -Frank French-

Arranged for Player-Piano by L. Douglas Henderson - $23.50

Originally this Interpretive Arrangement was going to be released as a Duo-Art expression roll only ... but international demand for the spectacular roll led ARTCRAFT to consider a tandem 88-Note release. If the Pianolist follows the dynamic markings which are stamped on each roll the performance will equal the 'reproducing' piano version, since the variable-length perforations have much of the striking illusion built into them. Read the Duo-Art text, and we're certain that you'll want to add MERENGUE to your music roll library. It's winning applause on the concert stage right now! [Link to the Duo-Art description]

MISS MISCHIEF - Dedicated to MissShirley Temple (1937) -Ferde Grofé-

Arranged for Player-Piano by L. Douglas Henderson - $22.50

When you perform MISS MISCHIEF on your Player-Piano, listeners will immediately ask, "Who 'played' that roll?" For the answer, we refer you to the Duo-Art information about this stylish roll ... and one of Grofé's little-known compositions. The ARTCRAFT 88-Note version is equipped with dynamic stampings which guide the Player-Pianist through an expressive interpretation. Here's a selection which will entertain everyone! [Link to the Duo-Art description]

MOXIE One-Step (1921) -Shea & Leigh-

Arranged for Player-Piano by L. Douglas Henderson - $24.00
Illustrated WORD ROLL

Of all the Word Rolls published by ARTCRAFT, excepting 'LECTRONIC RELIGION which is a special case, MOXIE One-Step has received the greatest praise doubly amazing since the bitter-tasting soft drink has never been available in Great Britain and Continental Europe! (One British roll customer wrote, "I wonder what that stuff tastes like?") If you haven't read the text for JUST MAKE IT MOXIE FOR MINE, an earlier "Moxie" song, now is your chance to catch up on some Americana which also relates to this popular ARTCRAFT Roll!

From the first measure, it's obvious that MOXIE One-Step has 'stage show' roots ... and it does at the Colonial Theatre in Boston, where Ann Pennington was photographed dancing the "Moxie Trot" (presumably to this music). Frank Archer, the mastermind of Moxie publicity, realized that the earlier Waltz roll didn't fit The Jazz Age, so introduced the snappy One-Step, later also published for Fox Trot dancers as well. If the MOXIE One-Step reminds the listener of the peppy pieces by George M. Cohan, it's no accident. Archer rubbed elbows with theatrical people, and got publicity from the likes of Ed Wynn and composer-entertainer Cohan even managing to have President Coolidge pose for pictures involving the New England beverage! The melody is upbeat and infectious from start to finish.

ARTCRAFT fashioned a whole set of Player-Piano variations for MOXIE One-Step, giving the Pianolist not only the printed lyrics, but some "Moxie History" as well. The middle of the roll features The Moxie Newsreel ... setting flamboyant advertising claims to music ... and providing Illustrations from the old advertising campaigns. You get not only the bouncy music, but The Moxie Boy (a soda jerk), The Horsemobile and two pictures of The Moxie Pup [and your Pianola will "bark" when the first picture appears!]. Words can't really describe the merriment this music roll will bring to your household. MOXIE One-Step was designed to attract attention ... set toes a-tapping ... and get hearty souls to drink the beverage. Even if you skip the last part, this sparkling Interpretive Arrangement knows no equal! Order your bubbly dance song roll now.


THE NAKED DANCE -Jelly Roll Morton-

Arranged for Player-Piano by L. Douglas Henderson - $25.00

The famous jazz pianist played in "sporting houses" at one time, so here's a piece he wrote for the job. This sexy number has never been hotter than on this ARTCRAFT Interpretive Arrangement ... which uses the variable-length perforating method to capture that erotic performance style of the composer. (Studying old 78 r.p.m. discs on Cassette tape is the starting point for making a roll of this kind. There were some other rolls of THE NAKED DANCE made in recent years, but they followed the notation score too closely and engaged in "homogenous" note clusters; what should be sensual in the rhythm becomes TEDIOUS with this style of piece, which is basically an augmented jazz "riff" or figuration.)

Morton wrote several 'bordello' numbers, but THE NAKED DANCE is clearly the favourite among the hotter keyboard artists who specialize in "Jelly Roll Morton" performances. (It takes someone with a "driving" keyboard approach, who can separate dotted-8th/16th notes and use very little sustaining pedal. The music must, on most of Morton's pieces, have a "sexy virtuoso" sound. Morten Gunnar Larsen, Sue Keller, and David T. Roberts all have that special ability to play this kind of music, which requires STYLE as much as playing the correct notes.) Naturally, ARTCRAFT's system of roll-making, i.e. Interpretive Arranging, is the only method for perforating music with such performance requirements. Our NAKED DANCE has the bumps-and-grinds one expects from a keyboard performance. Don't play this number when puritans visit.

THE NAKED DANCE is all that the title implies ... and for those who want something a shade more sensual, check out THE OYSTER SHIMMY a modern piece written in the Morton 'brothel-music' style!


NEW 'CASTLE HOUSE' MEDLEY: Fashion Rag, The Castle Walk and Dengozo Maxixe

Arranged for Player-Piano by L. Douglas Henderson - $26.00

Here's a long-playing roll which features Ragtime, a "specialty" dance and a syncopated Brazilian number the latter a well-known composition by Ernesto Nazarth. There's something for everyone in this sweeping medley!

