Found on an MP3 web site, this interesting paragraph
(author unknown) which would be interesting to learn more
about:
"The most successful and boring organist of the
1950s. Griffin recorded a slew of albums, mostly for
Columbia, and had Top 40 pop hits with his covers of
"The Anniversary Song" and "You Can't Be
True, Dear." The latter reportedly sold something
like 3.5 million copies, but the funny thing is that the
hit version was actually a dub of vocals by singer Jerry
Wayne over a copy of the tune recorded by Griffin as an
instrumental number for skating rinks. He served a brief
jail term in the early 1950s for failing to record a
version of "Caravan."
In his defense, and from my own personal fondness for
Ken's playing, I really can't accept that he was
'boring'. While I can accept that his playing can't
appeal to everyone, considering his success and the
amount of recordings Ken made the only way he could be
considered boring would be from the formulation of his
LP's (after his death) which have been compiled by
someone else. e.g. the LP\CD Anniversary Songs brings
together too many numbers of the same mood and is only
broken by the inclusion of 'It had to be You', to speed
up the long session of slower numbers. With my knowledge
and large collection of his music I could easily compile
a CD of his music that would keep your feet tapping for
up to an hour or more. The above comments don't allow for
the exceptionally seeming simplicity of Ken's playing but
which I am sure, those organists who have attempted to
play in his style, will agree is far from easy. Try
playing The Little Red Monkey exactly like Ken or Scatterbrain and The Bells of St. Mary, you will get the
message. I think too the fact that Ken preferred to stick
to the melody and use "Bells & Whistles"
sparingly and only in sympathy with the mood of the tune
put a few organ diehards off because he wasn't trying to
make the organ sound like a real orchestra as many of
present day keyboards and organists attempt to do. If the
organ reaches the stage when you can't tell the
difference from a real instrument and/or orchestra, you
just might as well listen to the real thing. That is not
to discredit the musical knowledge and playing abilities
of modern organists. The organ, theatre or electronic has
always been a instrument of great and numerous voices but
have kept their interest because they always sound like
an 'organ'! Listen to the UK theatre organ greats such as
the late Bobby Pagan and George Blackmore or the late
American organist George Wright and you won't mistake
that they are playing the mighty organ.
Update 12. 12. 00. Re:
"that prison sentence"
I refound the web site where I found the above report
about Ken having received a short prison sentence and
e-mailed the only person named there. He kindly replied
and I quote his reply below:
"I did not write any of the articles
concerning the different artists. Brad wrote those. I
only supplied him with the album titles. I can tell you
how that prison sentence story got there, and of course,
that is only a joke on Brad's part. I knew sooner or
later someone would question me about that. I almost at
the time, asked Brad if he would remove that but I never
did get back to him to ask him. That came about when Brad
sent me a tape with about 65 different renditions of the
song "The Third Man Theme." Being so interested
in organ music and a collector ( I have over 650 albums
of various artists) I mentioned to him that practically
all organists have recorded at one time or another a
rendition of the song Caravan. In fact I have a cassette
tape where I recorded all the various versions that I
have of Caravan. I mentioned to Brad that I did not think
that Ken Griffin had ever recorded Caravan. When he
inserted the article on Ken Griffin he remembered my
telling him about Caravan and that fact I did not think
Ken had recorded that particular song so that is how that
came about. I was very surprised he included that in the
little write up he has on Ken. He did mention, however,
the Ken Griffin Memorial Page and that there was
certainly a more serious tribute to Ken Griffin located
there. His point being that if every other organist has
recorded Caravan then it must have been a crime if Ken
Griffin did not. I understand most people reading that
probably would not understand what Brad was driving at
there. Had it been up to me personally, that would not
have been included in the write up. I hope you understand
now how that came about. No dis-respect was intended
towards Ken Griffin. I enjoyed and still enjoy his music.
I grew up listening to his music. I am 58 so I missed out
on the 78's for the most part. I remember the many 45's
and also his 12" Columbia albums which I have listed
on his page on Brad's site. I also listed some
Rondo-Lette albums which do contain his older recordings.
Brad mentioned he was the most boring organist of our
time. I also disagree with that statement as you do also.
I look at all these various organists as having a certain
style and sound. Without being told I can pick out most
organists from their style of playing. Certainly when I
hear Ken Griffin's music I know it is him from his style
of playing. When Lenny Dee or Jesse Crawford was playing,
you can pick out each distinctive style. They are all
excellent and brought so much listening pleasure through
there various recordings. Something I didn't realize
until later in life is that Ken died back in the 50's. I
know that a lot of those 12' Columbia recordings were
released in the 60's. I thought he was still alive. He
sure made an impact with his organ music for having
passed away at such a young age.
Here we are in the year 2000 and his music is still
listened to a lot. That is just amazing and a real tribute
to him that he is still remembered and that his music
continues to be released now via CD. I have a CD of his
titled "Magic Organ Moods" which contains 18
selections which is available from the Good Music Record
Company. I don't think that is mentioned on his Memorial
Page".
I am grateful for this reply and I am sure most of you
reading this will be pleased to know that Ken hadn't been
involved in such a disturbing incident. The explanation
of it being part of a joke is welcome but it certainly
didn't come across in the way the sentence was presented.
I am sure it would have been more appreciated if it had.
But thanks to the author for explaining the situation.
Likewise, I have been aware of the other CD of Ken's
music "Organ Moods" but have been unable to
actually find the source as where to purchase it and will
certainly be looking into that in the very near future. If you already have this CD it would be interesting to hear
your views on it and as to where you purchased it. (See
update at bottom of this page).
N.B. It is interesting that Eric Larson has since produced a recording of 'Caravan' as Ken may have played it.
Update September 2002:
Frank Pugno e-mailed the webmaster of the above
web site and explained how hurt he was on reading the remarks suggesting
that Ken had been given a prison sentence and asked why it hadn't been
removed. As explained above, the web master of that site wasn't
responsible for the remarks, which were meant to be a joke and it was
left to the author to make the correction. I am pleased to say that this
has now been carried out and justice seen to have been done. Have a look
at www.spaceagepop.com to see the
proof.
===============================================
Latest
News (March/April 2001)
It has
been very satisfying making a number of contacts from the
web pages. Two in particular have proved to be most
interesting and rewarding. One is from Johs Larsen in
Denmark. Johs has owned a Hammond A in the past but now
owns an Ahlborn three manual electronic organ and from
the tape he has kindly sent me, proves to be a very fine
and sensitive player. It is also welcome to know that in
his area there is a small Ken Griffin Fan club, who still
meet and play his music and talk about him. Are there any
more such fan clubs out there!
The second contact is Andy Antonczyk of Chicago, who is
still a keen skater and along with his large collection
of skating music enjoys Ken's playing considerably. Andy
kindly sent me copies of Ken's 78's The Griffin Blues and
Apple Blossom Wedding. If you haven't heard Ken play the
blues then I recommend that you get yourself a copy o
this one. Apple Blossom Wedding is equally fine in which
Ken plays both Organ and Piano. Its a real beauty, catchy
and indicative. I had known that the fist version of You
Can't Be True, Dear was as a backing for a vocal but
had never heard it, again thanks to Andy I now have. It
is interesting in that Ken's playing is identical to his
solo version. The reverse side of this 78 is also a
vocal, Doodle Doo Doo, which these days seems a bit
'twee' but is actually quite pleasant.
Next is
Eric Larson from Massachusetts. Eric owns three Hammonds
and a theater organ. But most interesting is that he has
spent many years studying Ken's playing style and the
technical methods and ideas that Ken used to find those
great organ sounds. I have edited the most interesting
details from Eric's articles and they will follow at the
end of this chat. For my part I found it very interesting
to know that Ken knew and understood about 'playing with
echo' and 'overdubbing', even back in those early days.
It proves that Ken had considerable knowledge of the
technical side of organ electrics and recording methods
and worked extremely hard to find the methods of
producing the sounds and getting them onto recordings. He
was certainly ahead of his time and one of a kind. It is
of considerable credit to his achievements that 46 years
after his sad and early death, so many people around the
world still remember him and continue to listen to his music. I still remember the moment that I found out that
Ken had died, it was within a few days of his death. I
was playing my old windup gramophone outside, to my
friends and while playing one of Ken's 78's, one of the
older lads suddenly commented that he had read of Ken's
death in the paper. It was hard to believe. I had just
started to know him by name and having a few of his 78's
in my collection. Thankfully it never stopped me from
enjoying his music and being interested not only in
finding and searching for older or new copies but to
learn more about Ken himself. It has taken a long time
(nearly half a century) and by the wonder of the
Internet, I have learned so much new stuff about Ken and
made contact with others, from various corners of the
world, who share the same interest and enjoyment of Ken's
fine playing. It is still seems impossible to believe
that Ken Died 46 years on the 11th.of March, this year.
Almost the same time again has past as Ken had in life.
Update Oct. 2002.
From Wilfred Høstland
(Norway). He states that the instrumental of You Can't Be True, Dear,
came first and the vocal version later
Eric's
latest purchase is an actual Wurlitzer ES of that period
and he is busy getting that knocked into shape and
attempting to copy Ken's playing style on that organ and
has already recorded Glow Worm and Ken's own composition,
Symphony In 3/4 Time. Eric is proving to be a very fine
organist, both in his own right and in Ken's playing
style. He deserves to be producing CD's in both styles.
If there are any record companies out
there looking for a new and fresh organist, Eric's your
man.
Frank
Pugno of Chicago. Frank is a professional organist,
playing in various venues and churches in the Chicago
area. he plays a very nice Conn organ at a local church.
Again, it is my pleasure to have received a CD of Frank's
playing and enjoy it very much. On hearing about Eric,
Frank was also interested to hear him play. On doing so
he agreed that we had found a really fine organist, not
only playing and sounding like Ken but his own playing
style is brilliant and worthy of greater exposure. From
these 'internet' communications it is planned to hold a
"Ken Griffin Evening" and more news of this
event will be published in these pages and wherever
available, once the venue, times and dates are settled.
WATCH THIS SPACE. However click onto the new pages (on
the homepage) to hear a short section of Ken playing an
original number, and also a sample of Eric's playing,
which will give you an idea of his playing style and what
to expect at the proposed event.
Frank has this request from (mis) information
on the memorial pages. Can anyone help put things right:
"The obituary for Ken in the March 12,
1956 Chicago Tribune states that the Old Heidelberg was
at 3 W. Randolph, which is currently an empty lot about
to be purchased by Lord & Taylor (an American clothes
department store). On our favorite website, it states it
was at 14 W . Randolph, which is across the street next
to the Oriental Theater. Further, my Dad remembers Old
Heidelberg, but he said it was not a hotel (the website
says it was). Help! I'm confused. Do you have any ideas
on this? There's a big difference between those addresses
and data. The obituary also gave a surviving sister as
Katherine (not Virginia) and no mention of his brother
Kirby. I suspect the newspaper was wrong, they are many
times. One time, I was advertized in a local newspaper as
"Frank Pugno at the Organ.
There have been rumors for many years that Ken
was a heavy drinker, and sometimes would get on the bench
absolutely pie-eyed. They claimed he died of cirrhosis of
the liver, which I never believed. Of course, we know he
had several heart attacks. There is one discrepancy
concerning this. His second CD "Magic Organ
Memories" states he had his first coronary in early
March, 1956 in Spokane, Washington. I know the second was
at the Old Heidelberg on Thursday, March 8, 1956, when he
was rushed to Charles Wesley Memorial Hospital (now
Northwestern Hospital, Chicago) where he suffered his
fatal third attack on March 11, 1956. Our website says
the first two were about a year apart. I don't know, I'm
trying to piece it together, but the pieces just don't
fit".
