John Serry Sr.

John Serry Sr.
John Serry Sr., circa 1967
Background information
Birth name Giovanni Serrapica
Born (1915-01-29)January 29, 1915
Brooklyn, New York, U.S.
Died September 14, 2003(2003-09-14) (aged 88)
Long Island, New York, U.S.
Genres Classical, jazz, bolero
Occupation(s) Musician, composer, arranger
Instruments Accordion, Organ, Piano
Years active 1929 - 2002

John Serry Sr. (born Giovanni Serrapica; January 29, 1915 – September 14, 2003) was a concert accordionist, arranger, composer, organist, and educator. He performed on the CBS Radio and Television networks and contributed to Voice of America's cultural diplomacy initiatives during the Golden Age of Radio. He also concertized on the accordion as a member of several orchestras and jazz ensembles for nearly forty years between the 1930s and 1960s.[1]

External audio
You may hear John Serry Sr. performing Agustin Lara's bolero Granada with the lyric tenor Nestor Mesta Chayres and the Alfredo Antonini Orchestra in 1946 Here

Biography

John Serry Sr. enjoyed a professional musical career which spanned over seven decades. As a proponent of Latin American music and the free-bass accordion, Serry performed as the featured piano accordion soloist on the radio music program Viva América, which was broadcast live to South America under the United States Department of State's Office of the Coordinator of Inter-American Affairs' cultural diplomacy initiative for Voice of America during World War II.[2][3][4][5][6]

In addition, he was a member of the CBS Pan American Orchestra (1940–1949) conducted by Alfredo Antonini and the Columbia Concert Orchestra (1940–1949). Several of his broadcasts with the CBS Orchestra (1949–1960) on the CBS network are included in the permanent archive collection of the Paley Center for Media in New York. Over the decades, he performed with many orchestral conductors and jazz band leaders, including Shep Fields, Erno Rapee, Lester Lanin, Alfredo Antonini, Howard Barlow, Alexander Smallens, Archie Bleyer, Andre Kostelanetz, Percy Faith, Ben Selvin, Miguel Sandoval, Guy Lombardo, and Robert Irving.

Carnegie Hall
Carnegie-hall-isaac-stern

Serry's performances with Big Band jazz orchestras, classical concert orchestras, network radio and television orchestras and Broadway Theater orchestras entertained audiences at such leading concert venues as: the Rainbow Room at Rockefeller Center (1935);[7] the Starlight Roof at the Waldorf Astoria Hotel (1936–1937);[8][9] Radio City Music Hall (1935);[10] the Palmer House in Chicago (1938);[11] the Biltmore Hotel in Los Angeles (1938);[11] Carnegie Hall with Alfredo Antonini conducting (1946);[12] the Plaza Hotel (1940s); The Town Hall (1941–1942);[13][14][15] the Ed Sullivan Theater (1959) for CBS television; the Empire Theater (New York) (1953);[16] the 54th Street Theatre(1965); The Broadway Theatre (1968); the Imperial Theater (1968); the New York State Theater at Lincoln Center (1968);[17][18][19] and such New York cafe society nightspots as: El Morocco, El Chico and The Riviera in the 1930s.

As an organist, he performed for an additional thirty-five years during interfaith liturgical services at the Interfaith Chapel on the Long Island University C. W. Post Campus in Brookville, New York. In addition, he composed and arranged interfaith liturgical music and classical music for both organ and voice.

Early life and education

Serry was born Giovanni Serrapica in Brooklyn, New York to Italian-American parents Pasquale Serrapica and Anna Balestrieri of Castellammare di Stabia, Italy. He was the fourth sibling in a family of thirteen children. His first exposure to classical music occurred through the influence of his father who entertained his children with performances on the mandolin and the piano. Serry from the age of five was encouraged by his father to accompany him at the keyboard and to perform with phonographic recordings of classical music by leading European composers including: Verdi, Puccini, Rossini and Mozart.

Serry attended Brooklyn Technical High School, preparing for a career in architecture. After a nearly fatal illness interrupted his work on the piano, Serry's father encouraged him to learn to play the accordion. He studied with the accordionist Joseph Rossi from 1926 to 1929 at the Pietro Deiro School in New York, and at the age of 14 performed live on the Italian radio station WCDA. He undertook Studies in piano and harmony with Albert Rizzi from 1929 to 1932 and in harmony and counterpoint with Gene Von Hallberg, founder of the American Accordionists Association, for two years. A lifelong friendship with the accordionist Louise Del Monte was established as a result of these studies. Del Monte awakened Serry's interest in Latin American music. Advanced studies in harmony and orchestration were completed under the instruction of the composer Robert Strassburg in the 1940s.

Career

The 1930s: The big band era

Rainbow Room in Rockefeller Center, New York City

With the help of Del Monte, in the 1930s Serry began his professional career by making appearances with the Ralph Gomez Tango Orchestra at The Rainbow Room at the RCA Building in Rockefeller Center,[7] leading to an extended engagement there in 1935.[7]

During the big band era in New York City, he performed under Erno Rapee, conductor of the Radio City Music Hall Orchestra, and was the ensemble's first on-stage accordion soloist in 1933. He played with the Hugo Mariani Tango Orchestra at the Waldorf Astoria Hotel in the 1930s,[20] with Alfred Brito, a Cuban orchestra leader in New York (1936), and Misha Borr, conductor of the Waldorf-Astoria Orchestra.[20] He appeared as a soloist for society functions at the Waldorf Astoria Hotel's Waldorf Towers and at its Starlight Roof with the Lester Lanin Orchestra. In addition, he performed regularly at clubs such as El Morocco, the Rainbow Room, El Chico, and the Riviera in New York City.[7]

Serry performed with the jazz group Shep Fields and His Rippling Rhythm during a nationwide tour with live radio broadcasts from the Palmer House hotel in Chicago, Illinois, and the Biltmore Hotel in Los Angeles, California, over the NBC network (1937–1938).[11] These big band remote broadcasts used Zenith's Radiogran technology. His performances as a member of the orchestra and soloist are documented in the film The Big Broadcast of 1938 ("This Little Ripple Had Rhythm" and "Thanks for the Memory"), which won the Academy Award for Best Original Song in 1939.