Read the Duo-Art text for all the details about this unusual roll, a new Interpretive Arrangement created from 3 plodding old music rolls. [Link to the Duo-Art description]


NEW "KING of RAGTIME" Medley-Overture -Scott Joplin, James Scott & Other Composers-

Arranged for Player-Piano by L. Douglas Henderson - $25.00

ARTCRAFT has once again taken a hum-drum commercial music roll and used it to make a fantastic Ragtime medley, a genuine Interpretive Arrangement from start to finish. "It's a Ragtime marathon!" wrote Albert Grimaldi, one of the founders of the Maple Leaf Club in California a major group devoted to Ragtime music. Even owners of the old 'sheet music transfer' roll by W. W. Kimball can't believe that the ARTCRAFT release was based on the same arrangement.

Here are the numbers featured on NEW "KING of RAGTIME": MAPLE LEAF RAG by Scott Joplin; CANNONBALL RAG; POWDER RAG; TEMPTATION RAG; FROG LEGS RAG by James Scott; HILARITY RAG by James Scott and all 6 Rags are presented in their entirety! Moreover, you'll get sparkling introductions and seamless bridges ("connecting" music) which were never a part of the old the Kimball roll, a typical "glue-together-arrangements" product of the early 'Teens. Next, the order of the program was changed at The ARTCRAFT Studio. Joplin's seminal MAPLE LEAF RAG, which was buried in the middle of droning music by Wenrich, Northrop and Lodge, was moved to the beginning of the Overture ... since any medley should open with this famous number. (It lacked an Introduction, so one was composed for it, and it's a real curtain-raiser!) The remaining Ragtime pieces were rearranged to build to a climax with the James Scott masterpieces: FROG LEGS RAG and HILARITY RAG ... all performed as complete selections, and arranged as a continuous Ragtime presentation.

Beyond the fact that Interpretive Arranging and a 'live' sustaining pedal replaced 'sheet music notation' chords which drone NEW "KING of RAGTIME" features staccato for FROG LEGS RAG, a departure from the connected treble notes of the Kimball roll. (Frogs "hop" in staccato. They don't shuffle along with 'organ-like' playing!) Rags with up to 14-note chords feature the "graduated striking" exclusive to Interpretive Arrangements, an effect which reduces the vacuum necessary for louder playing ... and, more importantly, is a technical feat which augments the tone of the piano! Those who own a Weber, Wing or Cable 'Euphona' player upright will, with this particular arrangement, experience bass notes and full chords beyond their wildest dreams.

This is a roll which every Ragtime devotée should possess. It presents the music with a panache and majesty that transcend anything else in the field ... except other Interpretive Arrangements fashioned out of historic 'duds' with musical potential, such as NEW 'CASTLE HOUSE' MEDLEY. We are indebted to Ragtime roll collector Ed Openshaw for lending us his original Kimball roll for this project. It's safe to speculate that MORE COPIES of the ARTCRAFT edition have been sold, and heard on the concert stage, than the limited production of the prototype medley at W. W. Kimball. NEW "KING of RAGTIME" continues to win musical friends wherever it is performed. No collection should be without this exciting long-playing 88-Note roll!


ON THE TRAILfrom The Grand Canyon Suite (1932) -Ferde Grofé-

Arranged for Player-Piano by L. Douglas Henderson - $28.00

All 88-Note rolls and 'reproducing' rolls such as the Duo-Art format share the same Master Rolls (past and present), for there are only two differences between them. The expression edition has 80 playing notes in the arrangement, maximum, since the extra perforations are used to control the pneumatics which "tug" on the same control levers a Pianolist uses ... and the 'reproducing' roll features a perforation for automatic rewind [or shutoff, depending upon the particular instrument]. The note-score and the sustaining pedal perforations are exactly the same for the two series when released in tandem.

The ARTCRAFT 88-Note roll of ON THE TRAIL possesses the same "keyboard attack" and "pedal shadings" as its Duo-Art counterpart. Moreover, since this roll is released for the manual interpreter, the 'cowboy theme' SOLO melody, which appears several times in the arrangement, is MARKED ON THE ROLL giving the Pianolist instructions which correspond to the Duo-Art player's accenting effects . If one follows the dynamic suggestions, ON THE TRAIL for the 88-Note player and ON THE TRAIL for the Duo-Art will provide identical performance results ... since both rolls are Interpretive Arrangements of the highest order. Refer to the Duo-Art text for more information, since the "variable staccato" perforating is one of the features of this spectacular release of Ferde Grofé's most famous composition. [Link to the Duo-Art description]


ONE FOR NORMA - A Ragtime Intermezzo (1976) -Max Morath-

Arranged for Player-Piano by L. Douglas Henderson - $21.00

Read the fascinating story behind this sensitive syncopated roll in the Duo-Art section of these Internet pages. ONE FOR NORMA is another Interpretive Arrangement which was created at the suggestion of a composer-pianist. The 88-Note version sounds exactly like the 'reproducing' roll, since the keyboard striking does not differ; one only needs to follow the markings for the playing levels, and the the performance will please the most critical listener. If you have the phonograph record, upon which this roll was based, that can be played side-by-side with the ARTCRAFT arrangement. Max Morath's distinctive keyboard style is reflected in this popular player roll. It's all in the Interpretive Arranging! [Link to the Duo-Art description]

THE OYSTER SHIMMY - A Homage to 'Jelly Roll' Morton (1992) -Galen Wilkes-

Arranged for Player-Piano by L. Douglas Henderson - $24.00

Please don't play this roll in the company of prudes or those with sexual hang-ups! Written in 'Jelly Roll' Morton's infamous "whore house" style, THE OYSTER SHIMMY is several shades hotter than the early jazz pieces which inspired this composition. Read the Duo-Art text for more information, including the source of the title which was an unusual dance ... featured in Sedalia, Missouri's former 'red light' district. This Interpretive Arrangement is a Musical Inferno! (We've warned you.) [Link to the Duo-Art description]

