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John Serry senior

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John Serry Sr. (b. Giovanni Serrapica 29 January 1915; d. 14 September 2003) was an accomplished concert accordionist, arranger, composer, organist and music educator who performed on the CBS Radio and CBS Television networks and elevated the use of the accordion in concert with orchestral ensembles of his era.

Biography

Overview

Born Giovanni Serrapica in Brooklyn, New York to Italian-American parents Pasquale Serrapica and Anna Balestrieri of Castellammare di Stabia, Italy, Serry pursued an artistic career which spanned seven decades. As an exponent of Latin American music and the free-bass accordion, he attained recognition through live radio and television performances on the CBS radio and television networks which were broadcast thoughout the United States. He acquired additional recognition as the featured soloist on the 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 the CBS Pan American Orchestra (1940-1949) and the Columbia Concert Orchestra (1940-1949), Serry achieved success as a professional concert accordionist and featured soloist. Several of his 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 Paley Center for Media in New York. His professional studies were pursued with the 20th century composer and music educator Robert Strassburg (1915-2003)[6], who had 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 concert engagements over a forty year period, Serry performed at such venues as the Rainbow Room at Rockefeller Center (1930s); the Starlight Roof at the Waldorf Astoria Hotel (1930s), Radio City Music Hall (1933); the Palmer House in Chicago (1938); the Biltmore Hotel in Los Angeles, California (1938); the New York State Theater at Carnegie Hall (1940s); the Plaza Hotel (1940s); Town Hall (1942); the Ed Sullivan Theater (1950s); the Empire Theater (New York) (1953); the Majestic Theatre (1968); The Broadway Theatre (1968); the Lincoln Center (1969); and such New York society nightspots as: El Morocco; El Chico and The Riviera in the 1930s.

As a composer and arranger, Serry recorded an LP album of original compositions and popular music for Dot Records (Squeeze Play, 1956, DLP3024)[7][8] 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 Leona Jump with Angelo Delleria on accordion as part of a 78 rpm gramophone record for Sonora Records with Tony Mottola on guitar in 1946 [1].

Later in the same decade, he published arrangements for accordion quartet, guitar and bass (see Musical Legacy, below). An advanced composition was also completed in the symphonic jazz genre, including American Rhapsody. Among his compositions in the classical music genre, Serry included a Concerto For Free Bass Accordion intended to demonstrate the robust orchestral sound of the solo free-bass accordion. Also known as the Concerto in C Major for Bassetti Accordion, this concerto was dedicated to the memory of Julio Giulietti - a promoter and manufacturer of the free-bass accordion in the United States (See Accordion).

As a music educator, Serry founded and operated a music studio in Manhattan and on Long Island, New York, for over thirty years (1945 - 1980s).[9]. During this time he provided instruction on several instruments including: accordion, piano, and organ. He also published accordion method books for elementary, intermediate, and advanced grade students (see publications list for Alpha Music below). His pupils included Robert Davine, an international accordion virtuoso and music educator at the Lamont School of Music at the University of Denver[10] Serry also had a thirty-five year tenure performing as a free-lance organist at the Interfaith Chapel on the Long Island University C. W. Post Campus in Brookville, New York. In this capacity he specialized as both a composer and performer of interfaith liturgical music as well as classical music (1968-2002).

In concert

Vorlage:See also While performing, Serry maintained high musical standards and a disregard for those performance techniques which might hamper the advancement of the accordion from the realm of popular entertainment onto the concert hall stage in America. It was his conviction that the accordion could transcend its limited role in America's past as a folk instrument through concert performances with recognized orchestral ensembles. With the limited availability of orchestral compositions featuring the accordion at this time in the USA, this was a formidable undertaking.