He recorded several popular songs of the time for Bluebird, including "With a Smile and a Song", "Whistle While You Work", and "Now It Can Be Told".[21] He was Assistant Dean of Accordion and Harmony at the Biviano Accordion Center in Manhattan between 1939 and 1942,[22][23] providing instruction on accordion and orchestral jazz.[24][25]

The 1940s: The golden age of radio

Serry married his wife Julia in the 1940s and moved to Nassau County, New York on Long Island to raise a family of four children, one of whom is the jazz musician John Serry Jr. He simultaneously undertook private studies with Joscha Zade in piano (1945–1946), Radio City Music Hall organist Arthur Guttow, (1946) and composer Robert Strassburg in orchestration and Advanced Harmony (1948–1950)[26] while specializing in the musical compositions of Gershwin, Debussy, and Ravel.[27]

Town Hall in New York City

In 1941, Serry performed opera music at Town Hall under the baton of Alexander Smallens in concert performances of Virgil Thomson's Four Saints in Three Acts[15] with choral director Leonard De Paur.[15] Building on his live radio experience during the 1930s, he entered the golden age of radio in the 1940s, performing on the CBS radio network with several New York City concert musicians, including Marianne Oswald (a.k.a. Marianne Lorraine), a French chanteuse, in a performance of works by American poet Carl Sandburg at Town Hall (1942),[13][14] and Alfredo Antonini, a conductor for CBS Pan American Orchestra on the CBS network (1940–1949)[28][29] and for the Viva América program on CBS for the Department of State Office for Inter-American Affairs (OCIAA).[30][20][29][31] His performance with Marianne Lorraine was praised in The Players Magazine - National Journal of Educational Dramatics.[32]

He performed in Antonini's orchestra in the Night of the Americas Concert gala at Carnegie Hall in 1946.[12] While on staff at CBS, Serry performed on The Gordon MacRae Show Star of Stars broadcast live from the CBS Starline Roof (1946) featuring Serry as solo artist and Archie Bleyer as conductor; The Danny O'Neil Show featuring Serry as guest artist (1946); The Coca-Cola Hour 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 cellist Bernard Greenhouse.[33]

Serry worked with a number of international concert musicians during this period, including Argentine composer Terig Tucci,[34][35][36][37][38] Juan Arvizu, Mexican "Tenor with the Silken Voice" and bolero dancer on CBS (1940s);[39] Nestor Mesta Chayres, a Mexican tenor, (a.k.a. "El Gitano De Mexico") on CBS (1942 and 1945);[40] Eva Garza, featured on Viva América for CBS/ABC radio;[41] Miguel Sandoval, Guatemalan composer and pianist on CBS (1940s), Elsa Miranda, Puerto Rican vocalist on Viva América (1940s)[42][43][44] and Marlene Dietrich in a performance of "Lili Marlene" on CBS (1945).

A variety of recording artists also participated with him including: Victoria Cordova vocalist and Alfredo Antonini, conductor for a recording session on Muzak (1949);[45][46] RCA Victor's transcriptions division for recordings of over thirty compositions by Serry's ensemble the BelCordions (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). His recordings with Cordova showcased several songs from Latin America including: "Verde Luna" (Vincente Gomez), "Amor" (Gabriel Ruiz), "Siboney" (Ernesto Lecuona), "You Belong to My Heart" (Agustin Lara), "Edelma - Pasillo" (Terig Tucci) and "What a Difference a Day Made" (Maria Grever).[47][48][49][50] His recordings with the Viva America Orchestra conducted by Alfredo Antonini for Alpha Records in 1946 featured several Latin American favorites including: "Tres Palabras" (Osvaldo Farres), "Caminito de Tu Casa" (Julio Alberto Hernandez), "Chapinita" (Miguel Sandoval) and "Noche De Ronda" (Augustin Lara).[51][52] Reviews in The New Records praised the orchestra's performance and hailed the collection as among the best new albums of Latin American music.[53]

While working with the CBS Pan American Orchestra he recorded several Mexican songs for Columbia Records with Mexican vocalist Luis G. Roldan, including "Tres Palabras" and "Esta Noche Ha Pasado".[54][55][56] As a member of Alfredo Antonini's Viva America Orchestra he collaborated with the romantic Latin trio Los Panchos to record "La Palma", a Chilean cueca dance, and the conga "Rosa Negra" for Pilotone Records.[57] Agustin Lara's popular song "Granada" was recorded with the Mexican tenor Nestor Mesta Chayres and Alfredo Antonini for Decca Records in 1946.[58]

In the realm of live international radio broadcasts, Serry performed for audiences in both North and South America over CBS Radio. Several performances were enjoyed by Eleanor Roosevelt and South American diplomats during the opening ceremonies of Macy's Latin-American Fair of 1942 in New York City.[36] In Europe, members of America's armed forces also enjoyed his artistry on the Viva America program which was broadcast over the Armed Forces Network during World War II every week [59]

As a member of the Biviano Accordion & Rhythm Sextette, Serry recorded his work "Leone Jump" with Tony Mottola on guitar and Angelo Delleria on accordion for Sonora Records in 1945.[60][61][62][63] The album includes performances of "Little Brown Jug", "Golden Wedding", "Swing Low Sweet Chariot", "That's a Plenty", and "The Jazz Me Blues".[64][65] Later in 1949, accordionist Joe Biviano collaborated with the RCA Victor Accordion Orchestra to record Serry's composition "Manhattan Hop" for RCA Victor.[66]

Serry founded and operated a music studio in Manhattan and Long Island, New York. Between 1945 and the late 1980s he provided instruction on accordion, piano, and organ.[34][67] His pupils included Anthony Ettore, president of the American Accordionist's Association,[68] and Robert Davine, an accordionist and educator at the Lamont School of Music at the University of Denver.[69] He was invited to contribute to the annual series of Master Accordion Classes and seminars sponsored by the American Accordionists Association in New York City in August 2000.[70]

Serry published several method books for his elementary, intermediate, and advanced grade students between 1945 and 1983.[20] He took note of the limitations imposed by the Stradella bass system during performances of classical music. In an effort to circumvent these limitations, he designed and developed a working model of a free-bass system for the accordion during this decade. It incorporated dual keyboards for the soloist's left hand while incorporating two sets of reeds which were tuned in octaves. This gave the soloist access to a range of tones which exceeded three and one-half octaves.[71]

The 1950s: Live network television

During the early days of network television in the 1950s, Serry performed 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 in 1953, The Ed Sullivan Show in 1959, The Frank Sinatra Show (CBS TV series) in the 1950s, and with organist Billy Nalle,[72] on the prime time drama I Remember Mama in 1953 with Peggy Wood.

Shubert Theatre in New York City
Shubert Theatre NYC

Serry also performed with Mitch Miller at Columbia Records to produce an LP demonstration recording in 1951. In 1951 he also arranged his compositions La Culebra and African Bolero for solo flute. He subsequently dedicated the scores to his close friend Julius Baker (first flautist for the Columbia Broadcasting Symphony Orchestra at CBS and for the New York Philharmonic)[73][74] He appeared under Andre Kostelanetz, the conductor on the Eastman Kodak Kinescope broadcasts in 1951.

Performances on the radio also continued and included: appearances as a member of the Magnante Accordion Quartet, on The Lucky Strike Hour, Waltz Time, and The American Melody Hour (1940s). He occasionally substituted for the quartet's founder Charles Magnante.[20]

On the Broadway stage he performed under director Harold Clurman in a production of Arthur Laurents play The Time of the Cuckoo with Shirley Booth and Dino Di Luca.[75][76][77] Serry served as soloist and musical director at the Empire Theatre on Broadway from 1952-1953.[16][78][79] He later joined the orchestra in the premier of Can-Can at the Shubert Theatre in 1953.

