John Serry, Sr.

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John Serry Sr. Concert Accordionist - New York (1963)
John Serry Sr. Concert Accordionist - New York (1963)

John Serry, Sr. (January 29, 1915 – September 14, 2003) was a distinguished concert accordionist, arranger, composer, organist and music educator who achieved prominence through his live performances on the Columbia Broadcasting System (CBS) network.

Contents

[edit] Biography

Born Giovanni Serrapica in Brooklyn, New York of Italian-American parents (Pasquale Serrapica and Anna Balestrieri from Campagna, Italy), John Serry, Sr. pursued a remarkable artistic career which spanned over seven decades. As a leading exponent of Latin American music and the free bass accordion, he attained prominence through live radio and television performances on the CBS network which were broadcast to millions of listeners coast to coast. In addition, he earned widespread acclaim as the featured soloist on the popular radio music program Viva America, which was broadcast live to South America under the United States Department of State's Office for Inter-American Affairs' (OCIAA) cultural initiative for Voice of America during World War II [1] [2] [3] [4] [5].

As a member of CBS' Pan American Orchestra (1940-1949) and Columbia Concert Orchestra (1940-1949), John Serry Sr. achieved national recognition as a professional concert accordionist and featured soloist. Several of his historic broadcasts with the CBS Orchestra (1949 - 1960) on the CBS network are available to researchers and members of the general public as part of the permanent archive collection of the Museum of Television & Radio ([1]) in New York. His professional studies were pursued with the 20th century composer and music educator Robert Strassburg (1915 - 2003) [6] ([2] (who studied with Igor Stravinsky and Paul Hindemith) and the theater organist Arthur Guttow (who was featured at the keyboard of the Mighty Wurlitzer in the Radio City Music Hall).

Through his extensive concert engagements over a forty year period, John Serry Sr. elevated the performance standards for his instrument at some of the nation's premier concert venues including: The New York State Theater at Lincoln Center (1969); Town Hall (1942); Carnegie Hall (1940s); The Empire Theater in New York (1953); The Majestic Theatre (1968); The Broadway Theater (1968); The Ed Sullivan Theater (1950s); The Plaza Hotel (1940's); Radio City Music Hall (1933); The Rainbow Room at Rockefeller Center (1930s); The Star Light Roof at the Waldorf Astoria Hotel (1930s) and such New York society nightspots as: El Morocco; El Chico and The Riviera in the 1930s.

In February of 1940 Mr. Serry designed and perfected a unique Free Bass accordion system which was based upon the chromatic scale. It featured dual keyboards for the left hand bass voice and incorporated the traditional fingering utilized on the piano. These twin keyboards accessed two sets of reeds which were tuned in octaves and provided a total range of tones from F to D which exceeded three and a half octaves. They were designed to be coupled and provided independent access for the thumb via keyboard #2 and the remaining fingers of the performer's left hand via keyboard #1. This design liberated the artist from the fixed chord structure which characterized the Stradella Bass system and facilitated the performance of classical compositions.

As a composer and arranger John Serry Sr. recorded an LP album of original compositions and popular music for Dot Records (Squeeze Play 1956 (DLP3024) [3] [7] and a second LP for RCA Thesaurus (1954) with Ben Selvin as musical director. These recordings featured Serry's ensemble The Bel-Cordions which included the accordionist Louis Delmonte. In addition, he recorded his composition "Leone Jump" for a 45 RPM record which was featured in jukeboxes nationwide during the 1950s ([4]).

In his role as a music educator, John Serry Sr. founded and operated a music studio in Manhattan and on Long Island, New York for over thirty years (1945 - 1980s). During this time he provided instruction on several instruments including: accordion, piano and organ. Many of his pupils emerged in later years as noted artists including: Gene Ettore, Bob Creash, Ralph Vetro and Robert Davine,[5] - the international concert virtuoso and music educator of the Lamont School of Music- University of Denver.

Mr. Serry also enjoyed a thirty-five year tenure performing as a free-lance organist at the Interfaith Chapel on the C. W. Post Campus of Long Island University in Brookville, New York. In this capacity he specialized as both a composer and performer of interfaith liturgical music (1968 - 2002).

[edit] Concert Artistry

In the course of his artistic endeavors, John Serry Sr. gave expression to a refined poetic artistry which illustrated the unique orchestral sound of the free bass accordion. In the process, he established lofty performance standards which demonstrated the accordion's potential as both a legitimate member of the orchestral ensemble and a serious solo instrument suitable for the concert hall stage. This professionalism was also reflected in his advanced compositions, which embody several American musical genres including Symphonic Jazz and illustrate his keen interest in the works of George Gershwin and Maurice Ravel. On the organ, his performances were conducted in the polished style of the American theater organ popularized during the 1930s/1940s.