PANSY BLOSSOMS RAG (1909) -Charles L. Johnson-

Arranged for Player-Piano by L. Douglas Henderson - $20.50
WORD ROLL

Charles Johnson was one of the Ragtime pioneers ... but the chances are that you haven't heard this rare composition of his, so the ARTCRAFT Interpretive Arrangement is probably your introduction to PANSY BLOSSOMS RAG. Beyond being an elusive Johnson piece, this music roll version has Player-Piano tricks which elevate the piece to staggering performance heights. Everything from highspeed treble passages in the Trio to a "running gag" in the A-Theme rhythm are incorporated into this imaginative 88-Note roll. PANSY BLOSSOMS RAG is a Word/Dialogue Roll, so the stenciled text serves as a "running commentary" for the Pianolist. When followed, these suggestions assure a performance that's identical to the 'reproducing' piano version.

You really should read through the description for the Duo-Art edition of PANSY BLOSSOMS RAG, for this particular arrangement received glowing compliments from an official at the annual 'Scott Joplin Festival' shortly after its release in the late 'Eighties. Be it Duo-Art or 88-Note, this is one clever Ragtime roll! [Link to the Duo-Art description]


PIANOLA RAG with 3 'Hot' Pianola Variations (1953) -William Krenz-

Arranged for Player-Piano by L. Douglas Henderson - $24.00

If you ever wanted to show your guests what Interpretive Arranging has brought to the medium of perforated music rolls, this scorching performance of PIANOLA RAG would be an ideal selection to play.

From the first "true" dotted-8th/16th note rhythm, PIANOLA RAG takes off and never lets go, until the wild finale playable only by a Player-Piano!

ARTCRAFT 'discovered' PIANOLA RAG back in the early 'Fifties, when it was published by Bill Krenz, then NBC radio pianist and a regular on the Don McNeil Breakfast Club (for those of us old enough to remember that program!). The composition as written by Krenz is much snappier than any original Ragtime roll from the past, for the "jazz" rhythms which "drive" his piece are not what one finds in the traditional music from the old days. The ARTCRAFT Studio took the score a step farther by making use of the fact that 88 pneumatic fingers are available in the perforated roll not just 10 human fingers! and these are put to the fullest effect when PIANOLA RAG demonstrate's your piano's performance potential.

Crossed-hand passages (with suggested accents stamped on the roll) are just one of the features which make PIANOLA RAG a winner. Bass "tenths" rare in original Ragtime expand the sound even more. Truly, this is a roll that grabs the interpreter as well as the listener. The pulsations are "cut into the roll" ... and this is what makes PIANOLA RAG such an experience to play ... again and again (and again). Hundreds of enthusiastic customers have selected this ARTCRAFT arrangement as their favourite roll for any performance occasion.

[While no roll of PIANOLA RAG ever existed until the ARTCRAFT release of the early 'Eighties ... there was a short-lived imitation in the 'Nineties, released for a player club event. Don't confuse this later roll with the genuine 'Interpretive Arrangement' from Maine! It's not only an imitation, but a poor one at that ... since once a performance "zip" had been established by ARTCRAFT, there was no need to produce a version that just "played the notes". As we've stated before, homogeneous perforations also found on most old Ragtime rolls are what assure instant boredom to the listener. Variable-length perforations with minuscule differences in the striking, are what give ARTCRAFT Rolls that 'human' sound ... even on Variations which no pianist could ever hope to play. There is a difference between 'Interpretive Arrangements' and droning 'formula-made' rolls old or new!]


PICKLES and PEPPERS Rag (1909) -Adeline Shepherd-

Arranged for Player-Piano by L. Douglas Henderson - $25.00

When it comes to virtuoso piano playing, ARTCRAFT Interpretive Arrangements have been tested on the concert stage often on side-by-side performances with the artists these 'hand-perforated' rolls were created to represent. (Note that we don't use the words 'recorded' or 'reproduced' here!) Since Interpretive Arrangements are "performance alternatives" to keyboard playing, just THE MUSIC ITSELF is the focus of the player roll presentation.

PICKLES and PEPPERS Rag comes so close to the technical skills and the keyboard striking of pianist Masanobu Ikemiya that the illusion of a recording permeates the Pianola performance. This ARTCRAFT Roll was created from an analysis of his audio Cassette recording, yet the finished results say "Ikemiya!" whenever the sparkling release is played and on any type of Player-Piano! Read the Duo-Art text to learn more about this fascinating music roll. If you follow the stamped instructions for playing levels, you'll not only duplicate the results of the 'reproducing' piano ... but you'll be so close to the spirit of the actual pianist that it's nothing short of amazing. A roll with this staccato crispness and striking refinement could only be made through the medium of hand arranging! [Link to the Duo-Art description]


POLITICS and POKER [Intro: LITTLE TIN BOX] - "Fiorello!" (1959) -Bock & Harnick-

Arranged for Player-Piano by L. Douglas Henderson - $25.00
WORD ROLL

When ARTCRAFT released POLITICS and POKER in the 'Eighties, it was almost a case of déja vu since Mr. Henderson had already cut a Master Roll of a "Fiorello!" medley at the Old Salzburg Music Box Shop (Georgetown D.C.) at the beginning of the 'Sixties. [This was the period when the he and the Konvalinkas were getting ready to launch their museum in Maine, the Musical Wonder House now approaching its 36th Season.] Washington, D.C. was a different city in those days having department stores and cinéma palaces ... and PCC trolley cars running! The National Theatre was the hub of many 'Broadway musical' try-outs, and this was the era when Jerry Bock used to visit the Georgetown shop, often spending some time to play a few tunes on the Aeolian Player-Piano there (viz. on the keyboard). His musicals "Fiorello!" and "Tenderloin" were current successes of the day.

