Parke Hunter again

[Jody Stecher]

A few days ago there was speculation about the key (and therefore the fingering) in which Parke Hunter actually rendered Will Tell. I "will tell" what I just discovered.  Just moments ago I was searching for something entirely different and came upon two printed versions of Parke Hunter's arrangement of "Finale of Overture to William Tell".  The first says " arranged for Banjo Solo & played with great success by Parke Hunter (Mays & Hunter)".   The second says " Arr. by Parke Hunter. Edited by George E. Morris."

 

Both are written in the key of G major. The recording posted by Bob W sounded in the key of B flat major. While it's possible that Hunter tuned high, or that he deviated from his published arrangement, or that the published arrangement is not really his (that sort of thing happened often)  the most likely explanation is that the original cylinder and the many transfers between media (tapes, cassettes, etc) raised the pitch, and therefore, this being analog for the most part, the speed. A sped up recording would also account for the unearthly tone quality of the banjo. 

 

So there's another piece of the puzzle. 

[thereallyniceman]

Now, if could only find a way of speeding up my fingers...

[Richard William Ineson]

My recording of this outstanding performance of the 'William Tell' overture, by Hunter is a cassette tape recording of  a 7" Berliner disc which belonged to my banjo teacher L.W. Howe, who had lessons himself, from David Milner, who was a friend of Parke Hunter - Hunter used to stay with Milner (who was also a friend of Alfred Farland) who himself was a banjo virtuoso, whenever he was in the north of England. Hunter gave Milner the Berliner record and Milner passed it on to L.W. Howe, I do not know where it is now. I recorded it and a few other gems when cassette recorders came out in the 1970s.

I always understood that Mays and Hunter tuned up their banjos to 'A' to make them sound brighter, and to assist them in being heard against a pit orchestra, this was confirmed by, I think, Alf Lane,in the columns of B. M. G. somtime in the 1950s, who was a great banjo fan and player and who worked at the Metropolitan Music Hall, where M&H performed.

This fact was also confirmed by Joe 'Mac' MacNaughton, who often used to call to see my teacher, I understood that they were long time banjo friends, 'Mac' used to sit in on my lessons and relate odd bits of banjo lore to me when Mr. Howe had gone for a cup of tea/pint/glass of whisky/cigarette etc. to relieve the tedium of listening to me making a hash of things.

I have just searched out my recording and it is indeed inthe key of A. I remember Mr. Howe (as we used to speak of our elders and betters 50 odd years ago) playing this record to me when I had got beyond 'A Banjo Vamp' etc. and telling me that I would only be a banjo player when I could match Hunter's pace, and accuracy on this record.

 

It took me until I was twenty five years old to accomplish this; I played it in the original key of G with some alterations to the fingering suggested in Hunter's arrangement, mainly in the minor movement. Hunter played the first part, the diddle dum, diddle dum, diddle dum, dum, dum, bit, entirely on the fourth string, I followed suit.

I cannot play the tune now, but if I ever get to spend 12 months in prison with a banjoI'll see whatI can come up with.

I also have, I think, a recording of Ossman and also another of  van Eps playing this testing piece, the Hunter version remains my favourite, his tone is quite superb despite the primitive recording and his accuracy, at speed is quite remarkable.

 

[Jody Stecher]

Thank you, Richard! Actually that should be " thank you Mr. Ineson " — a reply such as yours deserves no less. 

Richard William Ineson said:

My recording of this outstanding performance of the 'William Tell' overture, by Hunter is a cassette tape recording of  a 7" Berliner disc which belonged to my banjo teacher L.W. Howe, who had lessons himself, from David Milner, who was a friend of Parke Hunter - Hunter used to stay with Milner (who was also a friend of Alfred Farland) who himself was a banjo virtuoso, whenever he was in the north of England. Hunter gave Milner the Berliner record and Milner passed it on to L.W. Howe, I do not know where it is now. I recorded it and a few other gems when cassette recorders came out in the 1970s.

I always understood that Mays and Hunter tuned up their banjos to 'A' to make them sound brighter, and to assist them in being heard against a pit orchestra, this was confirmed by, I think, Alf Lane,in the columns of B. M. G. somtime in the 1950s, who was a great banjo fan and player and who worked at the Metropolitan Music Hall, where M&H performed.

This fact was also confirmed by Joe 'Mac' MacNaughton, who often used to call to see my teacher, I understood that they were long time banjo friends, 'Mac' used to sit in on my lessons and relate odd bits of banjo lore to me when Mr. Howe had gone for a cup of tea/pint/glass of whisky/cigarette etc. to relieve the tedium of listening to me making a hash of things.

I have just searched out my recording and it is indeed inthe key of A. I remember Mr. Howe (as we used to speak of our elders and betters 50 odd years ago) playing this record to me when I had got beyond 'A Banjo Vamp' etc. and telling me that I would only be a banjo player when I could match Hunter's pace, and accuracy on this record.

 

It took me until I was twenty five years old to accomplish this; I played it in the original key of G with some alterations to the fingering suggested in Hunter's arrangement, mainly in the minor movement. Hunter played the first part, the diddle dum, diddle dum, diddle dum, dum, dum, bit, entirely on the fourth string, I followed suit.

I cannot play the tune now, but if I ever get to spend 12 months in prison with a banjoI'll see whatI can come up with.

I also have, I think, a recording of Ossman and also another of  van Eps playing this testing piece, the Hunter version remains my favourite, his tone is quite superb despite the primitive recording and his accuracy, at speed is quite remarkable.

 

[Adam]

Hello All:

 

I revisited the UCSB Cylinder Project tonight and found these 5 recordings of Parke Hunter (vaudeville skits (incl. music) with Len Spencer, as well as a duet with Vess Ossman):

 

Parke Hunter @ UCSB Cylinder Project

 

I also found this Victor discography:

 

Hunter VICTOR Discography

 

Might be old news to some, but thought they might be of interest to others.

 

Richard, thank you very much for your lengthy comment in this post, as well as all of your recent photos - great stuff!

 

All the best,

Adam

[Adam]

I also meant to say in my earlier post that on the Hunter recordings on the UCSB site you can hear Hunter speak, which is pretty neat!