Update: Comments from Wilfed Høstland:
"There was no Heidelberg Hotel in Chicago just the restaurant
bearing the name. The Old Heidelberg Restaurant was at 14
East Randolph Street, Chicago.
Brian Wessel, also from the Chicago area has recently
come across one of Ken's 45rpm EP's and notes the
different versions of Glow Worm and Stormy Weather
than on the 67 melody lane LP. Over the years I have been
aware of the progress and improvements that Ken made and
he would bring out a new version of an older recording.
Many of you will only be aware of some of these numbers
from his Wurlitzer Electro Static (ES) playing on 67
Melody Lane (67) and may be put off buying what you think
is just anther duplication when coming across these, for
sale. But you will be missing out on older versions of
tunes such as Glow Worm, Stormy Weather, Humoresque,
Scatterbrain Sentimental Journey, St Louise Blues and
Barcarolle, etc. If you know of others please let me
know and I will add them to the list. I only knew his Humoresque from 67 but when I came across the 78rpm
version the difference was magical, its a much superior version that is brilliant. I knew the 78rpm version of
Scatterbrain before the 67 version and was slightly
disappointed with the latter version, but the ES is quite
a different organ and dictated how Ken would play on that
machine. The ES versions aren't bad, just different. Sentimental
Journey differs in that the train sound is actually
better than the later version. St Louise Blues is
almost identical but you can hear where he has improved
certain bars on the later version. Both tunes are
obviously played on different organs. It is difficult to
know which version to prefer, they are both very good. Barcarolle
is very similar to the newer version, but the latter benefits from a more polished playing style, with great
finger work and sparkles from better recording methods of
the time. I expect these are the same reasons why Ken
brought out the brighter versions of You Can't be
True, Dear and The Cuckoo Waltz in the
40's.
Ken also changed the names
of some tunes on later playings. e.g. Whistler's
Jingle, which later became Kringle's Jingle
on his The Organ Plays At Christmas LP. One strange
little dittie, that he composed himself, is Jumping
Bean produced back in the Rondo/Esquire days. This
pops up as Jukebox Polka on 67 Melody Lane. It
is an unusual tune for Ken and you may wonder why he
bothered, but it would seem that he came up with it in
his mind and messed about with it over time and possibly
used it as a bit of a finger exercise. And while on the
subject of things not quite what you expect from Ken,
have you heard Limberlost and Neapolitan Nights? As Eric (Larson) explained on first hearing
it, it is difficult to consider that Jumping Bean and
Limberlost came from the same person, they are so
different! Limberlost is a classic, indeed could
almost be classed as 'Classical'. It uses his fine slow
playing and melodious rich organ sound but Ken moved away
from his 'melody' only playing and adds some wistful and
airy counter melody that is very pleasant indeed without
being over done. Eric liked it so much that he has since
recorded his own arrangement of the tune, as well as a version playing like Ken. Neapolitan Nights is
much older and while we have got used to Ken mixing
piano with organ o this number he appears to be playing a
background melody with ether an organ sound of a
Concertina or possibly a real one. It certainly sounds
like Ken playing and would suggest that it was overdubbed
onto the recording.
There now
follows some technical chat from Eric Larson and Frank
Pugno (that's pronounced Poon-yo, folks). I am sure you
will find much of interest and get a clearer picture of
how Ken went about producing the sounds and recording all
those great records......
N.B. Some of the paragraphs may be out of context but you
should be able to pick up the gist of everything and
possibly learn a little more about how unique and popular
Ken really was..........
Eric
Larson's Introduction and Technical points
The extra high-pitched whistling
countermelody in Ken's version of Cruising Down the River
is an overdub, as is the Hammond imitation Xylophone in
his Barcarolle. Likewise the chirping sound in Kringle's
Jingle on Skating time. With a two manual Instrument, you
can only get two sounds simultaneously, so when three
different effects are present, it must be an overdub.
Virtually all of the better (three head) commercial tape
recorders of the period, (Ampex being the most noted and
most widely used) were capable of tape echo. Most of
these machines also had three tape speeds, 3.75, 7.5
& 15 inches per second. I have noted three different
echo rates in Griffin's work. Mostly he used the 7.5 ips
speed, tape echo evident in his Cruising Down the River
album and Skating Time. He also occasionally used the
3.75 ips speed where he actually plays in step with the
echo, and on one selection, Scatterbrain, he used the 15
ips speed.
I have no objections whatsoever to such a practice. I
look upon the final recording as the artist's work, and
if he occasionally resorts to these recording tricks, it
is no different from a painting artist using different
colors or backgrounds to create his final output, the
painting which we enjoy. Ken simply "painted"
as it were, with his Hammond.
I had a copy of 67 Melody Lane years ago. Ken used a
Wurlitzer amplified reed organ for that record. It was
one Wurlitzer made wherein all of the 73 or 85 reeds blew
at once in soundproof enclosures. The keys and pedals
applied a positive DC voltage to pickup screws mounted
over the reeds, thus forming particular reeds into
vibrating capacitors.
One of the other things that is notable on his Hammond
recordings is the use of the early Hammond fluid-column
reverb unit. I don't know how familiar you are with
Hammond technical details, but the fluid column reverb
unit had 5 springs, roughly 27" long in a
mechanically linked network, with a driving coil at the
top of the assembly, and a crystal pickup at the bottom.
Four out of the five springs were immersed in brass tubes
filled with oil. Of these, three were immersed for most
of their entire length. The fourth spring was only
slightly in oil, and the fifth spring was in air. The
driver or transducer at the top received the electrical
signal of the Hammond and reproduced it as a mechanical
vibration in the spring network. The springs both delayed
and sustained the vibrations, resulting in a pseudo
reverb signal at the crystal pickup.
The biggest problems of these early reverb units was
their unnatural and "rail-barrely" sound, due
in part to their mechanical resonances at certain
frequencies. Also, they had very poor high frequency
response. I was told, and listening bears it out, that
many early recording studios with a Hammond supplemented
the fluid-column reverb units with tape echo, which had
excellent and essentially flat frequency response, which
could be further altered by introducing tone controls in
the play-back signal from the playback head before
feeding an attentuated signal into the record head.
Also, adjusting the gain of the playback signal (always
less than unity) would control the number of delayed
repetitions of the original signal.
Whether Ken set up his own Hammonds or relied upon the
recording people, I don't know, but at least a part of
his characteristic sound is the use of these two effects.
I also noticed that on a few selections, he used an early
Conn organ. (Elmer's Tune and Side by Side, to name two.)
In Bells of St. Mary, he uses an overdub using two
different effects in unison for the melody. In
retrospect, the fact that he did use these techniques
would indicate a very good understanding of not only the
Hammonds of that era, but also of the recording
technology available and also something about tonal and
musical effects. It would have been very interesting to
know Griffin. I am sure that he had a wealth of musical
and technical knowledge far above what a casual audition
of his playing would reveal.
The early Conn electronics of the type Griffin used were
vacuum tube models, and had a bank of at least 73, and
perhaps 85 or more individually tunable oscillators. The
output wave forms were a somewhat spikey sawtooth, which
was filtered to become suitable voices, most of which did
not sound much like their orchestral namesakes. In these
models, all stops were at 8 foot or unison pitch. Other
effects were brought in by means of numerous couplers at
various upper octave and mutation pitch levels. The basic
sound of these instruments can best be described as
"scratchy." Conn subsequently made numerous
improvements and design changes, ultimately creating some
fairly elaborate electronic theater organs in the 1980's
which had no other similarity to these early scratchy
instruments other than the fact that they also used
independent oscillators for each pitch and bore the name
Conn.
The organs Griffin used in Far Away Places and September
Song were Wurlitzer continuously sounding
reed-electrostatic organs. Their output went through a
rotary speaker of Wurlitzer's own design, but essentially
quite similar to a Leslie rotating speaker. Because it
was possible to modify the application of the positive DC
voltage applied to the reeds, and also to let it decay
through capacitors in the keying circuitry, the attacks
and decays of these instruments were much softer than the
telegraph-key characteristic of the Hammond, and it was
also possible to introduce sustain, evident in Far Away
Places.
Frank
Pugno Introduction and Technical Points
I'm sure you remember hearing the sounds
of bells on many of his recordings. The organs of the
1950's were not so equipped, so he overdubbed this tone
over the first tone I gave you in the last email, ringing
it like a bell. Occasionally, he did it alone without the
dubbing ("Hi-Lilli, Hi-Lo"). This was a
foreshadow of organs starting in the 1960's.
Swell: 00 8000 800
Another effect was the pizzicato, which he did on
"In An Eighteenth Century Drawing Room
(popularization of Mozart's "Sonata in C").
This is where he took a tone like a clarinet (roughly 00
8080 800, might have even been that), but struck the note
and let off right away like a pluck. Dink-dink! On top of
a basic regular sound.
Both of these effects found there way into electronic
organs some years after his death. The first was
Reiteration (or Repeat) for orchestra bells, marimba,
banjo and the like, the second was the Wurlitzer Organ
with a Pizzicato stop, voiced similar to a clarinet.
Whether Ken Griffin foreshadowed these things (which are
now standard in the industry), or the organ companies got
these ideas by hearing him do them is something no one
can answer.
As for the Hammond settings, two different organs of the
same brand and model built the same day do not sound
EXACTLY the same. There will be differences in such
things as bass, treble, transient tone, reverberation
depth, and many more factors. Acoustics are critical. I
knew a skating organist here who told me that a C3 that
he played in his rink had to have drawbars pulled out all
the way before they could even be heard! When I got my
first church job on a Hammond, I experimented at home on
my A100 to get a sound very close to a church pipe organ.
When I tried it on the church's CV, it failed, I had to
make adjustments. First the wiring changes as mentioned,
and then heavy acoustics with long reverberation
accentuates the bass and weakens the treble, so I had to
"kick down" the fundamental and bass a few
notches, and pull the higher drawbars out a bit. The
amazing thing was that when I was done, it was 100% the
same. Try that with a cheap old Thomas Organ an American
piece of junk that went off the market years ago), tried
to upstage Hammond (ha ha!). I fully understand the
adjustments, and as a professional, I've played all types
of organs under many different conditions. I appreciate
the settings from Eric and am going to try them here. If
anybody has any more, I would be very interested to see
them. I remember somebody telling me years ago that when
Ken performed at the Oriental Theater, he had tape
equipment on stage and used the tapes manually to get the
bigger sound of two organs like the recording "The
Bells of Saint Mary's". I'm only guessing that he
may also have done this for the bells.
Frank replied to my having sent him a picture of Ken's ES
organ in mistake for the Conn but he kindly adds:
No problem about the Conn Organ. It gave
me another picture of Ken Griffin. After you told me it
was a Conn, I listened to "Louise" with a very
critical musical ear. That organ is a Conn. The pedal
tone has clear definition (not the low drone bass of a
lot of organs), and that definite string tone that Conn
was famous for in his left-hand countermelody. Positively CONN. Conn had the best violin stop in the industry, the
problem is how much will you sit there imitating a
violin? Also, in the early Conn's, like Ken's, most stops
were stringy, the Oboe was the same tone softer, the
Trumpet louder, and the Diapason was also louder but
added some flute tone to it. In later years, they
overcame this as the technology got better (and more
expensive).