Serry recorded for Decca Records during this time and also collaborated with RCA Victor's Ben Selvin, producing an electrical transcription for RCA Thesaurus (1954). He composed, arranged and performed several compositions for Dot Records (#DLP3024) with Al Caiola and Bernie Leighton on his album Squeeze Play (1956).[80][81] The production received a critical review as a new popular album in The Billboard in 1956 and was cited for establishing a beautiful soothing mood.[82] The album was also critically reviewed in Cash Box magazine later that year. Serry was applauded for establishing a wide variety of musical moods with grace, while simultaneously emphasizing a relaxed performance style.[83] In 1958 several songs from the album were released once again in France by Versailles records (# 90 M 178) as Chicago Musette - John Serry et son Accordéon.[84][85][86] These activities led to Serry's nomination to the "Who Is Who In Music International" in 1958.[27]

His advanced grade composition for accordion, American Rhapsody was completed and published during 1955, and he created a comprehensive course of instruction for students of the accordion at the U.S. School of Music at the start of this decade.

The 1960s: Broadway theatre

Serry collaborated on the Voice of Firestone series with the conductor Howard Barlow (guest conductor for NBC Television in 1961[87]) and on The Revlon Revue (1960) for CBS Television. He also appeared in several Broadway theatre productions including: Cabaret at the Imperial Theatre (1968);The Happy Time starring Robert Goulet at The Broadway Theatre (1968 Tony Award Best Musical), and Fiddler on the Roof starring Zero Mostel at the Majestic Theatre (1968).

In addition to entertaining audiences on Broadway, he was a member of the Seven-Up Continental Band, which performed at the 1964 New York World's Fair in the Seven-Up International Gardens Pavilion.[88][89][90][91][92][93][94]

On the Off Broadway stage, he emerged in the 1965 production of Gerard Calvi's La Grosse Valise at the 54th Street Theatre starring Ronald Fraser (actor) & Victor Spinetti (1965) (composer Gerard Calvi, lyrics by Harold Rome, musical director Lehman Engel).

New York State Theater in Lincoln Center for the Performing Arts
New York City Opera

Later in the decade he appeared in a revival by the bandleader Guy Lombardo of Oscar Hammerstein II's South Pacific at the Jones Beach Theater located in the Jones Beach State Park on Long Island, New York (1968).[95][96] The production featured Jerome Hines and Kathleen Nolan in the starring roles and was directed by Oscar Hammerstein II's son William Hammerstein.[95]

Returning to the classical concert venue, Serry served as the lead concert accordionist in performances of the New Ballet staged to the music of Tchaikovsky (the Orchestral Suite No. 2 (Tchaikovsky)) at the New York State Theater (1969).[97][98][99] The production was performed as part of the 20th anniversary season of the New York City Ballet. The performances featured both the choreography of Jacques d'Amboise in the premier of his Tchaikovsky Suite and the artistry of the musicians of the New York City Ballet Orchestra under the musical direction of Robert Irving.[100] Principal dancers in the corps de ballet included Francisco Moncion, Gerard Ebitz, and Nina Fedorova. [101][102][103]

His advanced grade composition Concerto For Free Bass Accordion was also completed during this decade in 1966. In the process, he contributed a definitive work for accordion which embraces both the classical music and symphonic jazz musical genres as expressed within the United States. (See Advanced compositions below & List of jazz-influenced classical compositions).

The 1970s to 2002: Liturgical concerts

At the start of the 1970s, Serry continued his work as an accordionist in a limited revival production of Fiddler on the Roof with Zero Mostel at the Westbury Music Fair on Long Island, New York.[104] As the decade of the 1970s unfolded, however, the publics' interest in the accordion began to diminish. With this in mind, Serry elected to devote more time to playing as a concert organist.

C.W. Post College, Brookville, Long Island. LOC gsc.5a29157

During the course of the next thirty-five years, he appeared as an independent free-lance chapel organist at the Interfaith Chapel of the Long Island University C W Post Campus[105][106] in Brookville, New York (1968–2002).[107] In addition to performing liturgical music regularly during interfaith wedding ceremonies, he composed a "Processional for Organ" which was featured during the chapel's dedication ceremony. Working in collaboration with Peg Larson (Assistant Director-Chapel Scheduling), Rabbi Nathaniel Schwartz (Independent Chaplain) and clergymen from the Catholic Church, Serry arranged and performed musical programs for hundreds of wedding parties and their invited guests. His performances featured the Interfaith Chapel's Hammond organ utilizing a Leslie speaker, as well as its baroque Allen organ.[108][109][110]

In accordance with the ecumenical and liturgical guidelines for interfaith marriage ceremonies, Serry performed sacred music reflecting a variety of religious traditions, including: Catholicism, Protestantism, Judaism, and Eastern Orthodox. His brief concerts were presented prior to each wedding ceremony on both the organ and the piano. Musical accompaniment was often provided for vocal soloists, hazzans, as well as cantors. His concerts featured classical and contemporary works by such composers as: Bach, Ludwig von Beethoven, Leonard Bernstein, John Denver, Mendelssohn, Jean-Joseph Mouret, Wolfgang Amadeus Mozart, Purcell, Pyotr Ilyich Tchaikovsky, Satie, Vivaldi, Wagner, Charles Widor, and Andrew Lloyd Webber.

Death

Long Island
Manhasset Bay Panorama 1

Serry died after a brief illness on Long Island, New York in 2003, age 88.[111] One of his surviving sons is John Serry Jr., a jazz pianist, composer, conductor, and arranger.[112]

Performance style

Several of John Serry's early live performances and recordings were reviewed by critics in such noted magazines as The Billboard, Cash Box and The Players Magazine - National Journal of Educational Dramatics.[113][83] While accompanying a dramatic vocalist he was cited for contributing to an intriguing and nuanced performance.[114] His musical arrangements were also cited for using the accordion to convey a variety of musical moods with easy-going grace intended for low-pressure listening.[83] Above all else, he was applauded for utilizing the accordion to establish a beautiful, relaxed and soothing mood while avoiding a more common type of "show-off" performance.[113][83]

Works

Published compositions and arrangements

His compositions include:

  • Desert Rumba (for accordion, 1939; publisher Antobal Music, 1951)
  • Glissando (for accordion, publisher Biviano Music, 1942)[115]
  • Tarantella (for accordion, 1942; publisher Alpha Music, 1955)
  • Valse (Composer Pytor Ilych Tchaikovsky (Opus 39 No. 8), arr. for accordion, publisher Viccas Music, 1946)[116]
  • Fantasy in F (for accordion, publisher Viccas Music, 1946)[117][118]
  • Consolation Waltz (for accordion, publisher O. Pagani & Bro., 1948)[119]
  • Uncle Charlie's Polka (for accordion, publisher O. Pagani Bro., 1948)[120]
  • The Bugle Polka (for accordion, publisher O. Pagani Bro., 1948)[121]
  • Leone Jump (for accordion, publisher Pietro Deiro, 1956)[64][122][123]
  • La Culebra (for accordion, 1950; arr. accordion & flute; 1950, arr. flute solo 1991; publisher Antobal Music, 1951)[124][125]
  • African Bolero (for accordion, 1950; arr. accordion & flute; 1950, arr. flute solo 1991; publisher Antobal Music, 1951)[126][127]
  • The Syncopated Accordionist (for accordion, publisher/editor Charles Colin, 1952)[128][129]
  • The First Ten Lessons for Accordion (for accordion, publisher Alpha Music, 1952)
  • Accordion Method Books I, II, III, IV (for accordion, publisher Alpha Music, 1953)
  • Rhythm-Airs for Accordion (editor John Serry, publisher Charles Colin & Bugs Bower, 1953)[130]
External audio
You may hear John Serry Sr. performing his Leone Jump with the Joe Biviano Accordion Rhythm Sextette and Tony Mottola in 1947 Here
  • La Cinquantaine (m. Gabriel Marie, arr. accordion quartet, publisher Alpha Music, 1954)
  • Allegro (m. Joseph Hayden, arr. accordion quartet, publisher Alpha Music, 1954)
  • Top Ten Accordion Solos – Easy to Play (editor: John Serrapica, publisher Alpha Music, 1954)[131][132]
  • Junior Accordion Band Series (arr. accordion quartet, publisher Alpha Music, 1955)
  • Tango Verde (m. Romero, arr. accordion quartet, publisher Alpha Music, 1955)
  • Holiday in Rio (m. Terig Tucci, arr. accordion quartet, publisher Alpha Music, 1955)
  • En Tu Reja (m. Romero, arr. accordion quartet, publisher Alpha Music, 1955)
  • Tango of Love (for accordion quartet, publisher Alpha Music, 1955)[133]
  • Manolas (m. Escobar, arr. accordion quartet, publisher Alpha Music, 1955)
  • Petite Tango (for accordion quartet, publisher Alpha Music, 1955)[134]
  • Garden in Monaco (for accordion, publisher Alpha Music, 1956)[135]
  • Rockin' the Anvil (for accordion, publisher Alpha Music, 1956)[136]
  • Selected Accordion Solos (arr. accordion, publisher Alpha Music, 1956)
  • Spooky Polka (for accordion, publisher Alpha Music, 1957)
  • Reeds in a Rush (for accordion, publisher Alpha Music, 1957)
  • American Rhapsody (for accordion, publisher Alpha Music, 1957)

Unpublished compositions

  • The Lost Tango for accordion, Words by Edward Steinfeld, 1956)[137]
  • Processional for Organ (liturgical bridal march for organ, 1968)
  • Falling Leaves (for piano, 1976)[138]
  • Elegy (liturgical Elegy for organ, 1984; revised 1991)
  • A Savior Is Born (Christmas liturgical for organ & voice, 1991)[139]
  • Dreams Trilogy (for piano, 1991)
  • The Lord's Prayer (liturgical Lord's Prayer for organ and chorus, 1992)[140]
  • Five Children's Pieces (for piano, 1996)

Advanced compositions

Serry's compositions in the symphonic jazz and classical music genres include:

Discography

External audio
You may hear John Serry Sr. with Juan Arvizu and the Alfredo Antonini CBS Tipica Orchestra performing the boleros: Viva Sevilla, Mi Sarape, Que Paso?, El Bigote de Tomas and De Donde? in 1942 Here
External audio
You man hear John Serry Sr. with Los Panchos Trio and the Alfredo Antonini Viva America Orchestra performing a chilian cueca dance La Palma circa 1946 here

Filmography

Inventions

In addition to his accomplishments as a professional musician, Serry also received recognition in 1966 from the United States Patent Office for his design of a protective shield for collapsible tooth past tubes which featured an aesthetically pleasing design (US Patent #US3269604, 1966).[160]

Bibliography

  • Serry, John (November 1937), "Accordions & Orchestras: Past Present & Future", Accordion World .
  • Serry, John (March 1939), "Those Neglected Basses", Accordion World .
  • Serry, John (1964), "Jazz And The Student Accordionist", Accordion World .
  • Serrapica, John (1952), The Syncopated Accordionist, Charles Colin .[161]

