Francis Lai
b. April 26, 1932, Nice, France.
This French composer is perhaps best remembered for his cinematic work. And, although his best known score was for Claude Lelouch's 'A Man and a Woman' (1966), Lai has written the music for over 100 films and composed over 600 songs. Lai does his composing at night, a habit that has stayed with him from childhood.

Lai studied piano as a child. As a young man, he met singer Claude Goaty, and later followed her to Paris, where he settled in the Montmartre, a district long loved by artists of all types. Lai became one of the 'regulars' at the Taverne d'Attilio, on the Place du Tertre in Montmartre, a favorite haunt of another talented young composer, Bernard Dimey with whom Lai composed his first song. Before the team parted, they had collaborated on well over 100 songs.

Following a short period with the orchestra of Michel Magne, he became Edith Piaf's accompanist, and also one of her composers. in 1964, he made his film debut with the score to Roger Vadim's remake of Max Ophuls' classic 'La Ronde'. In 1966, Lai composed the music for Jean-Luc Godard's 'Masculin/Feminin'. His work on Claude Lelouch's 1966 hit 'A Man and a Woman' brought Lai international fame (and earned him an Academy Award). In 1970, he won a second Oscar for Arthur Hiller's 'Love Story'. The film's theme, "Where Do I Begin?," became a Top 40 hit for Andy Williams, Henry Mancini, and even Lai himself. In 1974, following a triumphant tour of Japan, he began working in London, England, with the Royal Philharmonic Orchestra, where he helped the music world to discover the electronic accordion.

Lai never again reached the same commercial heights he attained during the late 1960s and 1970s. Never-the-less, he has continued working regularly in the French film studios, often with director Lelouch. He has composed several excellent instrumental works, including "Today It's You," "Happy New Year," and "Love in the Rain. Francis Lai is also well known as one of the pioneers in the creation of synthesiser sounds, samples and the use of 'computer' music.

   John Lanchbery
This English composer is perhaps best remembered as a Ballet orchestra conductor but he did contribute some scores to English films. The 1971 film, Tales of Beatrix Potter used his score, and, as a renowned ballet conductor, it is certainly appropriate for his score to have been used in the film Nijinsky.
Among the other films for which he contributed music or complete scores are:
Nijinsky (1980)
Turning Point, The (1977 Adapted music for this film)
Don Quixote (1973) (contributed score and additional music, Also the M.D.)
Tales of Beatrix Potter (1971. aka: Peter Rabbit and Tales of Beatrix Potter)
Schwanensee (1967 Musical Director. aka: 'Swan Lake')
Romeo and Juliet (1966 Musical Director)
Delayed Action (1954)
Double Exposure (1954)
Colonel March Investigates (1952. aka: Colonel March of Scotland Yard)
Blackout (1950)
No Trace (1950)
Iron Horse, The (1924)

   Joseph LaCalle
b. 1860 (Spain), d. June 11, 1937
Overview:
Very little has been published about Joseph LaCalle. However, his tune "Amapola", recorded by Jimmy Dorsey's band, with Bob Eberly and Helen O'Connell singing, became a huge hit - reaching 19 on the all time Hit Parade Charts.

Wife: Conception LaCalle
Children: Herminia and Manuel (father of Dolores)

Career: Composer, as well as:
Music Critic for Columbia Phonograph Company, writing program notes for records
Member of John Phillip Sousa's Band (clarinet, 1893)
Member of the Twenty-third Infantry Regiment Band

Music:
"Twenty-third Regiment March" 1902
"Pobrecito Faraon" 1923
"Amapola (My Pretty Little Poppy)" (1941 Hit Parade Winner) 1924
"Aquel Beso 1927
"The Light That Never Fails (Luz Eterna)" 1928

Films:
'First Love' 1939
'Saddle Pals' 1947
'Once Upon a Time in America' 1984
'The Ring' (NBC Miniseries) 1996

Here's one version of "Amapola", with a Latin Rhythm.
And the lyric:
Amapola, (English)

Amapola, My pretty little poppy
You're like that lovely flower, so sweet and heavenly
Since I found you
My heart is wrapped around you
And loving you it seems to beat a rhapsody

Amapola, The pretty little poppy
Must copy its endearing charm from you
Amapola...Amapola...
How I long to hear you say, "I love you."

Amapola, (spanish)

De amor...en lo hierros de tu reja
de amor...escuchélas tristes quejas;
de amor...que suenan mi corazon,
Diciendome asi con su dulce cancion:

Amapola, lindísima amapola
ser&aecute; siempre mi alma, tuya, sola;
yo te quiero, amada niña mía
igual que ama la flor, la luz del día.

