Alvis Edgar Owens Jr. professionally known as Buck Owens, was an American musician, singer and band leader who had 21 No. 1 hits on the Billboard country music charts with his band the Buckaroos. They pioneered what came to be called the Bakersfield sound, named after Bakersfield, the city Owens called home and from which he drew inspiration for what he preferred to call American music. While Owens used fiddle and retained pedal steel guitar into the 1970s, his sound on records and onstage was always more stripped-down and elemental, his signature style was based on simple storylines, infectious choruses, a twangy electric guitar, an insistent rhythm supplied by a drum track placed forward in the mix, high two-part harmonies featuring him and his guitarist Don Rich. From 1969 to 1986 Owens co-hosted. According to his son, Buddy Allen, the accidental death of Rich, his best friend, in 1974 devastated him for years and halted his career until he performed with Dwight Yoakam in 1988. Owens is a member of the Nashville Songwriters Hall of Fame.
Owens was born on a farm in Sherman, Texas, to Alvis Edgar Owens Sr. and his wife, Maicie Azel née Ellington. The stretch of US Highway 82 in Sherman is named the Buck Owens Freeway in his honor. "'Buck' was a donkey on the Owens farm," Rich Kienzle wrote in the biography About Buck. "When Alvis Jr. was three or four years old, he walked into the house and announced that his name was "Buck." That was fine with the family, the boy's name was Buck from on." He attended public school for grades 1 -- 3 in Texas. His family moved to Arizona, in 1937 during the Dust Bowl and the Great Depression. Owens co-hosted a radio show called Buck and Britt in 1945. In the late 1940s he drove through the San Joaquin Valley of California, he was impressed by Bakersfield, where he and his wife settled in 1951. Soon, Owens was traveling to Hollywood for session recording jobs at Capitol Records, playing backup for Tennessee Ernie Ford, Wanda Jackson, Tommy Collins, Tommy Duncan, many others. Owens recorded a rockabilly record called "Hot Dog" for the Pep label, using the pseudonym Corky Jones because he did not want the fact he recorded a rock n' roll tune to hurt his country music career.
Sometime in the 1950s, he lived with his second wife and children in Fife, where he sang with the Dusty Rhodes band. In 1958 Owens met Don Rich in Steve's Gay 90's restaurant in Washington. Owens had observed one of Rich's shows, went to speak with him. Rich started to play fiddle with Owens at local venues, they were featured on the weekly BAR-K Jamboree on KTNT-TV 11. Owens' career took off in 1959, when his song "Second Fiddle" hit No. 24 on the Billboard country chart. Soon after, "Under Your Spell Again" made it to No. 4 on the charts and Capitol Records wanted Owens to return to Bakersfield, California. Owens tried to convince Rich to go with him to no avail. Rich opted to go to Centralia College so that he could become a music teacher while tutoring and playing local venues, but after a year of college, he decided to drop out and join Owens in Bakersfield in December 1960. "Above and Beyond" hit No. 3. On April 2, 1960, he performed the song on ABC-TV's Ozark Jubilee. In early 1963, the Johnny Russell song "Act Naturally" was pitched to Owens, who didn't like it, but his guitarist and long time collaborator, Don Rich, enjoyed it and convinced Owens to record it, which he did with the Buckaroos, on February 12, 1963.
It was released on March 11 and entered the charts of April 13. By June 15 the single began its first of four non-consecutive weeks at the No. 1 position. It was Owens' first No. 1 hit. The Beatles recorded a cover of it in 1965, with Ringo Starr as lead singer. Ringo Starr re-recorded the song as a duet with Owens in 1988; the 1966 album Carnegie Hall Concert was a smash hit and further cemented Buck Owens and the Buckaroos as more than just another honky tonk country band. They achieved crossover success on to the pop charts. During that year, R&B singer Ray Charles released cover versions of two of Owens' songs that became pop hits: "Crying Time" and "Together Again". In 1967, Owens and the Buckaroos toured a then-rare occurrence for a country musician; the subsequent live album, appropriately named Buck Owens and His Buckaroos in Japan, was an early example of country music recorded outside the United States. In 1968 Owens and the Buckaroos performed for President Lyndon Baines Johnson at the White House, released as a live album.
