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The Story of J. Russell Robinson
The story of how J. Russell Robinson became pianist for this famous ODJB has never been told to our complete satisfaction. Details of things leading up to his replacing Ragas, and of Robinson's contributions to music are hereby brought to light.
               
   
Picture
The "Fitchenburg Enterprises" operated a small chain of movies on Canal street, way back in 1909. These were the Dreamland, the Alamo, and Wonderland (upstairs from the "Pennywonderland Arcade"). Since the movies were of the silent variety, the manager, Mr. Wm. Gueringer, employed musicians who not only played music, but also helped with "sound effects" to correspond with the picture. The most famous of these groups was a two brother team, barely in their teens. The combination was piano and drums, and they were called "The Famous Robinson Brothers, Motion Picture Effect Artists". They hailed from Indianapolis. They arrived in New Orleans via Macon, Ga.. following a tour of Southern movie houses. In New Orleans they rotated every 4 weeks from one of the 3 local "chain" houses. After a long stay in New Orleans, they spent the next 4 years playing in Dixie. After several years in Birmingham, they returned to Indiana, where they received and accepted an offer (1913) from a theatre in Anderson, Ind. A local music store manager was so impressed with their playing, that he suggested Russell contact the "Imperial Piano Roll Company" of Chicago. As a result of this, he became one of their six featured artists, along with Pete Wendling, Max Kortlander, Lee Roberts, and the team of Arden and Ohman. His first releases were by the Q.R.S. Player Piano Company.
   
     
J. RUSSELL ROBINSON
 
       
(As He Looks Today)
     
  were made upon the pianist. (1) Theirs was a new sound ("a bit bloodcurdling, but interesting and exciting"); (2) He recognized the musicians as non-note readers; (3) That the music which was being termed "jass" was nothing but ragtime, played by ear.
  The two Robinson brothers got such a kick out of the ODJB music that they added a small phonograph to their musical accessories, and played along with the recordings. This never failed to create wild enthusiasm among the audiences. They did the same with each new release-so that when their northward swing was completed, they arrived in New York with practically the entire repertoire of the ODJB at their finger tips. Russell incorporated into his playing, the various embellishments of trumpet, trombone and clarinet.
  On his second night in New York, Robinson went to Reisenweber's where
With Victor's first release of the ODJB, several lasting impressions
 
     
(Continued on Page 15)
   
THE SECOND LINE, SEPTEMBER-OCTOBER. 1955   13

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