John Serry Sr.

From Wikipedia, the free encyclopedia
  (Redirected from John Serry, Sr.)
John Serry Sr., circa 1967

John Serry Sr. (born Giovanni Serrapica; January 29, 1915 – September 14, 2003) was a concert accordionist, arranger, composer, organist and educator who performed in live concerts on the CBS Radio and CBS Television networks which were broadcast throughout the United States. He performed on the accordion as a member of several professional orchestras and jazz ensembles for nearly forty years between the 1930s and 1960s.

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.[1][2][3][4][5]

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.

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);[6] the Starlight Roof at the Waldorf Astoria Hotel (1936–1937);[7][8] Radio City Music Hall (1935);[9] the Palmer House in Chicago (1938);[10] the Biltmore Hotel in Los Angeles (1938);[10] Carnegie Hall with Alfredo Antonini conducting (1946);[11] the Plaza Hotel (1940s); The Town Hall (1941–1942);[12][13][14] the Ed Sullivan Theater (1959) for CBS television (see below); the Empire Theater (New York) (1953);[15] the 54th Street Theatre(1965); The Broadway Theatre (1968); the Imperial Theater (1968); the New York State Theater at Lincoln Center (1968);[16][17][18] and New York society nightspots 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.


The 1930s: The big band era

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,[6] leading to an extended engagement there in 1935.[6]

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.[19][20][21] and with Alfred Brito – a Cuban orchestra leader in New York (1936), and Misha Borr, sometime conductor of the Waldorf Astoria Hotel house orchestra (the Waldorf-Astoria Orchestra) during the early 1930s.[21] He also appeared as a soloist for society functions during this time at the Waldorf Astoria Hotel's Waldorf Towers and at its Starlight Roof with the Lester Lanin Orchestra. In addition he performed regularly at society clubs, including El Morocco, the Rainbow Room, El Chico and the Riviera in New York City, New York.[6]

Serry performed with the jazz group Shep Fields and His Rippling Rhythm orchestra, including 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).[10] These Big band remote broadcasts were noteworthy for utilizing 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.

Serry also served as Assistant Dean of Accordion and Harmony at the Biviano Accordion Center in Manhattan between 1939 and 1942,[22][23] providing instruction on accordion 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 in order to raise a family of four children, one of whom is jazz composer/pianist and contemporary classical composer/percussionist 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]

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[14] working with choral director Leonard De Paur.[14]

Building on his live radio experience during the 1930s, Serry entered the "golden age of radio" in the 1940s, performing on the CBS radio network with several New York City concert artists, including: Marianne Oswald – a.k.a. Marianne Lorraine,[28] a French chanteuse – in a performance of works by the American poet Carl Sandburg at Town Hall (1942),[12][13] and Alfredo Antonini – conductor CBS Pan American Orchestra on the CBS network (1940–1949)[29][30] and conductor for the Viva América[31] program on CBS for the Department of State – Office for Inter-American Affairs (OCIAA).[21][30][32] He also performed within Antonini's orchestra in the Night of the Americas Concert gala staged at Carnegie Hall in 1946.[11] While on staff at CBS, 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 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 artists during this period, including Argentine composer Terig Tucci,[34][35][36][37][38] Juan Arvizu – the Mexican "Tenor with the Silken Voice" and bolero dancer on the CBS network (1940s);[39] Nestor Chayres – a Mexican tenor, a.k.a. "El Gitano De Mexico", on the CBS network (1942 and 1945);[40] Eva Garza – the Mexican songstress featured on Viva América for CBS/ABC radio;[41] Miguel Sandoval ;– Guatemaian composer and pianist on the CBS network (1940s); and Marlene Dietrich – in a performance of Lili Marlene on CBS radio, John Serry Sr. accompanist (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); 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).