Between 1968 and 1969, pedal steel guitar player Tom Brumley and drummer Willie Cantu left the band and drummer Jerry Wiggins and pedal steel guitar player Jay Dee Maness were added. Owens and the Buckaroos had two songs reach No. 1 on the country music charts in 1969, "Tall Dark Stranger" and "Who's Gonna Mow Your Grass". In 1969, they recorded a live album, Live in London, where they premiered their rock song "A Happening In London Town" and their version of Chuck Berry's song "Johnny B. Goode". During this time Hee Haw, starring the Buckaroos, was at its height of popularity; the series envisioned as country music's answer to Rowan & Martin's Laugh-In, outlived that show and ran for 231 episodes over 24 seasons. Creedence Clearwater Revival mentioned Owens by name in their 1970 single "Lookin' Out My Back Door". Between 1968 and 1970, Owens made guest appearances on top TV variety programs, including The Dean Martin Show, The Ed Sullivan Show, The Jackie Gleason Show and seven times on The Jimmy Dean Show.
In the early 1970s, Owens and the Buckaroos enjoyed a str
Verve Records known as The Verve Music Group, founded in 1956 by Norman Granz, is home to the world's largest jazz catalogue and includes recordings by artists such as Ella Fitzgerald, Nina Simone, Stan Getz and Billie Holiday, among others. It absorbed the catalogues of Granz's earlier labels, Clef Records, founded in 1946, Norgran Records, founded in 1953, material licensed to Mercury Records. Verve served as the original home of rock music acts such as The Velvet Underground, Frank Zappa and The Mothers of Invention; the restructured Verve Records is now part of the Verve Label Group, owned by Universal Music Group. This company is home to historic imprints including Verve Forecast Records, Impulse! Records and Decca Records. Norman Granz created Verve to produce new recordings by Ella Fitzgerald; the catalog grew throughout the 1950s and 1960s to include Charlie Parker, Bill Evans, Stan Getz, Billie Holiday, Oscar Peterson, Ben Webster, Lester Young. By 1960, Granz neared retirement. Milton Rudin, his attorney, knew that Sinatra wanted his own label.
Sinatra and Granz made a handshake deal, but negotiations broke down over price and Sinatra's desire that Granz remain head of the label. Granz sold Verve to MGM in 1961. Sinatra hired Mo Ostin, an executive at Verve, to run it. At Verve, Creed Taylor was made head producer. Taylor adopted a more commercial approach, he brought bossa nova to America with the release of Jazz Samba by Stan Getz and Charlie Byrd, Getz/Gilberto, Rain Forest by Walter Wanderley. Verve's notable arrangers included Oliver Nelson. According to Ogerman in Jazzletter, he arranged 60–70 albums for Verve from 1963–1967. In 1964, Taylor supervised the creation of a folk music subsidiary named Verve Folkways renamed Verve Forecast. Taylor left Verve in 1967 to form CTI Records. Aside from jazz, Verve's catalogue included the Righteous Brothers, the Velvet Underground, Frank Zappa & the Mothers of Invention, Rare Earth, the Blues Project, as well as a series of "Sound Impressions of an American on Tour" records, produced in cooperation with Esquire Magazine.
While the Velvet Underground's records did not sell well they went on to become a major influence in independent rock music. Their debut album, The Velvet Underground & Nico, is hailed as one of the greatest records of all time while their second album, White Light/White Heat, has a major cult following for its bold, noisy sound and poetically provocative lyricism. In the 1970s, Verve became part of PolyGram, incorporating the Mercury/EmArcy jazz catalog, which Philips, part owners of PolyGram, had earlier acquired. Verve Records became the Verve Music Group after PolyGram was merged with Seagram's Universal Music Group in 1999; the jazz holdings from the merged companies were folded into this sub-group.in 1990, British group Talk Talk signed to Polydor after conflicts with their previous label EMI regarding a lack of commercial allure on their fourth album, Spirit of Eden. Their fifth and final album, Laughing Stock, was released through Verve on September 16, 1991 and, while being divisive at the time, has since been reconsidered by critics and fans as their masterpiece and a precursor to the post-rock movement.
