Simon and Richard are two of the best keyboard exponents around today and Runaway Rocking Horse is one of my favourite pieces of light music. I once had the pleasure of meeting the composer. I wish there were a few more of these duets to listen to on TH-cam.
I like the tight, crisp "studio" ambience of this space. I think it really suits these uptempo pieces and staccato playing better than a large hall would.
I absolutely *LOVE!* this recorded session. Thank you so very much to all involved, and thanks for sharing it. I'm always amazed by the skills musicians like Simon and Richard can pull off ! :-) Great sound recording and video too. Thanks again.
I keep coming back to this video ... It's so magnificent, two talented musicians, mastering their instruments in a fantastic way ... Thanks for sharing!
Fantastic, great performance, my late friend & mechanical organ arranger Steven Clarke done this tune for the chromatic Mortier organ scale and is equally superb.
Datura4 ... The best composers of this kind of light breezy fare don't get the credit they deserve. It's not as easy as it sounds. Great job all around guys. Also, that is a great sounding upright piano.
Allways a pleasure to see and hear you both. Remind me on our concerts in "Compton House" long ago. Good to see David sitting on his chair in the corner. Greetings to my Organ Friends in England, and thank you John for this fine video !
John Leeming Hi John, hope you all are well - missing the organ scene in England, looking forward to near future to visit England again for a fine Organ concert and to enjoy a good cup of tea and fish and chips with my friends there. Greetings from Germany - Ralf
John, Thank you for writing. As a life long aspiring pianist and music student, watching and hearing these fellows brings indescribable joy. Richard's piano technique is just astounding. I don't know why I didn't mention this in my earlier note, but Gershwin's Ambulatory Suite is another little known but wonderful work that would fit right into what Simon and Richard are doing. Ambulatory Suite Written-By - George Gershwin 1-01a Promenade (Walking The Dog) 2:31 1-01b March Of The Swiss Soldiers 2:04 1-01c Fidgety Feet An excellent up tempo version of this was recorded by Nelson Riddle in his "Ella Fitzgetald Sings The George Gershwin Song Book" album. Ca. 1957. If you are curious, I would be happy to share it with you via file sharing upload. Respectfully, Jeff Kinzler
Only just found the link to this while browsing the Cinema Organ Society website. What a lovely recording and a very interesting piece, beautifully played by you both. A really good video too, everything captured and with excellent quality. Well done!
Hi John, Thank you for writing. The mic placement explains the sweet stereo imaging on playback. Wondering if the Compton tone generator is similar in principle to the Hammond system. Could they have developed around the same time? Best wishes for holidays and the new year. Jeff Kinzler
+jam8854 Thanks, Jeff, and good wishes to you too. Yes, the Compton system was developed at around the same time as the Hammond system. Curiously enough, Leslie Bourn (who developed the Compton system) was working on a Hammond-type tonewheel system in the 1920s, but abandoned it before investigating electrostatic possibilities. This page may tell you a little more. Unfortunately the link given there to the late Ivor Buckingham's website no longer works.
You guys are great. Seem to have invented a new genre of music! I can't help but wonder how some of the jazz classics of the 1950's-1960's might sound arranged for piano and theater organ. Like Miles Davis'' If I Were A Bell, or Herbie Hancock's Canteloupe Island, for example. Perhaps you might consider doing a few of these period pieces some day. Keep up the good work! Jeff K your fan in New York
John, I had a chance to listen again on the big hi fi and speaker system. The sound seems to be best in straight stereo mode. I was wondering how you recorded this. The quality is superb. However, I didn't notice any microphones. And as far as I'm concerned your editing and cutaways are great. Is that big shaking motor a Compton tremulo? If so, how does it work? Best regards from your New York fan, Jeff Kinzler
+jam8854 Hi Jam - thanks for your comments. The microphones were a pair of Sennheiser narrow-angle cardiods at the other side of the room, always behind the camera. The audio went on to a Zoom H4 and was synchronised to the video shots during editing. The main part was recorded all in one take, with the beginning and end 'fun' bits spliced in. The 'shaking motor' is a pair of rotating discs, part of a Compton Melotone, which is a 1930s electronic tone generator added to many Compton theatre organs. It uses the principle of rotating metallised sine-wave tracks in an electrostatic field to induce small AC voltages on a plate. These signals are amplified and fed to a speaker. The reason it was shaking in the image was to produce a tremolo effect.
Very interesting realization, well done. I must mention that I'm looking to learn several Felton Rapley and Peter Yorke selections, along with "Promise of Spring" by Robert Farnon. And if anyone doubts it, let me say that I've already recorded "Pictures in the Fire" and "Joanne" along with Farnon's arrangement of Stolz's "Persian Nocturne" and Yorke's "Blue Mink." Thus far, I've only distributed it privately to close friends but hope eventually to set it on TH-cam. All done without the aid of sheet music, by the way.
