LEN RAWLE
THE PROFESSIONAL AMATEUR
& ORGANIST SUPREME
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PAGE THREE:
MENTORS
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1956: MEETING MR. GEORGE BLACKMORE F.R.C.O.
&
THE START OF A PROFESSIONAL MUSICIAN’S CAREER
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Len first met George Blackmore F.R.C.O. (1921-1994) during his National Service in 1956 when Mr. Blackmore was playing a two-week engagement at the Ritz Cinema Aldershot. Len met with him each day during his spare time between his short musical interludes while the films were screened. Mr. Blackmore was a great source of information and answered many questions posed by Len including explaining the vast differences in the various specifications of theatre organs that he had played. Len says that this subject fascinated him and he could not wait to finish his stint in the army and explore for himself the tonal differences and feel of the variety of theatre organs available.
George Blackmore seated at a Compton Theatre Organ at an unknown location
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The Wurlitzer Theatre Organ of the Ritz Cinema Richmond
Within a week of his demobilisation, Len met with George Blackmore at the Ritz Cinema Richmond, where a Wurlitzer Theatre Organ (3-Manual; 8-Ranks) was installed. Len remembers this organ as having a very loud and punchy sound, but nonetheless, he was eager to play it. Here, Len was introduced to the manager of the cinema, Mr. Mackoy, which led to his being asked to play for the ABC Saturday Children’s Matinee each week at 9 a.m. At these Matinees, he was asked to play Pop Songs for the children to sing along to and also to provide some accompanying music for a Variety Act. Although he received no pay for his playing, he was given plenty of practice time from 7 a.m. until the cinema opened.
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At this time, Mr. Blackmore introduced Len to Mr. Joseph Seal, the Musical Director of the ABC Circuit who was based at the Regal (ABC) Cinema Kingston. After some conversation, Mr. Seal invited Len to play for him at the cinema’s Wurlitzer Theatre Organ (3-Manual; 12-Rank with grand piano).
Joseph Seal at the Wurlitzer Theatre Organ of the Regal (ABC) Cinema Kingston
The audition went well, and now with Mr. Seal’s blessing, Mr. Mackoy arranged for Len, after finishing playing the organ at the Ritz (ABC) Cinema Richmond each Saturday morning, to drive over to Hammersmith and play the piano of the Commodore Cinema at 10.30 a.m., which was to be between two of the films screened at the cinema’s Saturday Morning Matinee. Unfortunately by this time, the Dutch Standaart Theatre Organ (3-Manual; 10-Rank) which had been installed at the Cinema’s opening, had long since been removed.
Harry Davidson (1892-1967) at the Standaart Theatre Organ of the Commodore Cinema where he was the resident organist
Harry Davidson at the Commodore Cinema Hammersmith and playing Just an Echo in the Valley on the Standaart Theatre Organ
Commodore Cinema Hammersmith
To conclude Len’s busy Saturday mornings, Mr. Seal allowed him to march the children out at the Regal (ABC) Cinema Kingston at 12.30 p.m. Although Len received no payment for these engagements, he was allowed practice-time until the cinema opened its doors for the afternoon film show.
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Len says that the travel was always undertaken in a rush, but he remembers these days with pleasure. Mr. Seal was quite often present in the cinema on a Saturday morning and worked in his office while his wife was shopping in town. At first Len was not aware of Mr. Seal’s presence, but he was always careful to avoid using his combinations for fear of his feeling that he was copying him. Later Len was astonished that on a number of occasions, Mr. Seal would come and look over his shoulder and ask him how he was able to make certain sounds. Len says that this was very encouraging!
Len had been especially pleased to be allowed to play the Theatre Organ of the ABC Cinema Kingston since this was the instrument played by Mr. Seal during his BBC broadcasts. Len said that the this organ sounded very well during the broadcasts and offered some unique sounds. He also remembers fondly having a good relationship with ‘Joe’ with the invaluable added benefit of being allowed to attend many of his live broadcasts.
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OTHER MENTORS
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When asked who besides George Blackmore and Joseph Seal have influenced his musical career and playing, Len said that there been many beginning with his early days.
Of course of great significance were his parents who were always supportive of him and his brother. Len credits his mother with instilling in him the importance of a daily practice schedule, something which he still maintains. He credits his father with giving him constant encouragement and a willingness to offer help when needed. In addition, he remembers his piano teachers with much gratitude. In addition, Len says that encouragement and support has come from a surprising number of people, and that it is only with reflection, that he realises just how important they have been.
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Len says that it was the organist Harold Coombs who reminded him of the importance and the need to maintain classical studies.
Harold Coombs (1903-1964 at the Wurlitzer Theatre Organ
of the Ritz Cinema Aldershot
However, it was George Blackmore who gave him the most insight into performing. Len says that his kindness and consideration made him feel that he was more than just someone who turned over his sheet music during a broadcast. Len’s never ending list of questions whenever they met were always responded to in detail and with shared enthusiasm.
Len says that their friendship continued until Mr. Blackmore’s passing in 1994. Len also likes to think that Mr. Blackmore was proud of the results that he achieved from the numerous opportunities that he presented him with, such as accompanying live shows and demonstrating Hammond Organs.
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Robinson Cleaver (1906-1987)
This Letterhead from 1954 appears with the permission of The Theatre Organ Club (TOC)
Len notes that following his playing at The Theatre Organ Club (TOC) and Cinema Organ Society (COS) meetings and later with his concert work and early recordings, his style of registration (i.e. the technique of choosing and combining the stops of an organ in order to produce a particular sound) had become a talking point amongst his peers and noted for being somewhat different in approach. Although different, it none the less was appreciated by fellow organists, many of whom went out-of-their-way to give him favourable comments on aspects of his playing. As Len says, accolades from established musicians such as Bill Davies (1921-2006), Vic Hammett (1918-1974), Robin Richmond (1912-1998), Jackie Brown (1923-1974), Harold Smart (1921-1980), Felton Rapley (1907-1976) and Robinson Cleaver during his formative years were an enormous fillip and encouraged him to broaden his musical horizons.
Len with Robin Richmond (the original presenter of BBC Radio’s The Organist Entertains (1969-1980) at Fairfield Halls, Croydon not long before his passing.
Photograph taken by Mr. John Sharp
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