In reference to Stephen Kent Goodman's question about ragtime on Ampico
rolls, the total number of pieces issued which could rightly be
described as ragtime is quite small, however they are all noteworthy.

All (with the exception of the "novelty styled" rags which date from
the 1920s) are Ampico codings of 88-note Rythmodik recordings.
Perhaps the most important of all is Eubie Blake's own roll of his
"Charleston Rag."   I believe that Eubie Blake might have been the only
black artist who appeared on Ampico (in artist credit).

Also, an Ampico roll of "Hyacinth Rag" exists as played by the composer
George Botsford as a duet with another well known ragtime composer,
Albert Gumble.  This (like "Charleston Rag") is an early expression
coding onto the Rythmodik template.   Pete Wendling's roll of "Ragtime
Jingles" by Al Markgraf was also issued with Ampico coding.

There are probably other examples of Rythmodik rolls which qualify as
ragtime and which were issued with Ampico coding, but not too many!
Our catalog listing information of the Stoddard period rolls is rather
incomplete, so it is likely that more may turn up in the future.

As far as the later "novelty" style ragtime goes, Ampico rolls are a
wonderful showcase with many prime examples.   The Confrey pieces come
to mind first, with composer played versions of "Jay Walk" and
"Humorestless" and "Dizzy Fingers."   Herbert Clair made a roll of
Confrey's "My Pet" which is probably the best example of novelty
ragtime on piano roll.

Another superb example is "Nanette" played by the composer, Adam
Carroll, probably one of the most exciting Ampico rolls ever cut.
The Vincent Lopez arrangement of Mel Kaufman's "Bing Bing" likewise
qualifies in this regard!

Frank Himpsl