As a modest and unassuming professional, John Serry Sr. upheld a high standard of musicianship and a strong disregard for the flamboyant "performance techniques" employed by many of the popular entertainers of the day. His unique artistic vision and passion for excellence garnered considerable respect for his "orphaned instrument" among many of the top ranked conductors and musicians of his era. In the process, he acquired widespread acclaim as one of the most prominent and accomplished accordion artists on New York's musical scene for over thirty years (1940 - 1970).

[edit] The 1930s: The Big Band Era

Serry collaborated and performed with a variety of leading conductors and arrangers who were also eager to integrate the accordion into the professional musical ensemble. During the Big Band era of the 1930s these included: Erno Rapee - conductor of the Radio City Music Hall Orchestra with John Serry Sr. as the first on stage accordion soloist (1933)[8]; Ralph Gomez - a Cuban Orchestra leader in an extended engagement at the Rainbow Room at Rockefeller Center(1935) ,[9]; the Hugho Mariani Tango Orchestra at the Waldorf Astoria Hotel (1930s)[10] [11]; Shep Fields [6]- conductor of the Rippling Rhythm Band on a nationwide tour and live broadcasts from Los Angeles, California over the NBC network utilizing Zenith Electronics Corporation's innovative Radiogran technology (1937 - 1938) [12]; Alfredo Brito - a Cuban Orchestra leader in New York (1936); Misha Borr -conductor of The Waldorf Astoria Hotel house orchestra (1930s) and Alexander Smallens-conductor at Town Hall of Virgil Thompson's Four Saints in Three Acts[13].

During this period John Serry also served as Assistant Dean of Accordion and Harmony at the Biviano School of Music in Manhattan (1939) [14] [15]. In this capacity he provided advanced instruction to students who shared his interest in orchestral jazz.

[edit] The 1940s: The Golden Age of Radio

During the Golden Age of Radio in the 1940s Mr. Serry performed extensively on the CBS radio network in collaboration with several prominent concert artists including: Elsa Miranda [7] -vocalist on the CBS radio network (1940s) [16]; Marianne Oswald - (aka Marianne Lorraine)[8], a French chanteuse in a performance of works by the American poet Carl Sandburg at Town Hall (1942) [17] [18] and Alfredo Antonini ([9]) - conductor CBS Pan American Orchestra on the CBS network (1940-1949)[19] [20] and conductor for the Viva America [10] program on CBS for the Department of State- Office for Inter-American Affairs (OCIAA) [21] [22].

Mr. Serry also collaborated with noted international concert artists including: Terig Tucci [11][12][13] - musical program arranger/director for the CBS Pan American Orchestra broadcasts on CBS and to South America over La Cadena De Las Americas (aka Network of the Americas )[23] [24] and musical director for Macy's Latin-American Fair of 1942 broadcasts over CBS [25] [26] [27]; Juan Arvizu - the Mexican "Tenor with the Silken Voice" and bolerista on the CBS network (1940s)[14][28]; Nestor Chayres - a Mexican tenor aka "El Gitano De Mexico" on the CBS network (1942 & 1945)[15] [29]; Eva Garza - the Mexican songstress featured on Viva America for CBS/ABC radio [30]; Miquel Sandoval - pianist on the CBS network (1940s); and Marlene Dietrich[16] - in a performance of Lili Marlene on CBS radio, John Serry Sr. accompanist (1940s).

During this time Mr. Serry was featured on several popular network broadcasts including: The Gordon MacRae Show Star of Stars broadcast live from the CBS studio's Starline Roof (1946) featuring John Serry Sr. as solo artist; The Danny O'Neil Show featuring John Serry, Sr. as guest artist (1946); The Coca Cola Show on the CBS network with the Percy Faith Orchestra conducted by Percy Faith (1948); The Jack Smith Show (1947);The Jean Sablon Show (1947); and Studio One with the cellist Bernard Greenhouse[17](1947).

Mr. Serry also collaborated with several noted recording artists of the decade including: Victoria Cordova vocalist and Alfredo Antonini conductor for a recording session on Muzak (1949); RCA Victor's transcriptions division for recordings of over thirty compositions by Mr. Serry's ensemble the BelCordions which consisted of four accordions supported by string bass and guitar for broadcast over the NBC network (1946); and the Biviano Sextette in a performance for a series of LP recordings (1946).

Mr. Serry's radio performances were broadcast live to the general public in both North and South America over the CBS radio network. Several of them were even enjoyed by Eleanor Roosevelt and several high level South American diplomates during the opening ceremonies of Macy's Latin-American Fair of 1942 in New York City [31].