With this in mind, Serry adopted a performance philosophy which emphasized a careful balance between the orchestral sound of the concert accordion and the robust technique associated with a solo performance.[11] He also avoided the use of prolonged bellows shakes or extended glissandi to integrate his instrument successfully with the orchestra ensemble. [12]. As a result, his performances on the Stradella bass system accordion and the Bassetti free bass accordion gained recognition and respect for his instrument among his fellow musicians in New York City from 1940 to 1970 (See performance listings below).

Serry's musicianship was also reflected in his compositions, which represent several American musical genres including jazz and classical music [13]. These compositions reflect Serry's interest in the works of George Gershwin and Maurice Ravel. On the organ, his performances were conducted in the style of the American theater organ popularized during the 1930s/1940s.

The 1930s: The big band era

Serry collaborated and performed with a variety of conductors and arrangers in the 1930s. During the Big Band era of the 1930s in New York City, these included: Erno Rapee - conductor of the Radio City Music Hall Orchestra with Serry as the first on-stage accordion soloist (1933)[14]; Ralph Gomez - a Cuban orchestra leader in an extended engagement at the Rainbow Room at Rockefeller Center(1935)[15]; the Hugo Mariani Tango Orchestra at the Waldorf Astoria Hotel (1930s)[16][17]; Alfred Brito - a Cuban orchestra leader in New York (1936) and Misha Borr, sometime conductor of the Waldorf Astoria Hotel house orchestra during the 1930s. He also performed as a soloist for society functions during this time, in the Waldorf Astoria Hotel's exclusive Waldorf Towers and at its intimate Starlight Roof.

Serry received national exposure as a result of his collaborations with the jazz conductor Shep Fields[18] in performances with Shep Fields and His Rippling Rhythm orchestra. Serry performed during a nationwide tour which featured 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).[19]. These broadcasts used the Zenith Electronics Corporation's new Radiogran broadcast technology. Serry's performances as a member of the orchestra and soloist are documented in a segment of Paramount Pictures' motion picture musical anthology The Big Broadcast of 1938.

During this period, Serry also began serving as Assistant Dean of Accordion and Harmony at the Biviano Accordion Center in Manhattan (1939)[20][21]. In this rôle he provided instruction to students who shared his interest in orchestral jazz until 1942 [22] [23].

The 1940s: The golden age of radio

During the "golden age of radio" in the 1940s, Serry performed on the CBS radio network in collaboration with several concert artists including: Elsa MirandaVorlage:Failed verification[24] -vocalist on the CBS radio network (1940s) [25]; Marianne Oswald - (aka Marianne Lorraine)[2], a French chanteuse - in a performance of works by the American poet Carl Sandburg at Town Hall (1942)[26][27] and Alfredo AntoniniVorlage:Failed verification[9] - conductor CBS Pan American Orchestra on the CBS network (1940-1949)[28] [29] and conductor for the Viva America[30] program on CBS for the Department of State- Office for Inter-American Affairs (OCIAA)[31][32].

Serry's performances also extended to opera: at the start of the decade, he performed at Town Hall under the baton of Alexander Smallens in performances of Virgil Thomson's Four Saints in Three Acts (1941).[33]

Serry also collaborated with several international concert artists including: Terig Tucci[3] - Argentine composer and musical program arranger/director for the CBS Pan American Orchestra broadcasts on CBS and to South America over La Cadena De Las Americas ("Network of the Americas")[9][34] and musical director for Macy's Latin-American Fair of 1942 broadcasts over CBS [35] [36] [37]; Juan Arvizu - the Mexican "Tenor with the Silken Voice" and bolero dancer on the CBS network (1940s)[38]; Nestor Chayres - a Mexican tenor aka "El Gitano De Mexico" on the CBS network (1942 & 1945)[39] [40]; Eva Garza - the Mexican songstress featured on Viva America for CBS/ABC radio [41]; Miquel Sandoval - pianist on the CBS network (1940s); and Marlene Dietrich[4] - in a performance of Lili Marlene on CBS radio, John Serry Sr. accompanist (1940s).