Kind of eager to hear Eric's
interpretations of Ken Griffin. As to the stop settings,
I haven't tried the first one yet, but the second one
where he changed the intensity of the last drawbar made
the brightness too weak. On the records, the tone was
brighter, it needs the 1', maybe not to 8, but
pronounced. Then again, the older Hammonds were much
brighter, but I don't think it would change it that much.
I'm also sure that Eric and I have different settings on
the bass/treble control inside the back of the organ and
different speakers. It all can make a difference. These
are the way the tones sounded best on mine (the one the
CD was made on). This tone (88 0000 088) also makes a
great jazz organ sound. As to 00 8888 888, Eric hit the
nail right on the head ("Kringle's Jingle" and
"Lazy River", also "It Had To Be
You"). Lenny Dee also used this setting for up-tempo
tunes. What I find extremely interesting is that Eric and
I both found all three settings with exactly the same
drawbars, the only differences being some of the
intensities, which is normal on different organs. On the
original "You Can't Be True, Dear"
registration, especially, our drawbar components were
identical, he just readjusted the highs and lows.
As to your comments about Ken Griffin, one thing he was
noted for (not formally) was that when someone came out
with a very popular vocal record, Ken would often record
an instrumental version (Jo Stafford - "You Belong
To Me", Pat Boone - "Love Letters In The
Sand"). I understand that when he recorded
"Love Letters In The Sand", it almost blew Pat
Boone out of the water! When I spoke of "Elmer's
Tune" last week, I compared it to the original by
Dick Jergens (1941). Jergens was great, but I think that
Ken's was much more showy and lively. I've never heard
anybody play it like him. That was recorded on the Conn
Organ.
I finally tried ALL the settings from Eric. The
"Lazy River" one, as I said before was perfect,
we both came up with the same setting exactly. "The
"unique" one definitely needs more brightness,
it was somewhat shrill on my organ without it. As for the
standard "You Can't Be True, Dear" setup, my
organ said "no". Mine might have the bass too
intense in the Swell manual, but the tone from Eric was
too light and didn't have the body. I noticed in the
pictures his organ has external tone cabinets, which tend
to add a lot more body to the sound. When I switch my
instrument to the tone cabinet, it severely alters the
effect of the drawbars. I'm sure this is a major factor
in the differences. This tone seems to be very sensitive.
My organ speakers are self contained in the console (the
equivalent of a PR-40 tone cabinet). As we all seem to
concur, no two organs are exactly the same.
When hearing Ken on the Hammond, the tone was very
conventional and ALL HAMMOND as commercially successful.
However, some songs had a whispering effect that was
reminiscent of the Hammonds of the late 1930s. If the
organ he recorded on was a BC, it fits. This was made
1937-1942, and if Ken fitted it with vibrato (it
theoretically became a BCV) after the war, it would also
have retained the old CHORUS control, which gives that
effect. It is heard on "Always" and others (I
can't think of them now). A very old vintage sound that I
never heard anyone else do. I'm not even sure if other
organs could do that. The organ tone seemed to have a
"floating" quality. However, I know for a fact
that Ken owned at least one BV. I have known people here
in Chicago who actually knew him (that list kept getting
smaller over the years), and that organ was always
mentioned.
I had a friend (God rest his soul) who told me he knew
Ken personally. In 1967 (eleven years after Ken died), I
showed my friend a picture of Ken. I couldn't believe it!
He burst into tears right in front of me! He stared at
the picture, then said "A nicer man you will never
find. Too bad he died so young."
Thanks for Eric's reply to my drawbar question. I never
played a Schober organ, but remember when they were hot
on the grill. The people who put them together (they had
printed circuits) just thought they were hot stuff
(there's really another word I'd rather put in there, if
you get my drift)!
I know of nobody who ever saw or played one, and in my
travels, never saw one in the field. I think what Ken
liked in the Conn was the big, husky sound he got with
the contrasting string in the countermelody. I have
played Conns in that era, and they couldn't do much. As I
told you previously, the stops all sounded the same,
stringy. The tone didn't offend me, but it didn't raise
my hair either. You can evaluate Ken's preference
yourself, I think he wanted it for this particular sound.
Listen again to "Elmer's Tune",
"Sunday", "Side By Side" and
"Louise", these all used the Conn,
I would like to share two drawbar settings that you may
be able to pass on to Ken Griffin fans and maybe the
Danish Ken Griffin Fan Club (please send them my kindest
regards). The first is very conventional, and people may
already know it, but the second is a unique
"Griffin" sound that I bumped into by accident
Conventional (example, "You Can't Be True,
Dear" ---------------------------
Swell: 80 8808 008
------------------------Great:
00 8865 544
------------------------Pedal:
76
------------------------Vibrato:
V3 Swell and Great (Vibrato Full)
------------------------Reverberation:
To your taste.
------------------------Griffin
Unique (example, "The Bumpity Bump")\tab \tab Swell: 88 0000 088
The rest can be the same or changed to suit the
accompaniment and vibrato desired.
There are simpler examples, but they sure thrilled me when
I found them".
I'm sure you remember hearing the sounds of bells on many
of his recordings. The organs of the 1950' s were not so
equipped, so he overdubbed this tone over the first tone
I gave you in the last email, ringing it like a bell.
Occasionally, he did it alone without the dubbing
("Hi-Lilli, Hi-Lo"). This was a foreshadow of
organs starting in the 1960's.
-----------------------Swell:
00 8000 800
Another effect was the pizzicato, which he did on
"In An Eighteenth Century Drawing Room
(popularization of Mozart's "Sonata in C").
This is where he took a tone like a clarinet (roughly 00
8080 800, might have even been that), but struck the note
and let off right away like a pluck. Dink-dink! On top of
a basic regular sound.
Both of these effects found there way into electronic
organs some years after his death. The first was
Reiteration (or Repeat) for orchestra bells, marimba,
banjo and the like, the second was the Wurlitzer Organ
with a Pizzicato stop, voiced similar to a clarinet.
Whether Ken Griffin foreshadowed these things (which are
now standard in the industry), or the organ companies got
these ideas by hearing him do them is something no one
can answer"
Frank's response to my stating that I preferred
Ken's organ playing and sounds over all others at that
period:
Don't feel bad about your "old days" feeling
about Ken Griffin and other organs. Many people,
especially in the 50s and 60s, like the Hammond better
than anything else. PIPE ORGANS SOUNDED TINNY TO THEM!!!
Ken Griffin was the most popular instrumentalist in USA
history (that has not been exceeded to this day! ). He
fell in the late 1960s and Lenny Dee grabbed the reins.
Now Ken is coming back. Good work, Ken. From what I
understand, he also broke another record. When he
released "You Can't Be True, Dear" in 1948, he
swept the USA coast to coast within a week. Others have
also done that later, but from the time the record was
released to the time it became a gold record was a record
(I don't know the duration) and that still stands. People
often criticize him for (I hate this expression)
OOM-PAH-PAH, but that was the style then, and he led the
way for the organists of later generations. Also, people
who play by ear, teach themselves or come to the organ
from the accordion have a tougher time with the left
hand. Ken taught himself, but was able to read music
having come over from the violin. He also practiced and
always tried to improve his playing. His left hand was
adding more and more countermelody the later the
recordings were made. How sad the grim reaper took him so
early. I think his playing was marvelous, he gave the
music life, no dragging. and that left hand rhythm was
played sharply. If one of my students played "You
Can't Be True, Dear" like him, he would pass the
lesson with flying colors! I play that song like him, not
exactly, but about 95% true to form. I do add the waltz
percussion to give it a slight lift. It does not
adulterate the feel of the piece. I feel it is close
enough that I won't record it, they can listen to Ken's,
it's probably better.
On that 'bridging' dittie that Ken used so
often and in various styles, Frank explains:
"When a performing artist using a certain musical
cliche, it is referred to as a fill-in or
interlude. That particular bridge on ...
"You Can't Be True, Dear" was a trademark of
Ken, and was known by people in the midwestern United
States before he ever became famous. He was very
well known in the midwest before his first
recording. He merely wrote the fill-in as part of
the song. It worked!"
Frank's
response to hearing Eric play as Ken: "I hear the
ghost of Ken all over it"
Obviously, there are many differences, but he is the
closest to Ken I have ever heard. Especially "The
Peanut Vendor" and "Rambling Rose" sounded
pretty much like Ken might have played them. There were
others, too. I'm playing it as I write this. He also has
a nice style of his own (which actually interests me
more, being a professional organist myself) with a great
beat and nice left hand countermelody. He has total
control over the instrument, and gives it life and style.
I could listen to him all night, this is really a
compliment because a lot of organists do not affect me
like that. His knowledge of the Hammond drawbars also is
in his favor, I'm now hearing what sounds like the
Wurlitzer Electro static Organ, but is really the
Hammond. It's amazing. Eric is truly an excellent player,
and if he ever gets around to making that CD, I'll be
first in line. I'm now hearing "Your Cheating
Heart", sounds like Ken. "Wheels" is
another, I hear the ghost of Ken Griffin all over it.
These recordings are totally legitimate. As for the
drawbars settings, I think we both hit the mark on our
own organs. Neither one of us is closer than the other.
Johs
Larsen's response:
Still I', shocked and listening to Eric's
organ-music, which is so fantastic. I never thought a
person in the whole World could recycle (re-construct)
Ken's music so unique. I'm listening to the tape a second
time, and I gapes as a shocked bird. But as you say, he
is more swing'n and jazz'n than Ken was in his tune.
What a music-day! Wonderful to listen to Eric's music,
and both of us, Stinne and I, enjoy it very much. Eric's
version of You Can't Be True, Dear is very charming and
in a more 'tempo-version' than Ken would have played,
like you said. Cruising Down the River is like the
preceding very charming, and the April in Portugal is
funny with the simulated drum effect done on the Hammond
upper-keyboard. You Belong to Me and My Heart Cries for
You is charming too. I like the echo in Scatterbrain, and
in my bad English I can't express what I mean, but Ken
played a melody in a charming bass-tune, and a 'hacking'
chop, nag's sound upper in the high tunes. Like this Eric
do very smart. I don't like the guitar accompaniments,
but it forgives by the charming organ sound in this
number/copy. Kringle's Jingle is so nice, with a sound
like Ken, and a jingling sound in the background.
Fantastic that Eric can remember all this tunes/melodies.
He is real a professional musician. And the organ is just
like Ken's, you can hear. Also in Far Away Places he hit
it very well. As you say, Bill, you can't play precisely
like someone else. In Moonbeams he use lots of funny
effect. This I never have heard Ken play.
Yes we can get very impressed, e.g. in Till I Waltz Again
with you he make a very close the Ken-sound. He plays a
bit faster than Ken, and sometimes he 'take a little long
time' with a sound, and then he plays faster on the next
tune. But all he do is well done. Side two is yet a bit
more fantastic than side one. It goes more and more
impressive, in acrobatics top his Yodeler's Polka. But
his A Waltz for my Lady is particular so charming. But
sometimes it seems as 'the air goes out of the system',
when he is cheerful and thump at the various
drum-instruments. His version of Love Letters in the Sand
is very charming too, and one of the best I have heard.
Also The Bells of St. Mary's is so beautiful. In
Barcarole we hear Ken very clear; it is a very, very nice
work. Eighteenth Century Drawing Room is a beautiful
'full stop' of Eric's music.
