George Wright
The Man and the Music

From the July/August 1998 issue of the ATOS journal, Theatre Organ

You cannot separate the music from the man.
A master of the keys,
Expressing the emotion of a song
While it plays within his soul.

Dramatic notes or gentle tones,
Witty or whimsical phrasing,
Arranged with gifted artistry.
Portrayed with truthful expression.
You cannot separate the music from the man.
The music is the man.

Marie Cutshall, May 1998

The mere mention of the name of George Wright to anyone at all interested in theatre organ results in many exclamations of praise for this truly gifted artist. His recordings are "required listening" in every record collection. Here is his story in his own words -- the story of a lad who dreamed of great adventures in the theatre organ world.

George Wright was born in Orland, California (about 150 miles north of San Francisco) on August 28, 1920. He died of heart failure May 10, 1998 at Glendale Memorial Hospital near his home in the Hollywood hills. He was 77

"Certain of my older acquaintances may not be too far from wrong in suggesting that Mother was frightened by a Wurlitzer and that I was weaned on Jesse Crawford recordings.

"As a child I was enthralled by the magnificent variety of rumbles, roars, and shrieks emanating from the organ grilles in accompaniment to the action on the movie screen. I vividly recall Betty Compson, Douglas Fairbanks, Sr., Eleanor Boardman, and all the rest of the Roaring Twenties screen stars, but even more vividly I recall the theatre organ accompaniment.


Grant Union High School, c.1936
"My mind was firmly made up -- even at that tender age -- that I should be an organist and show the world that I, too, could commit the aforementioned rumbles, roars, and shrieks. I would even aim for the highest of all peaks and someday perhaps be allowed to touch a finger gingerly to one of the instruments that God, in the person of Jesse Crawford, had played."

Grant Union High School

"A few miles from Stockton in North Sacramento, the Grant Union High School had just bought the organ from a theatre in Northern California and was about to have it installed in the school auditorium. The problem was to select an organist -- preferably a student. The superintendent visited our home with the lucrative offer -- paying me to attend his school and a free organ on which to practice.

"Outstanding athletes have been lured from one school to another, but to approach a music student! I literally jumped at the offer, packed my small suitcase, received the somewhat reluctant parental blessing and ventured forth into the wide, wide world to seek my fortune."

San Francisco Days

"I moved a bit further uptown in 1942 at the request of the National Broadcasting Company. What a job to land on a good Wurlitzer in good condition!


KNBC San Francisco, 1944

NBC publicity photo, 1947

"This 3/19 job, which NBC purchased from Paramount Studios in Hollywood in 1941 for the outrageous sum of $1100, was virtually a new organ -- all brown skin leather, Bakelite magnet caps, and originally voiced and finished by the great genius, Jimmy Nuttall.

"It had been my privilege to express my thoughts about its installation when Paul Schoenstein and Charles Hershman were laying it out for the new NBC building, so it ended up exactly as I wanted it -- nothing but pipes and rackboards and percussions in the actual chambers, with all the noise-making regulators, tremulants, and conductors in a sub-chamber.

"This was a typically fine Crawford-type of Wurlitzer that almost played itself when hands were placed on the manuals, and it was a pleasure to hear some real Wurlitzer sounds once again -- Tibia, Krumet, Oboe Horn, Quintadena, Brass Trumpet, and all the trademarks.

The San Francisco Fox Theatre


San Francisco Fox Theatre
"No sooner had I caught my breath at NBC when the manager of the San Francisco Fox Theatre phoned to ask that I take over the community sings on the Saturday night midnight shows at his palace of passion and pleasure. My thoughts raced back to that opening night in 1929 -- the voice of prophecy had spoken in the voice of the theatre manager.

"The deal was all set, but the organ proved to be a disappointment to me. Mrs. William Fox had caused several elaborate layers of golden draperies to be hung over the organ grilles in spite of the pleadings of the Wurlitzer installation men. The organ sounded like a mouse in a ball park.