In the 1990s, as part of PolyGram Classics and Jazz, Verve signed Herbie Hancock, Wayne Shorter, Joe Henderson, Roy Hargrove, John Scofield, Shirley Horn, Betty Carter, Abbey Lincoln, Chris Botti, Jeff Lorber, Gino Vannelli, Art Porter, Will Downing, Incognito. When Universal and Polygram merged in 1998, Verve's holdings were merged with Universal's GRP Recording Company to become Verve Music Group. After forays into Americana and adult contemporary music, Verve was corporately aligned with Universal Music Enterprises, was no longer a stand-alone label within UMG; the Verve imprint itself manages much of the jazz catalog that once belonged to PolyGram, while the Impulse! Records imprint manages the portion of Universal's catalog, acquired from ABC Records, which itself includes the jazz catalog of the Famous Music Group, once owned by Paramount Pictures/Gulf+Western, but, sold to ABC in 1974. Meanwhile, GRP manages the rest of MCA/Universal's jazz catalog, including releases once issued on the Decca and Chess labels.
The Verve Label Group has expanded its output beyond jazz to include crossover classical music, progressive pop and show tunes. In 2016, the newly-formed Verve Label Group appointed industry veteran Danny Bennett as its president and CEO. Official site Article about Creed Taylor
Herman Lubinsky was an American radio station and music business executive who founded Savoy Records in New York City in 1943. Lubinsky was born in Branford, the son of Fannie and Louis Lubinsky, both of whom had emigrated from Russia in 1883. By 1915, he was working as an electrical contractor in New Haven, before serving as a radio operator in the US Navy. In 1922, Lubinsky founded The Radio Shop of Newark, in Newark, New Jersey, in 1923 set up a radio station, WRAZ, which changed its title to WCBX and in October 1924, to WNJ; the station operated from the attic of Lubinsky's home before its studio in Newark opened in 1925. The station became known as "The Voice of Newark" and presented programmes for immigrants to the New York metropolitan area in Polish and Italian. In 1929 Lubinsky set up the Radio Investment Co. but in November 1932 his application to renew the license for WNJ was refused by the Federal Radio Commission because he refused to accept limits on the station's bandwidth. Lubinsky fought the action in the courts, but the station was taken off the air in March 1933.
Lubinsky started the United Radio Company, which sold and repaired radios and phonographs and began selling records. Encouraged by his friend Eli Oberstein, a music business executive, he and record producer Ozzie Cadena set up Savoy Records in 1942; the company released jazz recordings made before the Petrillo Ban came into effect and recordings made by musicians attempting to circumvent the ban by recording under pseudonyms. Among the latter was Bonnie Davis, whose recording of "Don't Stop Now" reached number 1 on the R&B chart in 1943. By 1944, the label had begun to release records by leading jazz musicians, such as Ben Webster and Lester Young, over the next few years its roster of musicians expanded to include Charlie Parker, Dexter Gordon, Erroll Garner, Miles Davis, Paul Williams, Brownie McGhee, among many others. After opening an office in California in 1948, Savoy continued to have success with such musicians as Johnny Otis, Little Esther Phillips, Cannonball Adderley and Big Maybelle, although after the mid-1950s it began to concentrate on gospel music, including Clara Ward, the Drinkard Singers, Alex Bradford, the Caravans, Dorothy Love Coates and the Original Gospel Harmonettes, James Cleveland.