Amapola, lindíima amapola
no seas tan ingrata, y míamame
Amapola...Amapola.
como puedes tu vivir tan sola.

The information (and MIDI file) on Joseph LaCalle was graciously supplied by his Great-Grandson.

   Constant Lambert
b. August 23, 1905, London, England, UK; d. August 21, 1951, London, England, UK
Lambert, a well known English classical composer, also contributed scores to two English films: 1941s WWII propaganda film 'Merchant Seamen', and 1948s 'Anna Karenina' (his only feature film score). 'Merchant Seaman' was originally released as 'Able Seamen'. The score was never recorded, but Lambert's own Feb. 17, 1944 performance of the 5 movement concert suite (with the BBC Symphony Orch.) did at one time exist on transcription discs. Whether those discs still exist is highly problematical.

His other film, 'Anna Karenina' was a prestigious production that starred Ralph Richardson and Vivien Leigh, with screen play by Jean Anouilh. Some of the music was truly Russian, including passages composed originally by Glinka and Tchaikovsky. The score was later recorded (by Bernard Herrman). Interestingly, another composer, Humphrey Searle's first film work was due to Lambert who employed his talents on the score for Anna Karenina.

   Burton Lane
b. Feb. 2 1912, New York, NY, USA. d. Jan. 5, 1997, New York, NY, USA.
Overview
Composer Burton Lane, a high school dropout, started his career in the 1920's as a Tin Pan Alley song plugger. He teamed with such lyricists as Ira Gershwin, E.Y. Harburg, Ralph Freed, Alan Jay Lerner, Harold Adamson, Dorothy Fields, and Frank Loesser, writing popular songs for Broadway shows and for Hollywood. His active career continued through to the mid-1960's.

A native New Yorker, Burton was the son of Lazarus Levy, a real estate dealer, and Frances Fink Levy, an amateur pianist. Burton attended the New York City public schools. He played the viola and cello in the High School of Commerce orchestra, where he was already writing songs - mostly marches.

Burton was just 15 years old in 1927, when he dropped out of the High School of Commerce, and joined the Remick Music Company as a staff composer and pianist (song-plugger). George Gershwin, at that time was not yet 30 years old and already an established composer, was his idol.

He parents took him to Atlantic City, a seaside resort area, for a holiday. They stayed at a rooming house where Burton could play the piano. One day, while playing his version of Gershwin's "'S Wonderful", a fellow border went over to his father, Lazarus, and said, "My name is Rose Gershwin, and your son sounds just like my George. In fact, from the back, he looks like my George." Not too long afterwards. Lane was introduced to George Gershwin.
(Gershwin had already written "Lady Be Good!"; and "Funny Face"; as well as the "Piano Concerto in F". Gershwin was then at work on a tone poem that would be called "An American in Paris..")
Gershwin liked his playing and arranged a meeting with famed conductor Walter Damrosch, who told Lane that he must give up Popular Music. Gershwin did not think too highly of this advice and arranged for Lane to take lessons (for two years) with Simon Bucharoff, who made no such demands. Lane was to continue his friendship with Gershwin until George died in 1937. They often would play piano together. Lane worshiped Gershwin.

In the late 1920's Lane was still a teenager, and word around the 'Alley' was that Lane was someone to watch. He came to the attention of Harold Stern, music director for the Shuberts. Stern got the Shuberts to listen to Lane, and this resulted in a commission to write some songs for the 1927 edition of the Greenwich Village Follies. Unfortunately, the show was never staged (one of the leads, James Barton, became ill).

In 1930, Lane was just 18 years old, he teamed with lyricist Harold Adamson to write songs for the ninth edition of Earl Carroll's 'Vanities' and 'Artists and Models'. Among their songs were:
       "Have A Heart"
       "Love Came Into My Heart"
       "Heigh-Ho The Gang's All Here"

In 1930, he also wrote the hit song "Tony's Wife", with lyric by Adamson. The team also worked on such other Broadway shows as 'Three's A Crowd' starring Fred Allen; Libby Holman, and Clifton Webb. They also wrote tunes for 'The Third Little Show'; "Singing The Blues", "Say The Word", and "Americana".

In 1933, Lane and Adamson signed a 6 week contract with the Irving Berlin Music Publishing house. Berlin sent them to Hollywood, to sell music for the new 'talkie' movies. Lane was to stay in Hollywood for 21 years.

