[ Editor's note:
 [
 [ Roger Waring asked me about hot piano rolls which would be good
 [ entertainment when he transports his Pianola to the Fair and goes
 [ about "busking".  He wrote:
 [
 [> I have found that some hot numbers really go well on the player, and
 [> would be grateful for suggestions from other subscribers as to rolls
 [> that are worth acquiring for their performance potential, especially
 [> towards the end of a set.  Let me give you a few examples of what seem
 [> to go well, what I like, or what others have complimented me on:
 [>
 [> Carolina Shout (John Farrell arr. - really classy)
 [> Don't Mess With Me (QRS - sensational)
 [> Caprice Rag (RagMasters - lots of treble trills)
 [> Honeysuckle Rose (Playrite - nice long arrangement, not wildly hot)
 [> Deep Henderson (QRS - unusual blues)
 [> Blues for Dr. John (Playtime - addictive and I get repeat requests)
 [> I Got Rhythm (Playrite - plenty of accents)
 [> Estudiantina (Fast and showy)
 [> March Hongroise (fast and very showy)
 [> Crush Collision March (a good excuse for some Forte)
 [>
 [> What I want is rolls that you have to work hard on and that show off
 [> the player piano.  Folks tend to gather around more if they can see
 [> they you are putting a lot of effort in. I hope that you think it is
 [> worth a shot.
 [
 [
 [ I replied to Roger:
 [
 [> Folks watching an entertainment "diversion" want to identify with
 [> some element of the performance.  Yes, I think they actually _try_
 [> to find something they recognise.  It's like veiwing abstract art.
 [>
 [> These are the attributes of a Pianola performance (as you well know),
 [> ordered in increasing sophistication:
 [>
 [> 1. A jolly sound coming from somewhere
 [> 2. The sight of the Pianolist gyrating, grunting and sweating.
 [> 3. Recognition of the song style
 [> 4. Recognition of the song ("Where have I heard this?")
 [> 5. Singing the lyrics !!
 [>
 [> Observations:
 [>
 [> 1. If the sound of the piano is out-of-place in the surroundings
 [> it draws folks out of curiosity.
 [>
 [> 2.  Any display of physical effort will attract admirers.
 [>
 [> 3.  If the music itself is jolly and "danceable" the crowd will
 [> stay for awhile.
 [>
 [> 4.  Recognizing the music, and perhaps singing the lyrics,
 [> is fairly rare.
 [
 [
 [ I also forwarded Roger's note for Rob DeLand's advice; here's
 [ Rob's reply.
 [
 [ -- Robbie

Robbie, sorry for the delay getting back to you on this.  I don't know
where to begin, the only rolls I recut that aren't hot are the ones I do
more for historical reasons!  I didn't find Roger's email address, so
this is coming back through you.

Roger, is there any way you can get in touch with Julian Dyer, of PPG
fame?  He has organized two large orders of my recuts to UK customers
in the past year or two.  He may be able to get you in touch with someone
who actually has some of my recuts so you can decide for yourself what
is hot and what you like.

Offhand, I would have to mention most of the Jelly Roll Morton Vocalstyle
rolls, the Lem Fowler rolls and stuff by Pete Wendling, James P. Johnson,
etc.  Specific rolls I can recommend which are great stylistically
(along the lines of Blues for Dr. John, which I also have and love)
include Frankie & Johnny Boogie played by Scott Kirby, Aunt Hagar's Blues
played by Jim Hession and This Is the Blues played by Sonny Leyland
(all 3 are on my Front Porch roll label).  These are neat, bluesy things
that you don't normally find on rolls, just like Blues for Dr. John.

Should I keep going, or does that give you the right generality?  ;-)

Cheers,

Rob DeLand