Lubinsky continued as head of the company until shortly before his death in Newark in 1974. Lubinsky has been described as "an arrogant bully... the quintessential loudmouth, cigar-smoking record man with little apparent charm". His oldest daughter, Lois Grossberg said, "He was paranoid about money, it consumed him like a burning fire. He had a reputation as an ogre in the business. You have no idea of the cheapness."The singer Little Jimmy Scott recorded for Savoy in the 1950s. He left the label in the early 1960s and recorded an album with Ray Charles for the latter's new label, Tangerine. However, Lubinsky claimed; the record was withdrawn. As a result, Scott retreated from the recording industry until after Lubinsky's death. TJ Lubinsky, grandson
Steve Jordan (drummer)
Steve Jordan is an American drummer and record producer who has spent much of his career as a studio musician. During the 1970s and'80s, he was a member of the bands for the television shows Saturday Night Live and Late Night With David Letterman. In the early 80's Steve Jordan was a member of the Steve Khan band, along with Anthony Jackson on bass, Manolo Badrena on percussion. In 2005, he became a member of the John Mayer Trio. Jordan attended New York City's High School of Music and Art, graduating in 1974. Jordan was a teenager, he played drums for the Saturday Night Live band in the 1970s. Jordan played in the New York "24th Street Band" which had great success in Japan; when John Belushi and Dan Aykroyd toured as The Blues Brothers in the early 1980s, Jordan was their drummer, recorded on their resulting album, credited as Steve "Getdwa" Jordan. He did not, appear in the movie of the same name, he played drums for Paul Shaffer's World's Most Dangerous Band on Late Night with David Letterman from 1982-1986.
Jordan, along with fellow Shaffer alumnus Anton Fig, appeared on the Rolling Stones' 1986 release Dirty Work when Charlie Watts' participation was stifled due to his substance abuse problems in the mid-80s. Keith Richards hired Jordan to play on Aretha Franklin's cover of "Jumpin' Jack Flash" for a film of the same name. According to Richards, Jordan pressed Richards on the plane ride home from Aretha's recording session in Detroit to be included in the upcoming documentary by Taylor Hackford Hail! Hail! Rock'n' Roll, a tribute to Chuck Berry. Richards had been hoping to include Charlie Watts in the project but when this proved unfeasible, Jordan was hired and he appeared in many scenes with Berry and Richards; the success of this project led to Jordan's membership in Keith Richards and the X-pensive Winos, a band that toured with Richards and recorded two albums, Talk is Cheap and Main Offender. Jordan is credited with songwriting along with Richards. One of these collaborations made it onto the Billboard Hot 100 via the Rolling Stones Steel Wheels album version in 1989: "Almost Hear You Sigh" peaked at number 50 and 31 in December of that year.
Jordan is a member of the John Mayer Trio, a blues rock power trio that consists of Jordan, on drums and backing vocals, bassist Pino Palladino and guitarist-singer John Mayer. The group was formed in 2005 by Mayer as a deviation from his pop-acoustic career; the trio released the record Try! on November 22, 2005. The 11-track live album includes cover songs, such as Jimi Hendrix's "Wait Until Tomorrow" and "I Got a Woman" by Ray Charles, two songs from Mayer's release Heavier Things, as well as new songs written by Mayer, in addition to three songs written by Jordan and Palladino, they are: "Good Love Is On the Way", "Vultures" and "Try". Jordan and Mayer produced the album together on the Columbia Records label; the trio performed on December 8, 2007, in Los Angeles, California at the L. A. Live Nokia Theatre for the 1st Annual Holiday Charity Revue, which raised funds for various Los Angeles related charities; the DVD/CD release, entitled Where the Light Is: John Mayer Live in Los Angeles features Palladino on bass and Jordan on drums.