In 1933, he was signed by MGM, where he wrote two of his most conspicuous hits:
1933 For the picture, 'Dancing Lady',
       "Everything I Have Is Yours," Adamson lyric. It starred Gable-Crawford (Fred Astaire was also in the film.)
1933 For the picture 'Cocoanut Grove', the hit song:
       "Says My Heart"

Some of his other Hollywood hits include:
From the picture 'Swing High, Swing Low', he wrote
        "Swing High, Swing Low", to lyric by Ralph Freed
From the picture 'Artists and Models', he wrote
       "Stop. You're Breaking My Heart", lyric by Ted Koehler
From the picture 'College Swing', he wrote
       "Moments Like This", lyric by Frank Loesser
       "How'dya Like To Love Me", lyric by Frank Loesser
From the picture 'Some Like It Hot', he wrote
       "The Lady's In Love with You", lyric by Frank Loesser
"From the picture 'Dancing on a Dime', he wrote
       "I Hear Music", luric by Frank Loesser

Lane's 1935 marriage to Marion Seamon was destined to end in divorce, but did produce a daughter.

In 1935, he worked for United Artists on their musical 'Follies Bergere', with Maurice Chevalier.

In 1936, he signed a 5 year contract with Paramount Pictures. His work in the 1930's was mostly a 'dry' period for Lane who wrote unremembered music for 30 motion pictures; the notable exception was 1938's "The Lady's in Love With You".
1937 For picture 'Love on Toast'
"I Want A New Romance", lyric Sam Coslow
1937 "Stop! You're Breaking My Heart", lyric Ted Koehler.

1940's 'Hold on to Your Hats' was Lane's first full Broadway score. Al Jolson made his last appearance on Broadway in this show (with Martha Raye). The show also brought Lane and lyricist E. Y. "Yip" Harburg together. This team was to write many fine songs together. Their hit song "There's a Great Day Coming, Manana" was heard in this show, as was their other tune "Walking Along Mindin' My Business".

In the 1940's, Lane worked mostly for MGM, and wrote songs for various pictures, including:
'Babes On Broadway' starring Mickey Rooney and Judy Garland.
   "How About You", lyric by Ralph Freed

'Ship Ahoy' had his songs:
   "I'll Take Tallulah, lyric Harburg (Later a Tommy Dorsey hit.)
   "It's Smart To Be People", lyric by Yip Harburg.

1941 For the film "Babes on Broadway', lyrics Arthur Freed.
   "(I Like New York In June) How About You?", Judy Garland sang it, and it got Lane his 2nd Academy Award Nomination.

In 1944, scored Olsen and Johnson's show, 'Laughing Room Only'.
   "Feudin' and Fightin'", Lyric by Lane and Al Dubin. This song was not a hit in the show, but became a big heat when it was sung by Dorothy Shay, the 'Park Avenue Hillbilly', on the Bing Crosby radio show, some years after the B'way show had closed.

In 1947, he again returned to Broadway where he wrote the score for his biggest success, 'Finian's Rainbow'. The lyrics were written by Yip Harburg. And virtually of of the songs have become big hits.
   "How Are Things in Glocca Morra"
   "When The Idle Poor Become the Idle Rich"
   "The Begat"
   "When I'm Not Near the Girl I Love"
   "Something Sort of Grandish"

1947 "Feudin' and Fightin'"

After 'Finian's Rainbow', Lane returned to writing for films. His 1951 score for, the Fred Astaire-Jane Powell Film, Royal Wedding was a big success. This time Alan Jay Lerner was his lyricist.

1951 Scored film 'Royal Wedding', starring Astaire and Jane Powell. With Lyricist Alan Jay Lerner.
   "Too Late Now"
   "Every Nihght at Seven"
   "You're All The World To Me", the famous scene where Astaire dances on the walls and ceiling.
   "How Could You Believe Me When I Said I Love You When You Know I've Been A Liar All My Life". Lane and Lerner composed this tune during a 12 minute taxi ride.

1953: worked on film 'Give a Girl a Break', starred Marge and Gower Champion; Debbie reynolds and Bob Fosse. 1955: for film 'Jupiter's Darling', (Swimming star Esther Williams tried to seduce Hannibal so that he wouldn't attack Rome.)

In 1957, Lane was elected to the presidency of the American Guild of Authors and Composers (formerly the Songwriter's Protective Association), a post he held for some years. Later, he was elected to the Songwriter's Hall of Fame.

1958: worked with Dorothy Fields on TV show 'Junior Miss'.

