It was with considerable disappointment that I was unable
to attend this year's Dedication Show due to family commitments. This report has
been formed from notes sent to me by Frank, Eric, Andy and Sally, who confirm
that everyone had a very nice time, with lots of Ken Griffin tunes played
throughout the afternoon..
Lee Moloney started the
show on the Allen GW-IV for about 20 minutes. Then I played 45 minutes,
followed by intermission. Eric then played about 45 minutes. The
Hammond was a BC, not a BV. The tremulant sounded terrible and I (Frank)
was the
only one who used it and for only 2 songs. I did my show on the Allen 311
and got it to closely resemble Ken's Hammond when I used only tibias (flute
stops). I
finished with one song on the Allen GW-IV. At the end, we did You
Can't Be True, Dear and Tea For Two, three organists.
Lee
Mohoney: Allan GW-IV)
No Business Like Show Business
Medley (Misty, Charade, Never On A Sunday and Fascination and concluding
with The Beer Barrel Polka)
Cheek To Cheek
Frank
Pugno:
Hammond
BC:
Someday
The
Cuckoo Waltz
Open Up Your
Heart
Allen
311:
Open
Up Your Heart
Valencia
Red Wing
O Ma Kodi Polka
One
Dozen Roses
It Had To be You (no overdubbing effect)
In An Eighteenth Century Drawing Room
Allen
GW-IV:
The Bumpity Bump
(Ken was theatre organist
(1928-1930/played best instruments of his time)
ERIC LARSON:
(Hammond BC)
Little Sally One Shoe
(Allan GW-IV)
My Best To You
Dreaming Of My Sally
Glow Worm
The Nearness Of You
Louisianna Waltz
Side By Side
Twelfth Street rag
You Belong To Me
Take Five
Spanish Eyes (Not Complete)
Jeepers Creepers
Maloney (Protégé Console), Pugno (311) & Larson (GW-IV):
You Can’t Be True, Dear
Tea For Two
Eric Larson (GW-IV)
Sentimental Journey
Tennessee Waltz
Comment
(10th February 2005)
Bill
Reid
As
explained I was unable to attend this years show. However I have since received
a copy of the recording that was made by Martin Fisher of Nashville, Tennessee,
which was made on a handheld digital recorder, using the inbuilt microphone.
Martin had got the recording cleaned up as much as possible and while the sound
remained a bit on the 'hollow' side' it is an acceptable and very welcome
recording of the days events and I very much appreciated being able to hear the
programme as it was made.
I
have since converted the tracks from the CD's to WAV files and ran them through
a WAV Correction programme. The Equalizing and Graphic dynamics were tightened
up and
the volume level raised to optimum audio CD level and I have to admit the
difference is quite remarkable, with a more solid sound. Being able to listen
at 'average' volume level it becomes a very enjoyable listening experience. I
also edited the 'silent' periods between tracks, which were on the long side at
times, and the whole CD programme is more balanced.
This
now allows me to make a personal comment on the show and the performance of the
artists. Sadly, the Hammond BC failed only a short while into the performance
and an Allan GW-IV and Allan 311 used for the remainder of the show.
Now, as worthy instruments as these are, they will not give a true 'Griffin
Sound' and while everyone did their best it wasn't really Ken's sound. However,
having said that, Ken's playing style and arrangements were more than obvious
and we 'fans' could easily sense Ken's involvement in the performances.
Lee,
of course, doesn't play in Ken's style therefore his performance was all his
own. I thought this a very tuneful selection, starting with a rousing opening
of There's No Business Like Show Business followed by a very pleasant medley
that includes, Misty, Charade, Never On A Sunday and Fascination and concluding
with The Beer Barrel Polka.
Lee
then concludes his performance with a very lively arrangement of Cheek To Cheek
which concludes in a very worthy applause.
Frank
began his performance on the Hammond with Someday, which got everyone one off to
a foot tapping start. With The Cuckoo Waltz there was no mistaking that Griffin
sound and the 'professional' organist at the keyboard. This was 'keyboard wise'
spot on to Ken's arrangement.
On
the Allan 311 Frank continued with Open Up Your Heart and Valencia, very Ken
Griffin but I just loved Franks arrangement of Red Wing. This was followed by
Ken's own composition, Oh Ma Kodi Polka (Anyone know the origin of this title or
its meaning!) then Frank gave another excellent performance with One Dozen
Roses, a great number, which I didn't know that Ken had recorded. According to
Frank this is a little known recording and very difficult to find.
Another
number in which Frank tries very hard to sound like Ken's version is It had
To Be You but again is not quite correct as it has neither the right sound or
have the over-dubbing that cries out 'Ken Griffin'. However, top marks for the fine
effort in spite of the limitations.
Franks
final number on the IV was an excellent attempt to play Ken's very fast In An Eighteenth Century Drawing Room and he deserves credit for the effort,
which only the slower response of the IV stopped it being a perfect Ken Griffin
play-a- like.