Jordan would collaborate with Mayer and Charlie Hunter by writing "In Repair," the eleventh track from Mayer's 2006 album Continuum. Jordan contributed to Mayer's fourth album, "Battle Studies". Jordan has recorded with such artists as Don Henley, John Mellencamp, Andres Calamaro, Cat Stevens, Bob Dylan, Sonny Rollins, BB King, Stevie Nicks, Sheryl Crow, Neil Young, Jon Spencer Blues Explosion, Kelly Clarkson, many more, he is featured on Live at the Beacon Theatre. Jordan has evolved into a Grammy Award-winning and nominated producer with Robert Cray's album Take Your Shoes Off and Buddy Guy's Bring'Em In, respectively. While he has played on countless records, from Alicia Keys "If I Ain't Got You" to Bruce Springsteen's Devils and Dust, he continues to produce with such works as the Grammy Award winning John Mayer album Continuum, John Scofield's That's What I Say, Possibilities by Herbie Hancock, 23rd St. Lullaby and Play It As It Lays with Patti Scialfa. In 2006, Jordan joined Eric Clapton's touring band for Clapton's "European Tour 2006", which included seven sold out shows at the Royal Albert Hall.
He continued in Clapton's band as they toured North America in 2007. In 2008, Jordan produced and played percussion on one track for Los Lonely Boys' third album, Forgiven, at East Side Stages in Austin, Texas. In 2009, Jordan received another Grammy Award nomination - the Grammy Award for Best Compilation Soundtrack Album for a Motion Picture, Television or Other Visual Media, for his work on the soundtrack scoring film for the movie Cadillac Records. In 2013, Jordan produced the Boz Scaggs album Memphis. Jordan formed a band with his wife, Meegan Voss, they have toured and recorded under the band name, The Verbs; the music has been described as "The perfect cocktail of girl group, Brit-pop, country and rock and Roll." They toured Japan in 2006 in support of their first release, And Now... The Verbs, they followed their debut album with the next release by Jordan and Voss. As in their previous release, this album features Tamio Okuda on lead guitars, Pino Palladino on bass and additional classic guitar work by Danny "Kootch" Kortchmar.
The Verbs played their first gig outside of Earth Fare in Rockwood Plaza, Forest City, NC. Briefcase Full of Blues, 1978 Made in America, 1980 Best of the Blues Brothers, 1981 Dancin' Wid Da Blues Brothers, 1983 Everybody Needs the Blues Brothers, 1988
Teddy Powell was an American jazz guitarist and big-band leader. Some of his compositions were written under the pseudonym Freddy James. Powell picked up the banjo when he was fourteen. At fifteen, he led his first band. During the late 1920s to the early 1930s, he was a member of the Abe Lyman orchestra, taking on the additional tasks of gathering radio bands, he formed the Teddy Powell Orchestra in 1938 and it performed through the 1940s. Powell's sidemen included Tony Aless, Gus Bivona, Pete Candoli, Irving Fazola, Charlie Ventura. After the band folded, Powell wrote music and arrangements, he had hits with "Bewildered" and "If My Heart Could Only Talk". During the latter part of his career, he worked in music publishing
The Hammond organ is an electric organ, invented by Laurens Hammond and John M. Hanert and first manufactured in 1935. Various models have been produced, most of which use sliding drawbars to specify a variety of sounds; until 1975, Hammond organs generated sound by creating an electric current from rotating a metal tonewheel near an electromagnetic pickup, strengthening the signal with an amplifier so it can drive a speaker cabinet. Around two million Hammond organs have been manufactured; the organ is used with, associated with, the Leslie speaker. The organ was marketed and sold by the Hammond Organ Company to churches as a lower-cost alternative to the wind-driven pipe organ, or instead of a piano, it became popular with professional jazz musicians in organ trios, small groups centered on the Hammond organ. Organ trios were hired by jazz club owners, who found that organ trios were a much cheaper alternative to hiring a big band. Jimmy Smith's use of the Hammond B-3, with its additional harmonic percussion feature, inspired a generation of organ players, its use became more widespread in the 1960s and 1970s in rhythm and blues and reggae, as well as being an important instrument in progressive rock.