In 1965, he scored the Broadway show 'On a Clear Day You Can See Forever'. with the title song, "On a Clear Day You Can See Forever", with lyricist Alan Jay Lerner. In 1970, Hollywood turned it into a film starring Barbra Streisand, Yves Montand and Jack Nicholson. Vincent Minnelli directed.

In 1968, Finian's Rainbow' was produced as a film starring Fred Astaire and Petula Clark.

Lane died at age 85. He was survived by his wife Lynn; a daughter from his first marriage, Diana Lane of Manhattan, and three step-daughters, Elizabeth and Peggy Kaye of Manhattan and Hillary Kaye of Los Angeles.

   Agustin Lara
b. Oct. 30, 1896, Mexico City, Mexico, d. Nov. 6, 1970 (heart attack)
né: Agustin Lara Aguirre del Pino
Even though he is best remembered for his composition "Grenada", Lara was a most prolific composer. The child of Dr. Joaquin Lara and Marga Aguirre del Pino, he was raised in Tlacotalpan, Mex., where two other children were born. One of them, Maria Teresa, was born in 1904. When he was 6 years old, his father found work in Mexico City and the family was transferred to that area, establishing a new home in Coyoacan, with the aid of Refuge Aguirre del Pino, older sister of the composer's mother, who was then Directora of the Hospicio.

Here, Augustin had his first contact with a piano. While his father, Dr. Lara, did not approve of his musical inclinations, he continued to play and to improvise little melodies. By age 13, he was augmenting the family's income by playing piano in various venues. One day, when his father, Dr. Lara returned from Mexico City, he found his 13 year old son playing piano in a Bordello.

Indignantly, he placed his son in a Military academy, hoping the severe discipline would turn him away from music. But about a year later, when the father was transferred to Durango, in northern Mexico, the child was taken out of the school at the request of his mother.

In 1927, freed of the military discipline, he was working in a local cabaret named "Holy Saint Maria the Round One". While working there, he was wounded in the face by a woman in a fit of jealousy. He had a scar on his face for the remainder of his life.

In 1929 he began to more intensively compose, and made friends with such singers as Maruca Perez, Juan Arvizu and the Trio Garnica Ascencio, all of whom were soon interpreting his melodies.

It was the epoch in which radio broadcasts were making a big impact on people, and when, on the 18 of September 1930, a new station came on the air, that station's ambitious plans included composer Agustin Lara, playing piano and discussing songs on a show called "An Intimate Hour With Agustin Lara", which was heard in homes throughout Mexico.

In 1939, Augustin was married for the first time, to Carmen Zozaya. There would follow other marriages to Maria Felix, Clarita Martinez, Yolanda Gazca, Vianey Larraga, and finally to Rocio Duran whom he married in Spain in 1965. That marriage produced no offspring, but they did adopt his son by his former wife, Vianey, and the child was then baptized with the name of Agustin while carrying the surnames Lara and Larraga (as is the Spanish custom).

During the 1950s and '60s, Agustin Lara made many trips to Europe. The last one being in 1965 when he traveled throughout the Iberian Peninsula, and was the object of numerous homages. In 1967, Lara retired from music due to his failing health. (He took up residence in a house located at the corner of Edgar Allan Poe and Homero, in a neighborhood called Polanco, in Veracruz, Mexico.)

He was elected Honorary 'Presidente Vitalicio' of the Society of Authors and Composers of Music. Pedro of Lille called him 'The Musician Poet' and Ricardo Lopez Mendez referred to him as that 'Genial Composer'. Lara took great pride in being a resident of Veracruz, and the people of Veracruz took equal pride in having him among them.

Lara passed away in the English Hospital in Mexico City on November 6, 1970 and his body was first waked in the Theater of the Society of Authors and Composers of Music, S. of A., and, on Nov. 7th, was transferred to the Palace of Beautiful Arts, and to the Rotunda of the Illustrious Men in the Panteon of Pains.

Lara was one of Mexico's seminal composers of the 1930s and 40s, and it is difficult to enumerate his many successes. He possessed a very fertile imagination, and during his career composed over 600 melodies, many of which had been sung by some of the greatest singers of the age.

   Ring Lardner
b: March 6, 1885, Niles, MI, USA, d: Sept. 25, 1933, East Hampton, LI, NY, USA.
né: Ringgold Wilmer Lardner
After graduating from the local high school in Niles, Lardner (one of nine sons) continued his studies at the Armour Institute of Technology in Chicago. In 1905 he became a reporter for the South Bend, Indiana Times. In 1907, he returned to Chicago, and began a long career as a newspaper columnist and sports writer. His baseball columns in such prominent Chicago newspapers, as the Examiner and the Times, were very popular.

