The Original Piano Trio now to be seen as well as heard.

Although not an Ampico person myself, I am and have always been at
least, Ampico aware.  As such I'd long-been-puzzled as to why The
Original Piano Trio was to never be seen though very much heard, by means
of the agency of the magnificent Ampico.

Eleven years ago now, MMD reader and contributor Wayne Stahnke posted
a request for a living, performing likeness of the Trio's.  I do not
know that he was or was not to be favored with a positive response but,
a quick search at his web-site for the Trio's presently available
program, sadly indicates there 'not' for such an image.

Somewhat better late than, uh, never?

Well, now comes this from a fulsome article appearing back in 7 December
of 1922 upon the pages of no less than the Musical Courier itself --
such information following as accompanied AN IMAGE titled underneath it
"The Original Piano Trio Recording For The Ampico"!  Yes! Yes!! Yes!!!

But first, the generous text --

Begin.

-- Original Piano Trio Obtains New Effects --

 In the course of their recording for the Ampico, the Original Piano
Trio has worked out effects that are genuinely new in the field.
Results of orchestral size and quality came out of the instrument
which reproduces the playing of these three young masters of that
new American art-form, which has been wrongly called jazz.  So much
conjecture has been aroused as to the means of obtaining these new
effects that it will be interesting to learn the secret of the process
from Edgar Fairchild, a member of the Trio.

 It has been possible to record the playing of six hands on one
recording.  Somewhere in the musical world trios may have been
reproduced before this--but certainly never before have the results
been concentrated onto one piano.  That is precisely what has been
done and in this fashion, according to Mr. Fairchild:

 "In the Ampico recording laboratories, the Original Piano Trio play,
say--A song of India, or Chanson Dansante--play it on three pianos just
as they do on the stage.  The rest is up to the recording machine, which
of course is a secret process and is the important cog in the wheel."

 The orchestral breadth of the new effects is by no means due to
a mechanical trick.  Mr. Fairchild and his partners confess to studying
out a new piece as long as is necessary for them to be satisfied to
play it.  All sorts of novel, rhythmic effects, transpositions,
embellishments, counter-points and ultra-modern ideas in harmony are
tried out, brought to judgement, discarded or retained according to
their adaptability to the particular composition.

 "The music of the day may be jazz," says Mr. Fairchild, "but jazz
is no longer a helter-skelter, senseless elaboration for the sake of
bewildering syncopation.  So-called jazz is to become a true art-form
and we believe no one will deny that it is having a tremendous impetus
in that direction.  It must rise above sheer rhythm.  Variations of
tone-blending and color used artistically is a far-reaching advancement
toward this goal.  It is in this direction that the Trio has worked with
encouraging popular approval in placing into our transcriptions dynamics
and tone-coloring as varied and interesting, yet as musically sane as
possible.  The rhythm of jazz takes care of itself: the color of it is
decidedly up to the artists.  In other words, instead of appealing just
to the senses, popular music must appeal to the ear.  In spite of it's
free and fantastic turn and it's bewildering development, it is a
basically logical musical trend, steadily refining and broadening to the
position of an American standard."

End.

(The original from which the above was extracted by means visual and
manual was most unclear, and was the very devil to do with my one aged
eye.  No OCR used here.)

From that fair verbiage amount we are to learn quite a bit, such as
there were secrets and, that the recording machine apparently dictated
all as well as being a mere wheel-cog! (Ah yes! And as with Welte,
the very cynosure for excitability!) Plus, there was Mr. Fairchild's
eloquently expressed opinion regarding jazz, that even got me to
thinking the better of it.

I'm not sure that I ever even heard note-one of an OPT performance,
but now I'll try.

Was it not Adam Carroll who advised someone in his latter days to
'never let the Ampico die'?  Excellent advice.  Every time a reproducing
(or, merely "reproducing" even) piano peals-forth it's musical message,
Ampico or otherwise, this wise advisement of Carroll's is tended-to
anew, and thus _does_ live again!

I tried to improve the image quality by use of various manipulative
techniques but, have included also the entire just in case the effort
proves less than acceptable.  It would be wonderful if someday the
original Apeda 8x10 were to be discovered.

Jim Miller
Las Vegas, Nevada

 [   "THE ORIGINAL PIANO TRIO RECORDING FOR THE AMPICO"
 [ http://www.mmdigest.com/Attachments/19/09/23/190923_204302_Copy%20of%20MC%20-%20Original%20Piano%20Trio.bmp 
 [   Original Musical America Page 55, December 7, 1922
 [ http://www.mmdigest.com/Attachments/19/09/23/190923_204302_MC%20-%20Original%20Piano%20Trio.jpg