[edit] The 1950s: Live Network Television

During the early days of network television in the 1950s, John Serry, Sr. performed extensively at CBS as a staff member of the original CBS Orchestra (1949 - 1960) and an accompanist on several live network television programs including: The Jackie Gleason Show (1953); The Ed Sullivan Show (1959); The Frank Sinatra Show (1950s) and with the distinguished organist Billy Nalle [18],[19] on the prime time drama I Remember Mama starring Peggy Wood [20] (1953).

In an effort to take advantage of new technologies, Mr. Serry also collaborated with Mitch Miller at Columbia Records to produce an LP demo recording in 1951. He also collaborated with Julius Baker, first flautist for the Columbia Symphony Orchestra and the New York Philharmonic to produce another demo recording of his compositions "Desert Rumba" and "La Culebra". As television technology improved, he also joined forces with Andre Kostelanetz who served as the conductor on the Eastman Kodak Kinescope broadcasts in 1951.

As a member of the famed Magnante Accordion Quartet John Serry Sr. also performed as a soloist on such acclaimed radio broadcasts as The Lucky Strike Hour, Waltz Time and American Melody Hour.

On the Broadway stage he joined Shirley Booth, Dino Diluca (an Italian romantic actor), and Lydia St. Clair[21]in The Time of the Cuckoo([22]) [32] [33] [34]. Serry served as soloist and Musical Director at the historic Empire Theatre on Broadway(1952)[35] [36] [37].

In 1956 Mr. Serry composed, arranged and performed several popular compositions for Dot Records with Al Caiola [23] on his album Squeeze Play [24]. He also recorded for Decca and Sonora Records. These activities led to Mr. Serry's nomination to the "Who's Who In Music International" in 1958.

[edit] The 1960s: The Broadway Theatre

The 1960s ushered in a new era of popular entertainment suited to general audiences. During this Golden Age of the musical theater, John Serry, Sr. collaborated on The Voice Of Firestone with Howard Barlow [25](guest conductor for NBC Television in 1961) [38] and on The Revlon Revue (1960) for CBS Television.

Mr. Serry also achieved success in such aclaimed Broadway productions as: Cabaret (musical) [26] at the Imperial Theatre (1968); Can-Can; La Grosse Valise [27] (1965); The Happy Time ([28]) starring Robert Goulet at The Broadway Theatre (1968 Tony Award Best Musical) and Fiddler On The Roof -[29] starring Zero Mostel at the Majestic Theatre (1968).

During this decade he was also the featured soloist at private receptions hosted for the international diplomatic community by Mayor John Lindsay at New York City's historic Gracie Mansion (1960s).

Mr. Serry also continued to perform for the general public under the musical direction of the bandleader Guy Lombardo at the Jones Beach State Park Theater on Long Island (1968). Extended appearances were also made during this time period with the Lester Lanin Orchestra [30] at the Plaza Hotel for a variety of society functions. In addition, he performed as the featured soloist at the Seven Up Pavillion of the New York World's Fair at Flushing Meadow (1964).

As the general public's appreciation for classical music in the United States grew, Mr. Serry took advantage of additional opportunities to demonstrate his artistry in a formal concert venue. He served as the lead concert accordionist in performances of the New Ballet as staged to the music of Tchaikowsky at the New York State Theater - Lincoln Center (1969)[39] [40] [41]. The production was performed as part of the 25th anniversary season of the New York City Ballet and was choreographed by Jacques d'Amboise [31][42] [43].

[edit] The 1970s - 2002: Liturgical Concerts

During the course of the next thirty-five years, Mr. Serry performed as a respected free-lance chapel organist on the C. W. Post campus of Long Island University [32] in Brookville, New York (1968 - 2002). In addition to performing regularly, he composed and arranged several compositions for the chapel's dedication ceremonies.

As a specialist in interfaith liturgical music, Mr. Serry enthralled thousands of listeners with his performances and arrangements of music reflecting a variety of religious traditions including: Catholicism, Protestantism, Judaism and Eastern Orthodox. His artistry always reflected the conviction that the language of music is unique in its capacity to transcend all boundaries to unit humanity in peace.

John Serry, Sr. died after a brief illness on Long Island, New York in 2003 at the age of 88. [33]. His unique talent and love of music is shared by one of his surviving sons: John Serry(John Serry, Jr.)[34]-an international jazz pianist, composer, conductor and arranger.