As much commuting between Washington, D.C. and the Bronx (NY) took place back then, with Mr. Henderson working on some roll projects at the Imperial Industrial Co. (QRS) then owned by Max Kortlander the idea of creating MEDLEY ROLLS of Broadway musicals came to mind. Imperial Industrial had become a "single roll" enterprise and was no longer creating Broadway medley rolls. (This came later under the new management in Buffalo, New York.) A 4-tune "Fiorello!" roll, still spectacular by today's standards, was perforated at Old Salzburg ... but the New York plant wasn't interested in the results. This unreleased roll featured a Charleston number and a phrased ballad, in addition to the two selections presented on this Interpretive Arrangement.

Years went by. Bock & Harnick wrote "Fiddler On The Roof" and really got famous, and the Bocks even visited The Musical Wonder House in the 'Seventies. The old "Fiorello!" medley project had been forgotten.

Then, when the Iran-Contra hearings began in the 'Eighties, so much of the testimony practically lifted lines from "Fiorello!" a witty musical based upon the rise of Mayor Fiorello LaGuardia and the fall of Mayor Jimmy Walker, set against scandals, politics and 'Twenties dance numbers. The old medley was taken out of storage, but Mr. Henderson decided that 2 numbers were so good that they needed EXTRA MUSICAL DEVELOPMENT in a new 2-tune roll. These were the lilting Waltz called POLITICS and POKER and the "slush fund" Song and Dance number aptly titled LITTLE TIN BOX. Beyond Pianola variations and connecting interludes, Mr. Henderson returned to the 1959 Capitol Records LP, featuring the original Broadway cast with Tom Bosley. Many lyrics and dialogue sections which were NOT in the published sheet music were taken from the audio recording and incorporated into the phrased music roll arrangement. When the Master Roll was completed, it seemed so "80's" when it was really a late "50's" musical play about a late "20's" political scandal. Sleaze, evidently, is timeless. With the score of "Fiorello!" being so stellar, you can enjoy the roll on two levels: as music per se, and also as one of the funniest Word Rolls ever produced.

POLITICS and POKER is a long-playing roll, due to the extra material which is to be found only on the 1959 phonograph record. It has won friends in the States ... as well as abroad, since corruption knows no national boundaries. As for the music itself, you'll feel like Waltzing first and then doing a 'Soft Shoe' dance later on. Catchy tunes were a hallmark of the award-winning "Fiorello!" Broadway musical. Bring these 2 clever melodies into your home for singing, dancing and laughing. POLITICS and POKER is priceless ... and a musical treat to boot!


POVERTY GULCH Rag from The Cripple Creek Suite (1985) -Max Morath-

Arranged for Player-Piano by L. Douglas Henderson - $24.00

It's vibrant it's earthy it's syncopated it features a double-ending simulating two pianists (and sounds like twin pianos, too!) Read the Duo-Art text for more information about this popular ARTCRAFT release, the second Interpretive Arrangement created at the suggestion of the famous Ragtime pianist-composer. [Link to the Duo-Art description]

THE PREACHER and THE BEAR (1904) -Joe Arzonia-

Arranged for Player-Piano by L. Douglas Henderson - $24.00
WORD ROLL

Back in 1986, when Ragtime roll collector Ed Openshaw moved to Maine (from California) and discovered the wonders of Interpretive Arranging, he suggested that ARTCRAFT produce the ultimate roll of THE PREACHER and THE BEAR ... and here it is, selling by the armload year after year!

There was an earlier roll of this piece by J. Lawrence Cook (of QRS), which, in the estimation of those familiar with Arthur Collins' Edison cylinder record, has to be the worst roll he ever produced. (Cook also made a coin-operated "A" roll for 'nickelodeon' pianos from this same weirdo arrangement, possibly ripped off from a Phil Harris 78 r.p.m. record of the period, so it's safe to assume that he liked his version!)

ARTCRAFT started with the Edison cylinders, which varied in the dialogue sections depending upon the 'takes'. After these were studied and analyzed, a series of "bear growls" were created, which corresponded to the sound effects on the different Blue Amberol recordings. Then original 'vamp' music was created to accompany the spoken dialogue, "silent movie music" in the eyes of many enthusiastic fans.

Every chorus of THE PREACHER and THE BEAR is a variation, so the material is fresh with each reprise ... and the variety keeps on coming. Being an Interpretive Arrangement, this 88-Note Word Roll has all the performance attributes which place it above any formula versions of the past, especially with regard to the striking, pedal effects and the introduction of thematic material at all points in the presentation.

Should you be one of the few people unfamiliar with the lyrics of THE PREACHER and THE BEAR essentially a Ragtime patter song it involves a " holier than thou" black preacher who hunts on Sunday and gets "treed" (a word used by the Edison advertising of the time). Evoking Biblical subjects and conversing with the bear, the man of the cloth eventually winds up in a struggle, when the supporting limb breaks. The recurring refrain, which everyone knows, is the dialect line: "Oh, Lawd, if you can't help me, for goodness sakes don'tcha help that Bear!"