In the realm of live international radio broadcasts, Serry also performed for the general public in both North and South America over the CBS Radio network. Several performances were 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.[36]

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 [42]. [43][44]. The album also features performances of several classic jazz favorites from the 1940s including: The Little Brown Jug (Joseph Winner), Golden Wedding (Jean Gabriel-Marie), Swing Low Sweet Chariot (Wallace Willis), That's A Plenty (Lew Pollack), and The Jazz Me Blues (Tom Delaney).[45] [46]

Serry founded and operated a music studio in Manhattan and on Long Island, New York, and between 1945 and in the 1980s provided instruction on accordion, piano and organ.[34][47] 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.[48] Over the years his pupils included Anthony Ettore, past president of the American Accordionist's Association,[49] and Robert Davine, an international accordionist and music educator at the Lamont School of Music at the University of Denver.[50] Serry also publishing several method books for his elementary, intermediate and advanced grade students between 1945 and 1983.[21]

Like many accordionists of this era, Serry 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.[51]

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,[52] on the prime time drama I Remember Mama in 1953.

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)[53] [54] 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.[21]

On the Broadway stage he performed under director Harold Clurman in a production of Arthur Laurents play The Time of the Cuckoo.[55][56][57] Serry served as soloist and musical director at the Empire Theatre on Broadway from 1952-1953.[15][58][59] 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).[60][61] 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.[62] 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 in 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[63]) and on The Revlon Revue (1960) for CBS Television. He also appeared in several Broadway 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.[64][65][66][67][68][69][70]

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).

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).[71][72] The production featured Jerome Hines and Kathleen Nolan in the starring roles and was directed by Oscar Hammerstein II's son William Hammerstein.[71]

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).[73][74][75] 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 (conductor). Principal dancers in the corps de ballet included Francisco Moncion, Gerard Ebitz, and Nina Fedorova. [76][77]

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.[78] 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.

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[79][80] in Brookville, New York (1968–2002). 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.[81][82][83]

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, Beethoven, Leonard Bernstein, John Denver, Mendelssohn, Jean-Joseph Mouret, Mozart, Purcell, Tchaikovsky, Satie, Vivaldi, Wagner, Charles Widor, and Andrew Lloyd Webber.


Serry died after a brief illness on Long Island, New York in 2003, age 88.[84] One of his surviving sons is John Serry Jr., a jazz pianist, composer, conductor, and arranger.[85]


Published compositions and arrangements

His compositions include:[86][87]

  • "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, publisher Viccas Music, 1946)[88]
  • "Fantasy In F" (for accordion, publisher Viccas Music, 1946)[89]
  • "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 Deiro, 1956) [90] [91]
  • "La Culebra" (for accordion, 1950; arr. accordion & flute; 1950, arr. flute solo 1991; publisher Antobal Music, 1951)[92]
  • "African Bolero" (for accordion, 1950; arr. accordion & flute; 1950, arr. flute solo 1991; publisher Antobal Music, 1951)[93]
  • "The Syncopated Accordionist" (for accordion, publisher/editor Charles Colin, 1952)[94]
  • "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)
  • "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)[95]
  • "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" (liturgical bridal march for organ, 1968)
  • "Falling Leaves" (for piano, 1976)[96]
  • "Elegy" (liturgical Elegy for organ, 1984; revised 1991)
  • "A Savior Is Born" (Christmas liturgical for organ & voice, 1991)[97]
  • "Dreams Trilogy" (for piano, 1991)
  • "The Lord's Prayer" (liturgical Lord's Prayer for organ and chorus, 1992)[98]
  • "Five Children's Pieces" (for piano, 1996)

Advanced compositions

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




  • 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 .[108]

Archived works

  • 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 [109]
  • 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.[106][110][111](in French)
  • The Syncopated Accordionist - author John Serrapica (1952) - a copy of the book circulates at the Library of Congress, Washington DC, USA [112]
  • Top Ten Accordion Solos - Easy to Play - editor John Serrapica (1954) - a copy of the musical score circulates at the Library of Congress, Washington DC, USA[113]
  • 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 [114]
  • African Bolero - composer & arranger John Serry (1950 & 1991) a copy of the score circulates at The Juilliard School - Lila Acheson Wallace Library, New York [115]

Professional affiliations

Serry was an active member of the BMI, SESAC, American Federation of Musicians (Local #802) (1933–2003),[116] 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[117]); Jascha Zade (piano, 1945–1946); Arthur Guttow (organ, 1946), and Robert Strassburg (piano, advanced harmony, and orchestration, 1948–1950).[21]