In all I say, that 'Ken Plays Again', and I am so
thankful, that you send this copy to me. I enjoy to
listen to Eric, but Ken is still number one in the world.
It would be nice, if a CD-company would send out Eric's
records before it is too late. I think there would be a
group of listeners to his music. But there must have to
be a million, before a company would run the risk. Yes,
Eric ought to be producing some CDs and making a career
out of his great organ playing. Eric is absolute a
genuine, unequalled. I don't think anyone in all the
world could make this sound, even if he got all the new
technique. What a great played work of art.
Andy
Antonczyk's response:
I listened to the
Larson's and Larsen's playing. Eric is the best imitation
Griffin I've heard so far. Very few organists can really
imitate another. I think Eric has Ken's style and sounds
copied perfectly. As I listened to it again more
carefully, what he is lacking is the "soul" of
Ken Griffin. It's ever so slightly "off" from
actually listening to Ken. The only artist I have ever
heard successfully copy another is George Wright playing
Jesse Crawford. He actually sounds exactly like Jesse
including the subtle "breaths" in Jesse's
interpretative phrasing. Listening to Eric I kept on
thinking that "Ken" was a little
"off" today...hahaha. He is, nevertheless, an
excellent study and the most successful I have ever heard
as an imitation Ken. I totally agree with your analysis.
Johs Larsen has an interesting style that is unique on
its own. I find it upbeat and refreshing. Both Larson and
Larsen are extremely fine musicians. Commercially, they
both have a lot of potential.
Bill Reid's
response:
I have heard a number of play-a-likes
over the years but they tend to fall down either on the
playing and/or actual organ sounds. When Eric contacted
me and said he played like Ken I immediately thought that
he would be little better. I couldn't have been more
mistaken. I have been completely bowled over by his
playing and the accuracy he has got in capturing Ken's
organ sounds. Whether he is playing original Griffin
numbers or songs composed after Ken's death, and in the
way Eric thinks Ken would have played them, it continues
to amaze me how easily I can be lulled into thinking I am
actually listening to Ken himself. I never thought anyone
could entertain me with his organ playing as Ken has
done, but whether playing as Ken or in his own fine
playing style I would like to thank Eric for his
beautiful music and keeping Ken's memory alive so
enjoyably. Likewise if there is anyone out there who
still has interest in the Hammond and Wurlizer ES organs
they will be interested in both Eric's 2001 playing of
Ken's music and the technical side of these two electric
organs.
Ken's all white Wurlizer Electrostatic
4602 organ as played on the 67 Melody Lane LP and TV
Show, and for
numerous other fine recordings such as "I Don't Want
To Set The World On Fire",
"The Nearness
of You", "Sweet Georgia Brown" or
"You Are My Sunshine", among others.
Eric Larson explains.....
The picture above is from the LP cover of
"When Irish Eyes Are Smiling" which is a face-on
picture of the Wurlitzer 4600. The only significant
difference between the two is that the 4602 has 32 pedals
and the 4600 has 25. Otherwise, from all that I can
determine, they have the same stop specifications and the
reed units are the same also. I have noticed that above
pedal number 25, when using the higher or so-called 8
foot (pipe organ terminology) pedal stops on the 4602,
that there is a noticeable tonal break; so that leads me
to believe that the internal wiring for the two
instruments is the same, and the pedal tones on the last
seven pedals of the 4602 are derived from the reed
pickups normally reserved for the low end of the
keyboards, and not from the special or third pickups on
those reeds which supply both manual and pedal tones for
the second and third octave of pedal pitches.
This, by the way, if I were building these instruments,
would make sense from a manufacturing standpoint, because
then I could use the identical reed system for both
instruments. From what I can determine (mostly
anecdotally) there were very, very few 32 pedal versions
of the ES made, perhaps not more than maybe a few hundred
in all. Most of these Wurlitzer electrostatic organs were
the 13 pedal 4410's which were the spinets, along with a
number of 25 pedal 4600's. There was, however, a change
at some point in the amplifier design and also in the
layout of the reed unit and of course the switch to the
right-angle gear drive for the blower, which on the later
version was on the back of the reed unit instead of on
the top. On the version with the blower on top, there are
three reed pans on both the front and back of the reed
unit, and one on the right side. On the other layout,
there are two groups of three reed pans one above the
other, and one pan of reeds on the back of the reed unit
along with the blower. I don't know which of these two
Ken used. In either case, the stop list, tonal
specification and available sounds and basic scheme are
the same.
An important feature to keep in mind, and perhaps which
should be elaborated upon is that Wurlitzer did, for a
while, take over the manufacture of the Everett Orgatron
and did in fact build a smaller but similar instrument
with reeds that were operated by means of direct-electric
valves that actually controlled the air to each reed.
These technically would also be classed as electrostatic
organs, because they likewise derived their tone from the
charging of the reeds and pickups with a DC voltage. The
principal difference was that in this earlier version,
the electrostatic charge existed on all the reeds and
pickups simultaneously and the reeds did not operate
except when actually needed to produce a tone.
The difference of course in the later version is that the
later version keys the charging voltages while
maintaining all the reeds in vibration, which eliminates
the characteristic slow speech and afterdrone of free
reeds when keyed pneumatically. Thus, these later or
continuous-blow instruments behave like true electronic
organs in that they generate an audio voltage signal only
when the tone generators (reeds and pickups) are keyed
with direct current which then creates the electrostatic
charge necessary for the production of the audio signal
voltage. This system likewise eliminates the need of a
complicated electromagnetic valve action and a pressure
regulator, since the air load on the new version never
varies. The older version actually treated the reeds as a
rank of pipes in an electric-action pipe organ. The new
version keys the charging voltages to the capacitors
formed by the reeds and their pickups.
It is important, especially with the newer type, not to
think of this as a reed organ, but as a capacitor organ,
where vibrating capacitors are charged as necessary to
generate the audio frequencies. The vibrating capacitors
in the Wurlitzer happen to be reeds, but there was an
experimental instrument built by someone (I forget what
outfit) that actually used rotating elements and keyed a
polarizing voltage onto a pickup to generate an AC audio
signal. As I understand, one of the difficulties of that
instrument was the connection through brushes and slip
rings to the rotary elements for the charging potential.
I wish I could remember the name of the book which I took
out years ago from the Boston Public Library on
electronic musical instruments that detailed many of
these arcane experimental instruments and their operating
principles.
===============================================
17.10.01. A
welcome to Mike MacCormick from Oklahoma, who writes:
.As a longtime Ken Griffin fan I was glad to run across
your supplement to the official website a few days ago;
my hat is off to the enlightening information! Having
just turned 49 I well remember Mr. Griffin's music well
from growing up in the halcyon days of the idyllic '50s,
particularly listening to the old Broadcast 78s. So here
are a couple of trivia questions maybe you can help me
with: First, when did the Broadcast material fit
in...before Rondo? ...at the same time, just pressed at a
different plant? Does anyone have a definitive Broadcast
discography on Ken Griffin with release dates narrowed
down to the precise year? Also, can you tell me about
what year the 45 in the scan was recorded and/or
released? (I'm wanting to put in on my jukebox (a
'54 AMi) and would like to place it in chronological
order with the other records.) So much material has been
reissued over the years that it's hard to keep straight.
Your pages make for some great reading, to say the
least. Yeah, I didn't like that one guy's reference
either to Ken Griffin being a 'boring' organist; I
thought 'boring' my...foot, how can anyone listen to the
reaching-out and the receding of the waves in "Ebb
Tide" (now that oughta be released for CD
listening), the complicated "Polka Pops" or
"Bumblebee on a Bender," the mysterioso he
puts into "I Saw You With My Heart" or the
locomotive effects on "Sentimental Journey" and
write it off as dull in any sense of the word. Too, I
didn't realize Mr. Griffin since passed on until
coming upon the website about a year ago. And at a
much-too-young 46, couldn't you have envisioned him having
kept working through the music of the '60s and '70s,
doing excellent renditions of "The Benefit of Mr.
Kite" and "Black Magic Woman"? (well, think about it...)
45 rpms didn't arrive on the market until 1949, so
I know the Rondo single can't be older than that. It gets
confusing with the Columbia, Rondo and Broadcast
recordings being different. Hopefully someone will
compile a once-and-for-all Ken Griffin discography
someday, taking all the guesswork out of dating these
older recordings. Thanks too for the CD info, except that
I also have that two-fer! Hopefully Collectables will
come out with more two-fers in the future, as much Ken
Griffin music is out there. (I also have the only other
two CDs that I know are released -- Magic Organ Moods
and Waltz Favorites; you probably have 'em
too.) This scan is a copy of the record that got it all
started for me, with the title misspelled. I must've been
three or so, making it '55 or '56 when I latched onto it.
Later we skated to that at the skating rink. I've never
seen a Broadcast 78 prior to #400.
Again, thanks for your
tribute pages, and any help you can supply as to the
Broadcast / Rondo confusion would be appreciated. Thanks
-- Mike McCormick
Thanks to Mike too, also,
for finding this 10" version of Skating Time, which
has a completely different cover picture than the
12" LP or CD versions.
Bill's Reply:
I remembered later where that Discography
was! It is by Donald Bourdreaux and you will find it on
the Memorial Home Page, between the section advertising
the two-fer, CD Skating Time & Favourite Waltzes and
the 'signed' B&W Picture of Ken. The Discography is
very good but it lacks enough actual dates of production,
but you should find it of interest.
I wrote to Donald Bourdreaux for some
more information on the Discography and the possibility
of updates to the list and he replied:
Hi Bill:
Very sorry but I don't have any information other than
what is in the discography. I don't have any dates on any
of them either. I also tried to get the date information
from Columbia but they don't even answer. I was Secretary
of the Buddy Clark Fan Club for many years and we were
never able to get any information from them on him either
so it isn't just you. The only place you might any
information would be Ken's sister as I believe she has
all his recordings and other belongings. I know she has
copies of his TV shows which I have tried for years to
get but never have even seen one. Sure wish something
like that would show up on Ebay or one of those places. I
don't have any idea as to whether the Rondo or Broadcast
were recorded first. Good luck in your search, if you
find any more information I sure would like to get it
too.
Well, while Donald cant help he does in
fact point out the sad lack of relations big record
companies such as CBS have with their customers these
days. At once time you could write to any big company and
their public relation department would quickly reply, if
only to say they couldn't help, but as my letters from
Philips on the Obituary shows, they were only too happy
to help. What's happened since then! Are big companies
only interested in profit these days and have a total
disrespect for their costumers! My last two letters to
CBS were never replied to. So come on guys, if any of you
are possibly reading these pages, is it really too much
effort to reply to your customers? Big name stars such as
Ken Griffin helped make your company the success it is,
giving a little back isn't going to hurt!
----------------------------------------------
As well as welcoming Donald to our group
I would also like to thank him for introducing another
new contact, this time Alan Lovell who lives in, Suffolk,
England. Alan was looking for a copy of Ken's
Scatterbrain and was very pleased to hear about the
Memorial Web site and these pages. We also shared
discussion on the problem that Eric Larson has to get his
proposed CD "A Tribute to Ken Griffin" onto the
market, while working on his own. perhaps this will
interest anyone else who may be in the same position.
Alan wrote:
Hi Bill.