[edit] Musical Legacy

[edit] Published Compositions & Arrangements

  • "Desert Rumba" (for accordion, 1939)
  • "Glissando" (for accordion, 1942)
  • "Tarantella" (for accordion, 1942)
  • "Valse" ( composer Pytor Ilych Tchaikovsky, arr. for accordion, 1946)
  • "Fantasy In F" (for accordion, 1946) [35]
  • "Consolation Waltz" (for accordion, 1940s)
  • "Uncle Charlie's Polka" (for accordion, 1940s)
  • "Four Graded Method Books for Accordion" (for accordion, 1953)
  • "Leone Jump" (for accordion, 1950s) [36]
  • "La Culebra" (for accordion, 1950)
  • "African Bolero" (for accordion, 1950)
  • "Eight Accordion Quartet Arrangements" (for accordion, 1950)
  • "Reeds In A Rush" (for accordion, 1958)

[edit] Unpublished Compositions

  • "Falling Leaves" (for Piano, 1976)
  • "Processional" (for organ, 1968)
  • "Elegy" (for organ, 1986)
  • "Songs of Love #1, #2, #3" (for piano and voice, lyrics by David Napolin[37], 1986)
  • "A Savior Is Born" (for Organ & Voice, 1991)
  • "The Lord's Prayer" (for Organ & Chorus, 1992)
  • "Five Children's Pieces" (for piano, 1996)

[edit] Advanced Compositions

John Serry Sr.'s compositions in the Symphonic Jazz genre include:

[edit] Albums

[edit] Professional Affiliations

John Serry, Sr. was an active member of BMI, SESAC, Musicians Local #802 (1933 - 2003) ([39]) and The American Guild of Organists. For a brief period he served as a charter member of the American Accordionists Association (1938). He pursued professional musical studies with: Joseph Rossi (Accordion 1926 - 1929); Albert Rizzi (Piano and Harmony 1929 - 1932); Gene Von Hallberg (Counterpoint and Harmony 1933 - 1934); Jascha Zade (Piano 1945-1946); Arthur Guttow (Organ 1946) and Robert Strassburg ([40])(Piano, Advanced Harmony and Orchestration 1948 -1950).

[edit] Dual Citizenship

John Serry Sr. held dual USA/Italy citizenship.

[edit] References

  1. ^ The New York Times, January 8, 1941, pg. 18
  2. ^ The New York Times, January 1, 1942, pg. 27
  3. ^ The New York Times, May 10, 1942, pg. SM10
  4. ^ The New York Times, February 28, 1943, pg.X9
  5. ^ Time, June 1, 1942
  6. ^ The New York Times, November 18, 1945, pg. 50
  7. ^ Billboard's Music Popularity Charts - Reviews & Ratings of New Popular Albums, Nov. 1956, Pg. 22
  8. ^ The New York Times, June 27, 1935, pg. 16
  9. ^ Accordion News, March 1935
  10. ^ The New York Times, August 12, 1936, Pg. 15
  11. ^ The New York Times, September 16, 1936, Pg. 28
  12. ^ The Los Angeles Examiner, October 9, 1938, pg. 1
  13. ^ The New York Times, May 28, 1941, Pg. 32
  14. ^ The New York Times, November 2, 1941, pg. X6
  15. ^ The New York Times, September 6, 1942, pg. X5
  16. ^ The New York Times, June 9, 1946, pg 49
  17. ^ The Nation, March 7, 1942, vol. 154 #10
  18. ^ The New York Times March 1, 1942, pg. 36
  19. ^ A Pictorial History Of Radio. Settel, Irving. Grosset & Dunlap Publishers, New York, 1960 & 1967, pg. 146, Library of Congress # 67-23789
  20. ^ The New York Times, November 5, 1983, pg. 34
  21. ^ The New York Times, June 9, 1946, pg. 49
  22. ^ The New York Times, November 5, 1983, pg. 34)
  23. ^ Accordion World, March 1946, Vol XI, #11, pg. 3
  24. ^ The New York Times, January 18, 1942, Pg. 27
  25. ^ The New York Times, January 17, 1942, Page 30
  26. ^ The New York Times, January 16, 1942, Page 19
  27. ^ The New York Times, January 14, 1942, Page 24
  28. ^ The New York Times, May 5, 1941, Pg. 32
  29. ^ The New York Times, April 23, 1944, pg. X5
  30. ^ The New York Times, January 23, 1944, Pg. X9
  31. ^ The New York Times, January 17, 1942, Page 30
  32. ^ The New York Times, October 15, 1952, pg. 40
  33. ^ The New York Times, September 21, 1952, pg. X1
  34. ^ The New York Times, September 28, 1952, pg. SM18
  35. ^ The New York Times, October 16, 1952, pg. 37
  36. ^ The New York Times, August 27, 1952, pg. 22
  37. ^ The New York Journal-American, May 25, 1953, pg. 15
  38. ^ The Boston Globe,November 24, 1991, pg. A3
  39. ^ The New York Times, November 22, 1968, pg. 39
  40. ^ The New York Times,November 17, 1968, pg. D10
  41. ^ The New York Times, January 12, 1969, pg. D4
  42. ^ The New York Times, December 8, 1968, pg. 162
  43. ^ The New York Times, January 10, 1969, pg. 38
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