Unlike the highspeed and sanitized Phil Harris record of the 'Forties, or the Cook arrangement of the same period, this roll of THE PREACHER and THE BEAR has all the content of the Arthur Collins cylinder: the dialogue, the original lyrics and the sound effects (as imitated by a Pianola). Nothing like this roll was ever issued in the 1900's, when it was written. We are indepted to Mr. Openshaw for spearheading this perforating project. THE PREACHER and THE BEAR is dedicated to him [and the roll is stamped to that effect]. The ARTCRAFT Roll of this dialect number stands alone as a player roll achievement. It you like Ragtime music and/or comedy songs, the roll is a 'must' for your collection.


RAGGED EDGES - A Missouri Folk-Rag (1993) -Kevin Sanders-

Arranged for Player-Piano by L. Douglas Henderson - $20.50

Click on to the 'link' for a full description of RAGGED EDGES, one of the most successful recent releases in the ARTCRAFT catalogue. As with so many previous rolls, this bubbling Interpretive Arrangement was created at the suggestion of the composer, a talented performing guitarist. So popular was RAGGED EDGES when released shortly after being composed that 88-Note and 'reproducing' editions sold equally, showing the universal appeal of this lively music. You can play RAGGED EDGES for any occasion and it will win the audience every time! [Link to the Duo-Art description]

RAGTIME NIGHTINGALE -Joseph Lamb-

Arranged for Player-Piano by L. Douglas Henderson - $21.50

One of the most engaging examples of "Classic Ragtime" is Joseph Lamb's enduring composition RAGTIME NIGHTINGALE. Any number of 88-Note player rolls of this piece have been produced old and new but it took ARTCRAFT's Interpretive Arranging process to bring to the performance the élan which this elegant number requires. Many owners of 'reproducing' pianos such as the Ampico, Duo-Art and Welte-Mignon (Licensee) have purchased this particular roll of RAGTIME NIGHTINGALE, since it seems to "play itself" ... imparting the illusion of expression on any instrument. (Naturally those with 'reproducing' players who add a touch of accenting, with the hand controls, will elevate their performances to ever greater artistic heights!)

RAGTIME NIGHTINGALE attracts all kinds of music lovers, especially since it starts off with a quote (in the bass) from Chopin's REVOLUTIONARY ÉTUDE. ("Classic Ragtime" meets classical music?) What follows is an arrangement that seems 'human' but which is entirely the domain of the pneumatic player action. In keeping with the spirit of the composition's stylish nature, the keyboard striking effects and musical developments are subtle ... yet ever-changing for the listener. The texture of this ARTCRAFT arrangement is so bewitching that you will discover new chords and passages to accent with each repeated playing of the roll.


RIALTO RIPPLES Rag (1917) -George Gershwin-

Arranged for Player-Piano by L. Douglas Henderson - $23.50

This 88-Note edition of RIALTO RIPPLES Rag was a consistent favourite with pedal player customers as well as Duo-Art 'reproducing' piano owners, ever since its release at the beginning of the 'Eighties. [Actually, the Interpretive Arrangement had been perforated in the 'Seventies for use with Mr. Henderson's Pianola performances at The Musical Wonder House where it was performed frequently on the large 7' "AR" Steinway Duo-Art grand piano. A typical Henderson presentation would pair this arrangement of RIALTO RIPPLES Rag with an historic FAKE-Gershwin roll, showing that a) better rolls can be perforated in our own time and b) The 'Duo-Art as a Pianola' that is, manually-controlled with the expression levers can be breathtaking when using GOOD 88-Note rolls. (Unfortunately the old "played by Gershwin" rolls are never exciting, a few are offensive rhythmically and most are just 'background music' arranged by Aeolian hacks in his name.)]

When ARTCRAFT began at the museum, RIALTO RIPPLES Rag was one of the first releases ... and it has been a 'hit' since the start. A few years ago a 'reproducing' version was made from this Master Roll, for use on the Duo-Art expression player. The perforations are what matter here, viz., the "interpretive" striking ... and the pedal shadings; these are what make this particular edition of RIALTO RIPPLES Rag so exciting to hear. Read the Duo-Art text for more background information, including speculation about the title's origin. This is a terrific roll for any collection. [Link to the Duo-Art description]


ROBERTO CLEMENTE - A Musical Memorial (1979) -David Thomas Roberts-

Arranged for Player-Piano by L. Douglas Henderson - $25.00

If you are already familiar with the popular syncopted composition by David T. Roberts, you'll want to order this roll and read no further. ROBERTO CLEMENTE is a definitive arrangement which presents the haunting Latin-influenced melody in a style that evokes images of the talented composer at the keyboard. (Don't make the mistake of confusing this roll of ROBERTO CLEMENTE with some earlier unsatisfactory attempts at 'recording' the composer through music roll apparatus. As we've said for decades, rolls from keyboard sources don't reflect the artist. It's an "idea" that doesn't work in practice!) The ARTCRAFT Roll of ROBERTO CLEMENTE is equally at home on a standard pedal player as it is on a 'reproducing' instrument like the Duo-Art. Variable-length perforations and sostenuto techniques, possible only with arranging methods, are what give the 88-Note roll such an expressive performance and on any style of player action.

It's a great temptation, given the title of the roll and the SUPERB MUSIC it represents, to lapse into the maudlin Aeolian Organ advertising of the 'Teens, specifically the Review of Reviews magazine campaign for the Style 'XY' Solo-Orchestrelle. ROBERTO CLEMENTE on more than one occasion has brought moist eyes to the audience; this is due to the haunting nature of the music and the emotional content of the score.