What a wonderful surprise to find someone who likes Ken
Griffin after all these years. Thank you for that
recording. It was lovely to hear it again. It is not the
one I used as there was a lot of percussion in this one
of yours, whereas I think that the recording I used was
really just what you would think was purely organ.
Many years ago my Father in Law and I opened a
recording studio in Manor Park, London and apart from
recording pop groups and wedding we cut LP discs. The
dearest part was producing the masters, but you could if
you wish produce one record only if required. The cost
now must be a lot cheaper to produce CDs rather than
discs. All that is required is a master tape. Any sound
recording engineer is capable of doing that provided that
the item has been recorded to a high standard preferably
by a digital recorder. America should be geared up for
this but you could get quotes from this country and
compare the two. The only other thing to watch is
copyright of the songs. You will be surprised that
Scatterbrain is still inside the copyright law. Copyright
generally runs out at 50 years but why this has been
extended I do not know. There are two companies
that deal with copyright in this country. One is the
Mechanical Copyright Protection Society and the other is
the Performing Rights Society.
Well Bill thank you again for your help, it really is
appreciated.
Regards
Alan Lovell.
"Moments
to Remember" CD
I have a copy of the first
draft CD that Eric Larson has made and it really is nice.
A worthy tribute to Ken, and possibly the closest anyone
has ever got to playing and sounding like him. The
finished CD should be a real treat. One tune, on the Wurlitzer ES stood out, from the first seconds of hearing
it. It is a most lovely tune called "Moments to
Remember", which I am sure I know, from many years
past. Eric plays it virtually as Ken may have done if he
had known of it, but while listening to it you can swear
it is Ken himself playing it. A simple 'melodious' tune
linked together with Ken's 'bridging' tune, that is as
smooth as silk, in the playing style of Ken's Moonbeams
or September in the Rain. This CD just cries out for
success and when it eventually gets onto the market you
can be sure to read about it on these pages..
RECORD
COVER IDEA!
Having received the record cover scans from Mike
and Johs's one (above) from Denmark, I wondered if it
would be a good idea to ask anyone reading this if they
could send me scans of their versions of The Cuckoo Waltz
and You Can't Be True, Dear so that we can build up as
many covers in all the labels and languages these two
tunes appeared in. I look forward to hearing from you and
adding your scans to these pages.
I have since come across this scan of the Rondo 78rpm version of Cuckoo Waltz. Can you add others!
December 2002
A hearty welcome to Bruce
McLean from Victoria, Australia. Bruce writes:
Bill,
I have just discovered
your Ken Griffin page on my first internet search to find if there has
been a CD release of a favourite Ken Griffin track of mine called
"In An Eighteen Century Drawing Room".
I have it on a Australian
EP released on the Columbia Label. The other tracks are "Cecile
Waltz", "Louise" and "Side by Side". My parents
purchased the EP in the mid 50's. I was playing the EP this afternoon
and this spurred me to get onto the net. Whilst I was only 12 years old
when Ken died, this EP has always been an enduring favourite for the
last 47 years.
Bruce McLean.
In response to my reply and for information on Australian releases Bruce
replies:
I have discovered the
following Australian releases so far.
LP - Let's Have A Party - Coronet (CBS) KLP655
(Cover modified from the one on your tribute site)
EP (No Title) SEG07502 Tracks as per my original message.
EP - Lost In A Cloud - Coronet KEP011
Half As Much, No Other Love, Sentimental Journey, Oh Baby Mine
Last two releases in early 60's.
Bruce McLean.
30. 12. 02. Bruce
also gives details of the Australian LP Coronet SKLP 402 'Hymns' Ken
Griffin at the Wurlitzer Organ.. This is a 12" LP and all tracks
are by Ken, unlike my Philips LP, which has Kirby Griffin sharing with
his uncle, and includes two tracks I have not known of before 'I Love To
Tell The Story' and 'God Be With You'.
(Comment: Was these recordings really on the Wurlitzer! I am sure
they are all on the Hammond on the Philip's record!).
Update:
Sorry, I got confused over the above recording, and of course, it was
played on the Wurlitzer Electrostatic. However it proves just how well
Ken managed to turn the rather 'watery' sounding organ as played on the
67 Melody Lane TV show, and produced many great arrangements that make
it sound like another organ altogether and very close to the more
'heavy' sound of the Hammond. I remember aquaintences, back in the 60's,
who thought that the Wurlitzer Elecrostatic was in fact a pipe organ and
there were some little arguments about that. It seems that in the U.K.,
at least, the Wurlitzer was seldom given mention and only on the cover
text of 67 Melody Lane is it mentioned a couple of times. However, I was
always aware that over the years Ken played at least three makes of
organ, though the Hammond was always obvious. The third organ, of
course, was the Conn.
Here is the front cover
picture and the text on the back cover, which Bruce has kindly sent:
It is interesting that
some Australian LP's have different titles and also contain tracks in
different formation than the American or U.K. LP's. In particular, are,
Console Concert, County Fair and Remember. Having the titles and record
numbers is helpful for any discology anyone may be getting together.
The LP's mentioned in the above photo, are:
| CONSOLE CONCERT - SKIP 002. 10” LP - You Can’t Be True, Dear - Dipsy Doodle - Red Sails In the Sunset - Cuckoo Waltz - In A Shanty In Old Shanty Town - Scatterbrain.
COUNTY FAIR - SKIP 003. 10” LP - Over The Waves - Whispering - Block Beauty March - Beer Barrel Polka - In The Good Old Summertime - I’m
Confessin'
HAWAIIAN SERENADE - SKIP 020. 10” LP - Blue Hawaii - Sweet Leilani - Drifting and Dreaming - King's Serenade - Songs of the Islands - Song of Old Hawaii - Golden Sends and Silvery Sea - Aloha Oe.
WHEN IRISH EYES ARE SMILING - SKIP 023. 10” LP
- When Irish Eyes Are Smiling - I’ll Take You Home Again Kathleen - Mary’s A Grand Old Name - Where The River Shannon Flows - Galway Bay, Danny Boy - Peggy O’NeiI - Mother
Machree.
ANNIVERSARY SONGS - SKLP 025. 10”
LP. - Anniversary Waltz Waltz - When Your Hair Has Turned to Silver - Let Me Cell You Sweetheart - Together - Anniversary Song - Because Wonderful One - I Love You Truly.
CRUISING DOWN THE RIVER - KIP 523. 12” LP - Cruising Down the River - On the Banks of the Wabash Far Away - Red River Valley - Down the River of Golden Dreams - By the River Saint Marie - River Away From My Door - Swanee River - Lazy River - Moonlight on the CoIorado - O'l Man River - Beautiful Ohio - Down By the Old Mill
Stream.
|
YOU CANT BE TRUE. DEAR - KLP 573 2 LP -You Can’t Be True Dear - You Belong to Me - You, You, You - Side by Side - September Song - Oh How I Miss You Tonight - Open Up Your Till We Two Are One - Somebody Else Is Taking My Place - My Heart Cries For You Far Away Places - Bells of St. Mary’s.
REMEMBER KLP 631. 12" LP - September In the Rain - Somebody Else Is Taking My Place - Cuckoo Waltz Remember - Moonbeams - Masquerade - Ain't She Sweet - I’m Always Chasing Rainbows - Little Brown Jug - The Band Played On - We All Need. Love
- Your'e My, Love Song.
MY BEST TO YOU - KLP 626. 12” LP - Ebb Tide - Yah, Dear - It Had to Be You - I Don't Know Why - Flirtation Waltz - Lonesome - My Best To You - Ferry-Boat Serenade - You Are My Sunshine - My Dreams Are Getting Better All The Time - I Need You Now.
HAWAIIAN MAGIC - KLP 651. 12” LP -. Island Magic - Song of the Islands - King's King's Serenade - A Song of Old Hawaii - Drifting and Dreaming -Now Is The Hour - Harbour Lights - Golden Sands and Silvery Sea - Sweet Leilani - Hawaiian Red Sails in the Sunset - Aloha
Oe.
LOVE LETTERS IN THE SAND - KLP 637. 12’ LP - Love Letters In The Sand - Whispering - I’m Confessin’ - Isle of Capri - Our Favourite Waltz -Somebody Else Is Taking My Place- The Girl That Marry - I Can't Do Without You - You Can’t TeII A Lie to Your Heart - All Alone ~. When 1 Lost You - The Song is Ended. |
The
Cover text is:
Though organist Ken Griffin is best known for his popular collection, a list of which is shown here, the music heard on this LP was very dear to Ken's heart. During his army service, before popularity of fame had descended on him, his happiest moments were spent playing chapel organs, in those parts of the world that the army, in it's wisdom, drafted him. This collection is doubly significant then. It not only presents for the first time a complete programme of popular hymns from the best selling popular organist of them all, it paints a vivid picture of a devoted artist playing the music he loved most of all.
08.01.03: Further thanks to Bruce for sending a
nice little package, which included a data CD with Railway pictures in
and around his home town in Australia. But this also included a tape
cassette of two of Ken's hymn tracks that didn't appear on the U.K.
version, which Ken shared with his nephew, Kirby. These are, I Love To
Tell The Story and God Be With You, which I am pleased to add to my
collection. Bruce also kindly sent me scans of the two record labels,
which are shown below.
Also on this tape is a complete recording of an LP by
Stanfield Holliday, playing at the Mighty Wurlitzer, at the Hoyt's
"Regent" Theatre, in Melbourne. This Wurlitzer and the grand
cinema has an interesting story, which you may enjoy seeing and reading
about, at: http://theatreorgans.com/southerncross/Victoria/RegentMelb.htm
20.01.03
A warm welcome to
Don Downin of Arizona. Don writes:
Bill,
I am an avid fan of Ken Griffin. I think I have most all of his
recordings on Lp which I have converted to digital MP3 format and listen
to them regularly. I've given a lot of care to those LP's over the
years and they still sound like new. I think I first heard his
recordings back in the late 50's in skating rinks. I think the
thing about him that appeals to me the most is his singing melody loaded
with slurs. I also like his lead-ins and endings. Although, I
don't know for sure, I think he must have played by ear and put an awful
lot of feeling into the melody line. His violin background
probably gave him his ear for that singing melody. Is there any
way I could get a copy of the "67 Melody Lane TV Series"
video? I would love to see the person behind all that great music.
I
ran across your site via a yahoo search for Ken, and was very surprised
to see the numerous hits. I was, by far, most impressed with the
extensive site you've put together. I guess I thought I was just
about the only one in the country that still held dear Ken and his
music. What a delightful surprise! I think I must have almost 200
of his selections I've converted to MP3 that I play on our DVD player
when at home, and on a portable MP3 player in the car and when flying.
It's neat to be able to get all of Ken's work on just one CD.
I have a model 800 Wurlitzer organ, but haven't been playing it
much lately. I just retired from Motorola this past year and hope
to get back at it. I definitely want to study Ken's technique and do my
best to play in his style. That right hand of his sure could play
with a lot of fluid smoothness. Love his slurs. And, it
seems he knew just when to use them. I'm glad he didn't get too
fancy with the accompaniment, as it would have taken away from his great
melody.
What
little serious analysis I've done of his songs, it seems to me I noticed
he pretty much played only in C, F, and G major keys. I would
think playing in those keys would make his finger roll easier to
perform. You know, I ran across an email on Google where I think someone
said Ken knew Morse Code and used it during his time in the service.
If so, that's quite a coincidence, as I've been a ham radio
operator since 1960, and have loved sending Morse Code. I have
found it so musical and rhythmic. I'll bet that really helped Ken
build his ability to play by ear.