He soon expanded his writing to all facets of American life, not just Baseball. Lardner's ability to capture the idiosyncrasies of American's speech patterns, and his ear for the vernacular, allowed him to infuse dialects and choice words into his memorable characterizations. He could uniquely combine humor and realism into his short stories. Soon, author F. Scott Fitzgerald took notice, and helped Lardner publish How To Write Short Stories.

Here's a photo of Ring Lardner, Sr, and here's one of his son, Ring Lardner, Jr, (b: August 25, 1915, Chicago, IL. d: Oct. 31, 2000, New York, NY, USA. Age 85) A few notes on Ring Lardner Jr, are perhaps in order, for he too, became a fine writer.
Ring Lardner Jr, was born in Chicago, IL, one of 4 sons born to Ring Lardner Sr. and his wife Ellis Abbott. He grew up in Greenwich, CT, and Great Neck, LI, (both suburbs of New York City). He married Frances Chaney with whom he had two sons, a daughter, as well as a stepson and stepdaughter.

Lardner's satirical screenplays earned him two Academy Awards, In 1942, Lardner, with Michael Kanin, won an Oscar for best original screenplay "Woman of the Year," starring Katharine Hepburn and Spencer Tracy. In 1970, he won a second Oscar for best screenplay for the movie "M..A..S..H," which was based on a Richard Hooker novel.

Still, he would become best known for his refusal to tell the House Un-American Activities Committee if he had ever been a member of the Communist Party in the U. S., or if he had ever been involved in Communist causes. As a result, he, and ten other screen writers, were jailed and blacklisted during the McCarthy era in the 1950s. (He actually was a Communist but held that his political views were none of the government's business.) In the 1950s, Ring Lardner Jr served nine months in a federal prison, after which he could only find work in Mexico, New York and London writing TV series, and then only by using various pen names to conceal his identity.

Toward the end of Ring Lardner Sr's life, this American journalist, humorist, writer of short stories, and songs, also began to write plays, including "June Moon" and "Elmer the Great" ("Hurry Kane"), both of which were produced on Broadway. He also indulged in his first love, writing songs for a number of musical shows. Lardner married Ellis Abbott of Goshen, Indiana, in 1911. They had four sons: John A., Ring W.; James Phillips, and David Ellis. In ill health during his forties, Lardner died of tuberculosis and a heart ailment in 1933. While his lyrics and music were delightful, it is his humorous Short Stories that will always define Ring Lardner as an American writer.

1910
   "Little Puff of Smoke,Goodnight: A Southern Croon", Words: R.W. Lardner, Music: G. Harris (Doc) White
      Sheetmusic: First Edition, 1910 Victor Kremer Co., Chicago
    "My Old Kentucky Home--Good Night"
      Based on contract in Newberry between Lardner and T.B. Harms & Francis Day & Hunter, dated 18 April 1910. No evidence of publication exists.

   "I Wonder What My Stomach Thinks of Me". Based on contract in Newberry between Lardner and T.B. Harms & Francis Day & Hunter, dated 18 April 1910. No evidence of publication exists.
   "Swanie Swanson". Based on contract in Newberry between Lardner and T.B. Harms & Francis Day & Hunter, dated 18 April 1910. No evidence of publication exists.

1911
   "Gee! It's A Wonderful Game", Words: R.W. Lardner, Music: G. Harris (Doc) White. Sheetmusic: 1911, Jerome H. Remick & Co., New York-Detroit

1913 -- All Contributed to Aubrey Stauffer's 1913 Chicago production, In Allah's Garden.
   "Beside the Bonnie Brier Bush"
   "Lydia Pynkham"
   "Oh You Fatima Girl"
   "That Old Quartet", Lardner wrote the lyrics for the 1913 version of this Nat Mann song.

1916
    "Teddy You're A Bear", Lyric: Ring W. Lardner, Music: Lee S. Roberts. (Played with Great Success by the Progressive National Band) Sheetmusic: 1916, Jerome H. Remick & Co., New York-Detroit

    "Old Bill Baker", Lyric: Ring Lardner, Music: Jerome Kern. Written for the show Very Good Eddie Book by Philip Bartholomae & Guy Bolton, Words by Schuyler Greene & Herbert Reynolds. Sheetmusic: 1916, T.B. Harms & Francis Day & Hunter, New York, NY

1917
        "No Place Like Home", Lyric and Music by Ring Lardner. Also identified as "Home, Sweet Home (That's Where the Real War Is)". Sung by Bert Williams in the 1917 Ziegfeld Follies. Recording: 1917, Columbia A2438

1919
   "Toledo Blues"
"..... Ring and friends gathered at the house of Herman Saxon, a Toledo theatre owner on the evening of June 30, 1919 to ring in prohibition in that state. Ring wrote a song that he said, "was learned and sung by a chorus composed of Tad, Tiny Maxwell, Jimmy Isaminger, Harry Witwer, Rube Goldberg and all the rest of the stews." (Yardley. qtd. P. 210).

