My father’s family is New Orleans “white creole” and I felt compelled to add my 2 cents (actually it was pretty long-winded – call it a buck twenty-five) about the meaning of the word in the comments.

Cook’s strong suit was that his rolls sounded pretty good even if taken too fast or too slow, a testament to his arranging skills. This is also partially because the 88-note rolls were also adapted for coin-operated pianos, which had limited tempo controls but were seldom bothered with by bar owners.

The 10-tune coin piano roll would be put on, the tempo set (or, in some cases, not even touched) and the bar owner and “route operator” who leased the piano would just sit back and count the money! They usually didn’t care about nit-picky musical details.

As a contrast, an 88-note home player piano has a tempo lever and governor with a fairly wide latitude, that is almost always set by the pianolist before playing the roll (part of the process of putting on and taking off the 1-tune roll).

Also, a well-restored 88-note foot-pumped player piano with a well-adjusted wind motor governor can be very responsive to pumping, allowing you to set the tempo and then pump harder or softer to get good dynamics without affecting the tempo of the roll (much). Some of the more sophisticated pumpers had extra devices which allowed you to give a sharp sforzando accent with the pedals without causing the corresponding overcompensation and slow-down of the roll.

I would recommend finding a well-restored foot-pumped player piano (that means the PIANO TOO, not just the player mechanism) on which to try your roll.