Yes,
I'm amazed that I'm not alone in being infatuated with Ken's music.
Certainly, a lot of that awareness is thanks to your web site.
======================================
Thanks
for your kind words Don. I hope that you enjoy your contact with the web
pages and knowing so many others are still listening to Ken's music.
13.02.03
"Still
a lot of bounce"
For
those who think that the Hammond organ sound, and Ken's playing style is
only for the older generation, it is heartening to hear from Neville
Hurt, who lives in Sunderland, England, who is just 30 and is keen to
play a modern instrument in both these fashions. Neville writes:
"I'd
like to tell you about myself and my love of Ken Griffin. He is a true
inspiration to me.
I am an amateur organist, who is completely self taught - but it would
be nice in the future if I could either make my own records or get a
record company interested - it doesn't matter how small.
I currently play a TECHNICS GA1 organ. And yes, I can play that Griffin
sound or as close as you are ever likely to get. I started to play Ken's
music in his "Bum Titti" style (as I call it- so much better
than Oomp Pah Pah - makes him sound like his music is just German
stuff!) on Yahama EL 15. I had no idea Ken's organ was a Hammond. Yes
it's great music but some people would think that organ sound would be
dreadful for a Hammond! My playing does sound like an old Hammond is
being played!
I started with The Cuckoo Waltz. I'd had the sound on the Jazz Organ
preset and was just fooling about. I hit the notes C and E and got the
cuckoo - I just had to start with Ken's music! It is said that his
"Bum Tutti" style is hard to do. With me I find it easy and
can easily stay in the strict waltz tempo. It really brings some tunes
to life! "Bum" describes the deep pedal and "titti"
describes the weaker chords I think!
You Can't Be True Dear followed but without Ken's middle section! I was
given a 78 record of this tune with The Cuckoo Waltz. Then I found in a
Nottingham (where I was living at the time) charity shop a Hawaiian LP
done by Ken. So, "Sweet Leilani" "Aloha Oe"
"Song Of The Islands" all came into my life with that waltz
style.
Then I got another LP and "Because" "Let Me Call You
Sweetheart" "Together" "I Love You Truly" all
happened. I got the "Because" registration on your website -
it is the "unique Ken" one.
I'm now getting these tunes done on my new TECHNICS GA1 in my new home
in Sunderland, England. I use the drawbars on it with a slow tremolo -
that sounds like the vibrato. I also put some distortion into the sound
at times to get that old feeling.
I'm 30, that's young for someone who plays the work of Ken plus other
organists such as Klaus Wunderlich and Reginald Dixon. I like the
seaside Hammond playing of Tony Savage - as featured on Channel 4's
SHORT STORIES: A SEASIDE ORGANIST! Do other people know of him and his
Hammond?"
==============================
Good
luck Neville and I hope this is an inspiration for other younger
musicians to consider taking up this sound and style of music. To quote
Ken, from the 67 Melody Lane films "It may be an oldie but it's still
got a lot of bounce"
Response
to Sally's Page
Don
Downin (California)
I just finished reading "Sally's Page". It
sure was nice of her to take the time to reflect on memories of Ken
career and their relationship. With the rush-rush of today's
people it's a rare find that someone like her cares enough to do this.
I wonder if Ken was beginning to like the Wurlitzer more than
Hammond towards his final years? Sounds like maybe so. I
like his works on both organs equally well. Sure sounds like he
was very very busy and certainly professional about his work. It's
too bad he's still not with us. Guess he'd be 94 this year. Wouldn't
it be great to still hear and see him play. Guess that might be a
bit much to expect from any 94 year old, and in this time when few care
much about organ (or any kind of real music for that matter). Well,
thanks to your web page, there are still some of us that care still
around, and no one can take that away from us. I do hope I can
attend the October Dedication evening.
Thanks again or sharing Sally's story. And, especially thanks to
Sally.
Joan Brown (Michigan)
What
a wonderful man to have kept so many people interested in his music.
So glad to hear that Ken's music is staying alive in the hearts and ears
of so many people.
Bruce
McLean (Australia)
It
seems to me that this is an important missing link in the current
information - as close as you will be able to get to Ken himself.
I share with you the fear that he had with his heart problem and no
doubt the angio-gram and by-pass techniques available today would have
saved his young life. Sally's writing also highlights the transient
lifestyle of a professional entertainer relying on bookings anywhere,
day in and day out. The satisfaction from a performance must
be so high that the lifestyle becomes either tolerable or just simply
accepted. It would be very difficult for any permanent
arrangement with Ken and Sally to have worked without Sally's
preparedness to be "on the road" as well and live out of a
suitcase. I suspect she would have.
With
the change in music style at the time of Ken's passing, I have wondered
about what his future may have been. His name was so strong that
he would have managed to get a few more years on the circuit playing to
an older audience, and there was the great organ revival in the mid-70's
when the electronic organ boom had children everywhere being introduced
to music. Ken would have been a great role model under a Yamaha
sponsorship and toured the world. We bought an organ for
older son Andrew, but he didn't go on with it sadly, as he did show
potential. Ken of course, may not have been prepared for a
sudden drop in interest in his music, and this could have been a very
sad period.
It
was a very nice touch to head the page with "You Are My Love
Song".
Don
Boudreaux (Louisiana)
Just
finished reading Sally's page, what a wonderful tribute to Ken.
I got the video and really enjoyed it, how I wish I could play like
those guys.
Myths
& Misinformation!
(Update
01.03.03)
Sally's
page is completely for her own words and expressions and it is not my
intention to make any comments in that page. However during
conversations with Sally, either by letter or phone, we picked up on
subjects that have been going around for many years and the truth and
facts are lost in the re-telling of these tales, in regard to Ken and
his career. In this section we shall try to resolve these issues once and for all.........
(1)
Ken's truck, which was supposed to carry his organ(s) to venues, in
advance of his performances, and
which
was supposed to be highly colored, with his name in large letters on the
side!
(Truth)
Ken pulled a trailer behind his 'regular' car, which was just large
enough for a Hammond organ
(2)
Ken planned a South American tour from the success of his Latin
Americana LP
(Truth)
I would like to backtrack for a moment to say if ever there was a trip
planned for South America, it was
early
in his career. I would say before 1953 (Anything is possible)..
(3)
Army Tales!
(Truth)
As far as Sally knows, Ken never had any army stories that he told
anyone. He spent the biggest part of
his time in Texas at Camp Barclay now known as Dyess Air Force Base.
(4)
I don't think Ken liked the Wurlitzer more than the Hammond. I believe
it was a pure and simple
business deal. The Hammond was Ken's baby.
(Truths)
Ken's likes and dislikes
He loved wilted lettuce
He liked the colours black & white for his compartment only, and not
in his dress.
He liked boats but never owned one.
Ken loved chocolate ice cream and ate it quite often.
After his heart attack the doctor
limited him to one bowl a day. He very much looked
forward to this at the end of every
day.
Ken liked Beef Manhattens. Probably only in America do
people know what this is!
* (Sounds like Mince & Tatties, to me (Bill)).
After his heart attack it was changed to
Turkey Manhattens, with mashed potatoes and then covered
with gravy.
I don't know if I forgot to mention it or what but Ken
was in hospital eleven weeks in
Spokane, gives you some idea of the seriousness.
Ken lived on the 14th floor of his apartment building. It actually was
the 13th floor but it is
considered bad luck to have a 13th floor - so it is just
skipped over. When he first moved
there he was the only one on that floor. His Hammond was
situated in front of a window in
his living room and it looked out toward Lake Michigan.
Quite a view. His apartment was
in black, white and gray. He really like his apartment.
Before he moved there in 1950 or
1951 he lived at the Blackstone Hotel in Chicago for a
couple of years. That was when his
career took off. (His apartment was not very large).
Ken had recorded the song "Waters Of Minnitonka". When he
visited various cities with
rivers running through them he would play the song
and change the name like "Waters Of
The Whitewater River" or "Waters Of The
Missisippie River". People loved it!
Ken loved his father and supported him monetarily.
I don't recall any special sayings that Ken used. He wrote and played
a little ditty called
"Don't Worry About Nothin' Cause Nothins' Gonna Be
O.K". I don't think it was ever
recorded. It was much like "Oh, Why Did I Kiss That
Girl". Type of song.
Ken was not a complex person as people might imagine - he was rather
simplistic about his out look on
life. Somewhat conservative.
*
"Mince & Tatties" This is a Scottish dish, consisting of
finely baked Minced Beef, with Mashed
Potatoes in a rich beefy gravy. Sometimes green peas will
be added. Very tasty and filling.
Addition
4th April 2003 (From
Sally)
Ken
had no hobbies that I knew of - he did enjoy going to the theatre
(stage plays) which he did one time when I visited him in Chicago. To
my knowledge he had no hobbies like fishing or sports.
He
always wore black cap shoes when he performed. Pretty much had a
standard look. Was a conservative dresser, but very nicely put
together.
As
I understand it - Broadcast was first followed by Rondo, then on to
Columbia records. I never heard him speak of Broadcast but I did hear
him speak of Rondo. Was with with them when I first met him. I believe
he went with Columbia in 1950 or 51. I am sure someone else can
confirm that.
67
Melody Lane was his idea and was taken from his address 1617
E 50th. Shows some of the genius of Ken Griffin. Also signing with
"Columbia" was his idea and not with other recording
companies he had offers from. He was born in Columbia, Missourie, and
that is where he made the connection. He did have a chance to sign
with Mercury and I can't remember but maybe RCA. When choices were to
be made he didn't get any exotic ideas but just looked around himself
and found the answer.
Ken
did not like recording other artists' hit songs.
Sometimes he plain just got over ruled by his boss, Mitch Miller.
The
two songs Kringle's Jingle and The Whistler and his Dog are two
totally different songs. There is no connection. Ken wrote Kringle's
Jingle as a little Christmas song.
I
remember Ken telling me when he came back to Chicago after his first
heart attack, Dr. Katz did not want him to be alone in case he became
ill. He told me a lady was sent over from Hospice (hospital care) to
stay with him for a couple of weeks. He said she was rather elderly
and sort of ill herself and every morning when he awoke he would look
out his bedroom door just to see if she was still breathing. I think
it made him a nervous wreck - and she did not last too long. This man
(Ken) had a sense of humor until the day he died.
If
you have any such stories that may be myths & misinformation tales
let me know about them and we shall sort them out and add them to the
above section.
===================================
Upadate
4nd April 2003
Welcome
to Jan Loot, who hails from the Netherlands and writes:
"Dear Bill, When I was 10 years old I
was crazy about the Cuckoo Waltz from Ken Griffin. Now (I'm 60 years
old) I started a while ago to collect more music from Ken. I like
Organ music very much. The only LP I have is "The Cuckoo
Waltz" released in 1967 by CBS and I send you herewith the
Covers. Maybe an other collector is interested in it. Maybe
you can tell me where I can get releases on CD ? (I'm still mad
about LP's) Waiting for your reply and Best Regards from:
Jan Loots.
Thanks Jan. For places to find Ken's
records read the full article below and you will be sure to find a
source for the three CD's that are available and also many of Ken's
recordings, on LP, EP or 78 & 45 singles.
==========================
Update
10th April 2003
ALLEN
GEORGE WRIGHT SIGNATURE IV ORGAN
On
April 6, 2003, Frank Pugno performed a concert at The Beautiful Sound,
Inc. of Countryside, Illinois on the Allen George Wright Signature IV
Theatre Organ. The
performance was sponsored by the Musicville Organ Club.