During this time, Serry was featured on several network broadcasts including: The Gordon MacRae Show Star of Stars broadcast live from the CBS Starline Roof (1946) featuring Serry as solo artist; The Danny O'Neil Show featuring Serry 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 - a protege of Pablo Casals[5] (1947).

Serry also collaborated with several 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 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).

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 various high level South American diplomats during the opening ceremonies of Macy's Latin-American Fair of 1942 in New York City[42].

Serry also founded a private music studio in Manhattan and on Long Island, New York. In the process, he was able to continue his performance endeavors while providing musical instruction in performance and harmony to students over the course of nearly four decades (1945-1983).

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 (1953); The Ed Sullivan Show (1959); The Frank Sinatra Show (1950s) and with the organist Billy Nalle ,[6] on the prime time drama I Remember Mama starring Peggy Wood [7] (1953).

Serry also collaborated with Mitch Miller at Columbia Records to produce an LP demonstration recording in 1951. He also collaborated with Julius Baker (first flautist for the Columbia Broadcasting Symphony Orchestra at CBS and for the New York Philharmonic) to produce another demonstration recording of his compositions "Desert Rumba" and "La Culebra" (1950) [8]. As television technology improved, he also joined forces with Andre Kostelanetz who served as the conductor on the Eastman Kodak Kinescope broadcasts (1951).

As a member of the Magnante Accordion Quartet, Serry continued his performances as a soloist on such network 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[43] in a production of Arthur Laurents play The Time of the Cuckoo([9])[44][45][46]. Serry served as soloist and musical director at the Empire Theatre on Broadway in 1952.[47][48][49]

With the popular appeal of these endeavors, he composed, arranged and performed several compositions for Dot Records with Al Caiola[10] on his album Squeeze Play[11] (1956). He also recorded for Decca Records during this time and collaborated with Ben Selvin at RCA Victor to produce a second record album entitled RCA Thesaurus (1954). These activities led to Serry's nomination to the "Who Is Who In Music International" in 1958 [50]

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, Serry collaborated on the Voice of Firestone with the conductor Howard Barlow [12] (guest conductor for NBC Television in 1961)[51] and on The Revlon Revue (1960) for CBS Television.

Serry also appeared in such Broadway productions as: Cabaret (musical)[52] at the Imperial Theatre (1968); Can-Can; La Grosse Valise[53] (1965) (composer Gerard Calvi, lyrics by Harold Rome, musical director Lehman Engel); The Happy Time [54] starring Robert Goulet at The Broadway Theatre (1968 Tony Award Best Musical) and Fiddler On The Roof [55] starring Zero Mostel at the Majestic Theatre (1968).

Serry also performed for the general public at the 1964 New York World's Fair in performances at the Seven-Up International Gardens Pavilion. As a participant in the Seven-Up Continental Band, he performed musical selections from around the world for the dining pleasure of fairgoers within the pavilion's intimate fiber glass pods beneath the Seven-Up Tower[56][57][58][59][60][61][62].

He appeared later in the decade in a revival by the bandleader Guy Lombardo of Oscar Hammerstein II's South Pacific at the Jones Beach State Park Theater on Long Island (1968)[63][64]. The production featured Jerome Hines and Kathleen Nolan in the starring roles and was directed by Oscar Hammerstein II's son William Hammerstein[65].

In formal classical concert venues, Serry served as the lead concert accordionist in performances of the New Ballet staged to the music of Tchaikovsky at the New York State Theater (1969)[66][67][68]. The production was performed as part of the 25th anniversary season of the New York City Ballet and was choreographed by Jacques d'Amboise[69][70].

The 1970s to 2002: Liturgical concerts

At the start of the 1970s, Serry participated 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 [71].

During the course of the next thirty five years, however, Serry performed primarily as an independent free-lance chapel organist at the Interfaith Chapel of the Long Island University C. W. Post Campus [72][73] in Brookville, New York (1968-2002). In addition to performing 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 musical programs for literally hundreds of wedding parties and their invited guests.[74].