  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. ^ a b c d Accordion News, March, 1935
  7. ^ Accordion News, November, 1937
  8. ^ Accordion World, March, 1946, Vol. 11 #11
  9. ^ The New York Times, June 27, 1935, p. 16
  10. ^ a b c The Los Angeles Examiner, 9 October 1938, p. 1
  11. ^ a b The New York Times,12 May 1946, p.42
  12. ^ a b The Nation, 7 March 1942, Vol. 154, #10
  13. ^ a b "Diseuse in Debut Here" .The New York Times, 1 March 1942a, p.36
  14. ^ a b c The New York Times 28 May 1941 p.32
  15. ^ a b New York Journal-American, 25 May 1953 p. 15
  16. ^ The New York Times, 22 November 1968 p. 39
  17. ^ The New York Times, 17 November 1968 p. D10
  18. ^ The New York Times, 12 January 1969 p. D4
  19. ^ The New York Times, 12 August 1936, (Advert) p. 15 "Radio City Music Hall ... Symphony Orchestra direction Erno Rapee."
  20. ^ The New York Times, 16 September 1936, (Advert) p. 28 "Shep Fields Orchestra alternating with Hugo Mariani Tango Orchestra Starlight Roof ... The Waldorf-Astoria"
  21. ^ a b c d e f " Biography",Accordion World, March 1946, Vol. 11, #11, p.3
  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. ^ a b c d "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. ^ "Marianne Lorraine". The Nation, Gilder, Rosamond | March 7, 1942 issue[dead link] Archived at the Wayback Machine
  29. ^ A Pictorial History Of Radio. Settel, Irving. Grosset & Dunlap, New York, 1960 & 1967, p. 146, Library of Congress # 67-23789 (see photograph)
  30. ^ a b The New York Times, 5 November 1983, p. 34
  31. ^
  32. ^ The New York Times, 9 June 1946, p. 49
  33. ^ Sold on Radio-Advertisers in the Golden Age of Broadcasting, Cox, Jim. McFarland & Co., North Carolina, US & London, UK, P. 119. ISBN 978-0-7864-3391-9
  34. ^ a b "Biography", Accordion World, Bedford Hills, New York, 11 (11): 3, March 1946 
  35. ^ The New York Times, 18 January 1942, p. 27
  36. ^ a b 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. ^ -Accordion Capers - Joe Biviano and His Rhythm Sextette
  43. ^ a b
  44. ^ a b Nielsen Business Media, Inc. (27 April 1946). "Record Reviews". Billboard. Nielsen Business Media, Inc. pp. 124–. ISSN 0006-2510. 
  45. ^
  46. ^ Accordion Capers - Joe Biviano and His Rhythm Sextette
  47. ^ "Auricle is Gliding with Good Reviews". Democrat and Chronicle, Rochester, New York, July 7, 1978 Page 13
  48. ^ The Squeeze, 19 May 2000
  49. ^
  50. ^ [ "Robert Davine: 1924-2001". The Free-Reed Journal
  51. ^ Squeeze This: A Cultural History of the Accordion in America Jacobson, Marion. University of Illinois Press, Chicago, Il., USA, 2012, P.61. ISBN 978-0-252-03675-0
  52. ^
  53. ^ See hand written dedication notes on Page # 3 of the score
  54. ^ See hand written dedication notes on Page # 3 of the score
  55. ^ The New York Times, 15 October 1952, p. 40
  56. ^ The New York Times, 21 September 1952, p. X1
  57. ^ The New York Times, 28 September 1952, p. SM18
  58. ^ The New York Times, 16 October 1952, p. 37
  59. ^ The New York Times, 27 August 1952, p. 22
  60. ^ "Dot into Pkgs". Billboard. Nielsen Business Media, Inc. 8 September 1956. pp. 22–. ISSN 0006-2510. 
  61. ^ a b Review of album Squeeze Play, p. 22 in The Billboard, 1 December 1956
  62. ^ Critical review- New Popular Articles The Billboard, December 1, 1956 P. 22
  63. ^ The Boston Globe, 24 November 1991, p. A3
  64. ^ The New York Times, 12 September 1964, p. 21
  65. ^ The New York Times, 22 September 1964, p. 18