"After one show, I was ready to throw in the towel, especially when the manager would not grant me permission to remove the draperies. An enterprising girl friend and colleague, June Melendy, allowed me to cry on her shoulder over the unhappy situation.


Fox Theatre lobby during World War ll (3/12 Moller)
"Fortified with a suitable stimulating beverage, and a long, sharp butcher knife in hand, (acquired from June's mother,) we entered the theatre late that night, as partners in crime, cut the heavy ropes that supported the draperies. I must say that Miss Melendy, scaling, the iron ladders leading up the walls of the building in high heels, huge picture hat and new mink coat presented a never-to-be-forgotten picture! The dastardly deed committed, and bedecked with about thirteen years of black dirt, dust, and dry rot covering us from head to toe, we truly looked like the Gold Dust Twins.

"The management could not but forgive us. The new sound of the organ was a revelation. The mouse in the ball park had emerged a giant, attuned to his surroundings. I can truthfully say that this is, by and large, the best theatre organ I have ever played. True, it has its faults and idiosyncrasies as does every organ, but this is the definitive theatre Wurlitzer.

"Soon the Saturday midnight community sing was expanded to a four-times-daily schedule for Saturdays and Sundays, and the other five days a week followed in short order -- by public demand, I'm happy and proud to say. June played on my day off, Wednesday, and occasionally we dragged out the second console and frightened the paying customers with duets."

New York and Beyond

"Happy days, those, but soon ended, for in November, 1944, I was called to New York to play a show for NBC. Naturally, as soon as I arrived in New York, the sponsor decided to move his show to Hollywood. I stayed and stuck it out.

"There were many pleasant days in New York in radio, including guest appearances with Paul Whiteman, Percy Faith, Bing Crosby, Perry Como, my own little orchestra on the Robert Q. Lewis Show, and a wonderful seven-year association playing in a trio with Charles Magnante, accordionist, and Tony Mottola, guitarist, on a radio show sponsored by The Prudential Insurance Company. It took the strength of Gibraltar sometimes to put up with the singer on the show, but the musical good times with Charlie and Tony were more than rewarding.

"Then cameame the Paramount Theatre and another childhood dream come true. Here was Crawford's famous organ -- even his old dressing room -- now presided over by the unbelieving dreamer. Yes, I pinched myself, but there wasn't much time for even pinching, what with sometimes six and seven shows a day to play at the theatre in addition to my radio activities. I really kept the pavement warm between NBC and the Paramount! Yellow Cab profits went up that year, as undoubtedly did those of Goodyear Rubber.

"Now that I think back, it's hard to draw too many New York details from my memory. Time passed so quickly, success came in the musical field, but hanging over it all was the ever present dislike of New York City and having to live there. Gad! Those icy, cold winters -- those hot, humid summers.

A Return to California

"California beckoned once again, so here I am in Hollywood living a relaxed life once more and never missing being tied down to a theatre schedule. One relaxed show a day for Don Lee Television allows me to keep my finger in the professional field and permits me ample time for practice and planning new recording repertoire."

George Wright was asked if he thought the theatre organ as such would ever come back. His answer at that time was negative. "Where are the organs to play? Who will service and repair them? Who will play them? Does the public want to hear them? I don't think so."

"Quite a number of us have been lucky enough to acquire these instruments for home installations, but there, I think. it ends. Perhaps recordings may stimulate a certain amount of new interest, but it just isn't in the cards for a medium such as television to get on the band wagon. Space requirements, installation, and service expense don't fit into the picture -- with accent on the space requirements.

"Let's leave the theatre organ to the hobbyists ... and a wonderful hobby it is. I know -- it's mine, too. And I wouldn't have missed a moment of it for the world."

Copyright © 1998 The American Theatre Organ Society, Inc. All rights reserved.


Postscript

Many years have passed since George Wright uttered those rather pessimistic words about the future of theatre organ. The American Theatre Organ Society and its dedicated members have not only restored countless instruments, but the public's fascination with the theatre organ continues to grow. Today, the future of the theatre organ is in the hands of the ATOS, and its members are dedicated to preserve a legacy that George Wright helped create.