    "I guess I've got those there Toledo Blues"
   "About this fight I simply can't enthuse"
   "I do not care if Dempsey win or lose"
   "Owing to the fact I've got Toledo Blues"

   &"Prohibition Blues", Lyric: Ring Lardner, Music attributed to Nora Bayes. Sung by Nora Bayes in "Ladies First"; Music most likely written by Lardner
             Sheetmusic: 1919, Jerome Remick & Co., New York-Detroit Recording: 1919, Columbia A2823

1929 -- All For the Show June Moon (The play was revived in an 'off-Broadway' theater in January 1998.
    "Montana Moon", lyric and music "overheard" by Ring Lardner and George S. Kaufman.
      Sheetmusic: 1929, Harms, Inc., New York, NY
    "June Moon", lyric and music "overheard" by Ring Lardner and George S. Kaufman.
      Sheetmusic: 1929, Harms, Inc., New York NY
    "Hello Tokio!", lyric and music "overheard" by Ring Lardner and George S. Kaufman
      Sheetmusic: published in the acting version of June Moon, 1929, Samuel French Inc., New York, NY.
   "Give Our Child a Name", Lyric and music "overheard" by Ring Lardner and George S. Kaufman. Sheetmusic: published in the acting version of June Moon, 1929, Samuel French Inc., New York, NY, USA

1930 -- Written for the show, Smiles.
   "Be Good to Me", Lyric: Ring Lardner, Music: Vincent Youmans. Sheetmusic: 1930 (copyright 1931), Vincent Youmans Inc., New York. NY.

    "If I Were You, Love (I'd Jump Right in the Lake), Lyric: Ring Lardner, Music: Vincent Youmans. Sheetmusic: 1930, Vincent Youmans Inc., New York, NY.

   Charles B. Lawlor
Currently no information available.
Vaudevillian and Composer of "The Sidewalks of New York" see also Harry Tierney.

   Pedro Laurenz
né: Pedro Blanco Acosta (Laurenz was the last name of his mother's first husband)
Bandoneonist, Leader, composer
b: Oct. 10, 1902, Bs. As., Argentina; d: July 7, 1972 Bs. As., Argentina. Born in the 'Aribales' (slum outskirts) of Buenos Aires, he studied violin as a child. When he was 15 years old, his family was then living in Montevideo, Uruguay, where Laurenz, at the urging of his brothers Félix and Eustaquio began playing the Bandoneon.

He began his professional career playing in the now largely forgotten orchestra led by pianist Luis Casanovas. In the same band were two very young violinists, - Edgardo Donato and Roberto Zerrillo. Here's a early photo of a Very Young Pedro Laurenz, and his new Bandoneon. Later, he was played in the orchestra of the bandoneonist Eduardo Arolas, when they appeared at the cabaret "Moulin Rouge". In 1920, he was back in Buenos Aires, playing in the orchestra of pianist Roberto Goyeneche. In Dec.1922, this same band (including Laurenz) played at the inauguration of Radio Cultura. This is also when he composed his first Tango, "El Rebelde" -which promptly fell into oblivion.

In 1925, he replaced bandoneonist Luis Petrucelli (and became second bandoneonist playing alongside bandoneonist Pedro Maffia) in the 'Sexteto Julio de Caro', a violinist then introducing revolutionary changes in the Tango style . That same year, the Maffia-Laurenz duo made Tango history when -just the two of them- began their first two records for the Victor company, including the Tangos "Buen Amigo", "Sonsa", and "Julian", (also a foxtrot - "Titina"). In 1926, Maffia had a disagreement with the Sexteto and left leaving Laurenz as the 'first chair' bandoneonist. (The second chair was taken by Armando Blasco). In 1934, Laurenz left De Caro and formed his own Orquesta Pedro Laurenz. He took Blasco with him. His piano player was a young man named Osvaldo Pugliese. In 1937 he started recording for the Victor label. Today, some musicologists considere his first recording, - "Arrabal" (composed by pianist José Pascual) , as the beginning of the "Epoca De Oro" ("golden epoch" of Tango), an era that only ended at the end of the 1940s. In 1943, he left the Victor company after having made 15 - 78RPM records for the label. Between 1943 to 1947, he recorded a similar number for the Pampa and Microfón labels.