In accordance with the ecumenical and liturgical guidelines for interfaith 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 as well. His concerts featured classical and contemporary works by such composers as: Johann Sebastian Bach, Beethoven, Leonard Bernstein, John Denver, Charles Gounod, Handel, Felix Mendelssohn, Jean-Joseph Mouret, Mozart, Johann Pachelbel, Henry Purcell, Rachmaninoff, Franz Schubert, Tchaikovsky , Eric Satie, Antonio Vivaldi, Richard Wagner, Charles Widor, and Andrew Lloyd Weber. In the process he gave expression to the concept that the language of music is unique in its capacity to transcend all boundaries to unite humanity in peace.

Death

Serry died after a brief illness on Long Island, New York in 2003 at the age of 88. [75]. His love of music is shared by one of his surviving sons: John Serry, Jr., an international jazz pianist, composer, conductor, and arranger.

Musical legacy

Published compositions and arrangements

His compositions include: [76] [77]

  • "Desert Rumba" (for accordion, 1939; publisher Antobal Music, 1951)
  • "Glissando" (for accordion, publisher Biviano Music, 1942)
  • "Tarantella" (for accordion, 1942; publisher Alpha Music, 1955)
  • "Valse" ( composer Pytor Ilych Tchaikovsky, arr. for accordion, 1946)
  • "Fantasy In F" (for accordion, publisher Vicas Music, 1946) [13]
  • "Consolation Waltz" (for accordion, publisher O. Pagani & Bro., 1948)
  • "Uncle Charlie's Polka" (for accordion, publisher O.Pagani Bro., 1948)
  • "The Bugle Polka" (for accordion, publisher O. Pagani Bro., 1948)
  • "Leone Jump" (for accordion, publisher Pietro Diero, 1956) [14]
  • "La Culebra" (for accordion, 1950; arr. accordion & flute; 1950, arr. flute solo 1991; publisher Antobal Music, 1951)[78]
  • "African Bolero" (for accordion, 1950; arr. accordion & flute; 1950, arr. flute solo 1991; publisher Antobal Music, 1951))[79]
  • "The Syncopated Accordionist" (for accordion, publisher/editor Charles Colin, 1952)
  • "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)
  • "La Cinquantaine" (m. Gabriel Marie, arr. accordion quartet, publisher Alpha Music, 1954)
  • "Allegro" (m. Joseph Hayden, arr. accordion quartet, publisher Alpha Music, 1954)
  • "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)
  • "Manolas" (m. Escobar, arr. accordion quartet, publisher Alpha Music, 1955)
  • "Petite Tango" (for accordion quartet, publisher Alpha Music, 1955)
  • "Garden In Monaco" (for accordion, publisher Alpha Music, 1956)
  • "Rockin' The Anvil" (for accordion, publisher Alpha Music, 1956)
  • "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

  • "Processional For Organ" (1968)
  • "Falling Leaves" (for Piano, 1976)[80]
  • "A Savior Is Born" (for Organ & Voice, 1991)[81]
  • "The Lord's Prayer" (for Organ & Chorus, 1992)[82]

Advanced compositions

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

  • "American Rhapsody" (for accordion, 1955: published by Alpha Music 1957; transcribed for piano, 2002)[83]
  • "Concerto For Free Bass Accordion" (for accordion, 1966; transcribed for piano, 1995-2002, unpublished, aka Concerto in C Major for Bassetti Accordion)[84] [85]

Discography

Filmography

Bibliography

Archives

Several of Serry's compositions have been archived at the University of Rochester's Eastman School of Music - Sibley Music Library for the benefit of students at the Eastman School. The archive is held within the Ruth T. Watanabe Special Collections Department and includes: American Rhapsody, Concerto In C For Bassetti Accordion, Fantasy In F, Songs of Love #1, #2, #3, Glissando, African Bolero, Desert Rumba, La Culebra, Elegy and Reeds In A Rush.