Archived works

External audio
You may hear John Serry Sr. with the tenor Luis G. Roldan and the Alfredo Antonini CBS Pan American Orchestra performing the boleros Esta Noche Ha Pasasdo (Sabre Marroquin) and Tres Palabras (Osvaldo Farres) in 194? Here
  • Selected examples of Serry's original compositional scores, arrangements, LP recordings, reel to reel recording tapes and related materials have been donated for archival purposes to the Eastman School of Music's Sibley Music Library within the Ruth T. Watanabe Special Collections Department to benefit both researchers and students[162]
  • Chicago Musette - John Serry and His Accordion - soloist John Serry (1958) - a copy of the record is archived within the Bibliotheque nationale de France in Paris, France.[157][163][164](in French)
  • The Syncopated Accordionist - author John Serrapica (1952) - a copy of the book circulates at the Library of Congress, Washington DC, USA[165]
  • Top Ten Accordion Solos - Easy to Play - editor John Serrapica (1954) - a copy of the musical score circulates at the Library of Congress, Washington D.C., USA[166]
  • Valse - music by Tchaikovsky arranged by Serry (1946) - a copy of the musical score circulates at the British Library, London, UK
  • La Culebra - composer & arranger John Serry (1950 & 1991) - a copy of the score circulates at The Juilliard School - Lila Acheson Wallace Library, New York[167]
  • African Bolero - composer & arranger John Serry (1950 & 1991) a copy of the score circulates at The Juilliard School - Lila Acheson Wallace Library, New York[168]
  • Latin American Music - Serry as a member of the Viva America Orchestra - Alfredo Antonini conductor (1946) - a copy of two 78 RPM sound recordings is archived at the Library of Congress, Washington, D.C., USA[169]
  • It's A Grand Night For Singing: Excerpt from a radio program ("Program of the Three Americas") -Columbia Broadcasting System - La Cadena de Las Americas - Serry as a member of the Viva America Orchestra - Conductor Alfredo Antonini (1945)[170] Musical selections include works by Irving Berlin, Jerome Kern and Richard Rodgers - a copy of the master disc 33 1/3 RPM is archived at the New York Public Library, New York City, USA[171]
  • Victoria Cordova - Serry as a member of the Alfredo Antonini Orchestra - Conductor Alfredo Antonini - recorded for Muzak (194?) - sound recordings are archived at the Library Of Congress, Washington, D.C.[172][173][174][175] List of musical selections: Verde Luna -Vincente Gomez, Tres Palabras - Osvaldo Farres, What a Difference a Day Made - Maria Grever, You Belong to My Heart - Agustin Lara, I Love you So Much More, Say It Isn't So - Irving Berlin, How Deep Is the Ocean - Irving Berlin, I Don't Want to Love You (Like I Do),Me Ensenastes a Quere (Just to Know that You Care), Temor (There's Still a Little Time), Siboney (song) - Ernesto Lecuona, Acurrucadita, Amor - Gabriel Ruiz, Sone, Tu Nombre, Lucero Mananero, Cancion del Alma, Muy Tarde, Noche de luna -Mykola Lysenko, Amar y Vivir - Consuelo Velazquez Torres, Crueldad, A Perfect Day - Carrie Jacobs-Bond, Edelma - Pasillo - Terig Tucci
  • Granada - Decca Records (catalogue # 23770A) - as a member of the Alfredo Antonini Orchestra with Nestor Mesta Chayres (1946) as archived on archive.org[58]
  • Leone Jump, Swing Low, Sweet Chariot, The Jazz Me Blues, Nursery Rhymes - Serry as a member of the Joe Biviano Accordion and Rhythm Sextette (1945?) as archived on Archive.org.[176]List of musical selections: Leone Jump - John Serry Sr., Swing Low, Sweet Chariot - Wallace Willis, The Jazz Me Blues - Tom Delaney, Nursery Rhymes - children's nursery rhymes
  • Tres Palabras and Esta Noche Ha Pasado - Serry as a member of the Alfredo Antonini CBS Pan American Orchestra, Vocalist Luis G. Roldan (194?) are archived online at archive.org.[147][148]List of songs: Tres Palabras - Osvaldo Farres, Esta Noche Ha Pasado - M. Sabre Marroquin
  • Asi and Somos Diferentes - Serry as a member of the Alfredo Antonini CBS Pan American Orchestra, Vocalist Luis G. Roldan (194?) as archived on line at frontera.library.ucla.edu[149][150]List of songs: Asi - María Grever, Somos Diferentes - Pablo Beltran Ruiz
  • La Palma and Rosa Negra - Serry as a member of Alfredo Antonini's Viva America Orchestra, Vocalists Los Panchos Trio (194?) are archived online at archive.org[177]List of songs: La Palma (Chilian cueca dance), Rosa Negra (Conga)
  • El Bigote de Tomas and De Donde - Columbia Records (Catalogue # 36666) - Serry as a member of the CBS Tipica Orchestra conducted by Alfredo Antonini with tenor Juan Arvizu (194?)[152] List of musical selections: El Bigote de Tomas - Valie, De Donde - María Grever
  • Mi Sarape and Que Paso? - Columbia Records (catalogue # 36665) - Serry as a member of the CBS Tipica Orchestra conducted by Alfredo Antonini with tenor Juan Arvizu (194?)[153]List of musical selections: Mi Sarape - María Grever, Que Paso? - Cortazar
  • Viva Sevilla! and Noche de Amor - Columbia records (catalogue # 36664) - Serry as a member of the CBS Tipica Orchestra conducted by Alfredo Antonini with tenor Juan Arvizu (194?)[154] Musical selections: Viva Sevilla! - Lavidad/Delmoral, Noche de Amor - Tchaikovsky arr.Arvizu/Antonini

Professional affiliations

Serry was an active member of the BMI, SESAC, American Federation of Musicians (Local #802) (1933–2003),[178] 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)(a founder of the American Accordionists Association[179]); Jascha Zade (piano, 1945–1946); Arthur Guttow (organ, 1946), and Robert Strassburg (piano, advanced harmony, and orchestration, 1948–1950).[20]