Among the vocalists who appeared with the band, perhaps only Alberto Podesta was popular. Other singers who worked with him include Juan Carlos Casas, Carlos Bermudez or Jorge Linares, none of whom were particularly well received.

From 1960, Laurenz was a member of the famous "Quinteto Real" a group of great soloists, including Enrique Mario Francini (violin), Horacio Salgán (piano), Ubaldo De Lío (guitar) and Rafael Ferro (double bass). Attempting to make Tango re-flourish, they played with a new and interesting boldness and recorded for both the Phillips and Columbia labels. The Quinteto Real still exists (1970) but the only remaining original stars are Salgán and De Lío.

As a Tango composer - he first co-composed with Pedro Maffia and the brothers Julio and Francisco De Caro, but then worked on his own.
Among his best Instrumental compositions, are:
       "Mala Junta" (co-composed with Julio De Caro)
       "Orgullo criollo" (co-composed with Julio De Caro)
       "Amurado" (co-composed with Maffia)
       "Risa Loca"
       "Berreto"
       "Milonga de Mis Amores"
       "La Revancha"
       "Mal de amores"
       "Esquinero"

He also composed the music of several famous Tangos known by their lyrics
       "De Puro Guapo"
       "Como dos Extranos"
       "Es Mejor Perdonar"
       "Vieja Amiga"

   Bonnie Lake
b. March 10, 1916 (not 1920, as often stated), Waterloo, IA, USA. (but raised in Hollywood, CA) d. September 3, 1992, New York, NY. USA.
Composer (mostly lyrics - but some music too), Author, Vocalist
Curiously, this musician, who accomplished so much during her life, is not well remembered today. But she should be, she was a very talented artist. Her mother, Annette Yde Lake, was a famous opera singer, music teacher, and Hollywood vocal coach who had worked with many film stars. Bonnie was the youngest of the 3 sisters in the family, and was destined to became a fine lyricist and composer. The middle sister, Harriette, became a world famous Hollywood and Television star under the name of Ann Sothern. The eldest sister, Marian, became a writer who became well known to American newspaper readers as the voice of 'Dear Abby'. (Marian also co-composed at least one song with Bonnie - "Red Nose", subsequently recorded by Louis Armstrong.)

In 1933, while working with her mother in their 'Carnegie Hall' studio (New York City), Bonnie also began to work with the Irving Mills Music Publishing Company and co-composed (with Ralph Freed) her first hit song "Sandman". The tune was presented to Tommy and Jimmy Dorsey who were then leading the pit band for a Broadway show. When the Dorsey's later formed their own big band, they adopted (and recorded) "Sandman" as their theme song. Benny Goodman also recorded the tune. (Ralph Freed was a genuine "Tin Pan Alley" composer who wrote well over 400 songs, collaborating often as a team with Frank C. Skinner (b. Dec. 31, 1897, Meredosia, IL, USA, d. Oct. 8, 1968, Hollywood, CA, USA. Skinner worked on well over 1300 songs, and contributed music to well over 500 films), and with such others as Jerry Livingston, Harry Barris, Jimmy McHugh, Buton Lane, and many more.)

Some family friends were able to help the young Bonnie. Oscar Hammerstein coached her in the art of lyric writing, while composer Vernon Duke was instrumental in getting her a recording date (as vocalist) at New York's Liberty Music Shop. When bandleader Duke Ellington heard that recording, he suggested she record his "Water Under the Bridge", backed with "Mad About the Man About Town". Bonnie later auditioned for composer Jerome Kern, who was so captivated that he made her his protégé

In 1939, her mother's illness forced a relocation to Hollywood, where she first freelanced as a singles performer, but soon joined the Johnny Cascales Orch. (Johnny later became famous as 'Johnny Richards and His Orch.' ). Among the band's personnel were pianist Charlie LaVere, and drummer Spike Jones, and these men with Bonnie formed a trio that played the local clubs. At this time, Lake with pianist LaVere, co-wrote "Cuban Boogie Woogie". The tune was recorded by the Charlie Barnet, Bob Zurke, Andy Kirk, and later by John Scott Trotter and Bob Chester orchestras! Bonnie was also recorded, both vocally and instrumentally, with a very young 'Nat Cole and his King Cole Swingsters'.