O.k., we'll give you a sample of the Aeolian approach: "When Adelina Patti sang 'Home, Sweet Home' to her privileged audiences there wasn't a dry eye in the room." The advertising spread had lithographed angels soaring out of the reed banks of the player organ, and lyrics of "Home, Sweet Home" printed in arty typefaces plus a text which was loaded with catch-phrases like "Aye - the Pizzicato Stop, inspired by the gentle plucking of violin strings..." and so forth!

ROBERTO CLEMENTE was named for the Pittsburgh Pirates baseball player who died tragically on a New Year's Eve rescue mission in 1972, flying aid to Central American earthquake victims. We won't begin to describe the music except to say that once heard, the melodies are seldom forgotten. Even those who never knew of the famous sports figure are affected by the composition, due to the dramatic strength of the music alone. This Interpretive Arrangement can be played in comparison with the audio recordings by the composer, since so many performance elements are perforated into the music roll version. ARTCRAFT later issued a spectacular Ragtime Rhapsody written by David Roberts, entitled FOR KANSAS CITY ... and that release can also be presented side-by-side with the composer in performance. These two rolls of David Roberts' music will convince any listener that Interpretive Arranging is the only perforating method that truly reflects an artist's phrasing, keyboard attack and pedal effects.

It matters not if your music roll library is built upon classical music or popular selections. ROBERTO CLEMENTE in its Interpretive Arrangement format complements any player roll collection. You should own this important 88-Note roll of David Roberts' most popular composition to date. [Link to FOR KANSAS CITY]


SLEEPY HOLLOW RAG (1918) -Clarence Woods-

Arranged for Player-Piano by L. Douglas Henderson - $19.50

Here's one of the musical delights in the ARTCRAFT catalogue: SLEEPY HOLLOW RAG written by Ragtime legend Clarence Woods at the end of the Ragtime era. Few pianists play this relatively-unknown work ... and some of those who do often destroy the calm and tranquil "A-theme" by imposing the dotted-8th/16th rhythms of the Trio upon it, thereby eliminating the musical contrast inherent in the piece. What makes SLEEPY HOLLOW RAG so endearing is the smooth tremolo chord pattern of the first melody, interspersed with pronounced accents. This "flowing" nature of the music is set against the Trio's rhythm (the "swing" or "jazz" beat) which features part of the same melody that turned up 9 years later in Walter Donaldson's MAKIN' WHOOPEE!(It's probably parallel invention, but the similarity is noticeable to those familiar with the Eddie Cantor song from the Broadway show.)

ARTCRAFT provides the Pianolist with an array of performance tips, as this fascinating roll plays. There are suggestions for Bass and Treble SOFT PEDAL uses, in order to achieve the "rippling water" effect of that tricky "A-Theme" section. Red accent marks signal the interpreter to "kick out" a note or chord above this texture, from time to time. The Trio with its pulsating rhythms at a louder dynamic level pretty much takes care of itself, since this is an Interpretive Arrangement with variable-length perforations. Finally, the 'liquid' opening theme returns and the piece fades away, ever so slowly. Once again the Pianolist is assisted with stamped suggestions for the use of the Soft Pedal controls ... as the music floats into the ether. (Even if one ignores the stamped markings, SLEEPY HOLLOW RAG remains an exemplary music roll, a keyboard performance with so much detail that repeated playings will be needed in order to discover all the subtleties hidden in the arrangement.)

Note: if your Player-Piano has "action chokes" (which are often buttons) for the Soft Pedals, the performance markings will still apply. If you are going to play this roll on a 'reproducing' piano which has but a single Soft Pedal rather than the Bass-Treble divisions, use the suggestions for emphasizing the opposite half of the keyboard, via the crescendo controls or the Themodist levers. SLEEPY HOLLOW RAG achieves musical wonders on any style of player instrument, as many owners of Ampico and Duo-Art 'reproducing' players will tell you.

Order SLEEPY HOLLOW RAG for the pleasures of debonair Ragtime. It's ideal for relaxed listening and dapper dancing.


THE SMILER RAG- A Special Pianola Arrangement (1907) -Percy Wenrich-

Arranged for Player-Piano by L. Douglas Henderson - $24.00

The ARTCRAFT Interpretive Arrangements of THE SMILER RAG and RAGGED EDGES were instant successes in 88-Note and Duo-Art expression roll editions, from their first moments of release. (Generally speaking, a roll sells better in one format or the other, rather than on a equal basis.) Since THE SMILER RAG is an old war horse having been perforated many times in the past (primarily as a boring 'sheet music transfer') and RAGGED EDGES is a contemporary Folk-Rag number, we can only attribute this dual popularity to the supremacy of the Interpretive Arranging process ... the avenue for virtuoso performance on any type of Player-Piano.

Read the text for THE SMILER RAG in the Duo-Art department for more information. There, you'll find some interesting history about the piece itself ... and even an odd tale about alleged plagiarism surrounding this spectacular music roll! When launched by ARTCRAFT a number of years ago, advance orders for THE SMILER RAG totalled in three digits ... and the roll has been a runaway success ever since. The Interpretive Arrangement, which features Pianola Variations, has no competition.