References

  1. ↑ John Serry - Social Security Death Index - John Serry's Birth Date and Death Date on newspaperarchive.com
  2. ↑ The New York Times, 8 January 1941, p. 18
  3. ↑ The New York Times, 1 January 1942, p. 27
  4. ↑ The New York Times, 10 May 1942, p. SM10
  5. ↑ The New York Times, 28 February 1943, p. X9
  6. ↑ Time, 1 June 1942
  7. 1 2 3 4 Accordion News, March, 1935
  8. ↑ Accordion News, November, 1937
  9. ↑ Accordion World, March, 1946, Vol. 11 #11
  10. ↑ The New York Times, June 27, 1935, p. 16
  11. 1 2 3 The Los Angeles Examiner, 9 October 1938, p. 1
  12. 1 2 The New York Times,12 May 1946, p.42
  13. 1 2 The Nation, 7 March 1942, Vol. 154, #10
  14. 1 2 "Diseuse in Debut Here" .The New York Times, 1 March 1942a, p.36
  15. 1 2 3 The New York Times 28 May 1941 p.32
  16. 1 2 New York Journal-American, 25 May 1953 p. 15
  17. ↑ The New York Times, 22 November 1968 p. 39
  18. ↑ The New York Times, 17 November 1968 p. D10
  19. ↑ The New York Times, 12 January 1969 p. D4
  20. 1 2 3 4 5 6 "Biography", Accordion World, March 1946, Vol. 11, #11, p. 3
  21. ↑ Rust, Brian (1975). The American Dance Band Discography 1917-1942. New Rochelle, New York: Arlington House. pp. 516–517. Retrieved 25 July 2018.
  22. ↑ The New York Times, 2 November 1941, p. X6
  23. ↑ The New York Times, 6 September 1942, p. X5
  24. ↑ The New York Times, 25 October 1942, p. X8
  25. ↑ The New York Times, 29 November 1942, p. X6
  26. ↑ The New York Times, 18 November 1945, p. 50
  27. 1 2 3 4 Who Is Who In Music International 1958, Publisher: Who Is Who In Music International, Chicago, IL. Biographical File # B11719. See International Biographical Center, Cambridge, England as current publisher.
  28. ↑ A Pictorial History of Radio. Settel, Irving. Grosset & Dunlap, New York, 1960 & 1967, p. 146, Library of Congress # 67-23789 (see photograph)
  29. 1 2 The New York Times, 5 November 1983, p. 34
  30. ↑ Goldin, J. David. "Copyright 2018, J. David Goldin". radiogoldindex.com. Retrieved 25 July 2018.
  31. ↑ The New York Times, 9 June 1946, p. 49
  32. ↑ The Players Magazine - National Journal of Educational Dramatics. 18–19. National Collegiate Players. 1941. p. 25. Retrieved 25 July 2018.
  33. ↑ Cox, Jim (2008). Sold on Radio: Advertisers in the Golden Age of Broadcasting. Jefferson, N.C.: McFarland & Co. p. 119. ISBN 978-0-7864-3391-9.
  34. 1 2 "Biography", Accordion World, Bedford Hills, New York, 11 (11): 3, March 1946
  35. ↑ The New York Times, 18 January 1942, p. 27
  36. 1 2 The New York Times, 17 January 1942, p. 30
  37. ↑ The New York Times, 16 January 1942, p. 19
  38. ↑ The New York Times, 14 January 1942, p. 24
  39. ↑ The New York Times, 5 May 1941, p. 32
  40. ↑ The New York Times, 23 April 1944, p. X5
  41. ↑ The New York Times, 23 January 1944, p. X9
  42. ↑ Bronfman, Alejandra; Wood, Andrew Grant, eds. (2012). Media, Sound, and Culture in Latin America and the Caribbean. Pittsburgh, PA: University of Pittsburgh Press. p. 49. ISBN 978-0-8229-6187-1.
  43. ↑ Banana E.T. Proves Good Eating for Elsa Miranda. Billboard/Nielsen Business Media. 2 February 1946. pp. 3–. Retrieved 25 July 2018.
  44. ↑ Bratkovich, Colin (8 May 2014). Just Remember This. Xlibris. pp. 173–. ISBN 978-1-4836-4519-3. Retrieved 25 July 2018.
  45. ↑ Victoria Cordova & Alfredo Antonini's Orchestra sound recording transcription for Muzak on Library of Congress Online Catalog catalog.loc.gov
  46. ↑ Victoria Cordova & Alfredo Antonini's Orchestra sound recording transcription for Muzak on Library of Congress Online Catalog catalog.loc.gov
  47. ↑ Victoria Cordova & Alfredo Antonini Orchestra perform "Verde Luna" & "What a Difference a Day Made" & "You Belong to my Heart" on Library of Congress Online Catalog at catalog.loc.gov
  48. ↑ Victoria Cordova & Alfredo Antonini Orchestra perform "Siboney" on Library of Congress Online Catalog at catalog.loc.gov
  49. ↑ Victoria Cordova & Alfredo Antonini Orchestra perform "Amor" on Library of Congress Online Catalog at catalog.loc.gov
  50. ↑ Victoria Cordova & Alfredo Antonini Orchestra perform "Edelma - Pasillo" on Library of Congress Online Catalog at catalog.loc.gov
  51. ↑ Advanced Record Releases - Alfredo Antonini and Viva America Orchestra. Billboard/Nielsen Business Media. 6 April 1946. pp. 33–. Retrieved 25 July 2018.
  52. ↑ Latin American Music - Alfredo Antonini and Viva America Orchestra sound recording at the Library of Congress Online Catalog at Catalog.loc.gov Latin American Music at the Library of Congress Online Catalog catalog.loc.gov
  53. ↑ The New Records. Latin American Music - Alfredo Antonini and Viva America orchestra H. Royer Smith Co., Philadelphia, PA, Vol. 14, No. 8 October 1946, P. 6-7 Latin American Music - Alfredo Antonini and Viva America Orchestra critical review of the album in The New Records P. 6-7 on archive.org
  54. ↑ "Tres Palabras" Alfredo Antonini's CBS Pan American Ochestra & vocalist Luis G. Roldan on archive.org
  55. ↑ "Esta Noche Ha Pasado" Alfredo Antonini's CBS Pan American Orchestra & vocalist Luis G. Roldan on archive.org
  56. ↑ Luis G. Roldan - "El Cancionero Romantico - Biography of Luis G. Roldan on elcuerpoaguanteradio(in Spanish)
  57. ↑ "La Palma" and "Rosa Negra" Alfredo Antonini's Viva America Orchestra with Los Panchos Trio on archive.org
  58. 1 2 3 Granda - Nestor Chayres and Alfredo Antonini Orchestra on archive.org
  59. ↑ The Directory of the Armed Forces Radio Service Series Mackenzie, Harry. Greenwood Publishing Group, Westport CT, 1999 p. 21 ISBN 0-313-30812-8 Viva America on books.google.com
  60. 1 2 "Leone Jump" Single recording as performed by John Serry with the Joe Biviano Accordion & Rhythm Sextette on Archive.org
  61. ↑ archive.org -Accordion Capers - Joe Biviano and His Rhythm Sextette
  62. 1 2 http://campber.people.clemson.edu/sonora.html
  63. 1 2 Nielsen Business Media (27 April 1946). "Record Reviews". Billboard. Nielsen Business Media, Inc. pp. 124–. ISSN 0006-2510.
  64. 1 2 3 4 https://web.archive.org/web/20021107052600/http://www.classicjazzguitar.com/albums/artist_album.jsp?album=747
  65. ↑ Accordion Capers - Joe Biviano and His Rhythm Sextette
  66. ↑ "BnF Catalogue général". catalogue.bnf.fr (in French). Retrieved 25 July 2018.
  67. ↑ "Auricle is Gliding with Good Reviews". Democrat and Chronicle. Rochester, New York. 7 July 1978. p. 13. Retrieved 25 July 2018.
  68. ↑ "Archived copy". Archived from the original on 2011-07-07. Retrieved 2011-07-07.
  69. ↑ "Robert Davine: 1924–2001". www.ksanti.net. Retrieved 25 July 2018.
  70. ↑ "Accordion Weekly News". www.accordions.com. 19 May 2000. Retrieved 25 July 2018.
