In 1988, Phoenix city voters approved $7 million in funds to restore the old rundown Orpheum Theatre, and the Orpheum Theatre Foundation was founded to raise the balance. Since none of the bond funds or monies raised included an organ project, the Valley of the Sun Chapter dedicated itself to purchasing, assembling, rebuilding, and installing the finest Wurlitzer possible. The restoration provided much larger chambers and doubled the size of the swell shade openings, thus allowing the new organ to expand to its present size of 30 ranks. Among the parts collected is a pair of 1948 Aeolian Skinner Violes from the Tabernacle organ in Salt Lake City, an Austin Horn Diapason and Principal from the Solo division of the Los Angeles Philharmonic organs, and a Wurlitzer three-manual console from the Paramount Theatre in Middletown NY. Some of the instrument has ties with Arizona's theatre organ history. The Flute Celeste is the Concert Flute from Phoenix's Fox Theatre.

The organ is fully owned and maintained by the Valley of the Sun Chapter and is dedicated to the memories of William P. and Barbara Brown.

The WurliTzer, Hope Jones Unit Orchestra, Opus 408 was shipped from the Rudolph WurliTzer factory in North Tonawanda, New York on April 16th, 1921. It was destined to the new Rialto Theatre in Phoenix, Arizona. When the theatre was demolished in mid-50's, Harry Nace, the theatre's owner, realized the value of the WurliTzer in the Rialto and had it removed and stored on the stage of his Downtown Glendale Theatre.

Over the years the organ suffered from some water damage after several fires in the Glendale Theatre. Al Davis, composer and teacher at the Phoenix College Music Department, heard of the existence of the WurliTzer. Al had always loved the theatre organ, so he went to work to see if it was possible to have the organ donated to Phoenix College. He knew the potential of the WurliTzer and set out to make it happen. After hours and hours of meetings he was finally able to get the donation from the Nace Organization and approval to install the organ in the school's Bulpitt Auditorium.

Although the installation of the organ in the auditorium was begun in the '60's, it wasn't until 1975 that the Valley Of The Sun chapter became involved in the organ's restoration, replacing wind lines, wiring, and releathering. When Al Davis, then the chairman of the Music Department retired, the Music Department lost interest in the project and it was put on hold due to the inability to raise adequate funding to complete the restoration.

In 2004 Phoenix College faculty member Ellen Brown contacted the Valley Of The Sun Chapter with the hopes of returning the organ to playing condition. An agreement was negotiated with the Maricopa Community College District to restore and the use the WurliTzer. After nearly 30 years, the quest to make additions and restore the organ to concert condition has been realized.

Originally built by the Midmer-Losh organ company between 1923 and 1925 as Opus 4920 for the Atlantic City High School, Atlantic City, New Jersey, the organ totaled 75 ranks, and became the largest pipe organ ever installed in an American public school. Over the course of the next several years, it grew to a total of 125 ranks housed in six chambers. Senator Emerson L. Richards, who went on to design and build the world's largest pipe organ: the 7 manual, 455 Midmer-Losh at the Atlantic City Convention Hall, was responsible for the instrument's design and installation.

The organ, in a state of great neglect, was purchased by Valley of the Sun Chapter member Adrian Phillips, Jr. and full restoration was begun in January 2002 under the supervision of noted theatre organist Lyn Larsen. All of the organ's components were painstakingly restored from the ground up by a crew of four full-time organ technicians who completed the task in 2006.

The Adrian Phillips Music Room measuring 178 feet long, 35 feet wide and 24 feet high at its apex, houses the organ. Currently comprised of 106 ranks it speaks from 7 chambers split between opposite ends of the room.

Representing a true revolution in organ design, the resulting instrument is able to successfully interpret the gamut of classical and symphonic repertoire, orchestral music, and theatre organ works. This remarkable instrument's design works because it makes sense musically. Like a chameleon, it can seamlessly switch among various styles, remaining faithful to each musical school of thought without the slightest compromise.