Interview With Christian
	(Continued from Page 16)				was refreshing to find one of the really, real pioneers who has not become cynical and bitter by his musical experiences! But, one thing was glaringly apparent: Emile Christian had the wanderlust-and how! The following list of places where he played will be the give-away:
Here he joined "The Memphis Five", headed by Phil Napoleon, and having such side-kicks as Jimmy Lytell on clarinet and Frank Signorelli on piano, with Phil's brother on drums. The group was playing at a place called "Kelly's" at Coney Island, and a generously proportioned lady called "Big Tess" was singing star. This same "Big Tess" later became the celebrated "Aunt Emma" of radio and TV! She fell in love with Emile's trombone style, and begged him to cancel his "return ticket to England", but he had already booked passage, and left 3 weeks later.
					France, England, Belgium, Holland, Denmark, Switzerland, Sweden, Germany, Finland, Norway, and-believe it or not, Bombay, India! Altogether, Emile remained overseas until 1939, when a renewal of old war sounds hastened his return to America. However, when asked to recall his most enjoyable stay in foreign countries, he unhesitatingly said "Germany"! Eric Borchard, the man who was regarded as the "German Paul Whiteman" was the band with which Emile played in Berlin. His orchestra was unchallenged for popularity, and it is here that Mr. Christian recalls the fact that his top salary was commanded. This, he explained, was because the band played for "tea-dances" from 4 to 7 every afternoon, and again from 9 to 1 that night. "Curfew" was one hour after midnight, but that was just a signal for the "hot section" of the band to seek out a "speak-easy" (yes, they had them in Germany, too!), where they played until 5 A.M. Add to this stiff schedule the fact that Borchard's Orchestra was routinely scheduled for 3 recording sessions a week, it is readily understandable that his income became the highest of his life.
Returning to England alone, Emile Christian went to play at "The Palais de Dance", where he joined the "Broadway Sextet" (an all -English outfit). In 1921, a group of five American boys who were playing in Paris under the name of "American Five", wired Emile to join them. This he did, and the "Frolichs Club" heard his slide-horn for the next 6 months. Later that year, he shifted his affiliations to "Tommy Waltham's Orchestra", at "Zelli's" in Paris, and this fortunate liaison lasted a full 6 years.
It is interesting at this point to bring up the question of salaries. While playing with the "American Five", Emile's weekly check was a solid $75 -a munificent amount in those days. (And all of it came to you, too! There was nothing "taken out"). His change to Tommy Waltham's was even more remunerative, for he remembers that he soon became the highest paid sideman in the band, drawing down a juicy $150 a week!
					With the rumble of the non-Dixieland-war-drums, the purchase of a one-way ticket to New York City was inevitable. Shortly after arriving, he became a member of "Gaston's Orchestra", at a place called the "French Casino" at 48th and Broadway. "Gaston", recalls Emile, was an accordion player who had gained the reputation
As we talked, it was apparent that Mr. Christian had no axe to grind. Not once did he compare, or belittle, or contrast himself or the groups with which he played with any other New Orleans aggregation or individual. It
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THE SECOND LINE, SEPTEMBER-OCTOBER, 1955   17