Several of Serry's live performances as a member of the CBS Orchestra on the CBS television network have been archived within the permanent collection of The Paley Center for Media in New York City.

Professional affiliations

Serry was an active member of the BMI, SESAC, Musicians Local #802 (1933 - 2003),[86] 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 StrassburgVorlage:Failed verification[87] (piano, advanced harmony, and orchestration, 1948 -1950).

Advanced Compositions Summary

American Rhapsody

Vorlage:Original research American Rhapsody refers to a musical composition written by musician John Serry, Sr. for the accordion in 1955. The composer was inspired by the classical orchestral works of George Gershwin along with percussive beats of South America while composing this opus. By synthesizing the compositional techniques typically associated with classical music with those identified with jazz, this piece serves as an example of the symphonic jazz genre featuring the stradella bass system accordion as a solo instrument. In its revised edition for free bass accordion is noteworthy in its attempt to illustrate the versatility of the instrument. In addition, it pays homage to the music of South America by incorporating a clear Latin American beat in the Dance sequence. The work is also noteworthy in so far as it represents an effort on the part of a known musician to compose for an instrument for which relatively few classical works were completed at the start of the 20th century in America (See Accordion Use in Classical music). [88] [89]

The composition was published in its original version for solo Stradella bass system accordion by the Alpha Music Company in 1957. The work was premiered by the composer on the free bass accordion in a concert series hosted by the Orpheus Glee Club at Flushing, New York in December, 1963. It was subsequently performed by a student of the composer (Joseph Nappi) for the first annual concert of the Accordion Association of Long Island during 1964 in New York. It was eventually transcribed by the composer for solo piano in 2002 and is described in its revised version for piano.

Structure

The composition consists of four parts: Part I - Introduction and Blues (Maestoso); Part II - The Dance (Allegretto ben ritmato); Part III - The Dream (Andante Sostenuto) and Part IV - Finale: The Awakening (Vivace).

Introduction and Blues

The opening Introduction and Blues is scored in 3/4 time in the key of B Flat and is marked Maestoso. The opening chord flourish is boldly presented as octaves within the treble voice and immediately echoed in the bass voice several times. This foreshadowsVorlage:Or the onset of The Blues, which is scored in 2/4 time in the same key as the Introduction but is marked Andantino.

The main theme is now developed tenderlyVorlage:POV-Statement ( E Poco Robato) in both the bass and treble voices. The ensuing interleaving of both voices leads to a sustained trill and arpeggio marked A Piacore by the composer and subsequently recapitulated alone in the bass voice. This is followed by a series of chromatic chord modulations from the key of D Sharp leading back to B Flat. The section concludes with a cascade of eighth notes presented as an overlay to the echoes of the main theme repeated in the bass.

The Dance

The second section of the composition is a Dance scored in 4/4 time in the key of D major and is marked Allegretto Ben Ritmato. The composer expressly calls for a Latin beat on the scoreVorlage:Or (i.e. Bougoes or Maracas) as expressed in orchestral form. The section opens with an unmistakable melodic line in the bass which is syncopated with melodic development in the treble voice. This culminates in a brief cadenza in the key of F and the onset of a dramatic dissonance for the climax. A series of frantic sixteenth note flourishes ensues in the treble voice. This is followed by a series of chord modulations marked Furioso which heralds the onset of the Dream sequence.

The Dream

The third section is entitle The Dream and is scored in 4/4 time in the key of C Major marked Andante Sostenuto . It embodies a recapitulation of the main theme which is marker Molto Legato. The recapitulation is accompanied by a key change back to F major. It concludes with the theme expressed dominately in octaves and a recapitulation leading to the key of C Major which is marked Allegretti Scherzando.