The
Allen George Wright Signature IV Organ is an electronic organ that uses
tone sampling to achieve the sounds of a theatre organ with all of its
richness and tonal variations. This
organ was the combined effort of the Allen Organ Company and the late
George Wright, and is the equivalent of a 28 rank instrument.
There are four manuals (Solo, Orchestral, Great and Accomp.) and
a 32-note AGO-type pedalboard (down to 32’).
All four families of organ tone are amply represented in all
divisions and the percussion stops speak with a clarity that has to be
heard to be believed. Groups
of stops producing a particular tone are at various degrees of
brightness and volume allowing numerous nuances to the registration. Rare on electronic organs are the Second Touch stops.
Tremulants are separated into stop groups just like the old
theatre organs. The organ
also includes ample thumb pistons and toe studs with 15 levels on the
combination action. The
reverberation system gives that “big room” sound so important to
pipe organ simulation. The
organ not only sounds, but reacts like a pipe organ.
There is the slightest delay, just as real pipes do.
Text:
Frank Pugno
Pictures:
Gary Smicklas
==========================
UPDATE
19th APRIL 2003
Charles
Frodsham of Kansas writes:
"Just discovered your Ken
Griffin website, found it very interesting. I never knew what happened
to Ken Griffin or when he died. Strangely, no liner notes in his albums
addressed that. Has anyone ever written a biography about him? For
instance, I would find information on his personal life interesting.
Was he ever married? Children?
My first exposure to Ken Griffin was when I was about eight years old
and a neighbor who was with a Wichita radio station had given my folks
some Ken Griffin Broadcast 78's (used, I'm sure). That was about
1950. It was also the year a skating rink opened near where I
lived and organ music there was very popular. I also had some
Rondo 45's (Minnetonka and Polka Pops were on them, I think). And
I think today I have a couple of Columbia 12-inch LP's.
I've always had many questions about Ken Griffin's career and life, and
have always wondered why there was a lack of information on him - even
to the extent that it seemed like the linter notes on the Columbia
albums didn't have any biographical information (if some did, then I
missed them). Anyway, it looks like your website is trying to change
that. I wish you well in trying to get as much info put together from
family sources as possible. And I wonder if people Ken Griffin
worked with could be tracked down?
As a youngster I remember thinking that some of the organ music on
Columbia sounded "different" than on the Broadcast and Rondo
records. I'll have to go through your website thoroughly and I may
find some answers about this, but, if the Columbia albums were Wurlitzer
and the Broadcast and Rondo records were Hammond could that explain the
difference?. (Although I'm thinking maybe some of the Columbia 45's
(singles) might have sounded, to my young, untrained ears, like the
earlier material).
My Broadcast and Rondo recordings did not survive. But I remember
thinking I preferred the sound of them best. I'd need to listen to
his material again to see if, as an adult, I still feel that way.
Would the Hammond recordings (and were any of the Columbia's Hammond?)
be considered the "real" Ken Griffin? Or do most
collectors/fans prefer the Wurlitzer. Or was, what I'm remembering
just my imagination - that there really was no discernible difference in
sound between the Hammond and Wurlitzer when Griffin was playing?
By the way, does anyone know who Broadcast Records and Rondo were?
Did those companies leave a traceable history? I never knew if
Broadcast Records were available to the consumer, or just some radio
station service".
---------------
It's nice to hear from you
Charles. Some of your questions are answered in the various sections of
these web pages and I have commented on others in my personal reply. Due
to Ken's early death, and that he was a very private person in life your
questions reflect how his loss affected most of his fans and even after
46 years we are only slowly learning more about him, but there is no
doubt that Ken made considerable impact on us all and his deceivingly
'easy' approach to his music and the techniques he developed to produce
the organ sounds that made him a one-off has left us wishing to know how
it was all done. Likewise, it is only natural too that we would wish to
know more about Ken as a person. Hopefully these dedication pages will
eventually help to fill in all our questions and build up to a very
comprehensive story of Ken and his work, which is well deserved. A
biography would be the icing on the cake!
==============================
Update
4th May 2003:
"TELEMECH"
END OF AN ERA
Those of you who have read
through my record collection pages will have noticed the name 'TELEMECH"
mentioned often, as the shop in Aberdeen, Scotland, where I purchased
most of Ken's records, as well as the bulk of my whole record
collection. Telemech was, and is, Dave Towsey. I remember way back
around 1955/6 finding a new record shop just opening in Marischal Street
and at the time it was so much in it's infancy that the secondhand
records were still in boxes on the floor on the lower level. My very
first find of Ken's 78's were Skater's Waltz & Take Me To The Ball
game, Jukebox Poka & Under a Red Umbrella and American Patrol &
Casey Jones, all on the Esquire Label. Dave worked extremely hard and
not only built the Marischal Street shop into a thriving Radio & TV
business but eventually had two more shops in Aberdeen (Rosemount
Viaduct) and the one next to his home in Ellon (Aberdeenshire). It has
always been a source of personal pleasure that in spite of having left
Aberdeen to live in the South Of England in 1964 I was able to keep up
regular communications with Dave and always visited when in Aberdeen.
Sometime in the 90's Telemech moved from Marischal Street into Belmont
Street, where it remained until about a year ago when it came under Bang
& Olsen.
Sadly, Dave tells me that due to
present day market forces and that radio and TV, and such, are so easily
purchased in any Electrical or Computer stores as well as buying on the
Internet, that Telemech has now ceased trading. Dave has been sort-of
semi retired for some time now, while the family took care of the shops.
Telemech has been a part of my life for so long that it is difficult to
think that that it is no more! It came about in the early days of the
massive growth of Television. I still used a wind-up gramophone when
Telemech was born and it grew through all the technical and digital
changes and was a household name all over the Northeast of Scotland,
thanks to the dedication and hard work put in by Dave and the faithful
staff who stayed with him over the years.
As I write, Dave is still kept
busy with the clearing up and working through the legal minefield that
such a business must go through before everything is finally
concluded. I would like to thank Dave for the friendship he has shown me
all these years. Whenever a new LP of Ken's appeared he would be sure to
tell me at the earliest convenience. I would like to wish Dave and his
wife, Trish, all the very best for the future and hope that they have a
very long and happy retirement. They can be sure that the name "Telemech"
will never be forgotten in Aberdeen and the northeast of Scotland.
Telemech never quite became International but perhaps now, through these
pages, it's name will become known world wide.
Dave at Telemech Aberdeen
1963
Dave at home in Ellon Aberdeenshire 2000
Happy memories. Bill
at home in Aberdeen 1963
With new copy of Ken's LP 'The Sparkling Touch, purchased at Telemech.
==========================
29th
May 3003:
Raymond Harrison writes
from New Zealand.......
It
was with some interest I read through your site about KEN GRIFFIN. One
of my first LP's bought in the 60's was SUGAR 'N' SPICE, and it is still
in near mint condition.
I
only have about 12 records of KEN GRIFFIN, but I thought you might be
interested in 3 of them.
CRUISING DOWN THE RIVER is a
12 inch LP, and the tracks are:
-
CRUISING DOWN THE RIVER
- ON
THE BANKS OF THE WABASH FAR AWAY
- RED
RIVER VALLEY
- DOWN
THE RIVER OF GOLDEN DREAMS
- BY
THE RIVER SAINTE MARIE
- RIVER,
STAY ‘WAY FROM MY DOOR
- SWANEE
RIVER
- LAZY
RIVER
- MOONLIGHT
ON THE COLORADO
- OL’
MAN RIVER
- BEAUTIFUL
OHIO
- DOWN
BY THE OLD MILL STREAM
I bought this record second-hand. The recording is CORONET
KLP 523 recorde3d by Columbia Records and manufactured in New
Zealand for THE AUSTRALIAN RECORD COMPANY LTD and distributed by PHILIPS
ELECTRICAL INDUSTRIES OF NEW ZEALAND LTD
HAWAIIAN SERENADE is
a 10” Columbia LP
(again bought second-hand but plays well) and the tracks are:
-
SONG OF THE ISLANDS (Na Lei O Hawaii)
- A SONG OF OLD HAWAII
- GOLDEN SANDS AND SILVERY SEA
- ALOHA OE (Farewell To Thee)
- BLUE HAWAII
- SWEET LEILANI
- DRIFTING AND DREAMING
- KING’S SERENADE (AMI Au Ia Oe)
This is Columbia 33S 1057 made
and printed in Great Britain
ANNIVERSARY SONGS 10 inch
CORONET SKLP
025 manufactured by
AUSTRALIAN RECORD COMPANY LTD SYDNEY
THE ANNIVERSARY WALTZ
WHEN YOUR
HAIR HAS TURNED TO SILVER
LET ME CALL YOU SWEETHEART
TOGETHER
ANNIVERSARY SONG
BECAUSE
WONDERFUL ONE
I LOVE YOU TRULY
Raymond Harrison
NEW ZEALAND.
06/07th June 2003:
For the first time I
found some of Ken's records being offered on EBay.co.uk there were
two dealers, David Smith in Staffordshire and Fred Becker in Norfolk. I
won the bid for the two LP's from Fred and when he e-mailed, mentioned
having further LP's of Ken's. I added one to the list and Fred quickly
sent them all to me within a few days. The LP's are: Ken Griffin
Organ Favourites Vol. 2 (CBS Embassy), Ken Griffin And His Organ
'Hawaiian Magic' CBS Embassy EMB 31390 and 'Memories' Harmony H 30273.
There were no new tracks for me on these LP's but as they are of the
American label versions, with different cover photo's etc they are a
welcome addition to my collection.
Dave had an Esquire EP
on offer and I was pleased to win this bid too. Esquire EP's and LP's are
very scarce in the U,K. though they were the U.K. version of Ken's Rondo
recordings and I only had one EP in this series and it was nice to add
yet another. The record is Esquire E.P. 22 and contains four tracks of
which are all new arrangements to me. Put Your Arms Around Me, Honey,
which is completely different from Ken's 67 Melody Lane LP arrangement,
as are, Funiculi Funicula, Margie and La Golandrina. Each represent
Ken's early work.
According t the back
cover there at lest two more EP's in this series and I shall be watching
out for them. If anyone comes across any Esquire EP's and LP's I would
appreciate hearing about them.
Full details and cover
pictures have been updated to the 45rpm/CD page and the 12" LP
pages.
30.06.03.
Dedication Evening
Audio CD Response
Mike McCormick of Oklahoma send this nice comment on receiving a copy
of the Dedication Evening Audio CD that I have made from Joan &
Craig Brown's video.......
Hi Bill --
Thank you for the KG Evening CDs, the ultimate concert souvenir. While
anyone in attendance that night would want the video, the CD sound
quality is so sharp and dynamic. I didn't even know a CD project was
in the works! Songs like "On the Trail," "Bumblebee in
a Blender," et al. make it sound like you're right there at the
Lincoln. I can't believe how "You Belong to Me"
sounds just like the album track of the original. I can see how
Sally noted the resemblance to Ken's own playing as 'scary.' And Eric
'airing his differences' on "Ain't She Sweet." That was a
riot -- and I'll bet it took a lot of gumption on his part to do that.
Had there been 100 in the audience that night instead of twenty-six,
he might have had reservations! Again, thanks. They arrived just
yesterday, so I haven't really had time to listen to the second CD,
but they're both certainly of historical as well as sentimental
significance.