The Hammond Organ Company struggled financially during the 1970s, as they abandoned tonewheel organs and switched to manufacturing instruments using integrated circuits. These instruments were not as popular with musicians as the tonewheels had been, the company went out of business in 1985; the Hammond name was purchased by the Suzuki Musical Instrument Corporation, which proceeded to manufacture digital simulations of the most popular tonewheel organs. This culminated in the production of the "New B-3" in 2002, which provided an accurate recreation of the original B-3 organ using modern digital technology. Hammond-Suzuki continues to manufacture a variety of organs for both professional players and churches. Other companies, such as Korg and Clavia, have achieved success in providing more lightweight and portable emulations of the original tonewheel organs; the sound of a tonewheel Hammond can be emulated using modern software such as Native Instruments B4. A number of distinctive Hammond organ features are not found on other keyboards like the piano or synthesizer.
Some are similar to a pipe organ. Most Hammond organs have two 61-note keyboards called manuals; as with pipe organ keyboards, the two manuals are arrayed on two levels close to each other. Each is laid out in a similar manner to a piano keyboard, except that pressing a key on a Hammond results in the sound continuously playing until it is released, whereas with a piano, the note's volume decays. No difference in volume occurs regardless of how or the key is pressed, so overall volume is controlled by a pedal; the keys on each manual have a lightweight action, which allows players to perform rapid passages more than on a piano. In contrast to piano and pipe organ keys, Hammond keys have a flat-front profile referred to as "waterfall" style. Early Hammond console models had sharp edges, but starting with the B-2, these were rounded, as they were cheaper to manufacture; the M series of spinets had waterfall keys, but spinet models had "diving board" style keys which resembled those found on a church organ.
Modern Hammond-Suzuki models use waterfall keys. Hammond console organs come with a wooden pedalboard played for bass notes. Most console Hammond pedalboards have 25 notes, with the bottom note a low C and the top note a middle C two octaves higher. Hammond used a 25-note pedalboard because he found that on traditional 32-note pedalboards used in church pipe organs, the top seven notes were used; the Hammond Concert models E, RT, RT-2, RT-3 and D-100 had 32-note American Guild of Organists pedalboards going up to the G above middle C as the top note. The RT-2, RT-3 and D-100 contained a separate solo pedal system that had its own volume control and various other features. Spinet models have 12- or 13-note miniature pedalboards; the sound on a tonewheel Hammond organ is varied through the manipulation of drawbars. A drawbar is a metal slider that controls the volume of a particular sound component, in a similar way to a fader on an audio mixing board; as a drawbar is incrementally pulled out, it increases the volume of its sound.
When pushed all the way in, the volume is decreased to zero. The labeling of the drawbar derives from the stop system in pipe organs, in which the physical length of the pipe corresponds to the pitch produced. Most Hammonds contain nine drawbars per manual; the drawbar marked "8′" generates the fundamental of the note being played, the drawbar marked "16′" is an octave below, the drawbars marked "4′", "2′" and "1′" are one and three octaves above, respectively. The other drawbars generate various other subharmonics of the note. While each individual drawbar generates a pure sound similar to a flute or electronic oscillator, more complex sounds can be created by mixing the drawbars in varying amounts; some drawbar settings have associated with certain musicians. A popular setting is 888000000, has been identified as the "classic" Jimmy Smith sound. In addition to drawbars, many Hammond tonewheel organ models include presets, which make predefined drawbar combinations available at the press of a button.
Console organs have one octave of reverse colored keys to the
The Rudolph Wurlitzer Company referred to as Wurlitzer, is an American company started in Cincinnati in 1853 by German immigrant Rudolph Wurlitzer. The company imported stringed and brass instruments from Germany for resale in the U. S. Wurlitzer enjoyed initial success due to defense contracts to provide musical instruments to the U. S. military. In 1880, the company began manufacturing pianos and relocated to North Tonawanda, New York, expanded to make band organs, orchestrions and pipe or theatre organs popular in theatres during the days of silent movies. Over time, Wurlitzer acquired a number of other companies which made a variety of loosely related products including kitchen appliances, carnival rides, player piano rolls, radios. Wurlitzer operated a chain of retail stores where the company's products were sold; as technology evolved, Wurlitzer began producing electric pianos, electronic organs, jukeboxes and became known more for jukeboxes and vending machines, which are still made by Wurlitzer, rather than for actual musical instruments.