Finale: The Awakening

The final section is entitled The Awakening and is initially scored in the key of C Major marked Vivace. It is a vibrantVorlage:Pov section which opens with a dynamic series of dramatic sixteenth note flourishes leading back to the key of B Flat. Here the main theme of The Dance sequence is restated and culminates in a final arpeggio rumbling though the bass.

Archived Scores

Vorlage:Sources A copy of this composition has been reviewed and archived for research purposes under the supervision of a professional archivist within the Sibley Music Library of the University of Rochester's Eastman School of Music as part of the Ruth T. Watanabe Special Collections Department. Researchers may view the Ruth T. Watanabe Special Collections page link below for information concerning access to the archive on campus. [16].

References

Vorlage:Reflist

  1. ↑ The New York Times, 8 January 1941, p. 18
  2. ↑ The New York Times, 1 January 1942, p. 27
  3. ↑ The New York Times, 10 May 1942, p. SM10
  4. ↑ The New York Times, 28 February 1943, p. X9
  5. ↑ Time, 1 June 1942
  6. ↑ The New York Times, 18 November 1945, p. 50
  7. ↑ http://bsnpubs.com/dot/dotb.html
  8. ↑ Billboard's Music Popularity Charts - Reviews & Ratings of New Popular Albums, November 1956, p. 22
  9. ↑ a b c Vorlage:Cite
  10. ↑ http://www.ksanti.net/free-reed/essays/davinetribute.html
  11. ↑ Serry, John Those Neglected Basses, Accordion World, March, 1939
  12. ↑ Serry, John. Accordions and Orchestras: Past Present and Future Accordion world, November 1937
  13. ↑ Serry, John. Jazz and the student Accordionist, Accordion World, 1964
  14. ↑ The New York Times, June 27 1935, p. 16
  15. ↑ Accordion News, March 1935
  16. ↑ The New York Times, 12 August 1936, p. 15
  17. ↑ The New York Times, 16 September 1936, p. 28
  18. ↑ http://www.parabrisas.com/d_fieldss.php
  19. ↑ The Los Angeles Examiner, 9 October 1938, p. 1
  20. ↑ The New York Times, 2 November 1941, p. X6
  21. ↑ The New York Times, 6 September 1942, p. X5
  22. ↑ The New York Times, 25 October 1942, p. X8
  23. ↑ The New York Times, 29 November 1942, p. X6
  24. ↑ http://www.parabrisas.com/d_mirandae.php
  25. ↑ The New York Times, 9 June 1946, p. 49
  26. ↑ Vorlage:Cite
  27. ↑ The New York Times 1 March 1942, p. 36
  28. ↑ A Pictorial History Of Radio. Settel, Irving. Grosset & Dunlap, New York, 1960 & 1967, p. 146, Library of Congress # 67-23789 (See Photograph)
  29. ↑ The New York Times, 5 November 1983, p. 34
  30. ↑ http://radiogoldindex.com/cgi-local/p2.cgi?ProgramName=Viva+America
  31. ↑ The New York Times, 9 June 1946, p. 49
  32. ↑ The New York Times, 5 November 1983, p. 34
  33. ↑ The New York Times, 28 May 28 1941, p. 32
  34. ↑ The New York Times, 18 January 1942, p. 27
  35. ↑ The New York Times, 17 January 1942, p. 30
  36. ↑ The New York Times, 16 January 1942, p. 19
  37. ↑ The New York Times, 14 January 1942, p. 24
  38. ↑ The New York Times, 5 May 1941, p. 32
  39. ↑ [17]
  40. ↑ The New York Times, 23 April 23 1944, p. X5
  41. ↑ The New York Times, 23 January 1944, p. X9
  42. ↑ The New York Times, January 17, 1942, p. 30
  43. ↑ [18]
  44. ↑ The New York Times, 15 October 1952, p. 40
  45. ↑ The New York Times, 21 September 1952, p. X1