  71. ↑ Jacobson, Marion (2012). Squeeze This!: A Cultural History of the Accordion in America. Urbana, IL: University of Illinois Press. p. 61. ISBN 978-0-252-03675-0.
  72. ↑ http://www.classicthemes.com/50sTVThemes/themePages/mama.html
  73. ↑ See hand written dedication notes on Page # 3 of the score
  74. ↑ See handwritten dedication notes on Page # 3 of the score
  75. ↑ The New York Times, 15 October 1952, p. 40
  76. ↑ The New York Times, 21 September 1952, p. X1
  77. ↑ The New York Times, 28 September 1952, p. SM18
  78. ↑ The New York Times, 16 October 1952, p. 37
  79. ↑ The New York Times, 27 August 1952, p. 22
  80. ↑ "Dot into Pkgs". Billboard. Nielsen Business Media, Inc. 8 September 1956. pp. 22–. ISSN 0006-2510.
  81. 1 2 Review of album Squeeze Play, p. 22 in The Billboard, 1 December 1956
  82. ↑ Critical review- New Popular Articles The Billboard, December 1, 1956 P. 22
  83. 1 2 3 4 The Cash Box, Album Reviews, Cash Box Publishing Co., New York, 8 December 1956, Vol.XVIII No. 12, p. 38 Review of album "Squeeze Play" in Cash Box magazine, Pg. 38 on americanradiohistory.com
  84. ↑ Chicago Musette - John Serry on vintagemuisic.fm
  85. ↑ Chicago Musette - John Serry et son Accordéon on catalogue.bnf.fr(in French)
  86. ↑ Chicago Musette - John Serry et son accordéon - John Serry performing on accordion on youtube.com
  87. ↑ The Boston Globe, 24 November 1991, p. A3
  88. ↑ The New York Times, 12 September 1964, p. 21
  89. ↑ The New York Times, 22 September 1964, p. 18
  90. ↑ The New York Times, 29 September 1964, p. 21
  91. ↑ The New York Times, 7 October 1964, p. 94
  92. ↑ The New York Times, 16 October 1964, p.31
  93. ↑ The New York Times, 31 July 1965, p. 11
  94. ↑ The New York Times, 31 May 1964, p. R1
  95. 1 2 The New York Times, 30 June 1968, p. 54
  96. ↑ The New York Times, 16 March 1969, p. 94
  97. ↑ The New York Times, 22 November 1968, p. 39
  98. ↑ The New York Times, 17 November 1968, p. D10
  99. ↑ The New York Times, 12 January 1969, p. D4
  100. ↑ Oxford Reference "Overview - Jacques d"amboise" Tchaikovsky Suite (1969) on oxfordreference.com
  101. ↑ The New York Times, 8 December 1968, p. 162
  102. ↑ The New York Times, 10 January 1969, p. 38
  103. ↑ GettyImages - Francisco Moncion performing in the premiere of Jacques d'Amboise's Tchaikovsky Suite from "The Life Picture Collection January 1, 1969 (See Caption & Date created) on gettyimages.com
  104. ↑ The New York Times, 23 August 1971, p. 35
  105. ↑ The New York Times, 21 June 1964, p. 84
  106. ↑ The New York Times, 9 June 1965, p. 47
  107. ↑ C. W. Post Interfaith Chapel (Brookville New York) History of the Chapel and Photographs on wikimapia.org
  108. ↑ The New York Times, 14 June 1987, p. LI22
  109. ↑ The New York Times14 June 1987, P. New York Region
  110. ↑ Interfith Chapels in Demand. Ellen Mitchel. New York Times Archive 1987 - C. W. Post Interfaith Chapel on nytimes.com
  111. ↑ Allegro, American Federation of Musicians, New York, January 2004, Vol CIV, No. 1. Archived 2006-05-28 at the Wayback Machine.
  112. ↑ http://www.local802afm.org/2004/01/requiem-53/
  113. 1 2 Critical review- "Reviews and Ratings of New Popular Albums - Squeeze Play - John Serry, Accordion" in The Billboard, December 1, 1956 P. 22
  114. ↑ The Players Magazine - Vol 18-19 Critical review of John Serry accompanist to Marianne Lorraine pg. 25, 1941 on books.google.com
  115. ↑ The Library of Congress Copyright Office, Glissando, Composer John Serry, 1946, Copyright #EP8078 Catalog of Copyright Entries 1946 Musical Compositions Title Index New Series Vol. 41 Pt. 3, Pg. 179
  116. ↑ The European Library - "Valse" arranged by John Serry - Accordion Solo" on theeuropeanlibrary.org
  117. ↑ "CD Review: The K Trio Images". The Free-Reed Review, Henry Doktorski
  118. ↑ The Library of Congress Copyright Office, Fantasy In F (Fantasia, Accordion, F Major), Composer John Serry, 1946, Copyright #EP7274 Catalog of Copyright Entries 1946 Musical Compositions Title Index New Series Vol. 41 Pt. 3, Pg. 153
  119. ↑ The Library of Congress Copyright Office, Consolation Waltz,Composer John Serry, O.Pagani & Bro., New York, 29 November 1949, Copyright # EP58852 Library of Congress Copyright Office Catalog Published Music 1951 Vol.5 Part 5a, #1 P. 605 on Books.google.com
  120. ↑ The Library of Congress Copyright Office, Uncle Charlie's Polka,Composer John Serry, O. Pagani & Bro., New York, 29 November 1949, Copyright # EP58854 Library of Congress Copyright Office Catalog Published Music 1951 Vol.5 Part 5a, #1 P. 605 on Books.google.com
  121. ↑ The Library of Congress Copyright Office, Bugle Polka,Composer John Serry, O.Pagani Bro., New York, 29 November 1949 Copyright #EP5883 Library of Congress Copyright Office Catalog Published Music 1951 Vol.5 Part 5a, #1 P. 605 on Books.google.com
  122. ↑ http://78discography.com/Sonora.htm
  123. ↑ The Library of Congress Copyright Office, Leone Jump, Composer John Serry, 1946, Copyright # EP8079 Catalog of Copyright Entries 1946 Musical Compositions Title Index New Series Vol. 41 Pt. 3, Pg. 355
  124. ↑ The Library of Congress Copyright Office,La Culebra, Composer John Serry Sr., March 7, 1951, Copyright # EU 233726
  125. ↑ John Serry Sr. 1915 - 2003 - "La Culebra" on worldcat.org
  126. ↑ The Library of Congress Copyright Office,African Bolero Composer: John Serry Sr., March 7, 1951, Copyright # EU 233725
  127. ↑ John Serry Sr. 1915 - 2003 - "African Bolero" on worldcat.org
  128. ↑ The Library of Congress, The Syncopated Accordionist, Serrapica, John, Charles Colin, New York, 1952 http://lccn.loc.gov/unk84158102
  129. ↑ The Library of Congress Copyright Office, The Syncopated Accordionist, Composer John Serry a.k.a. John Serrapica, Charles Colin, New York 2 March 1953, Copyright #EP69650 Catalog of Copyright Entries 1953 Published Music Jan-Dec, Vol 7, Pt 5A, Pg. 257
  130. ↑ The Library of Congress Copyright Office, Rhythm-airs For the Accordionist Charles Colin & Bigs Bower, editor John Serry, Charles Colin, New York Vol. 1-2, 2 March 1953, Copyright #EP69648-69649 Catalog of Copyright Entries 1953 Published Music Jan-Dec Vol 7, Pt 5a, Pg. 58
  131. ↑ The Library of Congress, Top Ten Accordion Solos – Easy to Play, publisher Alpha Music Co, New York, 1954 http://lccn.loc.gov/unk84127828
  132. ↑ The Library of Congress Copyright Office, Top Ten Accordion Solos - Easy To Play, Publisher Braodcaste Music Inc. (BMI), Arranger John Serry, 12 July 1954, Copyright # A146305 Catalog of Copyright Entries Vol 8 Pt.1 Books and Pamphlets July-December 1954, Pg. 1405