  66. ^ The New York Times, 29 September 1964, p. 21
  67. ^ The New York Times, 7 October 1964, p. 94
  68. ^ The New York Times, 16 October 1964, p.31
  69. ^ The New York Times, 31 July 1965, p. 11
  70. ^ The New York Times, 31 May 1964, p. R1
  71. ^ a b The New York Times, 30 June 1968, p. 54
  72. ^ The New York Times, 16 March 1969, p. 94
  73. ^ The New York Times, 22 November 1968, p. 39
  74. ^ The New York Times, 17 November 1968, p. D10
  75. ^ The New York Times, 12 January 1969, p. D4
  76. ^ The New York Times, 8 December 1968, p. 162
  77. ^ The New York Times, 10 January 1969, p. 38
  78. ^ The New York Times, 23 August 1971, p. 35
  79. ^ The New York Times, 21 June 1964, p. 84
  80. ^ The New York Times, 9 June 1965, p. 47
  81. ^ The New York Times, 14 June 1987, p. LI22
  82. ^ The New York Times14 June 1987, P. New York Region
  83. ^
  84. ^ Allegro, American Federation of Musicians, New York, January 2004, Vol CIV, No. 1.
  85. ^
  86. ^ Alpha Music, 747 Chestnut Ridge Road, Spring Valley, NY 11097
  87. ^ The Library of Congress Copyright Office, Washington, DC
  88. ^
  89. ^ "CD Review: The K Trio Images". The Free-Reed Review, Henry Doktorski
  90. ^
  91. ^
  92. ^ The Library of Congress Copyright Office,La Culebra, Composer John Serry Sr., March 7, 1951, Copyright # EU 233726
  93. ^ The Library of Congress Copyright Office,African Bolero Composer: John Serry Sr., March 7, 1951, Copyright # EU 233725
  94. ^ The Library of Congress, The Syncopated Accordionist, Serrapica, John, Charles Colin, New York, 1952
  95. ^ The Library of Congress, Top Ten Accordion Solos – Easy To Play, publisher Alpha Music Co, New York, 1954
  96. ^ The Library of Congress Copyright Office,Falling Leaves, Composer: John Serry Sr., May 21, 1976, Copyright # EU 233726
  97. ^ The Library of Congree Copyright Office, A Savior Is Born, Composer: John Serry Sr., November 18, 1991, Copyright # PAU 1-575-137
  98. ^ The Library of Congress Copyright Office, The Lord's Prayer, Composer: John Serry Sr., September 2, 1992, Copyright # PAU 1-665-838
  99. ^ Library of Congress Copyright Office, American Rhapsody, Composer: John Serry Sr., Copyright: Alpha Music, New York, New York, 1957
  100. ^ The library of Congress Copyright Office, Concerto for Bassetti Accordion, Composer: John Serry Sr., June 4, 1968, Copyright # EP 247602
  101. ^ The Library of Congress Copyright Office, Concerto For Bassetti Accordion (Revised for Piano), Composer: John Serry Sr., September 3, 2007, Copyright # PAU 3-336-024
  102. ^
  103. ^
  104. ^
  105. ^
  106. ^ a b (in French)
  107. ^
  108. ^ Library of Congress,The Syncopated Accordionist Serrapica, John, Publisher/Editor: Charles Colin, New York, 1952
  109. ^
  110. ^
  111. ^;2
  112. ^
  113. ^
  114. ^
  115. ^
  116. ^ : "John Serry Sr., died on Sept. 14. He was 88 and was a member of 802 since 1933."
  117. ^ American Accordionists Association

External links

  • Library holdings worldwide for John Serry Sr. on
  • Library holdings worldwide for the Viva America Orchestra on
  • Discography for John Serry Sr. on Musicbrainz
Retrieved from ""
This content was retrieved from Wikipedia :,_Sr.
This page is based on the copyrighted Wikipedia article "John Serry Sr."; it is used under the Creative Commons Attribution-ShareAlike 3.0 Unported License (CC-BY-SA). You may redistribute it, verbatim or modified, providing that you comply with the terms of the CC-BY-SA