Treat yourself and your friends to a bouncy and invigorating performance of THE SMILER RAG. (If there are some antique versions of this selection in your collection, just "clean house" and throw them away! Once you hear the acclaimed 1990 arrangement by ARTCRAFT, there are no other editions worthy of performance on your Pianola.) Get a copy now and start some excitement in your household. [Link to the Duo-Art description]


SO AM I - Fox Trot "Lady, Be Good!" (1924) -George Gershwin-

Arranged for Player-Piano by L. Douglas Henderson - $24.50
WORD ROLL

George Gershwin wrote his "chorus boy meets stage ingenue" song at the same time that RHAPSODY IN BLUE was being prepared for its début at Aeolian Hall, his pivotal year of 1924. This was a style of Broadway show tune, a requisite for the "formula musicals" being presented at the time, which for want of a better expression could be called a "phrased Fox Trot". That is, it had danceable elements in the chorus ... but the verse was a phrased interlude and there were artistic pauses when transitions and repeats were to be performed.

The Aeolian Co. put out a FAKE-Gershwin roll ("played by the Composer") which was the work of Robert Armbruster, one of their staff musicians. This muddy commercial Duo-Art roll is what a Gershwin fan would label "a quintessential 'nothing'" from start to finish. That didn't stop Keyboard Classics Magazine in 1990 from publishing a pseudo-research article about SO AM I, followed by sheet music transcription of the piece [made from a Disklavier solenoid player slopping through an imitation of the Armbruster roll]. The bi-monthly touted SO AM I as "lost Gershwin music!" "the missing years!" and "never before published!" Since ARTCRAFT was appearing at a player club convention in Ohio that year, a special limited-edition Duo-Art roll was produced for the event. This unusual medley combined the FAKE-Gershwin original roll with a second Duo-Art arrangement by Mr. Henderson (based upon the highly-flawed score in the periodical). We mention this in case you run into a used copy of SO AM I by ARTCRAFT featuring two versions of the piece. You don't want this roll! The ghastly release was made to be played in a lecture/demonstration against Gershwin's own 78 r.p.m. audio performances ... and the premiére of this fantastic Interpretive Arrangement of SO AM I. If the used ARTCRAFT roll says "Fox Trot" on the label, you've got the right roll! (Details about the out-of-print alternate version can be found in the Duo-Art section of these pages.)

What makes this ARTCRAFT release so "fantastic" to quote from the paragraph above is that the perforated performance SOUNDS LIKE 'GERSHWIN' ... something other rolls which are not Interpretive Arrangements can't claim. We invite comparison with the 'Twenties phonograph records that Gershwin made, and for this number you'll need to access the Columbia discs made in Great Britain during the 1926 English revival of "Lady, Be Good!" on Cassettes and CD's these days. This is a Word/Dialogue roll, so it gives some history about the musical as well as interpretive suggestions plus the lyrics for those who wish to sing with the Player-Piano. If you like Gershwin's music, this roll is a 'must' for your collection. [Link to the Duo-Art description]


STORMIN' THE CASTLE Stomp (1976) -Bob Ault-

Arranged for Player-Piano by L. Douglas Henderson - $22.00

Do you want a really "HOT" music roll for your collection? Here it is, and the Interpretive Arrangement is all that the title suggests!

STORMIN' THE CASTLE was created as a result of the ARTCRAFT exhibit in the Liberty Theatre lobby at Sedalia, Missouri's annual 'Scott Joplin Festival' where performers assemble in between their stage appearances. Having already heard this invigoring Stomp on Cassette tapes, Mr. Henderson was anxious to meet Bob Ault, the Composer of the sizzling music. That opportunity came the event being the cultural magnet that it is and the result is this rip-roaring 88-Note roll!

Variations augment the pulsating keyboard composition, and the variable-staccato striking achieves a virtuoso aura beyond the scope of any ordinary music roll. (Note: an 'ordinary' and much shorter playing 88-Note roll of this piece by another enterprise was issued in the 'Seventies, but in no way should it be confused with this genuine ARTCRAFT 'Interpretive Arrangement'.) The Pianola tears up and down the scale, eventually reaching a crowd-pleasing conclusion and one of finest Codas in the ARTCRAFT library of fiery music roll arrangements.

So effective is this roll of STORMIN' THE CASTLE that the Composer has autographed copies for his Ragtime fans, something that other artists were relunctant to do because of the perforated arrangements made in their names. There is an important (and honest) distinction being made here. The ARTCRAFT Interpretive Arrangement doesn't pretend to be a "recording" of Bob Ault, even though the performance of the roll certainly gives the listener that impression. Rolls sold as "recordings" even when arranged from source material created during a keyboard performance might say "played by " but they have none of the performance spirit of the live artist. When you perform STORMIN' THE CASTLE on your own instrument, it's an arranged roll of course but the artist illusion is absolutely convincing!

Don't put off another day of being without Bob Ault's amazing composition, STORMIN' THE CASTLE! You'll never know "hot" your player can be until this Interpretive Arrangement gets played on it. (Pass the fire buckets!)


TICO-TICO - Brazilian Dance -Z. Abreu-

Arranged for Player-Piano by L. Douglas Henderson - $24.00
WORD ROLL

Jump over to the Duo-Art text for a full description of this South American composition, as a perforated music roll extravaganza. The 88-Note edition listed here features "interpretive suggestions" printed on the roll, and if these are followed, the performance results will be identical to the exciting 'reproducing' arrangement of TICO-TICO by ARTCRAFT.

Imaginative phrasing, quick tempo changes and a 'fiesta' finale are just some of the wonders in this celebrated Interpretive Arrangement. [Link to the Duo-Art description.]


