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It was also in that his name first started to appear on published music, having contributed to the eccentric Soup and Fish Rag with fellow composer and talented pianist Harry Jentes. It was published by a future collaborator of Wendling, George W. Wendling's true talents as a performer were soon recognized by those in the industry that were set on capturing such performances for posterity and profit. In he was engaged by Ampico to play rolls for their Rythmodik line, continuing to work with Waterson, Berlin and Snyder as a plugger.

His work with Rythmodik appears to have continued through around mid to late Many of those rolls had the curious addendum "assisted by W. Draper, who likely acted in the capacity of an editor with additional input beyond the normal process of note correction. In the process of cutting piano rolls and working with other artists, Pete started to gain a footing in the art of composing, and starting in a few songs started to trickle out from his pen.

With only a couple of exceptions, virtually everything with Wendling's name on it throughout his career would have one or more co-composers, and in some cases Pete also worked as a lyricist. It was a natural development that many of his compositions would find their way to his rolls, as well as to some played by his peers. One of his first enduring hits came in during a period in which the country was experiencing a Hawaiian song craze. Yaaka Hula Hickey Dula quickly caught the ear of fast-rising entertainer Al Jolson who not only interpolated it into his show Sinbad , but made it is first recorded side of as well.

Pete's services were soon very much in demand. Roberts some time in mid to late This date is not solid, however, as the number of rolls with Pete's name on them as performer were mostly found on the QRS Autograph Automatic label are scant in and , and may have been recorded by Wendling as a guest artist.

Most biographical sources cite as his starting year with QRS. However, the volume of rolls that start to appear in early and the lack of current Rythmodik rolls from the same period suggest a much earlier start date. Also, the trade magazines start listing him as a QRS artist as early as January When the call to serve in the war came in , he was left behind to perform and turn out more piano rolls.

Charles Wendling, who Pete was no longer residing with, appeared the following year in the draft as the foreman of a balsa wood plant in New York City. In he would co-write a song that would capture the hearts of many who had soldiers serving in Europe, Oh!

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That same year he recorded a number of four-hand rolls with J. Russel Robinson , who would soon be appropriated by the Original Dixieland Jazz Band as their replacement pianist, which curtailed his roll activity for many years. Wendling got busy after the war, attacking both piano rolls and compositions with great relish. The year yielded yet another hit for the increasingly confident composer, Oh! Pete L towers over publisher Jack Mills in this photo. The enumeration showed Pete and Anna Wendling living at Summit Avenue in the Bronx, with Pete now declaring himself as a writer of songs.

His primary employer in this endeavor was Irving Berlin who had started his own publishing company after separating from Waterson, Berlin and Snyder. There is a definite possibility that he switched to the firm of Jack Mills in , as Mills published many of his pieces in the early s. In Wendling was in Los Angeles on a vaudeville tour when he was stricken with appendicitis. He recovered from this in short order, but another tragedy was ahead. Details are hard to come by, but Pete and Anna had a child in the early s. According to Pete's nephew, the couple lost their son at a very young age which hit them hard.

Pete and Anna them reportedly became nearly a second set of parents for Charles' two children. Pete's transformation of popular tunes into deftly played piano roll numbers made him one of the favorite performers of QRS, certainly from the consumer's point of view if not internally and within the trade. He created an inordinate number of song recordings for them over the next several years. As a matter of confirmation of his skill, there was very little difference between what was heard on the record and what was present on the corresponding roll of Papa Blues.

His work with QRS also helped him start an association with another employee who would eventually be one of the last remaining artists there, Max Kortlander. They composed several tunes together, and in released a folio of 11 tunes the cover stated 10 plus some exercises and playing hints. Published by Stark and Cowan , it was stated that the compositions were presented "in various forms, their musical treatment, ornamentations and methods used in Q. While player pianos were a well-established and common technology by that time, broadcast radio was still in its infancy.

So QRS participated in a concert experiment over station WGR in Buffalo, presenting a concert of both piano rolls and live entertainment that was broadcast in front of a capacity audience at the Statler Hotel. A similar event on a smaller scale had been held in , but this one was much more successful.

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Their piano selections were followed by deafening applause from the audience and hundreds of letters from fans expressed particular interest in these three artists. Henry Murtagh, organist at Lafayette Theatre and one of the best-known theatre organists in the country, presided at the organ. The string quartet from the Buffalo Athletic Club and Joseph Dombrowski's Orchestra gave several popular dance selections Kortlander, Arden and Wendling, visited the trade following the concert and witnessed hundreds of sales of their rolls and autographed many rolls for purchasers.

Pete was the first to admit that he was only a performer for QRS, not a music or roll editor by any stretch.

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His input consisted of doing one or more takes on a markup piano, which simply put pencil marks on a roll as he played. Lawrence Cook. It is necessary to understand that in his capacity as an editor, Cook was exposed, both aurally and visually, to the unique qualities of each performer's style and their tricks and traits. This helped him gain the ability to convey these traits to virtually any performance he wanted, and often times a performer's name was put on a roll even if they did not fully participate.

To get around this technicality, "as performed by" could also be used to express that it was an emulation. There were a few profiles done on Pete in the trade papers in the s. One of them from concerns his transition to QRS as follows: "When [Wendling] attained prestige ten years ago as a composer, he was signed up by a player-piano company to make rolls. Pete wanted to record blues, but the recording manager said the public would not buy that sort of stuff as it "carried too many mistakes.

The recording manager of this company was thoroughly familiar with the changes in popular music and said he wanted blues - and the mistakes. Another biographical source explains that Pete had a dynamic sense of humor that matched his playing style. She was impressed by their kind attentions as they took the conductor aside and whispered to him, since she assumed they wanted her to have an exceptionally pleasant trip.

The conductor was too solicitous, however, and watched her every move for hours, until she asked him what the problem was. Her two 'friends' had told the conductor that she was mentally very unstable, and might explode at any minute! The account of J. Lawrence Cook found in the extraordinary Billings Rollography Volume 3 was that he was in the elevator one day in when Lee Roberts informed Pete that his services were no longer needed because of lagging sales.

This, however, does not properly align with a number of other factors. In fact, QRS sales were extremely strong in and , both peak years for the player piano industry. The quantity of rolls with Pete's name on them for those years also might possibly exceed what could have been done by Kortlander and Cook alone in addition to all the other rolls they were producing, since arranging took considerably more time than editing.

Indeed, searches turned up no copyrights for Pete in and very few in It also makes little sense that they would fire their star artist at his peak. Pete himself claimed that he worked at QRS from to Four more recorded sides were cut on the Cameo Records label in August and December , and had Wendling not been working so hard for QRS during this period there may have been more.

It is possible and even likely that some unissued sides were cut, but the matrices are unknown to date, and no additional recordings have been located. It is entirely probable that Wendling left QRS in , not , and if that is the case, it would better align with the beginning of the sales slump that would almost sink the company over the next decade. Whether Pete left under a cloud owing to artistic differences is something that has not been made clear, even though it would better explain his retreat from QRS. Cook was evidently able to emulate his style well enough by this time to create a few additional rolls with his name on them, as Wendling rolls with a QRS label continued to appear into , albeit some may have still been played by the credited artist.

The advent of sound films offered new opportunities for virtually everybody in the music business, with the exception of movie pianists in small town America. It's hard to say. Our 17 agencies are out there to prey On bubbling secrets our fellow man holds, Excepting the fact that wifey him scolds, Or coming together they publicly say, Mr.

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