saxophone to their list of doubles, without requiring extra written parts. One older British musician recalled his father telling of how he belonged to an ensemble that played in Bradford, in Yorkshire, England, during the early 1920s. In the afternoon the musicians constituted a small light orchestra. Then, in the evening, the oboist and violinist took up their C-melody saxophones to play the latest dance music, with instant modernity. 17 The second occurrence to promote interest in the saxophone generally, and the C-melody in particular, was the career of Rudy Wiedoeft (1893-1940). A player possessed of a spectacular technique, his phenomenal tonguing continues to be discussed at length on contemporary internet bulletin boards. Wiedoeft had a brilliantly successful career as a vaudeville performer, playing both alto and C-melody saxophones. &gt;From the late 1910s he made more than a hundred cylinder recordings, 18 and many compositions and arrangements. They included Saxarella, Saxema, Saxophobia, Sax-O-Phun, Valse Erica, Llewellyn-Waltz, Valse Marilyn and Valse Vanit. Several of his later performances are available in a CD compilation. 9 The British saxophonist Dave Gelly has summarised Wiedoeft's achievement: "He was the musician who did much to popularise the saxophone in America in the 1910s and pave the way for the 1920s boom." 19 Dick Sudhalter went further. "No assessment of saxophone playing in the '20s, in or out of the precincts of "hot" improvisation, can be accurate without reference to Wiedoeft, so pervasive was his influence," he wrote. 20 Wiedoeft is known to have used an