+John Leeming Thanks loads for your encouragement. What's holding it back from posting on TH-cam is (1) money factors to pay a technician for the privilege, because (2) I'm not "computer-savvy" enough to be able to do it myself, coming from a much older generation. But then, how many of today's younger listeners have any real interest in this genre? - unless there is a revival, similar to what took place recently with ragtime.
ok im use to wurlitzer tremelo effects i assum the big motor rocking back and foreth is the tremelo effect if so can u explain how it works and if not whats it for i whatched all the videos and not the first time i seen it
Chris Opresko That's part of the Melotone unit - an electrostatic tone generator, which uses spinning acetate discs on which are engraved sine wave forms. It's a very early form of pipeless additive tonal synthesis. The tremulants work on the regulators in much the same way as those of a Wurlitzer, although I am told there are detail differences.
+Chris Opresko Richard Harrold's description here is correct, except that the discs are made of Bakelite. Compton did make some discs from an acetate material, but they were not successful, succumbing to warping. See also my reply to jam8854 above.
I had to look up Gumby shorts, but it's definitely not the same as the theme music. However, apparently it was used in the US series 'Life with Buster Keaton'.
This is great! An exact interpretaion of the original, that we used to hear on Children's Favourites, back in the days when the world was real.
Very entertaining. Thank you!
Simon and Richard are two of the best keyboard exponents around today and Runaway Rocking Horse is one of my favourite pieces of light music. I once had the pleasure of meeting the composer. I wish there were a few more of these duets to listen to on TH-cam.
Thanks, Brian. It would be great to do some more, but the main problems, as with so many things, are time and opportunity.
What a treat to watch this- 2 wonderful artists at their best!! Thanks for posting this Richard and Simon.
I like the tight, crisp "studio" ambience of this space. I think it really suits these uptempo pieces and staccato playing better than a large hall would.
I absolutely *LOVE!* this recorded session. Thank you so very much to all involved, and thanks for sharing it. I'm always amazed by the skills musicians like Simon and Richard can pull off ! :-) Great sound recording and video too. Thanks again.
Thanks, Paul. Glad you enjoyed it.
Stupendously superb artistry on so many levels. Five stars. Bravo!
I keep coming back to this video ... It's so magnificent, two talented musicians, mastering their instruments in a fantastic way ... Thanks for sharing!
The musicality and technical skill of these two is phenomenal. Great video as usual John, some very tantalising glimpses of the Compton's innards!
In the very best Light Music tradition. Wonderful!
Brings back fond memories of that day in Holbeach.
Yes indeed.
Just wonderful ! Thank you for posting.
Phenomenal! A real treat! You guys are absolutely amazing!
Excellent! Many thanks Guys.
Fantastic, great performance, my late friend & mechanical organ arranger Steven Clarke done this tune for the chromatic Mortier organ scale and is equally superb.
I do love watching this one from time-to-time.
Edward White ROCKS!
Datura4 ... The best composers of this kind of light breezy fare don't get the credit they deserve. It's not as easy as it sounds. Great job all around guys.
Also, that is a great sounding upright piano.
Allways a pleasure to see and hear you both. Remind me on our concerts in "Compton House" long ago. Good to see David sitting on his chair in the corner. Greetings to my Organ Friends in England, and thank you John for this fine video !
EspressoLoft Thanks. That must be you, Ralf! I hope you are well.
John Leeming Hi John, hope you all are well - missing the organ scene in England, looking forward to near future to visit England again for a fine Organ concert and to enjoy a good cup of tea and fish and chips with my friends there. Greetings from Germany - Ralf
+EspressoLoft Any chance of more videos of your own lovely Compton?
John,
Thank you for writing. As a life long aspiring pianist and music student, watching and hearing these fellows brings indescribable joy. Richard's piano technique is just astounding.
I don't know why I didn't mention this in my earlier note, but Gershwin's Ambulatory Suite is another little known but wonderful work that would fit right into what Simon and Richard are doing.
Ambulatory Suite
Written-By - George Gershwin
1-01a Promenade (Walking The Dog) 2:31
1-01b March Of The Swiss Soldiers 2:04
1-01c Fidgety Feet
An excellent up tempo version of this was recorded by Nelson Riddle in his "Ella Fitzgetald Sings The George Gershwin Song Book" album. Ca. 1957.
If you are curious, I would be happy to share it with you via file sharing upload.
Respectfully,
Jeff Kinzler
+jam8854 Thanks again, Jeff. I've passed on your suggestions.
Only just found the link to this while browsing the Cinema Organ Society website. What a lovely recording and a very interesting piece, beautifully played by you both.
A really good video too, everything captured and with excellent quality.
Well done!
