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I love his playing... maybe one day I will get there... I mean to 10% as good as he was, of course!
Lovely playing, indeed! I suspect the recording might not be right up to speed as the pitch seems a little off to me. Yet another example of an arrangement that has substantial differences from the published piano sheets. Frankly, I think FVE took a 'meh' tune and improved it a good bit!
Somehow previous hearings failed to make an impression. I must have been distracted. This is very nice. I have no idea what the title means. Does anyone have an insight?
Very nice. I've got the Cinquantaine score, but this arrangement is much better. Any chance of putting this score in the library?
I would assume that the title is reminiscent of Spain (gypsies, Seville oranges, etc.). I found this on the web:
"Tambourines and Oranges was adapted by Klickmann from the then well-known and popular La Cinquantaine (1887) [The Golden Wedding] which was written by the French composer Jean Gabriel Marie (1852-1928) who enjoyed no little fame for his dances, chamber pieces and light orchestral works. The ragtime authority John Cowles lists Tambourines and Oranges as a two step written ca. 1907. Here it is assumed that this was when the young Klickmann first worked on this adaptation. Actually to call this an adaptation, is stretching it a bit as, except for key changes, it is virtually the same as the original. As mentioned below it was later recycled as a fox-trot. Interestingly all subsequent recordings of Tambourines and Oranges credit Klickmann as the composer - the luckless originator does not get a mention. Who says the plagiarism does not pay?"
FVE did explain all these "non banjo" numbers he recorded (FVE told people that told someone that told me). He said that he would show up to the studio in the morning and they would hand him the piece he was to record that day. He would go off with his accompaniments (Banta? The Trio? Arndt?) and they would work up an arrangement and then record it later that day.
Much of it was done on the fly and with music he had not looked at before the day it was recorded.
I think FVE was pioneering the 'studio musician' gig. Sit around all day until somebody shows up with a pile of music, figure it out, mess around with arrangements and then cut a track. Go back to waiting...
Very much the same today. Studio players are what I consider to be "true professional musicians". They usually can play anything, regardless of the composer's transmission method (notation, TAB, ear, feel, morse code, braille, etc, etc,) improvise in any key/mode/style and don't care if they are rhythm, harmony or lead (as long as they get paid). Hmmmm. "Meal Ticket" indeed!