Wurlitzer's jukebox operations were sold and moved to Germany in 1973. The Wurlitzer piano and organ brands and U. S. manufacturing facilities were acquired by the Baldwin Piano & Organ Co. in 1988 and most piano manufacturing moved overseas. The Baldwin Co. including its Wurlitzer assets, was subsequently acquired by the Gibson Guitar Corporation in about 1996. Ten years Gibson acquired Deutsche Wurlitzer and the Wurlitzer Jukebox and Vending Electronics trademarks bringing Wurlitzer's best-known products back together under a single corporate banner in 2006. Baldwin ceased making Wurlitzer-brand pianos in 2009. Vending machines are still manufactured in Germany using the Wurlitzer name under Gibson ownership; the company still sells replacement parts. The Rembert Wurlitzer Co. Wurlitzer's rare and historic stringed instrument department, was independently directed by Rudolph Wurlitzer's grandson, Rembert Wurlitzer, from 1948 until his death in 1963. Rembert's shop on 42nd Street in New York City was a leading international center for rare and historic string instruments.
Schöneck, Saxony immigrant Franz Rudolph Wurlitzer founded the Wurlitzer Company in Cincinnati in 1853. Sons Howard and Farny successively directed the company after his death; the company imported musical instruments from the Wurlitzer family in Germany for resale in the U. S. Wurlitzer was an early American defense contractor being a major supplier of musical instruments to the U. S. military during the American Civil War and Spanish–American War. In 1880 Wurlitzer started manufacturing its own pianos which the company sold through its retail outlets in Chicago. In 1896 Wurlitzer manufactured its first coin-operated pianos. In the late 1800s fairs were popular; as crowds grew and mechanical rides began to appear, there was a need for louder music. The fairground organ was developed. Eugene DeKleist of North Tonawanda, New York was an early builder of such organs for use in carousels. Wurlitzer bought an interest in DeKleist's North Tonawanda Barrel Organ Factory in 1897. In 1909 Wurlitzer bought the entire operation, moved all Wurlitzer manufacturing from Ohio to New York.
In 1909, the company began making innovative harps that were more durable than European prototypes, from 1924 to the 1930s eight models were available. The "Mighty Wurlitzer" theatre organ was introduced in late 1910 and became Wurlitzer's most famous product. Wurlitzer theatre organs are installed around the world in theatres, museums and private residences. With the onset of World War I, imports from Germany became problematic and Wurlitzer found it necessary to increase manufacturing in the US. In the early 1930s Wurlitzer built a new, state-of-the-art manufacturing and marketing facility in North Tonawanda, complete with employee recreation areas, a cafeteria. Wurlitzer abandoned production of nickelodeons but continued to manufacture the paper player piano music rolls through a wholly owned subsidiary called the Endless Roll Music Company. Wurlitzer assumed production of Lyric brand radios from the All American Mohawk Radio Company in Chicago. Lyric radios were a high-end console radio which retailed for as much as $425 in 1929.
In addition to business acquisitions, Wurlitzer entered into several joint ventures with James Armitage, George Herschell, other businessmen from the area. He constructed a separate plant at Goundry and Oliver Streets in downtown North Tonawanda specializing in short production runs to fabricate organs and hurdy-gurdys for amusement parks, roller rinks, carnival midways. Amusement rides carousels, were assembled at the facility. Circa 1933, the Wurlitzer name became more associated with jukeboxes than with musical instruments. In 1942, organ production at the North Tonawanda factory ceased and production was shifted to the manufacture of bomb proximity fuses for World War II. After the war, normal production efforts resumed but with more focus on radios and small electronic organs for private homes. Among Wurlitzer's electronic instruments, beginning with electrostatic reed organs in 1947, the most important have been the electronic organs the two-manual-and-pedals spinet type for domestic use.
In the mid-1950s, Wurlitzer began manufacturing portable electric pianos. Rembert Wurlitzer independently directed the firm's violin department from 1949 until his death in 1963, building it into a leading