  46. ↑ The New York Times, 28 September 1952, p. SM18
  47. ↑ The New York Times, 16 October 1952, p. 37
  48. ↑ The New York Times, 27 August 1952, p. 22
  49. ↑ The New York Journal-American, 25 May 1953, p. 15
  50. ↑ "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 publisher of current editions of the International Who's Who in Music.
  51. ↑ The Boston Globe, 24 November 1991, p. A3
  52. ↑ [19]
  53. ↑ [20]
  54. ↑ [21]
  55. ↑ [22]
  56. ↑ The New York Times, 12 September 1964, p. 21
  57. ↑ The New York Times, 22 September 1964, p. 18
  58. ↑ The New York Times, 29 September 1964, p. 21
  59. ↑ The New York Times, 7 October 1964, p. 94
  60. ↑ The New York Times, 16 October 1964, p.31
  61. ↑ The New York Times, 31 July 1965, p. 11
  62. ↑ The New York Times, 31 May 31, 1964, p. R1
  63. ↑ The New York Times, 30 June 1968, p. 54
  64. ↑ The New York Times, 16 March 1969, p. 94
  65. ↑ The New York Times, 30 June 1968, p. 54
  66. ↑ The New York Times, 22 November 1968, p. 39
  67. ↑ The New York Times, 17 November 1968, p. D10
  68. ↑ The New York Times, 12 January 1969, p. D4
  69. ↑ The New York Times, 8 December 1968, p. 162
  70. ↑ The New York Times, 10 January 1969, p. 38
  71. ↑ The New York Times, 23 August 1971, p. 35
  72. ↑ The New York Times, 21 June 1964, p. 84
  73. ↑ The New York Times, 9 June 1965, p. 47
  74. ↑ The New York Times, 14 June 1987, p. LI22
  75. ↑ [23]
  76. ↑ Alpha Music, 747 Chestnut Ridge Road, Spring Valley, NY 11097
  77. ↑ The Library of Congress Copyright Office, Washington, DC http://www.copyright.gov/records/
  78. ↑ The Library of Congress Copyright Office,La Culebra, Composer John Serry Sr., March 7, 1951, Copyright # EU 233726
  79. ↑ The Library of Congress Copyright Office,African Bolero Composer: John Serry Sr., March 7, 1951, Copyright # EU 233725
  80. ↑ The Library of Congress Copyright Office,Falling Leaves, Composer: John Serry Sr., May 21, 1976, Copyright # EU 233726
  81. ↑ The Library of Congree Copyright Office, A Savior Is Born, Copmoser: John Serry Sr., November 18, 1991, Copyright # PAU 1-575-137
  82. ↑ The Library of Congress Copyright Office, The Lord's Prayer, Composer: John Serry Sr., September 2,1992, Copyright # PAU 1-665-838
  83. ↑ Library of Congress Copyright Office, American Rhapsody, Composer: John Serry Sr., Copyright: Alpha Music, New York, New York, 1957 http://www.copyright.gov/records/
  84. ↑ The library of Congress Copyright Office, Concerto for Bassetti Accordion, Composer: John Serry Sr., June 4, 1968, Copyright # EP 247602
  85. ↑ The Library of Congress Copyright Office, Concerto For Bassetti Acccordion (Revised for Piano) , Composer: John Serry Sr., September 3, 2007, Copyright # PAU 3-336-024 http://www.copyright.gov/records/
  86. ↑ http://www.local802afm.org/publication_entry.cfm?Xentry=23736371 : "John Serry Sr., died on Sept. 14. He was 88 and was a member of 802 since 1933."
  87. ↑ http://www.milkenarchive.org/artists/artists.taf?artistid=177 (biography that doesn't mention Serry)
  88. ↑ Accordion World, Bedford Hills, NY, 1968.
  89. ↑ The Library of Congress Copyright Office, American Rhapsody, Copyright: Alpha Music Co, New York, New York,Composer: John Serry Sr. 1957.
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