I too am interested in phonograph recordings of automatic musical
instruments (a.m.i.) in their own right.  I was first introduced to
the field by the Biograph ragtime LPs which came out in the early
1970s.  While these records are not, in my opinion, the best
examples of pianolist technique, the pianos recorded are in
reasonably good tune, and there are no tacks in the hammers.

 [ Collector Mike Montgomery provided his roll collection and
 [ player piano for the 1970s recordings, and said later he wasn't
 [ too happy about the quality.  Many of his rolls were recently re-
 [ recorded for a new CD, with better fidelity and more appropriate
 [ tempi.  -- Robbie

My a.m.i. knowledge was broadened considerably by a late-70s LP of
Seeburg G and KT Special music, which was released by Sandy Hook
Records.  Being unfamiliar with these instruments at the time, but
knowing already how much production values (and instrument condition!)
can vary, I remember being very trepidatious about purchasing it at the
premium price commanded, thinking "This could be *really* *awful*."

Fortunately, it's not! In fact, I recommend it, and since Sandy Hook is
still around, the LP may still be in print.  Even the music rolls
recorded may still be available, as they came from Don Rand's outfit
[Clark Music Rolls].  (Yes, the roll info was listed.  It's _appalling_
how frequently this basic information is omitted.)

Since then I have broadened my recordings collection to include many
instruments, from tiny music boxes to titanic Gavioli band organs.
I know that I'll never have an opportunity to own most of these
instruments, and some of them I'll unlikely to ever hear "live",
so recordings are far better than nothing.

This brings me to a "side" issue.  One thing learned from recordings of
a.m.i. is what the producers of the recording, and also the owners of
the instruments (and by extension, what society in general), thought of
these instruments and the music (or noise) that they made.

An example: compare the two recordings made at the Cliff House in San
Francisco: one in the mid-1950s, the other 40 years later.  Some of the
selections on the earlier record are *painful* to listen to -- I shake
my head in disbelief.

The newer record is entirely more musical, but shares a trait with the
earlier record: the make/model of instrument, and the roll data, are
not documented.  On the other hand, the same instrument could appear
on both records, and you'd never know it.  The difference a good
restoration makes is, of course, enormous.

Has anyone compiled an a.m.i. discography?

Colin Hinz * ASFi Music Works * asfi@interlog.com * (416) 516-8686 *