Have a good week --
your Okie friend, *mike mc.*
===========================
30.06.03.
Geoff Wellbank of Fleetwood, Lancashire, writes on
having received a copy of the 67 Melody Lane video and the two audio
Cd's. Geoff first wrote......
(1) Hi Bill,
Can you help? I'm trying to obtain videos of 67 Melody Lane, are they
available and where do you think I can find them, any info would be
great?
(2) Hello Bill,
I was born here in Fleetwood Lancashire England in 1934. Thanks
very much for your prompt reply, yes I would be very interested in
your copy of 67 Melody Lane and the two C/D'S of the
dedication evening , which is greatly appreciated. In
1949 I visited our local cinema and was very interested in a
record that was played in the interval, after three or four visits
to the same cinema i was told by one of my ex school friends that
the record was by an American called Ken Griffin & was playing the
Cuckoo Waltz, a day or two later found me in the local music
shop ordering a copy of the same, i still have this record today
although its about shot at!!! Over the next 20 or so years i
managed to find a few more of Kens records mostly in second hand
shops or car boot sales, Sometime later I was listening to the
radio program called "The Organist Entertains"
hosted by Arthur Lord, he said the next record is by the late Ken
Griffin, I was stunned, I had no idea that Ken had died.
By now, my son & daughter both grown up & in their own
homes & on The Internet, I see them both quite often
& we are on line for an hour or so, we have learned a lot
about Ken, his instruments and his playing ability. I have a large
book of info made up by my daughter Karen, from the information
that you and your fellow enthusiasts have written, I myself have a
Wurlitzer 630TA white & gold which I play very
badly, a shame really as the organ is in mint condition having had
only one owner from new, looking forward to your reply.
67 Melody Lane Video
and
Dedication Evening Audio CD Response
(3) Hi Bill,
Once again, many many thanks for the video & CDs of Ken, I
never thought that I would never see Ken in the flesh as it
were, the recordings and the video are excellent considering the
time of the recordings, the wow you spoke of does not appear to be
on my copy, I must be the lucky one! The thing that stuck me most
was how easy Ken makes it look, and I know that it isn't, I've
always thought that I could tell the difference between Ken and
those who strive to sound like him, but after listening to Kurt,
Frank & Eric I'm not all that sure, I admire them immensely.
Once again my sincere thanks.
Yours Geoff .
Comment: I am greatly pleased
that Geoff has found so much enjoyment from the video and CD's. It is
not my intention to make any profit from Ken's memory or involvement
in this web site but my thanks to Geoff who kindly sent a cheque,
which covered the postage and packaging. A month or so back Wilfred
Høsteland kindly sent me a European PAL VHS copy of 67 Melody Lane,
which left my earlier NTSC copy free and I was more than pleased to
pass this onto Geoff.
06.
07. 03
Hi Bill:
I received the package of CD's this morning and have spent the rest of
the day listening to them. What a beautiful and wonderful surprise. It
never ceases to amaze me how much material keeps turning up from the
past, and I always listen in awe to the incredible talents of people
like Eric and Frank. I would dearly love to have that talent. Every time
I listen to music like that I always have a picture in my head of them
playing. I love to watch someone play the organ. When we lived in
Houston there was a program called the Joy of Music and it featured
Diane Bish playing organs in churches all over the US and Europe. To me
seeing those magnificent organs and watching someone play them is just
about the most beautiful and heartwarming experience there is.
It would certainly be wonderful to be
able to get those (old radio) recordings of Ken. He did so much and left
so little, what a shame they didn't have the technology then that there
is now, so much more of it would be saved for future generations to love
as we love them as we do.
Thank you again for thinking of me.
Don Boudreaux. La.
==========================
30.06.03
MUSICSTACK.COM
Thanks to Wilfred Høsteland for finding
this new (to me) web site. I very much appreciate the link they have
made to my 'History' page about Ken and that they have kept the 'back'
link, which takes you to our Home Page. Anything that gives our pages
more publicity is very welcome.
Whether you are searching for Ken's
records or anything else you are interested in Musicstack appears to be
a very good search engine.
www.musicstack.com
Update 12.07.03
From Mike McCormick. I received a
really great package from Mike for which I thank him very much. The main
item was the Rondo 10" LP RLP-25 of the Ken Griffin 'At The Organ'
series, a very welcome addition to my collection. I have all of the
tracks, except If I Had You, which is the instrumental version. Others I
have on mp3 and CDs which others have kindly sent but it is nice to have
them on the actual LP. Full details of this LP have been added to the
10" LP web page. Also from this LP cover I have gained a list of
other Rondo LP's, which I have added tot he 78rpm web page and other
recordings which include vocalists, which I have added to the
'Vocalist's web page. This all adds up to bring together a growing list
of Ken's records that actually include the record label and numbers. A
surprise find is that of record R-328 Du Kannst Nicht Treu Sein and
R-428 Dziadunio (Clarinet) Polka with German vocalists Jolly Franzel and
Alice Kusak, respectfully.. It would be very interesting to hear these
numbers. It is well known that You Can't Be True, Dear was an original
German tune, as many of Ken's great recordings were, but it is very
interesting finding that there was a German vocal version made of it
too. Does anyone have copies of these two records!
There is also a very interesting couple
of cover pictures, one of Ken, which I already have as a siluhette but
in this copy there is good face details.. The second picture is one of
Ken's hands at the organ, which we don't get to see very often. These
two pictures are blended together on the cover, one of them upside down,
and both at an angle and in 'green' bias. Below I have separated and
squared them up and converted them back to B&W for display.
Mikes nice present was completed with a
great 12" LP by the late Chet Aitkins and an A4 page full of very
colourful stamps in the "Greetings from ------" States series.
Another example of how rewarding having these Dedication web pages to
Ken has been.
Update 14th August.
2003
We have a contact, Bruce Craig, and his brother,
in --------. For the moment they don't wish to have anything they talk
about mentioned in the web pages. However it is nice to know they are
still fans of Ken and his music and enjoy theses web pages. Bruce plays
in a Marimba band and plays the marimba, xylophone, and orchestra bells.
Update 29th August.
2003
My name is Larry
Cates, born in Cleveland in 1953 and now reside in Hiram, Ohio home of
Hiram College. Growing up in Garrettsville, my Mother listened to WSOM
radio from Salem, Ohio. On weekdays the station played organ music from
12-1PM. I loved the music, contacted the station, found out about
Griffin, Lenny Dee act. Over the years I have collected dozens of
Griffin records, LPs and 78's. I LOVE his music. In 1974, I bought a B-3
and try to immitate Griffin. I wish I would have been aware of the
Chicago concert. I would have been there. How can I get a copy of 76
Melody Lane? I would like to meet you, discuss Griffin and see the
mother of pearl organ. I have been searching for Griffin info for years.
Wrote to Columbia, searched the libraries, and finally found his
Memorial Page about 3 years ago.WHAT A FIND! His birthday, death, and
many unanswered questions.
Thanks so much
Larry Cates.
Larry was pleased
to learn that the second Dedication Evening was booked to take place on
the 19th of October, 2003 and is making plans to be there. It will be
nice to see him there, and indeed our latest contact Doug Koempel is
planning to be there too......
Update 24th Sept. 2003
Nice to hear from
Doug Koempel who comes from Iowa. Doug wrote:
Hello friend,
And I thought, I was the biggest Ken Griffin fan alive! I came across
your web site and really enjoy it.
I first started listening to Ken Griffin from my grandmother's record
collection back in the early fifties (I'm now 54 years old.) Some of
my all-time favorites are Souvenir Waltz, Tippi Tin, Anniversary Song
and Estrellita; however, almost all his recordings conjure up
strong nostalgic and sentimental feelings.
I learned to play the organ at a very early age (6 or 7) and modeled
my playing after Ken Griffin's style. I still enjoy sitting at my
A-100 playing those great, old tunes.
I remember as a
kid being so amazed by how "big" Ken's sound was despite how "minimalist" his
playing was. When I'd attempt to emulate his style, I would always
find myself wanting to put in more notes than what were warranted in an
attempt to fill up the spaces.
Ken Griffin was probably the one most important musical influence in
my life. As a kid I was exposed to his music through my grandmother.
She had the Anniversary Waltz album - both the 12" and a 10"
version. She also had a couple of 45s, one of which remains a favorite
of mine - Souvenir Waltz b/w Tippi Tin. I believe she had one or two
additional LPs. After I was hooked on those records, I then purchased
every Ken Griffin LP I could find, so I've accumulated about dozen
additional LPs - maybe more. I've really never counted.
Having started piano lessons at a very young age, 4, my
grandmother saw to it that I began organ lessons when I was about 7.
To the chagrin of my organ teacher I would come in to my lessons with
all my Ken Griffin arrangements that I'd worked up by ear. She did not
appreciate Ken Griffin which always bothered me, and that was the one
disagreement we've had over the years (she's still alive and in her
late 80s.) But I got a lot of mileage out of my Ken Griffin
repertoire having performed many, many functions as a kid. In fact I
still use Ken's arrangements of Elmer's Tune, You Can't Be True Dear,
Sunday, Anniversary Song, Estrellita (sp?), Souvenir Waltz and a
couple others in my live performances today. And as many times as I've performed
his tunes over the past 45 years, I'm still amazed at his playing
when I re-visit his recordings.
Sincerely,
Doug Koempel.
Doug is part of a group
called The Memory Brothers whom some of you may know of. You can catch
their web site at: http://memorybrothers.iuma.com
=====================
Update of items not directly
connected with Ken: Frank Pugno's new page on Electric Organs (link
25) has been updated with information on Lenny Dee which you may find
interesting. Please feel free to add information about your own
favourite organ or organist, local or internationally known.
==========================
"Ken's music just goes on and on"
============================================
And
to conclude for now! I have been asked by many where you
can purchase Ken's records today! Obviously you can
purchase the excellent CD "Skating Time" as
advertised on theatreorgans.com and there is another CD
called "Organ Moods", which you can find at www.spaceagepop.com On the main you need to search
out every secondhand and Charity shop in your area, or
wherever you come across them. As shown on my record (LP)
collection pages, I have recently had excellent bargains
from Internet sales and can fully recommend Tim Barron at
worldwidewax@qwest.net
and Jim Ukey at : jimeukey@execpc.com
These and other dealers can be found on www.gemm.com again simply
by typing Ken's name into the search engine.
Tim is in Phoenix and Jim is in
Milwaukee.
LP's vary between $5 and $9. Don't forget to give
theatreorgans.com and Ken's Memorial web pages a mention.
You
may also like to try www.EBay.com
where you can find singles, LP's and boxed sets on
auction. Type Ken Griffin into their search engine or Ken
Griffin, CD and you should find those pages easily
enough. Thanks to Brian Wessel for pointing these page
out to me. Ken's records may also be found on www.EBay.co.uk
Want to see more Ken CD's! The
Skating Time CD is marketed by "Collectables
Records" who have a web site at www.oldies.com
Type Ken's name into the search engine and you will find
the page with the CD. There is a box for sending in your
comments. I have already made my request. Adding your own
request may be just the encouragement CBS need to look
into the possibly of producing more CD's.
Happy Hunting.
Please contact me at wdrcrc@aol.com
"Griffin
is something of a phenominum on the organ.
His styling of the old German tune
"You Can't Be True, Dear" hit the
3,500,000 mark in record sales".