  133. ↑ Tango Of Love, Composer John Serry, Publisher Alpha Music as listed on BMI's Online Catalog Repertoire.bmi.com
  134. ↑ Petite Tango, Composer John Serry, Publisher Alpha Music as listed on BMI's Online Catalog Repertoire.bmi.com
  135. ↑ Garden In Monaco Composer John Serry, Publisher Alpha Music as listed on BMI's Online Catalog Repertoire.bmi.com
  136. ↑ Rockin The Anvil Composer John Serry, Publisher Alpha Music as listed on BMI's Online Catalog Repertoire.bmi.com
  137. ↑ The Library of Congress Copyright Office, The Lost Tango, m. John Serry, Words Edward Steinfeld, New York, New York, 14 June 1956 Copyright #EU440575 Library of Congress Catalog of Copyright Entries 1956 Unpublished Music Jan-Dec. Vol. 10, Part 5a, Pg. 134 on archive.org
  138. ↑ The Library of Congress Copyright Office,Falling Leaves, Composer: John Serry Sr., May 21, 1976, Copyright # EU 233726
  139. ↑ The Library of Congree Copyright Office, A Savior Is Born, Composer: John Serry Sr., November 18, 1991, Copyright # PAU 1-575-137 A Savior is Born on THe United States Copyright Office Online Catalog cocatalog.loc.gov
  140. ↑ The Library of Congress Copyright Office, The Lord's Prayer, Composer: John Serry Sr., September 2, 1992, Copyright # PAU 1-665-838 The Lord's Prayer on The United States Copyright Office Online Catalog cocatalog.loc.gov
  141. ↑ Library of Congress Copyright Office, American Rhapsody, Composer: John Serry Sr., Copyright: Alpha Music, New York, New York, 1957 http://www.copyright.gov/records/
  142. ↑ The library of Congress Copyright Office, Concerto for Bassetti Accordion, Composer: John Serry Sr., June 4, 1968, Copyright # EP 247602
  143. ↑ The Library of Congress Copyright Office - Public Catalog 1978 - Present, "Concerto in C major for Free Bass Accordion" (Revised for Piano), Composer: John Serry Sr., 2002, Copyright # PAU 3-336-024 on https://cocatalog.loc.gov
  144. ↑ http://www.worldcat.org/title/squeeze-play/oclc/12935411&referer=brief_results
  145. ↑ http://www.worldcat.org/title/accordion-capers/oclc/48679834&referer=brief_results
  146. ↑ Billboard. Alpha's 12" Latin-Vinylites, New York, Vol. 58 No. 13 30 March 1946, P. 22 Alpha Records release of Alfredo Antonini and Viva America Orchestra in Billboard on books.google.com
  147. 1 2 Tres Palabras Alfredo Antonini's CBS Pan American Orchestra, Vocalist Luis G. Roldan on archive.org
  148. 1 2 Esta Noche Ha Pasado Alfredo Antonini's CBS Pan American Orchestra, Vocalist Luis G. Roldan on archive.org
  149. 1 2 Asi - Alfredo Antonini's CBS Pan American Orchestra, Vocalist Luis G. Roldan on frontera.library.ucla.edu
  150. 1 2 Somos Diferentes - Alfredo Antonini's CBS Pan American Orchestra, Vocalist Luis G. Roldan on frontera.library.ucla.edu
  151. ↑ La Palma;Rosa Negra Alfredo Antonini's Viva America Orchestra, Vocalists - Los Panchos Trio on archive.org
  152. 1 2 El Bigote de Tomas and De Donde Alfredo Antonini and the CBS Tipica Orchestra with Juan Arvizu on Archive.org
  153. 1 2 Mi Sarape; Que Paso? Alfredo Antonini and the CBS Tipica Orchestra with Juan Arvizu on Archive.org
  154. 1 2 Viva Sevilla!; Noche de Amor Alfredo Antonini and the CBS Tipica Orchestra with Juan Arvizu on Archive.org
  155. ↑ The American Dance Band Discography 1917-1942 Volume 1, Rust, Brian. Arlington House Publishers, New Rochelle, New York, 1975 P. 517, ISBN 0-87000-248-1 John Serry on accordion with the Shep Fields Band in "The American Dance Band Discography 1917-1942 vol. 1" p. 516-517 on books.google.com
  156. ↑ The American Dance Band Discography 1917-1942 Volume 1, Rust, Brian. Arlington House Publishers, New Rochelle, New York, 1975 P. 516, ISBN 0-87000-248-1 John Serry on accordion with the Shep Fields Band in "The American Dance Band Discography 1917-1942 vol. 1" p. 516-517 on books.google.com
  157. 1 2 http://catalogue.bnf.fr/ark:/12148/cb38048510x (in French)
  158. ↑ Chicago Musette - John Serry et son accordéon - John Serry Sr. performing his arrangements of: "Rock and Roll Polka", '"Granada", "Secret Love", and "My Heart Cries for You" in the 45 RPM recording "Chicago Musette" on youtube.com
  159. ↑ http://www.worldcat.org/title/big-broadcast-of-1938/oclc/934654999&referer=brief_results
  160. ↑ Protective Shield For Collapsible Paste Tubes #US 3269604 A Inventor John Serry as listed on Google.com/patents
  161. ↑ Library of Congress,The Syncopated Accordionist Serrapica, John, Publisher/Editor: Charles Colin, New York, 1952 http://lccn.loc.gov/unk84158102
  162. ↑ http://www.esm.rochester.edu/sibley/specialcollections
  163. ↑ http://www.theeuropeanlibrary.org/tel4/record/3000126237482?query=John+Serry
  164. ↑ http://gallica.bnf.fr/ark:/12148/bpt6k88198701?rk=21459;2
  165. ↑ http://lccn.loc.gov/unk84158102
  166. ↑ http://lccn.loc.gov/unk84127828
  167. ↑ http://library.juilliard.edu/search/o937406215
  168. ↑ http://library.juilliard.edu/search/o937406214
  169. ↑ https://catalog.loc.gov/vwebv/search?searchCode=LCCN&searchArg=00522350&searchType=1&permalink=y Latin American Music - Viva America Orchestra in the Library of Congress, Washington D.C. on catalog.loc.gov
  170. ↑ It's a Grand Night For Singing - featuring the Viva America Orchestra - Alfredo Antonini Conductor on worldcat.org
  171. ↑ Its A Grand Night For Singing: Excerpt from a radio program ("Program of the Three Americas") - Viva America Orchestra archived at the New York Public Library, New York City, USA on catalog.nypl.org
  172. ↑ "Victoria Cordova" and Alfredo Antonini Orchestra sound recording for Muzak archived in The Library of Congress Online Catalog at catalog.loc.gov
  173. ↑ "Victoria Cordova" and Alfredo Antonini Orcehatra sound recording for Muzak archived in the Librarty of Congress Online Catalog at catalog.loc.gov
  174. ↑ "Victoria Cordova" and Alfredo Antonini Orchestra sound recording for Muzak archived in the Library of Congress Online Catalog at catalog.loc.gov
  175. ↑ "Victoria Cordova" and Alfredo Antonini Orchestra sound recording for Muzak archived in the Library of Congress Online Catalog at catalog.loc.gov
  176. ↑ Leone Jump, Swing Low, Sweet Chariot, The Jazz Me Blues, Nursery Thymes - Single recordings as performed by John Serry with the Joe Biviano Accordion & Rhythm Sextette as archived online at Archive.org
  177. ↑ La Palma;Rosa Negra Alfredo Antonini's Viva America Orchestra, Vocalists - Los Panchos Trio
  178. ↑ : "John Serry Sr., died on Sept. 14. He was 88 and was a member of 802 since 1933."
  179. ↑ American Accordionists Association http://www.ameraccord.com/history.html
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