+Paul Willmott Thanks, Paul. Glad you liked it.
Brilliant as always. Cheers! :-)
WOW!!!!!! That was so much fun.
Thanks, Vinnie - it was fun to make, too!
Thanks for the post, great arrangement. RH Jones looked rather chipper, all things considered...
Edward White - I know him chiefly through a piece entitled "Paris Interlude." In your repertoire, perhaps?
Hi John,
Thank you for writing.
The mic placement explains the sweet stereo imaging on playback.
Wondering if the Compton tone generator is similar in principle to the Hammond system. Could they have developed around the same time?
Best wishes for holidays and the new year.
Jeff Kinzler
+jam8854 Thanks, Jeff, and good wishes to you too.
Yes, the Compton system was developed at around the same time as the Hammond system. Curiously enough, Leslie Bourn (who developed the Compton system) was working on a Hammond-type tonewheel system in the 1920s, but abandoned it before investigating electrostatic possibilities. This page may tell you a little more. Unfortunately the link given there to the late Ivor Buckingham's website no longer works.
You guys are great. Seem to have invented a new genre of music!
I can't help but wonder how some of the jazz classics of the 1950's-1960's might sound arranged for piano and theater organ. Like Miles Davis'' If I Were A Bell, or Herbie Hancock's Canteloupe Island, for example. Perhaps you might consider doing a few of these period pieces some day. Keep up the good work!
Jeff K your fan in New York
+jam8854 Thanks, Jeff. I've passed on your suggestion to them.
John,
I had a chance to listen again on the big hi fi and speaker system. The sound seems to be best in straight stereo mode.
I was wondering how you recorded this. The quality is superb. However, I didn't notice any microphones.
And as far as I'm concerned your editing and cutaways are great.
Is that big shaking motor a Compton tremulo? If so, how does it work?
Best regards from your New York fan,
Jeff Kinzler
+jam8854 Hi Jam - thanks for your comments. The microphones were a pair of Sennheiser narrow-angle cardiods at the other side of the room, always behind the camera. The audio went on to a Zoom H4 and was synchronised to the video shots during editing. The main part was recorded all in one take, with the beginning and end 'fun' bits spliced in.
The 'shaking motor' is a pair of rotating discs, part of a Compton Melotone, which is a 1930s electronic tone generator added to many Compton theatre organs. It uses the principle of rotating metallised sine-wave tracks in an electrostatic field to induce small AC voltages on a plate. These signals are amplified and fed to a speaker. The reason it was shaking in the image was to produce a tremolo effect.
Very interesting realization, well done. I must mention that I'm looking to learn several Felton Rapley and Peter Yorke selections, along with "Promise of Spring" by Robert Farnon. And if anyone doubts it, let me say that I've already recorded "Pictures in the Fire" and "Joanne" along with Farnon's arrangement of Stolz's "Persian Nocturne" and Yorke's "Blue Mink." Thus far, I've only distributed it privately to close friends but hope eventually to set it on TH-cam. All done without the aid of sheet music, by the way.
+alger3041 Thanks for your comment. I look forward to hearing some of your work.
+John Leeming Thanks loads for your encouragement. What's holding it back from posting on TH-cam is (1) money factors to pay a technician for the privilege, because (2) I'm not "computer-savvy" enough to be able to do it myself, coming from a much older generation. But then, how many of today's younger listeners have any real interest in this genre? - unless there is a revival, similar to what took place recently with ragtime.
ok im use to wurlitzer tremelo effects i assum the big motor rocking back and foreth is the tremelo effect if so can u explain how it works and if not whats it for i whatched all the videos and not the first time i seen it
Chris Opresko That's part of the Melotone unit - an electrostatic tone generator, which uses spinning acetate discs on which are engraved sine wave forms. It's a very early form of pipeless additive tonal synthesis. The tremulants work on the regulators in much the same way as those of a Wurlitzer, although I am told there are detail differences.
+Chris Opresko Richard Harrold's description here is correct, except that the discs are made of Bakelite. Compton did make some discs from an acetate material, but they were not successful, succumbing to warping. See also my reply to jam8854 above.
What brand is the piano???
Steinway.
He's also the composer of "Puffin Billy" which Americans know as the theme to Captain Kangaroo.
Indeed so.
Am I crazy, or do I remember this piece of music from old Gumby shorts?
I had to look up Gumby shorts, but it's definitely not the same as the theme music. However, apparently it was used in the US series 'Life with Buster Keaton'.
And the last few seconds with all the guys LOL??? :0))))
That was just after we'd recorded the outdoor bit!
As I mentioned in another comment, I know many organists. All of them are nuts, no exception. It's inescapable.
Derek De Maine - tell me more about what you didn't like about the editing.
flying fingers, each one with their own brain.
Loved the music, but hated the editing