TRIANGLE JAZZ BLUES (1917) Based on a performance by Wally Rose -LeClerc-

Arranged for Player-Piano by L. Douglas Henderson - $20.50

Not until Wally Rose recorded TRIANGLE JAZZ BLUES for Columbia Records in the early 'Fifties did most people become familiar with this little-known New Orleans number. During his lifetime, Wally made the piece his 'signature tune' on many occasions and while a 'Teens composition (laden with uptempo Ragtime elements), TRIANGLE JAZZ BLUES is thoroughly original, combining a "walking bass" effect with "crush notes" in the treble line. This is an earthy, rustic composition, one which mirrors the early jazz breaks already being featured by the Original Dixieland Jazz Band and other groups. This is not "down-and-out" blues, but the boistrous EARLY blues music, cut from the same cloth as LIVERY STABLE BLUES and other selections from that era.

The ARTCRAFT Interpretive Arrangement gives the listener a real feel for the personalized interpretation that Wally presented in his lifetime. We guarantee it will sound better on your Player-Piano, because unfortunately Columbia Records gave Wally an off-key piano with 'thumbtacks' in the hammers, a nod to the 'corny' trend established by the short-lived "Crazy Otto" phase of the 'Fifties. TRIANGLE JAZZ BLUES on any decent piano will approach the sound that Wally didn't get to record. At home, he played upon a fine Steinway "B" grand piano an instrument he kept tuned and ready for anything by Chopin, Gershwin or Kern as well as the Ragtime music associated with his name. Naturally, the music roll edition was patterned after his audio recording, so many of the striking effects and broken bass chords reflect Wally at the keyboard, and not the rare sheet music (which he provided for the music roll project).

Once Wally told me that a member of the Lu Watters' Yerba Buena Jazz Band went to New Orleans, and looked up LeClerc, then an old man. "I'm so happy that my music finally got recorded," the Composer said obviously unaware that there was a QRS Roll of the piece in the 'Teens by Max Kortlander. At the time of this LeClerc meeting, the phonograph record with Wally Rose had already received the highest award from Downbeat Magazine, a respected jazz publication. Since the Composer seemed to think that this was the first notice that TRIANGLE JAZZ BLUES ever received, one wonders if QRS sent him royalties for their roll, a musical 'misfire' if one wishes to capture that traditional New Orleans sound. Ever since The ARTCRAFT Studio released TRIANGLE JAZZ BLUES in the Wally Rose 'style', it has been a highly popular roll, especially in Europe where old jazz phonograph records are studied and treasured.

Wally's gone now, but you can continue to enjoy TRIANGLE JAZZ BLUES into the future (and without all those disgusting thumbtacks too!). All you need is your Player-Piano and the roll will literally "play itself", being an Interpretive Arrangement. An Ampico version is also available. [Link to the Ampico edition]


VIGNETTE - A Piano Novelty [Dedicated to Douglas Henderson] (1989) -Wally Rose-

Arranged for Player-Piano by L. Douglas Henderson - $25.00

The Duo-Art text will give you all the information about this unique roll, a contemporary composition which blends two distinct "piano novelette" styles developed in the 'Twenties. VIGNETTE is an original number, and the Trio which appears in the middle of the performance was designed by the Composer to let the Player-Piano "break loose" and show off its technical abilities. Thus, the roll is 2/3 a composition within the scope of a talented keyboard pianist and 1/3 entirely in the reign of 88 'highspeed' pneumatic fingers a happy combination![Link to the Duo-Art description]

VIVA REGINA! March A Concert March Arrangement (1990) -Ian Whitcomb-

Arranged for Player-Piano by L. Douglas Henderson - $22.00

This toe-tapping 6/8 March by composer (and entertainer) Ian Whitcomb is in a class by itself. On one hand, the peppy composition evokes a vision of the English Music Hall or vaudeville days but, if one listens closely, there is a wealth of musical texture that is far more imaginative than the fare audiences experienced 80 years ago. Subtitled "A Concert March" by the Arranger, VIVA REGINA! is designed to give the Pianola the role of orchestra and "soloist" a perforated performance along the lines of the instrumental specialty act of the stage show days (which have been preserved on Edison cylinder recordings for our time). VIVA REGINA! has it all: trills, phrasing, cross-hand effects and Player-Piano variations which build to a thrilling conclusion!

This is the first of several musical collaborations between the multi-talented Ian Whitcomb and The ARTCRAFT Studio. Following VIVA REGINA! March were CHESTER The CAT One-Step and COTTAGE BY THE SEA and several more Whitcomb titles are in the works for future Interpretive Arrangements! So pleased was the Composer with the music roll transcription of his music, that he played it on his KPCC-FM West Coast radio program (on tape) prior to the actual ARTCRAFT release! (Later, he repeated this broadcast première concept with COTTAGE BY THE SEA, again treating his large radio audience to the music roll performance before the Master Roll reached the duplicating plant, also in California.)

You owe it to yourself to have a copy of VIVA REGINA! March in your collection, since it transcends the pedestrian "march rolls" of the past. Truly, this is a "march with merit!" Start your own parade with this effervescent roll!


THE WRONG RAG (1987) -Glenn Jenks-

Arranged for Player-Piano by L. Douglas Henderson - $23.50

No player roll library is complete unless it includes this superlative music roll. THE WRONG RAG has staccato sparkle and a wealth of performance tricks, so many that an immediate second hearing will be necessary for many listeners. Glenn Jenks assisted in the creation of this stellar Interpretive Arrangement another ARTCRAFT release which can be played in comparison with the Composer's own audio recording of the composition. Read the text for the Duo-Art edition for more information about this spectacular player roll. [Link to the Duo-Art description]

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