Frank concluded with a fine playing of The Bumpity Bump. I felt that
this was the only number in which it didn't matter being on the IV as Frank had
made very colourful settings that complimented the arrangement very nicely. The
Bumpity Bump was composed by Doc Swaine whom Ken gives mention to on his TV
Show.
It
was very nice to find that Eric had played so many numbers this year. He has restricted
himself in past shows and really should make these a showcase for his fine
performances.
Eric
returns to the IV with a very nice arrangement of Little Sally One Shoe. And
again, while not exactly Ken Griffin he gives a very charming and melodic
version of Ken's composition, My Best To You.
This is followed by a brand new composition by Eric, dedicated to Ken and Sally,
called Dreaming Of My Sally. On the Hammond or Electrostatic this is 100% Ken
Griffin and I am certain that Ken would have been very proud of this
composition. Once again, the IV couldn't make it sound like Ken.
On
hearing the tune for the first time I immediately felt that it should have
lyrics and within the week I managed to compose a set of lyrics that Eric felt
happy with, therefore this lovely little tune became a song. I know Eric has
composed numerous tunes for the organ but this was a first for me and I am very
pleased that not only has it worked but also that Sally enjoys my 'vocalised'
version, to Eric's accompaniment.
Eric
next played Glow Worm in a lively manner that sounds very Theatre Organ-ish,
rather than electronic. This was followed with Ken's arrangement of The Nearness
Of You. Again not quite Ken's sound, but Eric plays the this so sweetly that all
is forgiven. The melodious tune on its own would have been a hit but with such
charming lyrics this is a very atmospheric number.
And again, in similar fashion, another of Ken's own compositions Louisiana
Waltz. This is a fine tune that sounds good on whatever instrument it is played
on.
This
was followed with another Ken standard Side By Side in which Eric really makes
the keyboard swing.
Next
we come to my second most favourite of Eric's performance. Sometime before the
show I came across a different arrangement of 12th Street Rag, from Ken's
Columbia arrangement and sent Eric a copy. I was very pleased to find that he
had memorised the arrangement and included in this performance. Again, it
really required the Hammond to do it justice but for performance this is Eric at
his best. He sizzles over the keys! I would love to hear Eric play this on the
Blackpool Tower Organ, it would be a hit. The fact that Eric also has a Pipe
Organ at home, which he plays equally well, it shows in this
arrangement.
Interestingly,
I have since come across a third arrangement of 12th Street Rag by Ken,
completely different from the other two versions. I shall be introducing Eric to
this arrangement very soon and I am sure he will also make a great job of adding
this to his already massive repertoire of Ken's play-a-like arrangements.
Next
there is a slight diversion when Eric's wife Elizabeth joins him to sing You
Belong To Me. Elizabeth sang at our first show but the recording suffered from
sound imbalance and her voice was slightly lost to the organ playing. However,
this time we have a well-balanced line and Elizabeth gives a nice rendering of
this old favourite.
This
is followed by a very nice arrangement of Take Five, showing Eric's natural
'Jazz' playing style. He's good, ain't he!
I
haven't worked out why Spanish Eyes was played so briefly! It just stops!
However, Eric plays this very well and it’s a shame it isn't complete. Can we
have the conclusion next time!
Update
10. 03. 05.
It appears that this number has been cut short while recording and/or during
the editing. I shall see if we can get the missing sections restored.
For
his final 'solo' number Eric introduces and improvises the organ voices before
playing a very lively arrangement of Jeepers Creepers. Another foot tapper.
Update
10. 02. 05
I have since learned that for this performance of Jeepers Creepers it is
one that you would have to see to appreciate exactly what Eric did. He
played the bass with left foot on the pedals, the melody with right foot high up
on pedals, and then both hands for the accompaniment. Apparently it was a
typical "console gymnastics" piece and you would not have known of
what was involved if you hadn't seen it for yourself.
You
can't hold a Dedication Evening to Ken and not play a combined effort of You Can't
Be True, Dear and with Lee on the Protégé
Console, Frank at the 311 and Eric at the GW-IV they give an excellent
performance.
Normally,
it should be impossible to follow this rousing performance but our gallant trio
followed this up with an equally successful Tea For Two.
Eric's
penultimate number was on the BC and gave a very bouncy arrangement of
Sentimental Journey. Not completely Ken Griffin, as the train sound was omitted,
but very lively.
A
rather subdued finale but once again Eric manages to round things up nicely with a
tuneful arrangement of The Tennessee waltz.
===============================
I
was really sorry not to have been there but I would like to conclude by thanking
Martin Fisher for taking the trouble to record this event and to capture it for
us. It has been really nice to be able to listen to the performance in the
comfort of my own home.
My
Thanks too, to Lee Moloney, Frank Pugno and Eric Larson, not to forget Sally
White, who also played her part. But my greatest thanks go to Andy Antonczyk,
who once again has taken the time and trouble to make all the arrangement that
allow these shows to take place and to continue.
Watch
these pages for the 2005 Dedication Show.