Bonnie next returned to New York City, where she met and soon became the 3rd Mrs. Jack Jenney. She also became the vocalist and arranger with Jenney's new band, even recording her own arrangement of "Cuban Boogie Woogie". Unfortunately, the Big Band Era was coming to an end, and Jenney disbanded. He (and Bonnie) joined Artie Shaw's band, as lead trombonist. Bonnie recorded several numbers while with Shaw, but her biggest release with Shaw's group was "This Time the Dream's on Me". (Trumpeter "Hot Lips" Page was Shaw's male vocalist at the same time.)

After only a year, Shaw disbanded. Jenney then formed a trio with Lake as vocalist and Lester Ludke on piano. The Trio was short-lived.because, in 1943, Jenney enlisted in the U. S. Navy. Bonnie spent the World War II years dubbing vocals in the Hollywood studios for less musically inclined screen actresses. In her spare time, she made radio show guest appearances with the Bob Crosby, and Gordon Jenkins orchestras. During this period, she and Eddie DeLange, co-wrote "Man With A Horn", basically as a showpiece for her trombonist husband Jack Jenney. The tune has since become a "standard", but today played mostly by trumpeters. In 1944. Jenney died unexpectedly due to complications arising from an appendectomy operation. He was 35 years old; Bonnie was 29.

In the post-WWII years, she continued to sing, compose, and perform on radio shows, and then for TV. She composed the theme song for her sister, Ann Sothern's program "Katy", as well as the opening song ("Come On In") for Julius LaRosa's television show. She was also seen on the Paul Whiteman and Steve Allen shows. Bonnie then returned to New York, and formed her own company writing advertising "Jingles". She also married arranger, trumpeter and band leader, Russ Case, with whose orchestra she recorded many of her own songs. One of her songs, "Love Means Love" (co-composed with Carl Sigman) was recorded by Frank Sinatra & Rosemary Clooney.

In the late 1950s, she married orchestra leader Russ Case, and recorded several songs with his band as the vocal group, 'Bonnie and Her Beaus'. Returning to California due to her mother's prolonged illness, she still continued to compose including some Bossa Nova melodies. When she returned to New York, she co-wrote two Broadway musicals (neither was ever produced). One was with her old friend dancer, actor and songwriter Buddy Ebsen, when they collaborated on the book and score for a musical play about shipboard life entitled Nine Bells, -as well as many individual tunes.

Then, in collaboration with John L. Greene, she completed a second book and score, Levi, - a musical biography detailing the life of Levi Strauss, the man who first clothed the cowboys of the American West, and then the people of the whole world. (Both shows remain un-produced in 2004) The advent of the Rock and Roll and Beatles era greatly diminished her output. In later years, she found work as a music editor for Columbia records. She was age 76 when she died in 1992.

Among the songs she wrote are:
   (1931) "You're Indifferent"
   (1932) "You Just You"
   (1932) "Mississippi"
   (1933) "Little Coquette" (co-written with Jeanne Burns)
   (1933) "Mucho Hot" (A Rhumbalero)
   (1934) "Sandman" (co-written with Ralph Freed)
   (1934) "All Alone In This Big City"
   (1935) "I'm Blessed" (arranged by Alec Wilder)
   (1939) "Cuban Boogie Woogie" (co-written with Charles LaVere)
   (1941) "I've Got Your Number" (co-written with Jeanne Burns) (rec'd by The Dorsey Brothers Orchestra)
   "Birmingham Bessie" (co-written with Eddie DeLange)
   "The Handsome Stranger" (co-written with Buddy Ebsen) (1950), rec'd by Jo Stafford, The Sons of the Pioneers
        and The Fontane Sisters
   (1950) "I'll See Ya In Korea" (co-written with Buddy Ebsen)
   (1950) "Go All the Way" (co-written with Buddy Ebsen)
   (1950) "Scat-Man Crothers" (co-written with Buddy Ebsen)
   (1951) "Dagmar, My Jaguar & Me" (co-written with Buddy Ebsen)
   (1951) "One And One Make Two" (co-written with Buddy Ebsen)
   (1955) "Give Me A Shoulder To Cry On" (co-written with Mack David)
   (1957) "Original Joe" (co-written with Buddy Ebsen)
   (1958) "Empty Rooms" (co-written with Ruth Freed)
   (1964) "Calico" (aka "Sir Calico") (co-written with Duilio Cosenza)
   "China Blues" (co-written with Buddy Ebsen)
   (1964) "I Love The Man" (co-written with Duilio Cosenza)
   (1964) "My Guitar" (co-written with Duilio Cosenza)
   (1990) "You're The First Thing" (co-written with Gerald Cook)
and perhaps a 100 others, often with well known composers such as Nick Perito, Mack David and many more.